CTV ATLANTIC: RICHARD AND TODD BATTIS ON NEW MOVIES IN THEATRES!
I join CTV Atlantic’s Todd Battis to talk about the teen horror of “Whistle,” an amorous “Dracula” and the mockumentary “The Moment.
Watch the whole thing HERE!
Posts Tagged ‘Caleb Landry Jones’
CTV NEWSCHANNEL: RICHARD’s MOVIE REVIEWS FOR FRIDAY FEBRUARY 06, 2026!
I join the CTV NewsChanel to talk about the teen horror of “Whistle,” an amorous “Dracula” and the mockumentary “The Moment.
Watch the whole thing HERE!
YOU TUBE: THREE MOVIES/THIRTY SECONDS! FAST REVIEWS FOR BUSY PEOPLE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to slam the door! Have a look as I race against the clock to tell you about the teen horror of “Whistle,” an amorous “Dracula” and the mockumentary “The Moment.
Watch the whole thing HERE!
DRACULA: 3 STARS. “this time around Dracula is more amorous than murderous.”
SYNOPSIS: “Dracula,” a new take on Bram Stoker’s classic vampire novel, now playing in theatres, is a love story about a 15th-century prince who spends four hundred years searching for the reincarnation of his late wife.
CAST: Caleb Landry Jones, Christoph Waltz, Zoë Bleu, Matilda De Angelis, Ewens Abid, David Shields, Guillaume de Tonquédec, Raphael Luce. Directed by Luc Besson.
REVIEW: This isn’t Bram Stoker’s “Dracula.” It’s maximalist French director Luc Besson’s “Dracula” with all the good and bad that implies.
A love story and an origin tale, the movie begins with Prince Vladimir of Wallachia (Caleb Landry Jones) i.re. Vlad the Impaler, renouncing God after the death of his beloved wife Elisabeta (Zoë Bleu) at the hands of the Ottomans.
Now called Dracula, he spends the next four hundred years drinking blood to stay “alive,” and using a specially formulated vampire perfume to entice women as the lovelorn vampire searches for the reincarnation of his late wife.
“I’m just a poor soul condemned by God and cursed to walk in the shadow of death for all eternity,” he says, “and sustain myself on fresh blood. Human blood is recommended.”
During real estate negotiations Dracula discovers that Mina (Zoë Bleu again), the wife of Parisian solicitor Jonathan Harker (Ewens Abid), is the woman he’s been searching an eternity for. Tracking her down, he convinces her that she is the reincarnation of Elisabeta and offers her eternal life.
“I would recognize you in another lifetime, entirely in different bodies, different times, and I would love you in all of them until the very last star in the sky burned out into oblivion.”
Meanwhile, a Vatican-sponsored vampire hunting priest (Christoph Waltz) is on the hunt for Dracula and his deadly disciples.
Luc Besson has never been known for a light touch. His films, like “The Fifth Element” and “Léon: The Professional,” are crowd-pleasing, style over substance movies that entertain the eye with high concept visuals and high energy action. Unafraid of spectacle, his films are often bold, often cheesy and often sumptuous.
“Dracula” is all those things. Besson’s study of eternal love has philosophical undertones, but, true to form, excess is the name of the game here, not metaphysical discourse. A scene in the court of Versailles, for instance, where Dracula tests out his special perfume is both lovely and lurid, but another sequence in which Drac repeatedly tries to kill himself in the wake of his wife’s death doesn’t have the intended pathos. Instead, it feels like an outtake from one of Abbott and Costello’s horror comedies.
Gorgeous costume and set design set the stage for Besson’s flashy gothic romp, distracting from a distinct lack of chemistry between the star-crossed soulmates. Landry is more convincing as a monster than lovelorn creature of the night, even if his 400-year-old-man makeup is a little rough. If this pair met in a singles bar, you wouldn’t think they had enough of a spark to make it to the dance floor, let alone inspire a lusty 400 yearlong journey.
