CTV NEWS CHANNEL: Richard picks the winners for the Academy Awards.
Richard and Marcia MacMillan talk Oscars and make predictions! Win your Oscar pool!
Watch the whole thing HERE!
Richard and Marcia MacMillan talk Oscars and make predictions! Win your Oscar pool!
Watch the whole thing HERE!
Richard sits in on the Talkback Toronto feature on the CTV News at Noon with Michelle Dubé and Ken Shaw.
Watch the whole thing HERE! (Starts at 29:08)
Richard and Marcia MacMillan have a look at the Oscar nominations, including the snubs, and predict the winners and losers.
Watch the whole thing HERE!
Any year that gives us the day-to-day quest for beauty of “Paterson,” the wild eroticism of “The Handmaiden” and everything in between can’t be all bad. Sure, there were some stinkers and celebrity mortality galore, but when I think back on 2016 I’ll remember Lee and Randi unexpectedly meeting on the street, Ryan and Emma’s Mulholland Drive extravaganza, Lord Voldemort getting down to disco era Rolling Stones and the undeniable belief that every page is a possibility.
Rock star Marianne Lane (Tilda Swinton) and her boyfriend Paul (Matthias Schoenaerts) are living a quiet life on the coast of Italy. Very quiet. She is recuperating from surgery and can’t speak. Their tranquil time, however, is shattered by the arrival of Harry (Ralph Fiennes), Lane’s former record producer and lover, and his Lolita-esque daughter Penelope (Dakota Johnson). He’s an impulsive first-one-in-the-pool, free spirit who invites strangers over to hang out (“You’re not speaking sweetheart so I had to make other plans!” he says.), she’s a flirty presence who says things like, “My trouble is, I fall in love with every pretty thing.” A day or so into the visit the sunny Mediterranean days take a dark turn as their shared history brings up some ghosts from the past.
“A Bigger Splash” is worth the price of admission just to see Ralph Fiennes, Lord Voldemort himself, strutting his stuff to disco era Rolling Stones. He unleashes some of the goofiest dance moves since Elaine Benes in what must be his loosest performance ever.
Come for the dancing, stay for the bawdy and boisterous atmosphere. The idyllic, sun dappled backdrop plays at odds with the noirish story as Guadagnino brushes his canvas with sexual tension, slowly adding layers to the story as he builds up to a startling climax. It’s a romp, with worldly people, loads of nudity, drugs and drinking, until it isn’t and the time comes to pay the price of living a wild life without regrets. As the characters manipulate one another Guadagnino manipulates the audience with flamboyant filmmaking, unexpected jump cuts and zooms, which demand your attention.
“A Bigger Splash” could have swum in the shallow end of the pool, but subtly and interestingly goes off the deep end.
“Deadpool” is unlike any other origin story. It’s a snarky, violent, fourth-wall-breaking collision between “Van Wilder” and Marvel Comics. The opening credits–which scream the movie stars God’s Perfect Idiot, A Hot Girl, A British Villain, A CGI Character and features a Gratuitous Cameo–set the tone. This isn’t your grandfather’s superhero movie. With one bloody shot across the bow “Deadpool” makes the other Marvel movies look a little less Marvel-ous. No joke is too crass. No lines are left uncrossed. Where the last couple of Marvel superhero films have felt like odes to market research, “Deadpool” feels like an antidote to the repetition of recent superhero offerings. Politically incorrect and rowdy, it’s a down-and-dirty movie that has more in common with “The Toxic Avenger” than “Iron Man.”
This may be the role Reynolds has been waiting for. It mixes-and-matches his skill at dropping a one liner with his physical side and finally gives his bland leading man mien some edge. Self-effacing, he pokes fun at his other attempts at superhero notoriety. “Please don’t make this super suit green or animated,” says the former Green Lantern and suddenly we forgive his past transgressions.
“Deadpool” won’t be for everyone. It’s occasionally a little too rude and crude, bloody and bowed for it’s own good but at least it tries to do something a little different in the well-worn context of the superhero genre. It exists in a meta universe where Deadpool is aware he’s in a movie–“Whose BLEEP did I have to BLEEP to get my own movie?” he asks.–while another character suggests the name Deadpool “sounds like a franchise.” I hope so. Like them or not, superhero movies aren’t going anywhere soon but at least every now and again there may be a new “Deadpool” film to shake things up a bit.
