Twenty years ago Disney brought one of their popular theme park rides to cinematic life with the horror comedy “Haunted Mansion.” Eddie Murphy played a realtor who valued money over family, until they all get trapped in the mansion and learn valuable life lessons. Despite some laughs and near non-stop oddball action, it flopped at the box office, and even Murphy admitted, “it wasn’t good.”
The ride, however, has remained popular, and now, two decades along, Disney is attempting to bring the scary attraction back from the dead on the big screen.
Set in New Orleans, “Haunted Mansion” stars Rosario Dawson as single mother Gabbie. On the search for a new life with her young son Travis (Chase Dillon), she’s looking for a home she can turn into a bed and breakfast. Her search comes to an end when she finds a rundown mansion that suits their budget. It needs a deep clean and some de-cob webbing, and looks like no one has lived there for years (“lived” being the operative word) but the price is right.
“This place isn’t as warm as I hoped,” she says to Travis, “but I need you to give this place a chance. This is our home now.”
When things start going bump in the night, however, it soon becomes apparent why the mansion was such a bargain.
“This house is dripping with souls,” says the Hatbox Ghost (Jared Leto). “But there’s always room for one more.”
To combat the home’s malevolent spirits Gabbie brings in a ragtag crew of ghostbusters, priest Kent (Owen Wilson), the highly Yelp rated French Quarter psychic Harriet (Tiffany Haddish), paranormal tour guide Ben (LaKeith Stanfield), and tetchy historian Bruce (Danny DeVito).
“I should warn you before you step into the house,” Gabbie says, “this could change the course of your entire life.”
“I’m not afraid of a couple ghosts,” says Ben.
“You say that now,” Gabbie replies ominously.
“Haunted Mansion” evokes the iconic Disney ride, keeping the thrills family friendly and the jump scares that have been part of the theme park experience for decades.
What is new is the emphasis on grief and loss. Both Ben and Travis are stinging from the recent deaths of loved ones, and while it feels wedged in, their shared anguish gives the movie an emotional undercurrent it would not otherwise have.
Stanfield, in his first outing as the lead in a big family film, delivers laughs while also serving as straight man to the broader performances of Haddish, Wilson and DeVito. The movie, which gets off to a slow start, but finds its feet when the supporting cast of misfits shows up.
Before it becomes awash in CGI and spectacle in its last act, “Haunted Mansion” has kind of an old-fashioned feel that falls in line with the old-school vibe of the ride. It delivers the ride’s mild “happy haunts,” some Easter Eggs for fans and quirky, character-based humor that binds it all together. It doesn’t offer the same kind of thrills as the theme park attraction, but it is a massive improvement on the original film, and could be a good introduction to horror for younger viewers.
Every now and again when I’m at the movies a deep-rooted feeling of ennui sneals up me. That, “What the heck am I doing wasting my time watching ‘insert title here?’ It has only swept over me a handful of times usually in what I call Seatbelt Movies, films so uninspired I need a seatbelt to keep me from fleeing the theatre.
That familiar creeping feeling came over me during a recent screening of “Henchmen,” a new superhero animated film starring the voices of James Marsden, Rosario Dawson, Alfred Molina, Jane Krakowski and Rob Riggle. I stayed, trapped by professional duty to make it to the end credits, but it tested my patience in ways few other movies have.
“Silicon Valley’s” Thomas Middleditch is Lester a self described comic book nerd and orphan. On his sixteenth birthday he auditions at the Union of Evil—“The best of the worst!”—only to be assigned Henchman Third Class. A janitor. His dream of one day making his super villain persona, The Orphan,” a reality will have to wait. He’s assigned to Hank (Marsden), a disgraced former First Class henchman (he was too nice a guy to be bad), now pushing a mop. On a visit to the Vault of Villainy Lester accidentally winds up wearing an old super villain suit. Taking advantage of Lester’s newfound powers Hank sees a way to change his life. Using Lester’s ray gun hands he tries to free a chip of What-ifium—a substance that can change the past—from a giant crystal block. Before he can go back in time mega-baddie Baron Blackout (Alfred Molina), who put me in the mind of Kate McKinnon’s Jeff Sessions impersonation, asserts his intention to take over Super Villain City. Will the What-ifium save the world and make all their dreams come true?
There’s more—a team of superheroes called the Friendly Force Five, and a goopy gangster called Gluttonator who wants to use radioactive cheese to bring his foes to their knees and shouts “What the feta??!!” when his plan goes south—but why prolong this any more than I have to?
