Richard joins NewsTalk 1010 host Jim Richards on the coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about to talk about the much anticipated “Sopranos” prequel “The Many Saints of Newark,” the latest adventures of the Gomez, Morticia and Company in the animated “The Addams Family 2” and the Jake Gyllenhaal thriller “The Guilty.”
There is no mention of COVID-19 in “The Guilty,” the new Jake Gyllenhaal thriller now streaming on Netflix. But make no mistake, this is a pandemic movie, A remake of 2018 Danish film “Den skyldige,” it is essentially a one hander, shot on a just a handful of set with strict safety protocols in place. Gyllenhaal may be socially distanced from his castmates, but his performance is anything but distant.
Gyllenhaal plays Joe Baylor, an LAPD cop on 911 duty while he awaits a trial for police brutality. As wildfire ravage the city, he’s tied to a phone at the call center, where he makes his displeasure at his new assignment clear to anyone who calls in. Short tempered, he snaps at his co-workers and even berates his callers for their bad choices—“You did drugs!”—before offering assistance.
His attitude changes when he gets a call from Emily (Riley Keough, who does impressive voice work), a mother of two kidnapped by her abusive ex-husband (Peter Sarsgaard). Their conversation sets off a chain of events that causes Baylor to look inward and reassess the choices that led him to the 911 dispatch center.
Played out in real time, “The Guilty” builds tension as Baylor races against a ticking clock to bring the situation to a safe resolution for Emily. Director Antoine Fuqua amps up the sense of urgency, keeping his camera focused on Gyllenhaal’s feverish performance. The close-ups create a sense of claustrophobia, visually telegraphing Baylor’s feeling of helplessness and his crumbling mental state.
Gyllenhaal hands in a gripping performance that bristles with determination, ranging from brooding, to explosive to resigned. His expressive face fills the screen, and with the exception of some distracting eyebrow acting, carefully guides us down the rabbit hole of Baylor’s anxiety.
“The Guilty” is a no-frills thriller that allows the viewer to imagine most of the action, both in Emily’s plight and Baylor’s head. It breathes the same air as movies like the minimalist “Locke” that do a lot with a little.
Reminders of real life were all around us at this year’s Toronto International Film Festival. From the digital screenings we watched at home to half empty, socially distanced screenings at venues like The Princess of Wales Theatre. But when my mind wanders back to September 2021, I won’t be thinking of having to show my proof of vaccination or the social distancing in theatres.
What will linger?
The images of Anya Taylor-Joy in “Last Night in Soho,” crooning an a cappella version of the Swingin’ Sixties anthem “Downtown,” and “Dune’s” Stellan Skarsgård doing his best impression of Marlon Brando in “Apocalypse Now,” come to mind immediately.
Those moments and others like them are the reason the movies exist. They transcend the vagaries of real life, transporting us away from a place where masks, vaccine passports are the reality.
And boy, did we need that this year.
Here a look back at some of the moments that made memories at this year’s TIFF:
“Night Raiders,” a drama from Cree-Métis filmmaker Danis Goulet, draws on the historical horrors of the Sixties Scoop and Residential Schools to create an unforgettable, dystopian scenario set in the new future. It effectively paints a somber portrait of totalitarian future, packed with foreboding and danger. The story is fictional but resonates with echoes of the ugly truths of colonization and forced assimilation. Goulet allows the viewer to make the comparisons between the real-life atrocities and the fictional elements of the story. There are no pages of exposition, just evocative images. Show me don’t tell me. The basis in truth of the underlying themes brings the story a weight often missing in the dystopian genre.
I asked Danis Goulet about having many of her characters in Night Raiders speak Cree: “It is everything to me,” she said. “My dad is a Cree language speaker. He grew up speaking Cree. He learned to speak English in school. His parents were Cree speakers. And coming down to my generation, I’m no longer a Cree speaker and there are entire universes, philosophies and poetry and beauty contained in the language. When we think of where our heritage lies, maybe some people think of museums. For me I think it is in the language. I think that richness doesn’t just offer Indigenous people something. I think if others looked closer at what the language tells us about the history of this land, they would be incredibly amazed. My dad has looked at references in the language that talk about the movement of the glaciers, so, foe me to have the Cree language on screen is everything. I’m in my own process. I go to Cree language camp to try and learn back the language and the language gives back in a way that is so healing and incredible. It is one of the greatest gifts in my life. So, the opportunity to put my dad’s first language on the screen, and the language of the Northern Communities where I come from, and my language that I lost, is the best. It’s incredible.”
