Posts Tagged ‘Donald Sutherland’

THE BURNT ORANGE HERESY: 3 STARS. “not a typical crime drama.”

Ambition and art mix and match in “The Burnt Orange Heresy.” A coolly elegant crime thriller, based on Charles Willeford’s 1971 novel of the same name, the film peels back the art world’s veneer to reveal a dark underbelly.

“The Square’s” Claes Bang is James Figueras, a once internationally famous art critic now reduced to lecturing American tourists in Milan. After one of his talks he meets Berenice Hollis (Elizabeth Debicki), a willowy art aficionado from Duluth, Minnesota. They hit it off, and have what she assumes is a one-night stand until he invites her to spend the weekend at the Lake Como estate of enigmatic art collector Joseph Cassidy (Mick Jagger).

James’s expectations of being offered the job of cataloguing Cassidy’s massive private collection are flipped when the collector asks him to do a task that could bring the disgraced critic back to prominence. Cassidy, sensing that James will do anything to get back in the public eye, asks him to steal a painting from hermetic artist Jerome Debney (Donald Sutherland). Debney is a legend and his work so rare, that just one painting could gather world attention. Question is, how far will James go to finish the job?

Like the painting that gives the movie its name, nothing in “The Burnt Orange Heresy” is not quite as it seems. Using noir tropes—the anti-hero, the femme fatale, a villain protagonist, a double cross— director Giuseppe Capotondi keeps things interesting after an unhurried start. What begins as a sun dappled caper takes a very dark turn as the director completes his portrait of ambition and desperation in the film’s final third.

As Figueras, Bang oozes a sketchy appeal. He’s desperate and dangerous, but his worst qualities are hidden behind a suave exterior. He’s the central character but is overshadowed by the chemistry that sparks every time Debicki and Sutherland share the screen. She is charismatic in an underwritten role, but it is her scenes with the eccentric and kindly Debney that shine. That there are questions as to everyone’s motives—except for the Machiavellian Cassidy, wonderfully played by Jagger—adds intrigue to the tale.

“The Burnt Orange Heresy” isn’t a typical crime drama. The story is fuelled by arrogance, deceit and lies as much as plot, the crime is almost incidental to the interest created by the characters.

AD ASTRA: 4 STARS. “A father and son twist on ‘Heart of Darkness.’”

“Ad Astra,” a new space opera starring Brad Pitt, is not simply a journey into the universe but a trek into the star’s ability to keep the story earthbound while reaching for the stars.

Set in the very near future, “a time of hope and conflict,” “Ad Astra” stars Pitt as astronaut Maj. Roy McBride. His father, Clifford McBride (Tommy Lee Jones), went missing three decades before while travelling space, looking for alien life.

The younger McBride’s latest mission is his most important ever, both personally and professionally. Something or someone is sending deadly anti-matter surges toward the earth and NASA thinks they may be coming from McBride Sr’s lost spaceship. They send the stoic Roy, armed with a nuclear device, on a top-secret mission to Neptune to find out what’s going on.

As the stoic Roy hurtles through space his path his fraught with risk. But the most dangerous part of the trip isn’t battling moon bandits or intergalactic monkeys, it’s the journey into his own psyche.

A father and son twist on “Heart of Darkness,” “Ad Astra” is cerebral, humanist sci fi. It is more akin to films like “2001: A Space Odyssey” and Andrei Tarkovsky’s “Solaris” than the big budget space operas that tend to top the box office. It’s a solemn, meditative look at masculinity, isolation and emotional stoicism.

Pitt gives an understated but effective performance that relies on the subtlest of movements. McBride’s outward fortitude masks a tumultuous inner life, ripe with questions and muddled feelings. His training has taught him to stay even keeled—his pulse never raises above 80 even in the most stressful situations—but as he comes closer to Neptune and the possibility of being reunited with his father, cracks begin to appear in his carefully crafted facade. Pitt, in a largely non-verbal performance save for copious voiceover, shows his emotions through the cracks, allowing the character to reveal himself in the contemplative but compellingly unsettling way.

