Posts Tagged ‘Elisabeth Moss’

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY NOVEMBER 17, 2023.

I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres.  Today we talk about the animated “Trolls Band Together,” the origin story “The Hunger Games: The Ballad of Songbirds and Snakes,” the biopic “Rustin,” the sports comedy “Next Goal Wins,” and the rock doc “The Stones and Brian Jones.”

Watch the whole thing HERE!

CFRA IN OTTAWA: THE BILL CARROLL MORNING SHOW MOVIE REVIEWS!

I sit in on the CFRA Ottawa morning show to talk the new movies coming to theatres including the animated “Trolls Band Together,” the origin story “The Hunger Games: The Ballad of Songbirds and Snakes,” the biopic “Rustin,” the sports comedy “Next Goal Wins,” and the rock doc “The Stones and Brian Jones.”

Listen to the whole thing HERE!

NEXT GOAL WINS: 2 ½ STARS. “underdog sports movie that falls just short of a win.”

Charming but slight, Taika Waititi’s “Next Goal Wins” is an inspirational, underdog sports movie that falls just short of a win.

Michael Fassbender plays real-life football coach Thomas Rongen, a hothead whose failure to push the Under-20 United States men’s national team to the World Cup cost him a prime gig with the league. At loose ends, with a broken marriage and no prospects, he takes a last-chance job with the failing American Samoa soccer team. “This guy has been fired from his last three jobs because he can’t control himself,” says player Daru (Beulah Koale).

How bad are they? “We haven’t scored one goal in the history of our country trying to have a soccer team,” explains Tavita (Oscar Kightley), head of the Football Federation of American Samoa. “All I want is just one goal. One goal.”

It’s a modest ambition, but this is a team who once gave up 31 goals in a match against Australia. The question is, Can a man who values winning above all else work with a team of such modest ambitions? “I can honestly say it’s the worst bunch of players I’ve ever come across,” says Rongen.

Although based on a true story, “Next Goal Wins” leans into every cliché in the sports movie playbook. Add to that a boatload of fish out of water tropes, a drunken, angry coach and one big game, and you have a movie that, despite the American Samoa setting, feels very familiar.

It’s “Ted Lasso” Lite by way of the “Bad News Bears,” but isn’t without its humble charms. The script is stuffed to bursting with one-liners and sight gags, delivered by an able and willing cast. The scene stealer here is Kightley, the eternally optimistic federation leader. He’s a ton of fun and is a nice counterbalance to Fassbender’s dour performance.

The film’s beating heart is Jaiyah Saelua (Kaimana), the first openly non-binary and trans woman in soccer history to compete in a World Cup game. Known as faʻafafine, a third gender accepted in traditional Samoan culture, Saelua’s addition to the story—which is based on the team’s true history—modernizes the well-worn inspirational sports flick with a nod to identity and acceptance.

“Next Goal Wins” is a crowd pleaser with some laughs, but aside from some timely, sly social commentary on white saviour tropes and inclusion, is as formulaic as sports movies get.

CP24: WHAT MOVIES AND TV SHOWS TO WATCH TO THIS WEEKEND!

Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres.  Today we talk about the new Elisabeth Moss series on Apple TV+, the metaphysical thriller “Shining Girls,” and the new HBO true crime limited series “The Staircase.”

Watch the whole thing HERE!

CTV NEWS AT SIX: NEW MOVIES AND TV SHOWS TO CHECK OUT THIS WEEKEND!

Richard speaks to “CTV News at Six” anchor Andria Case about television and movies to watch this weekend, including the screen adaptation of “Hamilton,” the semi-biographical “Shirley,” starring Elisabeth Moss and “American Woman,” a new take on the kidnapping of Patricia Hearst.

Watch the whole thing HERE!

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY JULY 03, 2020.

Richard and CP24 anchor Leena Latafat have a look at the new movies coming to VOD and streaming services including the much anticipated small screen version of the big Broadway hit “Hamilton,” the semi-fictional psychological drama of “Shirley” and “American Woman,” loosely based on the kidnapping of Patricia Hearst.

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS FOR JULY 03!

Richard sits in on the CTV NewsChannel with host Todd Van Der Heyden to have a look at the new movies coming to VOD and streaming services including the small screen version of the big Broadway hit “Hamilton,” the semi-fictional psychological drama of “Shirley” and “American Woman,” loosely based on the kidnapping of Patricia Hearst.

Watch the whole thing HERE!

CFRA IN OTTAWA: THE BILL CARROLL MORNING SHOW MOVIE REVIEWS!

Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to VOD and streaming services including the Disney+ presentation of “Hamilton,” the most popular musicals of recent years, the psychological drama of “Shirley” and the crime thrillers “American Woman” and “Strange But True.”

Listen to the whole thing HERE!

SHIRLEY: 3 ½ STARS. “Moss is fascinating as the title character.”

When reclusive author Shirley Jackson died in 1965 she left behind a body of work, including “The Haunting of Hill House,” a supernatural horror novel sometimes called one of the best ghost stories ever written. An influence on two generations of speculative fiction writers like Neil Gaiman, Stephen King, Sarah Waters and Richard Matheson, she is brought to vivid life in a new fictionalized drama, now on VOD, starring Elisabeth Moss.

Set just after the publication of “The Lottery,” a controversial short story about the ritual sacrifice of a town citizen to ensure good crops, published in a 1948 issue of The New Yorker, the film sees Shirley (Moss) paralyzed by the expectations that hang heavy over “Hangsaman,” a novel she is struggling to complete. Prickly and quick with a line, she is less than pleased when Stanley (Michael Stuhlbarg), her college professor husband, arranges for his new assistant Fred Nemser (Logan Lerman) and his pregnant wife Rose (Odessa Young) to live in their house while the young couple searches for a place of their own.

As the days and weeks stretch into months the relationship between the two couples becomes a blend of art and reality, a claustrophobic rabbit hole where Rose becomes the model for Shirley’s new main character, a college student who went walking on Vermont’s Long Trail hiking route and never returned.

“Shirley” uses elements of Jackson’s life but places them in context of one of her novels. The result is a psychological drama; a haunting look at a person driven to agoraphobia by the weight of her success and a domineering, philandering husband.

Moss is fascinating as the title character. Her take on Shirley is that of a woman who has lived under years of oppression by her bullying husband, a man whose misogyny has left her embittered, desperate and anxious. “To our suffering,” Stanley says as a toast to his wife. “There’s not enough Scotch in the world for that,” Shirley snorts, in a line that could have been borrowed from “Who’s Afraid of Virginia Woolf?” She’s vulnerable and filled with rage, compassionate and spiteful, often in the same scene.

Shirley and Stanley, as compelling as they are as characters, do not comprise the film’s defining relationship. Director Josephine Decker feeds on the psychological aspects of Jackson’s work to tease out a story of Shirley and Rose, two women drawn together by frustration, talent and obsession over the missing woman at the heart of the new novel. “Let’s pray for a boy,” Shirley says to the pregnant Rose, “The world is too cruel for girls.” Their time on screen together is complicated, occasionally unsettling as reality and imagination meld. It’s fascinating work in a film that is a slow burn.

“Shirley” takes its time to get where it is going, building an atmosphere of oppression slowly and carefully. Decker’s distorted dream-like visual approach is often beautiful, as though we’re watching the film through a psychological prism. It creates atmosphere but doesn’t provide the thrills that Jackson herself might have been able to infuse into the telling of this tale.