RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY JANUARY 23, 2014.
CP24 film critic Richard Crouse reviews “Still Alice,” “Cake,” “Strange Magic,” “The Boy Next Door” and “Mordecai.”
Watch the whole thing HERE!
Posts Tagged ‘Paul Bettany’
Johnny Depp moves even further from his old rebel reputation with Mortdecai
By Richard Crouse – Metro Canada
There are dozens of biographies on Johnny Depp and a surprising amount of them use the word “rebel” in the title. There’s the Passionate Rebel, the Modern Rebel and even Hollywood’s Best-Loved Rebel.
There can be no argument that Depp is a fearless actor, unafraid to tackle tough, challenging roles, but it’s hard to accept the rebel title these days. For 20 years, he wildly threw darts at the wall, making exciting movies with interesting directors.
With Tim Burton, he created the off-kilter Eds — Wood and Scissorhands. With John Waters, he produced Wade Walker, the greaser love interest in Cry-baby. And, with Lasse Hallström, he came up with Gilbert Grape, caregiver to his brother and morbidly obese mother.
Along the way, he was also Hunter S. Thompson in Fear and Loathing in Las Vegas, the world’s most successful drug dealer in Blow, and the depraved poet at the dark heart of The Libertine.
Few actors could have pulled off Ed Wood and no one does debauched like Johnny, but the carefully cultivated hip outsider image was never truly accurate. Shrouded in a cloud of Gauloise smoke, he was one of Hollywood’s too-cool-for-school kids, emitting an outsider’s aura, while astutely playing the Hollywood game.
But any remaining traces of Depp’s bohemian status were wiped away with Captain Jack Sparrow’s colourful scarves in the tetralogy of Pirates of the Caribbean movies. They made him a superstar, and wealthy enough to buy Bahamian islands, but also ushered in the damaging wig and makeup era of his career.
The pale makeup of Dark Shadows, Alice in Wonderland’s crazy oversized hat, and the raven headdress of The Lone Ranger overshadowed Depp’s performances, obscuring his character work with props and flash.
This weekend, he hides behind a moustache in the comedy Mortdecai.
As the title character, he’s pompous, bumbling — imagine Inspector Clouseau with an English accent and an attitude — and on a worldwide hunt for a painting said to contain the code to a lost bank account.
Will people be attracted to Mortdecai? Hard to know. Depp’s showy performances have, by-and-large, garnered big box office but profitability, while important to the suits who green light projects like this, is exactly what’s killing Depp’s credibility as a serious actor.
He’s not in Nicolas Cage territory yet — there’s an actor whose Western Kabuki style of acting redefines idiosyncratic — but with Pirates of the Caribbean 5 coming soon, perhaps it’s time to put Depp’s rebel actor image or reliance on props to bed.
RICHARD’S “CANADA AM” REVIEWS FOR JANUARY 23 WITH JEFF HUTCHESON.
Richard’s “Canada AM” reviews for “Still Alice,” “Cake,” “Strange Magic,” “The Boy Next Door” and “Mordecai.”
Watch the whole thing HERE!
MORTDECAI: 1 STAR. “feeds The Quirk, but leaves the audience hungry for laughs.”
Beware The Quirk! The Killer of Careers! The fearful beast is known to inhabit Southern California and frequently seen lurking in the Hollywood Hills. Easily recognizable by its overuse of make-up, strange facial hair and flamboyant dress, The Quirk lives off schtick and frequently speaks in a funny voice, seducing its victims—usually actors—with a siren song of bad jokes and vocal tics.
Johnny Depp has been outrunning The Quirk for years, narrowly missing the beast’s bony grip. Until now. The Quirk has finally claimed Depp, leaving behind a mass of exaggerated accents, silly walks, gapped teeth and lurid lip hair known as “Mortdecai.”