“Ad Astra”—which means “through hardships to the stars” in Latin—has all the hallmarks of a blockbuster, there’s a big star, beautifully shot action sequences by “Interstellar” cinematographer Hoyte Van Hoytema and the kind of end-of-the-world scenario the Avengers love, but it’s a heady one. It’s more concerned with what’s going on inside McBride’s head as what’s happening outside. Also, like so many blockbusters, it doesn’t know what to do with the female characters. Liv Tyler is glimpsed only through a screen and Ruth Negga, while always wonderful, is essentially an exposition machine. Still, the character study is spellbinding enough, thanks to Pitt’s performance, to maintain interest.

THE LEISURE SEEKER: 2 ½ STARS. “overly sentimental travelogue.”

Donald Sutherland and Helen Mirren are household names with an astounding 400 television and film acting credits between them. Before their new film, “The Leisure Seeker,” they have appeared onscreen together only once in 1990’s “Bethune: The Making of a Hero.” Here they prove the chemistry that worked when the first Bush was president is still intact.

Their latest pairing sees them play old married couple former English professor John and Southern belle Ella Spencer who still playfully call one another, “My love.”

Their relationship is healthy but they are not. He has Alzheimer’s and she has cancer. As memories fade and the reliance on pills increases they embark on one last road trip, from Massachusetts to the heart of Old Town Key West and the Hemingway Home & Museum. Hitting the road in their 1975 Winnebago, dubbed the Leisure Seeker, they begin their final adventure. “They are just doing the thing they have done their entire lives,” says daughter Jane (Janel Moloney). “Staying together.”

Based on the 2009 novel of the same name by Michael Zadoorian “The Leisure Seeker” is a so-so movie elevated by two endearing performances. Mirren emphasizes Ella’s warmth and strength, how she uses idle chatter to mask the uncertainty and frustration that churns inside her. Sutherland, as a man aware enough to know he wants to go out like Hemmingway when the time comes but getting foggier everyday, sensitively finds a balance between the glimpses of John’s former personality and his new diminished state. Both sparkle, and hand in engaging performances.

They glide through the spotty material finding humanity and the touching moments tucked away in this overly sentimental travelogue.

The moments that work really work. They handle the comedic passages expertly and real heft to exchanges like this:

“Who are you? My John is a young teacher. He’s charming. Very handsome. Educated,” she says to him. “I want him back. You stole him from me and I want you to give him back.”

“If I could I would,” he says. “Whatever is stolen from you is stolen from me too,” he replies.

It is just a shame the rest of the film doesn’t work on that level.

Metro: The next big thing, now: Jennifer Lawrence living up to all the hype

Sometimes you just know.

In my line of work, hype and celebrity are occupational hazards. Every day my inbox is stuffed with news releases touting the Next! Big! Thing! You get numb to it after a while, but every now and again someone will come along you know is destined for something big.

Jennifer Lawrence wasn’t a star the first time I met her but you could tell it would only be a matter of time until she was. It was 2010, years before she would win an Academy Award or be known internationally as Katniss Everdeen. She was a struggling newbie with just a handful of credits, but a great big buzz surrounding her performance in Winter’s Bone. Her steely but vulnerable take on an Ozark girl who will do anything to keep her family together was garnering good reviews and the usual phrases like “breakout performance” were being thrown around, but this time it felt different. Real.

I was asked to host a question-and-answer period with her after a screening of the film at a theatre in Toronto, but first we planned a quick dinner with a publicist at a nearby hotel. I’ve eaten with a lot actors who order a piece of steamed fish, no butter, no oil and then, rather than actually put it in their mouth, simply move it around the plate until the waiter takes it away.