Largely conflict free, this isn’t a story so much as it is a snapshot of a time and place. It’s a transport back to the time of waterbeds, “My Sharona,” fashionable mullets and trippy Carl Sagan cosmology. Linklater recreates the freewheeling feel of the era and the last blast of childhood before the responsibilities of adulthood. The temptation will be to label this a more innocent time, but that isn’t exactly accurate. These guys are just as interested in scoring with girls as they are soring runs on the field so innocent they are not. At most this is an affectionately nostalgic glimpse back into our recent past.
“Everybody Wants Some!!” is a charming reminiscence. Linklater gets the details right—including a crude warning against the pleasures of waterbed sex—but more importantly populates the film with characters that feel like real people and not stereotypes conjured up by a 1980s way-back machine. It’s troubling that the female characters are given little to do—perhaps Linklater’s next could be from the point of view of the woman’s experience—but the men are entertaining and compelling sorts whose conversations are occasionally inane, occasionally philosophical, just like real life.
Chan-wook Park’s films have never shied away from lurid, sensational imagery, and “The Handmaiden” is no different. Unapologetically erotic and convoluted, the film revels in its ridiculousness, luxuriating in every plot twist and turn. Told from multiple points of view with an ever-changing character dynamic, it demands your attention.
What begins as a con game ends as a (SPOILER ALERT) a triumph of undervalued women who use the manipulation of the men in their lives as a weapon. It’s a complicated revenge story, ripe with detail and secrets. As vaguely trashy art house cinema goes, however, it doesn’t get much more enjoyably escapist than “The Handmaiden.”
Echoes of the Coen brothers ricochet throughout “Hell or High Water.” Aside from Coen regular Bridges, the movie exists in an amoral universe populated by down-on-their-heels types, done in either by poor life decisions, circumstance, age or temperament. English director David Mackenzie places these characters amid sun bleached landscapes and the hardened faces of citizens asserting their Second Amendment rights. It feels like the Coen Brothers but only because Joel and Ethan has visited this nihilistic comedy territory several times before. Mackenzie hasn’t simply made “No Country For Old Men Lite,” he’s combined interesting characters with a languid pace that apes the speed of life in West Texas to create a potent portrait of a time and place.
Set against the backdrop of West Texas’s perpetual economic downturn and those ever-present Fast cash signs, it’s a story not just about the four men but the circumstance that pitted them against one another.
“Hell or High Water” is two buddy movies in one. As one of the brothers Foster is reliable in his familiar man-on-the-edge role, but it is Pine who impresses. He underplays Toby, never doing more than he has to and avoiding the theatrics of his “Star Trek” films. It’s a career best performance that shows there is more to him than larger-than-life franchise work.
As the heavy-breathing lion in winter Bridges brings both gravitas and a light touch. His skill as a Ranger is evident but so is his offbeat sensibility. “Now that looks like a man who could foreclose on a house,” he says when meeting a recently robbed bank manager. It’s a throwaway line but Bridges brings it to life in a way that made me wonder if there is a more comfortable presence on screen than Bridges? He is matched in ease and charm by Birmingham who is a perfect foil for Bridges.
With its unhurried, deliberate pace Nick Cave’s suitably moody score and Mackenzie’s eye for detail “Hell or High Water” is more than a stop-gap between Coen Brothers neo westerns, it’s one of the most richly satisfying movies of the year so far.
The real and the unreal collide in a film that values naturalism in an unnatural genre. Mia and Sebastian burst into song, dance on city streets but do so in the most unaffected of ways. It looks and feels like an old-school musical—the camera dances around the actors and it’s always magic hour—but Stone and Gosling are very contemporary in their approach to the material. Woven into the romantic, joyful script are real comments on the setting—“That’s LA, they worship everything,” says Sebastian, “but value nothing.”—a sense of the pleasure and pain that accompany passion, whether its for a person or a career and melancholy when things don’t quite work out. It’s a movie that dances to it’s own beat. By times bright and garish or atmospheric and moody, it’s never less than entertaining.
Gosling is a charming leading man and equal match for Stone whose remarkable face and expressive performance give the movie much of its heart. Director Damien Chazelle is clearly smitten with his leading lady, allowing his camera to caress her face in long, uninterrupted close-ups.
From a trickily edited opening song-and-dance number in a traffic jam to a spectacular dance among the stars to heartfelt human feelings, “La La Land” doesn’t just breathe new life into an old genre it performs CPR on it, bringing its beating heart back to vibrant life.
