I join “CTV News Toronto at Five” with anchor Zuraidah Alman to talk about new movies in theatres including the biopic “Michael,” the grounded fairy tale “The Bearded Girl” and the action thriller “Fuze.”
Watch the whole thing HERE! (Starts at 12:39)
I join CTV Atlantic’s Todd Battis to talk about the east coast crime drama “Little Lorraine,” the biopic “Michael” and the grounded fairy tale “The Bearded Girl.”
Watch the whole thing HERE!
I sit with host Deb Hutton on NewsTalk 1010 to talk about where people are getting their news, the first lady of “Heated Rivalry” fans, Bob Seger Bars and I review the musical biopic “Michael.”
Listen to the whole thing HERE!
I join CTV NewsChannel anchor Renee Rogers to talk about the new releases in theatres, including the biopic “Michael,” the grounded fairy tale “The Bearded Girl” and the action thriller “Fuze.”
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 biopic “Michael,” the grounded fairy tale “The Bearded Girl” and the action thriller “Fuze.”
Listen to the whole thing HERE!
Fast reviews for busy people! Watch as I review three movies in less time than it takes to make your bed. Have a look as I race against the clock to tell you about the biopic “Michael,” the grounded fairy tale “The Bearded Girl” and the action thriller “Fuze.”
Watch 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 latest lawsuit regarding Amy Winehouse, why Sydney Sweeney was cut from “The Devil Wears Prada 2” and some other surprising stars who were excised from famous movies. Then, I review the new biopic “Michael” and suggest some cocktails top enjoy while watching the movie.
Listen to the whole thing HERE!
SYNOPSIS: Jaafar Jackson, son of Jackson 5 member Jermaine Jackson, and nephew to Michael Jackson, plays his King of Pop uncle in the flashy new biopic “Michael.”
CAST: Jaafar Jackson, Nia Long, Laura Harrier, Juliano Krue Valdi, Miles Teller, Colman Domingo. Directed by Antoine Fuqua.
REVIEW: Michael Jackson’s rise to fame and the accompanying tribulations are given a high gloss treatment in “Michael.” From the hardscrabble upbringing in Gary, Indiana and the Jackson 5 to a stratospheric solo career and the isolation of fame, it’s a Wikipedia page come to life and projected on the screen.
The front row seat to the life and (most of) the legacy of Michael Jackson (Juliano Krue Valdi as young Michael. Jaafar Jackson as adult Michael) begins with the well documented rise of the Jackson 5 and the physical and emotional abuse at the hand of Michael’s controlling father Joe (Colman Domingo). “Let me tell you something,” says Joe. “In this life, you’re either a winner or you’re a loser.”
The road to stardom begins when Motown founder Barry Gordy (Larenz Tate) signs the band and helps launch the Jackson 5 to national stardom.
From Joseph and Katherine Jackson’s (Nia Long) humble living room to MTV and the world’s biggest stages, Jackson grows up in public, personally and professionally, amid a swirl of triumphs and personal struggles.
Before you ask, yes, Bubbles makes an appearance in “Michael.” He’s a CGI version of the chimp once kept by Michael Jackson as a pet, but he feels about as real as anything else in this crowd-pleasingly tuneful but sanitized and safe biopic.
The story of triumph over adversity, of genius and creative vision, begins in a dark place. Joseph Jackson, father and manager of Michael Jackson and The Jacksons, played with malignant vigor by Colman Domingo, puts his five sons through their paces with the intensity of a Marine drill sergeant. These early, ugly scenes of abuse hit hard as young Michael is driven to perfection at the end of his father’s belt.
But what begins as a hard-hitting biography soon settles into a more familiar greatest hits style movie propped up by Jackson’s prodigious back catalogue of music. Director Antoine Fuqua, working from a clichéd script by John Logan, settles into authorized biography rhythm, highlighting Jackson’s many successes without ever going deep.
In the film’s final half hour, Fuqua decides to give up on the story completely. “Michael,” much to the delight of the audience I saw thew film with, shifts from biopic to concert film with several show-stopping performances from Jaafar Jackson.
Jackson, who spent two years training for the role, nails his paternal uncle’s physicality, especially in the elaborate musical numbers, like the dramatization of the making of the “Thriller” video, and concert scenes.
A replication of the electrifying debut of M.J.’s moonwalk on the “Motown 25: Yesterday, Today, Forever” special is almost as exciting as it was when Michael did it in 1983. It’s a blast of loud and proud nostalgia that plays really well in IMAX, as do most of the musical performances.
