Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the Winston Churchill biopic “Darkest Hour, “The Shape of Water,” a movie Richard says “is the kind of movie that made me fall in love with movies in the first place,” and the not-so-wondrous “Wonder Wheel.”
Watch the whole thing HERE!
Personal details run deep in Woody Allen’s films. His life has been fodder for his stories. Sometimes overt, occasionally self-indulgently, most always accompanied by some sort of neurosis his writing reveals much about who he is. “Wonder Wall,” however, may top everything that came before with its story of a man who carries on with both mother and stepdaughter.
Set on Coney Island in the 1950s, “Wonder Wheel” stars Jim Belushi as Humpty, a carousel operator with Kate Winslet as Ginny, his actress-turned-waitress wife. They live in a dowdy apartment with budding pyromaniac Richie (Jack Gore), her son from a previous marriage. It’s a miserable existence. He’s an unhappy recovering alcoholic who prefers fishing to his wife’s company. Approaching forty, she’s unhappily working at a local clam house, battling migraines caused by the endless din from the surrounding amusement parks. “I am not a waitress in a clam bar,” she says. “There’s more to me than that. I’m playing the part of a waitress in a clam bar.”
Ginny’s only consolation is lifeguard and wannabe playwright Mickey (Justin Timberlake). He’s “poetic by nature with hopes of one day writing a classic,” and
she eats it up until Carolina (Juno Temple), Humpty’s estranged daughter shows up, on the run from some nasty mobsters (Steve Schirripa and Tony Sirico).
Woody Allen has made almost fifty films ranging from lush romantic comedies and introspective dramas to art house explorations and musicals. “Wonder Wheel” feels like a combination of all of the above, and yet less because it feels as though its been cobbled together from fragments of his other, better movies. Nostalgia, over-romanticized sense of place, dangerous relationships, psychiatry and highbrow set decoration like references to “Hamlet and Oedipus” abound but it is all been-there-done-that.
Once upon a time Allen’s films clocked in at a svelte 90 minutes but in recent years have grown flabby. “Wonder Wheel” times out at 101 minutes but feels much longer. The stagey, heightened acting style recalls amateur hour Tennessee Williams and seems not only stuck in time, but actually have the ability to stop time. As Humpty Belushi only reminds us how good a role this might have been for John Goodman. Winslet seems to be channelling a heroine from a more interesting movie and Timberlake, as the movie’s in-demand love interest and Greek Chorus, shows none of the ease and grace so amply on display in his singing and dancing. Only Temple fights her way through the muck to emerge as a compelling character.
At the beginning of the film Mickey warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, Allen uses every amount of artifice at his disposal—including cinematographer Vittorio Storaro’s admittedly sumptuous photography—to create a film that is not only unreal but also unpleasant. “Oh God,” Ginny cries out at one point. “Spare me the bad drama.” Amen to that.
Richard and CP24 anchor George Lagogianes have a look at the weekend’s new movies, “Doctor Strange,” the fourteenth film in the Marvel Universe, “Trolls,” the return of a 1970s pop culture phenomenon, Andrew Garfield as real-life WWII hero and pacifist Desmond Doss in “Hacksaw Ridge” and the Iggy and the Stooges documentary “Gimme Danger.”
Watch the whole thing HERE!
Richard sits in with Marcia MacMillan to have a look at the weekend’s new movies, Benedict Cumberbatch in “Doctor Strange,” the fourteenth film in the Marvel Universe, “Trolls,” the return of a 1970s pop culture phenomenon with Justin Timberlake and Anna Kendrick, Andrew Garfield as real-life WWII hero and pacifist Desmond Doss in “Hacksaw Ridge” and the Iggy and the Stooges documentary “Gimme Danger.”
Watch the whole thing HERE!
By Richard Crouse – Metro Canada
Anyone who grew up in the 1970s will remember The Trolls. The vinyl creatures with DayGlo Eraserhead coifs and big goofy smiles invaded pop culture, decorating everything from rear view mirrors to teen’s bedrooms. Unlike modern day internet trolls, these creatures were joyful, hug-happy little things with more personality than your average Pet Rock and a ubiquity that made them one of the symbols of a kinder and gentler time.
