A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at the angry ape movie “Rampage,” the timely and touching drama “Indian Horse” and the boy-and-his-horse drama “Lean on Pete.”
Watch the whole thing HERE!
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including the giant ape movie “Rampage,” the touching drama “Indian Horse,” the Middle East thriller “Beirut” starring Jon Hamm and Joaquin Phoenix in “You Were Never Really Here.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, the giant ape movie “Rampage,” the touching drama “Indian Horse,” the Middle East thriller “Beirut” starring Jon Hamm and Joaquin Phoenix in “You Were Never Really Here.”
Watch the whole thing HERE!
Based on author and journalist Richard Wagamese’s book of the same name “Indian Horse” is a personal story that brings issues of cultural assimilation and displacement policies to the fore.
Structured like a film noir the story begins at the end with Saul Indian Horse (Ajuawak Kapashesit) in rehab, recounting the details of his life. “You can’t understand where you’re going if you don’t know where you’ve been,” he says.
Flashback to 1959. Saul is orphaned and left in the care of his grandmother before being scooped up and sent to the St James Residential School. Ripped away from his family and culture he says, “The world I had known was replaced by a black cloud.” Indigenous children had their mouths washed out with soap for speaking Ojibwe, names changed to “good biblical names“ and were disciplined with paddles and fists. When that didn’t work, they were sent to “contrition,” a dank basement prison. “Our goal here is to help you succeed in this world,” says Father Quinney (Michael Murphy).
A school in only the loosest sense of the word, piousness was valued above everything else. “The only test was our ability to endure,” Saul says. The youngster survives in part because of his love of hockey. Teaching himself to skate, he uses frozen horse manure as make-do pucks. Despite his young age he has an innate ability, honed by watching hockey on TV, and can outplay the older boys. With the encouragement of kindly priest Father Gaston (“Game of Thrones’” Michiel Huisman) he flourishes and is soon recruited to an outside league where his ability attract the attention of Toronto Maple Leafs recruiter Jack Lanahan (Martin Donovan).
In the big city he is subjected to abject racism and feels even more removed from his cultural roots. “There is no better life for me,” he says to Lanahan. “There never will be.”
“Indian Horse’s” portrayal of the cruelties of the residential school system is uncompromising and horrific. It’s not overly graphic but the human effects of the humiliating and dangerous treatment the students were subjected to are undeniable and unforgettable. Director Stephen Campanelli—Clint Eastwood’s steadicam operator from “The Bridges of Madison County” to the recent “The 15:17 to Paris”—sets the stage for Saul’s later-in-life trauma with matter-of-fact storytelling and characters that embody the results of cultural alienation.
Overall the film could use a little more nuance but there is no denying the important and timely nature of the story.
Richard and CP24 anchor Nneka Elliott discuss about Leonard DiCaprio’s Oscar entry “The Revenant,” the stop motion animation of “Anomalisa” and the cinematic clearcutting of “The Forest.”
Watch the whole thing HERE!
Richard and Marci chat about Leonard DiCaprio’s Oscar entry “The Revenant,” the stop motion animation of “Anomalisa” and the cinematic clearcutting of “The Forest.”
Watch the whole thing HERE!
By Richard Crouse – Metro In Focus
Leonardo DiCaprio makes $25 million dollars per movie. So he has money. His best friend is Tobey McGuire and his little black book reads like a Victoria’s Secret catalogue, so he’s never lonely. He has opulent homes on both the left and right coasts of America—one comes equipped with a vitamin C infused shower—and even owns a 104 acre unpopulated island off the coast of Belize.
He’s a superstar with all the creature comforts money can buy. Do you know what he doesn’t have? An Oscar.
He’s come close several times, earning nominations for his work in What’s Eating Gilbert Grape, The Aviator, Blood Diamond and The Wolf of Wall Street but he’s never entered the winner circle.
He’s always been gracious in defeat, smiling and nodding during the Oscar broadcast when someone else’s name is called. “I wasn’t surprised that Jamie got the award,” he said about the 2005 Academy Awards when Jamie Foxx took Best Actor for Ray over The Aviator. “But I knew that cameras would be stuffed up my face so I had my response ready. Anyone who says they don’t practice is a liar.”
He may not have to fake being happy for another actor this year. Pundits are predicting his new movie The Revenant could bring him that elusive honour. He plays American fur trapper Hugh Glass, a frontiersman who became a legend in 1823 when he survived a brutal bear attack and slogged across harsh terrain to get revenge on the man who left him to die.
