I join CTV NewsChannel anchor Akshay Tandon to talk about the new releases in theatres, including the World War II drama “Pressure,” the romantic crime drama “Tuner” and the existential horror of “Backrooms.”
Watch the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you about the World War II drama “Pressure,” the romantic crime drama “Tuner” and the existential horror of “Backrooms.”
Watch the whole thing HERE!
SYNOPSIS: In “Backrooms,” a new psychological thriller starring Chiwetel Ejiofor and Renate Reinsve and now playing in theatres, a man finds a portal to a strange reality.
CAST: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell. Directed by Kane Parsons.
REVIEW: The Kafka-esque story of “Backrooms” centers on wannabe architect Clark (Chiwetel Ejiofor), a broken man with a broken marriage, reduced to sleeping in a bedroom display in his furniture store.
The action begins when a mysterious portal appears in the basement of his store. Behind the portal are a maze of dingy rooms, with all the charm of an abandoned call centre, that could easily be as big as the New York subway system. “I’ve been here every night since I found the place,” he says, “and I still barely scratch the surface.”
Intrigued, Clark disappears into the otherworldly labyrinth of identical yellow rooms prompting his therapist, Dr. Mary Kline (Renate Reinsve) to enter the nightmarish nest of rooms to find and rescue him.
With a dollop of David Lynch and a surreal slice of “Severance,” “Backrooms” defies easy explanation. “Nothing in recorded history means more than this,” says Phil (Mark Duplass), “but I don’t understand it.”
And neither do I.
An introspective exploration of the effects of difficulty of escaping destructive personal patterns, the film uses a hellscape of endlessly connected rooms, the likes of which would make M.C. Escher’s head spin, that appear to be manifestations of “everyplace that ever was.” Each interconnected space represents Clark and Mary’s fears, and the unbroken loop of dysfunction and victimhood which define their lives.
At least that’s what I think it’s about. You may disagree.
What we may agree on, however, is director Kane Parsons’s effective use of an anxiety inducing score and sound design to accentuate the growing sense of dread.
That feeling is enhanced by Chiwetel Ejiofor and Renate Reinsve who anchor the story, with vulnerability and quiet intensity.
“Backrooms” is unique, introspective, psychological horror that relies on anxiety over jump scares.
SYNOPSIS: In “Eleanor the Great,” the directorial debut of Scarlett Johansson now playing in theatres, June Squibb plays a woman who tells lies to fit in with a new group of people.
CAST: June Squibb, Erin Kellyman, Jessica Hecht, Chiwetel Ejiofor. Directed by Scarlett Johansson.
REVIEW: A story of loss and grief, “Eleanor the Great” gives 95-year-old star June Squibb the best role of her decades long career.
When we first meet Eleanor (Sqibb) she’s living in Florida with Bessie (Rita Zohar) her best friend of 70 years. Their husbands have passed, and the two are so tight they share everything, including a bedroom equipped with twin beds. When Bessie has nightmares of her time in a concentration camp during the Holocaust, Eleanor comforts her with conversation and tea.
When Bessie passes away, Eleanor she moves in with her daughter (Jessica Hecht) in New York. Lonely without her best friend, she attends a support group, unaware it’s for Holocaust survivors. A convert to Judaism, Eleanor is Jewish but grew up in the Midwest, far from the horrors of the Holocaust. Flustered when she is pressed to share her experience, she co-opts Bessie’s stories, telling them as her own.
When Nina (Erin Kellyman), a young journalism student takes an interest in her stories, the lie gets bigger than she ever could have imagined.
For her directorial debut Johansson tackles a touchy subject. The use of the Holocaust as a plot device and the essaying the ethical implications of Eleanor’s fabrications is daring stuff, but Johansson and screenwriter Tory Kamen use the story to study themes of grief, community and friendship. Eleanor’s telling of Bessie’s experiences is her way of keeping her friend alive, in memory anyway. It is a lie, and a hurtful one, but it is her misguided expression of grief for the loss of her closest friend.
