I sit in with CKTB morning show guest host Karl Dockstader to have a look at movies in theatres and streaming including the sequelitis of “Moana 2,” Angelina Jolie in “Maria” and the bad assery of “The G.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to do a high five! Have a look as I race against the clock to tell you about the sequelitis of “Moana 2,” Angelina Jolie in “Maria” and the bad assery of “The G.”
Watch the whole thing HERE!
SYNOPSIS: In “Maria,” a new psychological biopic now playing in theatres before moving to MUBI on December 11, Angelina Jolie stars as Maria Callas, the world’s greatest opera singer, as she lives the last days of her life in 1970s Paris, after a glamorous yet tumultuous life spent in the public eye.
CAST: Angelina Jolie, Pierfrancesco Favino, Alba Rohrwacher, Haluk Bilginer, and Kodi Smit-McPhee. Directed by Pablo Larraín.
REVIEW: “Maria” finishes director Pablo Larraín’s trilogy of films about iconic women of the 20th century. Having already examined Jacqueline Kennedy and Princess Diana, this third, and final film features a commanding performance by Angelina Jolie as the temperamental opera star Maria Callas, a woman who no longer performs but admits, “There is no life off the stage.”
She may feel the absence of her voice, of performing for adoring crowds, but her life provides a dynamic backdrop for this ornate, hypnotic film. “There’s a point where self-confidence becomes a kind of insanity,” she says.
In Jolie’ hands the opera singer is every bit a diva. She is now a pill popper whose gift, a voice that once mesmerised the world, has left her, but she remains a diva nonetheless. Regal and occasionally ridiculous, she spends her days barking orders at her loyal staff (Alba Rohrwacher and Pierfrancesco Favino)—”Book me a table at a café where the waiters know who I am,” she says. “I’m in the mood for adulation.”—reminiscing about her life with an imaginary interviewer (Kodi Smit-McPhee) named Mandrax after her drug of choice and refusing to return an important call from her doctor because he said she “must” call him.
Even when there’s not much is happening in “Maria,” Jolie is captivating, emanating the larger-than-life star power that made “La Divina” beloved personally and professionally. In one playful moment Mandrax asks, “What would you say if I told you I was falling in love with you?”
“That happens a lot,” she replies with a smile.
Character study aside, the film itself is more of a mixed bag. Stunning work from cinematographer Edward Lachman and production designer Guy Hendrix Dyas create a beautiful canvas for Jolie’s work, but it feels incomplete. There are flashbacks (mostly shot in black and white) and some paparazzi style footage that provide a sense of Callas’s elevated place in the opera world, but director Pablo Larraín, working from a script by Steven Knight, is more interested in her struggles and foibles than her triumphs. It provides Jolie the dramatic space to give the crowning performance of her career so far but doesn’t allow the character the privilege of a fulsome portrait.
The long-running kid’s show “Sesame Street” doesn’t have the same zeitgeisty impact it once did, but a new documentary called “Street Gang: How We Got to Sesame Street,” now on VOD, is a behind-the-scenes look at the undeniable impact Big Bird and Company had on the minds of several generations of young people.
Based on Michael Davis’ 2009 book “Street Gang: The Complete History of Sesame Street,” the doc takes a step-by-step approach, detailing the educational initiatives and creativity that paved the way to Sesame Street.
Director Marilyn Agrelo focuses on three characters, co-creator and producer Joan Ganz Cooney, writer, director and producer Jon Stone, and Muppets creator Jim Henson. Through the lens of this powerhouse trio, and plenty of others like “C Is For Cookie” and “(It’s Not Easy) Bein’ Green” composer Joe Raposo, a portrait emerges of a show that corralled the revolutionary spirit of the time. Progressive, inclusive and overtly political, the creatives moved away from the tried-and-true kid’s show format which was, more often than not, simply a vehicle for subliminal advertising aimed at mom and dad’s pocketbooks to something that would not only entertain but also educate.
Bringing the show to air wasn’t without speed bumps. A Mississippi educational board deemed “Sesame Street” too controversial for the youth of their state in 1970, a ruling soon overturned the ban but not before it made national headlines. Agrelo also delves into Stone’s depression and Henson’s workaholic tendencies, but, by-and-large, the movie is a shiny happy document that drips with nostalgia.
As “Street Gang” essays the show’s nuts-and-bolts, it does so with energy and a sweetness that emanates from the material. It’s a loving portrait, painted with clips that are sure to trigger happy memories for those who grew up watching the show, or even watching kids as they watched the show. Add to that a blast of nostalgia and some rare footage—this is worth a watch if only to see Johnny Cash and Oscar the Grouch duet on the folk song “Nasty Dan” or Odetta do “If I Had a Hammer” with the kid cast—and you’re left with a documentary captures the enduring spirit of a show that changed television and the world.
