I join the CTV NewsChannel to have a look at two new movies in theatres, the romance drama “Reminders of Him” and the horror flick “undertone,” and make some predictions for tonight’s Oscars.
Watch the whole thing HERE!
I sit with Deb Hutton on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and movies playing in theatres. We take out the recycling, talking about Hollywood bringing bac k Conan the Barbarian, John Rambo and Tinkerbell, and I review “Reminders of Him” and “undertone.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to tune a violin. Have a look as I race against the clock to tell you about the music doc “Nash the Slash Rises Again!,” the audio horror of “undertone” and the romantic melodrama of “Reminders of Him.”
Watch the whole thing HERE!
SYNOPSIS: In “Reminders of Her,” a new romantic drama based on author Colleen Hoover’s #1 New York Times bestselling novel of the same name, Maika Monroe stars as a woman who must confronts her past to move forward.
CAST: Maika Monroe, Tyriq Withers, Rudy Pankow, Lainey Wilson, Lauren Graham, Bradley Whitford. Directed by Vanessa Caswill.
REVIEW: “Reminders of Him” is a Nicholas Sparks style movie for those who find Nicholas Sparks too edgy. Although written by Colleen Hoover and Lauren Levine, it’s a roiling assembly of Sparksisms including forbidden romance, a nearly constructed dream house, kisses in the rain, a journal, a cute kid, a dead soulmate and the chance to start again.
“Reminders of Him’s” story stems from tragedy. “There was before you. There was during you. I never thought there’d be an after you,” Kenna (Maika Monroe) says after her boyfriend Scotty (Rudy Pankow) is killed a terrible drunk driving accident.
Jailed for seven years for her role in his death, she returns to their hometown in hope of reconnecting with their child Diem (Zoe Kosovic), a little girl being raised by Scotty’s parents, Grace (Lauren Graham) and Patrick Landry (Bradley Whitford). “I’m headed back to the place it all went wrong,” she says, “to see if I can get something right.”
She is not welcomed with open arms—“If it wasn’t for her, our son would still be alive,” says Paterick— until former NFL player and local bar owner Ledger Ward (Tyriq Withers) offers her a job. “Do you know how to wash dishes,” he asks. “Seven years’ experience,” she replies.
When his compassion turns to romance, their relationship deepens the rift between Kenna and the Landrys, who disapprove of her dating Ledger, Scotty’s former best friend and surrogate father to Diem.
As Ledger is forced to choose between his new love and his loyalty to Diem, Scotty and the Landrys, Kenna faces the hardest decision of her life.
Big issues are raised in “Reminders of Him, not to be explored, but simply to be overcome.
A collection of clichés from the Big Book of Romantic Melodrama, the movie uses Kenna, a traumatized character misunderstood by the Landrys, and her sad eyes, as a vehicle for the story’s overwrought contrivances.
Monroe perseveres, convincingly playing Kenna as a woman picking up the pieces after her life was shattered by death and prison. It’s hard not to root for her and it is that quality that prevents the film from suffocating under an avalanche of sentimentality.
“Reminders of Him” is a sincere-if-slight movie whose romantic tentacles are meant to tug at audience heartstrings, controlling them like marionettes, but instead puppets predictable romantic prosaicisms about redemption and second chances that will remind you of other, better movies.
“Rosaline,” a new romantic comedy based on “Romeo and Juliet,” alters the dynamics of William Shakespeare’s play by flipping the script to focus on Rosaline (Kaitlyn Dever), Romeo Montague’s ex-girlfriend. “The greatest story ever told,” she says, “was missing a chapter. Mine.”
Based on Rebecca Serle’s young adult novel “When You Were Mine,” which was inspired by Shakespeare’s romantic tragedy, the Disney+ movie sees Kaitlyn Dever play a character who is mentioned but never seen in the original play. She is Rosaline, Romeo’s (Kyle Allen) girlfriend, at least she is until her cousin, Juliet Capulet (Isabela Merced) shows up.
Turns out Romeo uses his trademarked flowery romantic language to seduce Juliet. “I’m afraid you’re not the first maiden he’s charmed with his high cheekbones and fancy words,” says Rosaline.
Distraught, Rosaline is determined to break them up, and win back her man, even as a possible new romance with Dario (Sean Teale) brews. “Romeo and Juliet,” she snorts, “It doesn’t even sound right.”
These times of woe afford no time to woo, indeed.
Like “A Knight’s Tale” or the recent “Catherine Called Birdy,” “Rosaline” is a medieval period piece presented with modern sensibilities and idioms. The iconic balcony scene, for instance, is there, but tweaked for laughs, and at one point the morose Rosaline uses cholera as an excuse to not get out of bed.
Even the play’s famous ending has been spun. No spoilers here, but it should be noted that “Rosaline” isn’t exactly a romance and it isn’t a tragedy. It’s more a heartbroken journey of empowerment and self-discovery.
