Fast reviews for busy people! Watch as I review three movies in less time than it takes to do a high five! Have a look as I race against the clock to tell you about the animated adventures of “Dog Man,’ surreal sci-fi of “Companion” and the doc “Liza: A Truly Terrific Absolutely True Story.”
Watch the whole thing HERE!
I join the CTV NewsChannel anchor Roger Peterson to talk about the surreal sci-fi of “Companion,” the animated adventures of “Dog Man’ and the doc “Liza: A Truly Terrific Absolutely True Story.”
Watch the whole thing HERE!
SYNOPIS: “Dog Man,” a new animated movie featuring the voices of Pete Davidson and Isla Fisher, and now playing in theatres, begins when Petey, the “world’s evilest cat,” blows up Officer Knight and his dog Greg. In a lifesaving operation, Greg’s head is grafted onto Officer Knight’s body. “I tried to get rid of both of you,” says Petey, “but instead I made a supercop.”
CAST: Pete Davidson, Lil Rel Howery, Isla Fisher, Poppy Liu, Stephen Root, Billy Boyd, Ricky Gervais. Written and directed by Peter Hastings.
REVIEW: Like an episode of Short Attention Span Theatre, most of “Dog Man” is so fast paced, it’s like someone is leaning on the fast forward button. To say it is frenetic is an understatement, like saying Count Orlock is not a morning person.
Adapted from the phenomenally successful graphic novels by Dav Pilkey, creator of the “Captain Underpants” books, “Dog Man” values silliness above all else. It never misses an opportunity to crack wise or showcase a visual gag. For instance, archenemy Petey (Pete Davidson) attacks Dog man with the one thing every dog is afraid of, a giant vacuum cleaner. It’s “an approach that sucks,” says “Live Breaking News Live” reporter Seamus (Billy Boyd). When that fails Petey resorts to The Butt Sniffer 2000 and mechanical exploding squirrels.
By the time an entire block of buildings, that fart great green clouds of gas, comes to life, the movie begins to resemble an acid trip for kids.
Subtle, it is not, but in between the goofy jokes are good messages on the importance of family, however you define it, logical or biological.
The style of animation will be familiar to lovers of the books, and there’s a lot of you out there, as the graphic novels have sold 60 million copies globally. Director Peter Hastings calls it “high-end handmade,” and it captures the organic feel of the original book art, which blends “South Park” style, comic book art and Pilkey’s book art. It’s exaggerated, playful and fits the film’s wild tone to a T.
“Dog Man” is a lot. It’s a pedal to the metal experience, filled with childish humor (and the odd gag aimed at parents) but the anarchy is tempered somewhat by heartfelt messages of the importance of doing the right thing, forgiveness and family.
Based on a book by Lois Lowry, “The Willoughbys,” a new animated film now available on Netflix, is a parody of “old fashioned” classic children’s stories where terrible things happen, babies are abandoned, long-lost relatives show up and nannies look after the kids. Yet somehow, a happy ending and a lesson or two always emerge from the chaos.
Narrated by Ricky Gervais—”I’m the narrator. And a cat. Get over it, yeah.”—the story takes place at the Willoughby mansion, a home tucked away between two skyscrapers, hidden from the modern world. The family has a long and distinguished legacy of tradition, invention creativity and courage. “Their greatness passed down from generation to generation like their magnificent facial hair,” says the narrator, “until this one.” Enter the youngest son (Martin Short) and his new bride (Jane Krakowski). Madly in love, they only have eyes for one another. They don’t even care for their kids. “I am your father and that woman in there you insulted with your rude burp is your mother,” father says to eldest son Tim (Will Forte). “If you need love, I beg of you, find it elsewhere. Thank you.”
All they gave Tim was their name, and siblings Jane (Alessia Cara) and twins, both named Barnaby (Sean Cullen). “Let’s face it this Willoughby family isn’t great,” says the narrator, “and by the looks of it, they never will be. Not without a little help.”
So the kids hatch a plan to create a better life for themselves. “We can send them away!” says Tim. “What if we orphaned ourselves? We shall craft a murderous adventure that gives our insidious parents exactly what they want.” “To be left alone with their love!” says Jane.
Tim concocts a “a romantic get-a-way hiding deadly orphaning opportunities. If they do not melt in the hottest places on earth, they shall drown in the wettest. Cannibals will feast on them unless they freeze in glacial ice.” They create a travel brochure from the Reprehensible Travel Agency—No Children Allowed!—and make sure the folks see it. They love the plan but fear the children will destroy the house. The solution? Get a nanny. “But aren’t good nannies expensive?” wonders mom. “Yes, so we’ll hire a not good nanny! For cheap!” says father.
Thus, begins a wild adventure for mom, dad and the kids.
