On this week’s Richard Crouse Show we meet Katherine Ryan. She is a Canadian who moved to England in 2007 and now Brits know and love her from the many panel shows she’s appeared on, her wildly popular no-filter podcast Telling Everybody Everything or her Netflix comedy-drama “The Duchess.”
She also has a new series, Backstage with Katherine Ryan, which will showcase live stand-up sets from beloved and emerging comedians.
She’s known for being hilariously herself in a non-apologetic way, so it doesn’t comes as a surprise that her latest project, a memoir that details her rise to U.K. fame and her Canadian life before that as a Hooters waiter and Ryerson student, and before that her life in Sarnia, is called “The Audacity.”
We’ll also get to know actor Tim Roth. The English actor is perhaps best known for his collaborations with Quentin Tarantino, movies like “Reservoir Dogs,” “Pulp Fiction,” “Four Rooms” and “The Hateful Eight.” He is a Golden Globe and Oscar nominated actor who returns to theatres in Sundown, an intriguing film about a man who radically changes his life. We’ll talk all about that movie, his memorable turn in Pulp Fiction and his upcoming role in “She-Hulk,” opposite Tatiana Maslany later in the show.
The we meet comedian Charlie Demers. CBC radio called him “one of the smartest comics out there.” He is an acclaimed Vancouver playwright, author, radio personality, voice actor and comedian and also has a new comedy album called “I Hope I Don’t Remember This My Whole Life” available now wherever you legally buy and download albums.
Each week on the nationally syndicated Richard Crouse Show, Canada’s most recognized movie critic brings together some of the most interesting and opinionated people from the movies, television and music to put a fresh spin on news from the world of lifestyle and pop-culture. Tune into this show to hear in-depth interviews with actors and directors, to find out what’s going on behind the scenes of your favourite shows and movies and get a new take on current trends. Recent guests include Ethan Hawke, director Brad Bird, comedian Gilbert Gottfried, Eric Roberts, Brian Henson, Jonathan Goldsmith a.k.a. “The most interesting man in the world,” and best selling author Linwood Barclay.
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Cineplex Events has today announced that the widely popular Great Digital Film Festival will now be known as Flashback Film Fest. The event is Canada’s only coast-to-coast festival, bringing a line-up of sci-fi, fantasy and fan favourites back to the big screen. This year, Cineplex Events and renowned film critic, Richard Crouse, curated a line-up of 17 of the most blood-pumping, thrill-inducing and heart-warming films in cinema that will screen in over 24 cities across the country from February 3-9, 2017.
Please click here for a message from Richard Crouse and Cineplex Pre-Show Host Tanner Zipchen.
“We wanted to give the festival a new name that better reflects how it has evolved and why it has been so popular over the years,” said Brad LaDouceur, Vice President, Event Cinema. “Flashback Film Fest fits perfectly with our Event Cinema business which offers guests exciting, unique content that ranges from classic films to renowned stage productions. We take them on tours of famous galleries and put them courtside at sporting events without them ever having to set foot on a plane, or in this case, a time machine.”
“The great thing about this festival is that audiences will have a chance to relive these movies in the way they were meant to be seen; on a big screen, with an audience,” said author and film critic, Richard Crouse. “The best and most powerful way to see a movie is to fully immerse yourself in the theatre experience, surrounded by people who are enjoying it just as much as you are. I’m personally looking forward to seeing films like Fight Club, Blade Runner – The Final Cut, Pulp Fiction and Shallow Grave in all their glory.”
The 2017 Flashback Film Fest Line-up includes:
Air Force One (1997) *20 year anniversary
Blade Runner – The Final Cut (2007) *10 year anniversary/35 year anniversary of original
Blood Simple (1984)
The Fifth Element (1997) *20 year anniversary
Fight Club (1999)
The Fugitive (1993)
Groundhog Day (1993)
Jurassic Park (1993)
The Princess Bride (1987) *30 year anniversary
Pulp Fiction (1994)
The Running Man (1987) *30 year anniversary
Shallow Grave (1994)
Starship Troopers (1997) *20 year anniversary
Tickets for festival films cost $7.99, $6.99 for 5 or more films and new this year film fanatics can buy the “I Want It All” pass for $69.99 allowing them access to all 17 films for a price of $4.11 per admission. For a complete list of show times, or to purchase tickets, visit Cineplex.com/FBFF .