Set to a soundtrack of sound-alike classic rock songs “Henchmen” is about as imaginative as you can expect from a movie where all the criminals live in a place called Super Villain City. From the uninspired voice work to animation that looks like next wave cheapo Hanna-Barbera style animation without any of the organic charm, “Henchmen” is little more than a collection of cartoon clichés. Very small children might find distraction in the colourful design or the bullet proof underpants or the ‘Bad guys always lose’ moral but all others beware.
I took no joy in writing this review but then again I could find no joy in “Henchmen” either.
In “Unforgettable” one family blows apart, while another comes together. And that’s when the trouble starts. The advertising tagline says it all, “When Love Ends, Madness Begins!”
Originally meant to star Kate Hudson and Kerry Washington as spurned ex wife and new bride respectively of David (Geoff Stults), they dropped out to be replaced by Katherine Heigl and Rosario Dawson.
In the 1980s style psycho-romance drama sees the two actresses face off.
Tessa (Heigl) is the ex, and mother of Lily (Isabella Kai Rice). She’s an obsessive perfectionist, a Mommie Dearest who uses Lily as a pawn as she tries to win David back. To pass the time when she isn’t plotting against Julia, she watches her wedding videos with tears in her eyes.
Julia (Dawson) is David’s new girlfriend. A transplant from New York, she moves to California to be with him, leaving behind a troubled past that includes an abusive boyfriend (Simon Kassianides).
David, the centre of attention is a bland former New York City Merrill Lynch hot shot who uprooted to California to take over the family brewery. He is as oblivious as he is handsome.
When Tessa discovers Julia and David are to be married a switch goes off in her head and she steps into “Fatal Attraction” territory. First she hacks into Julia’s phone, does some mild identity theft and by the time we see POV shots of her prowling around David and Julia’s love pad the conspiracy to break the happy couple up has been put into place.
It’s a cheap shot but it has to be said, “Unforgettable” is unforgivable. What could’ve been a down and dirty exploitation b-movie is undone by characters straight out of Central Casting. Not only are they stereotypes—David is the good guy who says things like, “Nothing matters but you and I,” while the bad guy is simply a snarling animal—but they are mind-numbing stereotypes. We’ve seen them all before and better. None have any shading. Tessa, Julia and David exist strictly to move the story along, not to be real people. Only the cop character (Robert Wisdom) stands out, and that’s only because he may possibly be the dumbest policeman in cinematic history.
Then there is the limp-as-a-cooked-noodle plot. Can this rightly be called a thriller when every twist and turn is telegraphed and amplified by a script devoid of mystery or secrets? I don’t think so. For example, [MILD SPOILER ALERT] as one of the characters is about to take a bonk on the head ask yourself, “Does he not see the heavy iron fireplace poker in her hand?” You knew it was going to happen, people you tell about the movie, but who haven’t even seen it, could tell it was going to happen but it is just one example of many of the death defying suspension of disbelief the filmmakers expect from the audience.
“Unforgettable” is a revenge movie that feels like the ultimate revenge is on the audience.
You can take the boy out of Canada but you can’t take Canada out of the boy.
When I meet with Brampton, Ont.-born Michael Cera to chat about his new project, The Lego Batman Movie, he’s having lunch, eating a Waldorf salad.
The 28-year-old began his career in Canada with a Tim Hortons summer camp commercial before decamping to the United States, finding fame with Arrested Development and a string of successful movies like Superbad and Juno, but has retained his disarming Canadian politeness.
I walk in, he jumps up, “Do you want anything? Cheese? A coffee? How are you doing?”
Declining the snacks and coffee I ask him about the two-year process of recording vocal tracks to play half of the Dynamic Duo, Batman’s ward Dick Grayson, a.k.a. Robin.
“You are only focussed on your voice,” he says on the difference between live action and animation. “That gives you a certain amount of freedom to experiment in ways that you wouldn’t normally. And there’s nobody around. All self-consciousness that exists on a set where there is all this infrastructure put in place to set the camera up and point it at you and then you have to deliver. All that pressure is not there when you’re in the studio. They just press record. They’re not even recording on tape, it’s digital. You just go and experiment and fail as many times as you want.
“As far as improvisation goes, it was very loose on this. The script is good and he jokes at work and everything … you feel encouraged and take chances.”
The Lego Batman Movie is part parody, part homage to the Batman origin story. When we meet Batman, played by Cera’s former Arrested Development co-star Will Arnett, he may have outlived his usefulness as Gotham’s main do-gooder. What does a Caped Crusader do when the city no longer needs a vigilante crime fighter? Alfred Pennyworth, the superhero’s loyal butler and legal guardian suggests, “It’s time to face your greatest fear, being part of a family again.” Enter Dick Grayson.
