I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the much anticipated “Wicked: For Good,” the Brendan Fraser dramedy “Rental Family” and the Hollywood drama “Jay Kelly.”
Listen to the whole thing HERE!
SYNOPSIS: In “Rental Family,” a new dramedy now playing in theatres, Brendan Fraser is a lonely, Tokyo based professional stand-in, portraying friends or family members at funerals and social gatherings, who discovers the meaning of true connection through his work.
CAST: Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, Akira Emoto. Directed by Hikari.
REVIEW: Low key and heartfelt, “Rental Family” succeeds because of star Brendan Fraser’s innate ability to portray an expressive soulfulness without slipping into performative mawkishness.
In a tender performance, Brendan Fraser plays Phillip Vandarploeug, an American actor living in Japan. His shot at fame, playing a superhero in a toothpaste commercial, was years ago and now he struggles to get by. When another acting audition goes south, he takes a job with Shinji (Takehiro Hira) at a company called Rental Family whose perky slogan reads, “Happiness Tailored to You!”
The gig sounds simple—provide commitment free companionship, stand-in for a long-lost relatives at funerals, essentially be a rent-a-relative in an era of alienation—but over time Phillip finds himself using less of his acting techniques and giving more of himself to the clients who have hired him for faux emotion.
“Rental Family” is a gentle movie with a simple message. Phillip learns the importance of being there for another person; how companionship, finding your logical family, benefits both parties. It’s not a new idea, but the unique setting and circumstance prevents the episodic story from slipping too far into fish-out-of-water cliché.
As he did in “The Whale,” Brendan Fraser brings quiet empathy to an introspective character who feels disconnection from society. The situations are different, but both characters create bonds with others to self-heal. Phillip is awkward, but Fraser goes deep, turning him into a nuanced character, more defined by the character’s inner life than his physical self. It’s a warm, respectful performance that anchors the film in tenderness.
He’s ably supported by Mari Yamamoto as a fiercely independent, morally conflicted Rental Family employee, Takehiro Hira as the unflappable agency owner and Akira Emoto whose moving work as a retired actor with a failing memory provides many of the film’s poignant moments.
“Rental Family” is a quiet comedy, but with a loud, beating heart.
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make the bed! Have a look as I race against the clock to tell you about the much anticipated “Wicked: For Good,” the Brendan Fraser dramedy “Rental Family” and the Hollywood drama “Jay Kelly.”
Watch the whole thing HERE!
Greed and murder are not new themes in the work of Martin Scorsese, but the effects of those capital sins have never been more darkly devastating than they are in “Killers of the Flower Moon.”
A study in the banality of evil, the story, loosely based on David Grann’s 2017 nonfiction book of the same name, is set in 1920s Oklahoma, a time of an oil rush on land owned by the Osage Nation. The discovery of black gold made the Indigenous Nation the richest people per capita on Earth. With wealth came an influx of white interlopers, “like buzzards circling our people.”
Among them is William King Hale (Robert De Niro), a seemingly respectable Osage County power broker. He speaks the area’s Indigenous language and publicly supports the Osage community, but, as we find out, it is his insidious and deadly dealings with his Indigenous Osage neighbors that filled his bank account. “Call me King,” he says unironically.
When his nephew and World War I vet Ernest Burkhart (Leonardo DiCaprio) arrives, looking to start a new life, Hale brings him into a years long con to defraud the Osage people through marriage scams and murder by setting up a connection between Mollie (Lily Gladstone), a wealthy Osage woman, and Ernest.
“He’s not that smart,” says Mollie, “but he’s handsome. He looks like a coyote. Those blue eyes.”
Mollie sees through the overture, noting, “Coyote wants money,” during their first dinner, but despite the economic angle, the pair marry, making Ernest an heir to her fortune if something should happen to her.
That economic element lays at the dark heart of Hale’s plan. He orchestrates matches between the monied Osage mothers, sisters and daughters with carefully chosen white men, who exploit them, murder them, and siphon off the oil money from their estates.
This reign of terror claims the lives of more than two dozen Osage women, attracting the attention of the newly formed Bureau of Investigation agent Tom White (Jesse Plemons) and his crew.
The murderous real-life scheme behind “Killers of the Flower Moon” is the most depraved crime and villain Scorsese has ever essayed on film.
The wholesale murder for money is driven not just by greed, but also by white supremacy, oppression of culture and a diabolical disregard for human life. It is pure evil, manipulated by Hale, played by De Niro as the smiling face of doom.
De Niro has played dastardly characters before, but he’s never been this vile. And this is an actor who played The Devil in “Angel Heart.”
The thing that makes Hale truly treacherous and morally irredeemable is the way he insinuates himself into the lives of the very people he was exploiting and having murdered. He is a master manipulator, who will shake his victim’s hand while using his other hand to stab them in the back, and De Niro’s embodiment of him is skin crawling. “This wealth should come to us,” he says, “Their time is over. It’s just going to be another tragedy.”
As Ernest, DiCaprio goes along with the plan, but, unlike his uncle, has a hint of a conscience even as he does horrible things. He’s a weak person, torn between love for his wife and his uncle’s plan to eliminate her and her family.
