Fast reviews for busy people! Watch as I review three movies in less time than it takes to do a high five! Have a look as I race against the clock to tell you about the transformational horror of “Wolf Man,” the resilience of “The Last Showgirl” and star power of “Back in Action.”
Watch the whole thing HERE!
SYNOPSIS: In the new Netflix action comedy “Back in Action” Jamie Foxx and Cameron Diaz star as retired CIA spies drawn back into action when their secret identities, and quiet family life, is compromised. “I always knew you guys were lying about something,” says daughter Alice (McKenna Roberts), “but I never thought you were cool enough to be spies.”
CAST: Jamie Foxx, Cameron Diaz, Kyle Chandler, Glenn Close, Andrew Scott, Jamie Demetriou, McKenna Roberts, Rylan Jackson. Directed by Seth Gordon from a script he co-wrote with Brendan O’Brien.
REVIEW: After appearing together in the 1999 sports drama “Any Given Sunday” and 2014’s all-singing-all-dancing “Annie” remake, Jamie Foxx and Cameron Diaz reteam for the amiable Netflix action comedy “Back in Action.”
Tasked with pulling off a dollop of romance and large-scale action, all set against a backdrop of a “Married with Kids” style family comedy, the frequent co-stars bring versatility and charm to the predictable, but entertaining story.
Diaz, in her first movie in a decade, reminds us why she was such a commercial and critical success before she stepped away from the spotlight. Toggling between relatable mom and kick-ass spy, she delivers the funny and some high-flying action.
Foxx makes short work of Matt. Like Diaz, he makes the mix-and-match of action and comedy look easy and shares effortless chemistry with his co-star.
As the kids, McKenna Roberts and Rylan Jackson ably assist the headliners, with Jackson delivering some of the movie’s funniest lines. “They’re not criminals,” he says of his parents. “They belong to a pickleball league! They watch HGTV!”
Glenn Close shows a previously unseen flair for action (no spoilers here) and British comedian Jamie Demetriou takes a role we’ve seen before—a bumbling fool who aspires to greatness—and milks it for all it is worth.
It’s the characters and performances that make “Back in Action” a bit of distracting fun.
The movie itself delivers on its promise. There are laughs and a big action set piece every fifteen minutes or so, but, story wise, there isn’t much here we haven’t seen before. It plays a like a sequel to a movie that doesn’t exist, something that seems familiar, but you can’t quite put your finger on where you’ve seen it before.
“Back in Action’s” story may be as generic as its title, but although predictable, it’s still an old-school crowd pleaser.
If you have seen the trailer for “Strays,” a new comedy starring a pack of very cute dogs and the voices of Will Ferrell and Jamie Foxx, you know what you are in for.
If you haven’t seen the trailer, think of it as an animal road trip movie like “The Incredible Journey” minus the family-friendly bits. Or maybe as a riff on “The Adventures of Milo and Otis” with raunchy dialogue that would make Snoop Dogg blush.
Ferrell is trusting Border Terrier Reggie. He lives with Doug (Will Forte), a cruel owner who only puts up with the dog because his girlfriend adopted him from a local general store. The goodhearted Reggie calls Doug, “the best owner in the world,” despite the fact that their game of Fetch involves stranding Reggie far away from home to see if he can find his way back.
When the girlfriend leaves, Doug wants Reggie gone. He leaves the gullible dog to fend for himself on the street three hours away from home, alone and unloved. But Reggie doesn’t understand that he’s being abandoned. He thinks they’re playing another long-distance game of Fetch, and is determined to return to Doug and win the game.
Trouble is, he’s hopelessly lost. Dog-gone it.
On his journey Reggie meets Bug, a street-wise Boston Terrier, who runs with a pack of stray dogs that includes an Australian Shepherd named Maggie (Isla Fisher), and a therapy Great Dane named Hunter (Randall Park). Bug doesn’t trust humans. He was abandoned, and believes humans harvest dog poop to make chocolate.
Reggie’s new friends convince him that Doug has abandoned him. “Take it from me, kid,” Bug says, “he left your ass.” In disbelief, Reggie mumbles, “That would mean Doug doesn’t love me.”
His world turned upside down, Reggie vows to get revenge on his former owner. “You’re a stray,” Bug says. “You can do whatever you want.”
I think it is a safe bet to crown “Strays” the most adorable, yet rudest movie of the year. Reggie and his pals are a cute canine quartet but the film’s “beyond the chain” jokes and situations, mostly involving poop, vomit and doggie sex, are anything but sweet. It is a raunchy coming-of-age story as Reggie learns from his new friends that everyone has worth. It’s a great message, laced with laughs, for those with a high tolerance for poop-and-scoop humor.