“There’s a great foundation there,” Cera says about Batman’s backstory. “I think the reason Batman keeps getting rehashed is because it is a great core story with this great character and the world around him. There is a lot to play off of in that.”
It sounds heavy, but this isn’t Christopher Nolan’s long dark night of the superhero soul. “The best thing I can say about the tone is that it is a little like Chuck Jones,” Cera says. “Joke. Joke. Joke. It has that kind of rhythm.”
Cera’s willingness to be irreverent with the Batman mythology isn’t a lapse of manners — he is Canadian after all — it’s because, “I’m not an overly enthusiastic Batman fan. I didn’t grow up with the comics. Comics just didn’t land with me. I was really into cartoons and Nintendo. That was where my head was at. I loved watching the Batman movies but I don’t live and breathe it for some reason.”
“The Lego Batman Movie” movie begins with a pretty good joke. Over a darkened screen Batman’s raspy voice (Will Arnett) intones, “All important movies begin with black.” Unfortunately as the film goes on it becomes clear that it wasn’t just a gag, that director Chris McKay is trying to make an important, capital I, movie.
The movie kicks off with a wild opening sequence as The Joker (Zach Galifianakis) tries to destroy Gotham City. He brings along some super villains you have heard of, like Two Face and Harley Quinn, and some you haven’t like Gentleman Ghost and Condiment King. Mayhem ensues until Batman shows up. The resulting showdown sets up a familiar theme: without the bad, the good doesn’t exist.
“I’m fine with you fighting other people,” says The Joker, “but when people ask who your favourite villain is… You say Joker.”
The Caped Crusader refuses to acknowledge any bond with his nemesis. “Batman doesn’t do ships… as in the relationships.”
Later, police commissioner James Gordon retires, putting his daughter Barbara Gordon (Rosario Dawson) in charge. As the new commissioner she brings in a new crime clan called It Takes a Village… Not Batman. “Despite all the work he’s done for us Gotham is still the most crime ridden city on earth,” she says.
As Batman’s importance to Gotham lessens The Joker changes the dynamics of their relationship by surrendering, thereby rendering Batman completely useless. “I’m off the menu, you won’t get to fight any of this anymore!”
But what does Batman do with the city no longer needs a vigilante crime fighter? Alfred Pennyworth, the superheroes loyal butler and legal guardian suggests, “It’s time to face your greatest fear… Being part of a family again,” but will the man who says, “I don’t feel anything emotionally except rage,” be able to embrace a home life?
Infected by some disease as the live action DC films “The Lego Batman Movie” is not content to simply be what it is, a silly movie about superheroes made of toy bricks. Instead it stretches to be a feel-good movie about the importance of relationships and friendships, even between friend and foe. What should have been a straight up parody becomes something else. It does poke gentle fun at Marvel and DC’s habit of squishing far too many characters in their movies and The Joker’s “unnecessarily complicated bombs,” but the main “you mean nothing to me, no one does” storyline could have been lifted from any of Christopher Nolan’s dissections of Batman psyche. It’s more tortured Batman this time but with 100% more jokes then anything Zack Snyder could ever imagine.
There are jokes and even a song or two—although nothing as catchy as “Everything Is AWESOME!!!” by Tegan and Sara—but this is more about relationship feels than it is about belly laughs. Sure, it’s funny when Batman sings, “I’ll turn Two Face into black and blue face,” but the rest doesn’t feel irreverent enough. This is a new world, a Lego universe where anything is possible so why is Batman still clinging to the anger generated by his parent’s death? Arnett has fun with the voice, giving the character an almost Trumpian level of self-regard, which raises a giggle or two but overall this doesn’t feel like a parody of Batman as much as it does a fuzzy carbon copy.
“The Lego Batman Movie” zips along at a tremendous pace with in-your-face animation and some jokes but the overwhelming amount of CGI muffles some of the charm of the original, creating a less organic, homemade feel. The first contained loads of CGI as well but disguised it better. The result is a hybrid, an animated action movie that both parodies and pays tribute to the comics and comic movies that inspired it.
In “Top Five” comedic superstar Andre Allen (Chris Rock) faces a problem that has bedeviled many of his real life counterparts. “I don’t feel like being funny anymore,” he says, but will his audience be ready for his new, serious side?