The center of the story is Mollie, played with quiet grace by Gladstone. Although she disappears from the screen for long periods of time, it is her presence that provides the film with much needed heart and soul. She is strong in the face of illness and betrayal, but her stoicism portrays a complexity of emotion as her family members are murdered and her own life is endangered. Mollie is as spiritual as Hale is immoral, and that balance is the film’s underpinning.
“Killers of the Flower Moon” earns its three-and-a-half hour runtime with a classically made, multiple perspective, slow burn of a crime story that sheds light on, and condemns, the brutal treatment of Indigenous people.
This week on the Richard Crouse Oscar Special we meet four Academy Award nominees!
First up, Ke Huy Quan, nominated for Best Supporting Actor for the most aptly titled movie of last year, “Everything Everywhere All at Once.” You can say a lot of things about “Everything Everywhere All At Once” but you can’t say you’ve ever seen anything quite like it before. An eye-popping reflection on the power of kindness and love to heal the world’s problems, it is exhilarating that mixes and matches everything from family drama and tax problems to martial-arts and metaphysics into a whimsical story that moves at the speed of light. The result is a singular film that milks intentionality out of its madness.
You know Ke Huy Quan as Short Round, the plucky kid companion to Indiana Jones in The Temple Of Doom and from a role in cult classic comedy-adventure The Goonies. We’ll talk about why he chose to return to acting in “Everything Everywhere All at Once” after a twenty-year break from Hollywood.
I caught up with Best Director nominee Baz Lurhmann and the stars of “Elvis,” Best Actor nominee Austin Butler, who hands in a terrific performance as Elvis and Olivia DeJonge who plays Elvis’ wife, Priscilla. We talked about what the story of Elvis’s life can tell us about America, Priscilla’s role in the singer’s life and much more.
Then, we meet Best Actor nominee Brendan Fraser, whose performance as a 600 pound man in “The Whale” earned him a six minute standing ovation at the Venice Film Festival, and the film’s screenwriter Sam Hunter, to talk about what Fraser learned from playing the character, how Hunter changed the script from the original stage play and more.
Listen to the whole thing HERE! (Link coming soon)
Here’s some info on The Richard Crouse Show!
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
Listen to the show live here:
C-FAX 1070 in Victoria
SAT 5:00 PM to 6:00 PM
SUN 10:00 AM to 11:00 AM
CJAD in Montreal
SAT 8 PM to 9:00 PM
CFRA in Ottawa
SAT 8 PM to 9:00 PM
NEWSTALK 610 CKTB in St. Catharines
Sat 8:00 PM to 9:00 PM
NEWSTALK 1010 in Toronto
SAT 8 PM to 9:00 PM
NEWSTALK 1290 CJBK
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AM 1150 in Kelowna
SAT 11 PM to Midnight
BNN BLOOMBERG RADIO 1410
SAT 8 PM to 9:00 PM
Click HERE to catch up on shows you might have missed!
Despite its dark subject matter, “The Whale,” Oscar nominated director Darren Aronofsky’s latest film, is coloured by a swirl of love, understanding and empathy.
Brendan Fraser, in his first leading role in nearly a decade, plays Charlie, a house-bound, 600-pound online English professor. Agoraphobic and unable to leave his apartment, the only outside contact Charlie has is his nurse and only friend Lis (Hong Chau) and the occasional visit from a pizza delivery guy (Sathya Sridharan). He is large to the point where even simple tasks, like standing up to retrieve a dropped remote from the floor, becomes a Herculean task.
“You will die by the weekend,” Lis says, clocking his blood pressure at 238/134. “Then I have to get to work,” he says optimistically. “I have papers to grade.”
Charlie suffers from a twice broken heart; once by congestive heart failure, the second by the death of his partner Alan. “Someone close to me passed away and it had an effect,” he says with great understatement. “I was always big,” admitting he binge-eats to make himself feel better. “I let it get out of control.”
Now, with just days left to live, he has one wish. He wants to repair the relationship with his estranged daughter Ellie (Sadie Sink), a 17-year-old he hasn’t seen since he left his family after falling in love with Alan, one of his students. “I need to know I did one thing right in my life,” he says.
Ellie, just eight-years-old when he deserted her, wants nothing to do with him—“I’m not spending time with you,” she says. “You’re disgusting. You’d still be disgusting even if you weren’t fat.”—but reluctantly relents when he offers to pay her and tutor her in exchange for spending time together.
As Charlie’s condition worsens, Ellie spends more time at the apartment, uncovering aspects of her father’s life with the help of a new friend, a naïve missionary named Thomas (Ty Simpkins).
Aronofsky brings us into Charlie’s world, a place where grief and forgiveness live side by side to create an intimate and compassionate portrait of a man who allowed his life to spiral out of control.
The specter of death hangs over every frame of “The Whale,” and yet Fraser manages to bring optimism to a character not long for this world. He’s looking to set things straight and make sure Ellie will have the tools to have a decent life after he goes. It is a tremendous performance that soars, transcending the stage-bound nature of the story.
