I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres. Today we talk about the latest remake of “Pinocchio” starring Tom Hanks, the historical drama “Medieval” and the house of horrors flick “Barbarian.”
Richard sits in on the CKTB Niagara in the Morning morning show with guest host Stephanie Vivier to talk the new movies coming to theatres. This week we look at the latest remake of “Pinocchio” starring Tom Hanks, the historical drama “Medieval” and the house of horrors flick “Barbarian.”
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the latest remake of “Pinocchio” starring Tom Hanks, the historical drama “Medieval” and the house of horrors flick “Barbarian.”
Watch as I review three movies in less time than it takes to flip a coin! Have a look as I race against the clock to tell you about the latest remake of “Pinocchio” starring Tom Hanks, the historical drama “Medieval” and the house of horrors flick “Barbarian.”
Following the introduction of the indeterminate intonations of his Col Tom Parker character in “Elvis,” Tom Hanks now goes Tuscan, continuing his exploration of world accents with “Pinocchio,” a live-action CGI hybrid musical, now streaming on Disney+.
Hanks is Geppetto, an Italian woodworker who carves a puppet named Pinocchio out of a block of white pine. The elderly, lonely man treats the marionette like a son, and lo-and-behold, after he wishes on a star, Pinocchio (voice of Benjamin Evan Ainsworth), with a little help from The Blue Fairy (Cynthia Erivo), comes to life.
But is he a real boy? Nope. “To be really real,” says the Fairy, “he must pass an ordeal. He must prove that he is brave, truthful and unselfish.
To point the puppet in the right direction, the Fairy appoints the wisecracking Jiminy Cricket (voice of Joseph Gordon-Levitt) to be his moral guide. It’s his job to teach the newbie right and wrong, to be his conscience. “Conscience,” he says, “is that little voice that most people choose not to listen to… and that’s what wrong with today.”
With good intentions and endless curiosity, the pair set off but are sidelined when Jiminy is imprisoned in a glass jar. Left to fend for himself, Pinocchio experiences the ups-and-downs of life as a puppet cut loose in the world. He first falls under the control of a cruel puppeteer named Stromboli (Giuseppe Battiston), meets Lampwick (Lewin Lloyd), a mischievous boy with an eye for trouble, and even gets eaten by a sea monster called Monstro the Whale.
Pinocchio is getting loads of life lessons, but is he learning life’s most important lesson? “The most important part of being real, isn’t what you’re made of,” said the Blue Fairy. “It’s about what’s in your heart.”
“Pinocchio,” directed by Robert Zemeckis, is a respectful retelling of Disney’s 1940 animated classic. The edgy details from that movie and the 1883 book by Carlo Collodi have been smoothed over—Pinocchio does not, for instance, smoke a cigar in this version—but visually, Zemeckis takes his lead from the classic Walt Disney Animation style. From the puppet’s yellow hat, blue tie and red lederhosen, this Pinocchio is strictly traditional.
It’s a vibrantly colored romp, an action adventure that, despite the up-to-the-minute technology involved, feels old fashioned, dare I say wooden, in its approach. Good messages about the importance of family and learning from your mistakes abound, the peril is kept to a family-friendly minimum and, like its main character, the movie is just a little naïve.
Following in the footsteps of other Disney live-action remakes like “Beauty and the Beast,” “The Lion King” and “The Jungle Book,” the latest version of “Pinocchio” adds new technology to the story, but no new ideas.
Richard and CP24 anchor George Lagogianes have a look at the weekend’s new movies, the new Brad Pitt wartime thriller “Allied,” the new kick-ass Disney princess in “Moana,” the Oscar hopeful “Manchester by the Sea” and the Warren Beatty rom com “Rules Don’t Apply.”
Richard sits in with Erin Paul to have a look at the weekend’s new movies, the new Brad Pitt wartime thriller “Allied,” the new kick-ass Disney princess in “Moana,” the Oscar hopeful “Manchester by the Sea” and the Warren Beatty rom com “Rules Don’t Apply.”
Showbiz old timers believed any publicity was good publicity. Song-and-dance man George M. Cohan once famously bragged, “I don’t care what you say about me, as long as you say something about me, and as long as you spell my name right.” Brad Pitt is a pretty easy name to spell and the press has been using it a lot lately but will the news surrounding his break up with Angelina Jolie and subsequent stories of FBI investigations (no charges were ever filed) have any effect on the box office appeal of his new movie “Allied.”
Casablanca, 1942. Pitt plays Canadian intelligence officer Max Vatan, a deadly spy paired with French Resistance fighter Marianne Beausejour (Marion Cotillard). They are to pose as husband and wife, infiltrate a high level Nazi gathering and assassinate the German ambassador. “Odds of surviving are 60 to 40%,” he says, “against.” They survive (not a spoiler: if they didn’t make it there’d be no movie), fall in love and are soon sharing the same next of kin in London as Max takes on a less rigorous and much safer desk job. Despite Max’s boss’s (Jared Harris) warning that “marriage made in the field don’t work,” the couple settle in, the very model of a nuclear family until a high ranking official (Simon McBurney), who calls himself “a rat catcher,” confronts Max with the words, “We believe your wife is a German spy.”
Pitt and Cotillard like they just walked out a 1942 issue of Silver Screen magazine. Add to that high end period details in the costumes and sets and you have a handsome movie, almost as good-looking as its two leads. That being said, it’s a shame the first hour doesn’t have the pop it needs to really make us care about the characters when the story swerves from wartime romance to personal espionage thriller.
Director Robert Zemeckis keep things interesting with several memorable action scenes. He may be making a war film that frequently feels like a homage to the classic movies of yore but he’s done it with a modern flair, including rougher language and sexuality. Marianne giving birth on a London street as bombs drop around her has the melodrama of an old time picture but a contemporary sensibility.
Anchoring all this beauty are strong performances from Pitt and Cotillard.
At its heart “Allied” a love story despite the bullets and bombs. Pitt plays Max as a stoic but lethal—watch him choke someone to death then shove a biscuit down his throat to make it look like and accident—but most importantly, he’s a man in love. When he is told his wife may be a spy he says, “It’ll be OK because it’s not true,” but the moments of self doubt that wash across his face tell the real story. In his third war flick (following “Inglourious Basterds” and “Fury”) he’s torn between love and duty and Pitt infuses the performance with an appropriate amount of pathos.
Cotillard has the less flashy role, particularly in the second half but gives this femme fatale a real live beating heart that elevates her from stereotype to thoroughly current and exciting character.
“Allied” is really two movies—a “Casablanca” style romance and a spy thriller—bound together by Zemeckis’s adherence to classic filmmaking and the love story that provides the heart.