Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including the return of Jason Statham in “Wrath of Man” (theatres this week, on digital May 25), the kind-hearted Tony Hale comedy “Eat Wheaties!” (VOD), the nostalgic documentary “Street Gang: How We Got to Sesame Street” (VOD/Digital) and the family dramedy “A Bump Along the Way” (VOD/Digital).
Richard joins NewsTalk 1010’s Jim Richards coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about the Jason Statham shoot ’em up “Wrath of Man” (theatres this week, on digital May 25), the quirky Tony Hale comedy “Eat Wheaties!” (VOD) and the nostalgic documentary “Street Gang: How We Got to Sesame Street” (VOD/Digital).
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including the return of Jason Statham in “Wrath of Man” (theatres this week, on digital May 25), the kind-hearted Tony Hale comedy “Eat Wheaties!” (VOD), the nostalgic documentary “Street Gang: How We Got to Sesame Street” (VOD/Digital) and the family dramedy “A Bump Along the Way” (VOD/Digital).
Mild mannered office worker Sid Straw, played by “Veep”/”Arrested Development” star Tony Hale in the new V.O.D. comedy “Eat Wheaties!,” claims to be a close acquittance of “Huger Games” star Elizabeth Banks.
“There is no such thing,” says her manager (Sarah Chalke).
As the cringe comedy begins Sid is unlucky in love, an expert in saying the wrong thing, misreading signals and trying too hard. “I understand that I am not the most exciting person out there,” he says. When he is named co-chair of the upcoming University of Pennsylvania’s reunion it is the beginning of a spiral. Setting up a Facebook page to publicize the event, he repeatedly messages Banks, an alumnus he claims to have been acquainted with decades ago.
Not realizing the posts are public, he bombards her account with a series of personal notes inviting her to the reunion. His many messages go unnoticed by the star but not her team, who file a restraining order against him. When the posts go viral—“What does that mean?” he asks.—his life unwinds as he is publicly and personally humiliated.
Based on the novel “The Locklear Letters” by Michael Kun, “Eat Wheaties!” (that was Banks’ catchphrase in school), is a mix of tragedy and comedy, made human by Hale’s performance. Sid could have been a collection of quirks but Hale paints him differently. Sid is a lovable loser and Hale plays him as a sweet, lonely guy, oblivious to the hole he’s digging for himself.
Hale is supported by a great supporting cast, including Paul Walter Hauser, Elisha Cuthbert, Lamorne Morris and Robbie Amell, who play off Sid’s social awkwardness with good-natured sympathy.
“Eat Wheaties!” is a tightly paced comedy which is more about kindness and doing the right thing than it is about knee slapping jokes. It is occasionally knee-slapping funny but the laughs come from kind-heartedness, not cruelty and that makes this quirky comedy a winner.
Richard sits in with Marcia MacMillan to have a look at the big weekend movies, Peter Berg’s ripped-from-the-headlines “Patriot’s Day,” “Live By Night” from director-actor Ben Affleck, the terrible “Monster Trucks” and the sublime “20th Century Women” and “Paterson.”
Paterson, the new movie from director Jim Jarmusch is a week in the life of Paterson, the man and the place.
Adam Driver plays Paterson, a poetry writing New Jersey bus driver from Paterson, New Jersey. He lives with Laura (Golshifteh Farahani), a dreamer who wants to open a cupcake shop and make them rich and their dog Marvin.
Paterson is a wonderfully leisurely movie. There are small conflicts sprinkled throughout, a bus breaks down and lovers quarrel, but Paterson isn’t about that. It’s about gentle, loving performances from Driver and Farahani and the beauty of overheard conversations and the day-to-day of regular life.
After the success of Star Wars and everything else you’ve been in recently, you must get offered every script out there. Why choose this one?
Jim [Jarmusch]. It’s a director’s medium so if I get lucky enough to work with great directors, that’s the only thing as far as a game plan I have. I have gotten to do that with really great people and it feels good. I’m lucky in that I get to choose things now, but choose things from what I’m offered. The scale doesn’t matter.
So it doesn’t matter whether you’re shooting for twenty days or you’re gone for six months? Is it just the love of acting?
Yes. It’s a very strange job. It seems you get to do your job twenty percent of the time and then you talk about it forever. For me the doing of it is the best. The things surrounding it don’t matter. Trailers, money, they don’t matter if you get to work with really great people. Then hopefully what you’re making is bigger than any one person and it feels relevant, as much as you can attach meaning to your job. The love of collaborating with people who are on the same page and want to make the best version of it is really exciting.
I think you can attach meaning. Movies like this are worth talking about…
I don’t like to say what meaning I attach to my work. Half of the experience of watching a play or something in a movie theatre is that everyone is coming from somewhere else. No one lives inside the movie theatre. They’re bring all their baggage and if they’re coming there not ready to be affected then they probably won’t be affected. But whatever meaning they pick out of the movie, that means something to them or doesn’t mean anything to them, is completely subjective.
A movie like Paterson is a beautiful slice of life but it is probably going to speak to the audience that will be very different from say, Suicide Squad, but Paterson isn’t going to make $165 million in its opening weekend.
But for me that makes it valid and interesting.
Really great movies have a longer shelf life. You come back to them later and find new things in them. So many times, and this is so obvious, you watch a movie and you’re not ready for it and you come back to it later because you’re a different person and suddenly it speaks to you in a different way. When they are well crafted they have that shelf life whereas a lot of things are made for one weekend.
The new Jim Jarmusch movie is a week in the life of Paterson, the man and the place.
Adam Driver is Paterson, a poetry writing New Jersey bus driver from Paterson, New Jersey. He lives with Laura (Golshifteh Farahani), a dreamer who wants to open a cupcake shop and make them rich or, maybe, become a country singer and their dog Marvin.
For Paterson, every day is pretty much the same as the lone before it. He wakes up early and eats Cheerios before packing a lunch into a metal lunch box and heading to work. A William Carlos Williams—the famous New Jersey poet—fan, he pens carefully worded free verse poems in an ever present notebook. The only things that change in Paterson’s life are the ever-shifting faces of his passengers and Laura’s career choices. When she isn’t painting black-and-white geometric designs on every surface of their small home she is dreaming about whatever it is that may come next for her. When his notebook is damaged Paterson must rediscover the possibilities of the blank page.
“Paterson” is a wonderfully leisurely movie. It’s not in a hurry to get where it is going, instead luxuriating in the mundane aspects of Paterson’s life punctuated by on-screen depictions of his poetry. What could have been insufferable turns into a beautifully rendered portrait of people who find beauty and art in every day life.
There are small conflicts sprinkled throughout, a bus breaks down and lovers quarrel, but “Paterson” isn’t about that. It’s about gentle, loving performances from Driver and Farahani and the beauty of overheard conversations and the day to day of regular life.