I join “CTV News Toronto at Five” with guest anchor Zuraidah Alman to talk about new movies in theatres including the dark comedy “The Roses,” the relationship farce “Splitsville” and the gritty crime drama “Caught Stealing.”
Watch the whole thing HERE! (Starts at 13:56)
I join CTV Atlantic anchor Todd Battis to talk about the dark comedy “The Roses,” the relationship farce “Splitsville,” the gritty crime drama “Caught Stealing” and the rebirth of “The Toxic Avenger.”
Watch the whole thing HERE!
Jim Richards is off, so I sit in with host Deb Hutton on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and let you know what’s happening in theatres. We talk about Guillermo del Toro’s “Bleak House” memorabilia auction, Bill Belchick’s “gold digger” trademark, The Wizard of AI, Taylor Swift’s impact on the wedding business and two movie reviews, “Caught Stealing” and “The Roses.”
Listen to the whole thing HERE!
I joined CTV NewsChannel anchor Roger Peterson to have a look at new movies coming to theatres, including I joined CTV NewsChannel anchor Roger Peterson to have a look at new movies coming to theatres, including the dark comedy “The Roses,” the relationship farce “Splitsville” and the gritty crime drama “Caught Stealing.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the dark comedy “The Roses,” the relationship farce “Splitsville” and the gritty crime drama “Caught Stealing.”
Listen to 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 dark comedy “The Roses,” the relationship farce “Splitsville” and the gritty crime drama “Caught Stealing.”
Watch the whole thing HERE!
SYNOPSIS: In “Caught Stealing,” a new dark comedy from director Darren Aronofsky, and now playing in theatres, Austin Butler plays Hank, a bartender whose life is turned upside down when he agrees to look after his neighbor’s cat. Drawn into the soft underbelly of 1990s era New York City, Hank finds himself fighting for his life (and the cat’s well-being) at the hands of various gangsters who believe he has something they want. “These guys you’re messed up with,” says Detective Roman (Regina King), “they’re scary monsters.”
CAST: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D’Onofrio, Griffin Dunne, Bad Bunny, Carol Kane. Directed by Darren Aronofsky.
REVIEW: “Caught Stealing” is a departure for director Darren Aronofsky. His movies have essayed everything from addiction and apocalypses to isolation and psychological turmoil, and while many of them, like “Black Swan,” “The Wrestler,” “The Whale,” and “Requiem for a Dream,” have been critical and commercial hits, they haven’t been what you would call crowd-pleasers.
His latest film, “Caught Stealing,” starring Austin Butler as a bartender who gets drawn into the criminal underworld of Giuliani-era New York, however, is a crowd-pleaser, but only in the most Aronofsky-esque of ways.
A violent, dark comedy that plays like a cross between Guy Ritchie’s quirky criminal dramas and the Kafkaesque absurdity of “After Hours,” “Caught Stealing” is an adrenalized, twisty trip typical of the genre, but seen through Aronofsky’s edgy lens.
Hank, the charming bartender played by Butler, is not your genre typical everyman who gets in over his head. Aronofsky and screenwriter Charlie Huston, who adapted his own 2004 novel, give Hank layers. He’s a wild child who dances on pool tables and greets the day with a Miller Light. Tormented by nightmares of an alcohol fueled accident that took the life of his best friend, he repeatedly wakes up in a sweat. As his situation spirals out of control his survival is driven by a mix of fear and desperation.
So, he’s the hero, but in true Aronofsky fashion, he’s a morally ambiguous one whose quest for survival comes with a high body count and a trail of destruction. He may not be as relatable as “After Hours’” Paul Hackett, played by Griffin Dunne, who makes an appearance here as coke snorting dive bar owner Paul, but the charismatic Butler keeps him compelling with a combo of vulnerability and steeliness.
Aronofsky populates the rest of the story with a variety of colorful characters, like observant-but-deadly Jewish mobsters Lipa and Shmully (Liev Schreiber and Vincent D’Onofrio), a throwback punk rocker (Matt Smith), gangster Colorado (Benito Antonio Martínez Ocasio, better known as Bad Bunny) and no-nonsense cop Elise Roman (Regina King), but this is Butler’s show.
“Caught Stealing” has the character complexity of an Aronofsky film, but it’s way more fun than he usually has on screen.
“Golda,” a new biopic of Israeli prime minister Golda Meir is not a cradle to grave look at the life of the first women in the world to serve as a head of government in a democratic country. Instead, the film, now playing in theatres, focuses on the eighteen days of the Yom Kippur War in October 1973.
