I join “CTV News Toronto at Five” with anchor Zuraidah Alman to talk about the absurdist environmental dramedy “Digger,” the suburban gothic “Verity” and the psychological thriller “Heel.”
Watch the whole thing HERE! (Starts at 13:15)
I join CTV Atlantic’s Bruce Frisko to talk about the absurdist environmental dramedy “Digger,” the suburban gothic “Verity” and the psychological thriller “Heel.”
Watch the whole thing HERE!
Watch the whole thing HERE!
CAST: Anne Hathaway, Dakota Johnson, Josh Hartnett, Ismael Cruz Córdova, Alex Cooper. Directed by Michael Showalter.
REVIEW: Although released in the fall, “Verity” is the equivalent of a summer beach read.
Based on Colleen Hoover’s novel of the same name, “Verity” sees Dakota Johnson as struggling writer Lowen Ashleigh. Broke and facing eviction, she is in bad need of a job.
The gig as a ghostwriter for Verity Crawford (Anne Hathaway), a bestselling author of thrillers who has been left immobilized and unresponsive after a terrible car accident, offers Lowen the chance to start anew at the author’s isolated Vermont estate.
At the house while sorting through Verity’s notes, Lowen uncovers what she thinks is an autobiography. The manuscript, however, is more than a straightforward look at Verity’s life. On the pages, in stark black and white, are what appear to be intimate details to the author’s culpability in her family’s tragedies. “A writer’s words should be honest and bloody and a little bit terrifying.”
In a quest for the truth, Lowen is drawn into a world of obsession where real life and fiction are tangled.
“Verity” breathes the same suburban Gothic air as “The Housemaid,” but has none of the delirious spirit that made the Amanda Seyfried/Sydney Sweeney movie a silly and steamy crowd pleaser.
There are twists and turns aplenty, but very few shocks in this talky, deliberately paced movie. Like Daphne du Maurier on quaaludes, it plods through the story of truth vs. fiction as though the set was filled with molasses. Fans of the novel may enjoy seeing Hoover’s famous “headboard sex scene” brought to life, (VERY MILD SPOILER AHEAD) but the core notion that a compelling narrative trumps facts feels forced and, by the time we get to it, morally ambiguous.
Of the top line cast only Hathaway dives in, providing a darkly theatrical turn. Seen mostly in flashbacks, she’s mean and menacing with a touch of camp.
When she is on screen, mouth bloodied after biting her lover or happily unplugging her children’s baby monitors, “Verity” comes alive, only then to be deadened by the surrounding turgid storytelling.
On the Saturday June 14, 2025 edition of The Richard Crouse Show we meet meet JUNO Award-winning Indigenous artist Crystal Shawanda. Born and raised on Manitoulin Island in Northern Ontario, Crystal began her career in country music, signing with RCA Nashville. After parting ways with the label, she launched New Sun Records and shifted her focus to the blues. Her highly anticipated new album “Sing Pretty Blues,” blends blues and Southern country soul with Stax, Chess and Motown influences, is available now via her very own label, New Sun Records on all streaming platforms.
Then, Canadian director, playwright, and screenwriter, Celine Song stops by. In 2023 she became a Hollywood darling with her Oscar nominated feature film debut, “Past Lives.” The film, nominated for Best Picture and Best Original Screenplay, follows two childhood best friends who reunite in adulthood years after one emigrates from South Korea to the United States.
She returns to theatres with a new film staring Dakota Johnson. Set against the backdrop of New York City, the Rom Com Capitol of the World®, “Materialists” sees Johnson play Lucy, a matchmaker for the rich and famous. She has arranged nine marriages but personally keeps romance at arm’s length after a messy break-up. Things change for the “eternal bachelorette” when she meets wealthy charm-bomb Harry Castillo, played by Pedro Pascal. As romance blossoms, Lucy’s life is upended by the return of her broke ex-boyfriend, John, played by Chris Evans, forcing her to choose between a perfect match and her imperfect ex.
Then, Eric McCormack, you know him as as Will Truman of the TV series Will & Grace, a role that won him won a Screen Actors Guild Award and an Emmy Award stops by to talk about his new Hollywood Suite show “Hell Motel.” On the creep new show, 10 true crime obsessives are invited to the opening weekend of the newly renovated Cold River Motel, the site of a 30-year-old unsolved Satanic Mass Murder. History repeats itself when the guests get start getting knocked off one by one.
Eric plays Hemmingway, a chef with a wickedly sinister flair. In this interview we talk about Hell Motel, and how to play dead on camera.
Listen to the whole thing HERE!
