Watch the whole interview HERE!
Posts Tagged ‘Lee Pace’
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases including Brie Larson in “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince.”
Watch the whole thing HERE!
Richard has a look at the new movies coming to theatres, Brie Larson in “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince” with CFRA Morning Rush host Bill Carroll.
Listen to the whole thing HERE!
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 latest Marvel superhero flick “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince.”
Watch to the whole thing HERE!
Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk the new movies coming to theatres including the twenty-first Marvel superhero flick “Captain Marvel,” Ben Affleck in “Triple Frontier” and a documentary about one of the most popular books of all time, “Invisible Essence: The Little Prince.”
Listen to the whole thing HERE!
The tagline for “Captain Marvel,” the latest Marvel origin story, is “Higher. Further. Faster.” but I would like to suggest another. “In Space, Everyone Can Hear You Scream Whee!” As Captain Marvel (Brie Larson) pierces our atmosphere, her banshee cry of sheer exhilaration pierces the soundtrack. “Whee!” She’s having fun and so should fans of the high-flying character.
There’s a bit of backstory. “Captain Marvel” begins, as all good superhero flicks do, on an alien planet. Hala is the home of the Kree, a race of powerful ETs ruled by an AI leader called the Supreme Intelligence (Annette Bening). Among the inhabitants of the planet are Yon-Rogg (Jude Law), mentor to Vers (Brie, not yet dubbed Captain Marvel). She is being trained as part of an elite band of space cops, who, shooting energy bolts from her wrists, tracks and hunts shapeshifting creatures called the Skrull. An insomniac, she is haunted by nightmares and mysterious images of another life.
To find context for her existence she travels to C-53—earth—during the Clinton years. There, while hunting down Skrulls who are searching for a weapon that would make them unstoppable in the universe, she meets Nick Fury, Agent of the espionage agency S.H.I.E.L.D. (Samuel L. Jackson), who becomes entangled in her hunt for the earthbound Skrulls—including the world-weary Talos (Ben Mendelsohn)—and her search for her true identity.
“Captain Marvel” begins with a trippy, time-warping introduction to Vers’s past. It’s an orgy of fast cuts and establishes the film’s spirited tone. There’s a lot going on here, maybe too much, but at least it rips along like a cheetah attacking its prey. Things slow down once the film lands in 1995 California and the “Terminator-esque” story of a benevolent alien with superpowers kicks in.
The high points are lofty.
Larson finds the right tone, playing someone grappling with two identities, otherworldly and stoic one moment, swaggering playfully the next. Vers is a total girl power hero, with no love interest, other than a female best friend, she kicks but while the soundtrack blares “I’m Just A Girl” and tell her male mentor, “I have nothing to prove to you.” Larson keeps her interesting even though through much of the film Vers isn’t quite sure who she is or where she belongs in the universe.
Further separating her from her superhero colleagues is a purpose driven mission not born out of revenge but by powerful emotions and a sense of loss. Those motivations alone give the film a slightly different feel from others in the Marvel family.
Visually Vers, harnessing all the hurt of all the times she was told she wasn’t good enough or that girls shouldn’t try to do boy stuff, is a powerful feminist statement that helps drive the story and define the character. That it’s visually stunning is a bonus.
Supporting actors Jackson (we finally learn the unlikely why Fury wears an eye patch) and Mendelsohn find a balance between the film’s dramatic, action and lighter scenes.
Co-directors Anna Boden and Ryan Fleck, handle the character work with aplomb. Their previous films, indies like “Half Nelson” and “Mississippi Grind,” are studies in nuance, a trait lost in “Captain Marvel’s” larger set pieces. The action—and there is plenty of it, tends to be of a generic frenetically edited style. The convoluted origin story mixed with the cluttered action sequences suck some of the air out of the theatre but their take on the superhero character as both an outsider and one of us is as refreshing as it is unusual. “Whee!”
“The Hobbit: The Battle of the Five Armies” is the end of an era, and the beginning of one of the biggest movie franchises in history. As the third part of the Hobbit trilogy, it brings to an end the Peter Jackson movies inspired by J.R.R. Tolkien’s books. In the chronology, however, it is midway, the film that sets up the “Lord of the Rings” movies.
