“Wildwood” is in theatres this weekend! “A visually ambitious movie, the stop motion animated Wildwood is a hand-crafted movie of uncommon beauty.” I spoke with Laika stop-motion animation supervisor Brad Schiff and Jacob Tremblay who voices the character Curtis in the film.
Watch the whole thing HERE!
I join CTV NewsChannel anchor Renée Rodgers to talk about the origin story “Clayface,” the stop-motion animated “Wildwood,” the documentary “Once Upon a Time in Harlem” and the adult fairy tale “Wicker.”
Watch the whole thing HERE!
I sit in with CKTB morning show host Steph Vivier to have a look at movies in theatres including the origin story “Clayface,” the stop-motion animated “Wildwood,” the documenary “Once Upon a Time in Harlem” and the adult fairy tale “Wicker.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to wind your watch. Have a look as I race against the clock to tell you about the origin story “Clayface,” the stop-motion animated “Wildwood” and the documentary “Once Upon a Time in Harlem.”
Watch the whole thing HERE!
SYNOPSIS: In “Wildwood,” a new animated dark fairy tale now playing in theatres, a sister goes on a dangerous journey through an “impassable forest” to rescue her brother after he is kidnapped by a mysterious woman named Alexandra. “I’m not a hero,” she says, “I’m just a girl who lost her brother to a murder of crows.”
CAST: Peyton Elizabeth Lee, Jacob Tremblay, Carey Mulligan, Mahershala Ali, Awkwafina, Angela Bassett, Jake Johnson, Charlie Day, Amandla Stenberg, Jemaine Clement, Len Cariou, Maya Erskine, Tantoo Cardinal, Tom Waits, Richard E. Grant. Directed by Travis Knight.
REVIEW: A visually ambitious movie, “Wildwood” is an epic fairy tale for adults told on a grand scale.
Set in current day Portland, Oregon the story begins when Prue McKeel’s (Peyton Elizabeth Lee) parents ask her to babysit her little brother Mac. They can do whatever they want, as long as she doesn’t take him out of the house.
Of course she does, and, along with eager-to-please schoolmate Curtis (Jacob Tremblay), take the infant for an adventure packed, fun day in town. Well, fun until a murder of crows swoops down and carries the infant skyward.
Frantically following the flock, Prue and Curtis end up in the “impassable wilderness,” a magical place on the outskirts of town with a strict no outsiders policy. There they encounter an army of coyotes, talking owls, castles and mystics who talk to trees and a grief-stricken Dowager Governess (Carey Mulligan) still stinging from the loss of her son. “I don’t want any part of your fairytale,” says Prue. ”I just want my brother.”
To rescue young Mac, Prue and Curtis will have to figure out who to trust in a world filled with magic and distractions.
As far as animation studios go LAIKA, the Oregon based creators behind films like “Coraline” and “Kubo and the Two Strings,” may not have the same name recognition as Pixar, but their brand equals their better-known counterpart in quality and fearless embrace of challenging and thought-provoking themes.
In “Wildwood,” their first PG-13 film (this may be too intense for the little ones, especially in the final battle scene), LAIKA delivers their most accomplished film to date. With a blend of stop motion animation and digital tools director Travis Knight has created the company’s magnum opus, a hand-crafted movie of uncommon beauty.
Epic in scope but personal in nature, Prue’s search for her brother takes her to a wonderfully realized world.
Ripe with magic and danger in equal measure, it’s a spectacularly rendered realm, filled with an eye-popping sense of scale. From Prue’s ride on the back of a giant eagle—“Scared of flying?” she says as they soar through the air. “I’m not usually on the outside of the plane.”—and the Hitchcockian murder of crows abduction sequence to a twelve-minute climatic battle scene and the living ivy that comes alive near the end, the attention to detail will make your eyeballs dance across the screen.
There is also an unusual degree of performance, with smooth stop motion and nuanced facial expressions courtesy of 140,000 3-D printed replacement faces. The use of digital effects, however, doesn’t overwhelm the stop motion, which still feels soulful and artisanal.
Although “Wildwood’s” story sometimes feels like it has been cobbled together from a variety of other fairy tales but nonetheless sets a high bar for stop motion that will be very difficult to top.