It doesn’t all work. The story slows in the middle, and, for older viewers the high school romance aspects may get old quickly, but at the heart of the story is Dever. As the title character she is both vindictive and vulnerable, a young woman with an attitude and a big beating heart. Her recent work, heavier turns in the film “Dear Evan Hanson” and TV dramas like “Dopesick” and “Unbelievable,” haven’t showcased her comedic talents, but “Rosaline” gives her the opportunity to stand out in the midst of the movie’s screwball co-incidences and farcical aspects.
Strong work from Bradley Whitford as Friar Laurence—who scolds his daughter with, “You are a woman. You’re not supposed to talk about what you want!”—and “Good Will Hunting’s “Minnie Driver as the outspoken Nurse, round out the cast.
“Rosaline” is no “Rosencrantz and Guildenstern are Dead.” Tom Stoppard’s absurdist, existential tragicomic “Hamlet” riff examines the mystery of life. “Rosaline” sets its sights lower. It is a high school romance in a corset that should work for fans of “Romeo and Juliet,” the Coles Notes version.
“Songbird,” a new film produced by Michael Bay and now on premium VOD, feels ripped from the headlines.
Like, today’s headlines.
The first film to shoot in Los Angeles during the lockdown details life during COVID.
Set in 2024, during the fourth year of pandemic, COVID has mutated, leaving the United States under martial law were infected citizens are forcibly removed from their homes. Treated like walking, talking biohazards they are housed in concentration camps called Q-Zones.
Meanwhile, motorcycle courier Nico (KJ Apa) is immune. A recovered COVID patient, he has the antibodies to fight off the disease. When his locked-down girlfriend Sarah (Sofia Carson) is suspected of contracting the virus, Nico springs into action to save her from being taken away.
There are side characters galore, like Bradley Whitford’s sex-crazed record producer, a lovelorn veteran played by Paul Walter Hauser, Demi Moore’s protective mom and an over-the-top Peter Stormare as the evil head of the Los Angeles’ “sanitation” department–but most of them exist only to heighten the grim desperation of the situation.
“Songbird” isn’t a politicized screed about masks or the virus’ origin. Instead, it’s a star-crossed style romance—”You’ve never been in the same room,” says Sara’s mother, “but he loves you.”—set against the backdrop of the worst world event in decades.
It would be one thing if “Songbird” had something to add the conversation about COVID, but it doesn’t. Instead, it plays off our worst collective fears in clumsy and exploitative ways.
It’s likely to appeal to conspiracy enthusiasts who may finger their tinfoil hats in excitement at the mention of bracelets for “munies”—the immune—an unchecked department of sanitation who arrest at will, apps that will report you if your temperature is above normal and ever-present surveillance.
For those not inclined toward dystopian extremes, “Songbird” is a crass reminder of the real-life death, sickness, unemployment and heartache COVID has wrought. It feels tone deaf, and worse, it’s a bad movie.
In the world of canine coming-of-age stories Jack London’s “The Call of the Wild“ is the alpha dog. The survival tale has been given a new, high tech sheen in a film starring Harrison Ford and a CGI dog named Buck.
Buck, a domesticated St. Bernard/Scotch Collie stolen from his comfortable life in California is transported to Yukon where he is sold to a mail delivery sled team. “He’s not bad, “says his owner Perrault (Omar Sy) after a bad initial run, “he’s just got California feet.” Soon Buck learns the ways of the pack and for the first time listen to his own voice not his masters.
Belonging to the pack brings with it a growing confidence and joy that fades when the 2400-mile mail delivery route is cancelled and he is sold to Hal (“Downton Abbey’s” Dan Stevens). A citidiot with Gold Rush fever but no clue how to navigate the North’s weather or handle a dog team, his animal cruelty catches the eye of John Thornton (Harrison Ford). A drifter, the loss of his young son provoked Thornton to move north looking for solace. “I know there may be no peace,” he says, “no home for me in this world.” He senses something special in Buck and, as their paths cross, he develops a bond with the hard-working animal.
When Hal endangers not only himself, but his companions and the dog pack Thornton intercedes. As they get to know one another, Buck and his new master fill a role in each other’s lives left by the loss of a pack and a son. “You’re not my pet,” Thornton tells Buck. Together they heed the call of the wild and head off on an adventure that will lead them to a place “off the map” and to their destinies.
The Call of the Wild” is an old-fashioned action adventure created with newfangled technology. Beautiful scenery, a pantomime-style villain and a couple of exciting close calls could be straight out of many old-school Disney kid’s adventures. Buck, however, is a different story. His, and the other dogs faces are expressive in a way photorealistic-animals in movies like “The Lion King” and “Lady and the Tramp” were not. It’s often subtle but a raising of the eyebrows or a concerned look in the eye gives Buck considerably more personality than some recent animated animals and that is important for a dog who not only understands home décor (antler hanging) but also human psychology.
“The Call of the Wild” is a handsomely made movie that allows the story’s adult themes of love and redemption to occur without bogging down the part that will appeal to kids–the adventure. Parents should not that there are a couple of animals-in-peril scenes you might want to consider before bringing the young children.