This is DiCaprio’s Jeremiah Johnson, a movie that masks his matinee idol good looks with facial hair and grimaces. For much of the two-and-a-half-hour running time he is mute, alone on screen crawling across the frozen landscape, slowly inching his way toward vengeance. There are great physical demands made on the actor—the Bear-Maul-O-Rama being just one of the miseries he endures—but this is an internal performance. The character’s strength, pain, frustration, anger and intestinal fortitude are apparent not only in his actions—he cauterizes wounds with gun powder!—but, more importantly, in his eyes. There’s the will to survive and then there’s whatever is driving Glass and whatever that is, it’s written on DiCaprio’s face. It may not be his flashiest role—although he does get to disembowel a horse—but it is one of his best.
Nominations will be announced January 14 so we won’t know until then if he is chosen for sure, but the odds are good. So good that Vanity Fair declared, “This is going to be the year Leonardo DiCaprio finally wins that Oscar.”
Question is, why would someone who has everything want an Academy Award. What difference would it make in his life and career?
The truthful answer is that it would likely make no difference at all to his career, at least financially. He’s already in the top tier of Tinseltown salaries and the fabled “Oscar box office bump”—a sharp spike in ticket sales when the nominations are announced—hasn’t meant much in recent years.
The real win for DiCaprio would be in the prestige department. The Best Actor Oscar is a rare commodity. Only seventy-eight people have them—Daniel Day-Lewis has three, Jack Nicholson and seven others have two apiece—and while he is already a respected performer, winning one would put him in the company of Hollywood legends like Clark Gable, Spencer Tracy and Gary Cooper.
If he becomes the seventy-ninth actor to take home the gold it’s recognition from his peers but besides that, one of those statues is the perfect thing to lend some flair to the man who has everything’s private island décor.
The last time we saw Leonardo DiCaprio he was driving a Ferrari and picking up $26,000 dinner tabs. “The Wolf of Wall Street” star is back on the big screen in “The Revenant,” but now the fancy cars have been replaced with horses, the dinners with raw bison meat.
Very loosely based on real events, DiCaprio plays American fur trapper Hugh Glass, a frontiersman who became a legend when he trekked across country after a brutal bear attack. In the film it’s 1823 and Glass is scouting for a team of fur trappers. The territory is tough, the men even tougher. When Glass is mauled by a bear the company splits into two groups. The first, lead by Andrew Henry (Domhnall Gleeson) heads for home base, while the other—Glass’s son Hawk (Forrest Goodluck), hotheaded trapper John Fitzgerald (Tom Hardy) and the inexperienced Jim Bridger (Will Poulter)—is paid handsomely to stay with Glass, and provide a decent burial when he succumbs to his injuries. Fitzgerald, more interested in getting paid than waiting for Glass to die, hurries the process along, stabbing Hawk and throwing the half dead scout into a hastily dug hole. When Glass comes to he has just one thing on his mind—revenge. “I ain’t afraid to die no more,” he says. “I done it already.”
This is Leo’s “Jeremiah Johnson,” a movie that masks his matinee idol good looks with facial hair and grimaces. His journey is at the heart of the movie but he shares the weight of carrying the film with Hardy. For much of the two-and-a-half-hour running time DiCaprio is mute, alone on screen crawling across the frozen landscape, slowly making his way toward Fitzgerald and his proposed revenge. There are great physical demands made on the actor—the Bear-Maul-O-Rama being just one of the miseries he endures—but this is an internal performance. The character’s strength, pain, frustration, anger and intestinal fortitude are apparent not only in his actions—he cauterizes wounds with gun powder!—but, more importantly, in his eyes. There’s the will to survive and then there’s whatever is driving Glass and whatever that is, it’s written on DiCaprio’s face. It may not be his flashiest role—although he does get to disembowel a horse—but it is one of his best.
Hardy’s Fitzgerald is painted in broader strokes. Driven by greed, this guy makes Bane look as morally bankrupt as Mary Poppins. Intimidating and ruthless, Hardy is a force of nature equal to anything Mother Nature places in Glass’s way.
Perhaps the “The Revenant’s” most complex character is Will Poulter’s Jim Bridger. He’s the runt of the litter, the youngest member of the expedition. Torn between loyalty to Hawk and Glass, his responsibility to his employers and his moral obligations, he is trapped in an impossible situation. Poulter pulls it off with a mix of steely determination and vulnerability.
“The Revenant” is the cinema of misery on screen and off. I’d suggest theatre-goers wear a sweater because the sense of cold and discomfort experienced by Glass is palpable.
On screen the primal story of revenge spares nothing to illustrate the hardships faced by all involved but director Alejandro González Iñárritu hasn’t simply made a gruesome film for the sake of upsetting the audience. Instead, it’s a movie that ends in a question mark. Is Glass’s payback justified or a hollow mission? Iñárritu leaves that decision to the audience, and it is sure to spark conversation as the closing credits roll.