On the Saturday October 17 edition of The Richard Crouse Show we meet filmmaker David Greaves. His father William produced more than 200 documentaries and wrote and directed more than half of these. He garnered many accolades for his work, including four Emmy nominations. In 1972 he assembled gathering of artists, writers, musicians, and organizers at Duke Ellington’s Harlem townhouse to film their to recollections on the cultural, artistic, and intellectual movement of the 1920s and 30s known as the Harlem Renaissance.
Shot verité-style, the footage isn’t just a record of an extraordinary event, it’s also a tribute to the legacy of change ushered in by the people who assembled that afternoon.
That footage sat, unreleased for fifty years until William’s son David, who was one of the camera operators on that August afternoon in 1972, restored some 60,000 feet of 16mm film and completed Once Upon a Time in Harlem.
Then, Zoë Roberts, one of the co-creators of the hit musical “Operation Mincemeat” stops by to talk about the show and how a dead body, a fake love letter, and — of all people — Ian Fleming turn the tide of WWII?
Then, we’ll meet Brad Schiff and Jacob Tremblay of the new film “Wildwood.” The dark fantasy based on Colin Meloy and Carson Ellis’s book comes from the stop motion animation wizards at a company called LAIKA, whose other films Coraline, ParaNorman, The Boxtrolls, Kubo and the Two Strings, and Missing Link are all classics.
Listen to the whole thing HERE!
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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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SYNOPSIS: In “The Toxic Avenger,” a remake of the 1984 Troma Films gross-out classic, Peter Dinklage plays a down-on-his-luck janitor transformed by radioactive gunk into the mutated superhero, The Toxic Avenger.
CAST: Peter Dinklage, Jacob Tremblay, Taylour Paige, Julia Davis, Jonny Coyne, Elijah Wood, and Kevin Bacon. Directed by Macon Blair.
REVIEW: A modern-day adaptation of the goofy and gory 1984 film of the same name, “The Toxic Avenger” updates the story, but maintains the original’s glorious bad taste.
At the heart of both films is an underdog janitor who uses his newfound powers to fight corruption and abuse of power, but the circumstances are different.
Originally, the main character Melvin (Mark Torgl) was a bullied outcast who, once transformed by a dip in a vat of toxic waste, meted out vigilante justice to get revenge on the baddies who terrorized him and his hometown of Tromaville.
In the new movie Peter Dinklage is Winston Gooze, janitor for corporate behemoth BTH by night, single father to a teenage son Wade (Jacob Tremblay) by day. Diagnosed with a terminal illness, he’s terrified of leaving his son without a father. In desperation he approaches BTH head honcho Bob Garbinger (Kevin Bacon) to beg for help. In short order he finds himself left for dead in a pool of BTH toxic goo which transforms him into The Toxic Avenger. With his trusty mop, Winston fights to create a future for Wade.
There may be a deeper emotional core to the contemporary Toxie tale, but along with the family drama comes wonderfully over-the-top juvenile humor, exploding heads and bloody mop wounds that need to be seen to be believed.
Director Macon Blair is reverential in his handling of the material. He embraces the shocking schlock of the original, with a cavalcade of practical effects and ridiculous jokes that ensure the spirit of Troma Films lives on. It’s a gory good time with a better-than-expected cast (Dinklage, Bacon and Elijah Wood are having fun here) that doesn’t cater to a mainstream audience.
Fans of midnight movies will be in on the joke, all others, approach with caution.
SYNOPSIS: Based on real events, “Sovereign,” a new psychological true crime drama now playing in theatres, sees a Sovereign Citizen father and his teenage son (Nick Offerman and Jacob Tremblay) travel the country doing anti-establishment seminars. On their journey to sovereignty, a routine traffic stop brings tragedy. “Power is in the people,” Jerry tells his son Joe. “Always remember that.”
CAST: Nick Offerman, Jacob Tremblay, Thomas Mann, Nancy Travis, Martha Plimpton, and Dennis Quaid. Written and directed by Christian Swegal.
REVIEW: A tragic portrait of radicalization and manipulation, “Sovereign” features fine performances from Nick Offerman as an anti-establishment father and Jacob Tremblay as his son. “He says he wants me to be an independent thinker,” Joe Kane (Tremblay) says.
