The story of “Mass,” a new drama from writer-director Fran Kranz, now playing in theatres, is simple but the emotions it evokes are anything but.
A bland meeting room in an Episcopal church in Idaho is the backdrop for the meeting of two couples bound together by shared trauma. Years before, Richard and Linda’s (Reed Birney and Ann Dowd) son Hayden shot and killed eleven kids in a high school massacre, including Gail and Jay’s (Martha Plimpton and Jason Isaacs) son Evan. The intimate summit is meant to provide clarity and closure, but distrust and frustration steer the proceedings as they volley anger and recrimination back and forth.
“Mass” often feels like a stage play transposed to the screen. The bulk of the “action” takes place in one room, around a table as the four hash out the events that shaped their lives in the aftermath of the tragedy. A tempest of anguish, blame and forgiveness, it forcefully mines the emotion of the situation without resorting to sensational flashbacks or lurid recreations of the film’s defining event. Instead, director Kranz trusts the performances and the words to do the job. “I loved Hayden so much,” says Richard, “but maybe he should never have been born.”
Questions about responsibility, radicalization, gun culture and mental illness are woven into “Mass’s” fabric, but the movie is more interested in the human dynamic than answering those queries. This is about the who, not the why.
To that end the main cast members are never anything less than believable. Each explore a different avenue of grief and remembrance, and each deliver an acting masterclass. Restrained and realistic, the actors go deep, unconcerned with flashy pyrotechnics or showboating.
“Mass” is raw and real, devastating, nuanced and somber, a beautifully acted study in misery that allows for a flicker of hope.
Richard speaks to “CTV News at Six” anchor Andria Case about the best movies and television to watch this weekend including the dramatic coming of age story “Beans,” now playing in theatres and the sex, drugs and Alan McGee rock ‘n roll biopic “Creation Stories” on VOD.
Richard joins Jay Michaels and guest host Deb Hutton of the NewsTalk 1010 afternoon show The Rush to talk about the pirate who invented the Pina Colada and some movies, “Old” and the rock and roll biopic “Creation Stories,” to enjoy while sipping one of the creamy drinks.
Richard sits in on the CFRA Ottawa morning show with guest host Andrew Pinsent to talk the new movies coming to theatres, VOD and streaming services including the M. Night Shyamalan thriller “Old” (in theatres), the action flick “Jolt” (Amazon Prime), the rock ‘n roll biopic “Creation Stories” (VOD), the dramatic coming of age story of “Beans” (in theatres), and the throwback skateboarding movie “North Hollywood” (VOD) with Vince Vaughn.
Richard joins NewsTalk 1010’s Jim Richards on the coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the rock ‘n roll biopic “Creation Stories,” the dramatic coming of age story of “Beans” and the throwback skateboarding movie “North Hollywood” with Vince Vaughn.
Near the end of “Creation Stories,” the story of record industry giant Alan McGee now on VOD, a young writer promises one day to write a story that matches his ego. “That’s a very noble ambition,” he snaps back. I’m not sure if she ever wrote the story, but director Nick Moran and screenwriters Dean Cavanagh and Irvine Welsh certainly have. “Modesty gets you nowhere,” McGee says.
Ewen Bremner, best known as Spud from “Trainspotting”, plays McGee, a wannabe punk musician who put down his guitar and picked up bands like Jesus and the Mary Chain, Primal Scream, My Bloody Valentine and Oasis for his UK indie label Creation Records. Told in the tried-and-true biopic form of a celebrity interview, the movie is a series of flashback vignettes of McGee that illustrate his answers. The format is old hat but allows Moran to zip through the story at a break neck speed.
The pace captures the spirit and drug fuelled joie d vivre of the times, but feels disjointed. It’s a scattershot movie that packs twenty pounds of story into a ten-pound bag. According to the movie, like a Scottish Zelig, McGee is here, there and everywhere but always in the right place at the right time. He’s front and centre in every scene, it’s his life story after all, but as we careen through McGee’s chaotic life, the side characters get lost. Particularly the musicians who made Creation so successful.
It often feels like a story, as the young writer played by Suki Waterhouse promised, that plays up to McGee’s ego courtesy of a constant stream of platitudes.
Luckily at the centre of it all is Bremner. His charismatic performance is the glue that prevents the disparate parts of the story from blowing a part. His likability holds our interest even as the story goes the way of so many other celebrity biographies—the dreaded time in rehab and/or involvement with politics. The rip-roaring stride of the film’s first half slows as “Creation Stories” searches for some elusive depth. Even then, Bremner is compelling, even if the skin-deep portrait of the music executive becomes less so as the movie nears the end credits.
“Creation Stories” is chirpily nostalgic for the heady days when Creation Records struck gold with records that resonated with millions of people. What it isn’t sentimental for is the actual music, McGee’s true legacy.
A special Richard Crouse Show Podcast with Scottish-born Alan McGee, one of the most famous British record label bosses of all time. He co-founded Creation Records in 1983, and released classic albums by Primal Scream, My Bloody Valentine, Teenage Fanclub and his most famous discovery, Oasis. “Creation Stories,” a new biopic starring “Trainspotting’s” Ewan Bremner, and now on VOD, is the complete story of sex, drugs and Alan McGee.
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the drama “Judas and the Black Messiah” (Theatres), the psychological thriller “St. Maud” (digital and on-demand), Robin Wright’s directorial debut “Land” (in theatres), the cheesy action flick “Skyfire” (VOD) and the dark comedy “Breaking News In Yuba County” (VOD).
If action with a side of cheese is your thing then “Skyfire,” now on VOD, might be a Gouda film to put on your movie queue. If not, this is nacho thing.
Set on an island in the Pacific Rim, smack dab in the middle of the Ring of Fire, an area known for volcanic eruptions and earthquakes, the story begins with vulcanologist Meng Li (Hannah Quinlivan) building an early warning system. Her boss, entrepreneur Jack Harris (Jason Isaacs), is a mirror image of Hammond from “Jurassic Park.” Hammond built a theme park where cloned dinosaurs ran amok. Harris’s vision is for an opulent resort at the base of an active volcano.
What could possibly go wrong?
When Harris and his wife JiaHui-Dong (An Bai) invite influencers and investors to luxuriate in the amenities offered in this tropical paradise, Mother Nature kicks up a fuss, spewing red hot lava over Harris’s best laid plans. On top of that, Meng Li’s estranged father shows up just in time to dodge the fireballs falling from the sky.
“Skyfire” is unapologetically cheesy. In best queso scenario (OK, I know these puns are not so grate so I’ll stop now) it should be watched with no expectation except the promise of good, mindless fun. It’s loud and proud, a movie that fills the screen with implausible action and character reactions. By the time it gets to the underwater marriage proposal it’s a contender for the 2021 Special Achievement in Silliness award.
And that’s OK. Veteran action director Simon West, he of “Con Air,” “Lara Croft: Tomb Raider” and “The Expendables 2” among others, keeps things lively as giant Styrofoam boulders fly through the air and lava carpets the earth.
Imagine the rumble of 70s disaster flicks like “Earthquake” with the nature-gone-wild plot of “Jurassic Park” and you’ll get the idea.
“Skyfire,” China’s first big-budget disaster movie, is by no means a disaster. It’s an unabashed popcorn flick that revels in its melting pot of clichés, a fondu of clichés if you will, as much as it does its preposterous storytelling.
The story of “Mass,” a new drama from writer-director Fran Kranz, now playing in theatres, is simple but the emotions it evokes are anything but.
