“Saturday Night Live” is chaotic, it’s high-stakes, and it shouldn’t work… but for 50 years it has. From the ‘Killer Bees’ to the gritty edge of the new UK reboot, we’re dissecting the house that Lorne built. Is Saturday Night Live the last gasp of ‘Old Showbiz,’ or is it the only thing keeping live performance alive? Today, we’re talking the new Lorne Michaels documentary, the Canadian comedy mafia, and the time I ended up at an after-party with Paul McCartney and Allen Ginsberg. Everything is broken, but the red light is on. Let’s go.
I join CTV NewsChannel anchor Scott Hirsch to talk about the recently announced “Top Gun 3” and new releases in theatres, including the dark comedy “The Christophers,” the east coast crime drama “Little Lorraine,” the documentary “Lorne” and the Montreal coming-of-age “Mile End Kicks.”
SYNOPSIS: In “Lorne,” a new documentary now playing in theatres, Oscar winning filmmaker Morgan Neville goes behind the scenes to details the career and influence of “Saturday Night Live” creator and producer Lorne Michaels.
CAST: Lorne Michaels, Tina Fey, Chris Rock, Conan O’Brien, Maya Rudolph, Andy Samberg, John Mulaney, Jimmy Fallon, Seth Meyers, Kristen Wiig, Mike Myers, Paul Simon. Directed by Morgan Neville.
REVIEW: “Lorne” attempts to peel away the shroud of mystery that surrounds the most powerful, but also most elusive, man in television. For nearly half a century—he took five years off after the show’s fifth season—the Toronto born Michaels created the template for what makes us laugh.
His influence on popular culture is immeasurable, but don’t buy a ticket for “Lorne” looking for insight into his process. Michaels is, as presented in the film, a reluctant subject. Like the Wizard of Oz, he’s the enigmatic man behind the curtain.
As a result, director Morgan Neville frames the film as a kind of comedy, an irreverent look at a serious comedic virtuoso.
Off the top Neville asks him a direct question. “What is funny?”
“It’s one of those things like pornography,” Michaels replies. “You know it when you see it.”
It’s a dryly witty line, cerebral and cryptic, and it is about as close as Michaels comes to explaining his craft.
“SNL” cast members like Tina Fey, Chris Rock, Maya Rudolph, John Mulaney, Jimmy Fallon, Kristen Wiig and Mike Myers reverentially chime in with stories about their time working with the producer.
Among the tales told is John Mulaney’s story about having dinner with Michaels when a random person approached their table with a script. Michaels takes the script with the assurance that he’d have a look. Why? To avoid a repeat of what happened in 1968 when record producer Terry Melcher declined to sign aspiring musician Charles Manson to a contract. Manson got his revenge with the infamous murders on Cielo Drive, so Michaels isn’t taking any chances.
The story has a mythological edge to it, as do many of the accounts of Michaels’s life.
Anecdotes of his calm amid the chaos of “SNL,” his resilience in the high stakes world of network television—” People come in every year and they leave,” Michaels says, “but I’m still here.”—of navigating cultural challenges, and his vampiric hours (goes to bed at 4 am, up at noon, at work by 4 pm), take on a folkloric tone.
In keeping with that fabled tone, Mike Myers uses a pastoral metaphor to explain Michaels and his knack for finding talent. On a trip through the country Michaels spots a pumpkin patch. Free pumpkins as far as the eye can see. In the middle of it is a guy selling pumpkins.
Why should I buy from you when I could just take the free pumpkins? “Because I have the eye,” the seller says, “I know the good pumpkins.”
“Lorne knows the good pumpkins,” says Myers.
The film never quite nails its subject, but it entertainingly portrays a show biz survivor whose legacy is his work; fifty years of “SNL” and countless films as a producer. By the time the end credits roll Michaels remains a mystery, but by his own choice. “All of life is reinvention,” he says. “To be understood? Not gonna happen.”
I join Shane Hewitt on his Bell Media Radio Network show to talk about Maya Rudolph returning to “Saturday Night Live” to play Kamala Harris in the show’s upcoming, landmark 50th season, the impact of pop stars like Ariana Grande on the upcoming American election and why Hollywood now says, “Our movies are for everyone!”
Then, I returned to the show for “Boozwe and Reviews.” This week we talk about the up-lifting prison set movie “Sing Sing” and learn how to make “toilet wine.”
When I first heard there was a new “Teenage Mutant Ninja Turtles” movie in the pipeline, I wondered, “Why?” From their beginnings as a superhero parody comic by Kevin Eastman and Peter Laird to becoming a surprise cultural phenomenon, the anthropomorphic turtle brothers have been rebooted as a television show, toys and a bunch of movies.