SYNOPSIS: Set against the backdrop of New York City, the Rom Com Capitol of the World®, “Materialists” sees Dakota Johnson play Lucy, a matchmaker for the rich and famous. “I promise you’re going to marry the love of your life,” she says to her clients. She has arranged nine marriages but personally, keeps romance at arm’s length after a messy break-up. Things change for the “eternal bachelorette” when she meets wealthy charm-bomb Harry Castillo (Pedro Pascal). “You are what we call a unicorn,” she tells him, “an impossible fantasy.” As romance blossoms, Lucy’s life is upended by the return of her broke ex-boyfriend, John (Chris Evans), forcing her to choose between a perfect match and her imperfect ex.
CAST: Dakota Johnson, Chris Evans, and Pedro Pascal. Written and directed by Celine Song.
REVIEW: A rom com that emphasizes the rom over the com, “Materialists” takes several big leaps, story wise, to arrive at the fairly simple idea that the heart wants with the heart wants. There’s no fifty-shades of nuance here.
As a matchmaker, Lucy (Dakota Johnson) treats her clients like commodities, not humans. She talks about the “math” of relationships, the calculation of compatibility plus physical appearance plus bank account, but admits, “We promise them love, but the math doesn’t add up.”
In other words, sometimes perfect on paper, isn’t perfect.
With “Materialists” writer-director Celine Song takes a deep dive into the need for real human connection, the kind of bond that is messy, unpredictable, sometimes illogical and can’t be summed up by a simple equation.
It’s the stuff of rom coms, boiled down to its essence.
There are a handful of mild laughs, but don’t come to “Materialists” looking for slapstick. Song subverts the genre, poking fun at the often unreasonable demands prospective daters want regarding class and age. “39 isn’t in the 30s,” says an older guy who wants to date thirty-year-olds, by which he means a woman in her mid-to-late twenties.
The “interview” segments between Lucy and her clients are often funny and more often ridiculous but they don’t set the tone for the entire film. Song isn’t as interested in the ins-and-outs of modern dating as she is in the bond people form when the math is taken out of the equation. It aims to be a realistic rom com of a sort—although you could argue that Lucy’s $80,000 salary is an unrealistic figure given her high end wardrobe and NYC apartment—about how there is no formula for love that avoids most of the formulas of the genre.
LOGLINE: In “Daddio,” a new drama starring Sean Penn and Dakota Johnson, and now playing in theatres, a woman taking a late-night cab ride from JFK strikes up a revealing and soul-searching conversation with the cab driver as they head toward Manhattan.
CAST: Dakota Johnson and Sean Penn. Directed by Christy Hall.
REVIEW: A two-hander between passenger and driver, with no supplementary characters, “Daddio” has a stage-bound feel. From front seat to back seat with the meter running, the two strangers speak in monologues, detailing their lives, revealing deeply hidden secrets. It is, if nothing else, a showcase for Penn and Johnson’s ability to hold the screen. Each are in top form, subtly and sincerely inhabiting their characters as they reflect on their lives.
It is an intimate, simple film that focusses on the connection between the actors. Do I think this is a realistic exploration of the way complete strangers converse? I do not, it’s over-share central in this cab, but I do think it is an interesting look at the way people can find a rapport with someone they’ll likely never see again.
The characters, Clark and “Girlie,” lay themselves bare, and it is both tragic and tender. Life advice is offered and absorbed, and power dynamics shift, as their journey through the streets of Manhattan, and their personal histories, takes some unexpected turns.
Penn plays Clark as a hard-edged, old-school Hell’s Kitchen New Yorker. He’s opinionated, a know-it-all, unafraid to use his personal experiences to make sweeping generalizations on the dynamics between men and women. He hasn’t always been a great guy, but Penn gives Clark the world-weariness of someone who has actually learned from his mistakes. There is compassion in his eyes, even if many of his ideas about gender politics and relationships are old-fashioned. Still, when “Girlie” asks if he ever misses his ex-wife, the bravado fades and his one-word answer packs an emotional punch.
Johnson makes the confines of the cab her stage. Shot, by necessity, in close-up, the subtleties of her performance fill the screen. Like her work in “The Lost Daughter,” “Cha Cha Real Smooth” and “A Bigger Splash,” she allows the internal work to tell the tale. “Girlie” is strong, but without emotionally firm ground to anchor the character, Johnson allows a deep, ever present hurt to seep through.
“Daddio” was apparently partially inspired by the reality show “Taxicab Confessions,” but writer/director Christy Hall uses the genre to strip away the tawdry aspects of that series to reveal more about humanity than any backseat sex or nudity could.
