SYNOPSIS: Renee Zellweger returns as the title character in “Bridget Jones: Mad About the Boy.” In this romantic comedy, now streaming on Prime Video, Bridget finds herself widowed with two children and a job as a television producer. Four years after the death of her beloved husband Mark Darcy (Colin Firth), she decides to restart her life, and meets a much younger man.
CAST: Renée Zellweger, Hugh Grant, Colin Firth, Emma Thompson, Chiwetel Ejiofor, Leo Woodall, Isla Fisher, Josette Simon, Nico Parker and Leila Farzad. Directed by Michael Morris.
REVIEW: The general rule of thumb for sequels is that the further you get away from the source, the worse the movies get. The first cut is almost always the deepest, and while there are exceptions, by the time you get to the fourth movie and twenty-fourth year of a franchise, it’s all about diminishing returns.
One cinematic guest who hasn’t worn out their welcome, however, is Bridget Jones as played by Renée Zellweger. Since 2001 at the movies (and 1995 in Helen Fielding’s article and books) her quirky, and often messy, romantic adventures have entertained without a trace of sequelitis.
The new film, “Bridget Jones: Mad About the Boy” sees Bridget restart her romantic life after the death of her husband. “It’s time to live,” she writes in her famous diary.
Of course, there are complications. It wouldn’t be a Bridget Jones movie without them.
The awkward Bridget never met an embarrassing situation she couldn’t amplify, and lip filler is definitely not her thing. Those slapstick moments provide the nostalgic blast of the old Bridget we’ve come to expect, as do cameos by series regulars like Hugh Grant, as aging playboy Daniel Stern (who teaches Bridget’s kids to make a cocktail called a Bad Mommy) and Dame Emma Thompson as Bridget’s friend and gynecologist, but this time around it’s the story’s more poignant aspects that resonate.
Bridget Jones has grown up, somewhat, and so have the movies. This time around there is a melancholy vibe, the result of Mr. Darcy’s passing, and Bridget’s difficulties navigating life as a single mother.
The callbacks to the other movies serve as a reminder of how long we’ve been part of Bridget’s life. And while “Mad About the Boy” is loaded with familiar jokes and echoes the first film in terms of its romantic entanglements (no spoilers here), it is in its examinations of what it means to move on and maybe even find happiness, without leaving the past and someone you love completely behind, that it tills fresh ground. It’s a welcome new chapter for Bridget and for those of us who have known her for almost a quarter century.
On the Saturday November 9, 2024 edition of The Richard Crouse Show I’ll tell you about the new psychological thriller starring Hugh Grant, “Heretic,” now playing in theatres. In the film, door-to-door Mormon missionaries Sister Barnes and Sister Paxton are lured into a theological cat-and-mouse game by the curious (and possibly deadly) Mr. Reed, played by Hugh Grant.
Grant is remarkable in the film. It’s really something different for him, and I had the chance to talk about the movie and that performance with the film’s two other stars Sophie Thatcher and Chloe East, and the film’s directors Scott Beck and Bryan Woods.
Then, we’ll meet Afro-Canadian rapper, singer-songwriter, and producer Kofi, who releases his newest album, “Pettyboy” on November 15th via Red Bull Records / The Orchard on all streaming platforms. We’ll learn how he balances life as a musician and professional volleyball player.
Finally, we’ll get to know meet Sol León and Paul Lightfoot, choreographers who have been at the forefront of dance creation in Europe for over 35 years. This month they come to the National Ballet in Toronto for the first time with Silent Screen, a profound theatrical experience that brings a silent film to life, set to the music of Philip Glass.
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Chris Pratt, Elvis Costello, Baz Luhrmann, Martin Freeman, David Cronenberg, Mayim Bialik, The Kids in the Hall and many more!
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Check out my CTVNews.ca interview with “Heretic” stars Sophie Thatcher (who stars of Crave’s “Yellowjackets”) and Chloe East and co-directors Scott Beck and Bryan Woods. We talk about the movie and about working with Hugh Grant and how different this role is for him.
SYNOPSIS: In “Heretic,” a new psychological thriller starring Hugh Grant and now playing in theatres, door-to-door Mormon missionaries Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) are lured into a theological cat-and-mouse game by the curious (and possibly deadly) Mr. Reed (Hugh Grant).
CAST: Hugh Grant, Sophie Thatcher, Chloe East and Topher Grace. Directed by Scott Beck and Bryan Woods.
REVIEW: Horror and religion go together like peanut butter and jam, but rarely have the two come together in such an unusual and thought-provoking way. “Heretic” is a tautly constructed thriller that questions faith, power and the very essence of belief.