Allen is at a make or break point in his career. After years of making popular comedies featuring a cop in a bear suit, his latest film, “Uprize,” is a serious drama about the slave revolt in Haiti and if it flops his agent (Kevin Hart) says, “we’re talking ‘Dancing With the Stars.’” Before he jets off to London to marry his reality star girlfriend (Gabrielle Union) he does the promotional circuit, including spending a day with New York Times reporter Chelsea Brown (Rosario Dawson). In the course of doing an in-depth profile on the actor Chelsea uncovers some uncomfortable truths about Allen and herself.
The top five things to know about “Top Five” is that it works as a comedy, as a romance, as a look at creative fulfillment, as a showcase for Chris Rock’s comedian friends and as a portrait of fame in the modern age. Rock, who also writes and directs, is firing on all cylinders in a personal film that crackles with energy and NSFW humour.
Rock and Dawson spark in long, uncut scenes of dialogue that echo “Before Midnight.” Flirting and sparring throughout the film, they are at the heart of the story but Rock has populated the movie with other interesting characters and cameos.
As Allen’s childhood friend and minder Silk, J.B. Smoove is smooth as silk and SNLer Leslie Jones is a showstopper but several supporting players threaten to walk away with the whole movie. Cedric the Entertainer lives up to his name, handing in an outrageous performance as a Houston comedy promoter and DMX, in a short cameo, can only be described as unhinged. Also, it’s almost worth the price of admission to see Jerry Seinfeld “makin’ it rain” in a strip club.
It’s a colourful collection of characters but Rock keeps the focus where it needs to be, on the chemistry between he and Dawson. The talk about everything from Charlie Chaplin—“The Grandmaster Flash of Ha Ha”—to whether or not the release of “Planet of the Apes” in linked to Martin Luther King’s assassination to Allen’s alcoholism. There is an easy air of authenticity between them that is imminently watchable.
Occasionally “Top Five” tries just a bit too hard to pluck the heartstrings—a scene between Allen and his father is a clunker, neither funny or effective—but Rock, unlike his alter ego Allen, is still clearly interested in making funny movies, and pulls it off with panache here.
Bill Murray became a big screen superstar on the back of loose-limbed performances in comedies like Caddyshack, Stripes and Ghostbusters. By 1984, however, he was tiring of playing the clown and looking to do something with a bit more edge.
When director John Byrum gave him a copy of W. Somerset Maugham’s 1944 novel The Razor’s Edge, Murray responded the very next day. Calling the director at 4 am he said, “This is Larry, Larry Darrell,” dropping the name of the novel’s main character, an enigmatic man on a quest for spiritual fulfillment.
The resulting film bombed, with Roger Ebert suggesting Murray played “the hero as if fate is a comedian and he is the straight man.” Of course Murray has gone on to become a credible and in demand dramatic actor, but the story of a comedian’s rocky leap from farce to drama still rings true today.
This weekend Chris Rock’s new comedy Top Five tells the story of Andre Allen, a fictional megastar trying to jump from silly comedies to Uprize, a serious drama about the slave revolt in Haiti.
Top Five is a new twist on an old story. Many comedians have tried to flick the switch from comedy to drama.
The late Robin Williams effortlessly hopped between genres. In 2002 alone he made three films, the lowbrow laffer Death to Smoochy, bookended by the psychodrama One Hour Photo and Christopher Nolan’s thriller Insomnia.
Will Ferrell, Steve Carell and Jonah Hill are best known for funny movies like Blades of Glory, The 40 Year-Old Virgin and Superbad, but each have stretched their dramatic muscles. Ferrell’s Stranger Than Fiction earned a good review from Roger Ebert who said Ferrell “has dramatic gifts to equal his comedic talent.” Carell’s new drama Foxcatcher looks poised to earn him notice at awards time and Jonah Hill is a two time Oscar nominee for heavyweights Moneyball and The Wolf of Wall Street.
Finally, think Jim Carrey and visions of talking butts and rubber-faced features come to mind but he made a serious run at being a serious actor. Perhaps he was pushed into more thoughtful work when his Batman Forever co-star Tommy Lee Jones told him, ‘I cannot sanction your buffoonery,” but whatever the case in movies like Man on the Moon, The Majestic and Eternal Sunshine of the Spotless Mind played it straight. “It’s going to be so hard to talk out of my ass after this,” he said when he won the Golden Globe for Best Actor award for The Truman Show, “but I’ll manage.”
The critics hammered “The Captive,” a new crime drama from director Atom Egoyan, when it played at the Cannes Film Festival. Reaction at the French fest was swift and brutal for a film that features some good thriller elements but is sunk by plot holes, logic lapses and simultaneous under and over acting.