“The Willoughbys” It’s not as dark as “A Series of Unfortunate Events” or as magical as “Mary Poppins.” Instead it finds its own tone, deriving much humour from the dire circumstances. “If you like stories about families that stick together and love each other through thick and thin,” says the cat narrator, “and it all ends up happily ever after, this isn’t the film for you OK?” Director and co-writer Kris “Cloudy With a Chance of Meatballs 2” Pearn energizes the story with characters that look like they’re shaped out of bubble gum; colourful and highly stylized. Then he puts them in constant motion. It’s frenetic and fun, even when the kids are plotting to kill their parents.
There’s strong voice work from Will Forte, Alessia Cara, Jane Krakowski, Martin Short and Terry Crews but Gervais and his droll narration steals the show. “It’s hard to leave home for the first time,” he says, “although I was six days old when I left. All my folks ever did for me was lick my eyeballs open and sent me packing.”
“The Willoughbys” isn’t remarkably original story wise. It mixes and matches from a variety of sources. There’s a taste of Roald Dahl, a hint of “Despicable Me” and a dollop of “Mary Poppins,” but, all spun together, they form a delightfully dark (but not too dark) story about finding the true value of family.
On Tuesday, March 3rd, two-time Academy Award nominee, director Mark Osborne was in Toronto to give an exclusive presentation at the TIFF Bell Lightbox about the making of “The Little Prince.”
In the presentation followed by a Q&A hosted by Richard, Osborne spoke about the concept of the animated feature, the making-of, completing production n Montreal, and showed some select images, clips and b-roll from production. Osborne also revealed that Orson Welles once planned an adaptation of “The Little Prince” as a follow-up to “Citizen Kane.”
From Entertainment One: With the voices of Rachel McAdams, Jeff Bridges, Marion Cotillard, James Franco, Paul Rudd,Benicio del Toro, Paul Giamatti, Ricky Gervais, Albert Brooks, Bud Cort and Riley Osborne.
Through an inventive narrative concept, the movie will offer a family experience on a grand scale: the audience will be invited to discover a fantastic, dreamlike universe.
https://youtu.be/NMkjtTPsw1w
The Muppets came bounding back into theatres in 2011 with a sweet movie starring humans Jason Segel and Amy Adams that blended the right amount of nostalgia with just enough corny jokes to make it one of the year’s frothiest confections.
The new film from Jim Henson’s felt and fur creations, “Muppets Most Wanted,” is being billed as a sequel to that film, but it isn’t really. It’s more a return to the Muppet movies of old, packed to the gills with show biz in jokes, puns, songs and even a Swedish Chef homage to Ingmar Bergman.
It’s more akin to “The Great Muppet Caper” than Segel’s (who did not return for this film) vision.
The story picks up one second after the last one ended. Kermit, Miss Piggy and the gang are on Hollywood Boulevard after their big comeback, wondering what to do next. A meeting with talent agent Dominic Badguy (Ricky Gervais) seems to provide an answer. Against Kermit’s best judgment the Muppets accept Badguy’s offer of a European tour to open in “the world capitol of comedy, Berlin, Germany.”
What they don’t know is that Badguy is an associate of Constantine, the planet’s most notorious criminal and a dead ringer for Kermit. The evil plan is to replace Kermit with Constantine, and use the Muppets as a cover for an ingenious plan to steal the Crown Jewels.
The movie’s opening song, “Sequel,” is a tongue and cheek tune that melodically states, “everybody knows sequels are never as good.” Maybe so, but since this doesn’t feel like a sequel it’s hard to compare it to the last film.
The puns are back—“It’s not easy being mean,” says Constantine—and so are the tunes from Academy Award-winning songwriter Bret McKenzie and all the characters you know and love, but the movie feels different.
Whereas Segel’s Muppet movie played heartstrings like Eric Clapton strums the blues, “Muppets Most Wanted” has more of an edge. Well, as much of an edge as a movie starring Kermit and Miss Piggy could have.
The human characters—notably Gervais, Tina Fey as Nadya, a lusty Russian prison guard and Ty Burrell as an outrageous Interpol agent—are just as broad as the puppets which provides some laughs, but the emotional impact is blunted. To place it in an old Hollywood context, it’s more the slapstick of Abbott and Costello than the restrained, sweet comedy of Charlie Chaplin.
Still, the Muppets bring a good deal of goodwill with them and the movie shines brighter as a result. It’s hard not to giggle at the gags but an exchange between Fozzie and Walter hits a bit too close to an uncomfortable plot truth. “Looks like he’s planning some kind of heist bit,” Fozzie says of Constantine. “I hope not,” replies Walter, “they never work.”
By Richard Crouse – Metro Canada
I have a secret to tell you that I think Miss Piggy would rather remain undisclosed.
The blonde bombshell, that porcine paradigm of perfection, was in Toronto on Tuesday to do some press for her new film Muppets Most Wanted, and sit in for a press conference hosted by moi.
Like everyone else I had heard the stories. The word diva comes up frequently when Miss Piggy is discussed. She has a No Competing Diva clause in her contracts and has even written a book titled The Diva Code.
In the film she does a duet with Celine Dion, and when asked who was the biggest prima donna on set she snapped back, “Well, naturally moi.” I’m here to tell you it’s not true.