Based on “The Great Mortdecai Moustache Mystery” by Kyril Bonfiglioli, the movie stars Depp in the title role as a wealthy art dealer with a taste for the finer things in life, an obsessive habit of grooming his facial hair and a nearly empty bank account. He’s pompous, bumbling—imagine a jet-setting Inspector Clouseau with an English accent and an attitude—and on a worldwide hunt for a rare Goya painting said to contain the code to a lost bank account filled with Nazi gold. Along for the ride are Mortdecai’s his trusty cockney manservant Jock Strapp (Paul Bettany), Gwyneth Paltrow as Lady Johanna Mortdecai, Ewan McGregor as an MI5 agent and Jeff Goldblum as a “thick-fingered vulgarian.”
“Mortdecai” breathes the same air as “The Pink Panther” movies, with an added nod to the 1967 “Casino Royale,” an all-star heist movie most notable for featuring both Woody Allen and Orson Welles on the same marquee, but gets lightheaded when it comes to replicating the easy-breezy tone of those films. Capers flicks of a bygone era had a swingin’, hip feel of controlled chaos not overplayed farce but Depp is pedal-to-the-metal, quirking-it-up in a display completely without charm and worse, without wit. He sets the mood for the film—daft, overly mannered, arch and unfunny—and his preening feeds The Quirk, but leaves the audience hungry for laughs.
RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY APRIL 18, 2014.
Richard sits in with CP24 anchor Nneka Elliot to discuss this weekend’s big openings, “Transcendence” and “Bears.”
Watch the whole thing HERE!
TRANSCENDENCE: 2 STARS. “brims with promise but underwhelms.”
The new Johnny Depp film “Transcendence” will please those who think their cell phones are spying on them while their computers secretly plot to rule the world. Technophobes will find much to like in this high tech thriller—which speaks of “the unstoppable collision between mankind and technology”—but how about those of us who don’t believe in Hard drive Horror?
Depp plays Dr. Will Caster, a bespectacled (so you know he’s smart) scientist whose pet project is an Artificial Intelligence device. It will be, he says, “a sentient machine that will quickly overcome the limits of biology; in a short time, its analytic power will become greater than the collective intelligence of every person born in the history of the world.”
In other words it’s a self-aware computer with feelings and the combined intelligence of all humanity. “Some scientists refer to this as the Singularity,” he says. “I call it Transcendence.”
Call it what you will, but when R.I.F.T. (Revolutionary Independence From Technology) extremists try to end the project by ending Caster with a radiation laced bullet they open the door to a new, dangerous phase of the experiment. As he lay dying his thoughts, knowledge and memories are downloaded into his Artificial Intelligence machine, creating a high tech Frankenstein, only with a better vocabulary.
With binary code coursing through his veins instead of blood, Caster has now transcended, but his wife Evelyn (Rebecca Hall) and best friend Max (Paul Bettany) are left with a conundrum as the scientist becomes more and more advanced. Is this the dawn of a more advanced age or a techno terror controlled by a power mad ghost in the machine?
“Transcendence” asks some interesting questions. Can technology provide some sort of life after death? Does artificial intelligence offer more promise or peril? How much humanity can a computer program possess? Is “Her” a better movie about love in the computer age?
The questions are interesting and might have been thought provoking if “Transcendence” was a better movie. Director Wally Pfister (best known as Christopher Nolan’s DOP of choice) and screenwriter Jack Paglen tackle big questions head on, but in the most perplexing of ways. Weird tonal shifts from sci fi to cyber love to techno terrorism make for a drearily paced film. Add to that unclear character motivations—MILD SPOILER ALERT: exactly who’s side is Max on?—and an underdeveloped love story and you’re left with a film that brims with promise but underwhelms.
So too does Johnny Depp. You have to cut him some slack because for 90% of the film he only appears on computer screens, doing his best HAL impression, but he seems to have checked out long before his character does. Hall and Bettany do some soulful work, but are hampered by a love story that is more about code than contact.
“Transcendence” has style, and it should, Pfister (who used DOP Jess Hall on this film) is a gifted shooter who gave us one of my favorite shots of recent years—The Joker hanging out of the cop car in “The Dark Knight,” surrounded by blurred lights and city scape. Given the choice I’d choose to watch that thirty seconds again and again over spending one more minute in the lackluster world of “Transcendence.”
