I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the animated “Zootopia 2,” the existential romance of “Eternity,” the detective story “Wake Up Dead Man: A Knives Out Mystery,” and the touching story of “Meadowlarks.”
Listen to the whole thing HERE!
SYNOPSIS: In “Wake Up Dead Man: A Knives Out Mystery,” a new whodunnit now playing in theatres before switching to Netflix on December 12, Detective Benoit Blanc (Daniel Craig) is thrust into a hellish new case involving a fist-fighting priest, his congregation and a murder most foul. “The devil didn’t do this,” Blanc announces, “a parishioner did. The devil’s just jealous he didn’t think of it first.”
CAST: Daniel Craig, Josh O’Connor, Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, Daryl McCormack, and Thomas Haden Church. Directed by Rian Johnson.
REVIEW: A tribute to locked-room mysteries, Edgar Allen Poe’s “The Murders in the Rue Morgue” and novelist John Dickson Carr, “Wake Up Dead Man: A Knives Out Mystery” mixes spirituality and death in a story that crackles with life.
The action begins when rebellious young priest Father Jud Duplenticy (Josh O’Connor) is assigned to a parish called Our Lady of Perpetual Fortitude in upstate New York to work with hellfire preacher Monsignor Jefferson Wicks (Josh Brolin).
The two butt heads, and when the charismatic Monsignor turns up dead amid mysterious circumstances, the congregation including tightly wound lawyer Vera Draven (Kerry Washington), author Lee Ross (Andrew Scott), former concert cellist Simone Vivane (Cailee Spaeny), politician Cy Draven (Daryl McCormack), town doctor Dr. Nat Sharp (Jeremy Renner) and church matriarch Martha Delacroix (Glenn Close) suspect Father Jud to be the doer of the dirty deed. “I came here to save souls,” Father Jud says, “not count stab wounds.”
As the local police, led by chief Geraldine Scott (Mila Kunis) investigate, Benoit Blanc, “the world’s greatest detective,” played by Daniel Craig, sorts through the clues to bring his own expertise to the case. “This was dressed as a miracle,” Blanc says, “it’s just a murder. And I solve murders.”
The most fleet-footed, and best, entry in the “Knives Out” franchise, the star-studded “Wake Up Dead Man” benefits from the chemistry between Craig, as Southern detective Blanc and the young priest played by O’Connor. Their scenes pop with energy and mystery, while Josh Brolin, as an unpredictable priest, brings an unexpected sense of menace.
Director Rian Johnson carefully reveals clues, building the on the whodunnit part of the mystery, but it’s the whydunit that gives the movie some unexpected depth. No spoilers here but Johnson, who also wrote the script, infuses the story with different kinds of spirituality. Wicks is all fire and brimstone, Judd preaches mercy, and the film asks, which is more effective, fear or love? Complete with the startling image of a bleeding cross, “Wake Up Dead Man: A Knives Out Mystery” is a look not just at sinners, but their sins as well, wrapped up in an entertaining mystery.
Fast reviews for busy people! Watch as I review three movies in less time than it takes to do a high five! Have a look as I race against the clock to tell you about the thriller “September 5,” the epic “The Lord of the Rings: The War of the Rohirrim” and Daniel Craig in “Queer.”
Watch the whole thing HERE!
SYNOPSIS: “Queer,” a romantic drama based on the 1985 novella by William S. Burroughs and now playing in theatres, finds American ex-pat Lee, played by Daniel Craig, living in 1950s Mexico City. He’s cut adrift and lonely until a young man named Eugene Allerton, a recently discharged US Navy serviceman, becomes the object of his infatuation.
CAST: Daniel Craig, Drew Starkey, Jason Schwartzman, Henrique Zaga, Lesley Manville. Directed by Luca Guadagnino.
REVIEW: A study of loneliness and longing, “Queer” is a melancholic film with a slow burn, introspective story that explores both the main character’s mind and outward desires. More than anything this is a character study, a dive into the deep end of Lee’s (Craig) psyche.
He’s lost, looking for a love that may never come, and even if he can find a companion like Eugene, how can he be sure the feeling is reciprocal? Feelings of sadness, self-doubt and frustration are the character’s fuel, the thing that makes move him through the story, and make him so interesting.
Daniel Craig is terrific, casting off the suave James Bond persona, and once again reminding us of what a great actor he is outside the action-adventure of the 007 world. It’s a touching performance in a very specific movie that touches on universal themes about aging, one’s value to others and longing for love.
Craig is the film’s centerpiece, casting a long, charismatic shadow over the supporting cast, save for Joe, Jason Schwartzman’s welcome comic relief and an almost unrecognizable Lesley Manville as the scruffy Dr. Cotter.
