A weekly 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 latest Marvel superhero flick “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince.”
Watch to the whole thing HERE!
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including the twenty-first Marvel superhero flick “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince.”
Listen to the whole thing HERE!
The tagline for “Captain Marvel,” the latest Marvel origin story, is “Higher. Further. Faster.” but I would like to suggest another. “In Space, Everyone Can Hear You Scream Whee!” As Captain Marvel (Brie Larson) pierces our atmosphere, her banshee cry of sheer exhilaration pierces the soundtrack. “Whee!” She’s having fun and so should fans of the high-flying character.
There’s a bit of backstory. “Captain Marvel” begins, as all good superhero flicks do, on an alien planet. Hala is the home of the Kree, a race of powerful ETs ruled by an AI leader called the Supreme Intelligence (Annette Bening). Among the inhabitants of the planet are Yon-Rogg (Jude Law), mentor to Vers (Brie, not yet dubbed Captain Marvel). She is being trained as part of an elite band of space cops, who, shooting energy bolts from her wrists, tracks and hunts shapeshifting creatures called the Skrull. An insomniac, she is haunted by nightmares and mysterious images of another life.
To find context for her existence she travels to C-53—earth—during the Clinton years. There, while hunting down Skrulls who are searching for a weapon that would make them unstoppable in the universe, she meets Nick Fury, Agent of the espionage agency S.H.I.E.L.D. (Samuel L. Jackson), who becomes entangled in her hunt for the earthbound Skrulls—including the world-weary Talos (Ben Mendelsohn)—and her search for her true identity.
“Captain Marvel” begins with a trippy, time-warping introduction to Vers’s past. It’s an orgy of fast cuts and establishes the film’s spirited tone. There’s a lot going on here, maybe too much, but at least it rips along like a cheetah attacking its prey. Things slow down once the film lands in 1995 California and the “Terminator-esque” story of a benevolent alien with superpowers kicks in.
The high points are lofty.
Larson finds the right tone, playing someone grappling with two identities, otherworldly and stoic one moment, swaggering playfully the next. Vers is a total girl power hero, with no love interest, other than a female best friend, she kicks but while the soundtrack blares “I’m Just A Girl” and tell her male mentor, “I have nothing to prove to you.” Larson keeps her interesting even though through much of the film Vers isn’t quite sure who she is or where she belongs in the universe.
Further separating her from her superhero colleagues is a purpose driven mission not born out of revenge but by powerful emotions and a sense of loss. Those motivations alone give the film a slightly different feel from others in the Marvel family.
Visually Vers, harnessing all the hurt of all the times she was told she wasn’t good enough or that girls shouldn’t try to do boy stuff, is a powerful feminist statement that helps drive the story and define the character. That it’s visually stunning is a bonus.
Supporting actors Jackson (we finally learn the unlikely why Fury wears an eye patch) and Mendelsohn find a balance between the film’s dramatic, action and lighter scenes.
Co-directors Anna Boden and Ryan Fleck, handle the character work with aplomb. Their previous films, indies like “Half Nelson” and “Mississippi Grind,” are studies in nuance, a trait lost in “Captain Marvel’s” larger set pieces. The action—and there is plenty of it, tends to be of a generic frenetically edited style. The convoluted origin story mixed with the cluttered action sequences suck some of the air out of the theatre but their take on the superhero character as both an outsider and one of us is as refreshing as it is unusual. “Whee!”
A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at Emily Blunt in “Mary Poppins Returns,” Natalie Portman in “Vox Lux” and Jason Mamoa as the underwater monarch “Aquaman.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Lois Lee to have a look at the weekend’s big releases including the supercalifragilisticexpialidocious-ness of “Mary Poppins Returns,” the Transformers prequel “Bumblebee,” the underwater adventures of “Aquaman” and Natalie Portman as a pop star in “Vox Lux.”
Watch the whole thing HERE!
“Vox Lux” sees Natalie Portman play a pop idol in a film that aims to expose popular culture’s obsession with false idols.
The film begins on a sombre note. An early morning drive through winding streets ends at a high school. Shots ring out. Panicked kids slip and slide on bloody footprints in the hall. One student, 13-year-old Celeste (Raffey Cassidy), tries to reason with the shooter, asking him to pray with her. Her efforts are rewarded with a gunshot to the neck, leaving her with a bullet permanently lodged in her spine. Later, at a memorial for the fallen students, Celeste and sister Eleanor (Stacy Martin) perform a self-penned tribute song. A video of the tune goes viral, attracts the attention of a fast-talking manager (Jude Law) and earns Celeste a record deal. A quick tweak to the tune’s lyrics, the manager changes the “my” to “we,” and the song becomes an anthem for the nation, an expression of shared grief. She’s a pop superstar. “I don’t want people to think too hard,” she says. “I just want them to feel good.”
