I join NewsTalk 1010 host Jim Richards on the coast-to-coast-to-coast late night “NewsTalk Tonight” to play the game “Did Richard Crouse Like This?” This week we talk about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”
Listen to the whole thing HERE!
I appear on “CTV News at 6” with anchor Andria Case to talk about the best movies and television to watch this weekend. This week I have a look at the documentary “Black Ice” on Crave, the post apocalyptic series “The Last of Us” on Crave and the light-hearted sports comedy “80 for Brady” now playing in theatres.
Watch the whole thing HERE! (Starts at 38:45)
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”
Listen to the whole thing HERE!
Watch as I review three movies in less time than it takes to change a lightbulb! Have a look as I race against the clock to tell you about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”
Watch the whole thing HERE!
I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres. Today we talk about the light-hearted Jane Fonda sports comedy “80 for Brady,” the new M. Night Shyamalan nail-biter “Knock at the Cabin” and the Anna Kendrick drama “Alice, Darling.”
Watch the whole thing HERE!
I guess it is fitting that a team of movie MVPs would band together to tell a story about the greatest football quarterback of all time. It’s just too bad the movie, “80 for Brady,” now playing on theatres, is a bit of a fumble.
Based on a true story, the movie is first and foremost, the tale of the deep bond between football fans, octogenarians Lou (Lily Tomlin), Trish (Jane Fonda), Maura (Rita Moreno), and septuagenarian Betty (Sally Field). The lifelong friends discover football, or more specifically, one footballer, in 2001 when Lou’s television remote broke, leaving the channel stuck on a New England Patriots game.
When the quartet laid eyes on quarterback Tom Brady, they were smitten. “What a beautiful man,” says Trish. “So hydrated,” adds Maura.
Sixteen years later, as the Patriots prepare to take on the Atlanta Falcons at Super Bowl LI, the four fans plan their ultimate get-a-way after winning two pairs of Super Bowl tickets from a local sports call-in show.
“We’re going to the Super Bowl to enjoy men the way the ancient Romans did,” says Lou. “Sweaty and on top of one another in tight pants.”
When it looks like the Patriots are down for the count, Lou, Trish, Maura and Betty, in their bedazzled Brady jerseys, spring into action, providing some much-needed moral support.
“80 for Brady” is a mawkish movie, a firehose spray of sentimentality and easy platitudes. it’s a testament to the collective buddy charisma of the leads that it works as well as it does. The characters may be clichés come to life but without the cast, much of the film’s humour would be as deflated as the footballs used at the 2014 AFC title game against the Indianapolis Colts. Tomlin, Fonda), Moreno and Field’s combined 250 years of on-screen experience breathe life into several showcase scenes.
Moreno earns a laugh or two playing hardball with a scalper and a hot wing eating contest gives Field a chance to heat things up amid the movie’s well-intentioned but overbearingly cheerful bromides.
“80 for Brady” aims to lift up the audience, to inspire, but only in the most superficial ways. There is more edge on any single episode of “Golden Girls” than in the entire running time of this ode to friendship and football.
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 historical betrayals of “Mary Queen of Scots,” the cortex boiling animation of “Spider-Man: Into The Spider-Verse” and the drug addiction drama of “Ben is Back.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases including the wild and webby “Spider-Man: Into The Spider-Verse,” the political drama of “Mary Queen of Scots” and the Julia Roberts’s drug drama “Ben is Back.”
Watch the whole thing HERE!
Can’t get enough Spider-Man? Check out “Spider-Man: Into The Spider-Verse,” a mega-origin story that features not one, not two but at least seven iterations of the web slinging superhero.
Before a radioactive spider bit Miles Morales (voice of Shameik Moore) he was a half-Puerto Rican and half-African-American, Brooklyn born student with loving parents. Post bite, his world goes topsy-turvy. Unable to control his brand-new powers—he sticks to everyone and everything like glue—he needs help. Enter the real Spider-Man (Jake Johnson) who asks the younger Spider-Man to combat crime lord Kingpin (Liev Schreiber).
The evil genius doesn’t have superpowers but he does have a machine called a Collider with the power to tear the world apart. “It’s a hell of a freakin’ light show,” Kingpin cackles. “You’ll love this.” When Kingpin hits the Collider’s on switch the various portals between Spider-Verse open, sweeping alternate Spider-People including Peter B. Parker (Johnson again), a “junky, old, broke-down hobo Spider Man,” Spider-Ham (John Mulaney), an anthropomorphic animal parody of Spider-Man, Peni Parker (Kimiko Glenn), a Japanese-American middle school student, adopted by Aunt May and Uncle Ben and Spider-Man Noir (Nicolas Cage), a hard-bitten Raymond Chandler-esque type, into Miles’s world. The inter-dimensional Peter B. becomes a mentor of sorts to Miles—“Disinfect the mask,” he advises. “Use talcum powder. You don’t want chaffing.”—teaching his the tricks of the superhero trade. “You’re like the Spider-Man I don’t want to be,” Miles says to the frayed around the edges Peter. “I don’t think you have a choice kiddo,” Peter B. replies.
Before shutting off the Supercollider and saving the world Miles must sends the other Spider-types back to their realms or they will disintegrate.
“Spider-Man: Into The Spider-Verse” is a cortex-boiling hit of boffo superhero theatrics. Visually it’s a pop art explosion, paying tribute, in its more restrained moments, to the work of original Spider-Man artist Steve Ditko. In the climatic multiverse showdown, however, it’s as if M.C. Escher and Roy Lichtenstein did acid and conceived a psychedelic freak-out that mixes and matches op art, anime and everything in between. It doesn’t look like any other superhero film you’ve ever seen. It’s wild and woolly, a pastiche of styles formed into one seamless whole.
It’s fresh and funny, and yes, there is a Stan Lee cameo, but despite the eye-catching animation and the flippant time of the script, there is substance; the film has a point. “Spider-Man: Into The Spider-Verse” is a coming-of-age story for Miles who must tap into his inner strength to succeed. Uncle Ben’s quote, “With great power comes great responsibility,” comes up in the film’s multiple origin stories but is amended to reflect that great power also comes with an awareness of self. “Anyone can wear the mask,” Miles says. “If you didn’t know that before I hope you know it now.” It’s a message about finding the greatness within whether you can shoot webs from your wrists or not. In a tweet the day Stan Lee died Seth Rogen wrote, “Thank you Stan Lee for making people who feel different realize they are special.” Lee didn’t write “Spider-Man: Into The Spider-Verse” but his powerful, personal message of self worth is alive and well here.
