Situated next to the grand Pantages Theater, once the home of the Academy Awards and still one of the leading venues for live theater in Los Angeles, the Frolic Room’s store front is humble… but you can’t miss the extravagant neon sign.
Like all great bars it is an egalitarian place, a truly democratic space where, for the price of a drink, you are welcomed, whether you’re Charles Bukowski, Frank Sinatra or a just thirsty person off the street.
It’s a classic, welcoming place, the way it has always been. “If you changed the Frolic Room, I think it would ruin the business,” owner Robert Nunley says. “It works this way.”
Learn about Hollywood Boulevard’s last great dive bar HERE!
Can Richard Crouse review three movies in just thirty seconds? Have a look as he races against the clock to tell you about the surreal thriller “This Game’s Called Murder,” the Netflix musical biopic “Tick, tick… BOOM!” and the documentary “Brian Wilson: Long Promised Road.”
Richard speaks to “CTV News at Six” anchor Andria Case about the best movies and television to watch this weekend. This week we have a look at the Netflix biopic “tick, tick… BOOM!,” the documentary “Brian Wilson: Long Promised Road” and the Tilda Swinton movie “The Souvenir Part II” in theatres.
Richard joins Jim Richards and Jay Michaels of the NewsTalk 1010 afternoon show The Rush for Booze and Reviews! Today they play a round of Did Richard Crouse Like These Movies? We review the Ron Perlman flick “This Game’s Called Murder,” the Netflix musical biopic “Tick, Tick… Boom” and the documentary “Brian Wilson: Long Promised Road” and, for the booze portion, we talk about the William Faulkner’s favourite drink.
Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including Ron Perlman in “This Game’s Called Murder,” the Netflix musical biopic “Tick, Tick… Boom,” the documentary “Brian Wilson, Long Promised Road” and the arthouse sequel “The Souvenir Part II.”
Richard joins CTV NewsChannel and anchor Angie Seth to have a look at new movies coming to VOD, streaming services and theatres including the wild Ron Perlman flick “This Game’s Called Murder,” the Netflix musical biopic “Tick, Tick… Boom,” the documentary “Brian Wilson, Long Promised Road” and the arthouse sequel “The Souvenir Part II.”
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the bizzaro-land Ron Perlman flick “This Game’s Called Murder,” the Netflix musical biopic “Tick, Tick… Boom” and the documentary “Brian Wilson, Long Promised Road.”
Richard joins NewsTalk 1010 guest host David Cooper on the coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the surreal Ron Perlman flick “This Game’s Called Murder,” the Netflix musical biopic “Tick, Tick… Boom” and the documentary “Brian Wilson, Long Promised Road.”
Early on in “Brian Wilson: Long Promised Road,” a new documentary about the legendary Beach Boys leader, now on VOD, an interviewer asks him to explain how he writes songs. “It starts in my brain,” he says. “Makes its way to the piano and on to the speakers in the studio.”
Can you explain further?
“No,” he says, “I can’t.”
That exchange sums up what a great deal of the film is like. Like it’s reticent subject, it doesn’t reveal much, certainly anything you don’t already know about Wilson’s well-documented life, but chance to hear his music recontextualized by talking heads like Bruce Springsteen, Elton John, Linda Perry and others is a treat.
Directed by Brent Wilson (no relation), the backbone of the movie is a road trip between Brian and “Rolling Stone” writer Jason Fine. They cruise around to Beach Boys hotspots like Malibu’s Paradise Cove, where the band shot their first album cover, his hometown of Hawthorne, California and the home, perched high above Los Angeles, that was home to Wilson, his first wife Marilyn and the infamous sandbox he installed as a creative refuge. The two are longtime friends, but even in the comfort of Fine’s company, Wilson seems fragile, offering up short, nondescriptive answers to Fine’s questions.
More revealing are Elton John and Springsteen’s comments or producer Don Was, who calls Wilson, “One of the greatest artists who ever walked the face of the earth, in our time or any other time,” marveling at the production on “God Only Knows.” Former Barenaked Ladies singer Steven Page talks about the pressure Brian must have felt being labelled a genius from an early age. Nick Jonas talks about expectations being the foundation for disappointment. In these moments the film mines something deeper, and offers a third hand analysis of what it means to be Brian Wilson.
Of course, Wilson’s music speaks louder than words and it is here “Brian Wilson: Long Promised Road” excels. Wilson, it’s said in the film, used the studio as an instrument itself, and if this movie teaches us anything, it’s that everything we really need to know about the musician is already out there, on the grooves of his records.