Magazines may be becoming an artifact of the past but Hollywood still looks to them for inspiration. In the last few years a half dozen movies found inspiration in the pages of “Esquire,” “Vanity Fair” and “The New Yorker,” including “The Friend,” a new drama starring Dakota Johnson, Casey Affleck and Jason Segel and now playing In theatres and on-demand.
Based on Matthew Teague’s “Esquire” article “The Friend: Love Is Not a Big Enough Word,” the film uses a broken timeline—jumping back and forth—to tell the true story of Teague’s terminally ill wife Nicole and their friend-turned-nursemaid Dane. Affleck is Matt, a war correspondent with an attitude. “It’s Friday,” says his editor, “I’ve been tired of you since Wednesday.” He’s an up-and-comer, married to Nicole, a talented musical theatre performer played by Johnson. Her best pal at the theatre is Dane (Segel) a sad sack who can’t seem to get a girlfriend. “It’s not fair,” she says. “I’m the only woman who knows how special you are.”
By the time Nicole is diagnosed with cancer their lives have taken different paths, but Dane leaves his life in New Orleans behind to help his Atlanta-based friends. “Would it help if I stayed for a while? You don’t have to do this alone.” The planned week or two visit turns into months as Dane takes on more responsibility, becoming Matt’s pillar of strength and an indispensable part of Nicole’s transition.
Director Gabriela Cowperthwaite has made a sensitive film about finding your logical, not biological family. Dane is an anchorless man who finds a sense of permanence with his friends. Segel brings his trademarked relatability to the role, exuding warmth but also a sadness due to his rudderless station in life. Staying with Nicole and Matt and their daughters provides him with a home, but it is temporary, a state of affairs bound to end in heartache. Behind every one of his toothy grins is the anxiety of the situation, carefully masked to spare his hosts the extent of his grief. It’s lovely work that quietly defines the width and breath of selfless giving.
Affleck plumbs the depths of the circumstances, examining grief tinged with anger over a situation he can’t control and Johnson brings grace and beauty, especially in the way she looks at Matt, Dane and the children knowing that she won’t be there for their birthdays, holidays etc, to the role of a woman counting her time in days rather than years. Cherry Jones, as a palliative nurse—an “Angel of Mercy” according to Nicole’s doctor—gives a no-nonsense performance that drips compassion.
“The Friend” is a showcase for Segel’s easy charm but also gives the actor a chance to dig deeper. The former sitcom star delivers some much-needed laughs but they are tinged with humility that is very touching.
“The High Note,” coming out this week digitally via video on demand, mixes ambition, romance and music in a movie that tries to hit a high C but actually works better when it plays the minor chords.
Set against a backdrop of the Los Angeles music industry, the new film from Nisha Ganatra, now on VOD, sees Dakota Johnson play Maggie, a music obsessed wannabe producer, currently working as a personal assistant to superstar singer Grace Davis (Tracee Ellis Ross). Between running errands and running Grace’s life, Maggie finds time to oversee production on a live album of her boss singing the old hits and discover a new talent, singer-songwriter David Cliff (Kelvin Harrison Jr.). Passing herself off as an experienced producer with loads of industry hook-ups, she inspires him to write great new songs that could launch him into the big leagues. When a plan to position David as the opening act for Grace’s upcoming tour backfires, it threatens to torpedo all of Maggie’s hopes and dreams.
Following up on Ganatra’s last film “Late Night,” which starred Emma Thompson a late-night talk show host whose career is revamped by the influence of a younger, ambitious woman (Mindy Kaling), comes a story that sounds like an echo of the first. There’s more flash here and fewer laughs, but the essential story of a showbiz icon given a new lease on popularity by a newcomer with fresh ideas has a sense of déjà vu to it.
Originally scheduled for a big screen release “The High Note” moved to a digital release in the wake of the pandemic, which may have been a good thing. Its movie-of-the-week plotting and familiar premise feels suited, in a good way, to the smaller screen.
It’s a story about ambition, empowerment and music geekery given charm by Johnson and Ross. Johnson brings her trademarked steely-yet-vulnerable charm to the role of Maggie, while Ross—the daughter of iconic superstar Diana Ross—is a diva with flamboyant clothes and a temperament to match.
Despite the charismatic performers, both characters feel like caricatures. Maggie is a “High Fidelity” reject, a music junkie who speaks as though she’s reciting the liner notes of her favorite album. Ross does some powerful singing but plays Grace in broad diva-esque notes.
“The High Note” is a pleasant enough diversion as a story of empowerment but doesn’t have enough range to make it memorable.
