On the Saturday April 27 edition of the Richard Crouse Show we meet Ruth Reichl, the New York Times bestselling author of five memoirs, the novel “Delicious!,” and the cookbook “My Kitchen Year.” She was editor in chief of Gourmet magazine, and previously served as restaurant critic for The New York Times, as well as food editor and restaurant critic for the Los Angeles Times. She has been honored with six James Beard Awards.
Today we’ll talk about her new book “The Paris Novel,” which follows Stella St. Vincent, an introverted thirtysomething, who finds purpose in a search for art, fashion and food on a 1983 Paris trip.
We’ll also meet award-winning, former Toronto Star journalist Morgan Campbell. His new memoir “My Fighting Family: Borders and Bloodlines and the Battles That Made Us,” offers a history of his family’s multigenerational battles, a coming-of-age story, and a powerful reckoning with what it means to be Black in Canada when you have strong American roots.
Then, we’ll meet Christian Sparkes, a film director and screenwriter from St. John’s, Newfoundland and Labrador. I really like his revenge thriller “Hammer,” the story of a father who faces a personal crisis when he discovers his estranged son fleeing a botched drug deal. It’s good stuff, and likely available on a streamer near you. Today, we’ll talk about his new movie “The King Tide.”
Set in Newfoundland and Labrador, it tells the story of an isolated, struggling community, ten years after a child with miraculous gifts washed up on the beach. She is able to heal people, but after a decade of prosperity, her adoptive parents are forced to decide whether her safety is more important than their community’s prosperity.
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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An atmospheric parable of dependence and desperation, “The King Tide,” a new Newfoundland and Labrador thriller now playing on theatres, uses an extraordinarily gifted character to reveal basic human nature.
Set on a remote island off the coast of Newfoundland and Labrador, the story begins as an infant washes up on shore after a ship wreck. Rescued by the town’s mayor Bobby Bentham (Clayne Crawford), the child is named Isla (Alix West Lefler) and adopted by the mayor and his wife Grace (Lara Jean Chorostecki).
That Isla survived is miraculous, but even more astonishing are the powers of healing and prosperity she brings to the town. In her first ten years on the island, people are healed of everything from hangovers to serious injuries and illnesses. Crops thrive and when she dips her hand in the water, fish are drawn to her, making for easy catching. Her influence profoundly changes the community, allowing them freedom from the constraints that come from being part of the mainland.
But things change when she is unable to save a local girl. Traumatized, Isla’s powers disappear, leaving the community divided as to how to move forward. Is Isla the responsibility of Bobby and Grace, or is she responsible for the betterment of the community?
A slow burn, “The King Tide” uses Isla’s magical gifts as a catalyst for a larger story. Director Christian Sparkes knows “The King Tide” isn’t about Isla per se, but about the community’s reaction to her and how fragile some belief systems are in the face of upheaval. As such, he carefully builds a very specific world in which this isolated microcosm of society exists. But in its specificity, it becomes a universal story about the lengths people will go to preserve their way of life.
Insightful and unsettling, it brings with it a sense of foreboding that covers the movie like a shroud as it works its way to a rushed, but compelling climax.
“The King Tide” features fine performances and has atmosphere to burn, but it is in its examination of the dangers of protectionism and self-interest that it is most effective.
A vivid portrait of an urban dystopia, “The Kitchen,” now streaming on Netflix, is sci fi that sets up a troubling vision of the future, while finding room to emphasize the humanity at the core of the story.
Set in the near future, the story takes place in a dystopian, “Blade Runner-esque” London. The divide between the 1% and everybody else has widened, with the effects of rising home prices, an AI workforce and a dismantled Welfare State turning the city into a playground for the rich, with no regard for people living in poverty.
The last remaining block of social housing, The Kitchen, is a dilapidated set of North London towers and home to hundreds of Black and brown residents. Scheduled to be demolished by the authoritarian government, its inhabitants live in constant fear of their power and water being shut off, or worse, being evicted in a violent police raid.
Izi (Kane Robinson), a funeral home worker whose company, Life After Life, composts the bodies of those who cannot afford a traditional burial, lives in The Kitchen, but has no plans of waiting around to be forced out of his home. Tired of lining up at the communal shower, and uncertainty of life at the crumbling estate, he has an eye on getting out. Saving his cash, he hopes to move into Buena Vida, a glitzy new development far away from The Kitchen.
His life is changed when he meets Benji (Jedaiah Bannerman), a youngster left to his own devices in the wake of his mother’s death. Izi knew the mother, and may, or may not, be the boy’s father. After a rough start, the two bond as Izi offers him a place to stay and steers him away from bad influences that live with the housing project.
