A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at Ryan Gosling’s as astronaut Neil Armstrong in “First Man,” the star studded “Bad Times at the El Royale” and a nasty take on “Home Alone” called “Knuckleball.”
Richard joins CP24 anchor Jamie Gutfreund to have a look at the weekend’s new movies including Ryan Gosling’s take on Neil Armstrong in “First Man,” the star studded “Bad Times at the El Royale” and a nasty take on “Home Alone” called “Knuckleball.”
Richard has a look at Ryan Gosling’s as Neil Armstrong in “First Man,” the star studded “Bad Times at the El Royale” and a nasty take on “Home Alone” called “Knuckleball” with CFRA Morning Rush host Bill Carroll.
We all know how “First Man” will end. No surprises there. What may be surprising is the portrayal of its titular character, American astronaut and hero Neil Armstrong. It’s a small story about a giant leap.
Focussing on the years 1961 to 1968 “First Man” introduces us to Armstrong (Ryan Gosling) as an engineer and envelope-pushing pilot. When an X-15 test flight gives him a glimpse of space he becomes obsessed with going further. When his three-year-old daughter dies of a brain tumour he turns his grief inward, throwing himself at work. Becoming a NASA Gemini Project astronaut over the next seven years he fulfils the dream of President Kennedy 1962, “I believe that this nation should commit itself to achieving the goal, before this decade is out, of landing a man on the moon and returning him safely to the Earth,” speech. Alongside Buzz Aldrin (Corey Stoll) and Jim Lovell (Pablo Schreiber), he begins a journey that will take him to the moon and back.
“First Man” is based on one of mankind’s greatest achievements and yet feels muted on the big screen. Deliberately paced, it nails the bone-rattling intensity of the early flights, the anxiety felt by the loved ones left behind as the astronauts risk everything to beat the Russians to the moon, and yet it never exactly takes flight.
Part history lesson, part simulator experience, it doesn’t deliver the characters necessary to feel like a complete experience.
Gosling is at his most restrained here as an analytical man who loves his family but is so stoic he answers his son’s question, “Do you think you’re coming back from the moon,” with an answer better suited to the boardroom than the dinner table. “We have every confidence in the mission,” he says. “There are risks but we have every reason to believe we’ll be coming back.” He is buttoned-down and yet not completely detached. His daughter’s memory never strays from his mind, even if he never discusses her death with his wife, played by an underused Claire Foy. Gosling embraces Armstrong’s fortitude but has stripped the character down to the point where he is little more than a distant man of few words.
“First Man” contains some thrilling moments but for the most part is like the man himself, stoic and understated.
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk about Ryan Gosling’s giant leap as Neil Armstrong in “First Man,” the star studded “Bad Times at the El Royale” and a nasty take on “Home Alone” called “Knuckleball.”
Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies, the Emma Stone/Ryan Gosling big screen musical “La La Land,” Fences” with Denzel Washington and Viola Davis and “Why Him?” starring Bryan Cranston and James Franco.
Richard sits in with Marcia MacMillan to have a look at the Christmas weekend movies, the Emma Stone/Ryan Gosling big screen musical “La La Land,” Fences” with Denzel Washington and Viola Davis and “Why Him?” starring Bryan Cranston and James Franco.
“La La Land” reinvents the traditional big screen musical by playing it straight. The original songs and new story feel like something Gene Kelly would approve of but not quite recognize as the form he helped perfect in Hollywood’s Golden Age.
Aspiring actress and barista Mia (Emma Stone) and serious jazz pianist Sebastian (Ryan Gosling) can’t help but meet cute. He honks his horn at her during a traffic jam. She flips him off. They meet again in a restaurant. She’s about to compliment him, he’s rude to her. Worse yet they bump into one another at a pool party where he’s playing with a 80s cover band, playing a-ha covers for be-bopping drunks. Third time is a charm and they finally connect, for real. Flirting, dancing and singing they build a relationship as they construct careers in modern day Los Angeles.
The real and the unreal collide in a film that values naturalism in an unnatural genre. Mia and Sebastian burst into song, dance on city streets but do so in the most unaffected of ways. It looks and feels like an old-school musical—the camera dances around the actors and it’s always magic hour—but Stone and Gosling are very contemporary in their approach to the material. Woven into the romantic, joyful script are real comments on the setting—“That’s LA, they worship everything,” says Sebastian, “but value nothing.”—a sense of the pleasure and pain that accompany passion, whether its for a person or a career and melancholy when things don’t quite work out. It’s a movie that dances to it’s own beat. By times bright and garish or atmospheric and moody, it’s never less than entertaining.
Gosling is a charming leading man and equal match for Stone whose remarkable face and expressive performance give the movie much of its heart. Director Damien Chazelle is clearly smitten with his leading lady, allowing his camera to caress her face in long, uninterrupted close-ups.
From a trickily edited opening song-and-dance number in a traffic jam to a spectacular dance among the stars to heartfelt human feelings, “La La Land” doesn’t just breathe new life into an old genre it performs CPR on it, bringing its beating heart back to vibrant life.
Richard and CP24 anchor host Nneka Elliot have a look at he weekend’s big releases, the psychological thrills of “10 Cloverfield Lane,” the grown-up children’s tale “The Little Prince” and the elephant-ejaculating glory of “The Brothers Grimsby.”