I sit with Deb Hutton on NewsTalk 1010 to go over some of the week’s biggest entertainment stories and movies playing in theatres. We talk about actors covering musicians, how Matthew McConaughey trademarked likeness, voice, famous catchphrase to squash AI fakes, why Pamelas Anderson doesn’t want to sit next to Seth Rogen and a quick review of “28 Years Later: The Bone Temple.”
Listen to the whole thing HERE!
I join the Bell Media Radio Network national night time show “Shane Hewitt and the Night Shift” to talk about the first animal ever nominated (and then to win) in a major acting category typically reserved for humans, the nexty season of “The White Lotus,” and two David Bowie stories to make fans smile. Then, on Booze & Reviews I have a look at “28 Years Later: The Bone Temple” and suggest some drinks to enjoy while watching the movie.
Listen to the whole thing HERE!
SYNOPSIS: The fourth installment in the post-apocalyptic “28 Days” film series, “28 Years Later: The Bone Temple” picks up with young Rage Virus survivor Spike (Alfie Williams) joining cult leader Sir Lord Jimmy Crystal’s (Jack O’Connell) notorious gang. Meanwhile, Dr. Ian Kelson (Ralph Fiennes) bonds with a figure from the infected world. These alliances raise an important question: who should we fear, the ruthless survivors or the infected?
CAST: Ralph Fiennes, Jack O’Connell, Alfie Williams, Erin Kellyman, Chi Lewis-Parry. Directed by Nia DaCosta.
REVIEW: A mix of brutality and compassion, and laced with dark humour, “28 Years Later: The Bone Temple” finds empathy amid chaos in a smart horror film heavy with subtext.
When the action picks up, soon after the events of last year’s grisly coming-of-age story “28 Years Later,” twelve-year-old Spike (Alfie Williams), cut adrift in the Rage Virus infected mainland after the death of his father, is a reluctant member of a sadistic gang called the Jimmies, who model their look on notorious predator Jimmy Savile.
Led by sadistic cult leader Sir Lord Jimmy Crystal (“Sinners” star Jack O’Connell), the self-proclaimed “favorite son of Old Nick,” the band of post-apocalyptic marauders—who all have names like Jimmy Ink (Erin Kellyman), Jimmy Fox (Sam Locke), Jimmy Snake (Ghazi Al Ruffai), Jimmima (Emma Laird)—make the Droogs of “A Clockwork Oranges” look like do-gooders.
As they slice-and-dice their way through the world of the infected, inflicting their twisted ritualistic torture on anyone unfortunate enough to cross their path, elsewhere, former GP Dr. Ian Kelson (Ralph Fiennes) discovers a kernel of humanity inside Samson (Chi Lewis-Parry) the Alpha leader of the infected.
In Kelson’s Bone Temple, a wooded area decked out with skulls as a loving tribute to the dead, the Jimmies’ cruelty and Kelson’s indelible humanity collide.
“28 Years Later: The Bone Temple” features many gross and gory images. Samson scoops brains out of the skull of one of his victims with his fingers, and several folks are flayed alive in one particularly unpleasant sequence, but it isn’t the horrific bloodletting that will stick in the memory. The gruesome stuff is effectively done and highlights the inhumanity of the situation, but it is one bravado sequence, laden with heavy metal swagger, that imprints.
No spoilers here, but Iron Maiden has never looked so cool or so threatening. After the sequence, and you’ll know it when you see it, the audience I saw this with cheered and burst into applause like they were at a rock concert.
Laced with commentary about empathy over evil and extremism, about the double-edged search for purpose—one that leads the ruthless Jimmies down a path to savagery, while Kelson chooses a more benevolent journey—and the power of connection, “28 Years Later: The Bone Temple” paints a vivid picture of moral complexity in troubled times. That it provides thrills, one fiery, knock-out sequence, and manages to make Duran Duran’s “Ordinary World” seem poignant, are added bonuses.
Rich in tone and story and propelled by terrific performances from Fiennes and O’Connell, it engages the head and heart.
