RICHARD’S “CANADA AM” REVIEWS FOR MARCH 27 WITH BEVERLY THOMSON.
Richard’s “Canada AM” reviews for “Get Hard,” “Home” “Boychoir” and “October Gale.”
Watch the whole thing HERE!
Posts Tagged ‘Dustin Hoffman’
BOYCHOIR: 3 STARS. “smoothes over the rough bits in favour of being a crowd-pleaser.”
Recently “Whiplash” studied the student-mentor relationship as it applied to a drummer and his teacher. It painted a brutal picture of the ruthless search for perfection but the dynamic between the two fed the drama and made the extended drum solo at the end of the film as exciting as any action flick set piece.
“Boychoir” breathes similar air but is much lighter in its approach.
Stet (Garrett Wareing) is a rebellious Texas tween from a rough neighbourhood. He’s a troubled orphan with the proverbial voice of an angel given the chance to improve his life and voice by earning a spot at the Boychoir boarding school. Under the tutelage of the demanding Master Carvelle (Dustin Hoffman) Stet travels the world, sublimating his anger with music and creativity.
“Boychoir” will please people who found “Whiplash” too harsh. It’s the kinder, gentler version of the student-mentor tale that places the music in the forefront. The choral arrangements are stirring but the story could have benefitted from taking a chance or two.
Director François Girard does a nice job of moving the plot from A to B but, like the beautiful music featured on the soundtrack, is a bit too harmonious, too conventional in the telling of the story. Hoffman brings a sense of melancholy to a character who has given his life to music and left room for very little else. That would have been worth exploring, but “Boychoir” is content to smooth over the rough bits in favour of being a crowd-pleaser.
Metro Canada: Dustin Hoffman gets to play at his first love in “Boychoir” role.
By Richard Crouse – Metro Canada
As an actor two time Academy Award winner Dustin Hoffman has created some indelible characters—Midnight Cowboy’s Ratso Rizzo and Tootsie to name a couple—but from an early age he dreamed of being a professional pianist.
“I wanted to be a musician but I was never talented enough,” he says, “so I’m not a musician. I have small hands—and by the way there is no correlation to your hands and personal parts—so I can’t reach much more than an octave.”
In the new film Boychoir he shows his musical side playing a choirmaster to a group of talented youngsters. During the film’s making he tinkled the ivories on screen and off, spending his downtime duetting with director François Girard.
“As far as François and I noodling on the piano,” he says, “I would have preferred it was only me. He was busy lining up the shots, but he did noodle, so there was a bit of competitive noodling.”
As a young man he studied classical piano but when it became apparent he’d never turn pro, he tried his hand at acting. “I had been flunking out of junior college and somebody said, ‘Try acting. Nobody flunks acting.’”
Enrolling at the Pasadena Playhouse, he shared a room with Robert Duvall and studied with Gene Hackman.
“No one told me I was a good actor,” he says. “No one told Gene and there was a third person, Duvall, and we hung out together. They are both much, much older than me. If someone was to say to the three of us in those early days that we were going to be successful, forget about being movie stars, everyone would have laughed. It’s kind of a freak accident that it happened to all three of us.”
Hoffman’s big break came in the form of Benjamin Braddock in The Graduate. Robert Redford was considered for the part but director Mike Nichols rejected the traditionally handsome actor—“ You can’t play it,” he told Redford. “You can never play a loser.”—in favour of the unknown Hoffman. The Graduate made him a star and is now considered a classic, but almost fifty years later he remembers how the critics savaged his performance.
The barbs hurt at the time, but he doesn’t let them get under his skin any more. “Critics are… I shouldn’t say,” he laughs, “I don’t know if anyone grows up saying, ‘When I grow up I want to be a critic.’”
RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY MARCH 13, 2015.
Richard’s CP24 reviews for “Cinderella,” “Run All Night” and “The Cobbler” with anchor Nneka Elliot.
Watch the whole thing HERE!