Hidden under an inch or two of make-up, Helen Mirren plays the chain-smoking, seventy-five-year-old Meir with equal parts fragility and steeliness. Confronted with the news that Syrian forces are gathering on the Golan Heights, she convenes a military consultation with Mossad chief Zvi Zamir (Rotem Keinan). Ignoring his warnings of imminent invasion, she approves full-scale mobilization but rejects a preemptive strike, fearing the perception of warmongering would affect Israel’s access to foreign aid and military support from their allies, especially the United States.
My gut told me that war was coming and I ignored it,” she says. “I should have mobilized that night. All those boys who died, I will carry the pain of that to my grave.”
Told primarily in flashbacks— Israeli director Guy Nattiv uses Meir’s testimony to the Agranat Commission into the failings of the Israel Defense Forces in the prelude to the war as a framing device—“Golda” is actually the story of two battles, the Yom Kippur War against Egypt, Syria, and Jordan and Meir’s struggle with cancer.
Narrowing the film down to the Yom Kippur War allows for a focused look at those events but feels like part two of three of the Golda Meir story. A life of the magnitude and influence of Meir’s deserves and requires historical context. Watching the truncated story of “Golda” I found myself wishing for a more detailed account à la “The Crown,” but without the soapy elements.
The casting of Mirren was controversial—critics said an Israeli or Jewish actor should have been hired to play Israel’s most important female figure—but in Meir’s more intimate scenes, Mirren dives deep to portray the character’s many facets. Her eyes moisten at the reports of the horrors of war, she is resolute as the only woman in the room and, surprisingly, even humorous.
The film works best in Mirren’s scenes with Henry Kissinger (Liev Schreiber) and her assistant Lou Kaddar (Camille Cottin). Her cat-and-mouse with United States Secretary of State Kissinger is far more playful than you might imagine.
“I am first an American, second a secretary of state, third a Jew,” says Kissinger. “In this country,” Meir replies, “we read from right to left.”
The relationship with Kaddar is grounded in respect and trust, and in the little moments, like when she solicitously takes a cigarette out of Meir’s mouth as she is undergoing cancer radiation therapy.
“Golda” isn’t the definitive telling of Meir’s story. It feels a little too stage bound, a little too condensed, but the collective effect of Mirren’s intimate moments and the sound design by Niv Adiri that brings the battlefield to Meir’s war room, make “Golda” an interesting, if flawed, retelling of one of the seminal events of the 1970s.
For better and for worse, there is nothing quite like a Wes Anderson film. The director’s unique production design is all over his new sci fi comedy “Asteroid City,” but with this film it is clear that whimsy has finally replaced storytelling on his to do list.
This is a twisty-turny one. Like a set of nesting dolls, it’s a film, within a play, within a show hosted by a Rod Sterling-esque talking head (Bryan Cranston), within a teleplay written by playwright Conrad Earp (Edward Norton).
The bulk of the “action” takes place in Asteroid City, a remote New Mexico desert town—population 87—where Steve Carell’s motel manager hosts a Junior Stargazer convention. Gifted kids and their parents from all over the state convene to showcase their incredible, and often outlandish, inventions.
It’s an interesting group that includes recently widowed war photographer Augie Steenbeck (Jason Schwartzman), father to “brainiac” Woodrow (Jake Ryan) and son-in-law to Stanley (Tom Hanks), movie star Midge Campbell (Scarlett Johansson) and the rough-n-tumble J.J. Kellogg (Liev Schreiber). Along for the ride are singing cowboy Montana (Rupert Friend), teacher June (Maya Hawke), Dr. Hickenlooper (Tilda Swinton) a scientist from the local observatory and the fast-talking Junior Stargazer awards judge, General Grif Gibson (Jeffrey Wright).
When the convention is interrupted by a visiting alien, the whole thing is locked down for a mandatory government quarantine.
Despite the quirky tone and Anderson’s trademarked stylistic choices, “Asteroid City” is a serious film, albeit one laced with a healthy dose of absurdism. A study in how people deal with grief, and the true nature of love, Anderson’s characters experience existential dilemmas, angst born of loss and dissatisfaction. Threats are posed by nuclear bombs and life from other planets unexpectedly dropping by to say hello and children wonder aloud what happens when we die. A shroud of melancholic anxiety hangs over the film, like a shroud, but Anderson’s staging of the film, the meta story within a story structure, obscures the movie’s deeper meanings under layers of style.
The cast, particularly Johansson and Hanks, bring focus to Anderson’s unfocussed story, and Carell, Cranston and briefly Goldblum are having fun, but it sometimes feels the surfeit of characters are there more to decorate the screen than to forward the story.
“Asteroid City” may delight long-time fans, but casual moviegoers or newcomers to the director’s oeuvre may find the film’s mannered obtuseness off kilter and off putting.