Jump forward 17 years. Celeste is now 31-years-old, still a glitter-covered pop star but now an alcoholic and mother to Albertine (Raffey Cassidy, again). Another shooting rocks her world, this time on a beach in Croatia. Terrorists, wearing masks similar to ones seen in one of the singer’s videos, attack and murder dozens of innocent people. Not responsible but certainly implicated in the violence, Celeste barely responds. She’s more concerned with her homecoming concert in Staten Island and ranting about the minutia of her life. She’s gone from the girl next door who survived tragedy to jaded celebrity teetering on the edge of a nervous breakdown.
“Vox Lux” feels like two movies. The first half is a textured examination of pop music’s place as a chronicle and catalyst of societal mores. Two terrible events, a school shooting and 9/11 frame Celeste’s rise to fame. Director Brady Corbet considers how tragedy has helped shape much of recent pop culture; how stars like Celeste have become symbols of those tragedies and the receptacles of the public’s need for comfort and catharsis. It’s powerful, if a little obtuse, stuff.
Portman anchors the second half in a broad performance. Covered in PVC and glitter she has more hard edges than her younger self. She’s more closed off, more superficial more concerned about how the press are speaking to her on a junket than the shooting on the other side of the world. It’s a detailed portrait of what happens when people breath rarefied air and aren’t the person the public thinks they are, but it isn’t as interesting as the film’s first hour.
A stand-out in both halves is Law as the aggressive manager. Law has morphed very comfortably into character roles and brings just the right mix of obsequiousness and grit to play the kind of guy who can toss off insider showbiz lines like, “She couldn’t sell a life jacket to Natalie Wood.“
Ultimately, while interesting, as a look at celebrity culture the last half of “Vox Lux” is as auto-tuned as the songs the Celeste sings at the end of the film.
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including the return of Newt Scamander in “Fantastic Beasts: The Crimes Of Grindelwald,” the political doings of “The Front Runner” and the arthouse heist of “Widows.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, the continuing saga of magizoologist Newt Scamander in “Fantastic Beasts: The Crimes Of Grindelwald,” the political intrigue of “The Front Runner” and the arthouse heist of “Widows.”
Watch the whole thing HERE!
If you already know what a ‘magizoologist’ is you’re likely a fan of J.K. Rowling’s wizarding world. If not, you’ve got some catching up to do before buying ticket to the second instalment of the Harry Potter spin-off “Fantastic Beasts: The Crimes Of Grindelwald.”
When we last saw magizoologist Newt Scamander (Eddie Redmayne) he temporarily put aside his study of magical creatures to travel to New York City and help MACUSA (Magical Congress of the United States of America) bring the powerful Dark wizard Gellert Grindelwald (Johnny Depp) to justice.
The story picks up as Grindelwald escapes. Like all good villains he craves world dominance, but only on his own terms. He believes in wizarding superiority and sets in motion a plan to lead a new Wizarding Order of pure-blood wizards who will rule over all non-magical beings.
Enter Albus Dumbledore (Jude Law), professor of Transfiguration at Hogwarts School of Witchcraft and Wizardry and an influential member of the British Ministry of Magic. To stop Grindelwald’s diabolical plot Dumbledore contacts Scamander, a confidante and former student.
The film based on the second original screenplay from J.K. Rowling is more fantastical than magical. There are all manner of creatures and wizard’s tricks that could only have sprung from her fertile imagination but there is very little actual cinema magic. Sure Potter fans will love seeing Hogwarts and a glimpse of Quidditch again but that is nostalgia, and Alison Sudol’s Judy Holliday impression is as winning as it was the first time out but overall “The Crimes Of Grindelwald” feels like a placeholder for the films yet to come.
Non-Potter-heads will likely be confused by the barrage of names, the myriad of subplots and a deadly scene about the family tree of Credence Barebone (Ezra Miller) that gives the word convoluted a whole new meaning. Part of the joy of the Rowling’s story weaving in the Potter series was its depth and complexity. Here it feels as though she’s being paid not by the word but by the character.
When director David Yates isn’t bathing the screen with blue digital flames and the like there are things to admire. The set and costume design are spectacular, appropriate for both the 1920s setting and the otherworldly characters. Also interesting are the messages, both timeless—the search for identity—and timely—unity, fear mongering and freedom through force—provide subtext that is more interesting than the actual story.
Ultimately “Fantastic Beasts: The Crimes Of Grindelwald,” despite its grand face, feels thin, over written and under dramatic.
