In “Catherine Called Birdy” director Lena Dunham leaves her best-known locale, the gritty streets of “Girls” era Brooklyn, New York, behind in favor of medieval England. Thematically, however, she is walking the same path.
Based on the 1994 novel of the same name by Karen Cushman, the movie follows 14-year-old Lady Catherine (Bella Ramsey), the unruly daughter of a cash-strapped nobleman, as she works to foil her father’s attempts to marry her off to a rich suitor.
Set in a thirteenth century English village that Catherine’s father Lord Rollo of Stonebridge (Andrew Scott) has allowed to sink deeply in debt as he lives the high life, “Catherine Called Birdy” sees the strapped for cash Rollo put his daughter up for auction to the highest bidder. “You’re my daughter,” he says. “If I say that you shall be married, than married you shall be.”
Trouble is, Catherine, who has witnessed six of her mother’s troubled pregnancies, wants nothing to do with marriage and childrearing. She is more interested in the things that any thirteenth century teen might enjoy.
“My truest passions are avoiding my chores,” she says. “Critiquing my father’s horrible swordplay. Disrupting cottage raisings. Causing mischief in the village. And listening through doors I should not listen through.”
She uses her wiles to avoid the altar, finding cunning ways to humiliate her suitors. One by one she scares them off, until Shaggy Beard (Paul Kaye), a wealthy older man who enjoys her manipulations, comes along. “Would I choose to die rather than be forced to marry?” she says. “I do not think either option appealing, or fair.”
Ripe with bawdy humor filtered through Dunham’s feminist sieve, “Catherine Called Birdy” is a period coming-of-age story that, despite the corsets on display, has a modern sensibility. Much of that is due to Dunham’s script, which balances the humor with empowerment, but the real sell job here comes from Ramsey.
In a performance that reveals strength and vulnerability alongside comedic and dramatic chops, the former “Game of Thrones” star not only looks like she just stepped out of a medieval Walter of Durham painting, but she also embodies Catherine’s rowdy spirit.
“Catherine Called Birdy” sags in the middle, but what it lacks in pacing, it makes up for in pathos and charm.
Not since the Three Stooges has nonsense been this much fun. Over five movies, the frantic, Tic Tac-shaped Minions, the silly sidekicks to former supervillain Gru (voiced by Steve Carell), have brought the most kid friendly anarchy to the screen since Curly said, “Nyuk, nyuk, nyuk,” for the first time.
Their new movie, “Minions: The Rise of Gru,” now playing in theatres, sets a new standard for silliness.
Set in 1976 San Francisco, the story begins with awkward twelve-year-old Gru and his dream.
“There are a lot of villains in the world,” he says, “but I am going to be a supervillain.”
To make his evil wish come true, he interviews to become a member of the world’s top outlaw team, the Vicious 6. But, he is not taken seriously. At all.
“I am pretty despicable,” Gru says proudly. “You don’t want to cross me.”
“Evil is for adults who steal powerful ancient stones and wreak havoc,” says Belle Bottom (Taraji P. Henson), the newly-appointed head of The Vicious 6, who took over from the former, recently deposed Wild Knuckles (Alan Arkin). “Not for tubby little punks, who should be at school learning, taking a recess and sucking his thumb! Come back when you’ve done something evil to impress me!”
To prove he’s got what it takes to be a supervillain, Gru steals something near and dear to the peach-pit sized hearts of the Vicious 6, their prized Zodiac Stone. Instead of impressing Belle Bottom, the theft turns her against Gru and his loyal Minions. With the mad, bad and dangerous to know Vicious 6 on their tail, Gru is kidnapped by Wild Knuckles. “My favorite villain is also my kidnapper,” marvels Gru. “This is going to be a great opportunity if you don’t kill me.”
Cue the Minion mayhem.
“The Minions: The Rise of Gru” provides fans of the franchise exactly what they want, no deep thoughts, just sublime silliness.
If you want to get all film critic-y about this, I suppose you could say the leitmotif is that of sweetly-inspired mayhem that follows the Minions wherever they go. But this isn’t a movie with layers of subtext or loads of diegetic elements. There is a denouement, a resolution to the story, but why overthink this? It’s short, fast and stupid, with an easily digested message of, as Armistead Maupin always says, finding your logical, not biological family. Or, as Gru says, “find your tribe and never let them go.” More zesty than arty, it’s made for kids, who I’m sure will gobble it up, while parents sit patiently through the 85 minute runtime with visions of the Three Stooges dancing in their heads.
