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 transformational horror of “Wolf Man,” the resilience of “The Last Showgirl” and star power of “Back in Action.”
Watch the whole thing HERE!
I join CTV Atlantic anchor Todd Battis to talk about the transformational horror of “Wolf Man,” the resilience of “The Last Showgirl,” the star power of “Back in Action” and the life and times of David Lynch.
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the transformational horror of “Wolf Man,” the resilience of “The Last Showgirl” and star power of “Back in Action.”
Listen to the whole thing HERE!
SYNOPSIS: Pamela Anderson hands in the performance of her career in “The Last Showgirl,” a new film now playing in theatres, about sudden endings and new beginnings.
CAST: Pamela Anderson, Jamie Lee Curtis, Dave Bautista, Brenda Song, Kiernan Shipka, Billie Lourd, and Jason Schwartzman. Directed by Gia Coppola.
REVIEW: To paraphrase Ernest Hemingway, Shelly Gardner’s (Anderson) job as one of the lead showgirls in a mid-market revue called Razzle Dazzle came to an end in two ways, gradually, then suddenly. An avatar of old Vegas’s glitter and excess, Shelly’s brand of fantasy burlesque has slowly fallen out of favor, replaced by bottle service, DJs and the hallucinogenic eye candy of The Sphere. She’s a relic of another time, blinded by her costume’s sequins to the realities of the changing world around her. “Las Vegas used to treat us like movie stars,” she says ruefully.
The setting of “The Last Showgirl” is very specific. From the darkened backstage dressing rooms to the sun dappled strip and neon drenched casinos it’s a singular place, but the film’s messages regarding ageism, regret, resilience and reinvention are universal. As an avatar for everyone who feels chewed up and spit out by a job, Shelly discovers, the hard way, that the thing she loved—her job—didn’t love her back.
As Shelly, Anderson plumbs previously unseen depths. Famous for decades, she has never been given the opportunity to sink her teeth into a role like this, one that allows her to play off her reputation as a sex symbol while deftly commenting on the way show business can cruelly abandon those who have given their lives to it. Her presence brings poignancy to the film, but this isn’t simply the stunt casting of a woman who was similarly betrayed by the biz. Anderson delivers the goods, doing a high wire act, playing Shelly as simultaneously steely and vulnerable.
She’s very good in this, and her work is sweetened by the fact that while Anderson may have been a Shelly at a certain point in her career, she is now on the rebound, defying expectations and giving herself a much-deserved new act in life.
Anderson is ably supported by Jamie Lee Curtis as Annette, Shelly’s best friend and former showgirl. Now an overly tanned cocktail waitress, Annette finds herself increasingly pushed aside in favor of younger servers, but she loves the life and is unwilling to walk away. Her performance to Bonnie Tyler’s “Total Eclipse of the Heart” is a showstopper, at once sad yet defiant.
“The Last Showgirl” is a touching story about women tossed aside from jobs they love, but it’s also a universal story of resilience in the face of being let go from a dream job, no matter what the profession.
After 2021’s “Dune” was relegated to the small screen in the wake of pandemic related theatre closings, this weekend, the long awaited “Dune Part 2” brings the thunder, debuting on screens suitable for the story’s epic scale. The sci fi saga starring, well, almost everyone, in a sprawling cast headed by Timothée Chalamet, Zendaya and the giant sandworms who are literally and figuratively the film’s biggest stars, will play exclusively in theatres.
Wrestling novelist Frank Herbert’s expansive story of a psychedelic drug called Spice and reluctant messiah Paul Atreides, into a comprehensible movie has confounded filmmakers for decades. Most notably, David Lynch adapted the 1965 novel into a noble 1984 failure. The story is complex, with many characters and big, brainy concepts.
As a result, the spectacle of “Part 2,” on its own, isn’t for casual viewers. The last movie ended with Fremen warrior Chani (Zendaya) saying “This is only the beginning,” which means the new film isn’t a sequel, or a reboot. It’s a continuation, the second part of the story director Denis Villeneuve began in 2021, and to understand the story, you have to see the first film.
