I speak to “CTV News at 11:30” anchor Andria Case about the best movies and television to watch this weekend. This week we have a look at the feel-good “Fisherman’s Friends: One and All,” the Christmas musical “Spirited” and the ripped-from-the-headlines drama “She Said.”
I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres. Today we talk about the restaurant revenge movie “The Menu,” the ripped-from-the-headlines “She Said,” the Christmas musical “Spirited” and the feel-good “Fisherman’s Friends: One and All.”
I sit in with CKTB morning show host Tim Denis to discuss the weekend’s flickers including the restaurant revenge movie “The Menu,” the ripped-from-the-headlines “She Said” and the Christmas musical “Spirited.”
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the restaurant revenge movie “The Menu,” the ripped-from-the-headlines “She Said,” the Christmas musical “Spirited” and the feel-good “Fisherman’s Friends: One and All.”
“She Said,” a new film about the New York Times reporters Megan Twohey (Carey Mulligan) and Jodi Kantor (Zoe Kazan) and their Pulitzer Prize-winning investigation of the sexual misconduct perpetrated by Harvey Weinstein, breathes the same air as other newsroom procedurals like “The Post” and “Spotlight.”
Based on the 2019 book by Twohey and Kantor, the movie begins with Twohey’s investigations into sexual assault allegations against presidential candidate Donald Trump and FOX TV commentator Bill O’Reilly. The success of those stories, which cost O’Reilly his lucrative television gig, led to a further investigation of abuse and institutional misogyny in the film business, specifically involving film producer Weinstein.
Working in tandem with Kantor, Twohey begins sorting through sexual abuse claims from Hollywood actresses like Rose McGowan (voice of Kelly McQuail) and Ashley Judd (as herself).
“If that can happen to Hollywood actresses,” Twohey says, “who else is it happening to?”
“She Said” follows their month’s long investigation, from the unwillingness of victims to go on the record for fear of repercussions and legal maneuvering to death threats and harassment.
“You have to imagine that every call you make is being recorded and you’re being followed,” warns New York Times executive editor Dean Baquet (Andre Braugher).
The story behind the story that rocked Hollywood is a boots-on-the-ground journalism movie. Director Maria Schrader and screenwriter Rebecca Lenkiewicz walk us through the uncovering of information, the dead-ends, the back-and-forth with reluctant sources in a slow-and-steady fashion. It’s a detailed portrait of the daily grind journalists go through to ensure accuracy and fairness.
Unfortunately, because this #MeToo story lived at the very center of popular discourse at the time and beyond, “She Said’s” efforts to document the making of the story contain very few surprises.
On an emotional level, however, the recollections of Weinstein’s victims, former assistant Zelda Perkins (Samantha Morton) and Rowena Chiu (Angela Yeoh), are as devastating as former Weinstein Co. Board Member Lance Maerov’s (Sean Cullen) comment—”Are you sure that this isn’t just young women who want to sleep with a movie producer to get ahead?” is maddening.
Schrader never sensationalizes “She Said,” but her retelling of the victimization of the powerless and Weinstein’s criminal behaviour is buoyed by some interesting choices, including using real audio of model Ambra Battilana Gutierrez and Weinstein as he tries to coerce her into joining him in his hotel suite. As the camera floats down a fancy hotel hallway, Schrader allows the tape to play to skin crawling effect. It is that level of detail and raw storytelling that captures the true horror of the case against Weinstein.
Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the drama “Judas and the Black Messiah” (Theatres), the psychological thriller “St. Maud” (digital and on-demand) and Robin Wright’s directorial debut “Land” (in theatres).
Richard sits in on the CTV NewsChannel with host Marcia MacMillan to have a look at the new movies coming to VOD, streaming services and theatres including the drama “Judas and the Black Messiah” (Theatres), the psychological thriller “St. Maud” (digital and on-demand) and Robin Wright’s directorial debut “Land” (in theatres).
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).
Is Maud (Morfydd Clark), the nurse at the centre of the genuinely creepy “Saint Maud,” a true believer, a woman touched by the hand of God, or a troubled person looking for answers in all the wrong places?
Opening with scenes of an unexplained medical accident, “Saint Maud” wastes no time hinting at the grim visuals to come. Cut to Maud in her dowdy bedsit. Gathering her things, she makes her way out the door, wondering to God what her place in the world is. “Surely I was meant for more than this,” she says as she arrives at the home of her charge, a glamorous former dancer named Amanda (Jennifer Ehle), a late stage cancer patient.
They are an odd couple. Amanda is used to a life of indulgence while Maud is an intensely devout palliative care nurse who believes salvation comes through suffering. “Never waste your pain,” she says. Maud does not approve of Amanda’s lifestyle, but the two women seem to bond in a moment of shared religious ecstasy. Later, when it becomes clear that Amanda isn’t looking for salvation, Maud is fired, pushed to even more extreme behavior to fulfill what she sees as God’s plan for her life.
“Saint Maud” carefully doles out its shocks, allowing a shroud of unease to envelop the proceedings. British writer-director Rose Glass has made an up-close-and-personal horror film that details the protagonist’s torment in very vivid terms. Much of what happens is internal, portrayed through Clark’s finely crafted performance. She is both vulnerable and steely, zealous and unsure before the events of the climax reveal her relationship with God. Whether it is real a test of her faith or imagined is open to interpretation. The final twenty minutes of this short film—with credits it’s eighty-five minutes—are a surreal culmination to Maud’s internal struggle, ripe with religious imagery, gothic sensibility and martyrdom.
“Saint Maud” is a sizzling mix of psychological drama and devotion that could have used a dose of backstory to help us understand why Maud became pious to the point of extremity. As it is we get hints along the way, and while the story is still very effective, it could have been deepened by a better glimpse into Maud’s past.