I join “CTV News Toronto at Five” with guest anchor Zuraidah Alman to talk about new movies in theatres including the sports drama “The Smashing Machine,” the action comedy “Play Dirty” and the documentary “Orwell 2+2=5.”
Watch the whole thing HERE! (Starts at 12:57)
I joined CTV NewsChannel to have a look at new movies coming to theatres including the sports drama “The Smashing Machine” and the action comedy “Play Dirty.”
Watch the whole thing HERE!
I join CP24 to talk about the sports drama “The Smashing Machine,” the action comedy “Play Dirty,” the Disney+ sports comedy “Chad Powers” and the Paramount+ Sylvester Stallone series “Tulsa King.”
Watch the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make the bed! Have a look as I race against the clock to tell you about the sports drama “The Smashing Machine,” the action comedy “Play Dirty” and the documentary “Orwell 2+2=5.”
Watch the whole thing HERE!
SYNOPSIS: In “Play Dirty,” a new action comedy starring Mark Wahlberg and LaKeith Stanfield, and now streaming on Prime Video, violent criminal Parker gets a chance at the score of a lifetime if he can outsmart, outlast and outwit a South American dictator, the world’s richest man and the New York mob.
CAST: Mark Wahlberg, LaKeith Stanfield, Rosa Salazar, Keegan-Michael Key, Chukwudi Iwuji, Nat Wolff, Thomas Jane, Tony Shalhoub. Directed by Shane Black.
REVIEW: Based on the hard-boiled novels by Donald E. Westlake, writing under the name Richard Stark, “Play Dirty” is an overblown throwback to the action comedies of the 1980s and 1990s.
Director Shane Black opens the movie with a wild and wooly action scene that sees expert thief Parker, the movie’s antihero lead played by a strangely unengaged Mark Wahlberg, as part of a violent bank heist gone wrong. The resulting car chase, that sees the good guys and bad guys careening through a horserace, is nutso and sets the over-the-top tone of what is to follow.
The convoluted story then focuses on Parker, and his gang, which includes, freedom fighter Zen (Rosa Salazar), a South American criminal who instigates the theft of one of her country’s national treasures to bankroll a revolution that will topple her government, Grofield (LaKeith Stanfield), a criminal with dreams of being an actor and scammers Ed and Brenda Mackey (Keegan-Michael Key and Claire Lovering).
Their complicated plan to steal a giant statue takes up most of the overlong two-hour runtime, but the fun isn’t in the heist, it’s in the characters. Black, who cowrote the script with Charles Mondry and Anthony Bagarozzi, has a knack for creating antiheroes with pizazz. Standouts include Stanfield, who easily steals scenes from Wahlberg, Salazar as a femme fatale with a way with a funny line and a weapon, and Nat Wolff, whose character Kincaid takes a licking but keeps on ticking.
They all hand in work that feels like they understand that the absurd nature of Black’s big set pieces and the film’s callous disregard for human life is cartoony in nature. It’s Wahlberg who doesn’t appear to be in on the joke. Parker is a hardened criminal, an unrepentant killer and thief, who only seems to come alive when he is un-aliving someone, which is a lot of the time, but not enough to animate the character.
“Play Dirty” has some of the trademark Shane Black verve. His best work is characterized by odd-couple dynamics, flawed leads, sharp dialogue and twisty-turny plots. He helped define the late 1980s action-comedy genre with the scripts for the “Lethal Weapon” franchise, and his underrated “The Nice Guys” is a near perfect buddy flick.
“Play Dirty” doesn’t stand up by comparison to those films—it’s mostly as generic as its title—but it has enough direct to streaming energy and charm to be earn a watch.
SYNOPSIS: In “Play Dirty,” a new action comedy starring Mark Wahlberg and LaKeith Stanfield, and now streaming on Prime Video, violent criminal Parker gets a chance at the score of a lifetime if he can outsmart, outlast and outwit a South American dictator, the world’s richest man and the New York mob.
CAST: Mark Wahlberg, LaKeith Stanfield, Rosa Salazar, Keegan-Michael Key, Chukwudi Iwuji, Nat Wolff, Thomas Jane, Tony Shalhoub. Directed by Shane Black.
REVIEW: Based on the hard-boiled novels by Donald E. Westlake, writing under the name Richard Stark, “Play Dirty” is an overblown throwback to the action comedies of the 1980s and 1990s.
Director Shane Black opens the movie with a wild and wooly action scene that sees expert thief Parker, the movie’s antihero lead played by a strangely unengaged Mark Wahlberg, as part of a violent bank heist gone wrong. The resulting car chase, that sees the good guys and bad guys careening through a horserace, is nutso and sets the over-the-top tone of what is to follow.
The convoluted story then focuses on Parker, and his gang, which includes, freedom fighter Zen (Rosa Salazar), a South American criminal who instigates the theft of one of her country’s national treasures to bankroll a revolution that will topple her government, Grofield (LaKeith Stanfield), a criminal with dreams of being an actor and scammers Ed and Brenda Mackey (Keegan-Michael Key and Claire Lovering).