I saw Quentin Tarantino’s “Pulp Fiction” on its opening day in Toronto. I sat through it once, transfixed and while everyone else stayed glued to their seats for the credits, discussing the movie and picking up their jaws from the floor, I rushed out and bought another ticket for the next screening and sat through it once more. Not sure how many times I’ve seen it since then, but I was reminded of that first screening when I looked at “Pulp Fiction: The Complete Story of Quentin Tarantino’s Masterpiece,” Jason Bailey’s book on the making of the film.
From amazon.ca: ”
When Pulp Fiction was released in theaters in 1994, it was immediately hailed as a masterpiece. The New York Times called it a “triumphant, cleverly disorienting journey,” and thirty-one-year-old Quentin Tarantino, with just three feature films to his name, became a sensation: the next great American director.
“Nearly twenty years later, those who proclaimed Pulp Fiction an instant classic have been proven irrefutably right. In Pulp Fiction: The Complete Story of Quentin Tarantino’s Masterpiece, film expert Jason Bailey explores why Pulp Fiction is such a brilliant and influential film. He discusses how the movie was revolutionary in its use of dialogue (“You can get a steak here, daddy-o,” “Correct-amundo”), time structure, and cinematography—and how it completely transformed the industry and artistry of independent cinema. He examines Tarantino’s influences, illuminates the film’s pop culture references, and describes its phenomenal legacy. Unforgettable characters like Jules Winnfield (Samuel L. Jackson), Vincent Vega (John Travolta), Butch Coolidge (Bruce Willis), and Mia Wallace (Uma Thurman) are scrutinized from all-new angles, and memorable scenes—Christopher Walken’s gold watch monologue, Vince’s explanation of French cuisine—are analyzed and celebrated.
“Much like the contents of Marcellus Wallace’s briefcase, Pulp Fiction is mysterious and spectacular. This book explains why. Illustrated throughout with original art inspired by the film, with sidebars and special features on everything from casting close calls to deleted scenes, this is the most comprehensive, in-depth book on Pulp Fiction ever published.”
Quentin Tarantino doesn’t care if you like him or his movies.
“My films are unabashedly about myself and you’re either going to like them or go against them,” he says, “but that’s OK because I like me.”
Tarantino’s films — Pulp Fiction, Jackie Brown and Kill Bill Vol. 1 and 2, to name a few — sharply polarize people. For every person who gets all aquiver at the prospect of a new picture from the Reservoir Dogs director, there’s another who thinks his movies are too long, too self-indulgent and too derivative.
Despite those criticisms, fair or not, there can be no argument that of all the brand name directors working today Tarantino is the most audacious. His films are a singular vision and this weekend’s Inglourious Basterds is no exception.
His films are unapologetically bloody, in-your-face talky and ripe with larger-than-life characters, and perhaps it’s those qualities that rub certain people the wrong way.
He refuses to play it safe and take the Michael Bay road churning out Hasbro movies. He’s told interviewers he would die to make his movies perfect, and I believe him, but I’m a fan.
Not all critics are. Writer Ryan Gilbey said Death Proof represented “a sort of embarrassment of riches, only without the riches,” and more recently the Guardian called Inglourious Basterds “an armor-plated turkey.” Everyone is entitled to his or her opinion, but I think the Tarantino hecklers miss the point.
Tarantino is a provocateur who excels when he doesn’t play nice with the audience. Unlike the vast majority of films at the local bijou, his films demand something from an audience; they demand to be noticed and argued about over coffee (or something stronger) afterward. Many films fade quickly from memory, but, like them or not, Tarantino’s don’t.
When he’s at his best—Reservoir Dogs, Pulp Fiction and Inglourious Basterds — the movies are transformative cinematic experiences, but even when he’s not in top form — say, Death Proof — his work is, as critic Peter Bradshaw said, “more interesting than the successes of dullards and middleweights churning out Identikit films by the truckload.”
Tarantino’s films aren’t for everyone, but it’s undeniable that he takes movies seriously.
So seriously in fact, that the heroine in Inglourious Basterds is a cinema owner who literally uses film to bring down the Third Reich. I love that.
Say what you will, you can never accuse Tarantino of being boring.