Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies, the psychological thriller “Split” starring James McAvoy and “The Founder,” the story of Ray Kroc and the rise of fast food in America.
Watch the whole thing HERE!
Let’s twist again, like we did last summer! Or in this case, like we did a decade or so ago when director M. Night Shyamalan became the master of the trick ending. Remember the twist in “The Sixth Sense”? It was one of the best surprises in movie memory. Ever since little Haley Joel Osment uttered those four words that sent chills down audience’s spines—“I see dead people”—Shyamalan has been largely unsuccessful in recreating that kind of jolt for his audience.
His new film, a psychological horror called “Split,” comes close to re-establishing Shyamalan’s reputation as the ziggiest zagger of a storyteller in Hollywood.
The dark story begins in broad daylight with the kidnapping of teens Claire (Haley Lu Richardson) and Marcia (Jessica Sula) and Casey (Anya Taylor-Joy). The three friends are plunked down into an airless basement dungeon, held captive by Kevin (James McAvoy), a man with dissociative identity disorder. In other words his mind has cleaved into twenty-four separate and distinctive personas. Think “Psycho” times 12. To escape the girls must appeal to Kevin’s better nature or natures before the final personality, The Beast, shows up and they become, “sacred food.”
Shyamalan will earn a good chunk of the credit for “Split,” for writing the twisty-turny story, for choosing the anxiety-inducing soundtrack, for constructing a (mostly) taut and tense pulpy thriller with loads of black humour but it is McAvoy that makes the movie memorable.
From the button-down, neat-freak Dennis, to nine-year-old Kanye West fan Hedwig to the sinister Patricia, he jumps from personality to personality, breathing life into each of his characters. The changes are frequently lightening fast. A furrow of a brow, the tightening of the lips and presto-chango, he’s someone else. It’s bravura work, unafraid to go over-the-top, embracing each and every character as if they were the star of the show.
Like all good Shyamalan movies (and some bad ones too) there is a twist, and a good one, but you’ll have to buy a ticket to find out what it is. There will be no spoilers here. Suffice to say the curve ball works thematically as well as providing several ‘What the Hell!!’ moments.
“Split” is wild and wooly, uniting, for the first time in a long time, Shyamalan’s talent for keeping the audience on the edge of their seats and his ability to change the game in the final act.
Richard and CP24 anchor Nneka Elliot talk about the weekend’s big releases, “X-Men Apocalypse,” starring Michael Fassbender and Jennifer Lawrence, Johnny Depp in “Alice Through the Looking Glass” and “Mr. Right,” starring Anna Kendrick and Sam Rockwell.
Watch the whole thing HERE!
“Hope for the best,” says Hank McCoy a.k.a. Beast (Nicholas Hoult) midway through “X-Men: Apocalypse,“ “but prepare for the worst.”
That’s the way I approach the X-Men movies. When a movie series spans a universe of stories—in addition to five X-Men flicks, this is the third “First Class” movie—caution is advised. The general rule of thumb is one of diminishing returns: the further away from the source, the weaker the story.
“Apocalypse” isn’t exactly the best of the X-Men movies, but it’s hardly the worst either. What it lacks in surprises, it makes up for in bombast.
“A gift can often be a curse,” we’re told in the opening narration. “Give them the greatest gift of all, power beyond imagination and they think they should rule the world.” Such is the case with En Sabah Nur (Oscar Isaac) an immortal Egyptian pharaoh betrayed a millennium or two ago, left in a fitful slumber under the rubble of a collapsed pyramid.
Cut to the early 1980s. Series regulars Magneto (Michael Fassbender), Nightcrawler (Kodi Smit-McPhee), Angel (Ben Hardy) and Mystique (Jennifer Lawrence) are going about life as usual… or as usual as they can while shape shifting and instantly transporting from place to place.
Their lives intersect again when En Sabah Nur, now nicknamed Apocalypse (no foreshadowing there) emerges from his sleep, eager to take his place as king of the world. The mutant god absorbs television news to learn about the modern world before assembling his disciples—his four horsemen—and unlocking the one last power he needs to control the planet. With the world’s fate resting in his hands Professor X (James McAvoy) brings a team of X-Men to do battle.
The first X-Men movies were allegories for all manner of twentieth century intolerance but gradually over time the civil rights elements of the story have become more lip service than social comment. “Apocalypse” distances itself even further from the core of what made the originals interesting, leaving behind a serviceable action movie that plays more like a Successories unleash-your-power platitude than a cry for universal liberties.
