I appear on “CTV News at 6” with anchor Andria Case to talk about the best movies and television to watch this weekend. This week I have a look at Billy Eichner’s LGBTQ2+ rom com “Bros,” the Vietnam story “The Greatest Beer Run Ever” and the Halloween reboot “Hocus Pocus 2.”
I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres. Today we talk about Billy Eichner’s LGBTQ2+ rom com “Bros,” the Vietnam story “The Greatest Beer Run Ever,” the creepy psychological horror film “Smile” and the Halloween reboot “Hocus Pocus 2.”
I join CTV NewsChannel anchor Marcia MacMillan to talk about the Billy Eichner’s LGBTQ2+ rom com “Bros,” the Vietnam story “The Greatest Beer Run Ever,” the creepy psychological horror film “Smile” and the Halloween reboot “Hocus Pocus 2.”
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including Billy Eichner’s LGBTQ2+ rom com “Bros,” the Vietnam story “The Greatest Beer Run Ever,” the creepy psychological horror film “Smile” and the Halloween reboot “Hocus Pocus 2.”
“Lock up your children,” says Winifred in “Hocus Pocus 2.” “Yes Salem. We are back!”
Twenty-nine years ago, the original “Hocus Pocus,” a comedic fantasy about the Sanderson sisters, a trio of witches played by Bette Midler, Sarah Jessica Parker and Kathy Najimy, was a middling hit in theatres, and labelled “dreadful” by Gene Siskel.
But despite critical lashings and a current score of 39 percent on Rotten Tomatoes, over the years, the Sanderson sisters have become Halloween favorites, so much so, that the town of Salem, Massachusetts threw a celebration in honor of the film’s 25th anniversary.
Disney+ gives fans another wave of the wand with “Hocus Pocus 2,” a sequel that gives new life to the Sanderson sisters.
The new film begins with a flashback to hundreds of years ago in Salem. The Sanderson sisters, played as teens by Taylor Paige, Nina Kitchen and Juju Journey Brener, become outcasts, sowing the seeds of the rage that will consume them for hundreds of years.
Cut to present day. Salem teens three teens are Becca (Whitney Peak), Cassie (Lilia Buckingham), and Izzy (Belissa Escobedo) are best friends, who hang out at the local magic shop run by Gilbert (Sam Richardson). With the help of a special Black Flame Candle, supplied by Gilbert, the teen trio resurrect the sister witches, just as Max (Omri Katz), Allison (Vinessa Shaw), and Dani (Thora Birch) did decades before in the original film.
But Salem is a much different place since the sisters last visited. In the midst of a Halloween celebration, the sisters don’t inspire fear as much as admiration. So many revelers are dressed as the Sandersons, that the city hosts a look-alike contest.
But it’s not all fun and games. The sisters are looking to gather up some tasty teen life-forces and get vengeance for the mistreatment they suffered years before. It’s up to the high schoolers to stop them.
Part horror comedy, part musical (the sisters don’t understand modern day traditions, but somehow are able to belt out Blonde’s “One Way or Another” at the drop of a witch’s hat) and all nostalgia. The spectre of the 1993 haunts the new film as it pays homage to the original to the point where the new stars—Peak, Buckingham and Escobedo—get lost in the shuffle once the original sisters show up.
As fans of the first movie might expect, Midler, Najimy and Parker chew the scenery, offering up larger-than-life performances, heavy on the whimsy. They are campy—particularly when singing a revamp of Elton John’s “The Bitch is Back,” reworked as “The Witch Is Back”—and often funny in an outrageous but family-friendly way.
“Hocus Pocus 2” is fan service. It expands the Sanderson sister’s story, providing an origin story (probably the best part of the movie) and gives Parker and Najimy more to do than the original. Mix in some modern sensibility about accepting people’s differences and you have an hour and forty minutes of forgettable fun. It’s not nearly as bewitching as the 1993 film, but may cast a spell over longtime fans.
Baby Driver: Although it contains more music than most tuneful of movies “Baby Driver,” the new film from director Edgar Wright, isn’t a musical in the “West Side Story,” “Sound of Music” sense. Wallpapered with 35 rock ‘n roll songs on the soundtrack it’s a hard driving heist flick that can best be called an action musical.
The Big Sick: Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
Call Me By Your Name: This is a movie of small details that speak to larger truths. Director Luca Guadagnino keeps the story simple relying on the minutiae to add depth and beauty to the story. The idyllic countryside, the quaint town, the music of the Psychedelic Furs and the languid pace of a long Italian summer combine to create the sensual backdrop against which the romance between the two blossoms. Guadagnino’s camera captures it all, avoiding the pitfalls of melodrama to present a story that is pure emotion. It feels real and raw, haunted by the ghosts of loves gone by.
