Posts Tagged ‘Spike Jonze’

RICHARD’S CTV NEWSCHANNEL REVIEWS FOR DEC 23 WITH MARCIA MACMILLAN.

I join CTV NewsChannel anchor Marcia MacMillan to talk about the audacious and epic “Babylon,” starring Brad Pitt and Margot Robbie, the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish.”

Watch the whole thing HERE!

1290 CJBK in London: KEN & MARINA MORNING SHOW MOVIE REVIEWS!

I join 1290 CJBK in London and hosts Ken and Marina to talk the new movies coming to theatres including the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish” and the golden-age-of-Hollywood epic “Babylon.”

Listen to the whole thing HERE!

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY DEC 23, 2022.

I joined CP24 to have a look at new movies coming to VOD, streaming services and theatres.  Today we talk about the audacious and epic “Babylon,” starring Brad Pitt and Margot Robbie, the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish.”

Watch the whole thing HERE!

CKTB NIAGARA REGION: THE TIM DENIS SHOW WITH RICHARD CROUSE ON MOVIES!

I sit in with CKTB morning show host Tim Denis to discuss the weekend’s flickers including including the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish” and the golden-age-of-Hollywood epic “Babylon.”

Listen to the whole thing HERE!

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

I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish” and the golden-age-of-Hollywood epic “Babylon.”

Listen to the whole thing HERE!

YOU TUBE: THREE MOVIES/THIRTY SECONDS! FAST REVIEWS FOR BUSY PEOPLE!

Watch as I review three movies in less time than it takes to buy a lotto ticket! Have a look as I race against the clock to tell you about the Oscar bound “The Whale,” the animated adventure “Puss in Boots: The Last Wish” and the golden-age-of-Hollywood epic “Babylon.”

Watch the whole thing HERE!

Watch the iontercview on the CTV NewsChannel HERE!

BABYLON: 4 STARS. “shoots for the moon in a way that few other recent films have.”

There is nothing modest about “Babylon,” the new three plus hour epic from “Whiplash” director Damian Chazelle, now playing in theatres. It is unapologetically epic in themes, in length and in sheer off-the-wall exuberance.

A multicharacter treatise on the movies and knowing when to leave the party, it is “Boogie Nights” by way of Fellini’s “Satyricon” with a dash of “Singin’ in the Rain” thrown in for good measure. Love it or hate it, and there are valid reasons for either response, it is audacious, chaotic, vulgar, and, like its leading lady, it always makes a scene.

The action begins in 1926 in Bel Air, then a dusty patch of dirt. Hollywood wannabe Manny Torres (Diego Calva) is an up-and-comer who’ll do almost anything to break into the film business. That includes the wrangling of full-sized elephant to be used as entertainment at a wild Hollywood party later that night. Pulled over by a cop who amusingly informs him, “You can’t drive an elephant without a permit,” the quick-thinking Manny talks his way out of a ticket and gets the job done.

Later, while working as security at the decadent bash, he meets Nellie LaRoy (Margot Robbie), a bombshell party girl with an attitude and a taste for cocaine and attention. “You don’t become a star,” she says. “You either are one, or you ain’t.”

She isn’t famous, but she is a star. To Manny she represents everything he aspires to be and it’s love at first sight. For Nellie it’s a chance to expose herself to the Hollywood elite and sure enough, her provocative wild child style catches the eye of a producer who hires her on the spot to replace an actress who overdosed at the party.

Meanwhile, as a live band, led by trumpeter Sidney Palmer (Jovan Adepo), blows the roof off the place, matinee idol Jack Conrad (Brad Pitt) splits with his third (Or maybe his fourth. Who’s counting anymore?) wife and is drowning his sorrows in champagne and cocktails.

As the music blares, the dancers dance, the drinkers drink, the touchers touch and the snorters snort. It’s a bacchanal, the kind of party that only could have existed before the invention of the cell phone camera and TMZ.

As the sun rises, the party breaks up. Nellie drives off, on her way to the studio to make her big screen debut, and Jack takes Manny under his wing, giving him a start in that business called show.

There is more. So much more, but “Babylon” is not a film that lends itself to a Coles Notes treatment. Put it this way, one of the stars fights a rattlesnake, surely the climax of a regular film, but in “Babylon,” there’s still two more hours of story to go.

Chazelle’s maximalist vision is gloriously off the hook. He fills the screen with overstuffed detail, creating an avalanche of images and ideas. It is, by times, unfocused and sloppy, and begins to “Babylon-and-on” near the end of the 3-hour and 15-minute runtime, but the sheer exuberance of it won me over.

A story of loving something that can’t love you back, whether it is the movies, a gig, drugs or a person, Chazelle weaves a complicated tale of the highest highs and lowest lows, of glitz, glamor and grime that examines the notion of stardom and what happens when times change.