The action picks up seconds after the Dwarves evicted greedy dragon Smaug (Benedict Cumberbatch) from the gold filled Lonely Mountain in “The Desolation of Smaug.” With the wicked worm gone exiled Dwarf king Thorin Oakenshield (Richard Armitage) has now reclaimed his homeland and all the gold and power but wearing the crown has made him paranoid. He trusts no one, not even his loyal warriors and won’t listen to Bilbo Baggins’s (Martin Freeman) attempts to make him see reason. His irrational behavior leads to the epic showdown mentioned in the title. Legions of bloodthirsty Orcs (complete with their giant, hard-headed War Beasts) face off with Dwarves, Elves of the Woodland Realm, King Dain II Ironfoot of the Iron Hills and the Men of Laketown. The fate of Middle Earth hangs in the balance as alliances are made and skulls are cracked.
At least I think that’s what happens. There is so much going on, so many characters struggling for power and survival it’s sometimes hard to keep track. Jackson wraps up the series with a movie that tries to close every door it has opened which leads to a cluttered film short on story but long on characters and action scenes.
Big themes abound—greed, power, love, loyalty, family, all cloaked in a story about dragons, halflings, wizards, ill tempered Orcs and a struggle for a mountain filled with gold but the one thing, by and large, missing from the story is a strong presence from the title character. That’s right, “The Hobbit: The Battle of the Five Armies” treats Hobbit Bilbo Baggins (Martin Freeman) like a supporting character.
Baggins bookends the action and appears sporadically throughout, but the spotlight is fixed firmly on the other characters, rendering the “Hobbit” part of the title a tad superfluous.
The “Battle” part, however, is bang on. The movie is essentially a series of combat scenes stitched together and within those bruised and bloody sequences are some of the film’s highlights. Legolas (Orlando Bloom) running atop bricks, Mario Brothers style, as they fall through the air from a disintegrating bridge is a striking visual image and a scene where Gandalf (Ian McKellen), Saruman (Christopher Lee) and Galadriel (Cate Blanchett) thrash away at evil spirits will entertain the eyes.
Jackson’s grey palette infuses “The Battle of the Five Armies” with an ominous air as the dozens of characters breath life into the fight scenes. Heroes and villains abound, and while there isn’t quite enough actual story to justify the two-hour-and twenty-minute running time, the battle between good and evil is so primal, so elemental you can’t help but let it get your blood racing.
Thirteen years, six movies and more than 1,000 minutes of film later, Peter Jackson is ready for a break.
“You can’t believe how much we don’t want anything to do,” he says.
With the release of The Hobbit: The Battle of the Five Armies, the journey that began with 2001’s The Fellowship of the Ring has come to an end for the director and his wife, producer and screenwriter Fran Walsh.
“We haven’t had a day when we’ve woken up and there hasn’t been a deadline,” he says of the last 13 years.
“Even if you go on vacation and they say, ‘You finished the first Hobbit movie and you can have three weeks off over Christmas,’ but we have to come back and start work on the next one on January 6, so it has always been this sort of looming thing.
“Now we get to wake up and it is done, finished, nothing left to do. We deliberately haven’t taken on any other work because Fran and I wanted so badly, for once in our professional lives of 30-odd years, to not have anything to do. That doesn’t mean that six weeks into our holiday we’ll not be so bloody bored that we’ll immediately start another project. That would be fine. At least we’ll do it for the right reasons.”
The new film is the end of an era, and the beginning of one of the biggest movie franchises in history. As the third part of the Hobbit trilogy, it brings to an end Jackson’s J.R.R. Tolkien’s adaptations. In the chronology, however, it is midway, the film that sets up the Lord of the Rings pictures.
“To me it has significance because it is the moment in time where a six-film series finally comes into focus,” he says.
“We are only four or five years away from a generation arriving who will have no memory or knowledge of how these films were released when they came out. All they’ll have is a six-part box set and hopefully they’ll start at the beginning and go through to the end. To me, until this movie actually existed there were these parts that were floating out there that can now be together.”
He may be done with the Lord of the Rings and Hobbit movies — “I have other things I want to make. I think it would be a terrible sad thing to spend the rest of my life going back over these films and trying to make them better” — but he’s not done with the cast he built over the years.
“We’ve just got such a wonderful collection of actors of all different types, and we’re friends now,” he says.
“I would be a happy man if I could make movies for the rest of my life using the cast we’ve used to date. I love it when directors have relationships with the same actors in film after film. It’s a fantastic thing.”
Watch the whole thing HERE!