Squibb hands in a feisty performance. Eleanor is quick witted, with a bit of an attitude, but she exhibits an emotional depth that conveys the heartbreak that fuels the events of the movie.
“Eleanor the Great” is a solid, if uneven debut for Johansson, but it provides Squibb with a career high.
SYNOPSIS: Based on Stephen King’s 2020 novella of the same name, “The Life of Chuck,” a new science fiction drama starring Tom Hiddleston now playing in theatres, begins as an apocalyptic drama but, by the film’s end, reveals itself to be a life-affirming look at the way we embrace the fleeting experience of life.
CAST: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Jacob Tremblay, Matthew Lillard and Mark Hamill. Written and directed by Mike Flanagan.
REVIEW: Many people die in “The Life of Chuck,” the winner of the People’s Choice Award at the 2024 Toronto International Film Festival. Young people, middle-aged people, old people. In fact, by the end of the film’s opening half hour, it’s suggested that everyone is a goner. And still, the film, adapted from a Stephen King novella of the same name, manages to be tearily life affirming in its compact hour and 45-minute run time.
Structurally “The Life of Chuck” is challenging, divided into three stand-alone, but related pieces.
It begins at the end with Act 3. Chiwetel Ejiofor is Marty, high school teacher and ex-husband of Felicia (Karen Gillan). As the world crumbles around them—California falls into the sea, the internet is gone, earthquakes and wildfires are ravaging most of the planet and entire species of birds and fish disappear overnight—they struggle to understand the billboards and TV ads that thank Charles “Chuck” Krantz for “39 Great Years” that suddenly appear everywhere. “It’s all Krantz all the time,” Marty says. “Anyone know who he is?”
Act 2 focuses on Chuck’s (Tom Hiddleston) adult life, including an afternoon spent dancing with a stranger in public.
Act 1 ties the segments together with a look at Chuck as a youngster and his introduction to the vagaries of life. “You contain multitudes,” says his teacher, placing her hands on either side of his head. “Isn’t that wonderful?”
“The Life of Chuck” is an eclectic film with an odd upside-down presentation, but its themes are anything but strange. A chronical of a life’s journey, it reveals, like Amanda Marshall sang, that everybody, even an “ordinary” accountant like Chuck, has “a story that’ll break your heart.”
A mix of memories, dance and family bonds paint an empathetic portrait of an everyman who, as Walt Whitman said, “contains multitudes.” Chuck is a surrogate for all of us, a microcosm of the inner universe of experience, emotions, and connection that give color to all our lives. And while the movie grapples with mortality, it’s not a downer. Instead, it’s a vibrant testament to the small moments that make up a life, and how small gestures can imprint on those around you.
Once you get acclimatized to the wonky backwards structure, director Mike Flanagan’s abstract commentary on life and legacy gels and the appreciation of life, even in the face of death, becomes clear. It’s sentimental, but never syrupy. It’s heartfelt but not overbearing. It is just like the character of Chuck: likable, multi-layered and nuanced.
On the Saturday June 7, 2025 edition of The Richard Crouse Show we’ll meet magician and New York Times crossword constructor David Kwong. A Harvard graduate with a passion for the history of magic, he created “The Enigmatist,” an acclaimed theatrical show combining immersive puzzles and illusions that the Chicago Reader said, has one a-ha moment after another. David brings the show to Toronto at the Black Box Theatre until June 22. Get more info tickets at starvoxent.com.
Then, we’ll get to know Matthew Lillard, one of the stars of the new film “The Life of Chuck,” an adaptation of a Stephen King novella. You know him as Stu Macher in “Scream,” and became a household name as Shaggy Rogers in the live-action Scooby-Doo films. Today we talk about stepping into Stephen King’s world, especially in a non-horror story like The Life of Chuck.
Finally, we’ll meet Nashville-based, P.E.I. raised rising country artist Alli Walker, who was recently announced as the opener for Shania Twain’s Toronto show on July 16 at The Theatre at The Great Canadian Casino Resort. This marks Alli’s second time sharing the stage with Shania—following their viral moment at the 2024 Churchill Music Festival, where Shania invited Alli onstage to showcase her bagpipe skills, captivating millions online.
