I join CTV Atlantic’s Stephanie Tsicos to talk about the biopic “Tony,” the dino drama “The End of Oak Street,” the kid’s flick “PAW Patrol: The Dino Movie” and the stoner comedy “The Wrong Girls.”
Watch the whole thing HERE!
SYNOPSIS: In “The Wrong Girls,” a new stoner comedy starring Kristen Stewart, and now playing in theatres, a case of mistaken identity throws the lives of codependent best friends into chaos. “Two girls. One wrong move. Zero clue what to do.”
CAST: Kristen Stewart, Alia Shawkat, LaKeith Stanfield, Kumail Nanjiani, Geena Davis, James Weaver, Alex McAtee, Kate McKinnon, Cate Blanchett, Seth Rogen, Evan Goldberg, Allison Rose Carter, Jon Read, Maggie McLean, Dylan Meyer. Written and directed by Dylan Meyer.
REVIEW: A testament to the dual powers of friendship and very strong drugs, “The Wrong Girls” is a trippy throwback to the anything goes style of stoner comedies like “Pineapple Express” and “Half Baked.”
Kristen Stewart and Alia Shawkat are perpetually stoned roommates and best friends Frankie and Molly. Frankie, quit Stanford and now eeks out a living as a delivery person who can’t be bothered to ditch her joints before dropping off packages at people’s homes. At the same time, a spread sheet for Molly’s most recent project has disappeared, leaving the BFFs short on their rent… again.
In a case of mistaken identity Frankie comes into possession of a briefcase filled with vials of powerful experimental psychedelic drugs. After sampling them, they not only trip out hardcore, but also develop telepathic and psychokinetic abilities, allowing them to read their cat’s (voiced by Seth Rogen and Kumail Nanjiani) minds and move things with their thoughts. “I have no idea why you thought it would be a good idea to take the drugs,” says Dr. Chapman (Kate McKinnon). “You are dumb as rocks, and you should be dead.”
Their newfound abilities place them in the sights of operative named Not Metal Head Dave (LaKeith Stanfield) and a group of Danish killers eager to get their hands on the drugs. “We’re very important fugitives. We’re runaways.”
Loudly and proudly silly, “The Wrong Girls” features opinionated cats, bad choices, giant spliffs, psychedelic freak outs and an a-list cast of kooks and killers, but its strongest asset is its portrayal of female friendship. Stoner comedies have long been the domain of the dudes, but Stewart and Shawkat’s off-the-charts chemistry and great comic timing, not only bring these chaotic women to vivid life but also add some emotional stakes to the absurd story.
“The Wrong Girls” is a stoner comedy with all the good and bad that comes along with the genre but even its rough spots go up in smoke courtesy of Stewart, who has never been looser on screen, Shawkat and the steady hand of writer/director (and Stewart’s real-life spouse) Dylan Meyer.
Fast reviews for busy people! Watch as I review three movies in less time than it takes to brush your teeth. Have a look as I race against the clock to tell you about the anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Watch the whole thing HERE!
I join CTV Atlantic’s Stephanie Tsicos to talk about anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Watch the whole thing HERE!
I join CTV NewsChannel anchor Akshay Tandon to talk about the new releases in theatres, including The anarchy of “Minions & Monsters,” the relationship woes of “The Invite” and the music bio “Peter Asher: Everywhere Man.”
Watch the whole thing HERE!
I join “CP24 Breakfast” hosts Nick Dixon and Jennifer Hsiung to talk about the anarchy of “Minions & Monsters,” the animated adventures of Disney+’s “X-Men ’97” and the Prime Video “Legally Blonde” prequel “Elle.”
Watch the whole thing HERE!
SYNOPSIS: In “The Invite,” a new comedy directed by Olivia Wilde now playing in theatres, a dinner party thrown by an unhappy couple spirals out of control amid pent up frustrations and surprising propositions. “Why do I feel like everyone knows something except for me,” says Joe.
CAST: Seth Rogen, Olivia Wilde, Penélope Cruz, Edward Norton. Directed by Olivia Wilde.