As Reggie, Ferrell revisits the naiveté of the “Elf” era. The unsophisticated Border Terrier is a wide-eyed innocent, unaware of the ways of the world. He sees the good in everyone, including his hateful owner Doug. He’s a lovable waif, so the movie’s revenge fantasy angle plays well, but the real appeal here is his open-hearted way of viewing the world.
Ferrell is ably supported by Reggie’s new friends. Fisher and Park, are a flirty and often filthy duo, but it is Foxx’s finely tuned comic delivery that brings the funny. Add to that a truly strange cameo from Dennis Quaid and a ton of shock value, and you have a doggie style movie like no other.
“Strays” is not “Marley and Me.” It’s a deeply silly movie that fully embraces its extreme side. There is something inherently funny about watching these adorable dogs saying terrible things and while the humor may not be family friendly, the message that we should be nice to animals or they may do terrible things to us, is a good one.
“Day Shift,” a new action comedy starring Jamie Foxx, and now streaming on Netflix, brings a supernatural twist to the familiar story of a father doing what he has to do to hang on to his family.
Foxx plays Bud, a San Fernando Valley pool cleaner and undercover vampire slayer. A fearless hunter of the undead while on the job, at home he’s a devoted father, but things aren’t going well. He and his wife Joceyln (Meagan Good) have separated, and unless Bud can come up with $5000 to pay for private school tuition for daughter Paige (Zion Broadnax), mother and daughter are going to move to Florida.
Neither the pool cleaning or freelance vampire killing pay what they used to, and when a local pawnbroker (Peter Stormare) offers him a fraction of what his trophy vampire fangs are worth, he is left with only one option, join the vampire-hunter’s union.
Trouble is, they don’t want him. “You expect me to let you back in where the sun don’t shine?” asks union leader Ralph Seeger (Eric Lange). He’s a rebel, he doesn’t follow the rules, he’s a wild card but when legendary vamp killer Big John Elliott (Snoop Dogg) vouches for him, Bud gets in, but the union has him on probation and his every move will be monitored by straightlaced union rep Seth (Dave Franco). “I have to be with you at all times in the field,” Seth says. “Union rules.”
Bud can now earn the money he needs to keep his family together, unless elder vampire Audrey San Fernando (Karla Souza) gets her bloody revenge on him for killing her undead daughter.
“Day Shift” is an action comedy with an emphasis on bloody action. Between the decapitations, martial arts fight sequences, wooden stakings and Snoop’s Big Bertha rapid fire machine gun, this one has a much higher body count than your usual laugh fest. Foxx does his best to bleed the laughs out of the script. He’s a convincing action star, a kind of jokey Blade, who also has a way with a one-liner. His presence adds some much-needed lightness and his chemistry with Franco makes the character of Seth a tad less irksome.
“Day Shift” suffers from an underwritten script and overwrought plot turns, but despite all that, the action, Foxx and Snoop makes for a pretty good Saturday matinee style horror comedy à la “Monster Squad” or “Fright Night.”
Richard joins CTV NewsChannel and anchor Angie Seth to have a look at new movies coming to VOD, streaming services and theatres including the latest from your friendly neighbourhood crimefighter in “Spider-Man: No Way Home,” the dark carnival of “Nightmare Alley” and the ex-porn star drama “Red Rocket.”
Watch the whole thing HERE!
At the beginning of “Spider-Man: No Way Home,” the new two-and-a-half-hour-long superhero movie now playing in theatres, Peter Parker (Tom Holland) learns it’s hard to be a masked crime fighter when everybody knows who you are under your red and black suit.
Exposed by supervillain Mysterio at the end of “Spider-Man: Far from Home,” Parker’s life has been turned upside down. And not in a fun way as in 2002’s “Spider-Man” when Tobey Maguire and Kirsten Dunst shared an upside-down smooch in the rain.
That was harmless good fun.
These days, the friendly neighborhood web-slinger’s newfound notoriety makes it impossible for him to balance his personal life and relationships with girlfriend MJ (Zendaya), best pal Ned (Jacob Batalon) and Aunt May (Marisa Tomei) with his role as a world saving crime fighter.
“People looked up to this boy and called him a hero,” squawks J. Jonah Jameson (J. K. Simmons), the conspiratorial host of TheDailyBugle.net. “Well, I’ll tell you what I call him, Public Enemy Number One!”