Instead we are given a villain who melodramatically says things like, “Come! Rescue your weakling!” and a CGI climax that feels lifted from “Batman v. Superman” or “Age of Ultron.” The dumbed down story of friendship and teamwork may not engage the brain but it does, however, have outlandish visuals to dazzle the eye. A show stopping Quicksilver (Evan Peters) scene has the faster-than-light mutant rescue a dozen people from a bombed out building, frozen in time by his supersonic speed. It’s cool and like the movie’s best images has the verve and invention the script lacks.
When the film’s biggest reveal is James McAvoy’s bald Professor X head you know the movie is light on new ideas but “X-Men: Apocalypse“ transcends the law of diminishing rewards by upping the action.
Richard’s “Canada AM” reviews for the “Rocky” reboot “Creed,” Pixar’s latest child-in-peril movie “The Good Dinosaur,” Daniel Radcliffe as Igor minus-the-hump in “Victor Frankenstein” and Bryan Cranston as black-listed writer Dalton Trumbo in “Trumbo.”
Watch the whole thing HERE!
By Richard Crouse – Metro In Focus
At the 2012 Canadian premier of The Woman in Black a young woman yelled, “I love you!” as Daniel Radcliffe and I took the stage to introduce the film.
“I love you too,” he replied with a smirk. “But I think we should see other people.”
The audience laughed but probably missed the double meaning of his comment. For ten years Radcliffe was the face of Harry Potter, one of the biggest grossing movie franchises ever. Potter ended in 2011 (for Radcliffe, anyway) and the actor has moved on, and hopes his audience will follow along.
This week he’s taking on another classic character, one played in the past by everyone from Bela Lugosi to Marty Feldman. In Victor Frankenstein he transcends Igor’s traditional, “Yes master,” function to become the movie’s moral compass and emotional core. A reimagining of the Frankenstein story that focuses on the men rather than the monster, it’s a change of pace from an actor who likes to shake it up, career-wise.
“I want to try my hand at as many things as possible,” he told me in 2014. “Having played one character for a very long time, that builds up in you a desire to play a number of different characters and do as much different work as you can. I like that you can’t predict what my next thing is going to be.”
Since Potter wrapped he has kept audiences guessing. From the Gothic horror of Woman in Black and The F Word’s light romance to a biographical look at the Beat Generation in Kill Your Darlings and the twisted morality of Horns, the only predictable thing about his career is its unpredictability.
“It’s about finding out what I’m good at, finding out which things I prefer doing because I’ve only done Potter up until a few years ago, so now this period is really me going, ‘If I had my choice.’
“Being that I do have a semblance of control over my career, — which most actors my age don’t — I feel I might not always have this opportunity to try loads of different things.”
Radcliffe credits working with the likes of Alan Rickman, Gary Oldman and David Tennant on the Potter films with giving him some perspective on how to manage his career.
“The defining feature of Alan, Gary, David and many more that I’ve worked with, is that they never want to stop learning,” Radcliffe told me during an interview for The Women in Black.
“They never feel they are finished. Alan Rickman is constantly trying to get better and refined. When you see that in someone who is A) Brilliant and B) 30 years older than you, it’s very inspiring to see they have gone through their whole careers and never been satisfied.”
Radcliffe has perspective on where he’d like his career to go, but what about the fame that came along with playing Harry Potter? The next day after The Woman in Black premier I asked him about the screaming fans that greeted him and what that does to his ego.
“The thing you have to remind yourself is that it’s not about me. It’s about the fact that I played this character who became beloved. Anyone who took on this character would be getting this reaction. When I’m home, smoking a cigarette and it’s cold and I’m eating half a pizza — you have to take a picture of yourself then and play it to yourself when you’re on the red carpets and go, ‘Yeah, you’re not all that.’”
Just as Dr. Frankenstein stitched his creation together from the bodies of several people “Victor Frankenstein,” a new film starring James McAvoy and Daniel Radcliffe, stitches a story together using bits and pieces of other monster movies.
In a flip flop from most Frankenstein movies, the story begins with the nameless, hunchbacked circus freak that would become Igor (Daniel Radcliffe), studying the “science of life” when he isn’t pining after beautiful trapeze artist Lorelei (Jessica Brown Findlay). His detailed anatomical drawings earn the ridicule of his fellow carnies but when Lorelei is injured after a fall his quick thinking saves her life.
Victor Frankenstein, seeing his potential, smuggles the hunchback out of the circus with an eye toward making him his protégé. The good (or is he?) doctor gives his new friend the name of an old, deceased pal. Turns out the newly minted Igor’s back bump is just an abscess which, once drained, will allow him to stand upright and fit in with upper class Victorian society.
Frankenstein wants to use Igor’s knowledge of anatomy to help construct the “larger whole” the doctor has in mind. It will be, he says, “a scientific enterprise that will change the world.” In other words, he’s looking to reanimate the dead. “I’m of the opinion that death is a temporary condition,” he says.