Director Luca Guadagnino stays true to the wandering, rambunctious Beat Generation spirit of Burroughs’s book, sending Lee into the night, or to bed with a stranger or to the jungle to take a psychedelic drug that may help him ascertain how Eugene really feels about him. The connective tissue is Craig in a performance that is as intensely personal as the intimate work by Burroughs that inspired it.
I speak with “Glass Onion” star Janelle Monáe about working with Daniel Craig, playing murder mystery games with the film’s cast and more.
Watch the whole thing HERE!
In 2017 Kenneth Branagh delivered a new version of Agatha Christie’s “Murder on the Orient Express” that was as big and bloated as a new crime dramedy, “Knives Out,” is sleek and entertaining. Both feature large ensemble casts and twists galore but director Rian Johnson manages to breathe life into the creaky whodunnit genre.
The action takes place in a small up-state New York town on an estate one character says resembles a “Clue” board. In the film’s opening minutes the dramatic theme song sets the stage for what’s to come… murder most foul.
Marta (Ana de Armas), caregiver to Harlan Thrombrey (Christopher Plummer), the best-selling mystery writer of all time, is shocked to discover his dead body in his office. Throat slit, knife on the floor beside him, the local police Det. Elliot (Lakeith Stanfield) and Trooper Wagner (Noah Segan) think it is a suicide but a private investigator, the silver-tongued Benoit Blanc (Daniel Craig), disagrees and says so in an accent as thick as gumbo. “Ladies and gentlemen,” he says to the family, “I would like to request that you all stay until the investigation is completed.”
The assembled family stick around, partially at Blanc’s request but mostly for the reading of the will. “What will that be like?” asks Marta. “Think of a community theatre production of the reading of a tax form,” replies Blanc.
As the investigation unfolds everyone seems to have a motive for killing the old man, from his children the imperious Linda (Jamie Lee Curtis) and the hair-trigger tempered Walt (Michael Shannon) to various others, including the spoiled-rotten grandson Ransom (Chris Evans), devious son-in-law Richard (Don Johnson) and alt-right troll grandson Jacob (Jaeden Martell). These are people who believe they deserve to be rich and won’t hear any talk to the contrary.
The mystery has more layers than a Vidalia onion but Blanc unpeels it, one tier at a time leading up to the film’s climatic reveal.
“Knives Out” mixes pointed jabs at the 1%–Linda started her company with a modest one-million-dollar loan from her father—with social commentary about class divisions in American life to form the backdrop of this engaging mystery. Add to that a collection of characters that would make Miss Marple suspicious and the game is afoot.
Leading the charge is Craig. As Benoit Blanc, the American Poirot, he rides the line between ridiculous and shrewd, chewing the scenery with an accent unheard since the days of Colonel Sanders television ads. His flowery language—”Physical evidence can tell a story with a forked tongue,” he says—gives Craig a chance to show off his comedic side mixed with a physicality that suggests he can get the job done if need be. It’s a dramatic (maybe that’s not the word but you see what I mean) and welcome shift from his grim-faced 007 role.
What begins as a melodramatic comedy in the vein of “Murder by Death,” gets a little darker as the true nature of the crime is presented, and then funnier again in its wild ‘n woolly resolution. It’s an old-fashioned set-up but slowly echoes of modern-day issues of immigration, deportation and white entitlement are introduced to add edge to the story.
Director Johnson, he of “Looper” and “Star Wars: The Last Jedi,” is having fun here, finding a perfect rhythm in the unveiling of the story’s details. We always learn just enough to carry us through to the next twist and it is an enjoyable ride.
Casino Royale In Concert Oct 11, 2018 – Oct 12, 2018
Featuring the Motion Picture Symphony Orchestra
For the first time ever in Canada, audiences will be able to experience Bond on the big screen accompanied by the power of a full symphony orchestra performing composer David Arnold’s thrilling musical score live and in sync to the picture. Richard Crouse will do a pre-show talk at Sony Centre Lower Lobby on both nights.
Directed by Martin Campbell, Casino Royale brings us Bond at the start of his career, having just earned 00 status and his licence to kill. It also marked Daniel Craig’s first appearance as the legendary MI6 operative.
Casino Royale also features Mads Mikkelsen as “Le Chiffre,” Eva Green as “Vesper Lynd”, Judi Dench returning as “M” and locations for the film include the Bahamas, Montenegro, and a jaw-dropping finale on the Grand Canal in Venice.
Film Concerts Live! proudly presents Casino Royale in Concert, produced in association with EON Productions and Metro Goldwyn Mayer Studios (MGM).
CASINO ROYALE LICENSED BY MGM. CASINO ROYALE © 2018 DANJAQ, UNITED ARTISTS. 007 LogoAND RELATED JAMES BOND TRADEMARKS, TM DANJAQ. ALL RIGHTS RESERVED.