In the whodunnit genre few names loom larger than Agatha Christie. The author of 66 novels and 14 short story collections was known as the Mistress of Mystery and holds a Guinness World Record as the best-selling fiction writer of all time.
Her books are the fuel for countless stage plays, television shows and movies, but the spark that make the novels so entertaining often goes missing in translation.
It speaks volumes that the best Christie movie of late, “Knives Out,” isn’t an adaptation of her work. It borrows the mechanics of her best stories, including the climatic singling out of the murderer in a roomful of suspects, to make the most enjoyable movie tribute to her style in years and that includes Kenneth Branagh’s 2017 thriller “Murder on the Orient Express,” which is actually based on a Christie classic.
The director takes a second kick at the Christie can with “Death on the Nile,” an adaptation of the writer’s best-selling 1937 mystery of jealousy, wealth and death.
The film begins with a flashback to World War I and the origin of Belgian soldier Hercule Poirot’s (Branagh) flamboyant moustache.
Cut to 1937. Poirot, now a world-renowned detective, is on vacation in Egypt aboard the lavishly appointed ship S.S. Karnak. Also aboard are heiress Linnet (Gal Gadot) and her new husband Simon (Armie Hammer), a glamourous, honeymooning couple cruising the Nile in an effort to hide from the jealous Jacqueline (Emma Mackey), who happens to be Linnet’s jealous former friend and Simon’s ex-lover. Jacqueline has other plans, however, and comes along for the ride. “It’s indecent,” says Simon. “She’s making a fool of herself.”
Linnet fears that Jacqueline is up to no good and reaches out to Poirot to look out for her safety on the ship. “Maybe Jacqueline hasn’t committed a crime yet,” she says, “but she will. She always settles her scores.”
When Linnet turns up dead, Jacqueline is the obvious suspect, but she has a rock-solid alibi.
So who could the killer be? Is it Linnet’s former fiancé Linus Windlesham (a very subdued Russell Brand)? Jazz singer Salome Otterbourne (Sophie Okonedo)? Maybe it’s Marie Van Schuyler (Jennifer Saunders), Linnet’s Communist godmother or Rosalie Otterbourne (Letitia Wright) Linnet’s old classmate.
Only one person can get to the bottom of the matter. “I am Detective Hercule Poirot and I will deliver your killer.”
“He’s a bloodhound,” says Rosalie, “so let him sniff.”
“Death on the Nile” has an old-fashioned Hollywood epic feel to it. There’s glamour, beautiful costumes and even more beautiful people set against an exotic backdrop shot with sweeping, expensive looking crane shots over CGI pyramids. There are, as they used to say, more stars than there are in the heavens populating the screen and a knotty mystery that only Poirot can untie.
It also feels old fashioned in its storytelling. Branagh takes his time setting the scene, adding in two prologues before landing in Egypt. It takes almost an hour to get to the sleuthing and the weaving together of the clues and the characters. The leisurely pace sucks much of the immediacy out of the story, and despite all the moving parts, the mystery isn’t particularly intriguing.
More intriguing is Branagh’s take on Poirot. On film the detective has often been played as the object of fun, and while the character’s ego, persnickety personality and quirky moustache are very much on display, but here he is a serious man, heartbroken and brimming with regret. We learn how the death of a loved one changed him, turning him into the man we see today. It’s a new take on the crime solver that breathes some new life into the character’s lungs.
Then there is the pyramid in the room. Yes, Armie Hammer, the bland slab of a leading man, has a large role in the action. He is so interwoven into the movie that he couldn’t be cut out, à la Kevin Spacey in “All the Money in the World,” despite his recent scandals. At any rate, despite having one of the larger roles, he doesn’t make much of an impression.
“Death on the Nile’s” high style and all-star murder mystery may please Agatha Christie aficionados but it could use a little more of the “Knives Out” vibe to make it feel less old fashioned and conventional.
Anyone who grew up in the 1970s will remember The Trolls. The vinyl creatures with DayGlo Eraserhead coifs and big goofy smiles invaded pop culture, decorating everything from rear view mirrors to teen’s bedrooms. Unlike modern day internet trolls, these creatures were joyful, hug-happy little things with more personality than your average Pet Rock and a ubiquity that made them one of the symbols of a kinder and gentler time.
Then they, like other 70s fads like disco music, streakers and Gee Your Hair Smells Terrific shampoo, they faded into obscurity, banished forever to the Retro section of your local junk shop.
