I join “CTV News Toronto at Five” with host Zuraidah Alman, to talk about the almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Watch the whole thing HERE! (Starts at 13:15)
I join CTV Atlantic anchor Todd Battis to talk about the almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Watch the whole thing HERE!
I sit in with hosts Jim Richards and Deb Hutton on NewsTalk 1010 to play the game “Did Richard Crouse Like This?” This week we talk about the almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Listen to the whole thing HERE!
I join the CTV NewsChannel to talk about almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with guest host Andrew Pinsent to talk the new movies coming to theatres including the almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Listen to the whole thing HERE!
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 almost epic “The Return,” the apocalyptic musical “The End” and the nostalgic disaster flick “Y2K.”
Watch the whole thing HERE!
SYNOPSIS: Taking its inspiration from an ancient text, “The Return,” a new historical drama starring Ralph Fiennes and Juliette Binoche now playing in theatres, is the story of a disgraced king returning from the disastrous Trojan War.
CAST: Ralph Fiennes, Juliette Binoche, Charlie Plummer. Directed by Uberto Pasolini based on Homer’s Odyssey.
REVIEW: A story of loyalty and vengeance, “The Return” is a stripped-down version of the Greek poem “Homer’s Odyssey.” Epic in its themes if not in its execution, the story derives much of its power from the performances of Ralph Fiennes and Juliette Binoche as lovers separated by the ravages of war and time.
Director Uberto Pasolini, who co-wrote the script with John Collee and Edward Bond, skips past the more fanciful parts of Homer’s poem. There’s no cyclops, divine intervention or multi-headed monsters. Instead, it skips to Odysseus (Ralph Fiennes), the legendary Greek king of Ithaca, returning home after twenty years at war. Assumed dead, unrecognizable and mistaken for a beggar, he finds his former kingdom in disarray.
His wife Penelope (Binoche) never remarried, despite the dozens of suitors who vied for her hand. As she is pressured to choose a husband to take the throne, her son Telemachus (Charlie Plummer) is threatened with death by ambitious wannabe-kings.
Before he can return home to his wife, son and throne, Odysseus must come to grips with his past as a warrior responsible for his vanquished army. “What will the people say when they see I have returned alone?” he asks. “That I led all their men to their deaths.”
Fiennes embraces this more earthbound adaptation. His Odysseus is a man beaten by war, scarred mentally and physically. “It’s everywhere,” he says of war. “It’s in everything you touch.” Just as the movie is stripped down, so is his performance. Divested of the formality and archaic language that frequently comes along with adaptations of ancient stories, “The Return” allows Fiennes to concentrate on what fundamentally makes the character interesting, his humanity.
Weary from war, he is defeated, but we still get a sense of the warrior he once was and the guile that helped him survive. It’s a terrific performance that showcases the character’s duality, at once sorrowful and frail and yet, able to muster the power that made him a king.
And, at age 61, Fiennes is ripped, sinewy and shredded, as revealed by his loose-fitting toga and a full-frontal nude scene.
Binoche is regal, displaying the kind of dualism that makes Fiennes’s Odysseus so compelling. She’s mournful at the loss of her husband, the wreck her kingdom has become and the political maneuvering that threatens the life of her son. And yet, she persists, using her wits to control the situation.
“The Return” is not a spectacle by any means. The sets and wardrobe are kept to a minimum, but the simplicity works, bringing focus to a story that could easily have been distracted by flashier design or a load of CGI.
“The Return’s” slow-ish pace and conversations with more pauses than dialogue may take some getting used to, but they are all in service of building tension, which eventually explodes in the film’s fiery climax.
SYNOPSIS: In “Close to You,” a new family drama now playing in theatres, Academy Award Nominee Elliot Page stars as Sam, a trans man visiting his family for the first time in four years. The trip home is a journey of self-discovery as Sam confronts the past and reconnects with Katherine (Hillary Baack), an old flame.
CAST: Elliot Page, Hillary Baack, Peter Outerbridge, Wendy Crewson, Alex Paxton-Beesley, Janet Porter, Daniel Maslany, David Reale, Andrew Bushell, Sook-Yin Lee. Directed by Dominic Savage.
REVIEW: Led by strong performances, “Close to You” is emotional, therapeutic and just a little bit messy. It feels intimate, up-close-and-personal, as tensions grow in Sam’s family and a past romance rekindles.
There’s an immediacy to director Dominic Savage’s work as he captures the fraught interactions between Sam and his family. With no formal script, the actors improvise, bringing a naturalism to the scenes of Sam’s homecoming.
Unfortunately, while some of the movie sounds natural, much of the dialogue meanders around in search of a point. The improvisational nature brings with it unfocussed scenes as the actors look for a way to forward the action. There’s lots of repetition, as the characters speak in circles, and yet the important stuff, like motivations, are left unsaid.
There are exceptions. A scene between Sam and his father Jim (Peter Outerbridge) is tightly focused on their relationship and Jim‘s acceptance of his son. It’s beautifully performed, with passion, but also with restraint. As mother Miriam, Wendy Crewson navigates difficult waters, misgendering Sam in a heartbreaking conversation.
A later scene at the dinner table is a climatic high in terms of the film’s story and Sam’s journey, but its cathartic effectiveness is muted by histrionics.
The stand-out is Page who radiates the apprehension and anxiety Sam feels in subtle and interesting ways. It’s a raw and real performance that helps smooth over some of the film’s rough patches.
SYNOPSIS: In “Good One,” a new drama now playing in theatres, Chris (James LeGros), his 17-year-old daughter Sam (Lily Collias) and his best friend Matt (Danny McCarthy) take a weekend backpacking trip in the Catskills. When tensions arise, Sam is caught in the middle, between her bickering father and his oldest friend.
CAST: Lily Collias, James Le Gros, Danny McCarthy, Sumaya Bouhbal, Diana Irvine, Sam Lanier, Peter McNally, Eric Yates. Directed by India Donaldson.
REVIEW: You could be forgiven for expecting something more from “Good One.” The in-the-middle-of-nowhere set-up seems familiar, as though there is danger lurking around every corner, but this is not that movie. Not really, anyway.
The low-fi debut from director India Donaldson defies expectations with a movie that takes a simple coming-of-age idea and amplifies it with slow burn intensity. This is not a horror film, a cabin in the woods deal, this is an emotional tale about the dread of being belittled and unappreciated.
Sam, the youngest but perhaps most mature of the member of the hiking trio, learns valuable life lessons as she confronts her father’s controlling nature and microaggressions and Matt’s loutish, inappropriate remarks.
Not that she elucidates them.
She doesn’t need to because Collias, in her biggest role to date, does a remarkable job of allowing us to read the thoughts written on her face. Her expressions portray the complexity of the performance, but the beauty of her work is in its simplicity as she effortlessly (or so it seems) acknowledges the hard truths about her relationship with her father and Matt. The look on her face when she unburdens herself to Chris, only to have him respond “C’mon… can’t we just have a nice day?” tells us more than any lines of dialogue could.
She is the “good one” of the title; younger but wiser.
Instead of simply painting LeGros and McCarthy as oblivious older guys, Donaldson, who also wrote the script, gives them something to work with. They have backstories, insecurities and quirks that make them human, and not just avatars for clueless behavior. LeGros and McCarthy are excellent, handing in naturalistic, relatable performances.
“Good One” takes its time to get where it is going. The bucolic backdrop, with its gently rolling hills and babbling brooks, sets the tone. It can sometimes feel like nothing is happening, but somehow, Donaldson delicately ramps up the tension, one crossed boundary at a time.