From crafting a tense chamber drama with just a handful of characters and pushing interesting, provocative buttons, filmmaking duo Scott Beck and Bryan Woods, who also co-wrote the script, do a lot of good work here, but their biggest feat is in the casting.
Hiring Hugh Grant as Mr. Reed is their masterstroke. Grant, whose last horror film was 1988’s “The Lair of the White Worm,” plays off years of goodwill earned from charming audiences with his crinkly baby blues and amiable smile. Just as he draws Sisters Barnes and Paxton (Sophie Thatcher and Chloe East) into his home with his polite and pious behavior, he seduces the viewer, only to double cross them as Mr. Reed’s true nature and motives become apparent. Behind the smile and sparking eyes is a guy that would make any of Grant’s former movie charmers run and hide. It plays against his well-established type and adds a layer of devilish fun to the film.
Thatcher, as the skeptical Sister Barnes, and West, as the naïve but resourceful Sister Paxton, round out the cast. Each are crucial in keeping up the film’s lively tone. This is not a horror film of jump scares. It’s meant to unsettle you with ideas and conversation. The tension comes from the conflict between Mr. Reed, who essentially believes that all religions are identical and are sold like any other commodity to customers willing to believe, and the deeply spiritual missionaries. As his questioning escalates—he’s like a stern university professor who isn’t trying to teach as much as he is trying to display how clever he is—the two young women begin to understand they are in deep trouble.
It’s a psychological thriller that eventually turns violent, and a bit more conventional, in the film’s final third, but up until then the three central performances, combined with a growing atmosphere of dread and claustrophobia, provide a fascinating, dialogue-driven game of cat-and-mouse.
Grant’s career redefining performance as the charming face of theological curiosity may be “Heretic’s” biggest draw, but the movie also delivers smart, stylish thrills. It digs deep and gets dark but never forgets to have fun.
“Unfrosted,” a sweet new slice of Boomer porn now streaming on Netflix, is a one joke wonder about the corporate shenanigans behind the creation and marketing of Pop-Tarts®, the first successful shelf stable fruit jelly pastry product.
Writer/director Jerry Seinfeld stars as Bob Cabana, the product developer behind some of Kellogg’s greatest hits. When we join the story it’s 1963, in cereal’s ground zero, Battle Creek, Michigan, home to Kellogg’s and their largest rival Post.
Breakfast is defined by milk and cereal—”The magic of cereal is that you’re eating and drinking at the same time,” Cabana says.—but change is in the air. “It’s the 60s, “ says Marjorie Post (Amy Schumer) head of rival Post, “things are moving fast. There’s always a surprise in the box.”
When Cabana discovers two kids dumpster diving for discarded Post “goo,” a syrupy sweet treat they are developing for their new product, the holy grail of breakfast foods, a handheld fruit pastry.
As a corporation, Kellogg’s owns breakfast in America. They outsell Post and regularly clean up at the Bowl and Spoon Awards where they dominate the competition, winning statues in categories like “Easiest to Open Wax Bag.”
Fearing Post will get the jump on the new market, that they have “broken the pastry barrier,” Cabana flies into action. He recruits Donna Stankowski (Melissa McCarthy) a NASA scientist-turned-breakfast-food-designer to create a new breakfast treat.
But getting it to market is a long, convoluted process that involves everyone from Nikita Krushchev (Dean Norris) and President John F. Kennedy (Bill Burr) to Chef Boyardee (Bobby Moynihan) and Tony the Tiger (Hugh Grant as mascot actor Thurl Ravenscroft).
“Unfrosted” is a silly ode to Pop-Tarts®. Slaphappy and over-the-top, it does not allow facts to sully the storytelling. Seinfeld pitches the performances and story at a very heightened level, like an “SNL” sketch stretched to feature length. He has nothing on his mind other than a scattergun approach of going for the jokes. The result is a hit and miss joke-to-laughs ratio, but Seinfeld has assembled an all-star comedic cast who know how to squeeze the laughs out of the material.
Gags about the Zapruder film and an unusually playful Walter Cronkite may fly over a younger audience’s collective heads, but should hit the mark with Boomers.
Ultimately, like the snack it is based on, “Unfrosted” is empty calories but may provide a sugar rush.
All the Guy Ritchie trademarks that made so many of his other films so much fun are visible in “Operation Fortune: Ruse de guerre,” a new action adventure now streaming on Amazon Prime. Jason Statham comes back for a fifth kick at the can with the director, bringing with him the gravelly voice and fisticuffs first made famous in Ritchie’s “Lock, Stock and Two Smoking Barrels.” There’s also some comedy, outrageous crime, slick cameras moves and a bangin’ soundtrack.
Why then, does it feel been there done that? Is it that familiarity has bred a certain kind of contempt, or is Ritchie coasting on his merits?