“Loving” is an important slice of American history told in a quiet, heartfelt way. Director Jeff Nicholls doesn’t clog up the story with dialogue. Instead he follows the first rule of filmmaking, show me, don’t tell me. For instance, when Mildred and Richard leave Virginia for the less-than-bucolic DC, the looks on the actor’s faces tell the tale, no words required. He allows the performances to underscore the potency of the story. Watch the way Mildred and Richard respond to one another physically after the arrests. Their tentative public displays of affection shows the fear that comes along with being told your relationship is illegal and wrong. It’s subtle, beautiful acting.
“Loving” is a understated movie. Some have suggested it may have benefitted from a bit more anger, but that, for me, would feel like a betrayal to the characters who fight the good fight with dignity and love.
The movie is simultaneously a powerful look at a different time and, when it asks, “What is the danger to the state of Virginia from interracial marriage?” a timely and universal reminder that Loving v. Virginia was just one of many steps humanity has to take before everyone is afforded fundamental rights.
“Manchester by the Sea” is many things. As a finely acted look at grief and the aftermath of heartbreak, it has few peers among this year’s crop of films. But it’s also very a funny odd couple/buddy flick that isn’t afraid to flip flop between drama and comedy. This is writer/director Kenneth Lonergan’s tempest in a teapot, a smallish film that roils with big emotional moments.
Casey Affleck is the core of the film. He’s in virtually every frame and while understated he bristles with feeling. It is a tremendous performance that never fails into morbidity as he skilfully keeps he character alive, both physically and metaphysically. Every day is a struggle for Lee and he deals with his trauma the only way he knows how, with blistering honesty and by drinking and fighting to feel something. There is emotional truth in every mumbled line and come Oscar season expect to hear a lot about this performance.
Affleck shares several scenes with Michelle Williams, but one in particular stands out. For most of the film we only see her in flashbacks, when she was married to Lee. Cut to present day and a chance encounter on the street. In a master class of acting the two rehash and come to grips with the trauma that tore them apart. It heartbreak laid bare and it is a stunning scene.
I fear I’ve made “Manchester by the Sea” by the sea sound like an exercise in Sturm und Drang but it’s not. It deals with very real, very difficult human situations but does so with honesty and a great deal of unexpected humour and wisdom.
“Moonlight” is a movie that beats with a very human heart while subverting expectations with almost every scene. Jenkins has placed obstacles in the way of the story telling—multiple actors playing the same characters, and a lead who is succinct almost to the point of being mute—but overcomes those hurdles with a combination of social conscience, fine acting and interesting characters who constantly defy pigeonholing.
Mahershala Ali, an actor best known as Remy Danton on “House of Cards,” is a standout as a drug dealer who allows the personal cost of his business to weigh on him. He’s a tough guy with a heart and his performance in Part I sets a high bar which is met by Harris and all three of the young men who play Chiron.
Each deliver performances characterized by deep inner work that reveals the truth behind the façade Chiron uses as a front. There’s a remarkable consistency in the trio of performances, so by the end of the film, when Chiron is asked, “Who is you man?” his answer, “I’m me. I don’t try to be nothing else,” rings true and real.
Adam Driver is Paterson, a poetry writing New Jersey bus driver from Paterson, New Jersey. He lives with Laura (Golshifteh Farahani), a dreamer who wants to open a cupcake shop and make them rich or, maybe, become a country singer and their dog Marvin.
“Paterson” is a wonderfully leisurely movie. It’s not in a hurry to get where it is going, instead luxuriating in the mundane aspects of Paterson’s life punctuated by on-screen depictions of his poetry. What could have been insufferable turns into a beautifully rendered portrait of people who find beauty and art in every day life.
There are small conflicts sprinkled throughout, a bus breaks down and lovers quarrel, but “Paterson” isn’t about that. It’s about gentle, loving performances from Driver and Farahani and the beauty of overheard conversations and the day today of regular life.
By Richard Crouse – Metro In Focus
Santa isn’t the only one who makes lists in December.
Every year around this time I put together my annual best and worst movies lists. This year I’m changing it up. 2016 was a corker of a year in and out of movie theatres. It felt like 365 days of bad road so I’m going to concentrate on uplift; the very best of a bad year.
1. A Bigger Splash: This look at beautiful people, jealousy and desire is worth the price of admission to see Ralph Fiennes, Lord Voldemort himself, strut his stuff to disco era Rolling Stones. He unleashes some of the goofiest dance moves since Elaine Benes in what must be his loosest performance ever.