Despite flaws that would put a stake in the heart of many other films, “Dracula” is entertaining, if only because Besson shakes up the familiar story to focus on the amorous rather than the murderous.
NITRAM: 3 ½ STARS. “hammers home its indelible message of gun control.”
“Nitam,” a dramatization of the events leading up to the 1996 massacre at Port Arthur, Tasmania, that killed 35 people and wounded 23 others, mines the nihilism of its title character in an attempt to shed light on a senseless act.
In his telling of the story, Australian director Justin Kurzel has made a deeply unsettling film but not a violent one. He replaces the violence of the tragic real-life event with the uneasy trajectory of a killer in the making.
Known as Nitram—the movie never uses his real name—Caleb Landry Jones plays the title character as a twenty-something, impulsive, detached loner who lashes out at the slightest provocation. His mother (Judy Davis) is worn down after years of dealing with his antisocial and unpredictable behavior, but his father (Anthony LaPaglia) attempts to find a coping mechanism in compassion.
They are given a reprieve of sorts when wealthy recluse Helen (Essie Davis) hires him to cut her lawn and invites him to move in. She treats him kindly and becomes a stabilizing force in his life. When she passes away suddenly, followed by the death of his father weeks later, Nitam is cut loose with a large inheritance courtesy of Helen’s largess.
Nitram’s childhood fascination with fireworks translates into a love of firearms as an adult. In the film’s most chilling scene he purchases powerful automatic weapons from a gun shop owner only too happy to make a sale.
It is the first tangible step toward infamy.
The events of April 1996 are not portrayed in the film. In fact, there is very little violence on display. Instead, Kurzel has crafted a bleak but effective portrait of mundane evil. Jones embodies the character, playing him as a cypher with a deep well of rage. It isn’t a showy performance. It’s dark, hard to read and even harder to understand. Alienated, he is devoid of empathy or compassion, a ticking bomb ready to explode. It’s disturbing character work, so carefully rendered that, knowing how the story ends, will make your skin crawl.
There is little that is sensational or exploitive in “Nitram’s” storytelling but I had to wonder why a movie, even one that doesn’t name the killer by name, exists.
It’s one thing not to utter his name, it’s another to make a movie about a real-life man who became a monster, shattering dozens of families in the process. “Nitram” in no way glorifies him, but neither does it shed that much light on the hows and whys of his unspeakable acts. It is a well-made film that prefers to hammer home its indelible message of gun control but in its very existence provides an uncomfortable notoriety to someone best forgotten.
FINCH: 3 ½ STARS. “Hanks made us care about a volleyball & does it again with a robot.”
“Finch,” the new Tom Hanks dystopian drama now streaming on Apple TV+, feels like a mix of “Castaway” and “Short Circuit.”
Set in the near future, the movie takes place in a world where a catastrophic solar flare devastated the planet. 140° Fahrenheit temperatures are commonplace and most people are dead, burned to a crisp, leaving behind desiccated corpses. Those who are left, like Finch (Hanks) must scavenge for food and supplies. Finch, an engineer and inventor, lives in a bunker with his best (and only) friend, a cute dog named Goodyear.
When he isn’t driving around in his armored vehicle—a giant RV with solar panels—exploring the burned-out area around his home for any morsels that might have been left behind, he is working in the lab, building a robot.
Finch isn’t tinkering with the droid to pass the time. He’s sick, slowly dying of radiation poisoning and building a machine to care for Goodyear once he is unable.
Slapped together with spare parts, the robot (Caleb Landry Jones), with his elongated face and camera lens eyes, is a gangly contraption, childlike in his awareness of the strange new world to which he is introduced.
As Finch’s health worsens so does the situation outside his doors. As temperatures rise and the weather becomes more and more unstable, Finch, Goodyear and the robot, who goes by the name Jeff, hit the road headed toward San Francisco.
The trip is fraught with danger and made no less easy by Jeff’s learning curve. He’s not always the droid Finch is looking for. “I know you were born yesterday,” says an exasperated Finch, “but I need for you to grow up!”