SYNOPSIS: In “Hedda,” a melodramatic reimagination of Henrik Ibsen’s classic 1891 drama starring Tessa Thompson and now playing on Prime Video, a free-spirited woman plays the guests at a lavish party on a country estate as if they were pawns in her elaborate game of chess.
CAST: Tessa Thompson, Imogen Poots, Tom Bateman, Nicholas Pinnock, Nina Hoss. Directed by Nia DaCosta.
REVIEW: An iconoclastic remake of Henrik Ibsen’s classic 1891 play “Hedda Gabler,” the action is transported from the original late 19th century Oslo setting to 1950s British high society.
The action in “Hedda” takes place during one eventful night at a lavish party thrown by Hedda (Tessa Thompson) and her new husband George Tesman (Tom Bateman) on their newly purchased country estate.
On the surface they appear to be a happy couple, but beneath the polished veneer of their relationship lies dissatisfaction, crippling debt and duplicity.
Drowning in debt after buying a house to impress Hedda, they invite Professor Greenwood (Finbar Lynch) to the bash in the hope he’ll give George a new, good paying academic gig.
As music blares and champagne bottles pop, the party spins out of control when the volatile Eileen Lövborg (Nina Hoss) shows up. Charismatic and brilliant, she is the author of a book exploring sexuality, up for the job George wants and, to complicate matters further, is Hedda’s ex-lover.
“A little chaos is good for the gathering,” says Hedda as the good times give way to desire, jealousy, and betrayal.
“Hedda” is a grand looking film, a document of one hedonistic night, fuelled by the title character’s manipulations. Director Nia DaCosta paints the screen with sumptuous set design and stylish period details that emphasize the decadent vibe of the evening. It’s a cliché, but the setting really is a character, silently creating a Dionysian atmosphere that goes a long way to enhance the storytelling.
This is not a period piece à la Merchant Ivory.
DaCosta, who also wrote the script, throws decorum out the window, portraying Hedda with a crueler edge than previously seen. The character has always orchestrated the lives of those around her, but a character who was once a tragic anti-heroine is now a ruthlessly aspirational, controlling character.
Thompson vividly captures Hedda’s need to “live on her own terms” with a volatile presence that expands the character with racial and queer aspects that add texture to the more than century old character. It’s lively, commanding work that stands out amid the film’s ornate style.
“Hedda” may not work for purists, but in its reinvention of the character for a new generation, it mines new aspects to a classic.
Thirty-three movies in, the interconnected Marvel Cinematic Universe offers up “The Marvels,” a new superhero flick now playing in theatres that acts as a follow-up to the 2019 film “Captain Marvel” and a continuation of the 2022 television series “Ms. Marvel.”
Brie Larson returns as Avenger and former U.S. Air Force fighter pilot Captain Marvel/Carol Danvers. After destroying the Supreme Intelligence, the AI that ruled the alien race known as the Kree, civil war erupted, leaving their planet Hala barren, with little air or water.
In an effort to rebuild her homeland and eke out revenge on Captain Marvel, Kree revolutionary warrior Dar-Benn (Zawe Ashton) obtains one of the powerful Quantum Bands, an ancient magical bangle that matches the one worn by Kamala Khan / Ms. Marvel (Iman Vellani).
When Dar-Benn uses the power of the Band to rip a hole in the fabric of space and time, S.A.B.E.R. bigwig Nick Fury (Samuel L. Jackson) jumps into action.
“We are at war,” he says. “Captain Marvel, we need you to save the world.”
With S.A.B.E.R. astronaut Monica Rambeau (Teyonah Parris) at her side, Captain Marvel sets off on her mission, only to discover that Dar-Benn has created an electromagnetic bond between her, Rambeau and Ms. Marvel, that causes them to switch places when they use their powers.
Imagine an interplanetary “Freaky Friday” and you’ll get the idea.
At 105 minutes, “The Marvels” is the shortest MCU film to date. In its brief running time (for a Marvel movie) it zips along at a pace ranging from frenetic to chaotic, mixing and matching heartfelt scenes of superhero bonding with slapstick comedy and large scale MCU style action scenes. The galloping pace keeps the eye busy, distracting from the film’s derivative story elements.
