Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the Oscar nominated “The Father” (in theatres), the kid friendly “Yes Day” (Netflix), the true life crime drama “Above Suspicion” (EST, VOD, DVD, Blu-ray) and the Danish feel-good flick “Food Club” (VOD/Digital).
Richard joins NewsTalk 1010’s Jim Richards coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the Anthomny Hopkins tour-de-force “The Father” (in theatres), the kid friendly “Yes Day” (Netflix), the true life crime drama “Above Suspicion” (EST, VOD, DVD, Blu-ray).
Richard sits in on the CFRA Ottawa morning show with guest host Matt Harris to talk the new movies coming to theatres, VOD and streaming services including the Oscar nominated “The Father” (in theatres), the kid friendly “Yes Day” (Netflix), the true life crime drama “Above Suspicion” (EST, VOD, DVD, Blu-ray) and the Danish feel-good flick “Food Club” (VOD/Digital).
“The Father” is a family drama about taking care of a loved one with dementia that manipulates reality to tell the story from two very different points of view, the caretakers and the patient.
Anthony (Sir Anthony Hopkins) is an eighty-year-old former engineer with a luxurious London apartment filled with art and music. What’s missing is a carer, someone to make sure he eats, takes his pills and is comfortable as dementia makes his behavior increasingly unpredictable. By times charming, other times angry, confused and controlling and always convinced someone has stolen his prized wristwatch, he’s scared away a series of caretakers. “I don’t need anyone,” he bellows in denial. His daughter Anne (Olivia Colman) moved in to run the house, but she’s relocating to Paris and needs to find someone to look after her father.
That is the set-up. From here director Florian Zeller, who co-wrote the script with Christopher Hampton, artfully toggles between realities, Anne’s story and the way Anthony sees what’s happening in his beloved apartment. It is a disorienting technique that switches perspectives without warning, creating a knotty drama where nothing is as it seems in a carefully crafted depiction of dementia.
“The Father” is a sensitively made portrait of a failing mind anchored by a towering, emotional performance from Hopkins. The Oscar winner has made a career playing characters etched in ice; cool and collected. Here we see the vulnerable side, the lion in winter slowly losing himself to the vagaries of disease. It’s a tour de force of a performance that is often a difficult watch but his control of the character, particularly in the film’s final heartbreaking moments, as Anthony’s real and illusory lives intersect, is astonishing.
Coleman brings subtlety and warmth to the long-suffering Anne, but it’s Imogene Poots who makes the most of her small but wonderfully written scene. In the course of just a few minutes she falls prey to Anthony’s charm only to feel the bite of his poison tongue, navigating a range of emotions and reactions like a character on the run from an Edward Albee play.
The success of “The Father” isn’t the structurally complex storytelling but the performances that traverse the trickery of the telling to find the humanity of the situation.
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including strange and beautiful period drama, “The Favourite,” the critic’s favourite “Roma,” the zombie musical “Anna and the Apocalypse,” the animated “Henchmen” and the documentary “Almost Almost Famous.”
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 Golden Globe nominated “The Favourite,” the heartfelt “Roma,” and the zombie musical “Anna and the Apocalypse.”
To paraphrase Abraham Lincoln, if you want to test a person’s character, give them power. That maxim is fully on display in “The Favourite,” an Oscar hopeful starring Olivia Colman, Rachel Weisz and Emma Stone, as two women vie for the attention of Anne, Queen of Great Britain.
Set in the early 18th century, “The Favourite” begins as England, under the rule of Queen Anne (Coleman), is at war with France. A clueless and vain monarch stricken with gout from gorging on chocolate and cheese, the Queen is haughty in the style of, “Look at me! How dare you look at me!”
The real power behind the throne ismovie notes the Queen’s close friend and confidant Lady Sarah Churchill, Duchess of Marlborough (Weisz). She’s a stern figure equally at home pampering the Queen or ordering a maid to be whipped for any minor transgression.
Life at the castle is a decadent push-and-pull for favour between those who want the Queen to end the war, like Robert Harley, 1st Earl of Oxford (Nicholas Hoult), and those who feel the battle must continue. The battle for power becomes more intense when Abigail Masham (Emma Stone), Lady Marlborough’s cousin and fallen gentry whose father gambled her away in a card game, arrives looking for a job. Put to work as a maid she quickly moves up the ranks, befriending the Queen and aggressively pushing Lady Marlborough to the fringes. “As it turns out I am capable of much unpleasantness,” Abigail snorts.
Broken into chapters like “What An Outfit“ and “A Minor Hitch,“ the film is a wickedly nasty look at the inner workings of a personal coup d’etat. Smartly written by Deborah Davis and Tony McNamara, it brims with court gossip, quotable lines—“If you do not get out I will start kicking you and I will not stop,” sneers Marlborough.—and machinations enough to make Machiavelli green with envy.
Bringing the intrigue to vivid life are the three leads. At the top of the pyramid is Coleman as Queen Anne. Insecurity and imperiousness are the toxic ingredients that fuel her childlike behaviour. Whether she is stuffing her face to the point of vomiting, faking a seizure at Parliament or indulging in her secret desires, she is unpredictable, ridiculous and, ultimately a sad character. Coleman embraces it all, delivering a beautiful, unsubtle performance.
As Lady Marlborough Weisz is cunning and kind, a power player who knows when to hold ‘em, knows when to fold ‘em. She’s icy hot, calm and collected but quick to temper when threatened. Weisz has rarely been this collected on screen, delivering complex dialogue with panache.
As a woman who admits, “I’m on my side, always,” Stone has the greatest range. From scullery maid to titled Lady her character travels the furthest distance and is capable of the greatest villainy.
Director Yorgos Lanthimos has made a strange and beautiful movie, one that has the twilight zone feel of his other films “The Lobster” and “The Killing of a Sacred Deer.” They all feel like real life, but tilted by 180 degrees. With “The Favourite” he has made a revisionist history that comments not only on personal politics but also how political power is open to the whims of who holds it.