Richard joins CP24 to have a look at the weekend’s new movies including John Cena’s goofy comedy for kids “Playing with Fire,” Martin Scorsese’s tour de force “The Irishman,” and “Doctor Sleep,” the direct sequel to “The Shining.”
Richard sits in on the CTV NewsChannel with news anchor Marcia MacMillan to have a look at the weekend’s big releases including the epic gangster story “The Irishman,” the broad comedy for kids “Playing with Fire” and “Doctor Sleep,” the long-awaited sequel to “The Shining.”
A weekly feature from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest and most interesting movies! This week Richard looks at the ninth collaboration of Robert De Niro and Martin Scorsese, “The Irishman,” the action-comedy for children “Playing with Fire” and “Doctor Sleep,” the long-anticipated sequel to “The Shining.”
Richard has a look at the new movies coming to theatres, including John Cena’s goofy comedy for kids “Playing with Fire,” Martin Scorsese’s tour de force “The Irishman,” and “Doctor Sleep,” the direct sequel to “The Shining” with CFRA morning show host Bill Carroll.
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including the epic gangster story “The Irishman,” the broad comedy for kids “Playing with Fire” and “Doctor Sleep,” the long-awaited sequel to “The Shining.”
The last time we saw Danny Torrance, son of Jack and Wendy Torrance by way of Stephen King, he was a young boy who had trapped his father in a deadly maze outside The Overlook Hotel. In Stanley Kubrick’s film “The Shining” little Danny has psychic powers known as the “shining.” A new film, “Doctor Sleep,” brings us up to date on Danny’s later life and the effects of family tauma.
Now going by the more adult name Dan (Ewan McGregor), Torrance is still haunted by the events of his youth. Alcoholic and unhappy, he pursues peace by working in a hospice, using his unique power to comfort the dying. His patients call him Doctor Sleep and soon his work, along with the help of AA, help him overcome his torment. His tranquility is undone when he meets psychic teenager Abra Stone (Kyliegh Curran). “You’re magic,” Abra says, “like me.” “I don’t know about magic,” Dan replies. “I always called it “the shining.”
Abra’s abilities—“Her head is like a radio that sometimes picks up strange stations.”—have caught the attention of the True Knot, a tribe of demonic psychics led by Rose the Hat (Rebecca Ferguson), an almost-immortal being who feeds off children’s telepathic abilities to prolong her own life. “They eat screams and drink pain,” says Dan’s mentor-in-shining Dick Hallorann (Carl Lumbly). To battle Rose and her evil minions Danny must face his greatest fear, returning to the psychological horrors of the Overlook Hotel.
The spirit of Stanley Kubrick’s “The Shining” hangs heavy over “Doctor Sleep”—visual homages and callbacks abound—but where the 1980 film is an exercise in icy exterior thrills the new one, directed by Mike “Oculus” Flanagan, brings a thaw to the action. He has opened up the action and the characters. Kubrick created claustrophobia by setting the action mostly in the closed off rooms and hallways of the Overlook Hotel while Flanagan, who also wrote the script, lets the characters roam free, exploring the world around them and the inner workings of their extra-special-psyches. It makes for a much different feeling film that contains similar amounts of suspense—although it must be said, not nearly the same level of outright fear—but an added dose of emotional resonance and friendship.
McGregor is never quite as compelling as Jack Nicholson was in the original film but the supporting characters pick up much of the slack. As Abra, Curran is the most compelling character on screen. Fearless and resilient, she has an open heart and it is her friendship with Torrance that brings his lifelong journey for peace to a head. In one nicely rendered scene Dan speaks through her in a moment ripe with danger. Curran embodies the character and it is eerie to see the thirteen-year-old take on the weight of her adult counterpart.
Ferguson plays Rose the Hat as a bohemian villain. Callous and cruel, she brings a much-needed sense of unpredictability and danger to a story that isn’t particularly scary. It’s atmospheric and the character work brings us in, but it likely won’t haunt your dreams with the exception of one scene.
(MILD SPOILER ALERT) The True Knot believe that pain purifies the “steam,” the essence of their victims, which leads to a very unpleasant scene involving the demise of Jacob Tremblay as a young baseball player. You either remember him as the vulnerable child in “Room” or the foul-mouthed star of “Good Boys,” but this grim scene will give you new, nasty memories of his work.
“Doctor Sleep” often feels like a tribute to “The Shining” but brings enough of its own ideas on the effects of childhood trauma and the lingering pain of a shattered family to add richness and originality to the movie.
A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at “The Post,” starring Tom Hanks and Meryl Streep and the latest from Daniel Day-Lewis, “Phantom Thread.”
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the timely historical film “The Post,” starring Tom Hanks and Meryl Streep and the latest from Daniel Day-Lewis, “Phantom Thread.”
Earlier this week Northern Michigan’s Lake Superior State University added the term “fake news” to its 43rd annual List of Words Banished from the Queen’s English for Misuse, Overuse and General Uselessness. According to dictionary.com those two toxic words, popularized by Donald Trump and adopted by, well, almost everyone, denote “false news stories, often of a sensational nature, created to be widely shared online for the purpose of generating ad revenue via web traffic or discrediting a public figure, political movement, company, etc.”
A new film, The Post, is a time capsule back to a time before exhortations of “fake news” created an atmosphere where the press is perceived as an enemy rather than the voice of the people.
Meryl Streep plays Katharine Graham, the first female publisher of a major American newspaper. With the paper bordering on insolvency she has tough decisions to make.
When the New York Times breaks the story of a massive cover-up and is shut down by the Nixon White House, hardnosed editor Ben Bradlee (Tom Hanks) sees an opportunity to scoop the Times and make a splash. “Are any of you tired of reading the news,” he asks his staff, “instead of reporting on it?” Trouble is, the story involves several people close to Graham, most notably former Secretary of Defense Robert McNamara (Bruce Greenwood), who prolonged the Vietnam War despite knowing it was a no-win situation.
Graham must make the decision to publish or not. Running the so-called Pentagon Papers would expose years of government secrets, make an enemy of President Nixon and could scare off the investors she’s been courting. Not reporting could endanger young the Americans who were still being drafted and sent to fight an unwinnable war. “The only way to assert the right to publish is to publish,” argues Bradley.
The Post is a historical tale that feels as timely as any front-page story in today’s paper. A high-stakes look at journalism before the age of fake news, it reminds us of the importance of objective, investigative reporting in an era of secrecy, lies, and leaks. It’s an ‘if you don’t know your past, you don’t know your future” message movie that shines a light on a watershed but mostly forgotten slice of our past.
The Pentagon Papers were a significant turning point in our recent history. They were proof of a credibility gap between what politicians say and what they are doing. For Bradlee, publishing these documents sent a message that the White House had no influence on what stories made the front page and which don’t. “The press must serve the governed not the governors.”
Combined, all these elements add up to a movie that aims to make a statement while avoiding preaching to its audience. Director Steven Spielberg and stars Hanks and Streep are entertainers first and foremost, and they do entertain here, but they also portray a period whose reverberations in the time of fake news are being felt stronger than ever.
The air of paranoia that hung over All the President’s Men, another movie centered on the investigative reporting of The Washington Post, is missing in The Post. Instead, Spielberg film’s is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times.