Not Jennifer Lawrence. She ordered a steak dinner with sides and ate it all while showing us a cell phone snap of her costume for the Girl with the Dragon Tattoo audition. As she chatted, laughed and enjoyed dinner, it was apparent what she wasn’t. She wasn’t precious or overwhelmed at being on the cusp of something big. She was doing something rare in this business — being herself and enjoying the ride. In other words the woman you now see photo-bombing Taylor Swift on red carpets or starring in this weekend’s The Hunger Games: Mockingjay Part 2 is the real deal, someone completely at ease with herself in a business that doesn’t usually allow for that.

Later, on the way to the theatre, she opted not to take the provided limo. Instead we walked down Bloor Street. It was on the chilly side, so she draped my suit jacket over her shoulders. Along the way her high heel caught in a crack in the pavement and snapped off. Rather than hobble down the street, she kicked off both shoes and walked barefoot the rest of the way, her broken designer shoes in hand.

At the theatre I don’t remember what we talked about on stage. When I think back on the night I reflect on the sweet spot she was in, career-wise. She was about to become one of the youngest Oscar nominees ever for best actress in a leading role and yet there wasn’t an ounce of pretension about her. Charisma? Yes. Talent? In spades.

I don’t claim to have some sort of celebrity ESP, but that night I knew in my gut I had met a star, a feeling reaffirmed when I saw her carry the Hunger Games movies on her back and become a leading voice in the fight for pay equality for women in Hollywood.
Want to see a superstar? Watch the last scene of the Joy trailer. Shot on an iPhone as test footage it’s a close-up of Lawrence’s face as she fires off two shotgun rounds. “My name’s Joy, by the way,” she says. It’s a simple image but a magnetic one. It’s a movie star moment from the rare actor who commands our attention every time she’s on screen. Sometimes you just know.

THE HUNGER GAMES: MOCKINGJAY – PART 2: 4 STARS. “this is JLaw’s movie.”

“The Hunger Games: Mockingjay – Part 2,” the final part in Jennifer Lawrence’s quintet of blockbusters based on Suzanne Collins’s novels, begins seconds after the last movie ended. There’s no “previously on The Hunger Games.” It’s as if no time has passed since the last movie. It may leave newbies to the series a bit baffled but fans should appreciate getting right down to business.

The broad strokes of the story are easy to get even if you haven’t seen the other movies. Know that Katniss Everdeen is the Mockingjay, a symbol of hope in a country torn apart by Civil War. She’s also a butt-kicking warrior with a conscience. Peeta Mellark (Josh Hutcherson), her ex boyfriend-turned-propaganda-tool for the government, now suffers from PTSD but has re-joined the efforts to bring down the evil President Snow (Donald Sutherland).

Publicly Snow calls Everdeen, “A poor unstable girl with nothing more than a talent with a bow and arrow,” but really he understands her value as a symbol to the revolution against him. For her part she is done with making speeches and propaganda videos and sees her job as eliminating Snow. “He needs to look into my eyes when I do it,” she says.

She sets off to the Capitol to hunt down Snow and faces her greatest challenges yet.

“The Hunger Games: Mockingjay – Part 2” is a cut above other young adult action movies. It skilfully blends politically charged action with elements of horror—how about those pasty white subterranean creatures?—romance and, it must be said a dollop of mush. It’s dark and dangerous, unafraid to explore the gritty side of the story.

It’s strongest asset, however, is its star, Jennifer Lawrence. She brings the complex character alive, displaying equal parts heroism, vulnerability and determination. She is the glue that binds all the elements together and is, far and away, the most interesting YA heroine in recent years.

Julianne Moore, Sutherland, Liam Hemsworth, Woody Harrelson and the late Philip Seymour Hoffman (who died before shooting was complete) round out the cast to create an interesting ensemble, but this is Lawrence’s movie.

“The Hunger Games” franchise has taken what is essentially a fancied up Civil War story and created a complete world, ripe with detail and intrigue. “Part 2” adds in a city that is basically a giant booby trap and some crazy creatures but stays true to the core of Everdeen’s story of survival.