Some think he’s a hero, others regard him as a vigilante. As his identities become blurred, Parker turns to becaped neurosurgeon and Master of the Mystic Arts, Dr. Stephen Strange (Benedict Cumberbatch), for help.
“When Mysterio revealed my identity, my entire life got screwed up,” Parker says to Strange. “I was wondering if you could make it so it never did.”
Parker wants Dr. Strange to conjure up a spell to brainwash the world and make people forget he is Spider-Man.
It’s a big ask. “Be careful what you wish for,” Strange says, warning Parker that casting such a spell will tamper with the stability of space and time.
Sure enough, the spell blows a hole in the multiverse, the collection of parallel universes with alternate realities, and unleashes “universal trespassers,” the most terrifying foes Spider-Man has ever faced in this or any other realm.
There’s more. Lots more. Big emotional moments, lotsa jokes, nostalgia and fan service, an orgy of CGI and Villains! Villains! Villains! The multiverse offers up a multitude of surprises but there will be no spoilers here. Your eyeballs will dance and, depending on your level of fandom, maybe even well up from time to time.
The trippiness of the story’s inter dimensional leaps, while entertaining, are secondary to the movie’s strongest feature, Spider-Man’s empathy. “Spider-Man: No Way Home” is a movie about second chances. Peter Parker doesn’t want to simply vanquish his enemies, he wants to understand them, to know why they behave as they do. By the time the end credits roll, the baddies may not be able to wreak havoc anymore, but not for the reasons you might imagine.
In real life the world is divided by ideology and opinion. “Spider-Man: No Way Home” asks us to examine those differences, look for their roots and try and heal them. It does so with plenty of trademarked Marvel action and overstuffed bombast, but the core message of empathy and understanding for others is the engine that keeps the movie chugging forward.
“Spider-Man: No Way Home” is a mix of exhilaration and exhaustion. It is inconsistent in its storytelling, overblown at times and the finale is a drawn-out CGI fest but when it focusses on the characters, empathy and the chemistry between the actors, it soars, like Spider-Man slinging webs and effortlessly zooming between skyscrapers.
Like life itself, “Soul,” the new Pixar film now streaming on Disney+, is a messy and chaotic affair; a big bang where the physical and metaphysical collide.
“Soul’s” afterlife adventures begin on an earthbound plane. Joe Gardener (Jamie Foxx) is a seventh-grade music teacher who gets the big break he’s always dreamt of when he aces an audition to play piano in the band of a legendary jazz saxophonist (Angela Bassett). “Music is all I think about,” he says. “From the moment I wake up in the morning. To the moment I fall asleep at night. I was born to play. It’s my reason for living.”
He leaves the club on cloud nine, not knowing that he would soon, literally, be on cloud nine. On his way home he falls in a manhole. Knocked out, his soul separated from his body, he enters The Great Before, a strange and serene place where his spectral being—imagine Casper the Friendly ghost with a fedora and glasses—is greeted by The Counselors. They run the joint, and assign Joe to mentor a rambunctious yet-to-be-born soul called 22 (Tina Fey). “I’ve had thousands of mentors who have failed,” 22 says, “and now hate me.” Joe’s job is to find the spark, the missing part of 22’s personality, that will complete her as a person. “You can’t crush a soul here,” 22 tells Joe. “That’s what life on earth is for.”
The next step is a big one. The odd couple dive into the astral plane, plummet toward earth where 22 winds up in Joe’s body as Joe takes the form of the therapy cat assigned to his comatose body by the hospital. Trapped in the wrong bodies, the pair set off to discover the meaning of life.
Like the jazz music that dots the score, “Soul” is free-form, inventive and sometimes just a little hard to understand. It’s an existential riff on a buddy comedy. Or maybe “Freaky Friday” as directed by Frank Capra. Either way, it has a lot on its mind although it never digs too deep. Ultimately the ethereal action boils down to a simple message of mindfulness, of being aware of the simple joy life offers.
Along the way you have an imaginatively animated movie, earnest in its storytelling, laden with interesting details and nice voice work from Foxx, Pixar’s first African-American lead and Fey, who gives 22 a sardonic but philosophical edge.
Despite typical cartoony touches, like a toffee-nosed accountant soul and some feline slapstick, “Soul” is a life-affirming, poignant look at what it means to be human.