She was on time, primped and ready to go and had very funny answers to all the questions. She admits to enjoying “making a statement wherever she goes,” and Tuesday’s presser was no exception. When I asked her if she got star struck around co-stars Tina Fey and Ricky Gervais, she said it’s others who get star struck by her, before adding, “others are struck by a star if they get between moi and the camera.”
The only hint of diva-ish behaviour came when she was asked who could portray her in a biopic. “Moi, of course,” she said, but later when asked if she knew she was a gay icon she replied, in a most un-diva-like way, “I’m an icon to anyone who will have moi!”
By Richard Crouse – In Focus Metro Canada
When The Muppet Movie was released in 1979 the Muppet Show Fan Club pointed out the differences between the movie and the puppet’s popular television show.
“If you think it’s a film version of The Muppet Show, you’re in for a surprise.
For one thing, it doesn’t take place in the theatre. The Muppet Movie is set in the real world — it’s like waiting in line at a gas station and looking up to find Fozzie and Kermit driving the next car over.”
In the subsequent seven theatrical Muppet movies that magic has been maintained, but the methods have changed over the years. In 2011’s The Muppet Movie all the puppets were real, but the way they were filmed changed. To give the puppets a full range of movement the puppeteers — or Muppeteers as they prefer to be called — were often in full view of the camera and digitally removed in post production.
“We removed the puppeteers later,” said visual effects artist Max Ivins, “so it gave the puppeteers a lot more freedom in that they didn’t have to hide from the camera to do everything.” It’s a technique used in Muppets Most Wanted, which sees the furry and felt puppets get into trouble on a world tour when it turns out that Kermit’s doppelgänger is the world’s number one criminal. Co-starring with the Muppets is Ricky Gervais, Ty Burrell and Tina Fey. In the years before computer generated imagery, however, Muppeteers hidden from view manipulated all the puppets. And it wasn’t always so comfortable.
Everyone remembers Kermit sitting on a log, playing his banjo, in the middle of a swamp in The Muppet Movie, but did you know that Jim Henson, Kermit’s creator and operator until 1990, was under water for the five days it took to shoot the scene?
According to the Muppet Fan Club he was wedged into a metal tube “under the water, under the log, under the Frog” while hooked up with an air hose, a monitor and a rubber sleeve which allowed him to manipulate the puppet.
Frank Oz was also submerged for Miss Piggy’s water ballet scene in The Great Muppet Caper. “I was under the water for a week,” he says. “I had three days of scuba training and then down I went.” Finally, almost every Muppet movie features Kermit riding a bicycle. How did they do it in the early days? Director James Frawley jokes, “I put him on a three-wheeler until he got his balance, and then I put him on the two-wheeler.”
In fact, the effect was achieved by intercutting long shots using a Kermit marionette and close-ups with a hand puppet operated by Henson who rode along with the bike on a low-rolling dolly.
Ghost Town, a new comedy starring Brit com sensation Ricky Gervais, Téa Leoni and Greg Kinnear, follows in the footsteps of the ghostly romances of the 1940s. In movies like Here Comes Mr. Jordan and Down to Earth ghostly apparitions had a hand in changing people’s lives and helping romance blossom. It’s an old concept given a shiny new treatment by Indiana Jones and the Kingdom of the Crystal Skull screenwriter, turned director David Koepp.
Kinnear plays Frank, a high powered New York businessman who seems to love his I-Phone more than his wife Gwen (Leoni). When he is killed in a freak accident he discovers that his body can’t make its final journey until all his business is settled on Earth. Enter Bertram Pincus D.D.S. (Gervais) a persnickety dentist with zero people skills. When a simple medical procedure leaves him dead on the operating table for two minutes he awakens with the strange ability to see the newly departed. They’re everywhere. These lost souls wander the streets looking for some way to communicate with their loved ones so they can prepare for the trip to the beyond. Frank latches on to Bertram, initially using him to spy on his widow until he realizes that the dentist is falling in love with Gwen. Frank must learn to give up his controlling ways and let Gwen go before he can rest in peace.
Ghost Town begins as a straight-up comedy and slowly, over its 103 minute running time, turns into a romantic comedy, heavy on the romance, light on the comedy. As the romance angle increases the laugh per minute ratio decreases to the point where, I think, it’s not accurate to call the film a comedy in its final moments.
Gervais is given free reign to flaunt his trademarked misanthropic schitick, but only up to a point. This is his first lead in an American film and it is interesting to see how his acerbic wit is shaped and softened by Hollywood. “[I’m] just what America wants,” he said in a recent interview, “a fat, British, middle-aged comedian trying to be a semi-romantic lead.” If he had been allowed to play up to his strengths—obnoxious and uncomfortable wit—instead of being made palatable for Gladys in Minnesota by smoothing out his patented rough edges Ghost Town might have been a much better movie. Instead of being an effective vehicle for Gervais’s humor, though, the movie made me want to go home and watch his sitcom Extras on DVD.
Ghost Town isn’t a terrible movie, just a misguided and forgettable one.