The difference this time around is that “Teenage Mutant Ninja Turtles: Mutant Mayhem,” a new animated adventure now playing in theatres, captures the irreverent, rambunctious spirit of the comics that inspired it, without losing any of the heart that made turtle brothers— Leonardo, Michelangelo, Donatello and Raphael—so beloved in the first place.
An origin story, the new movie is a coming of age for the resourceful Donatello (Micah Abbey), the charming Michelangelo (Shamon Brown Jr), the reliable Leonardo (Nicolas Cantu) and the brave Raphael (Brady Noon). Raised by a mutant rat named Splinter (Jackie Chan) in the sewers of New York, under the orders of their overprotective, adoptive father, they only visit the human world to gather supplies. Splinter does not trust humans, and fears for his son’s safety if they are exposed to the human world.
But the turtles are restless. They long to be accepted, to go to high school, to do the things they see human teenagers do on television and in movies. “If we weren’t monsters, shunned by society, what would we do?”
On one of their clandestine visits to the city, they meet April O’Neil (Ayo Edebiri), an aspiring journalist who wants to tell their story. “This is insane,” she says. “Turtles. Mutant. Karate. Teens. I want to know everything about you.”
Meanwhile, New York City is being terrorized by Superfly (Ice Cube), a mutant housefly with a plan to kill and capture all humans and turn all animals on Earth into mutants. “Humans will be executed, enslaved, turned into food. Could be pets,” he says. “Any crazy thing you can think of, pitch it.”
Teaming with April, the turtles plan to take on Superfly and become heroes. “We take out Superfly and then everyone will think we’re cool,” says Donatello. “They’ll accept us!”
“Teenage Mutant Ninja Turtles: Mutant Mayhem” has a loads of scrappy heroes-in-half-shell spirit. The gorgeous rough ‘n tumble animation is computer generated, but feels organic, like a mix of the hand-drawn aesthetic of Ed “Big Daddy” Roth and Gerald Scarfe. It’s vibrant, exciting and will give your eyes a workout.
The story isn’t quite as exciting. It won’t take you anywhere really new, superhero movie wise, but it does update the TMNT lore. The use of actual teenagers to voice the four turtle brothers brings youthful energy that also adds some oomph and even poignancy to their coming-of-age/outsiders storyline.
The real stars of the show are Edebiri, Chan and Ice Cube. No longer just a supporting character, Edebiri gives April three-dimensions, with foibles–sometimes her nerves get the best of her—and objectives that help guide the story. Chan is very funny, but also humanizes the rat with his overly protective fatherly concerns. Ice Cube brings a considerable amount of swagger to the megalomaniac Superfly, spitting out his lines with humor and some cartoony menace.
Seven feature films in “Teenage Mutant Ninja Turtles: Mutant Mayhem” does something kind of remarkable. It takes a decades-old franchise and makes it feels contemporary with humor and heart while still providing a nostalgic blast for long-time fans.
Set on the Italian Riviera, “Luca,” the new film from animation giants Pixar and now streaming on Disney+, is a fantasy story about sea monsters with a beating, human heart.
Jacob Tremblay is 13-year-old Luca Paguro, a shy sea monster with a typical teenager’s curiosity. When he discovers items that have floated down from the surface he wonders what the world outside the sea has to offer. Despite the stories his parents, Daniela (Maya Rudolph) and Lorenzo (Jim Gaffigan), have told him of fisherman and the horrors of dry land, his free-spirited best friend Alberto Scorfano (Jack Dylan Grazer) has been above the water line and convinces the shy Luca to check out the terra firma,
On land, Luca and Alberto, who look like a cross between the Creature from the Black Lagoon and Sigmund Ooze of 1970s Saturday morning television fame, transform from underwater creatures to human form. Blending in, they explore the seaside town of Portorosso, discovering the pleasures of pasta, gelato and most of all, the Vespa. The town bully Ercole Visconti (Saverio Raimondo) sets his sights on them but a young girl, Giulia Marcovaldo (Emma Berman) befriends them and has an idea that may help them get their very own Vespa.
“Luca” is a fanciful coming of age story. The very specific story of sea monsters who aspire for more in their lives, has universal messages about find commonalities not differences, anti-bullying and never giving up. The morals are a bit on the nose—”Some people will never accept him, and never will, but he seems to be able to find the good ones.”—but they are kept afloat with imaginative animation and a simple story that zips along.