Equal parts action packed and philosophical, “Part Two” picks up where “Dune” left off. Set 8,000 years in the future, Atreides (Chalamet) son of an aristocratic family, and once heir to the planet of Arrakis, a desolate, almost inhabitable place, but rich in the lucrative, and psychedelic Spice, that is home to the Indigenous Fremen people.
Betrayed by Baron Vladimir Harkonnen (Stellan Skarsgård), the former steward of Arrakis, the family is all but wiped out, with Atreides and his mother, Lady Jessica (Rebecca Ferguson), left in the desert to die. If they are to survive it will be with the help of the Fremen—including Chani and Stilgar (Javier Bardem), leader of the Fremen tribe at Sietch Tabr—who call Atreides “The Chosen One” and believe he is a prophet with the power to bring peace to their world.
“Part 2” sees Atreides embedded with the Fremin in a mission of revenge against the House Harkonnen, the treacherous Baron, his sinister nephews, the brutish Beast Rabban (Dave Bautista) and Feyd-Rautha (Austin Butler), who Atreides holds responsible for the death of his father. Fighting gallantly alongside the Fremin, he’s mostly unconcerned with their belief that he is their messiah. His feelings for Chanti and his thirst for creating a conflict that will place him within striking distance of Emperor Shaddam IV (Christopher Walken), his daughter Princess Irulan (Florence Pugh), and Bene Gesserit Reverend Mother and the Emperor’s Truthsayer, Mohiam (Charlotte Rampling), are top of mind.
As the reckoning approaches, Atreides is plagued by terrible visions of the future.
There is so much more, but that is essentially the peg on which Villeneuve hangs his epic vision of Herbert’s tale. The director gives voice to the author’s study of vengeance, spirituality, fanaticism, liberation and conquest, articulating the story’s humanist nuances in the framework of a film that can only be described as a spectacle. It’s a bigger, wilder vision, an answer to the stately elegance of the first film.
The action sequences fill the screen. Villeneuve overwhelms the senses with grand images of desert warfare and Atreides sand surfing courtesy of giant “grandfather sand worms.” It’s blockbuster filmmaking writ large, exciting and laced with high stakes. Perfect for IMAX screens.
But the action sequences wouldn’t mean much if the film’s world building and characters didn’t set the stage. Arrakis is a sand swept hell, so immersive you’ll think you have sand in your underpants by the time the end credits roll. The vision of the planet is aided considerably by Greig Fraser’s gorgeous cinematography.
The devil, though, is in the details. On an arid planet, the Fremin syphon water from the bodies of their vanquished enemies to use in their cooling systems. Minutiae like this, and more, give the story depth, creating an exciting world for the characters to inhabit.
The stacked cast of a-listers deliver. Chalamet’s character comes of age on his hero’s journey, shedding any boyish traits Atreides may have had, to become a worm riding warrior and leader of armies.
Also making a mark is Butler as the eyebrow-challenged Feyd-Rautha (the part played by Sting in the Lynch’s adaptation). He maintains the rock star swagger of Elvis, his best-known role, but brings the danger as the sadistic nephew and heir.
It’s good stuff that showcases Villeneuve prowess, even if it feels rushed in its last act.
What Villeneuve isn’t good at, are endings. His first “Dune” film left audiences hanging, finishing up with no definitive ending. The end of “Dune Part 2” doesn’t dangle in quite the same way, but tensions are still unfolding as the end credits roll. Looks like we’ll have a “Part 3” coming in a couple years.
Despite the open-ended conclusion, however, “Dune Part 2,” with its stunning visuals, deep emotional core and good performances, suggests “Part 3” will be worth the wait.
“Guardians of the Galaxy Vol. 3,” the new sci fi action comedy from director James Gunn, brings the hip needle drops, off-kilter humor and mismatched, misfit superheroes you expect, but adds in unexpectedly heart tugging sentiments about family, second chances and personal growth.
The action begins on a downbeat note. Rocket (Bradley Cooper), the smart mouthed genetically engineered racoon, is feeling down, wallowing in the maudlin sounds of Radiohead’s “Creep.”
