Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including he scary “spiritual sequel” “Candyman” (in theatres), the wild Lil Rel Howery comedy “Vacation Friends” (Disney+), the Megan Fox thriller “Till Death” (VOD) and the drama “They Who Surround Us” (in theatres).
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the scary “spiritual sequel” “Candyman” (in theatres), the wild Lil Rel Howery comedy “Vacation Friends” (Disney+), the Megan Fox thriller “Till Death” (VOD) and the drama “They Who Surround Us” (in theatres).
Richard joins NewsTalk 1010 guest host David Cooper on the coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about to talk about Yahya Abdul-Mateen II in “Candyman,” the wild Lil Rel Howery comedy “Vacation Friends” and the Megan Fox thriller “Till Death.”
“Till Death,” the new thriller from Megan Fox, now on VOD, sees an unhappily married woman wake up one morning, handcuffed to her soon-to-be-dead husband Mark (Eoin Macken). Like an unholy mix of “Sleeping with the Enemy,” “Weekend at Bernie’s” and “Saw,” it’s a study in the toll emotional abuse takes, and the resilience required to rise above it.
Before the handcuffs and the literal interpretation of the “Till death do us part,” wedding vow, Emma (Fox) feels trapped by a loveless marriage. But as her eleventh wedding anniversary looms, she calls off the relationship she’s been having behind her lawyer husband’s back with his associate Tom (Aml Ameen) and accepts Mark’s invitation for a weekend away to work on their relationship. “Things have been bad between us,” he says, “and I’m sorry.”
At first the weekend seems to be heading toward healing the scars that mar their marriage. But things take a dark twist when Emma wakes up, hungover and handcuffed to Mark as he then shoots himself in the head. Connected to his corpse, Emma finds herself a pawn in a dangerous game of survival. “I have been chained to this nightmare all day!”
“Till Death,” just one of the five films Fox has scheduled for release in the 2021/22 season, begins like a hundred other thrillers. A bad marriage, a vague sense of unease and a remote location. And so what if Fox appears to be on autopilot in the film’s opening minutes? There’s a hint of some neo-noir action in the air.
It takes about twenty-five minutes, but by the time Mark blows his head off, filling the air with a bloody mist, the movie finally distinguishes itself as the nasty piece of work it is. It also gives Fox the opportunity to branch out from disinterested to engaged as director S.K. Dale allows her to shed the story’s dead weight (literally) and shine. She hands in a fun performance that is more subtle than the movie’s main metaphor of a late, toxic husband as a literal anchor or ball-and-chain.
“Till Death” is a simple movie of survival. When two abusers (Callan Mulvey and Jack Roth) from Emma’s past arrive as part of Mark’s master scheme to terrorize her, she must muster all the courage she has from years of pent-up frustration to stay alive. There aren’t many twists and turns you won’t see coming, but slick direction, a tense score, a self-depreciating tone and Fox’s study in resilience should earn the movie a look from fans of survival horror.
Richard speaks to “CTV News at 11:30” anchor Andria Bain about movies on VOD and in theatres to watch this weekend including Chloë Grace Moretz’s action thriller “Shadow in the Cloud” and the poignant documentary “Sing Me a Song.”
Richard sits in on the CTV NewsChannel with host Anita Sharma to have a look at the new movies coming to VOD, streaming services and theatres including Chloë Grace Moretz’s action thriller “Shadow in the Cloud” and the poignant documentary “Sing Me a Song.” Then we look at the top five movies to stream right now!
A tribute to the pulpy adventure movies of the 1940s by way of “The Twilight Zone,” “Shadow in the Cloud,” now in select theaters and on VOD and digital, is a popcorn movie, for better and for worse.
Chloë Grace Moretz is strong willed Women’s Auxiliary Air Force officer Maude Garrett. The only female presence on a massive B-17 Flying Fortress military plane, her mission is to protect, at all costs, a precious piece of cargo but the chauvinistic attitude of the male crew makes the job next to impossible. Stuck in a turret in the belly of the plane, Garrett has an almost unobstructed, 360° view of their airspace. When she reports a “shadow in the clouds,” a possible enemy attack, she is ignored. When airborne gremlins (you read that right) attack, she is blamed. “Whatever is in that package,” the men say, “is what’s causing the failures on this plane.”
Cue the first of the movie’s outrageous twists.
The first half of “Shadow in the Cloud” is a showcase for Moretz. For much of the film’s running time it’s a one person show, with the “Kick Ass” star strapped into a gunner’s turret, spewing hardboiled dialogue. She’s energetic, holding the screen with sheer force of personality. Garrett even finds room in the generic 1940s style cliched dialogue to convincingly poke through the veneer of chauvinism from her plane mates.
The second half is frenetic, with airborne action and Gremlins! Gremlins! Gremlins! The movie becomes less character driven and more a vehicle for director Roseanne Liang’s prowess with a camera.
Each half has its strengths, but they are bound together by twists that would make even M. Night Shyamalan shake his head. There are logic holes big enough for a B-17 Flying Fortress to soar through which would be OK if the twists didn’t feel tacked on for the sake of shaking things up.
At just 83-minutes offers up two movies and while there are moments of interest in the busy second half, the film is strongest when Moretz is on screen alone, before the film’s twists tie it into a Gordian knot.
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including the return of Lisbeth Salander in “The Girl In The Spider’s Web,” the sub-sub-sub-sub genre of Nazi zombie movies and “Overlord,” the sun dappled noir “The Padre” and the historical drama “Outlaw King.”