RICHARD’S “CANADA AM” REVIEWS FOR MARCH 13 WITH BEVERLY THOMSON.
Richard’s “Canada AM” reviews for “Cinderella,” “Run All Night,” “The Cobbler” and “Miss Julie.”
Watch the whole thing HERE!
THE COBBLER: 2 STARS. “has more sole than soul and is a bit flatfooted.”
There’s something missing in the new Adam Sandler movie. Notable in their absence in this story of a cobbler with the uncanny ability to change into other people, are jokes of, how to put this delicately… a gastrointestinal nature, one of the hallmarks of the Sandleronian oeuvre.
In “The Cobbler” he plays Max Simkin, a shoe repairman from a long line of cobblers. Like his father and grandfather before him, he runs the family business on New York City’s Lower East Side. He’s dissatisfied with his work, with his non-existent love life and living with his elderly mom. When he repairs Leon Ludlow’s (Method Man) shoes on an old stitching machine, unused since his father left the business years ago, Max discovers the machine imbues the shoes with the magical power of transformation. With that discover Max steps into a world of wonder where he can be anyone he wants… as long as he has their shoes and they are size 10 ½.
This is a slight movie; a one-joke idea stretched to feature length with the addition of a crime subplot. There will be no spoilers here, but let it be known that by the end of the movie he becomes known as The Cobbler, a guardian of souls.
There are jokes to be made about walking a mile in a man’s shoes before you can presume to know them, but this movie doesn’t make them. In fact, it makes very few actual jokes. There are laughs but this isn’t one of those Adam Sandler movies that strains to make you giggle several times per minute.
It’s one of his kinder, gentler fantasies, like “Click” or “Bedtime Stories.” Sandler is the likeable center of the story, and he carries it through the first half until the plot starts to become cluttered with characters and later, sentiment. The amazing transformation shoes could have been used to deepen the story by showing Max learn about himself as he learns how the other half lives. Instead he goes undercover to get money to buy his mother a headstone which leads him to help an old man keep his apartment and possibly even get a date with a pretty activist (“Fruitvale Station’s” Melonie Diaz). Deep it ain’t.
Then it flies off into a wild flight of fancy that I still can’t decide if it is the greatest or stupidest plot twist ever in a movie. There’ll be no spoilers here, but let’s just say the film is set up to be the first in a series.
“The Cobbler” has more sole than soul, and is a bit flatfooted in its approach to the story, but it is a nice change to see an Adam Sandler movie and not be bombarded with bathroom humor.
TIFF 2014: SOME OFF-THE-SCREEN HIGHLIGHTS FROM THIS YEAR’S FESTIVAL
Appearing in one of the movies! I was in Red Alert, a short that played before the movie Wet Bum. IT’s not enough that I cover 100 movies during the fest, now I have to be in them too! I even got a review. “@richardcrouse is great in Red Alert…” Mike Bullard wrote on twitter. “I’d like to tell you I didn’t know he was a redhead but I knew… I just knew ok.”
In person Benedict Cumberbatch’s voice sounds like hot melting wax. I liked Sherlock well enough and have seen him in several movies, but for me, and I know I’m the last to get it, his performance in The Imitation Game is a game changer. He plays real-life character Alan Turing, a Cambridge mathematician who volunteers to help break Germany’s most devastating WWII weapon of war, the Enigma machine. It was a top-secret operation, classified for more than 50 years, but that wasn’t Turing’s only secret. Gay at a time when homosexuality was illegal, punishable by jail or chemical castration, he was forced to live a world of secrets, both personal and professional.
Hosting the This Is Where I Leave You and The Good Lie press conferences.
Robert Pattinson telling me about how Hollywood was before camera phones: “When I first started going to LA everyone was underage and if you were a famous actor the rules did not apply. You could be a sixteen-year-old and go into a club but now that there are camera phones everywhere that doesn’t exist anymore. That period was so weird. You’d see a fourteen-year-old actor wasted, doing lines of blow on the table. It was crazy. Now they just do it at their parent’s house.”