As the two become close, Izi asks Benji to move in with him at Buena Vida, but doing so means he will have to reapply for a double occupancy apartment. That means waiting, and spending even more time wrapped in the uncertain embrace of The Kitchen.
“The Kitchen,” written by Daniel Kaluuya (the actor best known for “Get Out,” “Black Panther” and “Judas & The Black Messiah”) and Joe Murtagh, and directed by Kaluuya and Kibwe Tavares, is set in 2040, but feels vital and timely. In an increasingly besieged world, the gap between rich and poor, the breakdown of community and the pressure marginalized communities feel under the thumb of an authoritarian state, as presented in the film, doesn’t feel like sci fiction. It feels more like a humanistic portrait of a community under fire.
It’s not all doom and gloom. The co-directors inject moments of joy with scenes set in a roller disco and a pirate radio voice named Lord Kitchener, played by former Arsenal-and-England footballer Ian Wright, who maintains morale in The Kitchen with music and spiritual advice.
Ultimately, for all its elaborate world building, “The Kitchen” is a personal story. Like most speculative fiction, the background sets the scene, but the meat of the story is anything but speculative. In this case, it is a father and son story that details the pressure and responsibility Izi feels to do the right thing for himself and Benji.
Robinson is effective in portraying Izi’s worldview. The character is aspirational but tethered to his reality, made more complicated by his relationship with Benji. It’s the storyline that grounds the film, and provides the most interesting moments.
“The Kitchen” brims with ideas, but they are sometimes muted by an episodic presentation. Kaluuya and company juggle a great many storylines, but the film works best when it gets up-close-and-personal with Izi and Benji.
The suspenseful “The Integrity of Joseph Chambers,” now on VOD, is a dark twist on the “Green Acres” idea of leaving the city behind for a quiet life in the country.
Clayne Crawford plays Joseph Chambers, an insurance salesman tired of the hustle and bustle of big business and big city life. Relocating, with his two kids, to his wife Tess’s (Jordana Brewster) hometown of Pell City in rural Alabama, he embraces country life. The chores. The fresh air. Good bye city life.
When he gets it in his head to go hunting, solo, in the nearby woods, Tess tries to talk him out of it. They have enough money for groceries, she argues, and anyway, he doesn’t know how to shoot and doesn’t own a gun. But old Joe has already trimmed his beard, leaving behind a patch under his nose he dubs his “hunter’s moustache.”
He wants to fit in, prove his manliness, but more importantly, wants to be able to provide for his family if and when the world falls apart. “If things get worse,” he says, “we may need to know how to do this stuff.”
With ideas of doomsday clouding his mind, he borrows a gun and a truck, slips into his hunting gear, including an orange puffer vest, and heads out. Hours later, when he finally spots a deer, he reacts quickly and fires. His bullet finds its target, but it’s not a deer, it’s another hunter.
The story burns slowly, setting up Joseph as a decent but naïve suburbanite desperate to prove his macho bone fides. He brims with bravado—quoting old Westerns like “The Outlaw Josey Wales” and imagining crowds cheering for him on his quest for a ten-point buck—but those affectations are a cover for a deep core of insecurity. The quest here isn’t really for a buck, it’s actually a search for masculinity.
Joseph feels he has much to prove to himself and his family, so “The Integrity of Joseph Chambers” isn’t really the story of the fatal shot, but of his reaction to it. Questions of responsibility vs. consequences flood his mind as the open expanse of the forest envelopes him.
Danish sound designer Peter Albrechtsen embellishes these scenes with unsettling sounds that sonically give life to Joseph’s inner feelings.
Crawford occupies the vast bulk of the movie, and holds focus. His take on Joseph is equal parts ridiculous—he playfully sings “I’m the moustache man!”—and repentant. It’s a raw-edged performance, aided in its grittiness by screenwriter and director Robert Machoian’s refusal to offer easy answers.
“The Integrity of Joseph Chambers” isn’t an easy film to digest. It is very slow and a bit repetitive. It asks more questions than it answers, and will likely frustrate those wanting a pat ending, but it raises interesting questions about the real meaning of masculinity.
On the Saturday April 27 edition of the Richard Crouse Show we meet Ruth Reichl, the New York Times bestselling author of five memoirs, the novel “Delicious!,” and the cookbook “My Kitchen Year.” She was editor in chief of Gourmet magazine, and previously served as restaurant critic for The New York Times, as well as food editor and restaurant critic for the Los Angeles Times. She has been honored with six James Beard Awards.
