Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the Benedict Cumberbatch Cold War triller “The Courier” (in theatres and PVOD), the exorcism buddy movie “The Seventh Day” (VOD) and the star-crossed lovers story “The Violent Heart” (VOD).
Richard joins NewsTalk 1010’s Jim Richards coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the Benedict Cumberbatch Cold War triller “The Courier” (in theatres and PVOD), the exorcism buddy movie “The Seventh Day” (VOD) and the star-crossed lovers story “The Violent Heart” (VOD).
Richard sits in on the CFRA Ottawa morning show with guest host Matt Harris to talk the new movies coming to theatres, VOD and streaming services including the Benedict Cumberbatch Cold War triller “The Courier” (in theatres and PVOD), the exorcism buddy movie “The Seventh Day” (VOD) and the star-crossed lovers story “The Violent Heart” (VOD).
Father Peter (Guy Pearce) is a priest with a past I the new exorcism drama “The Seventh Day,” now on VOD.
The rough-and-tumble holy man comes complete with Sonny Crockett stubble, a fistful of smokes and a muscle car. He’s a badass who says, “An exorcist doesn’t hide from evil. He runs TOWARD it, feels the evil in his bones and can sense when it’s close.”
He stands in stark contrast to his latest protégé, novice priest Father Daniel (Vadhir Derbez). The trainee does not have his mentor’s swagger and Father Peter is less than impressed with Daniel‘s “two grueling weeks of exorcist nursery school.”
Nonetheless, the duo are a team, buddy exorcists off in search of evil to expunge. After a run in with the devil at a homeless encampment they come across Charlie (Brady Jenness), a pre-teen who murdered his family with an axe. Is he a bad kid or is he possessed by the devil?
“The Seventh Day” starts strong with the exorcism gone wrong that formed Father Peter’s hardened exterior. “The evil was the strongest I’ve ever seen,” he says. Unfortunately, after that it goes downhill faster than you can say “Father Karras” three times fast. The mix-and-match of “Training Day” with “The Exorcist” could have offered up some edgy thrills but instead falls prey to clichés borrowed from dozens of other devil movies dating back to when Father Merrin first bellowed, “The power of Christ compels you!”
Pearce, who also co-produced, attempts to inject some life into “The Seventh Day” with a big hammy performance but his flamboyance is counter-balanced by flat work from Derbez whose work mimics the film’s listless pacing.
“The Seventh Day” seeks to reinvent the exorcism movie via the buddy cop genre but succeeds only in combing the most hackneyed bits of each.
Richard and CTV NewsChannel anchor Angie Seth discuss the family drama of “Tammy’s Always Dying,” the Cronenberg remake “Rabid,” the social commentary of “Blood Quantum” and the culinary adventure “Nose to Tail.”
Richard and CP24 anchor Nick Dixon have a look at the new movies coming to VOD and streaming services including drunken dramedy “Tammy’s Always Dying,” the Cronenberg remake “Rabid” and the zombie braaiiiins of “Blood Quantum.”
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 drunken dramedy “Tammy’s Always Dying,” the Cronenberg remake “Rabid,” the guts and glory of “Blood Quantum” and the restaurant drama “Nose to Tail.”
The very best zombie movies are never simply about the dead coming back to life. Sure, the good ones smear the screen with buckets of blood but just as important as the gore are the brains, and not just the kind the undead use as entrees. The memorable ones use the flesh-hungry creatures as metaphors for societal ills. George A. Romero knew this and infused his movies with allegories to social justice and consumerism, among other issues. Director Jeff Barnaby knows this as well. His exciting new zombie film, “Blood Quantum,” new to VOD this week, contains a powerful central premise: Indigenous people put in danger by allowing white folks on their land.
The film begins with an ancient settler’s proverb. “Take heed to thyself, make no treaty with the inhabitants of the land you are entering.” It’s a portentous warning that foreshadows “Blood Quantum” action. Set on an isolated Mi’gmaq reserve called Red Crow, it takes place before, during and after a plague that has turned most of the world into bloodthirsty zombies. The Red Crow, however, are immune, placing tribal sheriff Traylor (“Fear the Walking Dead’s” Michael Greyeyes) in the position of having to protect the reserve, including ex-wife Joss (Elle-Máijá Tailfeathers), sons Lysol (Kiowa Gordon) and Joseph (Forrest Goodluck), Joseph’s pregnant girlfriend Charlie (Olivia Scriven) and father Gisigu (Stonehorse Lone Goeman), from hordes of undead outsiders.
“Blood Quantum” offers up the blood and guts you expects from a movie like this but director Barnaby also infuses every frame with a vivid sense of indigenous heritage. From the title—which refers to a much-despised colonial blood measurement system used to establish a person’s Indigenous status—to using a zombie apocalypse as metaphor for the fight against annihilation by colonial settlers, it drips with social awareness and gore.
A new take on the zombie apocalypse tale, it brings a fresh perspective to a much-examined genre. The characters are well defined and have emotional arcs amid the madness and skull crushing. The use of occasional animation sections adds visual interest to an already cool looking film—Barnaby has a deadly eye for composition—and will even make you laugh from time to time. A broken narrative timeline doesn’t work as well it should but Barnaby and Co. deliver on entertainment and intellectual levels.
Come for the entrail eating, stay for the cultural observations… and more entrail eating.
Richard and CP24 anchor Courtney Heels have a look at the weekend’s new movies including the English antics of “The Gentlemen,” the heartfelt heroics of “The Last Good Measure” and the spacey drama of “Color Out of Space.”