Then they, like other 70s fads like disco music, streakers and Gee Your Hair Smells Terrific shampoo, they faded into obscurity, banished forever to the Retro section of your local junk shop.
Now they’re back in Trolls, an animated adventure from the makers of Shrek Forever After and Mr. Peabody & Sherman that aims to spread some cheer amid a fraught election season.
Co-director Walt Dohrn says he hopes the film’s message of optimism in the face of adversity will be “an antidote to the madness of the world.”
“When Walt and I set out to make this film,” says co-director Mike Mitchell, “we did want to make a film about happiness because the news and the media is so scary. And not just for kids, adults too. The internet is so judgemental and snarky.”
“The world is kind of a difficult and dark place,” adds Dohrn, “so putting something out there that talked about happiness, where it comes from, what happens when you lose it…”
“…will get people discussing the power of a positive attitude and happiness,” says Mitchell, finishing his friend’s sentence. “I’m hopeful this will start a trend of, It’s OK to be happy. It’s cool. Especially with this clowny, weird election going on.”
Trolls the movie is as eye-popping as the psychedelic creatures that inspired it. Mitchell and Dohrn have made a movie that is possibly the weirdest and most colourful kid’s entertainment since H.R. Pufnstuf. They had the freedom to do so because the beloved 1970s toy Trolls came with no backstory.
“That’s what was cool about working on this,” says Mitchell. “Even though these Trolls had been around forever and ever, there was no story. No mythology to it so Walt and I got to make a whole world. We could create a whole new world you’ve never seen before, create whole new characters.”
They created a realm where the Trolls (voiced by Anna Kendrick, Justin Timberlake, Zooey Deschanel, Russell Brand, James Corden and Gwen Stefani) make a daring escape from the Troll Tree in Bergen Town. The Bergens are snaggletooth ogres, as miserable as the Trolls are joyful. True happiness for the glum townies only comes with eating Trolls, obviously a huge problem for our heroes.
“Walt and I are huge fans of old fairy tales,” says Mitchell on the inclusion of the Troll-eating Bergens, “and those stories always had someone going down, having their heart taken out.”
“We’re finding the younger viewers don’t have a problem with it,” says Dohrn. “It’s the parents trying to protect them.”
The cheerful co-directors finish one another’s sentences and have a camaraderie that suggests they have taken the movie’s messages of friendship to heart.
“He’s an optimist and I’m a pessimist,” says Mitchell. “That’s kind of how we approached directing this film. We had a balance. In making it I discovered the power of a positive attitude.”
Anyone who grew up in the 1970s will remember The Trolls. The vinyl creatures with DayGlo Eraserhead coifs and big goofy smiles invaded pop culture, decorating everything from rear view mirrors to teen’s bedrooms. Unlike modern day internet trolls, these creatures were joyful, hug-happy little things with more personality than your average Pet Rock and a ubiquity that made them one of the symbols of a kinder and gentler time.
Then they, like other 70s fads like disco music, streakers and Gee Your Hair Smells Terrific shampoo, they faded into obscurity, banished forever to the Retro section of your local junk shop.
Now they’re back in a big screen adventure from the makers of “Shrek Forever After” and “Mr. Peabody & Sherman.”
In this new, updated story the Trolls make a daring escape from the Troll Tree in Bergen Town. The Bergens are snaggletooth ogres, as miserable as the Trolls are joyful. True happiness for the glum townies only comes with eating Trolls, obviously a huge problem for our heroes. Led by King Peppy (voice of Jeffrey Tambor) the colourful creatures relocate to a place with “clean air, freshwater and great acoustics” they truly live in harmony. On the 20th anniversary of their emancipation from Bergen Town they do what they do best, throw a wild, loud party that attracts the attention of the head Troll Hunter and cooker of Troll Treats (Christine Baranski). The Bergen party crasher stomps into Troll Town, making off with dozens of citizens, leading Princess Poppy (Anna Kendrick) to lead a rescue mission to deep into the heart of darkness, Bergen Town.