By Richard Crouse – Metro In Focus
When all is said and done Adam Driver will likely be remembered for playing Kylo Ren, grandson of villain Darth Vader, in the Star Wars movies. The thirty-three-year-old may be best known for the blockbuster role but it does not define his career. For the star of this weekend’s Logan Lucky, it’s all about a love of acting.
“For me the doing of it is the best,” he told me at last year’s Toronto International Film Festival. “The things surrounding it don’t matter. Trailers, money, they don’t matter if you get to work with really great people. Hopefully what you’re making is bigger than any one person and it feels relevant, as much as you can attach meaning to your job. The love of collaborating with people who are on the same page is really exciting.”
Perhaps his collaborative spirit came from his time in the United States Marine Corps. Driver, like many young people in the aftermath of 9/11, joined the marines but an injury during a training exercise ended his military career after just three years.
“With the military I grew up very fast,” he says. “Suddenly I was responsible for things that aren’t typical for eighteen or nineteen year olds. Other people’s lives and things like that. It ages you. I loved being in the military but when I got my freedom and could be a civilian again I was interested in perusing acting. I had tunnel vision and there was a big learning curve of learning to be a civilian again; it’s not appropriate to yell at people, people are people and I can’t force my military way of thinking on them. There were a lot of things going on. I am better adjusted now.”
Post marines Driver studied at Julliard—“Believe it or not being in the military,” he laughs, “is very different than being in an acting school.”—became one of the breakout stars of HBO’s Girls and worked on the big screen with luminaries like Steven Spielberg, the Coen Brothers, Martin Scorsese and Logan Lucky director Steven Soderbergh.
“It’s a director’s medium so if I get lucky enough to work with great directors, that’s the only thing as far as a game plan I have,” he says. “I have gotten to do that with really great people and it feels good. I’m lucky in that I get to choose things now, but choose things from what I’m offered. The scale doesn’t matter.”
Since his professional debut in 2009 Driver, who his This Is Where I Leave You co-star Jane Fonda calls, “our next Robert De Niro plus Robert Redford,” has carefully curated a career. From multiplex fare like Star Wars to art house offerings like Paterson and Frances Ha he is driven by artistic demands more than box office returns and immediate satisfaction.
“Really great movies have a longer shelf life,” he says. “You come back to them later and find new things in them. So many times you watch a movie and you’re not ready for it and you come back to it later because you’re a different person and suddenly it speaks to you in a different way. When they are well crafted they have that shelf life whereas a lot of things are made for one weekend.”
Director Steven Soderbergh’s biggest box office came courtesy of the glossy “Ocean’s Eleven” series. His new film sees him revisit similar territory but don’t expect a carbon copy of his biggest hits. “Lucky Logan” is a down-home “Ocean’s Eleven” where some good old boys plan a robbery, but the slickness of the franchise films has been left in the vault.
Channing Tatum is Jimmy Logan, former quarterback and Homecoming King whose glory days are in the rear view mirror. Divorced but devoted to his daughter. He’s now a West Virginia miner laid off from his job of filling in sinkholes at the Charlotte Motor Speedway, home of one of the biggest NASCAR races on the circuit.
His brother Clyde (Adam Driver), a bartender and Iraq War vet whose hand was blown off by an IED, chalks up the job loss to a family curse. The Unlucky Logans have a history of misfortune, one that Jimmy hopes to turn around.
Enlisting his sister Mellie (Riley Keough) and the Bang Brothers, the bleach blonde Joe (Daniel Craig), Sam (Brian Gleeson) and Fish (Jack Quaid), he comes up with an elaborate plan to rob the vault at the Speedway on the busiest weekend of the year.
“Lucky Logan” is a carefully plotted caper flick—although some of the elements of the labyrinthine heist are a little too perfect, relying too much on movie coincidences to be believable—but it’s a loose film with an indie feel. The stars are big but this isn’t a big film. Unlike the sleek “Ocean’s” films, the style of “Lucky Logan” suits its subject. It feels like handmade, blue-collar filmmaking.
Soderbergh’s looseness trickles down to the actors. Tatum and Craig seem to be having the best time, as Driver amps up the sincerity as the younger brother so desperate to live up to big bro’s legacy that he enlisted in the army. Once again (after “American Honey) Keough proves she is a formidable actor and not just Elvis Presley’s grandfather while “Family Guy’s” Seth MacFarlane is suitably smarmy as the owner of a power drink company. Their combined efforts keeps things grounded even when as the caper grows more and more outrageous.
“Lucky Logan” feels like a throwback to the 90s indie scene that made Soderbergh an in-demand filmmaker in the first place. From the Tarantino-esque script—the pop culture references and “Game of Thrones” riffs—to the eye level characters it’s a welcome return.