Julie Taymore telling me that A Midsummer Night’s Dream “It was the first play I ever saw. I saw it here in Canada at the Stratford Festival…”
Michael Moore’s answer to my question about his reaction to all the celebrity he gained after appearing at TIFF 25 years ago with Roger and Me: Asked what was going through his head while all this was swirling around him, Moore says: “Why didn’t I go to Jenny Craig three months ago?”
“I don’t know where they are,” Kingsley says about his characters, “if they’re inside me waiting to come out or whether they are outside of me. Are they hunting me or am I hunting them? I don’t know.”
Repairing Dustin Hoffman’s watch. During a roundtable interview the alarm on his watch went off several times. He gave it to me and I looked up the instructions on how to fix it on Google. “How did it you look it up on line? They have instructions to fix Timexes on line? I don’t automatically go to those things,” he said. During the interview he said: “I was told to take acting. Nobody flunks acting.” Later he said that it wasn’t such a bad choice because, for instance, “No one ever says, ‘I want to be a critic when I grow up.’”
Lowlight… waiting for BIll Murray for seven hours. (Although I love this from @ZeitchikLAT: Bill Murray, offering implicit proof on the merits of Bill Murray Day: “If this is really my day, why do I have to do so much work?”)
Sitting next to next to Boo Radley, Bill Kilgore and Tom Hagan. (Robert Duvall!)
Most quotable actors of the festival? Robert Duvall who said, about acting, “There’s no right or wrong just truthful or untruthful.” He calls Billy Bob Thornton “The hillbilly Orson Welles…” and said “Brando used to watch Candid Camera.” Jane Fonda was a close second when she said acting is great for the heart but terrible for the nerves… “Butts have become more in fashion… (since Barbarella) and “Television is forgiving to older women and making it possible for us to have longer careers.”
“I have distilled socialism in this box and am taking it back to America.” – Robert Downey Jr in my roundtable interview.
#TIFF14 socks day 3. Chris O’Dowd called them “powerful.” and Rosamund Pike said, “I’m enjoying your socks. They make me happy.”
Watching “Whiplash” knock the socks off an audience at an IMAX P&! screening. It is part musical—the big band jazz numbers are exhilarating—and part psychological study of the tense dynamics between mentor and protégée in the pursuit of excellence. The pair is a match made in hell. Teacher Fletcher, played by J.K. Simmons is a vain, driven man given to throwing chairs at his students if they dare hit a wring note. He’s an exacting hardliner who teaches by humiliation and fear. This movie doesn’t miss a beat.
Love this quote: “Being in the military,” said Adam Driver of This Is Where I Leave You, “believe it or not, is very different than being in an acting school.”
TIFF 2014: Metro Canada The Reel Guys reflect on the first weekend of TIFF
By Richard Crouse & Mark Breslin – Metro Reel Guys
Bill Murray, Al Pacino, Robert Downey and Dustin Hoffman highlight first weekend at Toronto film fest. The Reel Guys, Richard Crouse and Mark Breslin, give us their take on the first weekend of the festival.
Richard: Mark, no matter how prepared I think I am going into TIFF, the first weekend always bowls me over. Like I’ve been run over by a stretch limo running late for a red carpet. This year was no different. Things really kicked off on Friday with the celebration of all things Murray. Bill, that is. The great man himself was seen all over town and even did a Q&A before a screening of Ghostbusters, and appeared in the pouring rain at the gala for his new one, St Vincent. My favourite line of his? “If this is really my day, why do I have to work so hard?”
Mark: Wish I’d seen that, Richard. But I did see Al Pacino, the great Al Pacino, in the unanticipated Q&A after The Humbling. When asked why he was drawn to the material in the Philip Roth adaptation, he said that the character had a lot in common with him, as an actor on the way down and a bit of a has-been. It was an amazing moment of how one of the greatest actors in the world regards himself. Also, he said he acquired the rights to the book in 2009. Which means it took five years for Al Pacino, the great Al Pacino, to get a movie made. Yikes! I admit the material is complex, and not multiplex fare. But The Humbling also has an offbeat sense of humour and a killer script by Buck Henry.