At its cold-blooded little heart though, “Luca” is about friendship. The kind of bond that happens between kids who are just figuring out the world and its possibilities. Director Enrico Casarosa, who directed Pixar’s 2011 Oscar nominated short “La Luna,” aided by fun voice work from Tremblay and Grazer, captures the youthful exuberance needed to make the story work.
“Luca” doesn’t have the emotional resonance of classic era Pixar—think “Up,” “WALL-E” and “Ratatouille”—but what it lacks in gut punch sentiment, it makes up for in imagination, action and the good-natured look at finding a place to belong, above and below sea level.
Based on a book by Lois Lowry, “The Willoughbys,” a new animated film now available on Netflix, is a parody of “old fashioned” classic children’s stories where terrible things happen, babies are abandoned, long-lost relatives show up and nannies look after the kids. Yet somehow, a happy ending and a lesson or two always emerge from the chaos.
Narrated by Ricky Gervais—”I’m the narrator. And a cat. Get over it, yeah.”—the story takes place at the Willoughby mansion, a home tucked away between two skyscrapers, hidden from the modern world. The family has a long and distinguished legacy of tradition, invention creativity and courage. “Their greatness passed down from generation to generation like their magnificent facial hair,” says the narrator, “until this one.” Enter the youngest son (Martin Short) and his new bride (Jane Krakowski). Madly in love, they only have eyes for one another. They don’t even care for their kids. “I am your father and that woman in there you insulted with your rude burp is your mother,” father says to eldest son Tim (Will Forte). “If you need love, I beg of you, find it elsewhere. Thank you.”
All they gave Tim was their name, and siblings Jane (Alessia Cara) and twins, both named Barnaby (Sean Cullen). “Let’s face it this Willoughby family isn’t great,” says the narrator, “and by the looks of it, they never will be. Not without a little help.”
So the kids hatch a plan to create a better life for themselves. “We can send them away!” says Tim. “What if we orphaned ourselves? We shall craft a murderous adventure that gives our insidious parents exactly what they want.” “To be left alone with their love!” says Jane.
Tim concocts a “a romantic get-a-way hiding deadly orphaning opportunities. If they do not melt in the hottest places on earth, they shall drown in the wettest. Cannibals will feast on them unless they freeze in glacial ice.” They create a travel brochure from the Reprehensible Travel Agency—No Children Allowed!—and make sure the folks see it. They love the plan but fear the children will destroy the house. The solution? Get a nanny. “But aren’t good nannies expensive?” wonders mom. “Yes, so we’ll hire a not good nanny! For cheap!” says father.
Thus, begins a wild adventure for mom, dad and the kids.
“The Willoughbys” It’s not as dark as “A Series of Unfortunate Events” or as magical as “Mary Poppins.” Instead it finds its own tone, deriving much humour from the dire circumstances. “If you like stories about families that stick together and love each other through thick and thin,” says the cat narrator, “and it all ends up happily ever after, this isn’t the film for you OK?” Director and co-writer Kris “Cloudy With a Chance of Meatballs 2” Pearn energizes the story with characters that look like they’re shaped out of bubble gum; colourful and highly stylized. Then he puts them in constant motion. It’s frenetic and fun, even when the kids are plotting to kill their parents.
There’s strong voice work from Will Forte, Alessia Cara, Jane Krakowski, Martin Short and Terry Crews but Gervais and his droll narration steals the show. “It’s hard to leave home for the first time,” he says, “although I was six days old when I left. All my folks ever did for me was lick my eyeballs open and sent me packing.”
“The Willoughbys” isn’t remarkably original story wise. It mixes and matches from a variety of sources. There’s a taste of Roald Dahl, a hint of “Despicable Me” and a dollop of “Mary Poppins,” but, all spun together, they form a delightfully dark (but not too dark) story about finding the true value of family.
Amy Poehler’s feature directorial debut, “Wine Country,” is the story of friends brought together for a birthday but it is also a real-life comedy reunion. Poehler and co-stars Tina Fey, Maya Rudolph, Ana Gasteyer and Rachel Dratch made their comedy bones on “Saturday Night Live” and reunite now in an ode to female friendship.