Adversely affected by shifting tastes is former matinee idol Jack, played by current matinee idol Pitt. A king of early Hollywood, he’s a Douglas Fairbanks style action star who always gets the girl in the final reel. He believes in the power of the movies—“What I do means something,” he says earnestly.—to uplift people beginning to feel the sting of the Great Depression but as the sounds of Al Jolson’s voice begins to fill theatres, Jack is the last to realize his time at the top has passed.

Pitt finds a balance between comedy and tragedy in Jack’s character. When we first meet him, he’s a hedonistic Hollywood a-lister who embraces the town’s loose morality. Often drunk, frequently ridiculous, he’s never less than charming. As the good times evaporate and the industry he loves, and helped build, moves on without him, there is real pathos in his downfall.

“You thought the town needed you,” says gossip columnist Elinor St. John (Jean Smart). “It’s bigger than you.”

Robbie has a showier, if slightly less rich, character arc. Nellie is a rough and tumble Hollywood creature with a taste for cocaine and fame. Her rise and fall may be more predictable than Jack’s career collapse, but it is just as colorful. From all night coke binges to a vomit scene that brings to mind Mr. Creosote, she’s troubled and troubling, a person whose self-destructive motivations are only truly understood by herself. Robbie plays her as a brash and bold woman enabled by Hollywood, her youth and Manny’s unrequited love.

In a breakout performance Calva’s Manny begins his journey as an ambitious show business outlier. As he becomes an insider, Manny’s character becomes the avatar of the film’s theme of transformation.

Each of these main characters, including Adepo’s trumpet playing Sidney Palmer, are in flux. They are adrift in the winds of change, flailing about, at the mercy of public opinion and an ever-changing industry. Manny’s makeover is undoubtedly the biggest step up, mostly because he is the only character not living in the moment. “Everything is about to change,” he says after seeing “The Jazz Singer,” the first sound movie, and one of “Babylon’s” harbingers of transformation.

Pitt, Robbie, Calva, Adepo and a stacked list of supporting players, including Tobey Maguire, Olivia Wilde, Flea and “SNL’s” Chloe Fineman, among others, are given lots to do, but the real star is Chazelle. “Babylon” is big and sloppy, but Chazelle shoots for the moon in a way that few other recent films have dared.

TRANSCENDENCE: 2 STARS. “brims with promise but underwhelms.”

Transcendence-Movie-Review-Image-2The new Johnny Depp film “Transcendence” will please those who think their cell phones are spying on them while their computers secretly plot to rule the world.  Technophobes will find much to like in this high tech thriller—which speaks of “the unstoppable collision between mankind and technology”—but how about those of us who don’t believe in Hard drive Horror?

Depp plays Dr. Will Caster, a bespectacled (so you know he’s smart) scientist whose pet project is an Artificial Intelligence device. It will be, he says, “a sentient machine that will quickly overcome the limits of biology; in a short time, its analytic power will become greater than the collective intelligence of every person born in the history of the world.”

In other words it’s a self-aware computer with feelings and the combined intelligence of all humanity. “Some scientists refer to this as the Singularity,” he says. “I call it Transcendence.”

Call it what you will, but when R.I.F.T. (Revolutionary Independence From Technology) extremists try to end the project by ending Caster with a radiation laced bullet they open the door to a new, dangerous phase of the experiment. As he lay dying his thoughts, knowledge and memories are downloaded into his Artificial Intelligence machine, creating a high tech Frankenstein, only with a better vocabulary.

With binary code coursing through his veins instead of blood, Caster has now transcended, but his wife Evelyn (Rebecca Hall) and best friend Max (Paul Bettany) are left with a conundrum as the scientist becomes more and more advanced. Is this the dawn of a more advanced age or a techno terror controlled by a power mad ghost in the machine?

“Transcendence” asks some interesting questions. Can technology provide some sort of life after death? Does artificial intelligence offer more promise or peril? How much humanity can a computer program possess? Is “Her” a better movie about love in the computer age?

The questions are interesting and might have been thought provoking if “Transcendence” was a better movie. Director Wally Pfister (best known as Christopher Nolan’s DOP of choice) and screenwriter Jack Paglen tackle big questions head on, but in the most perplexing of ways. Weird tonal shifts from sci fi to cyber love to techno terrorism make for a drearily paced film. Add to that unclear character motivations—MILD SPOILER ALERT: exactly who’s side is Max on?—and an underdeveloped love story and you’re left with a film that brims with promise but underwhelms.

So too does Johnny Depp. You have to cut him some slack because for 90% of the film he only appears on computer screens, doing his best HAL impression, but he seems to have checked out long before his character does. Hall and Bettany do some soulful work, but are hampered by a love story that is more about code than contact.

“Transcendence” has style, and it should, Pfister (who used DOP Jess Hall on this film) is a gifted shooter who gave us one of my favorite shots of recent years—The Joker hanging out of the cop car in “The Dark Knight,” surrounded by blurred lights and city scape. Given the choice I’d choose to watch that thirty seconds again and again over spending one more minute in the lackluster world of “Transcendence.”