With a unique blend of traditional country sounds and pop/rock sensibilities, showcased in hits like “I Like Big Trucks,” “Creek,” and “Dirt On Us,” Alli has quickly become one of the most exciting voices in the genre.
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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!
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SYNOPSIS: Renee Zellweger returns as the title character in “Bridget Jones: Mad About the Boy.” In this romantic comedy, now streaming on Prime Video, Bridget finds herself widowed with two children and a job as a television producer. Four years after the death of her beloved husband Mark Darcy (Colin Firth), she decides to restart her life, and meets a much younger man.
CAST: Renée Zellweger, Hugh Grant, Colin Firth, Emma Thompson, Chiwetel Ejiofor, Leo Woodall, Isla Fisher, Josette Simon, Nico Parker and Leila Farzad. Directed by Michael Morris.
REVIEW: The general rule of thumb for sequels is that the further you get away from the source, the worse the movies get. The first cut is almost always the deepest, and while there are exceptions, by the time you get to the fourth movie and twenty-fourth year of a franchise, it’s all about diminishing returns.
One cinematic guest who hasn’t worn out their welcome, however, is Bridget Jones as played by Renée Zellweger. Since 2001 at the movies (and 1995 in Helen Fielding’s article and books) her quirky, and often messy, romantic adventures have entertained without a trace of sequelitis.
The new film, “Bridget Jones: Mad About the Boy” sees Bridget restart her romantic life after the death of her husband. “It’s time to live,” she writes in her famous diary.
Of course, there are complications. It wouldn’t be a Bridget Jones movie without them.
The awkward Bridget never met an embarrassing situation she couldn’t amplify, and lip filler is definitely not her thing. Those slapstick moments provide the nostalgic blast of the old Bridget we’ve come to expect, as do cameos by series regulars like Hugh Grant, as aging playboy Daniel Stern (who teaches Bridget’s kids to make a cocktail called a Bad Mommy) and Dame Emma Thompson as Bridget’s friend and gynecologist, but this time around it’s the story’s more poignant aspects that resonate.
Bridget Jones has grown up, somewhat, and so have the movies. This time around there is a melancholy vibe, the result of Mr. Darcy’s passing, and Bridget’s difficulties navigating life as a single mother.
The callbacks to the other movies serve as a reminder of how long we’ve been part of Bridget’s life. And while “Mad About the Boy” is loaded with familiar jokes and echoes the first film in terms of its romantic entanglements (no spoilers here), it is in its examinations of what it means to move on and maybe even find happiness, without leaving the past and someone you love completely behind, that it tills fresh ground. It’s a welcome new chapter for Bridget and for those of us who have known her for almost a quarter century.
SYNOPSIS: In “Venom: The Last Dance,” the final instalment of the “Venom” franchise, and now playing in theatres, Tom Hardy returns as Eddie Brock, former investigative journalist whose body plays host to extraterrestrial symbiote Venom, whose presence imbues him with super-human abilities. Imagine an anti-superhero Jekyll and Hyde situation where Ed and Venom are a hybrid, two beings in one body, and you get the idea. Pursued by soldier Rex Strickland (Chiwetel Ejiofor), scientist Dr. Payne (Juno Temple) and powerful alien supervillain Knull (Andy Serkis), the dynamic duo are on the run to save themselves and the world. “Eddie,” says Venom, “I’m with you to the end.”
CAST: Tom Hardy, Chiwetel Ejiofor, Juno Temple, Rhys Ifans, Peggy Lu, Alanna Ubach, Andy Serkis and Stephen Graham. Written and directed by Kelly Marcel.
REVIEW: More an interspecies bromance comedy than end of the world movie, “Venom: The Last Dance” is a frat party of a film, complete with swearing, booze, dancing and a disregard for the rules (in this case, the rules of storytelling).
Episodic in nature, the story ping pongs between the misadventures of Eddie/Venom, the military alien warehouse Area 51, the Paris Casino in Las Vegas and the back of a Volkswagen Westfalia Camper.