Also distracting, but in a good way, is Markham, Ontario’s Vellani as Ms. Marvel, starstruck Captain Marvel fan and aspiring superhero. Her wide-eyed naturalness amid the fantasy is nicely played to comedic effect. It’s a warm, big-hearted performance that stands out in a sea of kaleidoscopic CGI. Her relationships with her family, Captain Marvel and Rambeau are lovely, tethering this otherworldly movie firmly on planet earth.
“The Marvels” has a breezy, light tone and comedy that leans toward a younger audience. The chemistry between the three leads goes a long way to earn a recommendation, and who doesn’t like kittens with tentacle tongues? But the lackluster villain—Ashton is the kind of snarling world-ender we’ve seen a hundred times before—and disjointed, messy story, (even Nick Fury wonders aloud, “What the hell is going on here?”), renders the film underwhelming.
Richard’s review for “Candyman” is quoted in an article from Screenrant.
Read it HERE!
There is nothing sweet about the Candyman.
The supernatural killer with a hook for a hand, first played by Tony Todd in the movie of the same name 1992, returns in “Candyman,” now playing in theatres, reframed by co-producer and co-writer Jordan Peele for a new generation.
In this “spiritual sequel,” “Watchmen’s” Yahya Abdul-Mateen II plays artist Anthony McCoy, a visual artist who grew up in Chicago’s Cabrini-Green neighborhood. Almost three decades ago, Candyman, a vengeful spirit with a hook for a hand, summoned by anyone brave enough to repeat his name five times into a mirror, terrorized the area.
The towers Anthony and his family lived in are gone, torn down in the name of gentrification. Anthony and his partner, gallery director Brianna Cartwright (Teyonah Parris), take their place among the trendy millennials who now live in Cabrini-Green’s luxury lofts.
Anthony’s painting career isn’t going great guns, so when a long-time area resident William Burke (Colman Domingo) tells him of the urban myth (or is it true?) of Candyman.
“Candyman ain’t a he,” says William. “Candyman’s the whole damn hive. Samuel Evans, run down during the white housing riots of the ’50s. William Bell, lynched in the ’20s. But the first one, where it all began, the story of Daniel Robitaille. He made a good living touring the country making portraits for wealthy families. Mostly white. And they loved it. But you know how it goes. They love what we make, but not us. They beat him, tortured him. They cut off his arm and jammed a meat hook in the stump. But a story like that. Pain like that. Lasts forever. That’s Candyman. Candyman is how we deal with the fact that these things happen. That they’re still happening.”
Anthony finds inspiration in the story but as he delves into Candyman’s macabre world, he unwittingly opens a passage to supernatural terror and violence that transforms his body, mind and exposes his own personal connection to the legend.
“Candyman” is a horror film, but it’s interested in more than making the hairs on the back of your neck stand up. Most great horror isn’t simply about the scares. “Frankenstein,” for example, is enriched by ideas of science and technology run amok, “The Wolf Man” examines the polarities of good and evil in all of us and “Invasion of the Body Snatchers” has compelling things to say about mass hysteria. “Candyman” is a scary, timely reinterpretation of a classic horror movie character that brings the story into ripped-from-the-headlines context.
A study of trauma in the Black community, “Candyman” expands the scope of the original to suggest that the Candyman isn’t singular. In the new film William says, “Candyman’s the whole damn hive,” representing all Black men who have been lost to race-based violence.
The theme is front and center but director (and co-writer) Nia DaCosta doesn’t shy away from the body horror—Anthony’s transformation includes some memorable fingernail horror and more—or the Candyman’s violence. The kills are suitably bloody, often shot in interesting ways, like through the mirror of a make-up compact dropped on the floor. It’s brutally elegant and never forgets to add a helping of horror with its story.
“Candyman” is a movie that succeeds on two levels, as a comment on the echoes of historical racism that can be heard today and as a horror film that’ll scare the pants off of you.