Now they’re back in Trolls, an animated adventure from the makers of Shrek Forever After and Mr. Peabody & Sherman that aims to spread some cheer amid a fraught election season.
Co-director Walt Dohrn says he hopes the film’s message of optimism in the face of adversity will be “an antidote to the madness of the world.”
“When Walt and I set out to make this film,” says co-director Mike Mitchell, “we did want to make a film about happiness because the news and the media is so scary. And not just for kids, adults too. The internet is so judgemental and snarky.”
“The world is kind of a difficult and dark place,” adds Dohrn, “so putting something out there that talked about happiness, where it comes from, what happens when you lose it…”
“…will get people discussing the power of a positive attitude and happiness,” says Mitchell, finishing his friend’s sentence. “I’m hopeful this will start a trend of, It’s OK to be happy. It’s cool. Especially with this clowny, weird election going on.”
Trolls the movie is as eye-popping as the psychedelic creatures that inspired it. Mitchell and Dohrn have made a movie that is possibly the weirdest and most colourful kid’s entertainment since H.R. Pufnstuf. They had the freedom to do so because the beloved 1970s toy Trolls came with no backstory.
“That’s what was cool about working on this,” says Mitchell. “Even though these Trolls had been around forever and ever, there was no story. No mythology to it so Walt and I got to make a whole world. We could create a whole new world you’ve never seen before, create whole new characters.”
They created a realm where the Trolls (voiced by Anna Kendrick, Justin Timberlake, Zooey Deschanel, Russell Brand, James Corden and Gwen Stefani) make a daring escape from the Troll Tree in Bergen Town. The Bergens are snaggletooth ogres, as miserable as the Trolls are joyful. True happiness for the glum townies only comes with eating Trolls, obviously a huge problem for our heroes.
“Walt and I are huge fans of old fairy tales,” says Mitchell on the inclusion of the Troll-eating Bergens, “and those stories always had someone going down, having their heart taken out.”
“We’re finding the younger viewers don’t have a problem with it,” says Dohrn. “It’s the parents trying to protect them.”
The cheerful co-directors finish one another’s sentences and have a camaraderie that suggests they have taken the movie’s messages of friendship to heart.
“He’s an optimist and I’m a pessimist,” says Mitchell. “That’s kind of how we approached directing this film. We had a balance. In making it I discovered the power of a positive attitude.”
Anyone who grew up in the 1970s will remember The Trolls. The vinyl creatures with DayGlo Eraserhead coifs and big goofy smiles invaded pop culture, decorating everything from rear view mirrors to teen’s bedrooms. Unlike modern day internet trolls, these creatures were joyful, hug-happy little things with more personality than your average Pet Rock and a ubiquity that made them one of the symbols of a kinder and gentler time.
Then they, like other 70s fads like disco music, streakers and Gee Your Hair Smells Terrific shampoo, they faded into obscurity, banished forever to the Retro section of your local junk shop.
Now they’re back in a big screen adventure from the makers of “Shrek Forever After” and “Mr. Peabody & Sherman.”
In this new, updated story the Trolls make a daring escape from the Troll Tree in Bergen Town. The Bergens are snaggletooth ogres, as miserable as the Trolls are joyful. True happiness for the glum townies only comes with eating Trolls, obviously a huge problem for our heroes. Led by King Peppy (voice of Jeffrey Tambor) the colourful creatures relocate to a place with “clean air, freshwater and great acoustics” they truly live in harmony. On the 20th anniversary of their emancipation from Bergen Town they do what they do best, throw a wild, loud party that attracts the attention of the head Troll Hunter and cooker of Troll Treats (Christine Baranski). The Bergen party crasher stomps into Troll Town, making off with dozens of citizens, leading Princess Poppy (Anna Kendrick) to lead a rescue mission to deep into the heart of darkness, Bergen Town.
“Trolls” the movie is as eye-popping as the psychedelic creatures that inspired it. Possibly the weirdest kid’s entertainment since “H.R. Pufnstuf.” More sensory overload than narrative, “Trolls” is a fun ride but it is more concerned with entertaining the eye than the brain. In a blur of neon the story unfolds with a mix of kid friendly pop songs, supervised by Justin Timberlake, and psychedelic story telling that allows strange characters—like a stoner cloud (Walt Dohrn)—to inhabit a weird and wonderful place for eighty-five quick minutes.
“Trolls” doesn’t have the impact of “Frozen” or the messages of “Zootopia” but it is a brightly coloured, optimistic and chirpy way to spend a Saturday matinee with the kids.