All-round action man Orson Fortune (Statham), tech genius Sarah Fidel (Aubrey Plaza) and sniper J.J. Davies (Bugzy Malone) are members of a top-secret British government agency run by Nathan Jasmine (Cary Elwes). Their latest assignment involves retrieving something called “The Handle,” a gewgaw—we’re not really told—that could cause a rift in the world order.
“We don’t know what’s been stolen,” says Nathan. “That remains a mystery for you to solve. But we need to stop it from getting onto the open market. Threat’s imminent.”
Before it can be sold on the black market, the crew must infiltrate billionaire arms dealer Greg Simmonds’s (Hugh Grant) inner circle. Their ticket in? International movie star and Simmonds’s favorite actor Danny Francesco (Josh Hartnett).
“The best agents are stars,” says Orson, “and the best actors are movie stars.”
“Operation Fortune: Ruse de guerre” feels like a Xerox copy of the movies that made Ritchie and Statham famous. The world-ending stakes are a bit higher, and there is more lifestyle porn—like private jets and global locations—but the fast pace, the late movie reveal (we eventually find out what The Handle actually does) and the “colourful” characters that have populated his movies from the get go all return but the glow is a bit dimmer this time.
Hugh Grant’s Michael Caine impersonation is a blast, and Ritchie still knows how to move a camera during the action scenes, but because we are so familiar with so many of the elements in play here, “Operation Fortune: Ruse de guerre” almost feels like a sequel to a reboot of a sequel. It’s the law of diminishing returns. The further away you get from the source, the less effective the movie will be. In this case, the sum of all the parts is a bland espionage story that is, at best, serviceable.
You don’t have to know or understand the role-playing game D&D to get the movie “Dungeons & Dragons: Honor Among Thieves.” Those who know that the acronym BBEG stands for Big Bad Evil Guy (or Gal) or that Monty Hall doesn’t refer to the game show host, but to a type of campaign based on accumulating as much wealth/magic items as possible, will have a better chance at deciphering the in-jokes and Easter Eggs, but for non-players, it still works as a fantasy action-comedy, complete with sorcerers, trolls and dragons.
The story begins with impish single father Edgin Darvis (Chris Pine) and barbarian Holga Kilgore (Michelle Rodriguez), making a daring escape from prison. They wound up behind bars when their planned robbery to steal the Tablet of Reawakening, an artefact with the power to resurrect the dead, went sideways. Their cohorts, Edgin’s daughter Kira (Chloe Coleman), conman Forge Fitzwilliam (Hugh Grant), Sofina (Daisy Head) and sorcerer Simon Aumar (Justice Smith), escaped justice, disappearing into the wind.
Upon their “release” they discover that Fitzwilliam double-crossed them, has taken custody of Kira and is now living the high life as the wealthy Lord of Neverwinter. When it becomes clear Fitzwilliam is no longer an ally, Edgin and Holga go on a quest to find the Tablet of Reawakening, resurrect Edgin’s dead wife, bring Kira back to the family and settle a score with Fitzwilliam.
But first they must find the Enchanted Helmut, a sideline aided by Sophia Lillis as Doric, a tiefling druid and shapeshifter and the heroic Xenk Yendar (Regé-Jean Page).
There’s more, like Red Wizards and necromancy and talking corpses, but for all the fantasy on board the movie, this is really a very earth-bound story of friendship and family. With dragons and magic.
What could have been another dull game adaption transcends the nasty reputation left behind by bombs that were not nearly as fun as the games that inspired them, like “Battleship” and “Candy Land: The Great Lollipop Adventure.”
Co-directors Jonathan M. Goldstein and John Francis Daley roll their twenty-sided dice (look it up) that audiences will value a fantasy story that uses humor as the backbone of the movie, the same way the “Lord of the Rings” flicks used allegories on the human condition to fuel theirs.
Luckily, mostly thanks to Pine’s nimble touch, it works really well. His performance sets a lighthearted tone followed by fun work from Rodriguez et al. Page also impresses as a handsome hero who feels like a combo of Dudley Do-Right and Errol Flynn.
We are so used to serious, heavy fantasy that the rambunctious “Dungeons & Dragons: Honor Among Thieves” feels like a breath of fresh sir. It is old-fashioned, an old-school action adventure that aims to entertain above all else. It doesn’t take itself seriously—although it is respectful to the world that inspired it—but does handle the action scenes, the world building, the characters, and the story with care.
Anyone who thinks the Guy Ritchie of old has disappeared, crushed under the weight of the huge box office grosses of the family-friendly “Aladdin,” need look no further than the blood splattered pint mug of “The Gentlemen’s” opening scene for proof to the contrary.