Despite the high tech aspects of the story—the robotics and mysterious cause of the dystopia—“Finch” is an old fashioned movie. The action sequences are old school, man-against-nature style, as Finch and his rag tag team battle tornadoes, UV radiation and extreme weather in the hellish post-apocalyptic wasteland.
More than that, “Finch” is not really about the robot. It’s about making a connection, human or otherwise, determination and legacy.
Ensuring that the movie has some heart and soul is Hanks. He’s in virtually every frame of the film, and his empathic likability shines through. There’s not a lot of backstory—any background is told in the form of stories to teach Jeff a life lesson—but Hanks, through his expressive eyes provides all the details we need.
Landry Jones, in a motion capture performance, brings a great deal of heart and humour to the mechanical Jeff as he figures out the nuts-and-bolts of day-to-day life. The father and son bond between he and Finch brings both the joy and sorrow of relationships to the fore and goes beyond the usual buddy movie clichés into something deeper.
“Finch” is a different kind of post-apocalyptic movie. In fact, it may be the most jovial end of the world flick ever. Finch and Jeff lightheartedly joust back and forth, which leads to some sappy moments but at the end of the day it’s about their relationship. And let’s face it, if Hanks could make us care about a volleyball in “Castaway” he can make you fall for a CGI robot.
THE OUTPOST: 4 ½ STARS. “a powerful and award worthy effort.”
The Battle of Kamdesh was a bloody 2009 confrontation that saw 400 Taliban fighters attack Combat Outpost Keating in Afghanistan, a station manned by 53 American soldiers and just days before it was to be shut down. “The Outpost,” a new film starring Scott Eastwood and Orlando Bloom and new to VOD, recreates the attack in gut-wrenching detail.
Based on the bestselling “The Outpost: An Untold Story of American Valor” by CNN’s chief Washington correspondent Jake Tapper, the movie focusses on Bravo Troop 3-61 CAV, soldiers working from a base camp situated at the bottom of three mountains. Nestled in a deep valley, the camp’s location is difficult to defend, allowing the Taliban to position themselves as to pick off the soldiers below.
The film’s first hour hints at what is to come. Like many war movies before it, “The Outpost” uses this time to get to know the men, Staff Sergeant Clint Romesha (Eastwood, ironically playing a character named Clint), Captain Ben Keating (Orlando), Specialist Ty Carter (Caleb Landry Jones), CPT Robert Yllescas, (Milo Gibson), and Daniel Rodriguez, a veteran of the battle who plays himself in the film. Between bouts of enemy fire we learn of their hopes, ambitions and thoughts of home. Its brotherhood building that, in terms of the drama, really pays off in the last hour when we see how the bond between the soldiers comes into play during battle.
Director Rod Lurie, a West Point alum, class of 1984, with four years of military service, has made a you-are-there film. He immerses the viewer in the details, the lives, sacrifices and, ultimately the skill under pressure of these men as bullets and bombs fly. The battle scene is ferocious, tour de force filmmaking, creating an atmosphere of bombast while never losing the connection between the men that will make the difference between life and death. But it is still a study in the importance of working as a unit as Lurie emphasizes the camaraderie as much as the action during the twelve-hour, close contact gun fight.
The performances are uniformly effective but it is Jones who stands apart as Specialist Ty Carter, a Medal of Honor winner, who fights through his fear to do his job.
“The Outpost” has all the earmarks of a war film, the action, the brotherhood, but it isn’t a recruitment film. It is respectful of the soldiers, their duty and courage but critical of a government who knew Combat Outpost Keating was a sitting duck and did nothing to remedy the situation. As a stark comment on the cost of war it is a powerful and award worthy effort.
IN ISOLATION WITH..: ROD LURIE, DIRECTOR OF THE WAR DRAMA “THE OUTPOST”!
