Richard speaks to “CTV News at 11:30” anchor Andria Case about television and movies to watch this weekend, including the Tom Hanks war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Watch the whole thing HERE! (Starts at 18:58)
Richard sits in on the CTV NewsChannel with host Marcia MacMillan to have a look at the new movies coming to VOD and streaming services including the exciting Apple TV+ war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Watch the whole thing HERE!
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 exciting Apple TV+ war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Listen to the whole thing HERE!
Another entry in the Real-Life-Underdog-Brits-Overcoming-Adversity genre of movies—think “The Full Monty,” “Calendar Girls” and more recently “Military Wives”—“Fisherman’s Friends,” now on VOD, is a good-natured crowd pleaser with some deep laughs but no major surprises.
Daniel Mays is Danny, a “proper bigshot” London music biz executive, on a quick weekend get-a-way with some mates in Port Isaac in Cornwall. They are fish out of water in the village. The locals poke fun at their city-slicker ways, treating them like outsiders. “We have our ways down here,” Jim (James Purefoy) warns Danny, “and once you cross the River Tamar you’re not in England anymore. We’re a land apart. You get my drift, son?”
After hearing a local group of fishermen, led by Jim, Jago (David Hayman) and Leadville (Dave Johns), singing a cappella sea shanties Danny’s pals jokingly convince him that he should sign the band to a record contract. He’s skeptical at first, but there’s something about the music that speaks to his soul. But first, he has to persuade the fishermen who are suspicious of his motives. “We have no need to sell our souls for fifteen minutes of fame,” Jim tells him.
His friends can’t believe he fell for the joke. “Do you really think we’d sign a boy band with the combined age of 643?”
But, convinced the public will want to see real people with real talent communicating 500 years of naval history, Danny perseveres. “In a world saturated with manufactured pop bands,” he says, “the fishermen are a real catch.” Plus, he’s fallen for life in the village and Jim’s daughter Alwyn (Tuppence Middleton).
The story of the band’s success is almost stranger than fiction. In real life The Fisherman’s Friends “buoy band” signed a contract with Island Records and their debut went on to become the biggest selling traditional folk album of all time. “Fisherman’s Friends” keeps the bones of the real story but amps up the big emotional moments. The highs soar and the lows have a heartfelt sentimentality. None of it quite feels like reality but by the time the end credits roll it’s clear that Port Isaac in Cornwall is a nice place to visit for 115 minutes.
“Fisherman’s Friends” is formulaic, clearly manipulative, and any sense of subtlety was clearly cut adrift around the second draft of the script but the story’s feel-good underdog story mixed with innate messages of decency and loyalty make it as refreshing as a gust of sea air in our cynical times. “We stick together down here,” Says Jago. “One and all. That’s the difference between sinking or swimming in a place like this.” A good message, even when delivered with a heavy hand.
A new 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 Mummy,” “Churchill” and “Megan Leavey.”
Watch the whole thing HERE!
Richard and CP24 anchor Nathan Downer have a look at the weekend’s new movies, “The Mummy,” “Churchill” and “Megan Leavey.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the big weekend movies, including “The Mummy” starring Tom “Show me the Mummy” Cruise, Kate Mara in the woman-and-her-dog story “Megan Leavey” and the D-Day drama “Churchill.”
Watch the whole thing HERE!
Winston Churchill, two time Prime Minister of the United Kingdom and, according to a 2002 poll, the Greatest Briton of all time, has been played on screens big and small by everyone from Orson Welles and John Houseman to John Cleese and Richard Burton. Recently John Lithgow was nominated for a Golden Globe for his performance of the British Bulldog on “The Crown,” and now along comes Brian Cox as the great man in a not-so-great movie.
Set in the four day lead up to the Allied D-Day landings in Normandy, France in June, 1944 “Churchill” presents a different take on the prime minister than we’ve seen before. Cox plays him as a sixty-nine-year-old man exhausted by the weight of power, terrified of repeating the mistakes made at the bloody World War I Battle of Gallipoli. A personal and professional downward spiral following discord with Generals Eisenhower (John Slattery) and Montgomery (Julian Wadham), is slowed by intervention from the PM’s wife, the strong willed Clementine Churchill (Miranda Richardson)
Feature films are not documentaries nor are they history lessons, but “Churchill’s” fast-and-loose relationship with the truth does not play well. While it is true that Churchill did have misgivings about the D-Day invasion the timeframe has been twisted for dramatic effect. Writer Godfrey Cheshire reports that writer and historian Alex von Tunzelmann “’telescoped’ the events of Churchill’s opposition, bringing them from months earlier to the days just before the invasion.” In an effort to link Churchill’s documented depression with one of the key events of WWII she goes nonlinear with history but fails to draw any real drama from her contrived version of events.
Cox grandstands throughout, perhaps in an effort to overcompensate for the cliché dialogue. “Sometimes you can’t lead everything from the front,” he bellows as though saying it louder amplifies its meaning. The gruff portrayal falls into caricature early on and has a hard time transcending into something compelling, let alone the psychological examination director Jonathan Teplitzky had in mind.
James Purefoy as King George VI and Richardson fare better but are bowled over by a script that suffers form a lack of subtlety.
“Churchill” is a beautiful looking movie, but it isn’t history or a portrait of a real person. Instead it is a misleading look at one of the most important eras in modern history.
“Equity,” a new thriller starring “Breaking Bad’s Anna Gunn, bills itself as “the first female-driven Wall Street movie.” Certainly it doesn’t feel like male driven stories like “Wolf of Wall Street” or “The Big Short,” but its welcome point of view would have been better served by a stronger story.
Naomi Bishop (Gunn) lives in a world where multi million dollar deals are done over a meal of Tasmanian Sea Trout. She’s a top flight Wall Street investment banker trying to salvage her reputation after an IPO she steered failed miserably. Her bosses think she “rubs people the wrong way” but her skill in the boardroom places her at the forefront of a new IPO, a social media network called Cachet. “I’m going to take your company public,” she says to the company’s CEO (Samuel Roukin). “Are you ready to be a rock star?”
On the eve of their initial stock offering some ethical issues arise, placing Naomi at odds with her hedge funder boyfriend Michael Connor (James Purefoy), her ambitious assistant Erin Manning (Sarah Megan Thomas) and an old friend Samantha (Alysia Reiner) who also happens to be a state attorney with a speciality in securities fraud.
There’s a good story of financial intrigue buried deep in “Equity” but it gets lost in the languid pacing and by-the-book dialogue. The film, which gives a voice to female characters in a milieu where women are typically unseen and unheard, doesn’t do much with the opportunity. Gunn is formidable whether she is working the boardroom or berating an underling for bringing her a cookie with only three chocolate chips in it, but her motives are never clear. She is a bit of a caricature, a she-wolf of Wall Street who declares, “I like money” but never really lets us in under the hood.
“Equity’s” tale of power and trust lacks the flash and trash that made “Wolf of Wall Street” and “The Big Short” such romps. Instead it’s stoically straightforward, bogged down by procedure and a slight script.