Highly stylized crime comedies like “Lock, Stock and Two Smoking Barrels” and “Snatch” made Ritchie the king of fast-paced, politically-incorrect stories of life on the streets. The big budget movies, his Sherlock Holmes series and “Aladdin,” among others, made more money but lacked the visceral thrills of his early work. His new film, “The Gentlemen,” starring Matthew McConaughey, Henry Golding, Michelle Dockery, Colin Farrell and Hugh Grant, feels like a hybrid of the two phases of his career. A spiritual cousin to “Lock, Stock” and ”Snatch,” it brings Ritchie back to London’s underworld, a place populated by Saville Row suit-wearing tough guys, ruthless tabloid editors and henchmen who speak like down-on-their-heels Oxford drop outs.
Matthew McConaughey is Mickey Pearson, an American who built a weed empire in his adopted home country of England. Intelligent and ruthless—qualities matched only by his wife Rosalind (Dockery)—he’s now middle-aged and looking to cash out. His offers to sell the business to billionaire drug lord Matthew Berger (a very mannered Jeremy Strong) for $400 million attracts unwanted attention from Dry Eye (Golding), the ruthless youngest nephew of an aging crime lord.
There’s more, but this is a pretzel of a story, twisted and tied in knots.
“The Gentlemen” is not a sequel or a reboot but it feels like one. The hyper-masculine story telling style, inventive use of swear words and spider-web plotting, while audacious, will be very familiar to Ritchie-philes. It’s “Snatch 2.0” with the same kind of big name cast who seem to be having fun mouthing Ritchie’s profanity laden dialogue but no amount of fast cutting and fast talking can replace real energy. As rock ‘n rolling as the filmmaking is, the story acts as an anchor, bogging things down as it gets more and more convoluted.
It’s too bad because Ritchie takes pains to create the very specific world his characters inhabit, and it is a colourful place but it seems that he never met a plot twist he didn’t love. As the plot thickens, and it does thicken almost to the point of impenetrability, the movie begins to feel overstuffed. To help the audience along Ritchie binds everything together with a silly framing device involving Fletcher (Grant), a private eye/blackmailer who unfurls the complicated story to Pearson’s right-hand-man Raymond (Charlie Hunnam). It’s time consuming and adds little to the picture except for Hugh Grant’s exaggerated accent as he delivers flowery lines like, “Our antagonist explodes on the scene, like a millennial firework.”
“The Gentlemen” feels like an exercise in nostalgia, back to era of Ritchie’s frenetic jump cuts and outdated attitudes about race disguised as quippy dialogue.
Based on a 1927 science fiction/horror story by H. P. Lovecraft, “Color Out of Space” is a strange film starring everyone’s favorite purveyor of strange performances, Nicolas “Dad’s been acting weird” Cage.
Cage is Nathan Gardner, a former artist living on his late father’s remote farm near the fictional town of Arkham, one of Lovecraft’s favorite settings. His family, Wiccan practitioner Lavinia (Madeleine Arthur), weed aficionado Benny and youngster Jack (Brendan Meyer and Julian Hilliard) and mother Theresa (Joely Richardson), leads a quiet if unconventional life until late one night when a meteorite crash lands on their front lawn. Unsure of what it is, Nathan calls the police. “I’m sorry about the smell,” he says. “Can you smell it? It’s like somebody lit a dog on fire.”
The smell will turn out to be the least of his problems.
The meteorite disappears over time but the effects of the crash landing linger. The Gardeners and their animals—they raise alpacas—begin acting strangely. Mom cuts her own fingers off as psychedelic hallucinations shroud the family’s thoughts. Hydrologist Ward (Elliot Knight), in the area surveying for a future dam project, thinks the water is poisoned but the real answer is a little more out there, as in outer space alien brain, out there.
Directed by Richard Stanley, who hasn’t made a feature since infamously being fired from 1996’s “The Island of Dr. Moreau,” “Color Out of Space” is a trippy, darkly humorous descent into madness. Lovecraft has proven tricky to adapt to the screen but Stanley does a good job here, building a sense of unease with a clever mix of CGI and practical special effects that build upon the natural disorienting nature of the story. Add to that body horror and cosmic terror, each heightened by the committed—read unhinged—performances from the leads and you have a movie that keeps the viewer as off-kilter as the characters they are watching.
“Color Out of Space” is a little uneven, cramming too many ideas into the mix, but the mix of two gonzo artists like Cage and Stanley offers up a movie that amps up the cinematic anxiety in unpredictable ways.
SYNOPSIS: Renee Zellweger returns as the title character in “Bridget Jones: Mad About the Boy.” In this romantic comedy, now streaming on Prime Video, Bridget finds herself widowed with two children and a job as a television producer. Four years after the death of her beloved husband Mark Darcy (Colin Firth), she decides to restart her life, and meets a much younger man.