“The Hunger Games: Mockingjay – Part 2,” will satisfy fans and please newcomers to the franchise. The long coda that wraps up the franchise is probably only for hardcore fans hungry for details about Katniss and Peeta, but felt like padding to me. On the upside, there might be a great drinking game in here. Do a shot every time Katniss is knocked out and fights to regain consciousness and my guess is you’ll be just a shell-shocked as she is by the end of the movie.

The Calling: A throwback to slow-burn crime dramas from director Jason Stone

susan_sarandon-the_callingBy Richard Crouse – Metro Canada

“My resume belies some of my appetite for gross out humor,” laughs the South African born, Toronto-raised producer of the Seth Rogen hit This Is the End.

But today we’re not talking about his edgy work with Rogen, his writing (he co-wrote the satanic comedy Teen Lust which debuts at the Toronto International Film Festival this year) or his award winning short films.

“I love using the scope of filmmaking and really getting the wheels turning,” he says, “being larger than life and creating a world. I thought The Calling had all of that, elements of mystery and comedy and drama, that I thought were a real draw.”

The Calling is his feature directing debut and stars Susan Sarandon as small-town Canadian cop tracking down a serial killer.

“I still pinch myself that it all came together the way it did,” he says. “There’s a saying in casting, ‘Who’s going to be your cast magnet?’ We had a pretty powerful magnet with Susan and once she was involved we were able to attract talent as diverse as the top line cast, Topher [Grace], Ellen [Burstyn] and Donald [Sutherland].”

The movie is a throwback to, as Stone says, “propulsive thrillers with big ideas executed by brilliant actors.” He says movies like Kiss the Girls, Along Came a Spider and Silence of the Lambs, “used to be the bread and butter back in the early 90s and if we could even be put in the same breath as any of those I’d be thrilled.”

“Those are some of my favorite movies of that era. There is so much character in them. I feel like the studios have replaced a lot of the character in those mid range films with spectacle. It takes a lot more money to make your money back so you have to appeal to a much broader audience. I guess that means adding robots.”

Not that he’s unwilling to make a mega movie one day.

“I hope to have a long career making the films I’d love to make,” he says, “so if the right story comes along and there’s a budget behind it I feel like I’d definitely jump at the chance if there was a story I could connect to and I thought there was some humanity to it. I would like to think I would only make something I feel a personal connection to.”

THE CALLING: 3 STARS. “Sarandon is terrific as outwardly tough detective.”

There was a time when serial killers ruled the movie theatres. Movies like “Kiss the Girls,” “Se7en” and “Silence of the Lambs” were big hits and law enforcement types like Alex Cross and Clarice Starling were big draws. Now those stories have been moved to the small screen and television shows like “CSI” and “Criminal Minds” track down the kinds of killers their big screen counterparts used to stalk.

“The Calling” is a throwback to the type of 90s thrillers that made Ashley Judd a star and kept audiences on the edge of their seats.

Drawn from the pages of Inger Ash Wolfe’s mystery novels, Susan Sarandon plays pill-popping Detective Hazel Micallef, a world weary small town Canadian cop just a drunken whisper away from unemployment. The sleepy little town of Fort Dundas doesn’t offer up much in the way of major cases until a string of grisly murders—slit throats and organ removals—forces Micallef to dust off her detecting skills and track down a killer with driven by fanatical religious fervor.

First time director Jason Stone ratchets the bleak atmosphere up to Creep Factor Five in this eerie character driven mystery. There’s a little bit of “Fargo” in the mix, with some dark humor—“I just found the guy’s stomach!”—and disquieting imagery, but the real draw is watching the characters navigate through the film’s unsettled but strangely familiar world.

Sarandon is terrific as outwardly tough detective with a self-destructive center, while Sutherland brings his patented gravitas to the role of a priest who knows more than he is willing to let on. They, along with Grace, Burstyn (who isn’t given enough to do) and Gil Bellows as a no nonsense detective, temper the story’s more outrageous holistic killer Catholic elements.