Star-Lord, a.k.a. Peter Quill (Chris Pratt) is using booze to grapple with the change in his girlfriend Gamora (Zoe Saldaña). She was killed by Thanos, but, courtesy of an alternate timeline, a version of her returned, but different, with no memory of her adventures with the Guardians or her love affair with Quill. “I’ll tell you something,” he says. “I’m Star-Lord. I formed the Guardians. Met a girl, fell in love, and that girl died. But then she came back. Came back a total d**k.”
Their world is given a shake and bake by caped supervillain Adam Warlock (Will Poulter). He is a powerful cosmic entity, with a third eye jewel embedded in his forehead, working with the man responsible for creating Rocket’s unique genetic makeup, a Dr. Moreau type known as the High Evolutionary (Chukwudi Iwuji). The ultimate plan is to kidnap and study Rocket to use the chatty racoon as the basis to sidestep the evolutionary process and create more hybrid species. “My sacred mission is to create the perfect society,” he says.
During the invasion, Rocket is severely injured, revealing to his co-Guardians—Star-Lord, Nebula (Karen Gillen), Mantis (Pom Klementieff) Drax (Dave Bautista), Groot (the voice of Vin Diesel) and Gamora—the extent of his genetic modifications.
As the racoon wavers between life and death, the film cleaves into two parts, Rocket’s origin story and the rescue mission to save his life. “Are you ready for one last ride?” asks Peter.
“Guardians of the Galaxy Vol. 3” succumbs to the usual superhero movie pitfalls. By the time the end credits roll, it has become a loud, slightly over-long orgy of CGI, but James Gunn brings something most other superhero movies don’t have.
Within the wham-bam action overload is a genuine sweetness that overrides the bombastic action. Under his watch the movies provide the expected wild ride while grounding the otherworldly action with poignant relationship drama. These movies are about logical, not necessarily biological, families, and that connection, above all else, is what makes these movies so effective.
If Gunn (and Bautista) can make a character named Drax the Destroyer loveable, then anything is possible.
“Knock at the Cabin,” the new wannabe nail-biter from director M. Night Shyamalan now playing in theatres, forces its characters into a decision that makes the famous Sophie’s choice seem easy by comparison. A combo of the cabin-in-the-woods genre and a home invasion movie, it demands to know, “Would you sacrifice a loved one to save humanity?”
Based on Paul G. Tremblay’s 2018 award-winning novel “The Cabin at the End of the World,” the set-up is simple. A young family, Eric (Jonathan Groff), Andrew (Ben Aldridge) and their seven-year-old daughter Wen (Kristen Cui), are on get-a-way in a cabin in the middle of nowhere.
It’s idyllic, relaxing, a much-needed break from the pressures of the outside world until one afternoon as Wen is collecting bugs and is approached by a burly man named Leonard (Dave Bautista).
“Why are you here?” she asks.
“I suppose I’m here to make friends with you,” says Leonard, “and your dads too. But my heart is broken because of what I have to do today.”
Freaked out, Wen runs back to the cabin to tell her dads about the strange man she just met. A second later there is a loud knock at the door.
On the other side of the door are heavily armed invaders, the makeshift Four Horsemen of the Apocalypse, Leonard, hot-headed Redmond (Rupert Grint), a nurse named Sabrina (Nikki Amuka-Bird) and the nurturing Adriane (Abby Quinn).
Leonard explains they are not there to hurt them, “but you have to stay in the cabin with us.”
The quartet say they are tasked with “the most important job in the history of the world,” as they present the family with a decision that will change the future, for them and the rest of humanity.
“Families throughout history have been chosen to make this decision,” says Leonard. “Your family must willingly choose one of the three of you (to die) to prevent the apocalypse.”
As the clock moves closer to permanent midnight, Eric, the logical lawyer and Andrew, his spiritually minded husband, must decide whether this is a game of murder, manipulation or divine prophesy.
“Knock at the Cabin” drills down on some very hot button topics. The option of making a great personal sacrifice for the greater good thematically echoes the issues of societal responsibility that arose during COVID lockdowns, and vaccine and mask mandates. Shyamalan plays up the story’s rationality vs. uncertainty angle, which is perhaps the defining theme of the COVID conspiracy era, and yet the movie has none of the richness these themes would suggest.