As the pair work toward their scientific breakthrough Lorelei re-enters the story and a religious policeman (Andrew Scott) sniffs out sin, making it is his moral duty to stop Frankenstein’s experiments. “He reeks of an evil, sinful mischief.”
In the end Igor must look into his soul to decide whether his mentor’s motives are scientific or psychological.
As the title would suggest “Victor Frankenstein” is about the man not the monster. Just as Frankenstein’s work “challenges natural order,” the movie challenges our knowledge of the story, mixing-and-matching details from Mary Shelley’s source novel (which did not feature Igor) with the accumulated mythology from the dozens of films that followed.
Igor takes on a much larger role in the story, transcending the traditional, “Yes master,” assistant to become the movie’s moral compass and emotional core. The movie isn’t really about the monster or creating life. Victor Frankenstein figures out how to create life in a laboratory but, more importantly, he gives Igor a life—changing him from abused circus freak to English gentleman.
Victor is still not one to allow morality stand in the way of science, but here the psychological drama trumps any talk of ethics. Questions as to the implications of bringing the dead back to life are raised and dismissed with clever hypotheticals like, “Imagine that a murdered man can stand in court to face his murderer,” or simply lost in the frenetic action that keeps the movie moving at warp speed.
Also gone are any Gothic overtones. The setting and dusty old laboratories will look familiar to fans of the genre but get lost in the film’s rapid pacing. Director Paul McGuigan seems more intent on keeping the movie moving than fleshing out the story or allowing the atmosphere to take hold. Screenwriter Max Landis can be credited with devising a new take on an old story and doing so with some humour—“We’ll give him a flat head!” says Victor. Why? “Because I like flat heads!”—but both the direction and script feel too modern to snugly fit into the Frankenstein canon.
Film critic Richard Crouse reviews ‘X-Men: Days of Future Past’, ‘Blended’ and ‘Fading Gigolo’.
Watch the whole ting HERE!
“X-Men: Days of Future Past” offers up two for the price of one.
Merging the young versions of Magneto and Professor X with their older counterparts is a cool idea, and certainly gives the movie a boost in the marquee department, but I felt the old timers were left with their own heightened sense of drama and not much else. It seems a shame to have McKellen and Stewart, the Martin and Lewis of mutants, on screen together and not give them much to do.
Based on a 1981 two-issue special of the X-Men comic series the new film begins in a post-apocalyptic future. “A dark and desolate world,” according to the narration. “A world of war, suffering and loss on both sides—mutants and the humans who tried to help them.”
The causing all the trouble are indestructible robot warriors called Sentinels. Able to adapt to any mutant power they’ve created chaos for the mutant race, bringing them to the edge of extinction.
In an effort to “change their fate” long time enemies Professor X (Patrick Stewart) and Magneto (Ian McKellen) team up with Storm (Halle Berry), Blink (Fan Bingbing), Bishop (Omar Sy) and use Kitty Pryde’s (Ellen Page) teleportation ability to send Wolverine (Hugh Jackman) back in time to change history and prevent the creation of the murderous automations. His first task is to convince the 1973 versions of Magneto (Michael Fassbender) and young Professor X (James McAvoy) that they are stronger together than apart.
The only things larger than the movie’s lengthy list of stars are the big ideas contained within. Wrapped around a simple time travel story—the kind of thing “Family Guy” does once or twice a season—are timeless ideas about racism, tolerance, war and rebellion. Not usually the stuff of summer blockbusters, but the X-Men franchise has always been a bit brainier than most. At times it’s a bit too ponderous, but I’ll take that over the flash-and-trash of most CGI epics.
Not that it’s a total head trip. It’s a movie about time travel, mutants and serious actors like Michael Fassbender saying lines like, “We received a message from the future,” so, of course, it’s a little preposterous. That’s part of the fun. It plays with the conventions of big time summer entertainment—check out the spectacular time-shredding sequence featuring the lightening-fast mutant Quicksilver (Evan Peters) that’s both eye-popping and cheeky—but tempers the bombastic stuff with thought provoking notions.
In fact, it could be argued that the ideas are the stars of the film. Jennifer Lawrence is the a-listiest actress in Hollywood right now, but in her second outing as Mystique she almost gets cut adrift in a sea of characters. Ditto Peter Dinklage as the closest thing the film has to a villain.
They’re all good, but Magneto, Professor and Wolverine are complex, cool characters that bring the film’s themes to life; all the rest is set dressing, except for the Quicksilver scene. That was like The Matrix without Keanu’s hangdog expression.