“The Calling” could have snapped up the pacing a bit, but the slower tempo gives us more time to sit back and enjoy the performances.

he chose the road not taken and it’s made all the difference. Metro Nov. 21, 2013

Screen Shot 2013-11-21 at 12.56.14 PM“It was the idea of connecting with another human being at a deep level,” that attracted John Bourgeois to acting. “I think that is what all artists try to do. We try to penetrate and get through to other people. To feel connected,” says the veteran mainstay of stage and screen.

“I came from a loving but troubled family that experienced the usual catastrophes (drugs, alcohol, adultery, divorce, debt) so there’s wasn’t a lot of support for higher education or culture.”

“That said, when I told them I was going to be an actor they encouraged me to go for it. Both my mother and my father had searing regrets for the roads not taken so they didn’t want me to have the same experience.”

He came across his love of acting quite by accident while studying journalism at Concordia in Montreal.

“It wasn’t until I was in second year university and honestly I needed to do a course where I didn’t need to write a paper,” he says. “So I took an acting course on a Monday night. That was it. I was bitten. I did a scene from Death of a Salesman and it was transformational.

Around the same time he worked as a production assistant on a film called Blood Relatives and for the first time saw how a performance was created.

“I had been around actors in my younger life and I didn’t know what they did until I saw a specific performance. I saw it being created and I went, ‘I see what this person is doing and it is really quite a craft they have going there.’ It wasn’t just showing off.”

That actor was Donald Sutherland. “I was his driver on the movie. Sutherland is a very thoughtful person and his approach to his work was very thoughtful. That changed my view of the craft.”

Despite booking three plays in his final year of university and thinking, ‘How hard can it be to make a living at this?’ he says, “the struggle, at the start, it’s mostly a financial one. There’s always a danger that the hustle will distort your character. That very nearly happened but I was fortunate to meet some very honest and good people along the way who kept me from self-destructing. So yes, I would do it again.

“Being an actor means being a great observer and that’s a great angle from which to experience life. Besides, resistance sharpens the senses and makes us keenly aware of the passing moment. And surely being present and connecting with others is what it’s all about.”

That passion for acting and relating to audiences hasn’t dimmed over the course of 100 plus film, television and stage roles—“You have to wear a lot of different hats in order to make a decent living,” he says—but recently, in addition to co-starring with Whoopi Goldberg in the TV movie A Day Late and Dollar Short, he has discovered a new way to practice his craft.

“I came to teaching relatively late,’ he says of his job as program director of Acting for Film and Television at Humber College. “The biggest revelation to me is that it is as much a craft as any other you can think of. It is a form of performance. You’re standing in front of people, talking. What I have discovered, when you teach you discover stuff about your craft.

“It puts your own relationship to your craft under a magnifying glass and you become fascinated by what it is that frees up creativity in an actor, how you can equip them with the right toolbox to give them that sense of liberation in their work. It is immensely gratifying.”

With a lifetime of experience under his belt he has some great advice for his students.

“Don’t ever wait for the phone to ring,” he says, “That’s a waste of time and energy. Instead act. Anywhere and everywhere. Make your own work. Love the craft and above all protect your talent from the harsh realities of the business. Find ways to practice it. Train with leading practitioners like at Humber. Produce a play. Make a web series. Act. Do. Everything else is gossip.”

SIDEBAR:

In his latest gig Ottawa-born actor John Bourgeois is stepping into some very big shoes. In the dramedy God of Carnage, now playing until December 15 at the Panasonic Theatre in Toronto, he’s lawyer Alan Cowan, previously played by Jeff Daniels on Broadway and Christoph Waltz on film.

He’s seen both productions but says neither inspired him.  “I’ve been doing this for so long so I don’t find myself as easily influenced as I was when I was a young actor,” he says, his booming voice echoing down the line on a break from rehearsal. “I think young actors are more susceptible to those iconic influences.”

Instead, he drew on personal experience to build the character.

“I’ve known quite a few lawyers who are A type, personality driven, really competitive, hyper focused but sometimes they are a little socially tone deaf and that’s where I picked up Alan.”