If Blue Öyster Cult were to write the hit song “Godzilla” today they’d have to change the lyrics. In 1977 they sang, “Oh, no, there goes Tokyo.” Today the prehistoric sea monster has expanded his worldview beyond Asia and is now concerned with the entire planet.
The action in “Godzilla: King of the Monsters” begins when paleo-biologist Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) are kidnapped by terrorists. What would these bad people want with this Emma and Madison? Turns out Emma belongs to the crypto-zoological agency Monarch, a scientific watchdog group who study the Titans, creatures long believed to be myths. Along with her ex-husband Dr. Mark Russell (Kyle Chandler) Emma invented “the Orca,” a device that allows communication with these mysterious beasts. More importantly, for the bad guys at least, it can also “control them using their bioacoustics on a sonar level.”
As reluctant hero Mark teams with Dr. Serizawa (Ken Watanabe) and Dr. Graham (Sally Hawkins) to save Emma and Madison from the kidnappers the Titans, Mothra, Rodan, the three-headed King Ghidorah and others, rise, threatening to destroy the earth. It’s the ultimate clash of the Titans as Godzilla (who now appears to have a beer belly) stomps in to level the playing field. Cue the Blue Öyster Cult: “Go, go, Godzilla (yeah).”
“Godzilla: King of the Monsters” is a remarkable achievement. It’s one of the most incomprehensible movies in the “Godzilla” franchise and that is really saying something. This story of restoring harmony to the world by releasing these angry monsters is pure codswallop and remember, this is the series that once devoted an entire movie to the king of the monsters teaching his dim-witted son how to how to control his atomic breath.
I’ll start with the script, and I only call it that because it contains words and was presumably written by people and not some kind of Kaiju-Auto-Cliché generating device. Ripe with pop psychology (“Moments of crisis can become moments of faith.” #Deep), horrible dialogue (“We’ve opened Pandora’s Box and there is no closing it!” #howmanytimeshaveweheardthat?) and several big emotional moments you won’t care about because the characters are walking, talking b-movie stereotypes, the movie is as clumsy as the script is dumb.
But you don’t go to a Godzilla movie for the human content; you go to see Titans battling it out and on that score “Godzilla: King of the Monsters” delivers. Unlike the 2014 Gareth Edwards reboot the new film wastes no time in introducing the radioactive monsters. We then sit through a bunch of pseudo-scientific pontification until the main event, the cage match between G-zil and his three-headed foe. In those moments the film improves, mostly because these characters don’t spout endless exposition about saving the world. They simply fight. It’s WrestleMania with fire-breathers and when they’re wreaking havoc it’s a good, fist-pumping time.
“Godzilla: King of the Monsters” is in 3D—Death, Destruction and Decibels—and has a certain kind of cheesy appeal. Watching the cast of good international actors try and play it straight as they muddle through the nonsense leading up to the climax is fun for a short time but next time I hope we get more actual monsters and less monstrous scripting.
The last time Nicole Kidman wore this much prosthetic make up she won a Best Actress Oscar. “Destroyer” sees her almost unrecognizable except for her unmistakable movie-star jaw line in silhouette.
Kidman plays Erin Bell, a police detective ground down by years on the job, booze and the haunting memory of a case going wrong. When we first meet her she’s on the scene of a crime. When she spots a familiar tattoo on the victim she realizes a former adversary is back in town. It’s Silas (Toby Kebbell), a mini-Manson who controls his people through intimidation and drugs. “He’s either cleaning up,” she says, “or restarting again.“
To get to the bottom of the latest murder she begins an investigation that forces her to confront her behaviour on a long ago undercover case. The case puts her at odds with her estranged daughter (Jade Pettyjohn) and draws her down a path populated by increasingly sleazy characters including a crooked lawyer (Bradley Whitford) who tells her she is sad and stupid for revisiting the past and Petra (Tatiana Maslany), a drug addict and direct link to Silas. It’s dangerous territory, but she is undaunted. “I don’t care what happens to me,” she says. Eventually the past, told through flashbacks, catches up with the present filling in the details of how Erin ended up where she is today.
At the heart of “Destroyer” is a complex moral question, Can you ever really pay for the sins of your past? It mostly goes unanswered, although her actions hint at some sort of uneasy resolution. In the end it is obvious that while she may be trying to do the right thing, it seems likely she’ll end up in a bad way.
Kidman is in full-blown anti-heroine mode. You can practically smell the stale breath; feel her pounding hangover headaches. She’s in rough shape, the result of a lifetime of bad decisions. Kidman does a Herculean job of brushing aside any likable traits in Erin and adds a few interesting flourishes as she paints the portrait of this troubled woman but overall the result is mostly a paint by numbers picture you’ve seen before in other hard boiled crime dramas.
“Destroyer” is a gritty drama that, despite Kidman’s makeup, doesn’t change the complexion of similar stories in other movies.
