I join “CTV News Toronto at Five” with guest anchor Sean Leathonog to talk about new movies in theatres including Ryan Gosling’s sci fi adventure “Project Hail Mary,” the psychological thriller “The Things You Kill” and the horror sequel “Ready or Not 2: Here I Come.”
Watch the whole thing HERE! (Starts at 14:04)
I join the CTV NewsChanel to talk about Ryan Gosling’s sci fi adventure “Project Hail Mary,” the psychological thriller “The Things You Kill” and the horror sequel “Ready or Not 2: Here I Come.”
Watch the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to tune a violin. Have a look as I race against the clock to tell you about Ryan Gosling’s sci fi adventure “Project Hail Mary,” the psychological thriller “The Things You Kill” and the horror sequel “Ready or Not 2: Here I Come.”
Watch the whole thing HERE!
SYNOPSIS: In “Ready or Not 2: Here I Come,” a sequel to the 2019 horror comedy “Ready or Not,” Grace MacCaullay is once again targeted by the 1% in a deadly game of hide ‘n seek. “It’s not round two… it’s sudden death.”
CAST: Samara Weaving, Kathryn Newton, Sarah Michelle Gellar, Shawn Hatosy, David Cronenberg, Elijah Wood. Directed by Matt Bettinelli-Olpin and Tyler Gillett.
REVIEW: The new film picks up immediately after newlywed Grace MacCaullay (Samara Weaving) survived her new family’s deadly game of hide ‘n seek. Still dressed in her blood stained wedding dress and smoking a cigarette after the action-packed wedding night that left her fiancée and his entire family dead, she finds herself the target in an even deadlier diversion.
“By surviving Hide and Seek you’ve triggered a new game,” says the lawyer for the aristocratic game players (Elijah Wood). “This time against the High Council families. Double or nothing. This part will be familiar. They will try and kill you.”
The High Council families are the 1% of the 1%. Rich beyond belief, their money and power is the result of a deal with the devil, and now they must hunt and kill Grace and sister Faith (Kathryn Newton) for the chance to sit in the “high seat,” the world’s most powerful position.
Questions is, can devil worshippers outwit, outplay and outlast two resourceful women named for the pious properties of grace and faith?
Like many sequels “Ready or Not 2: Here I Come” is bigger than the original. There are more characters, more gore, two protagonists—Grace now has a sister, even if they aren’t close. “Biologically speaking, we’re sisters,” Faith says, “but we’re not family.”—and the stakes are higher.
But, like a pimple or a hole in the roof, bigger isn’t better.
The new film, which features the same creative team as the 2019 original, directors Matt Bettinelli-Olpin and Tyler Gillett, and writers Guy Busick and R. Christopher Murphy, gets off to a fun start with Amy Winehouse’s version of the Shirelles classic “Will You Still Love Me Tomorrow?” but soon devolves into a morass of exposition.
In the forty-five minutes before the “game” begins, Weaving has the unenviable task of recapping the plot of the first movie and later Wood wades through the over complicated history of the High Council and the rules of the hunt for Grace and Faith. It’s clunky and even though Weaving and Newton spark off one another, and Wood appears to be having fun, it’s s slog. ighkjfk
What follows is a litany of near misses, bland action choreography and gallons of grizzly gore. The fight sequences are uninspired, although a battle involving pepper spray has the kind of exuberance missing from the other action scenes.
“Ready or Not 2: Here I Come” has a few laughs—Faith pleads for her life with the well-delivered line: “No, no I’m her emergency contact!”—but the needlessly complicated story leans into the evil without the absurdity that made the first movie so much fun.
SYNOPSIS: In “The Shrouds,” a new film from David Cronenberg, and now playing in theatres, a grieving businessman is drawn into a world of jealousy and conspiracy when he markets a new, high-tech kind of interment designed to console those left behind.
CAST: Diane Kruger, Vincent Cassel, Guy Pearce, and Sandrine Holt. Written and directed by David Cronenberg.
REVIEW: Technology has invaded every aspect of our lives, and now, in the new David Cronenberg film “The Shrouds,” it invades death as well.
Vincent Cassel plays Karsh, a wealthy businessman still reeling from the death of his wife Becca. “When they lowered my wife into the coffin,” Karsh says, “I had an intense urge to get in the box with her.” In response he invents GraveTech, essentially a service that allows grieving loved ones see inside the graves of their dearly departed family members as they decompose in their shrouds.