REVIEW: Sexy and cringy, “The Invite” is a sharp, insightful portrait of a crumbling marriage, that shifts from high comedy to emotionally raw over the course of 107 eventful minutes.
A throwback to a time when adult dramas earned wide releases in theatres, “The Invite” begins with longtime couple, the eager-to-please Angela (Olivia Wilde, who also directs) and cynical music teacher Joe (Seth Rogen) prepping their well-appointed San Francisco apartment for a dinner party.
Joe claims Angela didn’t tell him their sophisticated neighbors were coming and wants to cancel. It’s too late, she says, she’s already made an elaborate charcuterie board and put the soufflé in the oven.
They’re bickering, “Who’s Afraid of Virginia Wolfe?” style, as sexologist Pina (Penélope Cruz) and sensitive former fire fighter Hawk (Edward Norton) arrive. Impossibly cool, they’re completely untroubled by the argument they heard through the door. “We love a contentious environment,” Hawk says.
From then on, the evening rides a razor’s edge as secrets are shared, propositions are presented and frustrations aired. The real action begins when Pina and Hawk announce, “We have something we wanted to talk to you about.”
It’s cutting stuff, sharp enough to possibly sever Angela and Joe’s relationship.
An emotionally chaotic chamber piece, “The Invite” allows each of its actors to strut their stuff. All have a facility with the rapid fire, ping pong dialogue, making the theatrical seem natural.
Rogen mixes comic timing with true vulnerability and Norton’s wit switches on a dime as he delivers one of the film’s lengthier monologues, laying bare his soul.
The film’s real surprises, however, lie in the performances of Cruz abnd Wilde.
Cruz sparks with Norton, but it’s in the third act when she switches from seductress to therapist in the final act that sparks really begin to fly. Charismatic and fiery, she delivers magnetic, top-flight work, on par with “Vicky Cristina Barcelona” and “Parallel Mothers.”
But, despite the dynamic efforts of the cast, it’s Wilde’s movie. As a director, she’s in top form, creating something that doesn’t feel anything like her previous efforts “Booksmart” and “Don’t Worry Darling.”
Using artful, sometimes claustrophobic, blocking to create humor and tension, her control over the tone of the piece is remarkable. The script leap frogs from serious and sincere to funny and inflammatory and Wilde, along with cinematographer Adam Newport-Berra, subtly and effectively use the kinetic visuals to communicate the emotions experienced by the characters.
It’s great show me, don’t tell me work, but it’s her performance that lingers after the end credits roll. Wearing Angela’s neurosis on her sleeve, she delivers a tightly wound portrait of a person in the grips of a prolonged anxiety attack that is earnest, funny and vulnerable. She deserves an Oscar simply for the artful way she disposes of the abovementioned soufflé after realizing its burnt and can’t be served. It’s a small moment that perfectly blends mild slapstick with Angela’s state of mind and it makes a big impact.
“The Invite” is a terrific, uncomfortable movie that beautifully constructs an evening where everything falls apart.
SYNOPSIS: In “Good Fortune,” a body-swap comedy starring Seth Rogen and Keanu Reeves and now playing in theatres, a bumbling guardian angel attempts to convince a down-on-his-luck guy that money won’t solve all his problems. “”Money in your pocket can’t hide the poverty in your character,” says tech mogul Jeff (Seth Rogen).
CAST: Seth Rogen, Aziz Ansari, Keke Palmer, Sandra Oh, and Keanu Reeves. Directed by Aziz Ansari.
REVIEW: If “Trading Places,” “Nomadland” and “It’s a Wonderful Life” had a baby, it might look something like “Good Fortune.”
In his directorial debut, Aziz Ansari, who also wrote the script, stars as Arj, a down-on-his-luck handyman who, if he didn’t have bad luck, wouldn’t have no luck at all. He does odd jobs for tech bro Jeff (Seth Rogen), a wealthy guy who never met an excess he didn’t embrace. “I did everything right,” Arj says, “but nothing is working out.”
