Posts Tagged ‘Scoot McNairy’

CFRA IN OTTAWA: THE BILL CARROLL MORNING SHOW MOVIE REVIEWS!

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 dynastic family drama “House of Gucci,” the new animated Disney film “Encanto,” the coming of age story “C’mon C’mon,” Peter Jackson’s 468 minute epic “The Beatles: Get Back” a.k.a. “Lord of the Ringos,” the videogame horrors of “Resident Evil: Welcome to Raccoon City” and Halle Berry’s “Bruised.”

Listen to the whole thing HERE!

C’MON C’MON: 3 ½ STARS. “a quiet movie that speaks volumes.”

In “C’mon C’mon,” a new black-and-white drama now playing in theatres, radio journalist Johnny, played by Joaquin Phoenix, says he likes to record sound because “it makes the mundane immortal.” Writer/director Mike Mills attempts to create that same kind of magic in his straightforward, unassuming film.

The soft-spoken radio presenter is travelling around the United States, interviewing children about their lives, experiences and the future, when he offers to look at after his nine-year-old nephew Jesse (Woody Norman). Jesse’s mom Viv (Gaby Hoffmann) will be out of town for a week, helping her ex-husband (Scoot McNairy) get settled in a mental health facility. When she is delayed on her return, Johnny takes the youngster on work trips to New York and New Orleans. While Johnny becomes a father figure to Jesse, his relationship with Viv deepens as the long distance, shared experience of looking after the boy brings them closer.

“C’mon C’mon” is a quiet movie that speaks volumes. It asks simple questions, like “Are you happy?” and tries, often in a roundabout way, to answer them. Jesse and Johnny’s conversations, which make up the vast bulk of the movie, are simultaneously insightful, frustrating and vulnerable. Just like real life.

As Jesse, Norman is a child wise beyond his years. He’s a fan of conspiracy theories, asks pointed questions to adults, has a vivid imagination but no friends. What he shares with his uncle is an emotional directness, even if he doesn’t completely grasp what he’s feeling and why.

Oscar winner Phoenix approaches Johnny with warmth and keeps the theatrics to a minimum. They complement one another, feeling out their relationship as they go, learning from one another. It’s lovely in its ordinariness, made all the more special by the naturalistic performances.

I don’t know if “C’mon C’mon” will become immortal, it’s a little too freeform for that, but the simple human truths it essays already are.

DESTROYER: 3 ½ STARS. “Kidman is in full-blown anti-heroine mode.”

The last time Nicole Kidman wore this much prosthetic make up she won a Best Actress Oscar. “Destroyer” sees her almost unrecognizable except for her unmistakable movie-star jaw line in silhouette.

Kidman plays Erin Bell, a police detective ground down by years on the job, booze and the haunting memory of a case going wrong. When we first meet her she’s on the scene of a crime. When she spots a familiar tattoo on the victim she realizes a former adversary is back in town. It’s Silas (Toby Kebbell), a mini-Manson who controls his people through intimidation and drugs. “He’s either cleaning up,” she says, “or restarting again.“

To get to the bottom of the latest murder she begins an investigation that forces her to confront her behaviour on a long ago undercover case. The case puts her at odds with her estranged daughter (Jade Pettyjohn) and draws her down a path populated by increasingly sleazy characters including a crooked lawyer (Bradley Whitford) who tells her she is sad and stupid for revisiting the past and Petra (Tatiana Maslany), a drug addict and direct link to Silas. It’s dangerous territory, but she is undaunted. “I don’t care what happens to me,” she says. Eventually the past, told through flashbacks, catches up with the present filling in the details of how Erin ended up where she is today.

At the heart of “Destroyer” is a complex moral question, Can you ever really pay for the sins of your past? It mostly goes unanswered, although her actions hint at some sort of uneasy resolution. In the end it is obvious that while she may be trying to do the right thing, it seems likely she’ll end up in a bad way.

Kidman is in full-blown anti-heroine mode. You can practically smell the stale breath; feel her pounding hangover headaches. She’s in rough shape, the result of a lifetime of bad decisions. Kidman does a Herculean job of brushing aside any likable traits in Erin and adds a few interesting flourishes as she paints the portrait of this troubled woman but overall the result is mostly a paint by numbers picture you’ve seen before in other hard boiled crime dramas.

“Destroyer” is a gritty drama that, despite Kidman’s makeup, doesn’t change the complexion of similar stories in other movies.

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY JANUARY 11, 2018.

Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including Nicole Kidman times two – in the gritty cop drama “Destroyer” and the dramedy “The Upside,” where she co-stars with Bryan Cranston and Kevin Hart –  Carey Mulligan in “Wildlife” and the psychological thriller “Escape Room.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS FOR JANUARY 11.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases including the Nicole Kidman cop drama “Destroyer,” the Bryan Cranston-Kevin Hart dramedy “The Upside” and “Wildlife” with Carey Mulligan.

Watch the whole thing HERE!

CTVNEWS.CA: THE CROUSE REVIEW ON “THE UPSIDE” AND MORE!

A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at two Nicole Kidman movies, the gritty cop drama “Destroyer” and the dramedy “The Upside,” where she co-stars with Bryan Cranston and Kevin Hart. Then it’s on to Carey Mulligan in “Wildlife.”

Watch the whole thing HERE!

CFRA IN OTTAWA: THE BILL CARROLL MORNING SHOW MOVIE REVIEWS!

Richard and CFRA Ottawa morning show host Bill Carroll have a look at Nicole Kidman in the gritty cop drama “Destroyer” and the dramedy “The Upside,” where she co-stars with Bryan Cranston and Kevin Hart. Then it’s on to Carey Mulligan in “Wildlife” and the psychological thriller “Escape Room.”

Listen to the whole thing HERE!

HALLOWEEN SPOOKTACULAR DAY 24! MONSTERS: 3 ½ STARS “a pure b-movie premise.”

monsters_05Big monsters are back. Movies like “The Host” and “Cloverfield” have reintroduced audiences to that rarest, but biggest of beasts, the giant out-of-control monster. Who needs vampires and zombies when you could have a ninety foot tall squid with a bad attitude and a Christmas bulb for a head?

The latest addition to the big monster genre is “Monsters,” an indie movie that reportedly only cost $15,000. Part road trip, part romance and all atmosphere, the story of Andrew (Scoot McNairy), an opportunistic photojournalist, who must escort his boss’s daughter, Sam (Whitney Able), back to the U.S. border through the treacherous quarantine area inhabited by… you guessed it, giant creatures left there when a NASA space craft carrying samples of extraterrestrial life crashed.

It’s a pure b-movie premise and for the first fifteen minutes or so promises to be little more than a Roger Corman film with better CGI. Then something happens. The movie becomes about the relationship between total opposites Andrew and Sam as they bond over their trip’s hardships and the strangeness of their surroundings. It’s a giant monster movie that focuses on the characters and despite some wild plot contrivances, it works.

The character study is a slow burn that leads up to the big reveal, the unveiling of the creatures. For most of the film they are seen and not heard but director Gareth Edwards paces the film carefully building up suspense through use of sound effects to climax with a wild mating dance between two of the Lovecraftian beasts. It’s a strangely beautiful and eerie sequence that brings the movie to a close.

“Monsters” isn’t as effective as “District 9” or “Cloverfield,” two other recent movies that introduced us to new creatures, but it is a complex film with timely messages about immigration (the US is protected by a giant fence to keep the monsters out) and our reactions in times of danger.

MONSTERS: 3 ½ STARS

1228136l Film MonstersBig monsters are back. Movies like “The Host” and “Cloverfield” have reintroduced audiences to that rarest, but biggest of beasts, the giant out-of-control monster. Who needs vampires and zombies when you could have a ninety foot tall squid with a bad attitude and a Christmas bulb for a head?

The latest addition to the big monster genre is “Monsters,” an indie movie that reportedly only cost $15,000. Part road trip, part romance and all atmosphere, the story of Andrew (Scoot McNairy), an opportunistic photojournalist, who must escort his boss’s daughter, Sam (Whitney Able), back to the U.S. border through the treacherous quarantine area inhabited by… you guessed it, giant creatures left there when a NASA space craft carrying samples of extraterrestrial life crashed.

It’s a pure b-movie premise and for the first fifteen minutes or so promises to be little more than a Roger Corman film with better CGI. Then something happens. The movie becomes about the relationship between total opposites Andrew and Sam as they bond over their trip’s hardships and the strangeness of their surroundings. It’s a giant monster movie that focuses on the characters and despite some wild plot contrivances, it works.

The character study is a slow burn that leads up to the big reveal, the unveiling of the creatures. For most of the film they are seen and not heard but director Gareth Edwards paces the film carefully building up suspense through use of sound effects to climax with a wild mating dance between two of the Lovecraftian beasts. It’s a strangely beautiful and eerie sequence that brings the movie to a close.

“Monsters” isn’t as effective as “District 9” or “Cloverfield,” two other recent movies that introduced us to new creatures, but it is a complex film with timely messages about immigration (the US is protected by a giant fence to keep the monsters out) and our reactions in times of danger.