Their complicated plan to steal a giant statue takes up most of the overlong two-hour runtime, but the fun isn’t in the heist, it’s in the characters. Black, who cowrote the script with Charles Mondry and Anthony Bagarozzi, has a knack for creating antiheroes with pizazz. Standouts include Stanfield, who easily steals scenes from Wahlberg, Salazar as a femme fatale with a way with a funny line and a weapon, and Nat Wolff, whose character Kincaid takes a licking but keeps on ticking.
They all hand in work that feels like they understand that the absurd nature of Black’s big set pieces and the film’s callous disregard for human life is cartoony in nature. It’s Wahlberg who doesn’t appear to be in on the joke. Parker is a hardened criminal, an unrepentant killer and thief, who only seems to come alive when he is un-aliving someone, which is a lot of the time, but not enough to animate the character.
“Play Dirty” has some of the trademark Shane Black verve. His best work is characterized by odd-couple dynamics, flawed leads, sharp dialogue and twisty-turny plots. He helped define the late 1980s action-comedy genre with the scripts for the “Lethal Weapon” franchise, and his underrated “The Nice Guys” is a near perfect buddy flick.
“Play Dirty” doesn’t stand up by comparison to those films—it’s mostly as generic as its title—but it has enough direct to streaming energy and charm to be earn a watch.
SYNOPSIS: “Transformers One” is the origin story of the two Transformers titans, Optimus Prime and Megatron, and how they altered the fate of Cybertron forever.
CAST: Chris Hemsworth, Brian Tyree Henry, Scarlett Johansson, Keegan-Michael Key, Steve Buscemi, Laurence Fishburne, Jon Hamm. Directed by Josh Cooley.
REVIEW: “Transformers One” is the story of an ideological split that drives a wedge between two lifelong friends. Nope, it’s not the story of you and your college pal who has decided to vote for Trump, it’s the animated origin story of the leaders of the Autobots and the Decepticons, the twins towers of the “Transformers” series.
When we first meet them, Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) are
Cybertronian workers who can’t shapeshift into cars, guns or anything else. They are designed for work, nothing more. Under the rule of Sentinel Prime (Jon Hamm), who they view as a kind and benevolent leader, the pair work in the mines harvesting valuable commodities.
Before they become frenemies they have a great vibe, and the film is a fast-paced blast, filled with humor and heart. It’s a buddy movie, complete with good natured ribbing between the two, some slapstick shenanigans and a bit of playful competition before D-16 allows feelings of betrayal to colour his view of the world.
As their relationship sours, the film becomes darker, but that transformation brings with it an emotional element that while inevitable, also feels bittersweet.
Hemsworth, alongside Keegan-Michael Key as B-127 (ie: Bumblebee) and Scarlett Johansson as Elita-1, deliver solid voicework, but Henry is the MVP. On his way to becoming antagonist Megatron, D-16 has the biggest character arc, and Henry gives this bucket of bolts real personality and effectively conveys the sense of disillusionment that was the catalyst for his trip to the dark side.
The animation is slick and imaginative, although the battle scenes are often so frenetic it’s hard to discern who is fighting who. Still, the visuals sparkle, especially the inventive sci fi landscapes in the background of the above ground scenes.
“Transformers One” is a standalone movie, one that offers up copious Easter Eggs for longtime fans, and a top-notch, entertaining entryway for new fans.
“Migration,” a new animated film from Illumination Studios, starring the voices of Elizabeth Banks, Awkwafina and Kumail Nanjiani, and now playing in theatres, is a story about broadening horizons, set against the wild blue yonder.
The story focusses on the Mallards, a family of ducks who lead a quiet, happy life on New England’s bucolic Moosehead Pond. Mack (Kumail Nanjiani) is the protective father who keeps his kids, son Dax (Caspar Jennings) and daughter Gwen (Tresi Gazal), in line by telling them terrible stories of the perils of predators in the world outside their watery home.
When another flock uses the pond as a pit stop in their migration south, it sparks the imaginations of Dax, Gwen and mother Pam (Elizabeth Banks). Mack is not as inspired. He says he’ll only leave the pond if he can find a safer place for his family to live, but the rest of the family wonder what exciting things happening beyond their little corner of the world.
“I don’t want to miss out on life because you’re afraid to leave this pond,” Pam says, scolding Mack.
Mom and the kids are keen to hit the sky, see the world, and migrate to tropical Jamaica for the winter. Mack is reluctant, but is convinced to take flight with Pam, the kids and his curmudgeonly Uncle Dan (Danny DeVito) in tow.
“There’s a whole world we’ve been missing out on,” Pam says. “Things we didn’t even know existed.”
At a stop in New York City they liberate homesick Jamaican parrot Delroy (Keegan-Michael Key) from his prison inside a Manhattan restaurant, run by a Chef (Jason Marin) who specializes in Duck a l’orange.
“What’s Duck a l’orange?” asks Gwen.
“It’s you,” says Chump (Awkwafina), the hardnosed leader of an NYC gang of pigeons, “with l’orange on top.”
As they to stay off the Chef’s menu, the Mallard’s migration morphs from vacation, to journey of discovery as they are exposed to the great big world.
“We’re going to finish this crazy, wonderful adventure,” says Mack.