Darkest Hour: This is a historical drama with all the trappings of “Masterpiece Theatre.” You can expect photography, costumes and period details are sumptuous. What you may not expect is the light-hearted tone of much of the goings on. While this isn’t “Carry On Churchill,” it has a lighter touch that might be expected. Gary Oldman, not an actor known for his comedic flourishes, embraces the sly humour. When Churchill becomes Prime Minister his wife, Clementine (Kristin Scott Thomas) makes an impassioned speech about the importance of the work he is about to take on. He raises a glass and, cutting through the emotion of the moment, says, “Here’s to not buggering it up!” It shows a side of Churchill not often revealed in wartime biopics.
The Disaster Artist: The key to pulling off “The Disaster Artist” is not recreating “The Room” beat for beat, although they do that, it’s actually about treating Wiseau as a person and not an object of fun. He’s an outrageous character and Franco commits to it 100%. From the marble-mouthed speech pattern that’s part Valley Girl and part Beaker from The Muppets to the wild clothes and stringy hair, he’s equal parts creepy and lovable but underneath his bravado are real human frailties. Depending on your point of view he’s either delusional or aspirational but in Franco’s hands he’s never also never less than memorable. It’s a broad, strange performance but it may also be one of the actor’s best.
Dunkirk: This is an intense movie but it is not an overly emotional one. The cumulative effect of the vivid images and sounds will stir the soul but despite great performances the movie doesn’t necessarily make you feel for one character or another. Instead its strength is in how it displays the overwhelming sense of scope of the Dunkirk mission. With 400,000 men on the ground with more in the air and at sea, the sheer scope of the operation overpowers individuality, turning the focus on the collective. Director Christopher Nolan’s sweeping camera takes it all in, epic and intimate moments alike.
The Florida Project: This is, hands down, one of the best films of the year. Low-budget and naturalistic, it packs more punch than any superhero. Director Sean Baker defies expectations. He’s made a film about kids for adults that finds joy in rocky places. What could have been a bleak experience or an earnest message movie is brought to vivid life by characters that feel real. It’s a story about poverty that neither celebrates or condemns its characters. Mooney’s exploits are entertaining and yet an air of jeopardy hangs heavy over every minute of the movie. Baker knows that Halley and Moonie’s well being hangs by a thread but he also understands they exist in the real world and never allows their story to fall into cliché.
Get Out: This is the weirdest and most original mainstream psychodrama to come along since “The Babadook.” The basic premise harkens back to the Sidney Poitier’s classic “Guess Who’s Coming to Dinner.” In that film parents, played by Spencer Tracy and Katharine Hepburn, have their attitudes challenged when their daughter introduces them to her African American fiancé. The uncomfortable situation of meeting in-laws for the first time is universal. It’s the added layers of paranoia and skewered white liberalism that propels the main character’s (Daniel Kaluuya) situation into full-fledged horror. In this setting he is the other, the stranger and as his anxiety grows the social commentary regarding attitudes about race in America grows sharper and more focussed.
Lady Bird: Greta Gerwig’s skilful handling of the story of Lady Bird’s busy senior year works not just because it’s unvarnished and honest in its look at becoming an adult but also, in a large degree, to Saoirse Ronan’s performance. I have long called her ‘Lil Meryl. She’s an actor of unusual depth, a young person (born in 1994) with an old soul. Lady Bird is almost crushed by the weight of uncertainty that greets her with every turn—will her parents divorce, will there be money for school, will Kyle be the boy of her dreams, will she ever make enough cash to repay her parents for her upbringing?—but Ronan keeps her nimble, sidestepping teen ennui with a complicated mix of snappy one liners, hard earned wisdom and a well of emotion. It’s tremendous, Academy Award worthy work.
The Post: Steven Spielberg film is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times. Director Spielberg and stars Tom Hanks and Meryl Streep are entertainers first and foremost, and they do entertain here, but they also shine a light on a historical era whose reverberations are being felt today stronger than ever.
The Shape of Water: A dreamy slice of pure cinema. Director Guillermo del Toro uses the stark Cold War as a canvas to draw warm and vivid portraits of his characters. It’s a beautiful creature feature ripe with romance, thrills and, above all, empathy for everyone. This is the kind of movie that reminds us of why we fell in love with movies in the first place.
Three Billboards Outside Ebbing, Missouri: The story of a mother’s unconventional war with the world is simple enough, it’s the complexity of the characters that elevates the it to the level of great art.
Wonder Woman: Equal parts Amazon sword and sandal epic, mad scientist flick, war movie and rom com, it’s a crowd pleaser that places the popular character front and centre. As played by Gal Gadot, Diana is charismatic and kick ass, a superhero who is both truly super and heroic. Like Superman she is firmly on the side of good, not a tortured soul à la Batman. Naïve to the ways of the world, she runs headfirst into trouble. Whether she’s throwing a German tank across a battlefield, defying gravity to leap to the top of a bell tower, tolerating Trevor’s occasional mansplaining or deflecting bullets with her indestructible Bracelets of Submission, she proves in scene after scene to be both a formidable warrior and a genuine, profoundly empathic character.
Richard and CP24 anchor George Lagogianes have a look at the weekend’s new movies including ”Star Wars: The Last Jedi,” the no-bull kid’s tale “Ferdinand” and the coming-of-age romance “Call Me By Your Name.”