Posts Tagged ‘Rosa Salazar’


Richard joins CP24 anchor Jee-Yun Lee to have a look at the weekend’s new movies including ‘Alita: Battle Angel,’ ‘Level 16‘ and ‘Isn’t It Romantic.’

Watch the whole thing HERE!


Richard sits in with CTV NewsChannel anchor Marcia McMillan to have a look at the weekend’s big releases including ‘Alita: Battle Angel,’ ‘Happy Death Day 2U,’ and ‘Level 16‘ and ‘Isn’t It Romantic.’

Watch the whole thing HERE!


Richard has a look at the romantic satire “Isn’t It Romantic,” the CGI cyborg of “Alita: Battle Angel” and the time spun “Happy Death Day 2U” with CFRA Morning Rush guest host Kristy Cameron.

Listen to the whole thing HERE!

CTVNEWS.CA: ‘Alita: Battle Angel’ is a CGI spectacle with a synthetic heart.

From Film critic and ‘Pop Life’ host Richard Crouse reviews three new movies this week: ‘Alita: Battle Angel,’ ‘Happy Death Day 2U,’ and ‘Level 16‘ and ‘Isn’t It Romantic.’ Read the whole things HERE!



A weekly feature from from! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at anti-rom-com “Isn’t It Romantic,” the cyborg actiooner “Alita: Battle Angel” and the time warped “Happy Death Day 2U.”

Watch the whole thing HERE!


Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk about the romantic satire “Isn’t It Romantic,” the CGI orgy of “Alita: Battle Angel” and the time spun “Happy Death Day 2U.”

Listen to the whole thing HERE!

ALITA: BATTLE ANGEL: 3 STARS. “like its main character, has a synthetic heart.”

“There ain’t nothin’ in the world like a big eyed girl to make Christoph Waltz act so funny. Five years ago he played Walter Keane, the wannabe artist who wrongly took credit for his wife Margaret’s phenomenally successful paintings of sad looking kids with enormous eyes. He returns to screens this weekend as a mentor to a cyborg heroine who looks like she stepped out of one of Keane’s paintings.

Set in 2563, three hundred years after “the fall,” a deadly war, the story takes place in the dangerous and dystopian Iron City. Overcrowded and violent, the city doesn’t even have police, just Hunter Warriors who track down criminals for cash.

The action kicks off when the kind-hearted cybersurgeon Dr. Dyson Ido (Waltz) finding the cast-off “core” of Alita (Rosa Salazar) an abandoned cyborg with amnesia, discarded in a scrapyard. “I guess I’m an insignificant girl,” she says later, “thrown out with the rest of the garbage.”

Recognizing that there is more to her than metal and wiring, he takes her in, and like a high tech Dr. Frankenstein pieces together a body for her abandoned head and shoulders. He cares for her as if she was his daughter, attempting to give her a normal life despite the fact that there is very little normal about her. Sure, she giggles like a teenage girl and develops a love-at-first-sight crush on Hugo (Keean Johnson), but strange flickers of memory keep popping into her head.

Fragments of her former life come back when she least expects it. When she rescues a dog from danger an old instinct kicks in and she shows remarkable agility and speed. Later, when Hugo teaches her to play Motorball—sort of parkour on rollerblades—she displays incredible skill.

Turns out triggers recollections of her warrior past, providing clues to who she once was. As her true identity emerges—turns out she is one of the most advanced cyborg weapons ever made—sinister forces in Iron City including Motorball impresario Vector (Mahershala Ali) and the world-weary Chiren (Jennifer Connelly), want her stopped. At stake is not just her survival but the survival of Iron City, and everyone in it. “I do not stand by in the presence of evil,” she says.

Loosely based on Yukito Kishiro’s original manga, with a focus on the first four books, “Alita: Battle Angel” provides director Robert Rodriguez with lots of material for world building. Perhaps too much. Each main character has a backstory, whether it is in Iron City or the Eden-like floating world of Zalem. There’s hundreds of years of history to establish, the rules to Motorball and, of course, the blending of Alita’s two lives, past and present. There’s a lot going on. Exposition abounds and with the frenzy of plot it is inevitable there will be shards of unanswered and unexplored left by the time the end credits roll. Add to that a cliffhanger ending that doesn’t feel like an ending, more like Rodriguez simply ran out of film, and you have a movie more concerned with its franchise possibilities than telling a complete story.

“Alita: Battle Angel” is a feast of imaginative CGI, driven by large scale spectacle but, like its main character, has a synthetic heart.


THE BAD (in alphabetical order)

CHIPs: It’s a remake, a comedy and an action film and yet it doesn’t quite measure up to any of those descriptors. It’s a remake in the sense that writer-director-star Dax Shepard has lifted the title, character names and general situation from the classic TV show but they are simply pegs to hang his crude jokes on.

The Circle: While it is a pleasure to see Bill Paxton in his last big screen performance, “The Circle” often feels like an Exposition-A-Thon, a message in search of a story.

The Fate of the Furious: Preposterous is not a word most filmmakers would like to have applied to their work but in the case of the “Fast and Furious” franchise I think it is what they are going for. Somewhere along the way the down-‘n’-dirty car chase flicks veered from sublimely silly to simply silly. “The Fate of the Furious” is fast, furious but it’s not much fun. It’s an unholy mash-up of James Bond and the Marvel Universe, a movie bogged down by outrageous stunts and too many characters. Someone really should tell Vin Diesel and Company that more is not always more.