Arj gets a second chance at life when his “budget” Guardian Angel Gabriel (Keanu Reeves)—he usually sticks to saving people from texting and driving—is inspired by the other guardian angels to do something more meaningful with his job.
Wanting to show lost soul Arj how superficial a life of wealth can be the angel offers him a chance to see life through Jeff’s eyes.
Literally.
Gabriel swaps Arj and Jeff, allowing them to live one another’s lives. “Maybe I can show you that [that] life is not all it’s cracked up to be,” Gabriel says to Arj.
Trouble is, Arj’s problems are solved by Jeff’s cash. “I tried to show him that wealth wouldn’t solve all his problems, but it seems to have solved most of his problems.” As punishment for his divine intervention Gabriel loses his wings and is sent to Earth to become Jeff’s roommate. “You have to get Arj to go back,” says head angel Martha (Sandra Oh). “Until then I have to take your wings.”
“Good Fortune” is an American Dream satire with a standout performance from Keanu Reeves who brings humor and heart to the fallen angel Gabriel. All innocence and wide eyes, Reeves plays Gabriel like a baby in a man’s body as he learns about the simple pleasures of street tacos, dancing and laughing. “How will I know when I’m done chewing?” he asks as he tastes food for the first time. It’s a strange, committed performance that provides many of the film’s unexpected laughs.
Rogen and Ansari are solid, playing characters that echo their previous roles, but Reeves is the glue that sticks “Good Fortune’s” simple and sentimental story together.
Hidden underneath the character driven story are incisive and biting commentary on the difficulty of the gig economy—“We have it good” rich guy Jeff tells his board of directors, “because they have it bad.”—being true to yourself and finding hope in life. The presentation of the ideas is earnest, but effective situationally.
“Good Fortune” isn’t a laugh a minute, but the situation overall is amusing and director Ansari milks some laughs out of the circumstances.
SYNOPSIS: Set in the Pride Lands of Tanzania, the new musical drama “Mufasa: The Lion King” is both a prequel and sequel to the 2019 remake of the 1994 film “The Lion King.” It’s the origin story of two lions, Mufasa and Scar, one who would become king, the other a villain.
CAST: Donald Glover, Seth Rogen, Billy Eichner, John Kani, Beyoncé Knowles-Carter, Aaron Pierre, Kelvin Harrison Jr., Tiffany Boone, Mads Mikkelsen, Thandiwe Newton, Lennie James, Anika Noni Rose, and Blue Ivy Carter. Directed by Barry Jenkins.
REVIEW: “Mufasa: The Lion King” is filled with visual tricks courtesy of the photo-realistic computer animation. For instance, a lion’s face is reflected in a single drop of rain. The topography changes from sunburnt savannahs to lush landscapes with a CGI flourish. You might even think a lion can sing Broadway style show tunes.
Yes, there’s lots of tricks on display, but very little magic.
Sure, fans learn where Rafiki (John Kani) found his famous bakora staff and how Pride Rock came to be, but even with the easter eggs, the sweeping cinematography, beautiful scenery, some action (which may be too intense for younger members of the family) and songs by Lin-Manuel Miranda, “Mufasa: The Lion King” feels inert. Instead of being enhanced by the endless possibilities of CGI, the film feels limited by it.
The rendering of the characters is impressive. They lions, and many of the other animals, look as though they just wandered in from a National Geographic nature doc. That’s great, but the photorealism doesn’t offer the range of expression of the original’s hand drawn work (which was enhanced by digital coloring). Those stylized characters had more opportunity for facial expressions and therefore had far more personality.
The new CGI work looks real… until the characters begin to speak.
Then the illusion shatters.
Ditto when they sing. Near the end Taka—the lion who will become Scar—sings “Brother Betrayed,” a song of heartbreak that would have benefitted from more emotion and less realism.
“Mufasa: The Lion King” is a technical achievement but feels bloodless. Familiar “Lion King” themes of family, loyalty, love and discovering purpose in life are present, but they feel lost amongst the pixels in this generic prequel.
