Posts Tagged ‘Mark Duplass’


A weekly feature from from! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at the Charlize Theron in the mothering dramedy “Tully,” the political drama “Backstabbing for Beginners” and the down ‘n dirty flick “Lowlife.”

Watch the whole thing HERE!


Richard joins CP24 anchor Nick Dixon to have a look at the weekend’s new movies including the Charlize Theron in the mothering dramedy “Tully,” the political drama “Backstabbing for Beginners” and the down ‘n dirty flick “Lowlife.”

Watch the whole thing HERE!


Richard sits in with CTV NewsChannel anchor Marcia MacMillan  to have a look at the weekend’s big releases, the new Charlize Theron mothering dramedy “Tully,” the political drama “Backstabbing for Beginners” and the down ‘n dirty flick “Lowlife.”

Watch the whole thing HERE!


Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies,  “Logan,” the latest (and greatest) Wolverine flick, the time travel teen angst movie “Before I Fall,” the animated “Ballerina,” the quirky “Table 19” with Anna Kendrick and the controversial Christian movie “The Shack.”

Watch the whole thing HERE!

TABLE 19: 2 ½ STARS. “a super-reverso-rom-com that will raise a laugh or two.”

“People do weird things at weddings,” says Huck (Thomas Cocquerel), a handsome stranger who takes Eloise (Anna Kendrick) for a spin on the dance floor in the almost-rom-com “Table 19.” Maybe that’s true, but in the case of this movie, they do quirky and sometimes unpredictable things, but weird? Not quite.

On the day of her childhood friend’s wedding Eloise (Kendrick) repeats the mantra, “Today will not suck.” She may be close to the bride but is attending the wedding begrudgingly. Her ex-boyfriend Teddy (Wyatt Russell), a flame-haired dim wit who dumped her by text with the words “good luck in your future endeavours,” is the best man and she still hate-loves him.

She arrives to find herself seated at Table 19, a collection of misfits she says, “should have known to send regrets but not before sending an expensive gift.” There’s Jo Flanagan (June Squibb), a pot smoker who was once the bride’s nanny, the Kepps (Craig Robinson and Lisa Kudrow), distant friends of the family of the groom, ex-con Walter Thimple (Stephen Merchant) and Rezno Eckberg (“Grand Budapest Hotel’s” Tony Revolori), a young man who introduces himself with, “I have achieved puberty and I’m in the band.”

Because they are the outcasts, invited out of politeness and seated far from the action, they spend the day together. Secrets are revealed and the complex nature of relationships is explored. Will Eloise be able to speak to Teddy? Will the Kepps’ marriage survive the weekend? Will Renzo ever get a date? What will become of Jo and Walter?

“Table 19” is a rom com, but not a traditional one. It’s a super-reverso-rom-com that begins after the couple already has a history and broken up. It’s no secret that the heart of the movie will be their relationship so your enjoyment of the movie will be related to how much you care about this quirky collection of folks.

Kendrick is an agreeable presence, bringing equal parts edge and vulnerability to Eloise. Robinson and Kudrow banter like an old married couple and Squibb radiates warmth while Revolori and Merchant dial up their eccentricities. It’s an interesting group who by times are quite funny but most often feels like a collection of characters rather than real people. They shuffle from one set-up to another—Whoops! They knocked over the wedding cake!—lurching through the wedding on the way to the end credits and some sort of relationship resolution.

“Table 19” will raise a laugh or two or three, but the artificial nature of the situation isn’t weird enough to truly embrace the quirkiness of the characters or interesting enough to engage the audience.



Screen Shot 2015-03-02 at 9.36.32 AMRichard’s “Canada AM” reviews for “Focus,” “The Lazarus Effect,” “Elephant Song” and “Big News from Grand Rock” with host Beverly Thomson.

Watch the whole thing HERE!

THE LAZARUS EFFECT: 2 STARS. “crams a lot into its scant running time.”

Screen Shot 2015-02-25 at 4.46.49 PM“The Lazarus Effect,” a new low-budget thriller starring Olivia Wilde and Mark Duplass, is about giving people a second chance. A new serum formulated by a group of young, good-looking geniuses prolongs the time after death that doctors can continue to safely try and revive patients. But, as always, when you trifle with the natural order of things there are unexpected consequences. “If we are going to be asking big questions we have to be ready for the answers,” says Zoe (Wilde), who, as it turns out, wasn’t as prepared for the answers as she thought.

Liberally borrowing from “Frankenstein’s” playing God cautionary tale, “The Lazarus Effect” sees researchers Zoe, Frank (Duplass) and Niko (Donald Glover) create a formula that defies death, bringing deceased animals back to life. (“What if we ripped him from doggie heaven?” wonders Zoe, weighing the ethics of reviving the dearly departed.) The mutts come back a little more ornery than they were the first time they were alive, but a trial run or two are successful enough that big pharma swoops in and steals their idea. In a last ditch attempt to prove their ownership over the serum they secretly do one final test but when the experiment goes awry they are forced to do an unscheduled human run with horrifying results. For such smart people they sure do a lot of stupid things.

“The Lazarus Effect” is the latest shocker from Blumhouse Productions, the folks responsible for the low-fi thrills of “Paranormal Activity,” “Sinister” and “Oculus.” They value atmosphere over actual horror, using shadows and jump scares to get pulses racing. Sometimes it’s very effective—“Insidious” leaves viewers with an icky unease that’s hard to shake—but just as often they fall flat.

“The Lazarus Effect,” clocking in at an economical 75 minutes, crams a lot into its scant running time, but fails to fully develop any of its ideas. It’s alive with Frankenstein references, but where old Frankenstein lumbered around, mostly meaning well when he wasn’t throwing little girls into lakes and being menaced by angry villagers, the recently deceased here flits around maniacally. They (THERE WILL BE NO SPOILERS HERE) have high brain activity, can read minds and move things telepathically, which you’d think would be pretty cool, but their new talents only appear to make them angry. Combine that with an undeveloped religion vs. science subplot that finds our undead reliving the most traumatic moment of their lives over and over again and you’re left with bits and pieces of a story that are never stitched together to form a whole.

“The Lazarus Effect” has some corny lines—“Did I just die?”—a few unintentionally funny moments—the human comes back to life covered in a white sheet, like a kid’s ghost costume—and atmosphere to burn. What it doesn’t have is the sense of fun necessary to pull off the cheesy moments or the scares to sell it as a full-blown horror story.


parklandGravitas literally drips off the screen during “Parkland,” director Peter Landesman’s impressionistic look at the three days surrounding the assassination of John F. Kennedy. Somber music spills from the soundtrack, people fret and pray while Walter Cronkite and David Brinkley pontificate on “one of the more horrible days in American history.”

Trouble is, there’s no story.

Instead, it’s a character study of the folks, from the doctors and nurses at Parkland Memorial who tried to save JFK’s life (Zak Efron, Colin Hanks and Marcia Gay Harden) to secret service and law enforcement officers on the scene (Billy Bob Thornton, Ron Livingston) to Lee Harvey Oswald’s family (James Badge Dale, Jacki Weaver) to the reporters who broke the story (Mark Duplass) and the man who took the most famous images of the shooting, Abraham Zapruder (Paul Giamatti).

It’s a sprawling cast who all vie for enough screen time to make an impact in this fast moving but ultimately ineffective study of the time.

The period details are all in place, and Giamatti, Dale and Thornton shine, but former journalist-turned-director Landesman’s lack of a point of view adds nothing to this often told tale.