“Migration” is a fun, but slight, movie for the whole family with good messages about personal growth and overcoming fears. The lessons are simple, presented in a likable, fast-paced fashion, that don’t try too hard to moralize or teach. It’s a lighthearted adventure with none of the darkness implied by the presence of co-writer Mike White of “White Lotus” fame.
From the mild horror of an encounter with an elderly heron (Carol Kane) who may, or may not, have a taste for mallard chicks to the chaotic landing in NYC, the epitome of all of Mack’s fears, each of the big set pieces offer up a new high-flying adventure. It’s episodic, which offers up the chance for the Mallards to interact with new characters at every stop, providing variation in the story, and new opportunities in each chapter for situational humour.
“Migration” doesn’t have the same anarchic brashness as Illumination’s “Despicable Me” films. If you’re hungry for more Minions madness, be sure to arrive on time to see “Mooned,” a stand-alone short from the Minion Universe that opens the show. It rounds out “Migration’s” brief run time (under an hour-and-a-half) and contains a healthy dose of Minion magic.
Slight, but funny and fast-paced, “Migration” is an enjoyable, escapist movie with lively voice work—kids will love baby duck Gwen—and an adventurous spirit.
Everyone from Hannibal Lecter and Darth Vader to The Ghostbusters and the Godfather have been given the origin story treatment, so why not Wille Wonka, the mysterious and mischievous chocolatier created by Roald Dahl? That’s the premise of “Wonka,” a new musical now playing in theatres.
Timothée Chalamet plays the title character, the young version of the Wonka seen in 1971s “Willy Wonka & the Chocolate Factory” and 2005s “Charlie and the Chocolate Factory,” but his sartorial style is already in place. Decked out in a top hat, purple waistcoat and flamboyant scarves, Wonka arrives in town with the dream of opening the greatest chocolate shop the world has ever seen.
“I’ve spent the past seven years travelling the world,” the magician, inventor and chocolate maker announces, “perfecting my craft. You see I’m something of a magician, inventor, and chocolate maker. So quiet up, and listen down. Nope. Scratch that, reverse it.”
His original idea was to make chocolates his mother (Sally Hawkins) would love, and after years of study he learned to concoct delicious, unusual candies. His caramels are salted with the tears of a Russian clown. His cherries come from the Imperial Gardens in Japan and his marshmallows are harvested from the mallow marshes of Peru, and some of them, like the Hoverchoc, have magical, gravity defying side effects.
Trouble is, the city is under the thumb of the Chocolate Cartel, sweet treat tycoons Mr. Prodnose (Matt Lucas), Mr. Fickelgruber (Mathew Baynton) and Mr. Slugworth (Paterson Joseph). They don’t like Wonka or the threats his chocolates pose to their businesses. “He’s good,” snarls Fickelgruber. “Too good.” But they really hate his idea of making affordable chocolate for the working class.
“Send Wonka a message,” says the sinister Slugworth.
Nothing is going Wonka’s way. The local Chief-of-Police (Keegan-Michael Key) threatens to bonk him on the head, the Cartel is out to ruin him, he’s indebted to work house owners Mrs. Scrubbit (Olivia Colman) and Bleacher (Tom Davis) and a small orange Oompa-Loompa (Hugh Grant) accuses him of stealing cocoa beans.
Despite the odds, with the help of an orphan named Noodle (Calah Lane), the optimistic Wonka is certain he can make his dreams come true and make his mother proud.
Directed by “Paddington’s” Paul King, “Wonka” replaces the weirdness of past film adaptations with whimsey. From the fanciful set and costume design to the heightened performances and relentlessly upbeat tone, it is as sweet as any of Wonka’s magical confections. A celebration of the power of dreams, it’s satisfying and delicious, and tonally feels like a companion piece to the others rather than a revisit or a nostalgic look back.
Chalamet’s Wonka has little to do with the reclusive, narcissistic, judgmental character as played by Gene Wilder and Johnny Depp. He is still an eccentric outsider, but in this version he’s also the emotional core. King and co-writer Simon Farnaby flesh out his story, adding in a backstory that includes a strong connection to his mother and huge dollops of earnestness. That light and airy feel is balanced, somewhat, by the addition of nasty capitalists who want to crush Wonka’s dreams for their own benefit. But make no mistake, this is all chocolate and charm.
Chalamet plays Wonka as a charismatic oddball but without the cynicism that colors other portrayals of the character. The “Dune” star replaces cynicism with a delightfully clever naiveté, anchoring the film’s light and breezy tone. His Wonka pays tribute to, but isn’t an impression of Wilder or Depp. It fresh and fun work, with credible singing and dancing, even if the songs aren’t exactly earworms.
In their handful of scenes, Chalamet cedes the screen to Grant. In what is easily his silliest role ever, Grant finds the fun, playing a testy Oompa Loompa on a mission.
“Wonka” is a scrumdiddlyumptious family film for the holidays. A lavish movie, powered by pure imagination, it is life affirming, with a sense of wonder. It doesn’t enthrall in the same, off-the-charts measure that King’s “Paddington” movies do, but really, what other film does?