Poehler plays Abby, the under-employed a-type organizer of a Napa getaway for her therapist friend Rebecca’s (Dratch) 50th birthday. “I want this to feel like a regular vacation,” says Rebecca. “We’ll sit around, talk, wear muumuus and somewhere in there I’ll slide into 50.” Of course, it won’t be that simple. Abby’s perfectionism, not to mention her minute-by-minute itinerary, doesn’t sit well with the others who have their own issues. Entrepreneur Catherine (Gasteyer) is a workaholic, always checking her cell phone. “Life’s a juggle,” she says. Jenny (Emily Spivey, who also co-wrote the script) is agoraphobic and doesn’t want to leave her room while mother of four Naomi (Rudolph) is avoiding her doctor’s phone calls and Val is involved with a much younger woman.
They came together to rest, relax and reconnect but as the weekend progresses the words of Tammy, owner of their Airbnb appear to come true. “Just remember,” says Tammy (Fey), “whatever gets said is probably what the person has always thought and alcohol just let it out.”
Before it gets to its ultimate “it’s later than you think” message “Wine Country” is a charming collection of physical humour—it’s always funny when somebody falls down—mom jokes—“I thought MDMA was that extreme fighting where they do cocaine and fight,” says Val.—and some very specific in-jokes—“Life is too short to wait for the paella.”
Poehler plays much of this for laughs but doesn’t forget to create memorable moments. A long close-up on Abby’s face as she makes a decision is both funny and telling of her state of mind. The bickering between the friends as secrets come to light has a delicate touch but underneath the gags are real insights about the life events that drive wedges between lifelong besties. Light but heartfelt, it’s a celebration of adult female friendship in all its forms from Naomi’s enthusiastic “let’s party till our panties fly off” call to arms to the film’s more tender moments.
“Wine Country” is at its best when it showcases the chemistry of the performers. Pop psychology and pratfalls aside, it’s great fun to spend time with these women as they figure out their lives and relationships.
My desire to see 2014’s “The Lego Movie” was on par with my wish to step on a Lego brick in my bare feet. How could a movie starring plastic, singing mini figs possibly appeal to anyone who graduated Saturday morning cartoons decades ago? But I’m a professional so I put my bias of toy story movies aside and went to the screening.
Later, as I left the theatre humming “Everything is Awesome” I was own over. Directors and co-writers Phil Lord and Christopher Miller had pulled off something great, they made a movie with wide appeal using the Legos as a muse to do what the bricks have always done, light imaginations on fire.
Question is, five years later will everything be awesome in the sequel “The Lego Movie 2: The Second Part”?
The last movie ended with the revelation that the movie’s Lego Land frenetic action had actually taken place in 8-year-old Finn’s (Jadon Sand) imagination. The new one focuses on Finn’s sister Bianca (“The Florida Project’s” Brooklyn Prince) disrupting her brother’s carefully built world of fancy with her Duplo-Block creations.
In the make-believe world Duplo aliens, led by shape-shifting villain Queen Watevra Wa-Nabi (Tiffany Haddish) declare war on Bricksburg. Fast-forward five years. Optimistic construction worker Emmet (Chris Pratt) and Master Builder Lucy’s (Elizabeth Banks) home is now a smoking ruin called Apocalypseburg where if you show any weakness you will be destroyed. Dave is now called Chainsaw Dave and Sewer Babies live under the streets.
When Lucy, Batman (Will Arnett), Unikitty (Alison Brie), Benny (Charlie Day) and MetalBeard (Nick Offerman) are kidnapped and transported to the Systar System by General Mayhem (Stephanie Beatriz) Emmet and intergalactic archaeologist / Snake Plissken look-a-like Rex Dangervest (Pratt again) set off to rescue them. “Don’t worry Lucy,” says Emmett, “everything will still be awesome.”
“The Lego Movie 2: The Second Part” is a pure pop art blast as though designed by kids. A mix of non-sequiturs, silly jokes, attention deficit editing, CPDs (Convenient Plot Devices) and music it zips along but isn’t as awesome as the original. The first film was a powerhouse of imagination and adventure. “The Second Part” has its moments—like the “Catchy Song” sequence—but feels like a dim bulb that doesn’t burn as brightly as it once did.
Like the first film the mayhem of Lego Land is tempered with real life lessons. In this case it takes an existential turn in the last third, expanding the mini fig story to shine a light on the fraught relationship between Finn and Bianca and their struggle to find a way to play together. When they learn to be kind and tolerant of one another their lives improve, as do those of their plastic figures.
“The Lego Movie 2: The Second Part’s” convoluted third reel paints the screen with too much frenetic CGI action but maintains the lesson of the first film, that NOT putting away childish things, like Lego blocks, is the key to making everything awesome, no matter what age. That the message doesn’t feel like a commercial for the brightly coloured blocks is a pleasant plus even if the movie feels like diminished returns.