The disparate puzzle pieces fit together to form a fast paced, if disjointed, whole, but most often, the movie feels like it’s biding its time, waiting for the climactic battle scene, which, when it comes, takes up about a third of the film’s runtime with frenetic, often hard-to-follow alien-on-alien action.
For instance, the Volkswagen dwelling alien hunters, led by the ever-reliable Rhys Ifans, add little, except for a few minutes on to the film’s scant runtime. Ifans and family sing a song, but their musical contribution pales compared to their real purpose—to be victims in need of rescue in the film’s final moments.
The star of the show is the interplay between Eddie and Venom. It’s a smart-alecky double act, with Hardy playing Eddie as a bit of a bubblehead, and Venom as the reckless, sharp-tongued alien. It’s Abbott and Costello, housed in one body, with an extra-terrestrial twist.
The first two films in the franchise—“Venom” (2018) and “Venom: Let There Be Carnage” (2021)—often felt unintentionally funny. The new movie embraces the absurdity of the character(s) and, as a result, Eddie/Venom’s odd-couple bickering is the film’s highlight.
What it is not, is emotional. Their bond is played for laughs, up to, and including, a montage of their happiest moments together set to Maroon 5’s syrupy tune “Memories.” Don’t expect a poignancy or to shed a tear. There’s nothing wistful about the final outing between Eddie and Venom. It’s all fun and games until it isn’t.
“Venom: The Last Dance” is an action-packed time waster that zips through the story in just ninety minutes (plus an endless credit roll and two lame post credit scenes) to wrap up the current iteration of the character, while opening the door for future sequels.
The “Doctor Strange” movies are the trippiest in the Marvel Cinematic Universe. The mystical superhero’s introduction, 2016’s “Doctor Strange,” was a kaleidoscopic mix of images and ideas. The new film, “Doctor Strange in the Multiverse of Madness” starring Benedict Cumberbatch and now playing in theatres, kicks it up a notch. With a visual style that suggests M.C. Escher on an acid trip, it is a hallucinogenic ride that will make your eyeballs spin.
The action begins in Dr Stephen Strange’s (Cumberbatch) universe with the introduction of America Chavez (Xochitl Gomez), a teenager with the ability to navigate the multiverse and access portals into alternate realities. In the search for her parents, she has explored 73 universes, each with their own, unique sets of rules, all the while pursued by a demon who wants to steal her powers.
This is not sorcery, Strange says. As old Blue Eyes once sang, it’s witchcraft, so who better to consult than Wanda (Elizabeth Olsen), former Avenger and powerful practitioner of witchcraft?
He’s looking for advice that will help him save America, but instead is sent off on a wild and dangerous trip into a series of alternate realities to fight a power that threatens to subjugate the entire multiverse.
“Doctor Strange in the Multiverse of Madness” begins with a bang. A loud and proud action scene kicks things off with an exaggerated H.P. Lovecraft creature terrorizing Chavez. It sets the wild and wacky tone that applies to most of the picture. A mix of action, horror and comic book comedy, it recalls the sweet spot that made director Sam Raimi’s “Evil Dead” movies such a blast. Raimi brings a kind of anarchy here that is missing from the carefully controlled Marvel films and when it is fun, it’s really fun. There’s even a battle of the bands, a musical showdown, that is equal parts ridiculous and rad.
But there is much more to the story than interdimensional shenanigans.
At its heart “Doctor Strange in the Multiverse of Madness” isn’t a story about magic, it’s a tale about the things we do for love. Whether it is Wanda’s search for family, ably brought to life by Olsen’s poignant performance, or Strange’s attraction to Christine Palmer (Rachel McAdams), this story has a strongly beating heart.
Unfortunately, it also has a bumpy, uneven script. As it careens toward the Marvel friendly climax it loses steam as the action becomes muddied and the script begins to sew up any loose ends left dangling across then universes.
“Doctor Strange in the Multiverse of Madness” doesn’t have the weight of “Everything Everywhere All At Once,” another recent examination of the multiverse, but despite its unevenness, it’s a good, and sometimes gory, time at the movies.
