SYNOPSIS: “Piece by Piece,” a new fanciful documentary about musician, rapper, producer, fashion designer and entrepreneur Pharrell Williams, told through animated Lego, is a brightly colored trip down memory lane for one of the most influential musicians of the 21st century.
CAST: Pharrell Williams, Gwen Stefani, Kendrick Lamar, Timbaland, Justin Timberlake, Busta Rhymes, Jay-Z, Snoop Dogg, Chad Hugo, Daft Punk. Directed by Morgan Neville.
REVIEW: Content wise “Piece by Piece” is a rather straightforward music biography. The story of a young music obsessed outsider who, through tenacity, talent and luck finds his way to the inner circle of the music business isn’t new, but the telling of the tale is. Shot like a regular doc, with talking heads, recreations and “archival” footage, it is rendered completely in colorful Lego bricks. “What if life is like Lego,” Pharrell Williams says early on, “except you can put it together however you want?”
The imaginative visuals will make your eyeballs dance. Williams’s early life in Virginia Beach, Virginia is vividly portrayed as a time filled with diverse influences, like Stevie Wonder, Carl Sagan and his grandmother, who encouraged him to join his school’s band club, but it is music that sparked his imagination. Literally. In one eye popping sequence director Neville illustrates the future producer’s synesthesia, the ability to see colors in the mind’s eye when listening to music.
Later the Lego is used to maximum effect when recalling incidents in Williams’s career, like getting the contact high in Snoop Dogg’s studio that resulted in “Drop It Like It’s Hot” and in a splashy sequence that sees Williams return to the neighborhood where he grew up.
By the time the end credits roll, “Piece by Piece” touches on Black Lives Matter, his brand work with everyone from Chanel to McDonalds and the dry spell that saw him briefly lose his way in the business. The talking heads provide good information, but there are holes. We never learn why his original band the Neptunes split, and while there is a great of talk about his genius at coming up with beats, the actual creative process remains mysterious.
Still, as a fun night at the movies, the Lego look and good time tunes like “Hollaback Girl,” “Rockstar,” “Frontin’” and “Happy” are a blast but it is his philosophical vantage point—the movie could easily have been called “The Tao of Pharrell”—that provides the film’s uplift. It’s mostly Pop Psychology 101, and never really digs deep into Williams’s head, but it does serve as a testament to the power of music, positive thinking and being true to oneself as key components to personal and profession success.
LOGLINE: Lasagna-loving, comic-strip cat Garfield returns to the big screen with a new voice, courtesy of Chris Pratt, and a new adventure. After being abandoned by his street cat father Vic (Samuel L. Jackson) as a kitten, the orange tabby leads a life of leisure with easy-going Jon (Nicholas Hoult) and canine best friend Odie. When Vic reappears, Garfield and Odie leave the lasagna behind to embark on a risky, high-stakes heist.
CAST: Chris Pratt, Samuel L. Jackson, Hannah Waddingham, Ving Rhames, Nicholas Hoult, Cecily Strong, Harvey Guillén, Brett Goldstein, Bowen Yang, Snoop Dogg.
REVIEW: “The Garfield Movie” is a big, action-packed (and product placement heavy) movie that doesn’t really feel like a Garfield movie. It’s a big, colorful action-adventure that will entertain kids, make their eyeballs spin and inspire a giggle or three, but the essence of the character, the sardonic, lazy cat with an obsession for sleeping, has been set aside in favor of a lively, fun character who has little to do with what made the comic-strip popular in the first place.
The new Garfield loses the simplicity of the strip, instead, filling the screen with rapid fire gags and frenetic action. The animation, which feels like a cross between computer generated and the comic-strip, offers up expressive character faces and fun voice work, particularly from Waddingham, who takes a generic villain character and gives her some oomph.
Aside from the father-and-son story, which touches on the importance of family, screenwriters Paul A. Kaplan, Mark Torgove and David Reynolds keep it simple, sentimental and predictable.
“The Garfield Movie” will likely have little appeal for anyone over the age of 10, but has a silly sense of mischief that the younger members of the family may enjoy.
“Day Shift,” a new action comedy starring Jamie Foxx, and now streaming on Netflix, brings a supernatural twist to the familiar story of a father doing what he has to do to hang on to his family.
Foxx plays Bud, a San Fernando Valley pool cleaner and undercover vampire slayer. A fearless hunter of the undead while on the job, at home he’s a devoted father, but things aren’t going well. He and his wife Joceyln (Meagan Good) have separated, and unless Bud can come up with $5000 to pay for private school tuition for daughter Paige (Zion Broadnax), mother and daughter are going to move to Florida.
Neither the pool cleaning or freelance vampire killing pay what they used to, and when a local pawnbroker (Peter Stormare) offers him a fraction of what his trophy vampire fangs are worth, he is left with only one option, join the vampire-hunter’s union.