From Twitter: @RichardCrouse Was just sent this: “Wanted to check and see if you’d be able to either send proof of vaccine OR a negative covid test prior to your interviews with the talent.” I sent my proof in, but added, “Will the talent be providing me with proof of vaccination?” #TIFF21 #fairquestion 4:48 PM · Sep 9, 2021· 8 Retweets 3 Quote Tweets 206 Likes
There is no mention of COVID-19 in the Jake Gyllenhaal thriller “The Guilty.” But make no mistake, this is a pandemic movie, A remake of 2018 Danish film “Den skyldige,” it is essentially a one hander, shot on a just a handful of set with strict safety protocols in place. Gyllenhaal, as 911 operator Joe Baylor, may be socially distanced from his castmates, but his performance is anything but distant. Played out in real time, “The Guilty” builds tension as Baylor races against a ticking clock to bring the situation to a safe resolution for Emily. Director Antoine Fuqua amps up the sense of urgency, keeping his camera focused on Gyllenhaal’s feverish performance. The close-ups create a sense of claustrophobia, visually telegraphing Baylor’s feeling of helplessness and his crumbling mental state.
The sound of an audience laughing, applauding, crying, or whatever. Just being an audience. The big venues were socially distanced, and often looked empty to the eye, but when the lights went down and folks reacted to the opening speeches or the films, it didn’t matter. Roy Thomson Hall, with its 2600-person capacity, may have only had 1000 or so people in the seats, but for ninety minutes or two hours they formed a community, kindred souls brought together after a long break, and it was uplifting to hear their reactions.
“Flee” is a rarity, an animated documentary. A mix of personal and modern world history, it is a heartfelt look at the true, hidden story of the harrowing life journey of a gay refugee from Afghanistan. Except for a few minutes here and there of archival news footage, “Flee” uses animation to tell the story but this ain’t the “Looney Tunes.” Rasmussen used the animation to protect Amin’s identity, but like other serious-minded animated films like “Persepolis” and “Waltz with Bashir,” the impressionistic presentation enhances the telling of the tale. The styles of Rasmussen’s animation change to reflect and effectively bring the various stages of Amin’s journey to vivid life. It is suspenseful, heartbreaking and often poetic.
I asked “The Survivor” star Vicky Krieps about working opposite Ben Foster: “The first day I came [on set] I was very intimidated,” she said. “I wouldn’t say scared, but it felt like a wall to me. It began like this. There was no small talk. There was no, ‘How are you?’ He was already in character and it was very clear. I thought, ‘OK, I have to play his wife.’ And then, something really interesting happened. I like having a challenge and this felt like a challenge. So, I needed to find a way [to relate to him] because I knew I was going to be his wife. How do I do that? Imagine it as a wall, but then in the wall there are eyes. I used those eyes and I felt like I could open a window, and inside of those eyes was a horizon where I could go. I liked to say to Ben, ‘And then we would dance.’ Sometimes I wrote to him and said, ‘It was nice dancing today.’”
“Last Night in Soho,” from director Edgar Wright, is a love letter to London’s Swingin’ Sixties by way of Italian Giallo. Surreal and vibrant, and more than a little bit silly, its enjoyable for those with a taste for both Petula Clarke and murder. It begins with verve, painting a picture of a time and place that is irresistible. A mosaic of music, fashion and evocative set decoration, the first hour brings inventive world building and stunning imagery. Wright pulls out all the stops, making visual connections between his film and the movies of the era he’s portraying and even including sixties British icons Rigg, Tushingham and Stamp in the cast.
I asked “Dune” star Rebecca Ferguson why she said reading Frank Herbert’s novel was like doing a crossword puzzle: “Sometimes I wonder what comes out of my mouth,” she said. “My mother and many of my friends sit and do crosswords, but I have never been in that world. There is a way of thinking around it. It’s logical, mathematical. You need to be able to see rhythms. Whatever it is. Reading “Dune” was quite dense and I think for people who are immersed into the world of science fiction, they understand worlds and Catharism and this planet and that planet. It is just another picture, which, not to stupefy myself, I am intelligent enough to understand it, but there is a rhythm. I think it is me highlighting the fact that people who live and breathe science fiction, they get it at another level.”
“Dune,” the latest cinematic take on the Frank Herbert 1965 classic, now playing in theatres, is part one of the planned two-part series. “Dune” is big and beautiful, with plentiful action and a really charismatic performance from Jason Momoa as swordmaster Duncan Idaho. It is unquestionably well made, with thought provoking themes of exploitation of Indigenous peoples, environmentalism and colonialism.
Richard and CTV NewsChannel morning show host Angie Seth chat up the weekend’s big releases including the Alec Baldwin animated movie for kids “The Boss Baby: Family Business,” the Chris Pratt sci fi action flick “The Tomorrow War,” the crime drama “Zola,” the concert documentary Summer of Soul (…Or, When the Revolution Could Not Be Televised) and the young adult horror flick “Let Us In.”