What’s missing is insight. It’s all uplift as Michael, robbed of his childhood, finds his way through the world, shedding the influence of his father in favor of charting his own course to superstardom.
As with other authorized music biographies like “Elvis” or “Bohemian Rhapsody,” the story’s rough edges are mostly shaved away. The thorny issue of the 1993 sexual assault allegation was addressed in the film’s original cut but had to be scrapped due to a legal agreement with the accuser’s family. According to the Wall Street Journal, a sequel is already in the works for 2027 or 2028 that will address those allegations.
Jackson was a complicated figure, but the movie isn’t interested in exploring those complications in a meaningful way.
We see close-ups of his favorite book, a children’s picture book of “Peter Pan.” We learn of his admiration for Charlie Chaplin but virtually nothing about his relationship with his brothers, who are treated like extras in the story, the evolution of his signature fashion style or the inspiration for his songs, save for “Thriller,” which seems to have been initiated by Vincent Price’s “House of Wax.” Janet Jackson fans may also be left wondering why there is no mention of her.
“Michael” is beyond lightweight. It’s a “Walk Hard: The Dewey Cox Story” style music bio, except for when it is in motion; singing and dancing. As a biography, it’s a pretty good concert film. The musical numbers are terrific, nicely performed by Jaafar Jackson, whose mimicry of his uncle’s signature moves is spot on. These sequences are head-turners and should please fans looking for a blast of in-your-face nostalgia.
Michael Jackson is one of the biggest selling performers of all time, and one of the most documented, so perhaps there aren’t any revelations to be had seventeen years after his death. But it is a shame that the adventurous spirit that characterized the superstar’s best work is missing from the film.
The new rom com “You People,” starring Jonah Hill, Eddie Murphy and Lauren London and now streaming on Netflix, has the frank social commentary of “Guess Who’s Coming to Dinner” mixed with “Meet the Parents” family dynamics.
Directed and co-written (with Hill) by “Black-ish” creator Kenya Barris, “You People” begins as unhappy, socially awkward thirty-something Ezra (Hill) wonders if he’ll ever find a woman who understands him. “I don’t think I’ve ever heard of a man who ever wanted to be in a relationship so badly,” says Ezra’s best friend Mo (Sam Jay), “besides Drake.”
The part-time podcaster and full-time office worker’s pampering mother Shelley (Julia Louis-Dreyfus) wants him to settle down, but there are no prospects in sight until he mistakenly jumps into fashion stylist Amira’s (London) car, mistaking it for an Uber.
It isn’t exactly love-at-first sight—“You’re a Jew from West L.A.,” she says. “What do you know about culture?”—but over time love blossoms.
“You’re dating a Black girl?” asks Mo. “I have never felt so understood by somebody in my entire life,” he replies.
It’s all sunshine and roses with Ezra and Amira, but this is a romantic comedy, so there have to be obstacles to their happiness. That friction comes in the form of the couple’s parents.
Ezra’s folks, Shelley and Arnold (David Duchovny) are rich, progressive and cringey in their attempts to prove to Amira that there isn’t a hint of racism in the family.
Amira’s parents, the devoted Nation of Islam Muslim followers Akbar (Eddie Murphy) and Fatima (Nia Long), do not warm to Ezra, and make no secret of their feelings over lunch at Roscoe’s Chicken & Waffles.
“So,” asks Akbar, “do you hang out in the hood all the time, or do you just come here for our food and women?”
“You People” takes on hot button subjects, like cultural differences and racial divides, but this is, at its heart, a rom com, so at the end, hurdles will be overcome and happily-ever-afters will be had. That is a given, not a spoiler, just reality, but it is also the weakest part of the movie.
“You People” is at its best when it puts the seasoned cast on screen together. The scenes that gather the young couple and the two sets of parents are highlights, delivering laughs and plenty of situational humour. Subtlety is not on the menu, but Louis-Dreyfus and a deadpan Murphy milk every laugh out of the script, playing up the cultural and faith-based differences that open between the families like a yawning chasm.
“You People” grasps at cultural relevance, but does so with a heavy, although well-intentioned, hand. As the run time moves towards the closing credits, the misunderstandings and accentuation of differences becomes repetitive, miring down the story, despite the efforts of the cast.
The comedy pros keep it as fleet footed as it can be. Only Murphy could get a laugh with a line like, “You shat your slacks?” and I was happy to take the giggles where I could as the movie wound down to its Rom Com 101 ending.
“You People” doesn’t exactly waste its bold face name cast—there are some very funny moments within—but the film’s predictable finish blunts much of the edgy/awkward humour that came before.