Trouble is, they don’t want him. “You expect me to let you back in where the sun don’t shine?” asks union leader Ralph Seeger (Eric Lange). He’s a rebel, he doesn’t follow the rules, he’s a wild card but when legendary vamp killer Big John Elliott (Snoop Dogg) vouches for him, Bud gets in, but the union has him on probation and his every move will be monitored by straightlaced union rep Seth (Dave Franco). “I have to be with you at all times in the field,” Seth says. “Union rules.”
Bud can now earn the money he needs to keep his family together, unless elder vampire Audrey San Fernando (Karla Souza) gets her bloody revenge on him for killing her undead daughter.
“Day Shift” is an action comedy with an emphasis on bloody action. Between the decapitations, martial arts fight sequences, wooden stakings and Snoop’s Big Bertha rapid fire machine gun, this one has a much higher body count than your usual laugh fest. Foxx does his best to bleed the laughs out of the script. He’s a convincing action star, a kind of jokey Blade, who also has a way with a one-liner. His presence adds some much-needed lightness and his chemistry with Franco makes the character of Seth a tad less irksome.
“Day Shift” suffers from an underwritten script and overwrought plot turns, but despite all that, the action, Foxx and Snoop makes for a pretty good Saturday matinee style horror comedy à la “Monster Squad” or “Fright Night.”
The weird and wonderful Addams Family, Gomez (Oscar Isaac), Morticia (Charlize Theron), Wednesday (Chloë Grace Moretz), Pugsley (Javon ‘Wanna’ Walton) and their chrome domed Uncle Fester (Nick Kroll), are just like any other family. Sure, they live in a house of horrors and are “mysterious and spooky and all together ooky,” but underneath it all, they are a regular, loving family.
The latest instalment in their lengthy documentation of family life, the animated “The Addams Family 2,” now playing in theatres and premium VOD, sees Gomez and Morticia, like so many parents, concerned that their kids are growing up too fast.
The action begins at Wednesday’s high school science fair. When she only earns a participation award for her project—transferring octopus intelligence into her Uncle Fester—she becomes more withdrawn than usual. To bring the family back together, Gomez and Morticia plan a family road trip to—where else?—Death Valley.
Along the way complications arise, including Cyrus Strange (Wallace Shawn, son of editor William Shawn who ran the Addams Family cartoons for decades in the pages of the New Yorker), an evil scientist who convinces Wednesday she is not really part of the Addams Family.
“The Addams Family 2” has top flight voice work from Isaac, Theron and especially Moretz, who nails the detached but spirited tone of her death-obsessed character. Her empowerment—”I’m not a freak,” she says, “I’m a force of nature.”—will also likely strike a chord with anyone who has felt like an outsider.
What the film doesn’t nail, however, is that Addams Family X-factor, the sense of gleeful dread. This is mainstream family animation, padded with songs and dance numbers, that smooths out the offbeat, macabre heart and soul of the source material. It’s goofy, not ooky, with none of the eccentric charm of the 1960s TV show.
Directors Greg Tiernan and Conrad Vernon bring a light touch to the story, where none was needed.
On the August 16, 2020 edition of the Richard Crouse Show we meet Kiesza, a singer, songwriter and pop star with a fascinating story of resilience. From the reserves of the Royal Canadian Navy to writing songs for people like Rihanna to her single “Hideaway” debuting at number one on the UK Singles Chart to collaborating with everyone from Duran Duran to Pitbull and Diplo she is a bona fide pop princess. Then, in 2017 she suffered life altering injuries when a taxi t-boned the car she was riding in. Her recovery from a traumatic brain injury was slow and involved staying in a darkened room for six months but she is back with a new album, a new self-run record label and a new outlook.
Then… In a career that spans five decades Chaka Khan has sold an estimated 70 million records, collaborated with everyone from Ry Cooder and Robert Palmer to Ray Charles and Quincy Jones, from Chicago to De la Soul and Mary J. Blige. She’s a musician, singer and songwriter with a shelfful of Grammys. I first saw her, with the band Rufus, on Soul Train singing their mega hit Tell Me Something Good. I became an instant fan and have remained so all these years later.
I had the chance to speak with the music legend via Zoom to talk about her role as the voice of Henrietta the Chicken in the new Disney+ film The One and Only Ivan.
And finally…I speak to Tom Kenny and Bill Fagerbakke, the stars of “The SpongeBob Movie: Sponge on the Run.” For more than twenty years Kenny and Fagerbakke have voiced two of pop culture’s favorite animated characters, SpongeBob SquarePants and his pal Patrick Star. In the new film, playing in theatres in Canada, SpongeBob and Patrick go on a rescue mission to save SpongeBob’s pet snail Gary, who has been “snailnapped” by King Poseidon. In this interview e talk about the new movie, the popularity of SpongeBob memes and why these characters have endured for more than two decades.
SpongeBob SquarePants (voiced by Tom Kenny) is an unlikely pop culture hero. A peppy and optimistic sea sponge, he should be a one-joke wonder but for more than two decades the character, who looks like a bright yellow kitchen sponge with googly eyes and little brown shorts, has soaked up love from kids and adults alike.
