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 wild ‘n wacky “A Minecraft Movie,” the doggie drama of “The Friend” and the rom com “A Nice Indian Boy.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk about the new movies coming to theatres including the wild ‘n wacky “A Minecraft Movie,” the doggie drama of “The Friend,” the rom com “A Nice Indian Boy” and the wrestling biopic “Queen of the Ring.”
Listen to the whole thing HERE!
SYNOPSIS: In “The Friend,” a new drama now playing in theatres, Naomi Watts plays a woman who must clean up the loose ends of her late friend Walter’s estate, including finding a home for his massive Great Dane named Apollo.
CAST: Naomi Watts, Bill Murray, Sarah Pidgeon, Carla Gugino, Constance Wu, Ann Dowd, Bing. Directed by Scott McGehee and David Siegel.
REVIEW: Dog lovers planning on seeing “The Friend” may want to add in a bit of extra cash for Kleenex into the weekly budget. An understated story about the transformational power of companionship, it will pull at your heartstrings like a Great Dane pulling on its leash.
Bill Murray plays Walter, an author, raconteur and university professor. He’s also the proud dad to a dog so large it puts the Great into Great Dane. Named Apollo, the dog was found abandoned and became Walter’s cohort in the months leading up to his death by suicide.
After the funeral Walter’s widow Barbara (Noma Dumezweni) approaches her late husband’s best friend Iris (Naomi Watts). “I wanted to ask you if you could take the dog,” she says. “This is what Walter wanted.”
Trouble is, Iris lives in a rent-controlled New York City apartment with a no dogs policy. Also, she doesn’t really like dogs, but something about Apollo’s grief at the loss of his master clicks with her, and soon the two are cooped up in Iris’s small apartment, despite the objections of her superintendent Hektor (Felix Solis).
“The Friend” is a gentle movie that is about much more than if Iris can finagle a way to get Apollo on her lease. This is a movie that, in very subtle ways, essays the difficult process of moving after a friend takes their own life, especially as the echoes of the life that once was still reverberate loudly.
It meanders and is occasionally repetitive, but the emotional stakes are very high. Watts plays Iris on simmer, gradually allowing her grief to come to a boil. Two remarkable scenes, one in a psychiatrist’s office, the other an imaginary confrontation, reveal the character’s depth without excessive sentimentality.
Murray, who appears only briefly, is a welcome presence, but it is Bing the Great Dane and his expressive eyes, who deserves top billing.
“The Friend” is a low-key but heartfelt film that is more than just a movie about a depressed, cute dog. It’s a movie about a depressed, cute dog that treats the dog’s feelings with grace and care.
For the second time in less than ten years Naomi Watts is playing a woman injured while in Thailand. In “The Impossible” she was nominated for an Academy Award for playing a woman whose luxurious Thai holiday is turned to tragedy by the 2004 Boxing Day tsunami that claimed 230,000 lives.
Now she stars in “Penguin Bloom,” the based-on-a-true story of a woman paralyzed after a fall during a Thai family vacation.
“Penguin Bloom” has considerably less action than “The Impossible” but both are about a family’s ability to pull together in times of crisis.
Watts is Samantha Bloom, a once active mother and athlete, now confined to a wheelchair after a fall left the lower two-thirds of her body paralyzed. Back home in New South Wales she has trouble adjusting to her new normal, despite support from her immediate family, husband Cameron (“The Walking Dead’s” Andrew Lincoln), Jan (Jacki Weaver) and kids, Noah (Griffin Murray-Johnston) who asked for his mother to sightsee with him that fateful day and now feels responsible for her injury, Oli (Abe Clifford-Barr) and Rueben (Felix Cameron).
When Noah brings an injured magpie home, nicknamed Penguin because of her black and white coloring, Samantha doesn’t want the bird in the house. Soon, however, Penguin becomes a guardian angel of sorts, giving Sam companionship and inspiration. If the bird can heal herself, Sam reasons, so can I.
“Penguin Bloom” is a story of healing written in broad strokes. It is an unabashed feel-good movie that feels a bit too on-the-nose from time to time—”It must be weird to have wings, but not be able to fly,” they say about Penguin, but the dual meaning is not lost on anyone.—but warmth and nice performances ultimately win the day.
Weaver is a pleasure, as always, and the younger kids bring a spark of adolescent realism to the events, but the movie belongs to Watts, who effectively portrays the mix of anger, frustration and tenderness that make her character compelling and Murray-Johnston as Noah, in his debut performance. The young actor brings a heartbreaking mix of kindness and regret to the role as he struggles with his feelings of responsibility.
“Walking Dead” fans will be disappointed that Lincoln is given little to do, but it is a relief to see him play a role that doesn’t require him to be covered in viscera.
“Penguin Bloom’s” story of struggle and survival, both human and avian, is predictable but, just as Penguin learns to take to the skies through trial and error, the film takes some wrong steps but ultimately makes your spirit soar.