“Trolls” the movie is as eye-popping as the psychedelic creatures that inspired it. Possibly the weirdest kid’s entertainment since “H.R. Pufnstuf.” More sensory overload than narrative, “Trolls” is a fun ride but it is more concerned with entertaining the eye than the brain. In a blur of neon the story unfolds with a mix of kid friendly pop songs, supervised by Justin Timberlake, and psychedelic story telling that allows strange characters—like a stoner cloud (Walt Dohrn)—to inhabit a weird and wonderful place for eighty-five quick minutes.
“Trolls” doesn’t have the impact of “Frozen” or the messages of “Zootopia” but it is a brightly coloured, optimistic and chirpy way to spend a Saturday matinee with the kids.
“The Toronto International Film Festival (TIFF) premieres some of the most anticipated blockbuster films and attracts some of the biggest A-listers in Hollywood. This year is certainly no exception with expected appearances from Denzel Washington, Justin Timberlake, Leonardo DiCaprio, Amy Adams, Jeremy Renner and many more.
“Each year we get the inside scoop on the hottest TIFF premieres from renowned Canadian critic Richard Crouse. As the the regular film critic for Metro Canada, the 24-hour news source CTV’s News Channel and CP24, Crouse is an expert in what films to see…and what films to skip. From biographies to dramas, he’s rounded up his Top 10 Must-See Films of TIFF 2016 exclusively for NKPR… Read the whole thing HERE!”
More a character study than a traditional narrative, “Inside Llewyn Davis” lives up to its name by painting a vivid portrait of its main character. Once you get inside Llewyn’s head you probably won’t want to hang out with the guy in real life, but you won’t regret spending two hours with him onscreen.
Llewyn Davis (Oscar Isaac) is an ambitious folksinger trying to make his voice heard in the center of the folk universe, 1961 Greenwich Village. Essentially homeless, he sofa surfs, imposing himself on an ever dwindling list of friends as he tries to deal with a cold New York winter, a shady record company, a wayward cat, a soured relationship and his career frustrations. Add to that the haunting memory of a former musical partner and you have an abstract parable about artistic temperament and the quest for success.
“Inside Llewyn Davis” opens with a song, the folk standard “Hang Me, Oh Hang Me.” Performed in its entirety, it telegraphs that the music won’t be relegated to the background; that it will be telling part of the story.
Onstage we see Llewyn at his best. He’s an angel-voiced troubadour whose passionate performances contain the intensity with which he lives his off stage life. Oscar Isaac, in his first leading role after smaller parts in “Sucker Punch,” “Drive” and “W.E.,” has a built-in broodiness that services the character well. He’s a sullen guy, always borrowing money or asking a favor without offering much in return except his talent. It’s a carefully crafted but subtle portrait of the rocky terrain between brilliance and the rest of society.
The loose nature of the story allows for many cameos. People drift through Llewyn’s life like Jean (Carey Mulligan), a foul-mouthed folk singer with a sweet voice and her naïve partner Jim (Justin Timberlake). Mulligan is fiery; an embittered woman angry with Llewyn for very personal reason. Timberlake redeems himself for “Runner Runner” with a nice extended cameo as a wide-eyed folksinger who isn’t as talented as Llewyn but is destined to be more successful.
Garrett Hedlund appears as a monosyllabic beat poet to good effect, but it is John Goodman who wins the cameo showdown. As a jaded jazz player Roland Turner—who sneeringly pronounces ukulele as “ookelele”—he’s as vile a character as has ever appeared in a Coen Bros movie, (which is really saying something). Goodman seems to relish wallowing in the toad-like character’s most unsavory aspects and I suspect audiences will too.
“Inside Llewyn Davis” is a fictional look at the vibrant Greenwich Village folk scene. Imagine the cover of “The Freewheelin’ Bob Dylan” come to life. Sharp-eyed folkies will note not-so-coincidental similarities between the people Llewyn meets and real-life types like Tom Paxton, Alert Grossman and Mary Travers, but this isn’t a history, it’s a feel. It gives us an under-the-covers look at struggles and naked ambition it takes to get noticed.
I’m not sure the soundtrack for “Inside Llewyn Davis” is going to do for folk music what “O Brother, Where Art Thou” did for bluegrass, but the tunes are fantastic and the “novelty hit” “Please Mr. Kennedy” (performed by Justin Timberlake, Adam Driver and Oscar Isaac) is a showstopper that’s place Dr. Demento and all other music louvers on your list.
More info HERE!