His new CGI adventure, “The SpongeBob Movie: Sponge on The Run,” playing in theatres now, sees the animated invertebrate living in the underwater city of Bikini Bottom where he is a fry cook at Krusty Krab, the most successful restaurant in the sea. Life is good for SpongeBob and his friends like the dimwitted but funny starfish Patrick (Bill Fagerbakke) and restauranteur Mr. Krabs (Clancy Brown) until SpongeBob’s beloved pet Gary the Snail (also voiced by Kenny) is kidnapped by the wicked and vain ruler of The Lost City of Atlantic City, King Poseidon. With the help of Patrick and a wise tumbleweed played by Keanu Reeves, SpongeBob sets off on a perilous rescue mission.
“The SpongeBob Movie: Sponge on The Run” brings with it the usual anarchy, inside jokes and unexpected celebrity cameos, but at its little osmotic heart is SpongeBob, a character who belongs to the same genus of entertainers as Soupy Sales, Stan Laurel and Pee Wee Herman. He, like his predecessors is sweet and unpredictable with a surreal streak that transcends silly and borders on high art. I think that’s why SpongeBob has survived and thrived as other characters of his vintage have faded. He’s silly enough for kids but surreal enough for the parents and underneath it all is a current of decency that transcends age.
In his television show and in the movies, including this new one, the rules of physics and storytelling may not apply, which is usually fun, but the things that make SpongeBob human (you know what I mean) are always on display. He’s loyal, caring, values his friends and is always optimistic. Those qualities are baked into “The SpongeBob Movie: Sponge on The Run” and that, along with the absurd situations make it enjoyable for fans old and young.
Richard speaks to Tom Kenny and Bill Fagerbakke, the stars of “The SpongeBob Movie: Sponge on the Run.” For more than twenty years Kenny and Fagerbakke have voiced two of pop culture’s favorite animated characters, SpongeBob SquarePants and his pal Patrick Star. In the new film, playing in theatres in Canada, SpongeBob and Patrick go on a rescue mission to save SpongeBob’s pet snail Gary, who has been “snailnapped” by King Poseidon. In this interview e talk about the new movie, the popularity of SpongeBob memes and why these characters have endured for more than two decades.
Justin Bieber is a teen ream for many teen girls. He gets a decidedly more adult treatment in “Pop star: Never Stop Never Stopping,” the new parody from Andy Samberg, Kiva Schaffer and Norma Tacoma a.k.a. the Lonely Island. Rated 14A for coarse language, nudity and substance abuse it may be a nightmare for hard-core Bielbers.
Samberg stars as Conner4Real, a Bieber-esque performer and former singer for boy band Style Boyz (Schaffer and Tacoma, who also co-direct). Despite the title of his big hit, “I’m So Humble,” (“I’m number one on the humble list!”) he’s a pampered pop star with an entourage—including a turtle wrangler, a weed roller, a short guy who hangs around to make Connor look taller and a movie star girlfriend (Imogen Poots)—that makes Elvis’s Memphis Mafia look restrained. When we first meet him, he’s at the top of the pops but when his sophomore album—hilariously titled Connquest—stiffs he learns who his real friends are as he struggles to stay popular.
A loving, and sublimely silly look at concert films like “Katy Perry: Part of Me” and “Justin Bieber: Never Say Never,” “Popstar” features real-life musicians, Nas, Akon, 50 Cent, Seal, Pink, Snoop Dogg, Usher, Questlove, DJ Khaled as talking-heads as it skewers the more ridiculous aspects of its (mostly) fictional lead character. It’s a millennial “Spinal Tap” that takes aim at the excesses of pop life—clueless social commentary, absurd catchphrases, gratuitous nudity to cultural appropriation, it’s all here—but at its poppy heart its really about friendship and family.
The scenes of satire are often ripped from the TMZ’s headlines—there’s an incident at the Anne Frank House and a costume malfunction that derails Connor’s public reputation—which feel familiar while still drawing a laugh. Better than those are the sly comments on how fame works in the Age of Kardashian. “There is no such thing as selling out,” Connor coos. “These days if you don’t sell out people think nobody’s interested.” Much of the film is as deep as one of Bieber’s teen love laments, but occasionally it hits a little harder and the laughs get a little deeper. But make no mistake this is R-rated stuff that revels in its idiotically smart humour.
The targets in “Popstar: Never Stop Never Stopping’s” crosshairs are obvious and, frankly, easy pickings, but the film’s combination of catchy-if-ridiculous songs, appealing performances and fast-paced parody make it a chart topper.
SYNOPSIS: “Piece by Piece,” a new fanciful documentary about musician, rapper, producer, fashion designer and entrepreneur Pharrell Williams, told through animated Lego, is a brightly colored trip down memory lane for one of the most influential musicians of the 21st century.