Fifty Shades Darker: Depending on your point of view “Fifty Shades of Grey” either made you want to gag or want to wear a gag. It’s a softcore look at hardcore BDSM (bondage, discipline, sadism and masochism) that spanked the competition on its opening weekend in 2015. Question is, will audiences still care about Grey’s proclivities and Ana’s misgivings or is it time to use our collective safeword? “Fifty Shades Darker” is a cold shower of a movie. “It’s all wrong,” Ana says at one point. “All of this is wrong.” Truer words have never been spoken. 

The Mountain Between Us: Mountain survival movies usually end up with someone eating someone else to stay alive. “The Mountain Between Us” features the usual mountain survival tropes—there’s a plane crash, a showdown with a cougar and broken bones—but luckily for fans of stars Idris Elba and Kate Winslet cannibalism is not on the menu. Days pass and then weeks pass and soon they begin their trek to safety. “Where are we going?” she asks. “We’re alive,” he says. “That’s where were going.” There will be no spoilers here but I will say the crash and story of survival changes them in ways that couldn’t imagine… but ways the audience will see coming 100 miles away. It’s all a bit silly—three weeks in and unwashed they still are a fetching couple—but at least there’s no cannibalism and no, they don’t eat the dog.

The Mummy: As a horror film it’s a meh action film. As an action film it’s little more than a formulaic excuse to trot out some brand names in the kind of film Hollywood mistakenly thinks is a crowd pleaser.

The Shack: Bad things in life may be God’s will but I lay the blame for this bad movie directly on the shoulders of director Stuart Hazeldine who infuses this story with all the depth and insight of a “Davey and Goliath” cartoon.

The Snowman: We’ve seen this Nordic Noir before and better. Mix a curious lack of Oslo accents—the real mystery here is why these Norwegians speak as though they just graduated RADA—Val Kilmer in a Razzie worthy performance and you’re left with a movie that left me as cold as the snowman‘s grin.

Valerian and the City of a Thousand Planets: Movies like the high gloss crime thriller “La Femme Nikita,” the assassin mentor flick “Léon: The Professional” and outré sci fi opera “The Fifth Element” have come to define director Luc Besson’s outrageous style. Kinetic blasts of energy, his films are turbo charged fantasies that make eyeballs dance even if they don’t always engage the brain. His latest, “Valerian and the City of a Thousand Planets,” not only has one of the longest titles of the year but is also one of the most over-the-top, retina-frying movies of the year. Your eyes will beg for mercy.

Wonder Wheel: At the beginning of the film Mickey (Justin Timberlake) warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, writer, director Woody Allen uses every amount of artifice at his disposal—including cinematographer Vittorio Storaro’s admittedly sumptuous photography—to create a film that is not only unreal but also unpleasant. “Oh God,” Ginny (Kate Winslet) cries out at one point. “Spare me the bad drama.” Amen to that.


Song to Song: I think it’s time Terrence Malick and I called it quits. I used to look forward to his infrequent visits. Sure, sometimes he was a little obtuse and over stayed his welcome, but more often than not he was alluringly enigmatic. Then he started coming around more often and, well, maybe the old saying about familiarity breeding contempt is true. In “Song to Song” there’s a quick shot of a tattoo that sums up my feelings toward my relationship with Malick. Written in flowery script, the words “Empty Promises” fill the screen, reminding us of the promise of the director’s early work and amplifying the disappointment we feel today. This is the straw that broke the camel’s back, the Terrence Malick movie that put me off Terrence Malick movies. I’ll be nice though and say, it’s not him, it’s me.


mother!: Your interest in seeing “mother!,” the psychological thriller from “Black Swan” director Darren Aronofsky, may be judged on your keenness to watch American sweetheart Jenifer Lawrence flush a beating heart down a toilet. Aronofsky’s story of uninvited guests disrupting the serene lives of a poet and his wife refuses to cater to audience expectations. “mother!” is an uncomfortable watch, an off-kilter experience that revels in its own madness. As the weight of the weirdness and religious symbolism begins to feel crushing, you may wonder what the hell is going on. Are these people guilty of being the worst houseguests ever or is there something bigger, something biblical going on?

Aronofsky is generous with the biblical allusions—the house is a paradise, the stranger’s sons are clearly echoes of Cain and Abel, and there is a long sequence that can only be described as the Home-style Revelation—and builds toward a crescendo of wild action that has to be seen to be believed, but his characters are ciphers. Charismatic and appealing to a member, they feel like puppets in the director’s apocalyptic roadshow rather than characters we care about. Visually and thematically he doesn’t push button so much as he pokes the audience daring them to take the trip with him, it’s just too bad we didn’t have better company for the journey.

“mother!” is a deliberately opaque movie. Like looking into a self-reflective mirror you will take away whatever you put into it. The only thing sure about it is that it is most confounding studio movie of the year.


Richard chats with “CHIPS” stars Dax Shepard and Michael Pena about performing the stunts for the big screen remake of the 70s TV hit “CHiPs.”

Watch the whole thing HERE!