Located next to a theme restaurant called The Shrouds, the cemetery features the latest in boneyard tech. Controlled by an app, the graves come complete with a monitor on the headstone. “It’s basically kind of a camera in her grave,” says Karsh. “It comforts me.”
As Karsh makes plans to expand his business to Iceland and Budapest, a group of activists desecrate nine of the high-tech graves, including Becca’s final resting spot. That attack becomes the catalyst for the film’s action, sending Karsh into a murky world of conspiracy, jealousy, hallucination and obsession.
“The Shrouds” may be the very definition of a movie that is not for everyone. “How dark are you willing to go?” Karsh asks at one point, and the answer is pitch black. A study in grief without a whiff of sentimentality, this is an uneasy, and occasionally queasy, representation of the pain of loss.
Cronenberg, who lost his wife Carolyn to cancer after 38 years of marriage, says he was inspired to write “The Shrouds” by his own experiences with grief. And while the movie bears his trademarked fusion of psychological and physical elements, of technology and flesh, and his clinical approach to the material, the movie still pulsates with vulnerability. The setting is surreal, but the story’s underlying motivation is personal, motivated by the thorny act of grieving.
“The Shrouds” is Cronenberg’s most personal film and is as complicated, and occasionally confounding, as the act of grief itself.
On the Saturday April 19, 2025 edition of The Richard Crouse Show we meet Dr. Janet McMordie. She is a sports medicine physician who blends her medical expertise with a passion for the arts. During the pandemic, she embarked on a simultaneous journey into storytelling, discovering a revitalized connection to her creativity. She shifted from a tunnel-visioned medical career to explore improv, acting, and producing.
We talk about medicine, acting, her award-winning Second Act Actors podcast and much more.
Then, David Cronenberg. The Village Voice called him “the most audacious and challenging narrative director in the English-speaking world.”
He has directed horror films, dramas, psychological thrillers and gangster films, like “Shivers,” “Scanners,” “Videodrome,” “The Fly,” “A History of Violence,” “Eastern Promises” and “The Dead Zone” among many others.
Seven of his films were selected to compete for the Palme d’Or, the most recent being “The Shrouds,” which was screened at the 2024 Cannes Film Festival.
Starring Vincent Cassel, Diane Kruger and Guy Pearce, “The Shrouds” explores the future of death. Casserl plays a “an innovative businessman and grieving widower, who builds a novel device to connect with the dead inside a burial shroud. This burial tool installed at his own state-of-the-art though controversial cemetery allows him and his clients to watch their specific departed loved one decompose in real time.”
It’s an unsettling idea for a film, but it is a powerful and ultimately therapeutic look at grief in its many forms.
Listen to the whole thing HERE!
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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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From a bloodthirsty brood, to celebrity viruses and a euthanasia program, on this week’s edition of “Maple Syrup For Your Eyes” I have a look at two generations of filmmaking Cronenbergs, David, Brandon and Caitlin.
Listen to the whole thing HERE!
They say imitation is the sincerest form of flattery. If so, David Cronenberg must be basking in the reflected glow of some pretty serious film fawning. The OG of Body Horror’s influence can be seen in lurid detail in recent movies like the Palme d’Or winner “Titane” and Natalie Portman’s biological thriller “Annihilation” among others.
The Virtuoso of the Grosso Rosso returns to cinemas after an eight-year break with “Crimes of the Future,” an all-star story of eroticized human evolution starring Kristen Stewart, Viggo Mortensen and Léa Seydoux.
Named after an early Cronenberg movie and based on a script the director wrote in the early 2000s, “Crimes of the Future” takes place in a time when “Accelerated Evolution Syndrome” has all but eliminated pain in most humans.
“Desk top surgery” is commonplace and a practice that performance artists Saul Tenser (Mortensen) and former trauma surgeon Caprice (Seydoux) turn into a form of nightclub bio-entertainment.
Saul’s advanced AES enables him to grow new, never-before-seen organs, which Caprice removes as part of their medical-theatrical shows. The gruesome act attracts lots of attention, particularly from Timlin (Kristen Stewart), an investigator from the National Organ Registry who becomes enchanted by Saul. “Surgery is the new sex,” she coos to him. “I wanted you to be cutting onto me.”
There’s more. Transformation activist Lang Dotrice (Scott Speedman) requests Saul and Caprice perform a public autopsy on his late, eight-year-old son, the New Vice Unit (“There’s no crime like the present!”) investigates the rapidly changing world of body modification while Saul considers entering a literal “inner beauty contest.”