Check out episode twenty-four of Richard’s web series, “In Isolation With…” It’s the talk show where we make a connection without actually making contact! Today, broadcasting directly from Isolation Studios (a.k.a. my home office), we meet Rod Lurie, a West Point graduate who became a film critic and was once banned from screenings for referring to Danny DeVito as “a testicle with arms.” He is a journalist and author and, since 1999, a filmmaker. In this interview we talk about West Point, why he stood at attention at a screening of “Poltergeist” and, of course, his latest film, “The Outpost.” It’s an intense recreation of the Battle of Kamdesh, a bloody 2009 confrontation that saw 400 Taliban fighters attack Combat Outpost Keating in Afghanistan, a station manned by 53 American soldiers and just days before it was to be disbanded.
Critics are raving about the film. “IndieWire” said that Rod shot “much of the 45-minute long ambush in hectic, agile long-takes that allows him to capture the Battle of Kamdesh for all of its terror, and with a clarity that allows us to feel that terror in our bones.” The film is also being praised by veterans, including those who fought in the battle, for its realistic depiction of warfare and the life of a soldier.
“The Outpost” is available now on VOD, wherever you legally rent or buy movies.
“I think that my most memorable was in 1982,” he says in the interview. “I was a cadet at West Point. I had leave for the weekend. I went to New York City, and went to see two movies. One was The Road Warrior, George Miller’s film. Oh my god, I was so absolutely excited by that movie. I thought it was so thrilling and I left on such a high. I always knew I want to be a filmmaker and I said to myself, ‘That’s the kind of movie that I want to make. I want to have that sort of effect on an audience.’ I left that theatre, and I went to see another movie, and that movie was ET. And I remember at the end of that movie I was in tears like a baby. I’m this tough military guy and I’m crying because he went home and his heart is beating. ‘I’ll be right here.’ I leave that movie and I say, ‘Oh my god, this is the kind of movie I want to make.’”
Now let’s get to know Rod Lurie…
Watch the whole thing HERE on YouTube or HERE on ctvnews.ca!
LOOKING BACK AT 2017: RICHARD picks for the BEST FILMS OF THE YEAR.
THE GOOD (in alphabetical order)
Baby Driver: Although it contains more music than most tuneful of movies “Baby Driver,” the new film from director Edgar Wright, isn’t a musical in the “West Side Story,” “Sound of Music” sense. Wallpapered with 35 rock ‘n roll songs on the soundtrack it’s a hard driving heist flick that can best be called an action musical.
The Big Sick: Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
Call Me By Your Name: This is a movie of small details that speak to larger truths. Director Luca Guadagnino keeps the story simple relying on the minutiae to add depth and beauty to the story. The idyllic countryside, the quaint town, the music of the Psychedelic Furs and the languid pace of a long Italian summer combine to create the sensual backdrop against which the romance between the two blossoms. Guadagnino’s camera captures it all, avoiding the pitfalls of melodrama to present a story that is pure emotion. It feels real and raw, haunted by the ghosts of loves gone by.
Darkest Hour: This is a historical drama with all the trappings of “Masterpiece Theatre.” You can expect photography, costumes and period details are sumptuous. What you may not expect is the light-hearted tone of much of the goings on. While this isn’t “Carry On Churchill,” it has a lighter touch that might be expected. Gary Oldman, not an actor known for his comedic flourishes, embraces the sly humour. When Churchill becomes Prime Minister his wife, Clementine (Kristin Scott Thomas) makes an impassioned speech about the importance of the work he is about to take on. He raises a glass and, cutting through the emotion of the moment, says, “Here’s to not buggering it up!” It shows a side of Churchill not often revealed in wartime biopics.
The Disaster Artist: The key to pulling off “The Disaster Artist” is not recreating “The Room” beat for beat, although they do that, it’s actually about treating Wiseau as a person and not an object of fun. He’s an outrageous character and Franco commits to it 100%. From the marble-mouthed speech pattern that’s part Valley Girl and part Beaker from The Muppets to the wild clothes and stringy hair, he’s equal parts creepy and lovable but underneath his bravado are real human frailties. Depending on your point of view he’s either delusional or aspirational but in Franco’s hands he’s never also never less than memorable. It’s a broad, strange performance but it may also be one of the actor’s best.