Jeannette Walls’s childhood was the stuff of movies. Raised by free-spirited parents, she and her siblings were nomads, shunted around the country chasing the dream of an uncompromised life. “Daddy says where we are,” young Jeannette (Chandler Head) says, “is where home is.”
When we first see Jeannette (played as an adult by Brie Larson) it’s 1989. She is a successful gossip columnist for New York Magazine, engaged to David (Max Greenfield) an up-and-coming investment banker. Her cab ride home from a fancy dinner is interrupted by two homeless people who disrupt traffic as they garbage pick from a dumpster. Upset, she ignores them as the cab drives through the intersection.
Turns out the two are her parents, Rex (Woody Harrelson) and Rose Mary (Naomi Watts). The two are happily squatting in an abandoned building, continuing a lifelong tradition of living off the grid. He schools them by experience. “You learn from living,” he says. “Everything else is a damn lie.”
Rex is short tempered, an often drunk dreamer always looking for a place to start over. Rose Mary is an artist who redefines free-spirited. Together they raised their kids in an uncompromising manner. On the road constantly they hopscotch around the country at Rex’s whim, kept going by his promise of building them a gleaming new home, their very own Glass Castle. “All this running around is temporary,” he says. “We just need the perfect location for our castle.”
Throughout good times and bad Jeannette has a special relationship with Rex but his drinking spins out of control she realizes the kids have to go their own way.
Shades of last year’s ode to antiestablishment living “Captain Fantastic” hang heavy over “The Glass Castle.” Both chronicle overbearing fathers and their pliable children but the new film feels different because it never entirely embraces the alternative lifestyle it portrays. Walls—whose memoir forms the basis of the movie—is ultimately sympathetic in her portrayal of the man who infuriated her as much as he raised her. It is a father and daughter story about overcoming a non-traditional upbringing while also realizing he made her the person she is today.
It’s Jeannette’s life but it is Harrelson who steals the show. Is he the most versatile actor working today? He’s a journeyman who jumps from franchises to character dramas, from comedies to tragedies. As Rex he’s a volatile presence, loving one second, throwing a chair threw a window the next. Harrelson never plays him as a villain. Rather he explores the depths of the complex character, finding the kernels of humanity that allow us to look past his bluster.
By the time the end credits roll “The Glass Castle” feels stretched, as though director Destin Daniel Cretton doesn’t want the story to end. It’s a little too flashback-y in its last half hour, showing us things we already know, and a big epiphany moment—complete with swelling orchestra—feels forced. There are some heartfelt and emotional moments early on but as the story unfolds Creton allows it to melt into a puddle of unnecessary sentimentality.
Chuck Wepner goes by many names. To some he is The Champ, a heavyweight boxer who once went fifteen rounds with Muhammad Ali. To others he is the Bayonne Bleeder, a fighter sometimes sidelined by his tendency to bleed out all over the ring. Still others call him the Real Rocky in reference to the rumour that his career inspired the Sylvester Stallone movie. He’s an American brawler played by Liev Schreiber in a new movie simply called “Chuck.”
Wepner became a local hero when he was tapped to take on boxing legend George Foreman. There was just one catch. Foreman had to beat Muhammad Ali first. The odds were in his favour but, in an upset, Foreman lost. That defeat should have put Wepner out of the running but the Ali fight was being positioned as a battle of the races and since he was the only white boxer on a long list of fighters qualified to take on the champ, he got the gig. The odds against him were 40-to-1 but the lure of a $100,000 payday was too great to resist. As expected he lost but the fact he shared the ring with Ali burnished his reputation, if not his bank account.
And thus the template of Wepner’s career was set. He’s an also ran, a man who can see the brass ring but never quite grab hold of it.
In the wake of the Ali fight Wepner’s life was turned topsy-turvy. He coulda been a contender but instead moonlighted as a liquor salesman. He was a star at night, hanging around clubs, cheating on his wife Phyllis (Elisabeth Moss) and developing a cocaine problem. His notoriety increased with the release of “Rocky,” the Stallone movie reportedly semi-based on Wepner’s life. A failed audition for “Rocky 2” forces the fighter further down the rabbit hole into a “Requiem for a Heavyweight-esque” life outside the ring.
“Chuck’s” story is little known but feels familiar. The “Rocky” twist and Ali fight add some nice colour to the tale, but this is, essentially, another retelling of an arrogant also ran boxer whose life outside the ring spiralled out of control. In Schreiber’s hands it’s easy to see why people were drawn to Wepner. He’s charismatic and despite his myriad flaws, likeable.
Good supporting work also comes from Moss (in an underwritten role), Ron Perlman and Jim Gaffigan as Wepner’s manager and best friend respectively but the movie, directed by Philippe Falardeau, like it’s main character, feels workmanlike. It covers large sections of the man’s life when it feels like a concentrated version may have been more compelling.
