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 Shia LeBeouf’s semi-autobiographical story “Honey Boy,” the eco-doc “Spaceship Earth,” the period dramedy “Emma,” the ripped-from-the-headlines “The Assistant,” the family drama “Ordinary Love,” the horror comedy “Extra ordinary,” the ugly divorce proceedings of “Hope Gap” and the neo-realist look at the gig economy “Sorry We Missed You.”
She is the invisible woman. The assistant to a high-flying New York movie mogul, Jane (Julia Garner) floats around the office, silently collating papers, cleaning up mysterious stains from her boss’s casting couch—“Never sit on the couch,” her co-workers joke—wordlessly doing the jobs nobody else will do. An aspiring filmmaker with hopes of one day producing her own movies she sees the job, low level as it is, as a stepping stone.
When her boss flies in a young, pretty waitress (Kristine Froseth) he met at the Sundance Film Festival to work in his office Jane suspects it is a #MeToo situation in the making. Reporting her feelings to HR in hopes of protecting the new naive hire she is instead reminded of how power works. “I can see you have what it takes to produce,” says the appropriately named HR guy Wilcock (“Succession’s” Matthew Macfadyen). “Why are you trying to throw it all away?”
That harrowing scene lies at the heart of “The Assistant,” now on VOD. A timely study of the systemic mistreatment of vulnerable and defenceless women, Jane’s story is an account of the many slights and indignities suffered by subordinates to power.
“The Assistant” is a quiet movie. Much of the dialogue comes from Jane’s conversations with unseen limo drivers or her boss. We see her limited interaction with co-workers, but mostly we see the day-to-day drudgery that fills her hours. She arrives before dawn, stays well into the night and is treated like she should feel lucky to be there. Director Kitty Green keeps the focus tight, allowing the viewer to feel the soul-crushing drudgery of Jane’s job. She is invisible, a presence simply to absorb her boss’s bad temper and get lunch for the senor staffers.
Green never strays from Jane. We don’t meet the head honcho or learn about anyone’s backstory. It’s not that kind of movie. Instead it is a document of the degradations and power dynamic that are an accepted part of the job. The film’s chattiest scene, between Jane and HR’s Wilcock, is quiet but shattering in its impact. His smugness is the very attitude that enabled the very abuse that Harvey Weinstein is facing trial for today. The casual nature of Wilcock dismissiveness is chilling, punctuated by one last parting shot. On her way out of their meeting he ‘reassuringly’ adds, “You don’t have anything to worry about. You’re not his type.”
“The Assistant” is anchored by a subtle yet devastating performance from Garner. The hard-edged bluster she brings to her character on “Ozark” is missing, replaced by anxiety as she realizes the extent of the exploitation happening around her. It’s quiet, restrained and heartbreaking to watch how she is beaten down.
Based on hundreds of interviews with real-life assistants, this is more than just a movie, it is a timely document of abuse of power and complicity.
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the wild “Birds of Prey,” the #MeToo drama “The Assistant” and the giddily gory “Come to Daddy.”
Richard sits in on the CTV NewsChannel to have a look at the weekend’s big releases including the boundary pushing “Birds of Prey,” the #MeToo drama “The Assistant” and the giddily gory “Come to Daddy.”
A weekly feature from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest and most interesting movies! This week Richard looks at the emancipation of Harley Quinn in “Birds of Prey,” the timely messages of “The Assistant” and the father complex(ities) of “Come to Daddy.”
This week on The Richard Crouse Show “The Assistant” director Kitty Green stops by. The film is a re-creation of a day in the life of Jane, played by “Ozark” star Julia Garner, an assistant to a Weinstein-esque figure at the height of his power.
Green is an award-winning Australian filmmaker. Her debut documentary feature, “Ukraine Is Not a Brothel,” explored a provocative feminist movement in Ukraine. After making its premiere at the Venice Film Festival in 2013, the film screened at more than 50 film festivals internationally and won the Australian Academy of Cinema and Television Arts (AACTA) Award for Best Feature Length Documentary. Green’s follow-up project, “The Face of Ukraine: Casting Oksana Baiul,” won the Short Film Jury Prize for nonfiction at the Sundance Film Festival. Her latest feature documentary, “Casting JonBenet,” was acquired as a Netflix Original, premiered at Sundance in 2017, and screened at the Berlinale before receiving the AACTA Award for Best Feature Length Documentary.
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Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
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Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including the wacky and wild “Birds of Prey” and the timely #MeToo drama “The Assistant.”
The last time Lily Tomlin had a lead role in a film was almost three decades ago. It’s been too long. “Grandma” shows her at age 75 in fine form as a cantankerous poet who goes on a journey, both physical and metaphysical, on one busy afternoon.
Tomlin plays Elle Reid, a once famous poet, now an unemployed seventy-something living alone following the death of Violet, her companion of thirty-eight years. Her quiet life is interrupted when her granddaughter Sage (Julia Garner) arrives at her door looking for $630 to have an abortion. Her high school boyfriend promised to pay but now doesn’t have the money or the interest to help out. Elle doesn’t have the cash either but hits the road with Sage in search of the cash.
“Mom says you’re a philanthropist,” says Sage. “Wait, that’s not it… misanthropic.”
“That’s an understatement,” `snorts Elle.
Over the next few hours they drop in, unannounced, on the slacker boyfriend (Nat Wolff), an old friend of Elle’s (Sam Elliott), an angry café owner (the late Elizabeth Peña), an old flame (Judy Greer) and the one person who intimidates both Elle and Sage (Marcia Gay Harden).
The premise of “Grandma” is provocative. A young woman and her grandmother trying to raise cash for an abortion is bound to raise an eyebrow or two, but the movie isn’t really about that. The abortion is the McGuffin, the reason for the journey but not the reason for the story. The abortion is treated matter-of-factly, it’s the relationships that count.
It’s a pleasure to watch Tomlin let loose as Elle. As Elle she’s an unstoppable force of nature, unrepentant and resourceful. It’s great fun to watch her bully her way through life but Tomlin adds dimension to the character, allowing her vulnerable side to peak through from time to time. She commands the screen whether she’s being argumentative, beating up a teen (yup, she does that) or crying in the shower at the remembrance of lost love. It’s the moments of openness that elevate “Grandma” from “Grumpy Old Lady” movie to interesting character study.
Good performances keep “Grandma’s” relationships dynamic and by the time all is said and done the message of life goes on, hiccups and all, is subtly but powerfully enforced.