There are as many different kinds of Easter movies as there are colours on the most psychedelic Ukrainian Easter egg. From kid-friendly romps like Hop, Russell Brand’s cartoon about an errant Easter Bunny, to the rock opera Jesus Christ Superstar to all-singing-all-dancing spectaculars like Easter Parade to sword-and-sandal epics like Ben Hur and solemn retellings of the biblical Easter story like The Greatest Story Ever Told.
Then there are horror films like Easter Bunny, Kill Kill and the terrifying Easter Bunny from Bill & Ted’s Bogus Journey… so many diverse takes on Easter, but since there’s no way to watch all these movies on Easter weekend, let’s hippity-hop through a list of the bunny’s greatest hits.
Controversial in its time—fundamentalist Bob Jones III denounced it as “blasphemy” without actually watching the film—Jesus of Nazareth, director Franco Zeffirelli’s epic 1977 mini-series, is now considered a classic. Clocking in at a whopping 382 minutes, it’s a reverent look at Jesus’s life from his birth to resurrection starring heavyweights like Laurence Olivier, Anthony Quinn, Anne Bancroft and Christopher Plummer.
From the sacred to the sublime, It’s the Easter Beagle, Charlie Brown continues Charles Schultz’s tradition of providing a story for every holiday, both secular and spiritual. The twelfth Peanuts cartoon special sees Linus try to hype up the arrival of the Easter Beagle but only Sally believes him. The rest of the gang is still unsure in light of Linus’s Great Pumpkin Halloween fiasco. This special, now available on DVD, features one of the only times Snoopy ever spoke on screen. He shouts “Hey!” before dancing with bunnies in a fantasy sequence.
Fred Astaire, the legendary song-and-dance-man was no stranger to holiday entertainment. His Christmas special, Santa Claus Is Comin’ to Town, is a Yuletide favorite but he also appeared in no less than three Easter-themed movies and TV shows. Astaire’s movie, Holiday Inn, the 1942 story of a singer who turns his farm house into a dinner theatre on the holidays, is best known for introducing Bing Crosby’s White Christmas, but also produced the tune Easter Parade, which, six years later turned up in the hoofer’s film of the same name.
Finally, years later he played the narrator in the Rankin/Bass stop-motion animated The Easter Bunny’s Coming to Town. Set in Kidville, the most child-friendly place on earth, it is the story of how the Easter Bunny came to be.
Producer Judd Apatow has tapped into an interesting formula. His trademarked combination of raunchy humor, full frontal male nudity and rom com sentimentality has proven to be a potent elixir in past hits like Knocked Up and The 40 Year Old Virgin. His latest confection, a laugh-out-loud funny break-up movie called Forgetting Sarah Marshall mines similar territory with hilarious results.
When we first meet Peter Bretter (Freaks and Geeks’s Jason Segel) he’s a struggling musician, paying the bills by scoring a CSI rip-off called Crime Scene. He’s also dating the star of the show Sarah Marshall (Kristen Bell of Veronica Mars) who turns his life upside down when she dumps him for an outlandish pop star named Aldous Snow (Russell Brand).
To mend his broken heart he books a weekend trip to Hawaii and checks into an upmarket ocean resort. There’s only one problem— Sarah and her new flame are also staying there. Peter is saved from going over the brink by Rachael (Mila Kunis from That 70s Show) a sympathetic desk clerk also nursing a broken heart. She provides much needed emotional support and an attractive shoulder to cry on.
Will Peter’s heart heal? Will he ever finish his Dracula rock opera featuring life size vampire puppets?
I think you probably know the answers to those questions already and you haven’t even seen the movie, but Forgetting Sarah Marshall isn’t as much about the sit-comish situation as it is about the characters in the story. Bretter is completely likeable as the everyman heartsick composer. He’s equal parts vulnerability, charm and goofiness. It’s a winning combo that gets the audience on side immediately and keeps them there throughout. Kunis is warm and funny as the damaged desk clerk, British comedian Russell Brand comes very close to stealing the show as the dense rock star and Jonah Hill (Superbad) is creepily funny as the star struck hotel waiter.
Like Knocked Up and others in the Apatow cannon Forgetting Sarah Marshall serves up standard movie situations—the ex-lovers staying at the same hotel—but tweaks them with an audacious mix of outrageous vulgarity and full-on, full-Monty male nudity and sweet sentimentality that makes them a fun R-rated night out.