Offerman is best known as Ron Swanson in the sitcom “Parks and Recreation,” a character that echoes “Sovereign’s” Jerry Kane’s endless distrust of government. Both are no-nonsense and skeptical of authority but that’s where the comparisons end.
Offerman played Swanson for laughs, but Kane’s behavior is no laughing matter.
In “Sovereign,” Offerman ups the paranoia and pedantic anti-government wordplay to create a character ground down by the system, a man who would rather die as a “sovereign citizen” than surrender any of his tightly held beliefs. “What we’re after here is not fighting” he says, “it is conquering. I don’t want to have to kill anybody. But if they keep messing with me than I’m afraid that’s what it is going to come down to. And if I have to kill one, I’m not going to be able to stop, I just know it.”
He’s a walking, talking conspiracy theory, a frustrated result of the pain of falling between the cracks and, in his search for autonomy, Offerman gives him a quiet intensity. As he slowly becomes unglued, he’s a coiled spring, ready to pounce, and in his conviction Offerman makes him tragically compelling.
In a mature performance, Tremblay breathes life into Joe’s predicament, stuck between his father’s ideology and his want for a normal teenage life. As his situation spirals out of control Tremblay sees to it that Joe coming-of-age has depth.
The provocative performances are “Sovereign’s” strong point. It’s a slow burn, driven by character and ideas, not by action. Along the way the story drifts, splintering off to include plot shards that distract from the film’s main focus but the chilling portrait of extremism ushers the story along to a tragic and inevitable conclusion.
SYNOPSIS: Based on Stephen King’s 2020 novella of the same name, “The Life of Chuck,” a new science fiction drama starring Tom Hiddleston now playing in theatres, begins as an apocalyptic drama but, by the film’s end, reveals itself to be a life-affirming look at the way we embrace the fleeting experience of life.
CAST: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Jacob Tremblay, Matthew Lillard and Mark Hamill. Written and directed by Mike Flanagan.
REVIEW: Many people die in “The Life of Chuck,” the winner of the People’s Choice Award at the 2024 Toronto International Film Festival. Young people, middle-aged people, old people. In fact, by the end of the film’s opening half hour, it’s suggested that everyone is a goner. And still, the film, adapted from a Stephen King novella of the same name, manages to be tearily life affirming in its compact hour and 45-minute run time.
Structurally “The Life of Chuck” is challenging, divided into three stand-alone, but related pieces.
It begins at the end with Act 3. Chiwetel Ejiofor is Marty, high school teacher and ex-husband of Felicia (Karen Gillan). As the world crumbles around them—California falls into the sea, the internet is gone, earthquakes and wildfires are ravaging most of the planet and entire species of birds and fish disappear overnight—they struggle to understand the billboards and TV ads that thank Charles “Chuck” Krantz for “39 Great Years” that suddenly appear everywhere. “It’s all Krantz all the time,” Marty says. “Anyone know who he is?”
Act 2 focuses on Chuck’s (Tom Hiddleston) adult life, including an afternoon spent dancing with a stranger in public.
Act 1 ties the segments together with a look at Chuck as a youngster and his introduction to the vagaries of life. “You contain multitudes,” says his teacher, placing her hands on either side of his head. “Isn’t that wonderful?”
“The Life of Chuck” is an eclectic film with an odd upside-down presentation, but its themes are anything but strange. A chronical of a life’s journey, it reveals, like Amanda Marshall sang, that everybody, even an “ordinary” accountant like Chuck, has “a story that’ll break your heart.”
A mix of memories, dance and family bonds paint an empathetic portrait of an everyman who, as Walt Whitman said, “contains multitudes.” Chuck is a surrogate for all of us, a microcosm of the inner universe of experience, emotions, and connection that give color to all our lives. And while the movie grapples with mortality, it’s not a downer. Instead, it’s a vibrant testament to the small moments that make up a life, and how small gestures can imprint on those around you.
Once you get acclimatized to the wonky backwards structure, director Mike Flanagan’s abstract commentary on life and legacy gels and the appreciation of life, even in the face of death, becomes clear. It’s sentimental, but never syrupy. It’s heartfelt but not overbearing. It is just like the character of Chuck: likable, multi-layered and nuanced.