On this edition of the Richard Crouse Show we get to know Teddy Wilson, co-host of “The Mightiest,” a six-episode docu-series, airing on Wednesdays on the Discovery Channel, that examines the science and ingenuity behind some of the biggest and most complex planes, trains, and ships that humankind has ever made and operated. From re-engineered Chinook helitankers fighting wildfires 24/7 in Southern California, to a train that helps sustain life and connect communities, the series gives viewers an all-access pass to every aspect of the vessels and the people around it as they embark on new and dangerous journeys.
Then, we meet Enuka Okuma. You know here as detective Traci Nash in the police drama series, Rookie Blue. She is also known for her work on the television series “Madison” and “Sue Thomas: F.B.Eye.” Today we talk about her work as one of the stars and writers of the hit CBC show “Workin’ Moms.”
We’ll meet meet Humble the Poet. He is a Canadian-born rapper, spoken-word artist, poet, internationally bestselling author, and former elementary school teacher with a wildly popular blog with over 100,000 monthly readers. After the international best-selling success of his book “Unlearn,” Humble The Poet is back with a new book, “How to be Love(D).” With short chapters filled with insight, advice, and personal anecdotes from his own journey, this book is a guide to self-love that helps clarify your path inward toward the inherent love and value that is within each of us… perfect reading for the start of a new year.
As we get closer to Awards Season, there is an embarrassment of riches of movies playing in theatres this month. IN this segment, we meet two of the stars of two of the season’s best movies.
First, we meet Brendan Fraser. In his first leading role in a decade, he is garnering Oscar buzz for playing a 600-pound man trying to reconnect with his daughter in “The Whale.” The specter of death hangs over every frame of “The Whale,” and yet Fraser manages to bring optimism to a character not long for this world. He’s looking to set things straight and make sure Ellie will have the tools to have a decent life after he goes. It is a tremendous performance that soars, transcending the stage-bound nature of the story.
Now let’s meet Janelle Monáe. The Grammy nominated singer, rapper and actor is one of the stars of of “Glass Onion,” the sequel to the 2019 hit “Knives Out.” In the movie tech billionaire Miles Bron, played by Ed Norton, invites his friends for a getaway on his private Greek island. When someone turns up dead, Detective Benoit Blanc, played by Daniel Craig, is put on the case.
Listen to the whole thing HERE!
Here’s some info on The Richard Crouse Show!
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
Listen to the show live here:
C-FAX 1070 in Victoria
SAT 5:00 PM to 6:00 PM
SUN 10:00 AM to 11:00 AM
CJAD in Montreal
SAT 8 PM to 9:00 PM
CFRA in Ottawa
SAT 8 PM to 9:00 PM
NEWSTALK 610 CKTB in St. Catharines
Sat 8:00 PM to 9:00 PM
NEWSTALK 1010 in Toronto
SAT 8 PM to 9:00 PM
NEWSTALK 1290 CJBK
SAT 8 PM to 9:00 PM
AM 1150 in Kelowna
SAT 11 PM to Midnight
BNN BLOOMBERG RADIO 1410
SAT 8 PM to 9:00 PM
Click HERE to catch up on shows you might have missed!
Richard joins Ryan Doyle and guest host Tamara Cherry of the NewsTalk 1010 afternoon show to talk about Squirt soda and the origin of the tequila-based cocktail the Paloma, and some movies to watch on the weekend, including “Black Widow” and “No Sudden Move.”
Listen to the whole thing HERE!
“No Sudden Move,” a new Steven Soderbergh film starring Don Cheadle and Benicio del Toro and now playing on Crave, is a film noir that gets lost in its knotty plot, but is kept on track by a top-notch cast.
Set in 1954 Detroit, the action begins with Jones, a shady character played by Brendan Fraser, recruiting three low level criminals, Curt (Cheadle), Ronald (del Toro) and Charley (Kieran Culkin), for a job that pays too much to be as easy as he says it will be. They all agree, just so long as someone named Frank (Ray Liotta) won’t be involved.
Their job is to invade General Motors accountant Matt Wertz’s (David Harbour) home, keep his family quiet for an hour while he retrieves a document from his boss’s safe.
Sounds simple, but this is Detroit in 1954. Industrial espionage between the Big Three car companies is a dangerous game, and, of course, Frank is involved. “Everybody has a problem with Frank these days.”
As things spin out of control, greed kicks in and the fast cash the small-time criminals hoped to make causes big time problems.
Soderbergh immerses his characters and the viewer in a world that where secrets propel the action. No one is who they seem and motives are even murkier. It makes for a twisty-turny story that is part crime story, part social history of the spark that ignited the slow decline of Detroit.
To add to the disorientation, Soderbergh shoots the action through a fish eye lens that blurs the edges of the screen, mimicking the script’s moral fog.
“No Sudden Move” almost bites off more than it can chew. It’s occasionally clunky, with too many double-crosses and characters vying for screen time, but the star-studded cast cuts through the script’s noise with ease. The result is a caper that flier by, buoyed by surprises (including a big-name uncredited cameo), snappy dialogue and a great debt to Elmore Leonard.