There was a time when rock stars behaved like rock stars. They didn’t guest edit the “Globe and Mail” or appear on “American Idol.” In the good old days they trashed hotels rooms, drove Roll Royces into swimming pools and bit the heads off of bats. In other words they behaved like Aldous Snow (Russell Brand) the decadent singer who first rock ‘n’ rolled all night in “Saving Sarah Marshall” and now parties every day in “Get Him to the Greek.”
Jonah Hill plays Aaron Green, a record company intern sent to London to accompany his idol, the washed up rock star Aldous Snow, to New York for an appearance on the “Today” show and then on to Los Angeles for his comeback concert at the Greek Theatre. Between “sips of naughty water,” condoms of heroin hidden in awkward places and all the sex, barf and rock ‘n’ roll two people can possibly cram into 72 hours the trip goes horribly wrong. Imagine if “The Hangover” starred Keith Moon and Jim Morrison and you get the idea.
Brand and Hill are the name brand comics in the credits, but another actor, not known for yukking it up, actually almost walks away with the movie. As the grizzled record label president Sergio Roma—a jaded executive who has been there, done that—Sean ‘P. Diddy’ Combs swoops in from time to time to deliver many of the film’s best lines. He’s at his best in the manic Las Vegas drugapalooza sequence—they smoke a giant spliff called a “Jeffrey,” so named because the name sounds safe but packs a punch; much like Jeffrey Dalhmer I guess—when he’s out of control and really letting go of his finely honed P-Diddy image.
Not that Brand and Hill don’t get laughs—they get plenty—but they are also required to bring some heart to what is essentially an R-rated raunchy comedy. The romantic scenes, the pining for their exes and the heart-to-heart talks, could work, but they don’t in this movie. Rock ‘n’ roll is a vicious game and “Get Him to the Greek” is best when it is loud and proud and sticks with the three chord comedy. Nobody wants to hear the Ramones backed by a symphony orchestra and likewise we don’t need to hear Snow complaining about the lonely life of a rock star. Screenwriter and director Nicholas Stoller would have done well to wonder “What would Keith Richards do?” from time to time and cut the mushy stuff.
Otherwise “Get Him to the Greek” is a rock ‘n’ roll romp, and while it doesn’t exactly have enough rock ‘n’ roll attitude—it’s more The Monkees than Led Zeppelin—it does provide one great lyric line, “When the world slips you a Jeffrey / Stroke the furry wall,” a great old school soundtrack—“Personality Crisis” by the New York Dolls, T. Rex’s “20th Century Boy”—lots of good inappropriate jokes and some fun cameos.
“Hop,” a new Easter themed flick starring Russell Brand and James Marsden, is probably the only kid’s movie to feature a scene set at the Playboy Mansion. You see, it’s about a wayward rabbit named EB (voice of Russell Brand) searching for a place to live and since bunnies live at Hef’s place it seems like the perfect place for him to crash. Funny? Not really, but that’s what passes for jokes in the literal minded “Hop.”
The movie starts on Easter Island—there’s that literal thinking again—the home base of the Easter Bunny (voice of Hugh Laurie) and his son EB. On the other side of the planet Fred O’Hare (James Marsden) is an unemployed SoCal slacker house sitting for his sister’s wealthy boss. Both EB and Fred have one thing in common—daddy issues. EB wants to be a drummer but his father wants him to come into the family business and Fred’s dad wants him to get a job—any job. When EB and Fred hook up in Hollywood the pair might be able to help one another with their problems and in the process save Easter.
“Hop” feels more like an hour-and-a-half advertisement for plush stuffed bunnies than it does a movie. EB and his bunny and Easter chick friends are cute but clearly more time was spent on the marketing angle than the story.
It’s not that the story is bad really, it’s just average, like it was an afterthought. Movies for kids have taken strides forward in recent years but “Hop” feels like a jump backwards. Its humor and broad acting style is directed at little kids, yet the movie is rated PG, which means that parents can’t just send their kids solo. Grown-ups might get a chuckle out of EB’s jellybean gag—he poops jellybeans and says at one point, “I just jellybeaned all over your dreams”—but the odd cameo from David Hasselhoff—he’s going for the William Shatner self-aware shtick—is as funny as you’d imagine a cameo from The Hoff to be. Trust me, there’s not much here for anyone over 4 years old. “Harvey” this ain’t.
There are many reasons to hate “Hop.” Some will find the secularization of Easter offensive; some will be annoyed by the obvious shilling for Easter Bunnies Are Us but the real reason to dislike the movie is that it a lame and lazy excuse for children’s entertainment. Kids get fed enough pabulum in their formative years, they don’t need it at the movies as well.