Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including the kid-friendly Halloween flick “The House With A Clock In Its Walls,” the politics of “Fahrenheit 11/9” and the faux tear-jerkery of “Life Itself.”
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, Jack Black in “The House With A Clock In Its Walls,” the birth of Trump in “Fahrenheit 11/9,” and the tear-inducing (but not for the reason you think) “Life Itself.”
Richard has a look at Jack “o’-lantern” Black in “The House With A Clock In Its Walls,” the birth of Trump in “Fahrenheit 11/9,” and the tear-inducing (but not for the reason you think) “Life Itself” and the fist-in-your-face stylings of “Assassination Nation” with the CFRA Morning Rush host Bill Carroll.
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 kid-friendly Halloween flick “The House With A Clock In Its Walls,” the politics of “Fahrenheit 11/9” and the faux tear-jerkery of “Life Itself.”
If the title itself didn’t give it away, fans of the sappy television hit “This is Us” will know what to expect from “Life Itself.” The new film from “This is Us” guru Dan Fogelman is a Xerox of his TV show. Grab some Kleenexes and cue the schmaltz.
Divided into chapters, Fogelman goes multigenerational in “Life Itself,” guiding us through the lives of a handful of people on a couple of continents. Anxious New Yorker Will (Oscar Isaac) bends his therapist’s (Annette Bening) ear, droning on about his failed marriage to Abby (Olivia Wilde) and Bob Dylan.
Cut to the future. There’s Will and Abby’s daughter Dylan (Olivia Cooke), an angry punk chanteuse who specializes in, SURPRISE, Bob Dylan songs.
Jump across the pond to Spain. There the wealthy Mr. Saccione (Antonio Banderas) promotes one of his workers, Javier (Sergio Peris-Mencheta). With the extra money is able to marry his girlfriend Isabel (Laia Costa), but later a tragedy, witnessed by their son Rodrigo (Àlex Monner), traumatizes the boy. Saccione pays for therapy and later, after some turmoil, pays for Rodrigo to go to school in New York, which co-incidentally is where the story comes full circle.
See how everything connects in the grand soap opera of life?
There’s more. Mandy Patinkin pops up as Will’s father, a cancer diagnosis rocks a family and don’t forget molestation. It’s a litany of tragedy—suicide, mental health issues, abandonment and family dysfunction—that feels like a sappy Afterschool Special written by Nikolai Gogol, coated in a fine dusting of schmaltz. It longs to be a rich, complex look at life, love, loss and olive oil but is instead a metaphorical Crock-Pot—a slow burn of the story that never comes to a boil—that, unlike the one on Fogelman’s TV show, never actually catches fire.
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk about the PG-scares of “The House With A Clock In Its Walls,” the politics of “Fahrenheit 11/9,” and the tear-jerking of “Life Itself.”
To further prove my theory that nothing good happens after 3 am, along comes “Victoria,” a new thriller from director Sebastian Schipper.
It begins innocently enough. After a night of clubbing the title character (Laia Costa), a young Spanish woman new to Berlin, meets four German guys on the street. They’re loud and playful, but after some initial flirting the night takes a serious turn. One of their crew has drunk himself legless, leaving them without a get-a-way driver for a dangerous favour they owe to a very bad man. As things turn innocent to sinister Victoria goes along for the ride.
“Victoria” is a thriller—so I won’t reveal anything else about the plot—that succeeds through a slow build. Schipper’s technique, shooting the entire movie in one continuous shot, over dozens of locations without the aid of special effects or CGI (or an editor, I guess), is flashy and eye grabbing, but more importantly lends a sense of immediacy to the story. The plot itself, while alternatively exciting and strained, isn’t ground breaking, it’s the cinematography’s you-are-there feel that gives the movie its oomph.