RC: When I wasn’t at a screening, I spent the weekend interviewing people — notably, the stars of the opening night film, The Judge. Robert Downey Jr. was last year’s highest-paid movie star, and he’s also one of the most quotable. When he walked into the room he was carrying a little green box. “I have distilled socialism in this box,” he announced, “and am taking it back to America.” In a wide-ranging conversation, he talked about portraying realism on camera — “Realism is the death of cinema in many ways” — and plans for his next couple of movies. “I can tell you for sure that we are obsessively working on another Sherlock, and the Marvel universe seems to self-perpetuate.”
MB: What other star than Downey would dare to use the word socialism in an interview that could be picked up by Fox News? What a gloriously eccentric actor and human being.
RC: I also got to spend some time with Dustin Hoffman. Not only did I fix his watch — he couldn’t stop the alarm from going off every 10 minutes or so — but we talked about his film Boychoir, and why he started acting in the first place when his first love was music. “I wanted to be a musician but I wasn’t talented enough. I have small hands,” he said, which made it difficult to excel at piano. “There is no correlation between small hands and private parts,” he added, before saying, “I was told to take acting. Nobody flunks acting.” Later he said that it wasn’t such a bad choice because, for instance, “No one ever says, ‘I want to be a critic when I grow up.’”
CHEF: 3 ½ STARS. “The film is more ‘Iron Chef’ than ‘Iron Man.’”
Perhaps Jon Favreau is still stinging from the reviews he received for “Cowboys & Aliens” or maybe a critic kicked his dog when he was young. Either way judging by his outburst at a food critic in the new comedy “Chef,” he holds some serious animosity for those who sit in judgment of the creative class.
I’ll keep that in mind as I write this review.
Favreau (who also wrote, directed, produced and stars in the film) is Carl Casper, a former hot shot cook, now a divorced work-a-day chef who spends so much time pumping out his boss’s high-end but unimaginative menu, he has no time to spend with his son Percy (Emjay Anthony).
When a famous restaurant critic (Oliver Platt) comes in Carl finds himself stuck between Riva, a restaurant owner (Dustin Hoffman) who wants to play it safe, and his own instincts to push the envelope.
“If you bought Stones tickets and they didn’t play Satisfaction, would you be happy,” asks Riva. “Go with the favorites.”
The plan backfires and Carl is stung by a review that slaps him for a “lack of imagination” and suggests “his dramatic weight gain can only be explained by his eating all the food that is sent back to the kitchen.”
A confrontation with the critic leads sets him on a path to regaining his passion, a journey that begins behind the wheel of a food truck.
The new film is more “Iron Chef” than “Iron Man” and it’s nice to see Favreau shelve the CGI of his biggest hits and return to the human heartbeat of films like “Elf” and “Swingers.” “Chef” is a crowd pleaser that combines its ingredients in a familiar but still delicious way. It’s somewhat predictable, but like comfort food it’s warmly inviting.
Favreau and his sidekick, sous chef Martin (John Leguizamo) are a natural culinary comedy team, with an easy chemistry that gives the movie much of its charm. Sofia Vergara and Scarlett Johansson, as Carl’s ex and current flame respectively, suggest that women find men who cook irresistible, or that Favreau is playing the Woody Allen card of casting slightly out of his league. Both hand in spirited performances and after a brief pasta seduction scene it’s clear Carl has figured out that the old saying, “the way to a man’s heart is through his stomach,” applies to women as well.
Robert Downey Jr lightens things up in a slick-talking role that was probably written for Vince Vaughn, and Russell Peters has a funny, but unrealistic cameo as a snap-happy cop.
Critic bashing aside, “Chef” is a lightweight, but enjoyable film; an amuse bouche that may leave you hungry for something more substantial but still manages to satisfy.