Richard sits in on the CFRA Ottawa morning show with guest host Andrew Pinsent to talk the new movies coming to theatres, VOD and streaming services including the Alec Baldwin animated movie for kids “The Boss Baby: Family Business,” the Chris Pratt sci fi action flick “The Tomorrow War,” the crime drama “Zola,” the concert documentary Summer of Soul (…Or, When the Revolution Could Not Be Televised) and the young adult horror flick “Let Us In.”
It had to happen. We’ve seen movies based on comic books, board games and trading cards. Now comes “Zola,” a darkly comedic crime drama, now playing in theatres, that was inspired by a 148-tweet thread by A’Ziah King a.k.a. @zolarmoon. “You wanna hear a story about why me and this b*tch here fell out?” she writes. “It’s kind of long but full of suspense.”
When we first meet Zola (Taylour Paige) she is a Detroit waitress trying to take an order from Stephani (Riley Keough) and her friend. Stephani is flirty, playfully inappropriate and soon the two bond. Both are exotic dancers, and share a similar world view. The very next day Stephani calls with an offer. She invites Zola on a road trip to Florida to perform at a strip club and make some fast cash.
Needing money, Zola hastily agrees but suspicions are raised when Stephani’s hapless boyfriend Derek (Nicholas Braun) and the mysterious X (Colman Domingo) come along for the cross-country drive.
Once in Florida, it becomes clear that Zola is in over her head, the target of a set-up by Stephani and X. It’s going to be a long, dangerous weekend for everyone involved.
“Zola” is much more than a Twitter storm. Director Janicza Bravo (who also co-wrote the script with Jeremy O. Harris) sets a frantic pace, unfurling the story with urgency, humour and clever sound design. The result is a slick look at a gritty story that places us in Zola’s shoes. She made a bad decision to go south with someone she barely knew, but now, like her, we’re caught up as things spin out of hand.
The tour guides for this chaotic trip are Paige and Keough. They take turns stealing scenes, filling the screen with bravura performances.
Paige plays Zola as impetuous but strong, vulnerable but powerful. Zola could have been played as a victim, but Paige flips that script, allowing her character to be in control in an out-of-control situation.
The performance is at odds with Keough’s work. She embraces Stephani’s messiness, playing up the cavalier attitude that masks her character’s pain. It’s a nervy performance, both funny and tragic.
“Zola” is a roller-coaster ride up until its final moments. An abrupt ending leaves many unanswered questions, but until then, it feels like the most in-the-moment 2021 movie to date.
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to VOD and streaming services including the psychological drama “The Lodge,” the poignant Brit com “Military Wives,” the Netflix comedy “The Lovebirds,” the family drama “The Roads Not Taken” and the Steve Coogan and Rob Brydon comedy “The Trip to Greece.”
“The Lodge,” now on VOD, may be mostly set in the great outdoors it is, nonetheless, a claustrophobic thriller that plays on dark psychological trauma.
Richard Hall (Richard Armitage) is the father of Aidan (Jaeden Martell) and Mia (Lia McHugh) and the soon-to-be-ex-husband of Laura (Alicia Silverstone). The estranged couple share custody until Richard breaks the news that he has met someone new and wants a divorce so he can marry Grace (Riley Keough). Distraught, Laura kills herself. The kids, traumatized, blame Grace for their mother’s death. In an attempt to bring his kids and fiancée to something close to speaking terms, Richard plans a “family” trip to a remote cabin so they can all get to know one another.
Almost as soon as they arrive Richard is called back to the city for work, leaving Grace, Aiden and Mia alone. “Things are very uncomfortable between us,” Grace says to the kids, “but we’re stuck in a house together.” That growing sense of unease is exacerbated after Aiden and Mia google their soon-to-be-step-mom and discover she is the daughter of religious leader and the only survivor of his cult’s mass suicide.
They are stranded—the car won’t start and the weather has made travelling on foot impossible—as strange things happen in the cabin and Grace begins to spiral. “We need to sacrifice something for the Lord,” she says.
“The Lodge” builds slowly creating eerie unease while peppering in some shocking scenes. Directors Veronika Franz and Severin Fiala play up the small details to create an uncomfortable atmosphere. The vastness of the icy outdoors playing against the claustrophobia of the cabin provides the backdrop for story ripe with religious imagery and surreal touches.
As the aura of paranoia grows, so do the questions. Is Grace is being tormented by the kids, or is she a victim of a supernatural force—possibly her father—who wishes her harm. Keough is terrific as a woman tormented by the past, unpredictable in the present. It’s hard to know whether she is dangerous or in danger and that pouch and pull is the movie’s strong point.,
“The Lodge” is a bit too ponderous in its early moments but finds its groove in the haunting exploration of Grace’s trauma.