When we first meet Walter McMillian (Jamie Foxx), known to friends and family as Johnny D, he’s in his element, in the woods chopping down a tree as part of his pulping business. The calm and serenity of his life is soon uprooted by Alabama lawman Sheriff Tate (Michael Harding). What at first seems to be a routine stop takes a turn when Tate snarls, “You wanna make a break for it? ‘Cuz after what you did I’m happy to end this now.”
Those words kick off the action in “Just Mercy,” a based-on-life-events legal drama starring Foxx and Michael B. Jordan. Johnny D is sent to death row even before he is tried and convicted of the murder of an eighteen-year-old local girl. “You don’t know what it’s like down here when you are guilty since you were born,” he says.
After languishing in a tiny cell near the prison’s “death room” for several years Johnny D is visited by Harvard-trained civil rights defense attorney Bryan Stevenson (Jordan). The former church pianist is an idealistic young man, new to the profession but fueled by a passion to fight injustice. “I wanted to become a lawyer to help people,” he says. Moving to Monroeville, Alabama—where Harper Lee wrote “To Kill a Mockingbird”—he sets up the Equal Justice Initiative with the aid of Eva Ansley (Brie Larson) with an eye toward undoing wrongs.
It’s a daunting task. On his first visit to the prison he is illegally strip searched by a leering guard on his way in. Worse, the community sees him as someone who wants to put convicted killers back on the street. He deals with death threats, witness intimidation and racism but the biggest hurdle comes down to one cold, hard fact. “You know how many people been freed from Alabama death row?” asks Johnny D. “None.”
Working against the odds Stevenson begins a campaign to expose the corruption that landed his innocent client in jail. “Whatever you did your life is still meaningful,” he says, “and I’m going to do everything I can to stop them from taking it.”
“Just Mercy” does a good job in setting up the obstacles Stevenson encounters on his search for the truth. The film could be criticized for director Destin Daniel Cretton’s traditional, linear approach but the entrenched racism and systemic resistance to change Stevenson deals with are undeniably powerful indictments of a legal system that favors the establishment over everyone else.
Bringing the tale of injustice to life are formidable but understated performances from the core cast. Jordan and Foxx keep the theatrics to a minimum. As Stevenson, Jordan is all business, driven by personal passion but bound by his professional attitude. Foxx is stoic, a man who has lost all hope. When his case takes a turn the change in his body language is a subtle reminder that his attitude has shifted.
Equally as strong are the supporting players. As death row inmate Herbert Richardson, Rob Morgan brings vulnerability to the kind of character who is so often portrayed as a one-dimensional stereotype.
The film’s showiest performance comes from Tim Blake Nelson as a man tormented by his role in Johnny D’s wrongful conviction. His face contorted and scarred he gives the character an arc within his relatively short time on screen.
What “Just Mercy” lacks in flashy storytelling it makes up for in its earnest examination of injustice and discrimination.
THE GOOD (in alphabetical order)
Baby Driver: Although it contains more music than most tuneful of movies “Baby Driver,” the new film from director Edgar Wright, isn’t a musical in the “West Side Story,” “Sound of Music” sense. Wallpapered with 35 rock ‘n roll songs on the soundtrack it’s a hard driving heist flick that can best be called an action musical.
The Big Sick: Even when “The Big Sick” is making jokes about terrorism and the “X-Files” it is all heart, a crowd-pleaser that still feels personal and intimate.
Call Me By Your Name: This is a movie of small details that speak to larger truths. Director Luca Guadagnino keeps the story simple relying on the minutiae to add depth and beauty to the story. The idyllic countryside, the quaint town, the music of the Psychedelic Furs and the languid pace of a long Italian summer combine to create the sensual backdrop against which the romance between the two blossoms. Guadagnino’s camera captures it all, avoiding the pitfalls of melodrama to present a story that is pure emotion. It feels real and raw, haunted by the ghosts of loves gone by.
Darkest Hour: This is a historical drama with all the trappings of “Masterpiece Theatre.” You can expect photography, costumes and period details are sumptuous. What you may not expect is the light-hearted tone of much of the goings on. While this isn’t “Carry On Churchill,” it has a lighter touch that might be expected. Gary Oldman, not an actor known for his comedic flourishes, embraces the sly humour. When Churchill becomes Prime Minister his wife, Clementine (Kristin Scott Thomas) makes an impassioned speech about the importance of the work he is about to take on. He raises a glass and, cutting through the emotion of the moment, says, “Here’s to not buggering it up!” It shows a side of Churchill not often revealed in wartime biopics.