It’s an intriguing premise, but the tension slacks as repetition sets in. I don’t want to give anything away, but Shyamalan establishes a series of events that repeats, sapping the suspense with each cycle.
The talky script hammers home the belief system that brought Leonard and his disciples to the cabin to the point of exhaustion. There are so many avenues for this material to explore, and yet Shyamalan sticks to the narrow lane established in the first ten or fifteen minutes. He plays up the obvious aspects of the story (NO SPOILERS HERE) while working his way toward the play-it-safe ending.
“Knock at the Cabin” mostly wastes an interesting cast and good performances on an underwhelming, hollow story that doesn’t dive deep enough into the collective sense of unease that fuels Leonard and Company’s apocalyptic visions and zealotry. Its single note story without the emotional basis to become a symphony.
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!
“Glass Onion: A Knives Out Mystery,” the sequel to the popular Daniel Craig detective movie “Knives Out, now playing in theatres before moving to Netflix in late December, is a satire of old school Agatha Christie with a modern sensibility.
Craig returns as detective Benoit Blanc, “The Last of the Gentlemen Sleuths.” He’s the American Poirot, with a honied Southern accent and a Jessica Fletcher-esque knack for being present when people are murdered.
In the new film he finds himself, post COVID lockdown, at a lavish private estate on a Greek island owned by billionaire Miles Bron (Edward Norton doing Elon Musk). Invited by a mysterious third party, it is just the tonic he needs to shake his post COVID lockdown blues.
“I lose it between cases,” he drawls. “I may be going insane. My brain is a fuelled up sportscar, with nowhere to go. I need a great case.”
Bron has invited “my dear disrupters, my closest inner circle,” like former business partner Andi Brand (Janelle Monáe), scientist Lionel Toussaint (Leslie Odom Jr.), man’s rights YouTube star Duke Cody (Dave Bautista), fashion designer and unapologetic loudmouth Birdie Jay (Kate Hudson) and politician Claire Debella (Kathryn Hahn) among other glamourous types, to play a very special game.
“I’ve invited you all to my island,” says Bron, “because tonight, a murder will be committed. My murder.”
With clues hidden all over the island, Bron encourages his guests to “closely observe each other. If anyone can name the killer, that person wins our game.”
It’s all fun and games until a real dead body shows up and everyone on the island is a suspect in the crime.
“Ladies and gentlemen,” says Blanc. “You expected a mystery. You expected a puzzle. But for at least one person on this island, this is not a game.”
Cue the whodunnit. The characters are all connected, and all have a motive for murder. “This is a case that has confounded me like no other,” Blanc says as he peels back the layers of the mystery.
There is a lot of talk of disrupters in “Glass Onion.” Each of the guests have caused radical change in their industries, a fact pointed out by Bron as the reason they are all friends. It also applies to writer/director Rian Johnson. He pays homage to a well-worn format, the Agatha Christie ensemble cast and elaborate crime reveal, but breathes new life into the tried-and-true format, updating and disrupting the structure.
Johnson uses all the same stylistic—flourishes, flashbacks, red herrings and diversionary tactics—as Christie did, in books and on screen, but adds a spark, juggling the story’s twists, turns and reveals with great aplomb and humour. The result is a swiftly paced thriller that is equal parts silly and suave.
It’s become trendy to skewer the rich and ridiculous in film. Recent movies like “Triangle of Sadness” and “The Menu” lay waste to entitlement and privilege, and “Glass Onion” is no different. Bron and his crew of influencers and desperadoes are presented as self-serving, uncaring and absurd—“What is reality?” shrieks Birdie Jay when the going gets rough—providing a juicy blast of raucous moral ambiguity as an undercurrent to the murder mystery.
As a sequel that improves on the original, “Glass Onion: A Knives Out Mystery,” is a rarity. It may follow a template formatted by Agatha Christie, but like the titular “Glass Onion” itself, Johnson is transparent in his desire to make the mystery deeper, the characters more extreme and the thrills more thrilling. As Blanc says in the in the film, “This is truly delightful.”
