Richard joins CP24 anchor Cristina Tenaglia to have a look at the weekend’s new movies including Christian Bale as former vice president Dick Cheney in “Vice,” the James Baldwin adaptation “If Beale Street Could Talk” and Felicity Jones as Associate Justice of the Supreme Court of the United States Ruth Bader Ginsburg in “On the Basis of Sex.”
Richard sits in with CTV NewsChannel anchor Angie Seth to have a look at the weekend’s big releases including Christian Bale as Dick Cheney in “Vice,” the James Baldwin adaptation “If Beale Street Could Talk” and Felicity Jones as Associate Justice of the Supreme Court of the United States Ruth Bader Ginsburg in “On the Basis of Sex.”
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 the Dick Cheney biopic “Vice,” the James Baldwin adaptation “If Beale Street Could Talk,” and Felicity Jones as Associate Justice of the Supreme Court of the United States Ruth Bader Ginsburg in “On the Basis of Sex.”
Based on a well-loved James Baldwin novel, “If Beale Street Could Talk” is a story of love in the face of injustice. Director Barry Jenkins, in his follow-up to the Oscar winning “Moonlight,” has crafted a stately film that takes us inside the relationship at the heart of the story and the heartlessness that threatens to rip it apart.
Childhood friends “Tish” Rivers (Kiki Layne) and Alonzo “Fonny” Hunt (Stephan James) kept their relationship platonic until it blossomed into love when she was 19 and he was 22. With a lifetime of familiarity behind them, their relationship progresses quickly. They move into together and wait for the birth of their first child when tragedy strikes. Framed for sexual assault by racist cop Officer Bell (Ed Skrein) Fonny is thrown in jail. “I hope nobody ever has to look at somebody they love through class,” Tish says. The families rally to raise money for his defence but circumstance conspires to keep him incarcerated.
“If Beale Street Could Talk” is a love story framed against a backdrop of disenfranchisement and turmoil. It is about a woman’s love for her fiancé, a mother and father‘s for their daughter, the power of love to be the fuel of survival. As the faces of this love Jenkins displays an impeccable eye for casting. Through their body language and easy chemistry Layne and James hand in performances ripe with empathy, power and, here’s that word again, love.
There is a delicacy to the filmmaking. Jenkins takes his time, slowly building the story of heartbreak tinged with hope. It’s a period piece but placed alongside the spate of newspaper stories of young African-American men by police it feels as timely as today’s headlines.
If the word ‘lurid’ didn’t already appear on page 489 of my Oxford English Dictionary it might have been coined to describe “The Bad Batch,” a new slice of misery from director Ana Lily Amirpour. This dystopian cannibal freak out isn’t really very good but if Amirpour’s intention was to make an unpleasant, slackly paced look at life after a calamity, she has succeeded spectacularly.
Arlen (Suki Waterhouse) is part of the Bad Batch, a large group of murderers, drug dealers and other deplorables no longer wanted in the United States. In Amirpour’s post apocalyptic world the unwanted are numbered, tattooed, escorted to a wasteland in Texas and dropped off outside of an electric fence to fend for themselves. Arlen’s new, dusty world is a wasteland, a dangerous place where Keanu Reeves is a Jim Jones figure called The Dream and if you’re not careful you might end up as a main course for the cannibals who now eat humans to survive.
Soon she is kidnapped, carved up, her arm and leg becoming an entrée for vicious flesh eaters who keep her in chains until she escapes with the help of a gnarly old hermit played by Jim Carrey. She lands at Comfort, the ironically named compound run by cult leader The Dream. On the outskirts of Comfort Arlen exacts revenge on one of the cannibals who turned her into a midday snack. Grabbing the woman’s child she returns to the compound. When the little girl disappears her father, the mountainous and muscly Miami Man (Jason Momoa), comes looking for her. Arlene, high on acid, meets him and the two form an unlikely bond as they search for his daughter.
Amirpour is a gifted director—her “A Girl Walks Home Alone at Night” is like no other vampire movie—but her ideas here echo a little too loudly with reverberations from “Mad Max” and other dystopian movies. “The Bad Batch” starts strong with startling images but every time it works up a head of steam it veers off track. Its languid pace and stretched-out story makes the two-hour running time feel much longer.
Welcome to the House of Crouse. Last week we teased you with a taste of Riz Ahmed. Today you get the long version were we talk about Star Wars, The Night of and much more. David Frankel, director of Collateral Beauty, talks about working with an all star cast and how Will Smith controls the weather to get his way on set. C’mon in, sit a spell!
Richard and CP24 anchor Nathan Downer have a look at the weekend’s new movies, the first Star Wars stand-a-lone movie “Rogue One: A Star Wars Story” and the latest Will Smith tearjerker “Collateral Beauty.”
Richard sits in with Marcia MacMillan to have a look at the weekend’s new movies, the first Star Wars stand-a-lone movie “Rogue One: A Star Wars Story” and the latest Will Smith tearjerker “Collateral Beauty.” Find out which one of us has never seen a “Star Wars” movie. (Here’s a hint… it’s not Richard.)