The Disaster Artist: The key to pulling off “The Disaster Artist” is not recreating “The Room” beat for beat, although they do that, it’s actually about treating Wiseau as a person and not an object of fun. He’s an outrageous character and Franco commits to it 100%. From the marble-mouthed speech pattern that’s part Valley Girl and part Beaker from The Muppets to the wild clothes and stringy hair, he’s equal parts creepy and lovable but underneath his bravado are real human frailties. Depending on your point of view he’s either delusional or aspirational but in Franco’s hands he’s never also never less than memorable. It’s a broad, strange performance but it may also be one of the actor’s best.
Dunkirk: This is an intense movie but it is not an overly emotional one. The cumulative effect of the vivid images and sounds will stir the soul but despite great performances the movie doesn’t necessarily make you feel for one character or another. Instead its strength is in how it displays the overwhelming sense of scope of the Dunkirk mission. With 400,000 men on the ground with more in the air and at sea, the sheer scope of the operation overpowers individuality, turning the focus on the collective. Director Christopher Nolan’s sweeping camera takes it all in, epic and intimate moments alike.
The Florida Project: This is, hands down, one of the best films of the year. Low-budget and naturalistic, it packs more punch than any superhero. Director Sean Baker defies expectations. He’s made a film about kids for adults that finds joy in rocky places. What could have been a bleak experience or an earnest message movie is brought to vivid life by characters that feel real. It’s a story about poverty that neither celebrates or condemns its characters. Mooney’s exploits are entertaining and yet an air of jeopardy hangs heavy over every minute of the movie. Baker knows that Halley and Moonie’s well being hangs by a thread but he also understands they exist in the real world and never allows their story to fall into cliché.
Get Out: This is the weirdest and most original mainstream psychodrama to come along since “The Babadook.” The basic premise harkens back to the Sidney Poitier’s classic “Guess Who’s Coming to Dinner.” In that film parents, played by Spencer Tracy and Katharine Hepburn, have their attitudes challenged when their daughter introduces them to her African American fiancé. The uncomfortable situation of meeting in-laws for the first time is universal. It’s the added layers of paranoia and skewered white liberalism that propels the main character’s (Daniel Kaluuya) situation into full-fledged horror. In this setting he is the other, the stranger and as his anxiety grows the social commentary regarding attitudes about race in America grows sharper and more focussed.
Lady Bird: Greta Gerwig’s skilful handling of the story of Lady Bird’s busy senior year works not just because it’s unvarnished and honest in its look at becoming an adult but also, in a large degree, to Saoirse Ronan’s performance. I have long called her ‘Lil Meryl. She’s an actor of unusual depth, a young person (born in 1994) with an old soul. Lady Bird is almost crushed by the weight of uncertainty that greets her with every turn—will her parents divorce, will there be money for school, will Kyle be the boy of her dreams, will she ever make enough cash to repay her parents for her upbringing?—but Ronan keeps her nimble, sidestepping teen ennui with a complicated mix of snappy one liners, hard earned wisdom and a well of emotion. It’s tremendous, Academy Award worthy work.
The Post: Steven Spielberg film is a fist-pump-in-the-air look at the integrity and importance of a free press. It’s a little heavy-handed but these are heavy-handed times. Director Spielberg and stars Tom Hanks and Meryl Streep are entertainers first and foremost, and they do entertain here, but they also shine a light on a historical era whose reverberations are being felt today stronger than ever.
The Shape of Water: A dreamy slice of pure cinema. Director Guillermo del Toro uses the stark Cold War as a canvas to draw warm and vivid portraits of his characters. It’s a beautiful creature feature ripe with romance, thrills and, above all, empathy for everyone. This is the kind of movie that reminds us of why we fell in love with movies in the first place.
Three Billboards Outside Ebbing, Missouri: The story of a mother’s unconventional war with the world is simple enough, it’s the complexity of the characters that elevates the it to the level of great art.
Wonder Woman: Equal parts Amazon sword and sandal epic, mad scientist flick, war movie and rom com, it’s a crowd pleaser that places the popular character front and centre. As played by Gal Gadot, Diana is charismatic and kick ass, a superhero who is both truly super and heroic. Like Superman she is firmly on the side of good, not a tortured soul à la Batman. Naïve to the ways of the world, she runs headfirst into trouble. Whether she’s throwing a German tank across a battlefield, defying gravity to leap to the top of a bell tower, tolerating Trevor’s occasional mansplaining or deflecting bullets with her indestructible Bracelets of Submission, she proves in scene after scene to be both a formidable warrior and a genuine, profoundly empathic character.