Set in Niagara Falls, Ontario the beginning of the movie is a slow burn, using a broken timeline to weave the stories of a young detective (Scott Speedman) transferring from homicide over to the Special Victims Unit run by Nicole (Rosario Dawson) with the mysterious disappearance of Cass (Alexia Fast) who was taken from the backseat of her father’s (Ryan Reynolds) truck as he picked up some food at a diner.
Held captive for eight years by a pedophile (Kevin Durand), the girl is locked in a hidden apartment where she plays piano and watches streaming video of her mother (Mireille Enos) at work as a hotel maid. When she isn’t on lockdown she’s used as online bait for a pedophile ring, a recruiter for other young girls. The police investigation is a dead end until a clue from an unlikely source breaks the case.
“The Captive” has an interesting enough premise, but in an effort to differentiate itself from a score of similarly themed police procedurals, it makes a few wrong turns. The choppy timeline works well enough, helping to build some drama, and the pedophile’s habit of planting mementos from Cass’s life—a hairbrush, a figure skating trophy—in the hotel rooms her mother Tina cleans, and then watching her reactions, is unspeakably cruel.
But, like so much of the movie, there is bad along with the good. Tormenting Tina is creepily effective but it is played strictly for dramatic effect, leaving a major logic hole in the story. Tina doesn’t call the police until she has enough mementos to open a junk shop even though it would have been the best and easiest way to catch the bad guys… unless you’re in a movie called “The Captive.” On “Law and Order” they would have nailed this creep in no time flat.
But this isn’t “Law and Order,” it’s an attempt at a more nuanced style of storytelling, but for us to care about the grace notes of the story we have to care about the characters. The premise is heartbreaking, no parent could be expected to hold up when their child is taken but the parents never become characters. They stop just short, instead acting out the broad strokes of grief. Reynolds is a loose cannon, prone to lashing out while Enos redefines listless, handing in a performance that borders on somnambulistic.
Then there is the Durand problem. A good thriller needs a good baddie but Durand’s performance, which I suppose is meant to be eerily otherworldly, comes across like an Ed Wood Jr. villain, all pursed lips and whispered dialogue. It’s strange and ineffective work that plays in stark contrast to Enos’s understated performance.
Unlike the best of Egoyan’s films “The Captive” doesn’t work on any level other than the surface. Sure, there are multiple stories—a 90’s style police procedural, the aftermath of the kidnapping, the parent’s devastation and the opera singing deviant and his ring of pedophiles—but none are developed past the superficial.
Bruce Greenwood first met director Atom Egoyan in a singles bar. “Atom was alone in the corner and I felt sorry for him,” says Greenwood. “We were introduced by a mutual friend.”
That was in the early 1990s, when Egoyan was on the brink of international acclaim as a director and Greenwood was a film and television star with a handful of movies and recurring roles on St. Elsewhere and Knots Landing under his belt. That chance meeting led to their first film together, Exotica, a study of loneliness and desire in a lap-dancing club that Roger Ebert called “a deep, painful film” in his four-star review. “We became good friends during that process,” said Greenwood, “and in the ensuing years.”
Three years later the pair collaborated on The Sweet Hereafter, an adaptation of the novel of the same name by Russell Banks about the effects of a tragic bus accident on the population of a small town. Greenwood earned a Genie Award nomination playing a grieving father and in 2002 readers of Playback voted it the greatest Canadian film ever made.
Next was a small role in Ararat, Egoyan’s story of a young man whose life is changed during the making of a film about the Armenian genocide, and then, in 2013, a cameo in Devil’s Knot. Greenwood played a judge in Egoyan’s retelling of the events leading up to the West Memphis Three murders and the “Satanic panic” that fuelled the hysteria surrounding the subsequent trial of teenagers Jessie Misskelley Jr., Damien Echols and Jason Baldwin.
These days Greenwood is best known for his work as Capt. Christopher Pike in the 2009 Star Trek film and its sequel, Star Trek Into Darkness, but he’s not too busy in Hollywood — the Quebec-born actor has lived in Los Angeles since the late 1980s — to reteam with his Canadian cohort. In Egoyan’s new psychological thriller, The Captive, Greenwood joins stars Ryan Reynolds, Scott Speedman, Rosario Dawson and Mireille Enos in a story of a child kidnapping. Egoyan says he and Greenwood share a shorthand that makes for easy work on set. As for Greenwood, he says he trusts the director, “more than anyone I’ve ever worked with. He can ask me to do anything and if my initial instinct is ‘Oh no,’ it ends up being the right idea. He’s a tremendous guy.”