2. Deadpool: As played by Ryan Reynolds Deadpool is part of the Marvel family, a distant cousin to Iron Man and Captain America, but he’s a refreshing super-antihero, a weaponized bad attitude come-to-life with a chip on his shoulder and a raunchy quip on his lips.
3. Everybody Wants Some: Director Richard Linklater’s film Boyhood was a slice-of-life that showcased twelve years in the upbringing of a growing boy. His latest movie is also a slice-of-life but in a much-condensed form, spanning just three funny and affectionately nostalgic days in the life of a 1970s college baseball player.
4. The Handmaiden: This is an epic story of madness, con games, double crosses, double-double crosses, kinky sex, desire and more. Director Chan-wook Park wrings every ounce of lascivious pleasure from the film’s sprawling story of sex and intrigue.
5. Hell or High Water: Echoes of the Coen brothers ricochet throughout Hell or High Water but with its deliberate pace, Nick Cave’s moody score and Jeff Bridges, Chris Pine and Ben Foster as the leads, it’s more than a stop-gap between Coen Brothers neo westerns, it’s one of the most richly satisfying movies of the year.
6. La La Land: From a trickily edited opening song-and-dance number to a spectacular ballet among the stars to heartfelt human feelings, this Emma Stone, Ryan Gosling musical doesn’t just breathe new life into an old genre it performs CPR on it, bringing its beating heart back to vibrant life.
7. Loving: Loving is simultaneously a powerful look at a racist time and, when it asks, “What is the danger to the state of Virginia from interracial marriage?” a timely and universal reminder that Loving v. Virginia was just one of many steps humanity has to take before everyone is afforded fundamental rights.
8. Manchester by the Sea: Manchester by the Sea is a finely acted look at grief and the aftermath of heartbreak but it’s also very a funny odd couple/buddy flick that isn’t afraid to flip flop between drama and comedy.
9. Moonlight: Moonlight is a compelling film about a young man finding a place in the world. Director Barry Jenkins splits the story into thirds, each examining a different time in the life of Chiron, a young, gay African-American man, as he comes to grips with who he is
10. Paterson: Paterson luxuriates in the mundane aspects of a poetry writing bus driver’s life, and is punctuated by on-screen depictions of his poetry. What could have been insufferable turns into a beautifully rendered portrait of people who find beauty and art in everyday life.
“La La Land” reinvents the traditional big screen musical by playing it straight. The original songs and new story feel like something Gene Kelly would approve of but not quite recognize as the form he helped perfect in Hollywood’s Golden Age.
Aspiring actress and barista Mia (Emma Stone) and serious jazz pianist Sebastian (Ryan Gosling) can’t help but meet cute. He honks his horn at her during a traffic jam. She flips him off. They meet again in a restaurant. She’s about to compliment him, he’s rude to her. Worse yet they bump into one another at a pool party where he’s playing with a 80s cover band, playing a-ha covers for be-bopping drunks. Third time is a charm and they finally connect, for real. Flirting, dancing and singing they build a relationship as they construct careers in modern day Los Angeles.
The real and the unreal collide in a film that values naturalism in an unnatural genre. Mia and Sebastian burst into song, dance on city streets but do so in the most unaffected of ways. It looks and feels like an old-school musical—the camera dances around the actors and it’s always magic hour—but Stone and Gosling are very contemporary in their approach to the material. Woven into the romantic, joyful script are real comments on the setting—“That’s LA, they worship everything,” says Sebastian, “but value nothing.”—a sense of the pleasure and pain that accompany passion, whether its for a person or a career and melancholy when things don’t quite work out. It’s a movie that dances to it’s own beat. By times bright and garish or atmospheric and moody, it’s never less than entertaining.
Gosling is a charming leading man and equal match for Stone whose remarkable face and expressive performance give the movie much of its heart. Director Damien Chazelle is clearly smitten with his leading lady, allowing his camera to caress her face in long, uninterrupted close-ups.
From a trickily edited opening song-and-dance number in a traffic jam to a spectacular dance among the stars to heartfelt human feelings, “La La Land” doesn’t just breathe new life into an old genre it performs CPR on it, bringing its beating heart back to vibrant life.
From Cineplex.com: “The Toronto International Film Festival is just around the corner! With so many movies playing, it’s hard to figure out what’s worth checking out. So our pre-show host Tanner Zipchen and film critic Richard Crouse sat down together and discussed 10 movies they are excited for, including Denis Villeneuve‘s Arrival starring Amy Adams and Jeremy Renner and Ryan Gosling and Emma Stone teaming up for the third time in La La Land.”
Watch the whole thing HERE!
“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!”