Dunkirk: This is an intense movie but it is not an overly emotional one. The cumulative effect of the vivid images and sounds will stir the soul but despite great performances the movie doesn’t necessarily make you feel for one character or another. Instead its strength is in how it displays the overwhelming sense of scope of the Dunkirk mission. With 400,000 men on the ground with more in the air and at sea, the sheer scope of the operation overpowers individuality, turning the focus on the collective. Director Christopher Nolan’s sweeping camera takes it all in, epic and intimate moments alike.
The Florida Project: This is, hands down, one of the best films of the year. Low-budget and naturalistic, it packs more punch than any superhero. Director Sean Baker defies expectations. He’s made a film about kids for adults that finds joy in rocky places. What could have been a bleak experience or an earnest message movie is brought to vivid life by characters that feel real. It’s a story about poverty that neither celebrates or condemns its characters. Mooney’s exploits are entertaining and yet an air of jeopardy hangs heavy over every minute of the movie. Baker knows that Halley and Moonie’s well being hangs by a thread but he also understands they exist in the real world and never allows their story to fall into cliché.
Get Out: This is the weirdest and most original mainstream psychodrama to come along since “The Babadook.” The basic premise harkens back to the Sidney Poitier’s classic “Guess Who’s Coming to Dinner.” In that film parents, played by Spencer Tracy and Katharine Hepburn, have their attitudes challenged when their daughter introduces them to her African American fiancé. The uncomfortable situation of meeting in-laws for the first time is universal. It’s the added layers of paranoia and skewered white liberalism that propels the main character’s (Daniel Kaluuya) situation into full-fledged horror. In this setting he is the other, the stranger and as his anxiety grows the social commentary regarding attitudes about race in America grows sharper and more focussed.
Lady Bird: Greta Gerwig’s skilful handling of the story of Lady Bird’s busy senior year works not just because it’s unvarnished and honest in its look at becoming an adult but also, in a large degree, to Saoirse Ronan’s performance. I have long called her ‘Lil Meryl. She’s an actor of unusual depth, a young person (born in 1994) with an old soul. Lady Bird is almost crushed by the weight of uncertainty that greets her with every turn—will her parents divorce, will there be money for school, will Kyle be the boy of her dreams, will she ever make enough cash to repay her parents for her upbringing?—but Ronan keeps her nimble, sidestepping teen ennui with a complicated mix of snappy one liners, hard earned wisdom and a well of emotion. It’s tremendous, Academy Award worthy work.
The Post: Steven Spielberg film 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. Director Spielberg and stars Tom Hanks and Meryl Streep are entertainers first and foremost, and they do entertain here, but they also shine a light on a historical era whose reverberations are being felt today stronger than ever.
The Shape of Water: A dreamy slice of pure cinema. Director Guillermo del Toro uses the stark Cold War as a canvas to draw warm and vivid portraits of his characters. It’s a beautiful creature feature ripe with romance, thrills and, above all, empathy for everyone. This is the kind of movie that reminds us of why we fell in love with movies in the first place.
Three Billboards Outside Ebbing, Missouri: The story of a mother’s unconventional war with the world is simple enough, it’s the complexity of the characters that elevates the it to the level of great art.
Wonder Woman: Equal parts Amazon sword and sandal epic, mad scientist flick, war movie and rom com, it’s a crowd pleaser that places the popular character front and centre. As played by Gal Gadot, Diana is charismatic and kick ass, a superhero who is both truly super and heroic. Like Superman she is firmly on the side of good, not a tortured soul à la Batman. Naïve to the ways of the world, she runs headfirst into trouble. Whether she’s throwing a German tank across a battlefield, defying gravity to leap to the top of a bell tower, tolerating Trevor’s occasional mansplaining or deflecting bullets with her indestructible Bracelets of Submission, she proves in scene after scene to be both a formidable warrior and a genuine, profoundly empathic character.