Despite the array of bits and pieces we see on screen, the most important body part in “Crimes of the Future” is the head. Cronenberg’s head. The director has made a cerebral film, one that riffs on his “Videodrome” era “old flesh vs. the new flesh” mantra.
Laden with metaphor, it’s a portrait of a rapidly changing world where bodies are morphing and shadowy government organizations work feverishly to understand the repercussions. They fear too much evolution could lead to insurrection. That eventually we’ll morph into something that isn’t strictly human and wonder what happens when we can’t feel anything anymore.
That last point is the film’s beating heart. When Saul tells Timlin that he’s, “not very good at the old sex,” it signals a search for something new, of different sensations. In a numb world, where do you go for kicks? Is it the performance art of Saul and Caprice, or something else? Is it evolution or revolution, or both? If everything is changing, is anything new?
“Crime of the Future” asks many questions, but stops just short of providing understandable resolutions. Cronenberg is interested in provocation, in world building, in bringing together previously investigated themes (cults, new flesh, odd children) in a new way to add brush strokes to a painting he began with films such as “Shivers” and “Rabid.”
Cronenberg’s “A History of Violence” and “Eastern Promises” muse Mortensen gets under the skin of Saul. Charismatic, he’s a rock star of a sort, willing to give of himself for his art. Often hidden under an Ingmar Bergman “Seventh Seal” cloak, he is a reluctant celebrity, a man who spends the bulk of the film reacting to his surroundings, his body and mutations. It’s something different for Mortensen. Saul is a passive, brooding character vulnerable to the whims of his ever-changing body. It’s a quiet yet powerful performance that details a man trying to maintain his humanity, despite the elimination of many of his most human traits, pain chief among them.
Co-star Seydoux’s mix of sensuality, artistry and humanity brings warmth to the film’s cool texture.
Stewart, as the mousy Timlin, is all eagerness. She’s timid but curious, speaking in a strange cadence, as if a hummingbird dubbed her lines.
Both help blunt the edge of the blood-splattered story, bringing feelings to a world drained of such sentiments.
“Crimes of the Future” is an olio of ideas. The neo-noir setting plays host to an unconventional love story, a parable of climate change (characters have a taste for waste in a world where garbage is becoming more accessible than food), evolution and the search to feel something real. The result is a subversive movie that, as Caprice says, is “juicy with meaning,” but perhaps too enigmatic for those unfamiliar with the director’s body horror oeuvre.
Darth Vader may be the cosmically worst cinematic father in the universe but down on earth Willis, as played by Lance Henriksen in the new film “Falling,” gives the “Star Wars” villain a run for his money.
Writer, director and star Viggo Mortensen found inspiration for the story after caring for his real-life father in his declining years. Mortensen plays John, husband of Eric (Terry Chen), son of Willis. He’s ex-Air Force, now working as a commercial pilot based in Los Angeles. It’s a long way from the rural New York farm where he was raised and his father still resides.
Willis isn’t doing well. Dementia has robbed him of the ability to live alone in the rambling old farmhouse he’s inhabited for decades. Hoping to make his father’s life easier, John brings him to California with an eye toward making it easier to care for him.
Trouble is, Willis’ disease has made him the definition of cantankerous. Anger, misogyny, and homophobia are a way of life for the old man who never misses an opportunity to spew his hatred. John bears the brunt of it, but Willis is an equal opportunity offender whose current bad attitude is a magnification of the behavior that tore his family apart decades before.
“Falling” gives genre legend Henriksen his meatiest role in years. He is the dominant and dominating character, a man who makes Archie Bunker look like Justin Trudeau. It’s a raw performance but after the first hour it becomes something close to parody as Willis’ insults become more and more vicious and increasingly inane.
Mortensen’s take on Jack is more nuanced. As the younger man searches for closure, Willis continuously tests the limits of his compassion and challenges the old man’s view of masculinity. Where Henriksen is playing to the back of the house, Mortensen is subdued, finding the character’s kindness in a very difficult situation.
We learn more about Willis in the flashbacks that make up about fifty percent of the movie’s running time. As a young misanthropist-in-the-making Willis is played by Sverrir Gudnason with a sneer and a quick tongue. The flashbacks are an origin story, a study in where Willis came from and a glimpse of the man he once was, for better and for worse, as he began driving everyone around him away. In these scenes he still has a remnant of his humanity, and therefore, is a more interesting character than his elderly counterpart.
“Falling” is a self-assured and sometimes poetic directorial debut for Mortensen, marred by a repetitive central character you don’t want to be around for the film’s 112-minute running time.