By Richard Crouse – Metro In Focus
Grief is no laughing matter, but with Demolition Jake Gyllenhaal has made a whimsical movie about a man on the edge of falling into the abyss.
The film continues Gyllenhaal’s quest to explore characters who aren’t immediately likeable or understandable. No other mainstream actor puts himself or herself out there as consistently or successfully as Gyllenhaal. He takes chances, throwing himself at edgy portrayals of real people. Recently we’ve seen him as Nightcrawler’s reptilian Lou Bloom, a slick-talking drifter who falls into the freelance news gathering business, a man who seeks his doppelganger in Enemy and Southpaw’s inarticulate brute with a heart of gold, World Middleweight Boxing Champion Billy Hope.
In Demolition plays investment banker Davis Mitchell. Wealthy and happy, his life is turned upside down when he and his wife Julia are bickering about banal home stuff when the car they’re in is broadsided and she is killed.
Instead of being plunged into grief Davis becomes numb, impervious to the seven stages that usually accompany grave loss. Going back to work immediately after the funeral, however, his behaviour becomes increasingly strange. When he writes a complaint letter to a vending machine company demanding a refund he finds an outlet for his feelings and a therapist of sorts in customer service rep Karen Moreno, played by Naomi Watts. As his letters grow increasingly heartfelt and raw Karen’s sympathetic ear and later, her rebellious son, help Davis demolish his life so he can rebuild his world.
“It’s a story about a guy who begins the movie in a conventional way and ends the movie through an unconventional journey,” said Gyllenhaal at a press conference I hosted with him at TIFF last year, “feeling however [he wants and needs to], and not how society tells him to feel.”
Here the thirty-five-year old actor delivers strong work, grounding the film’s quirkiness in a character you may not understand but can empathize with. He does the heavy lifting and his work humanizes this offbeat film.
When Davis spontaneously dances on the streets of New York or demolishes his martial home it’s outrageous, but it is the sight of a man in pain refusing to face up to the fact that he wasn’t a very good husband and will never be able to make amends to Julia. It’s occasionally very funny, other times tragic and Gyllenhaal drifts between the two poles effortlessly.
The surreal dance scenes are surprising for the audience, but Gyllenhaal says they were a surprise to him as well. “I always looked on the schedule for when the dancing was going to be,” he said at the presser, revealing that director Jean Marc Vallee shot the scenes spontaneously.
“The first time I danced, we were on the train and [Vallee] said, ‘Okay, the train’s pulling in,’ and handed me an iPod, gave me an earphone and said, ‘Are you ready to dance? Let’s go. By the end, I didn’t want to stop dancing, I made like a whirling dervish.”
Gyllenhaal takes the path less trodden, but it has resulted in a body of work populated by interesting and unusual characters.
“I think the people I admire as artists are the people who really listen to themselves,” he says, “even if it is to the detriment of what people might consider success. I’d rather be myself and do what I love than listen to someone else and follow that role and be unhappy.”
Grief is no laughing matter, but with “Demolition” director Jean-Marc Vallée has managed to make a whimsical movie about a man on the edge of falling into the abyss.
Jake Gyllenhaal is investment banker Davis Mitchell. Wealthy and happy, his life is turned upside down after an accident. The movie begins with a shocking shot of Davis and his wife Julia (Heather Lind) driving and bickering about banal home stuff when they’re broadsided and she is killed.
Instead of being plunged into grief Davis becomes numb, impervious to the seven stages that usually accompanies grave loss. Going back to work immediately after the funeral, however, his behaviour becomes increasingly strange. When he writes a complaint letter to a vending machine company demanding a refund he finds an outlet for his feelings and a therapist of sorts in customer service rep Karen Moreno (Naomi Watts). As his letters grow increasingly heartfelt and raw Karen’s sympathetic ear and later, her rebellious son Chris (Judah Lewis) help Davis tear down his life so he can rebuild his world.
Gyllenhaal continues his quest to explore characters who aren’t immediately likeable or understandable. No other mainstream actor puts himself or herself out there as consistently or successfully as Gyllenhaal. He takes chances, throwing himself at edgy portrayals of real people. Here he delivers strong work, grounding the film’s quirkiness in a character you may not understand but can empathize with. He’s doing the heavy lifting here and his work humanizes this offbeat film. When Davis spontaneously dances on the streets of New York or demolishes his martial home it’s outrageous, but it is the sight of a man in pain refusing to face up to the fact that he wasn’t a very good husband and will never be able to make amends to Julia. It’s occasionally very funny, other times tragic and Gyllenhaal drifts between the two poles effortlessly.
“Demolition” is let down in its final moments when Vallée softens the soul-searching tone but the despite an ending that feels inauthentic, the film offers a welcome chance to see Gyllenhaal push boundaries.
“Demolition,” the TIFF 40 opening night film press conference with Jean-Marc Vallee, actors Judah Lewis, Naomi Watts, Jake Gyllenhaal, Chris Cooper and screenwriter Bryan Sipe.
