SYNOPSIS: Narrated by former KGB agent Viktor Ivanov, “Reagan,” a new biopic starring Dennis Quaid as the 40th President of the United States, follows Ronald Reagan from childhood to Hollywood fame to his time in the oval office and an assassination attempt.
CAST: Dennis Quaid, Penelope Ann Miller, Robert Davi, Lesley-Anne Down and Jon Voight. Directed by Sean McNamara (who, at age 18 worked as a sound engineer during filming of Reagan’s 1981 inauguration ceremony).
REVIEW: Into our current unpredictable partisan era comes an old-fashioned movie that harkens back to, if not a simpler time, then at least a time when there was some nuance left in political debate.
Not that “Reagan” is a movie of great nuance.
A cradle-to-almost-grave look at one of the most popular presidents of the Twentieth Century, it covers a lot of ground and does so respectfully—it sometimes feels like director Sean McNamara must have been standing at attention while shooting—but at a gallop that doesn’t allow for deep exploration.
Instead, it plays like a greatest hits of Reagan’s life. I was left wondering if a more focused look, concentrating on only his Hollywood activism, or his time in the Oval Office, or his escalation of the Cold War, may have provided opportunities for greater insight.
In an unexpected twist, the film is narrated by Jon Voight as former KGB officer Viktor Ivanov. Providing details gleaned from years of Russian surveillance, it’s an interesting idea to allow one of Reagan’s enemies to act as tour guide, but the narration doesn’t add much. It’s intrusive and overbearing, an exposition dump, that acts only as a page turner to the next chapter of the story without providing substance.
Quaid, who plays the character in all the iterations of its adult life, nails Reagan’s distinctive voice and physicality. He brings a theatrical flair to the performance, playing Reagan as a larger-than-life character who always beat the odds.
There is no doubt that Reagan led a remarkable life, but “Reagan” is not a remarkable movie. The spotty history—there’s no mention, for instance, of his position on gay marriage or inaction during the AIDS epidemic—and cinematic glow applied to every frame suggests hagiography more than a simple biography, but Quaid does good work even if “Reagan” feels like a movie a substitute teacher would run in history class.
Richard joins CTV NewsChannel and anchor Jennifer Burke to have a look at new movies coming to VOD and streaming services, including Johnny Knoxville and the unnatural acts of “Jackass Forever,” the reboot of “Scream,” the unhappily ever after fairy tale “The King’s Daughter” AND the great punk rock doc “Poly Styrene: I Am a Cliché.”
Not even Julie Andrews, the resourceful and determined Maria von Trapp can solve a problem like “The King’s Daughter,” a new fantasy-adventure flopping into theatres this week.
Shot eight years ago, this Pierce Brosnan movie has languished on the shelf waiting to see the light of day. Andrews, and her dulcet tones, came on board in 2000 as narrator in a last-ditch attempt to add some semblance of order to the slapdash story.
Set in 17th century France, the action get underway with King Louis XVI (Brosnan) concerned with his mortality. He has immortality on his mind–“My immortality secures the future of France.”—even if his adviser Pere La Chase (William Hurt) finds the idea distasteful, if not blasphemous. “The only thing God gives as immortal is your soul,” he says, “and you only have one of those to lose.”
Tossing aside any thoughts of sacrilege apothecary Dr. Labarthe (Pablo Schreiber) tells the king of a sea creature, a mermaid (Fan Bingbing) with an essence that will keep death from knocking at the door, but only if the mermaid is sacrificed during a solar eclipse.
Captain Yves (Benjamin Walker) captures the mermaid just as the King’s illegitimate daughter, Marie-Josephe (Kaya Scodelario), is brought to the palace. She’s been tucked away at a convent since she was a child, studying music, and doesn’t know her father is the King.
Marie-Josephe hears the mermaid’s siren song and is drawn to her watery prison. She’s also drawn to Captain Yves, despite her father’s wish that she marry Labarthe.
Meanwhile, the solar eclipse and possible mermaid dismemberment loom.
Not even the film’s backdrop, Versailles, the world’s most expensive movie set, can raise enough interest—visual or otherwise—for me to give “The King’s Daughter” a pass. The story has all the elements of a fun adventure but it appears that director Sean McNamara ran the entire thing through the Un-Fun-Omatic before shipping it off to theatres.
Brosnan is overshadowed by his silly wig. You can see Hurt reaching for the pay cheque and poor Fan Bingbing is rendered almost unrecognizable by the worst computer effects this side of Donkey Kong. Add to that a script heavy on lackluster fantasy clichés, light on actual French accents and loaded with unintentionally funny moments, and you’re left with a royal mess.
“The King’s Daughter” is a fairy tale, but there is no happily-ever-after here for anyone, especially the audience.
From the title on down to the story and performances “Miracle Season” is a film that trumpets its uplifting, inspirational point of view. The story may be rooted in tragedy but this is a tale of perseverance.
In 2011 the Iowa City West High School volleyball team were champions starting a new season. Team captain Caroline ‘Line’ Found (Danika Yarosh) is a popular student and daughter of the kindly Dr. Ernie Found (William Hurt). “She reached out to everyone,” says coach Kathy Bresnahan (Helen Hunt), “strangers, opponents teachers, even lowly Coach. To Line they all meant the same thing, friends.” When Line is killed in an accident the team, especially best friend Kelly (Erin Moriarty), must work through their grief if they want to “Live Like Line” and take the state championship.
“Miracle Season” is exactly what you think it will be, a respectful movie that wears its heart on its sleeve. There’s barely a rough edge here anywhere, except in the underwritten script. Characters are inherently decent, inspired to be better people by the memory of their late friend. Good messages all round but it doesn’t really make for great drama. The spectre of Hallmark hangs heavy over every scene.
What’s left is Oscar winner Hunt as the tough love coach pumping her fist, mouthing the word “yes” as her team gains confidence on the court and lots of talk about winning for Line. Director Sean McNamara, who mined similar territory with Hunt in the film “Soul Surfer,” is unafraid to pluck heartstrings, often steering the story into motivational melodrama. It’s likely some tears will be wrung from the easy emotion on display, but “Miracle Season,” for all its good intentions, is a simply a generic sports movie.