MARGIN CALL DVD: 4 STARS
“Margin Call,” a new Wall Street drama with an all-star cast including Kevin Spacey, Paul Bettany, Jeremy Irons and Demi Moore, deserved a better run at the theatres. Now on DVD and download, this overlooked movie of the beginning of our recent financial crisis has a compelling story and great acting but didn’t find an audience theatrically.
A fictionalized account of what may have happened at Lehman Brothers et al, “Margin Call” is set at a Wall Street firm following a brutal round of layoffs. Using information passed on by one of the outgoings execs an analyst, played by “Star Trek’s” Zachary Quinto, discovers that the firm is wildly overleveraged. Saving the company will affect not only the employees but the entire economy of the United States.
The way I have described it would sound melodramatic if it wasn’t bound so closely to fact and that’s the beauty of the movie. It takes complex financial transactions, dramatizes them and presents them in a way that makes sense and shines spotlight on the terrible mess the greed of these Wall Street firms caused.
But without great characters a movie solely about the crisis wouldn’t be necessary in the wake of Inside Job,” the Oscar winning documentary that covered pretty much the same ground.
Luckily “Margin Call” abounds with interesting characters even though doesn’t exactly avoid the stereotypical portrayal of Wall Street types—there is the de rigueur associate obsessed with his colleague’s pay cheques, the over indulgent CEOs. But despite its occasional typecasting, actors like Spacey, Tucci and Simon Baker imbue their characters with humanity, creating multi-layered people concerned with the ethics of what they are doing.
Perhaps “Margin Call” flopped because people don’t want to be reminded of the financial meltdown that left tens-of-thousands of Americans stuck with sub prime mortgages and made foreclosure signs the hottest landscaping feature of the 2008-2009 season. Perhaps it was because the star wattage of Stanley Tucci and Kevin Spacey wasn’t enough to put bums in seats. Whatever the reason, “Margin Call” remains a gem that will hopefully find its audience on the small screen.
Priests dominate big screen In Focus by Richard Crouse METRO CANADA Published: May 11, 2011
What role do Paul Bettany, Robert de Niro, Rowan Atkinson and Max von Sydow share? Mr. Jennifer Connelly, the Oscar winner, Mr. Bean and the legendary Swedish superstar all have one kind of part in common. They have all played priests on the big screen.
In this weekend’s post-apocalyptic action horror film Priest Bettany plays the title character, a warrior pastor hunting the vampires who kidnapped his niece. Based on Min-Woo Hyung’s graphic novels the movie also features Christopher Plummer as the Monsignor, described by the legendary Canadian actor as “a horrible priest gone wrong—a lovely, stylish villain.”
In the Barry Levinson film Sleepers De Niro was Father Bobby, a Hell’s Kitchen priest who lies in court to prevent four of his parishioners from going to jail for killing a sadistic prison guard. “Most priests like to preach from the pulpit,” says one character. “Father Bobby liked to talk during the bump and shove of a pick-up game.”
Atkinson played Father Gerald, a new vicar performing his first marriage ceremony in Four Weddings and a Funeral. The tongue-tied priest has some of the film’s funniest lines, including, “In the name of the father, the son and the holy goat. Er… ghost.”
Probably the most famous movie celebrant is Father Lankester Merrin, as portrayed by Max von Sydow in The Exorcist. Von Sydow is one of the few actors to have played both God (in The Greatest Story Ever Told) and the Devil (in Needful Things) but it is as Merrin that he is best remembered (unless you are a Great White North hoser who worships his role as Brewmeister Smith in Bob and Doug MacKenzie’s Strange Brew). The statuesque Swedish actor played Merrin twice—he’s seen in flashbacks in Exorcist II: The Heretic—and Stellan Skarsgård played him in two prequels but it is the first movie and the iconic line “The Power of Christ compels you!” that is most memorable.
Many other actors have played clerics. Carl Maldan was Father Barry in the Best Picture winner On the Waterfront, George Carlin was Cardinal Ignatius Glick, the mastermind of Dogma’s ‘Catholicism Wow!’ campaign but the actor most associated with playing priests is Pat O’Brien. He became an actor only after deciding against entering seminary and his devotion to playing priestly characters was so well known it even inspired the name of band, the blues-rockers Pat O’Brien and the Priests of Love.
