I join CP24 to talk about Sydney Sweeney’s “Christy,” Jennifer Lawrence in “Die My Love,” the Netflix historical drama “Death By Lightning” and the Tracy Morgan comedy “Crutch.”
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 Sydney Sweeney’s “Christy,” the historical drama “Nuremberg” and Jennifer Lawrence in “Die My Love.”
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 the bed! Have a look as I race against the clock to tell you about Sydney Sweeney’s “Christy,” the historical drama “Nuremberg” and Jennifer Lawrence in “Die My Love.”
Watch the whole thing HERE!
SYNOPSIS: In “Die My Love,” a new psychological drama now playing in theatres, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) leave the hustle and bustle of New York City in search of a quieter life on a rural Montana ranch. As the couple welcome a child, Grace begins to feel isolated, trapped and acts out in unpredictable ways. “I’m right here,” she says to Jackson, “you just can’t see me.”
CAST: Jennifer Lawrence, Robert Pattinson, LaKeith Stanfield, Nick Nolte, Sissy Spacek. Directed by Lynne Ramsay.
REVIEW: A non-linear, stream-of-consciousness look at one woman’s breakdown, “Die My Love” is not a movie you “enjoy” in the traditional sense. Like the recent “If I Had Legs I’d Kick You,” a psychological drama that mined similar territory, “Die My Love” is a confrontational, difficult watch.
The difference is in the execution.
While neither film can be called pleasurable, “If I Had Legs I’d Kick You” displays a sense of purpose missing from “Die My Love.”
Both feature compelling, raw performances from their leads, but “If I Had Legs” gives the viewer something to hang onto story wise. “Die My Love” has a premise—woman has a breakdown after moving to the country—but is frustratingly shy about fleshing out a complete narrative. The result is a film that feels like a series of escalating events rather than a cohesive whole.
The glue holding the entire thing together is Lawrence, whose fearless and ferocious performance physicalizes the character’s inner turmoil in increasingly unpredictable and upsetting ways. Crushed by postpartum depression and isolation, her behavior spirals, captured by director Lynne Ramsay, who co-wrote with Enda Walsh and Alice Birch, in a series of loosely connected vignettes. With little-to-no narrative accompaniment, however, the incidents, while often shocking, become repetitive and drain away the film’s power as a portrait of postpartum and human frailty.
Lawrence’s portrait of psychological collapse is raw and challenging cinema but as a vehicle for the performance “Die My Love’s” mix of reality and delusion falters.
“Chicago 10,” a documentary that echoes the events detailed in the recent Netflix drama “The Trial of the Chicago 7,” brings a sense of immediacy and even anarchy to an often-told story.
Director Brett Morgen uses mixed media, a amalgamate of archival footage and animation set to a soundtrack of edgy protest music, to tell the tale of one of the defining events of 1968. In an unsettled and unsettling year, a trial saw 60s counterculture icons Abbie Hoffman and Jerry Rubin of the Youth International Party, and assorted radicals David Dellinger, Tom Hayden, Rennie Davis, John Froines, and Lee Weiner charged with conspiracy and inciting to riot stemming from their actions at the anti-Vietnam War protests in Chicago, Illinois, during the 1968 Democratic National Convention. Black Panther Bobby Seale had his case severed from the others but earns considerable coverage here.
The story, based on transcripts and rediscovered audio recordings, is familiar but Morgen’s film is as much an experience as it is a straightforward documentary. His mix and match of styles brings with it an energy that captures the wild ‘n woolly climate of the times, from the hippies and the Yippies to the general atmosphere in Chicago. It’s trippy with a vibrant social awareness that side steps many of the cliches used in portraying the times.
“Chicago 10” is a digital release as part of the Impact Series.
“The Padre,” a neo-noir starring Nick Nolte, Tim Roth, Luis Guzmán and newcomer Valeria Henriquez, is the story of a trio of opportunists all headed to the same place, all searching for something different.
Henriquez is Lena, a young determined Columbian girl trying to find a way to get to Minnesota. “First God takes her parents, “ says a friend, “and then a family in Minnesota takes her sister. Like they bought her on the internet.” Lena sees the Padre (Roth), a white man with some money, as her ticket to the United States and being reunited with her sister. She becomes his apprentice, a toughie with an attitude and an aptitude for grifting. Hot on their heels are retired U.S. Marshall Nemes (Nick Nolte) and local cop Gaspar (Guzmán). For Nemes the hunt is as much personal as it is professional. “He needs to pay. Then I die happy. I lashed my hate to a spear I aimed at his heart,” he grumbles.
“The Padre” ambles its way through the lives of the main players, slowly closing the gap between the hunters and the hunted. The three above the title stars, Nolte, Roth and Guzmán, deliver in familiar roles—Nolte is once again the grizzled face of law enforcement, Roth is another skeevy character while Guzmán plays a convincing second fiddle—but it is Henriquez who steals the show. She is at once gritty and vulnerable, a girl born of poverty who has had to survive by her wits. Henriquez pulls it off and emerges as the film’s most interesting character.
Shot in Colombia, “The Padre” is beautiful looking, a sun-dappled noir that pops with colour. Director Jonathan Sobol has an eye for the locations, it’s just too bad the story isn’t as colourful as the setting.
Twenty years ago “A Walk in the Woods” would have starred Walter Matthau and Jack Lemmon as grumpy old men in a movie that plays like “The Best Exotic Marigold Hotel” with a dash of the finding-yourself-in-the-woods movie “Wild” thrown in. Matthau and Lemmon are long gone, but in their place are weathered icons Nick Nolte and Robert Redford as old (literally and figuratively) friends hiking the twenty-two hundred mile Appalachian Trail.
Based on Bill Bryson’s 1998 memoir of the same name, the movie sees Redford as Bryson, a travel writer grappling with growing older. In an effort to clear his head and feel alive again he ignores his wife’s (Emma Thompson) objections—“I don’t think you’re too old,” she says. “You ARE too old! Can’t you just do this in the Volvo?”—and embarks on the Georgia-to-Maine trail.
None of his friends are interested in making the five month, five million step trip with him. “Next time asked me to do something fun… “like a colonoscopy,” says one, until Stephen Katz (Nolte), an estranged friend who owes Bryson money from their last adventure, volunteers to go. Is he up for the trip? “I walk everywhere these days,” he says, “especially since they took away my license.”
Despite their age, their differences and the fact that less than 10% of the people who start the trail, finish it, the pair set off on a journey that will give them a deeper appreciation of home.
“A Walk in the Woods” brings Redford back to the light comedy of his early career but he spends much of the film playing straight man to Nolte’s disagreeable Santa routine. Nolte lurches through this movie with all the subtlety of a drunken elephant, filtering his lines through a voice that sounds like a broken whiskey glass. He has most of the laugh lines and displays good comic timing, dropping well placed swear words and gags with precision.
The movie itself is episodic. Every step takes them closer to a new opportunity for a gag whether it’s a collapsing bunk bed or a bit of mild slapstick in a river. While many scenes are left hanging with no resolution and, occasionally, no real purpose, it’s so amiable watching these two (and their stunt doubles) walking through the woods that you’ll forgive the randomness of several of their adventures.
The guys are the focus, to the detriment of Emma Thompson and Mary Steenburgen who aren’t given near enough to do. Only Kristen Schaal as an annoying over confident hiker makes an impression.
“A Walk in the Woods” won’t ever be mentioned in the same breath as any of Redford or Nolte’s classic films—it’s too silly and the message of leaving home to appreciate home is too obvious—but watching these two charismatic actors onscreen it’s not hard to remember what we liked about them in the first place.
