Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including Jennifer Lopez in “Hustlers,” the sprawling literary drama “The Goldfinch” and the sci fi story “Freaks” then has a look at the highlights from day one of the Toronto International Film Festival!
Listen to the whole thing HERE!
“Freaks,” a new sci-fi horror film starring seven-year-old Lexy Kolker and eighty-three-year-old Bruce Dern, is a multi-layered head-scratcher that wonders what it might be like to be a helicopter parent to one of the X-Men.
Seven-year-old Chloe (Kolker) is kept a prisoner in the rundown suburban home she shares with her father Henry Lewis (Emile Hirsch). But this is not “Room” or any other confinement drama. This is the story of a father whose daughter is gifted in a way that will make her a target if she is discovered. Henry has tried to shield her from all this. “I never wanted the world to turn her into a freak,” he says. “She’s just a girl.” Father and daughter are blessed (or cursed depending on your point of view) with the ability to read minds, make themselves invisible and generate protective, clear bubbles.
Chloe doesn’t know or understand the extent of her powers and as long as she is kept separate from the world, may never know. Her only connections to outside world are ghostly visions (or are they real?) of her late mother Mary (Amanda Crew) and the ice cream man, Mr. Snowcone (Bruce Dern) who seems to know a lot about her.
She has been trained to lie about her identity but soon she begins to wonder what lies beyond the walls of their home. What follows is an extreme case of stranger danger.
“Freaks” takes its time. It allows the viewer to reach their own conclusions, and then, more often than not, shatters them. The only thing that is for sure is that Chloe longs for her mother, a feeling expertly demonstrated by Kolker in a performance that gives the movie the heart it needs to make us care for the characters and the situations. The low fi effects don’t distract in the way a larger budget might have afforded but the humanity on display makes up for the lack of eye candy.
Good sci fiction is rarely exactly about what we see on screen. In that sense “Freaks” isn’t about Chloe’s powers, it’s about being different from those around you, about persecution, about feeling unwanted. There are feelings that many can relate to and making them universal, accessible and by times even exciting, is the film’s greatest strength.
Richard joins CP24 to have a look at the weekend’s new movies including Quentin Tarantino’s ninth film “Once Upon a Time… In Hollywood,” the inspirational surfing documentary “Bethany Hamilton: Unstoppable” and the family drama “Astronaut” starring Richard Dreyfuss.
Watch the whole thing HERE!
Richard sits in on the CTV NewsChannel with news anchor Marcia MacMillan to have a look at the weekend’s big releases including Quentin Tarantino’s latest “Once Upon a Time… In Hollywood,” the Richard Dreyfuss dramedy “Astronaut” and the inspirational surfing documentary “Bethany Hamilton: Unstoppable.”
Watch the whole thing HERE!
Richard has a look at the new movies coming to theatres, including Quentin Tarantino’s latest “Once Upon a Time… In Hollywood,” the Richard Dreyfuss dramedy “Astronaut” and the inspirational surfing documentary “Bethany Hamilton: Unstoppable” with CFRA Morning Rush host Bill Carroll.
Listen to the whole thing HERE!
A weekly feature from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest and most interesting movies! This week Richard looks at Quentin Tarantino’s ninth film “Once Upon a Time… In Hollywood,” the inspirational surfing documentary “Bethany Hamilton: Unstoppable” and the family drama “Astronaut” starring Richard Dreyfuss.
Watch the whole thing HERE!
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including Quentin Tarantino’s latest “Once Upon a Time… In Hollywood,” the Richard Dreyfuss dramedy “Astronaut” and the inspirational surfing documentary “Bethany Hamilton: Unstoppable.”
Listen to the whole thing HERE!
I went to see “Pulp Fiction” on its October 1994 opening weekend at a 2:30 pm screening. I arrived at 2:15 pm, stood in line and waited. And waited. The shows were delayed because audiences weren’t leaving after the credits. They were sitting in their seats talking about what they had just seen. Months of hype in the newspapers and on shows like “Entertainment Tonight” ignited curiosity and the movie delivered, using a broken timeline, ultra-violence and witty dialogue to bend the idea of what a movie could be. Just after 3 pm the movie finally started. Later, mind blown, I didn’t stick around the theatre to discuss the movie with anyone. I ran to the box office, bought a ticket for the next screening and got back in line.
Quentin Tarantino’s new film, “Once Upon a Time… in Hollywood,” doesn’t have quite the same impact as “Pulp Fiction” but it digs deeper, expanding on themes the director has spent a career exploring. “Pulp Fiction” was a seismic shift, a movie changed the face of 1990s cinema, while “Once Upon a Time… in Hollywood” is an allegory for changing times.
As the title would suggest “Once Upon a Time… in Hollywood” has dark fairy tale elements. Set in sun dappled 1969 Los Angeles, it focusses on two almost down-and-outers, Rick Dalton (Leonardo DiCaprio) a former series star now reduced to doing episodic television—“It’s official old buddy. I’m a has-been.”—and stuntman Cliff Booth (Brad Pitt), a self-described “old cowboy.” Both are on a race to the bottom in an industry they don’t understand anymore.
Next to Dalton’s luxury Cielo Drive home is a mansion owned by starlet Sharon Tate (Margot Robbie) and director Roman Polanski (Rafał Zawierucha), party place to L.A. luminaries like heiress Abigail Folger (Samantha Robinson) and hairdresser to the stars Jay Sebring (Emile Hirsch). As Dalton and Booth’s Hollywood era comes to a close, another is blossoming next door and further on down the road at Manson Family HQ and former western movie set Spahn Ranch.
There will be no spoilers here. I can say the various narrative shards dovetail together in a frenzy of grindhouse violence near the end, but “OUAT… IH” isn’t story driven as much as it is a detailed portrait of a time and place, the moment when the sea change was coming. Piece by piece Tarantino weaves together a nostalgic pastiche of b-movie tropes and expertly rendered sights and sounds to create a vivid portrait of a time and place. With the setting established, he plays mix and match, blending fact and fiction, creating his own history that feels like a carefully detailed memory play.
Pitt screaming down Hollywood Boulevard in a powder blue sports car is the essence of what the movie is about. The propulsive energy of Hollywood, dangerous, glamorous with the promise of ending up who knows where. The characters may all be headed for uncertain futures but an air of optimism hangs over the story. Dalton is down on his luck but when he realizes his neighbor is a world-famous director he says, “I could be one pool party away from starring in the next Polanski movie.” He’s a man out of time but still feels there might be a place for him in that world and that is the lifeblood of Hollywood, the city built on dreams.
One such dreamer is Tate. Robbie has a lovely scene as the actress enjoying her own movie in a darkened theatre. It does away with the stylized dialogue Tarantino is known for and instead focusses on the pure joy the character feels at watching her dreams come true on the big screen. It’s a lovely scene that speaks to the excitement of the first blush of success, untouched by cynicism in an increasingly cynical world.
“Once Upon a Time… in Hollywood” is unique in its feel. Tarantino has always been singular in his filmmaking but this one feels different. It’s clearly rooted in the b-movies that inspire his vision but here he is contemplative, allowing his leads—DiCaprio and Pitt in full-on charismatic mode—to channel and portray the insecurities that accompany uncertainty. The film is specific in its setting but universal in portrayal of how people react to the shifting sands of time. Funny, sad and occasionally outrageous, it’s just like real life as filtered through a camera lens.
“Canada AM’s” movie critic Richard Crouse sounds off on his reviews for ‘Lone Surivor,’ ‘August: Osage County,’ and ‘Her.’
Watch the whole thing HERE!
