“Richard Crouse, a film critic and pop culture expert, was part of the group that selected the movies that would be included as part of the festival. It basically involved them sitting around and lightheartedly arguing about what movies they would like to see back on the big screen.
“As Crouse said, there’s just something about going to see a film in the theatre and how watching a movie can be a rather enjoyable collective experience with others.
“There’s no better way to see a film than going to see it in the theatre,” said Crouse.”
“Z for Zachariah,” a three hander starring Chiwetel Ejiofor, Margot Robbie and Chris Pine, is a dystopian story where the catastrophic events surrounding the devastation of the human race are less important than the more primal themes of lust and jealousy that arise between the trio of characters.
Robbie is Ann, a pious woman whose tough, lonely life changes when she meets and befriends scientist Loomis (Ejiofor). She hasn’t seen another person in a very long time and soon they work through their mutual mistrust to form a friendship with romantic overtones. Their budding romance is stopped short with the appearance of Caleb (Chris Pine), a charming stranger who inserts himself into their lives. Loomis doesn’t trust the newcomer and becomes even more suspicious when Ann and Caleb become romantically involved.
Based on a novel by Robert C. O’Brien, “Z for Zachariah” is a quiet movie that sits on the other end of the scale from recent dystopian movies like “Mad Max: Fury Road” or “CHAPPiE.” The action here is mostly internal and the only explosions are emotional. Director Craig Zobel challenges the audience’s idea of what a post apocalypse world would look like. His world is lush, save for a creek infected by nuclear waste, and he has boiled the story down to its essentials.
The film isn’t cluttered with the backstory of the disaster, instead it gives us just enough information on the characters to allow us to draw our own conclusions about them. Loomis is a drinker, Ann’s religious convictions have left her open to being taken advantage of while Caleb’s past is murky enough to arouse suspicion. It’s a complex study of character, a look at how people behave in isolated circumstances.
The actors rise to the occasion. Robbie leaves behind the glam of “Wolf of Wall Street” to find Ann’s vulnerability, while Pine is allowed to show more depth as Caleb than he’s able to in his “Star Trek” franchise. By the time the end credits roll, however, it’s clear this is Ejiofor ‘s movie. The multifaceted character is vividly alive behind his eyes and often his performance is more interesting than the movie itself.
Zobel’s deliberate pacing is meant to highlight the all-important subtext of the story but occasionally feels more like foot dragging than a style choice.
Bruce Greenwood is a busy actor who has spent much of the last year on set, away from his Los Angeles home.
“Yesterday I found myself reading a script,” he says of a rare day off. “I was lying on the coach and I put the script down and fell asleep in the sun. I woke up an hour later and said to my wife, ‘We’re home. I’m lying on the coach. I could get up and make tea but I don’t have to. My bag is not packed.’”
When he isn’t on set the actor, best known as Christopher Pike in the rebooted Star Trek series, occupies himself in the kitchen.
“I’m baking bread,” he says. “It’s my new thing. I’m making at least a couple of baguettes a day. Usually I make three in a batch, give two to the neighbours and force the other one on my wife.”
In the new psychological thriller Elephant Song—just one of four movies he has in the pipeline—Greenwood as hospital chief of staff Dr. Toby Green is lured into a cat and mouse game with Michael, a long time patient played by Xavier Dolan, who may know the whereabouts of a missing doctor.
Greenwood hadn’t met his co-star and Dolan wanted to keep it that way—at least until they shot their first scene.
“He had a great idea early on which serves to illustrate how willing he is to experiment,” says Greenwood. “He decided that when the two characters meet in the film for the first time it might be interesting that, as actors, we were meeting for the first time while the cameras were rolling. I kind of thought, ‘Well, that’s a bit of extra lifting I don’t think is really necessary.’ But he really wanted to try it so I said, ‘OK.’ When he walked into the room all this stuff started pouring through my system that I couldn’t have anticipated. It turned out to be a great idea.”
Greenwood has been so busy, he had to rely on journalists to refresh his memory about Elephant Song, a movie he shot almost two years ago.
“It is one of those things where if you are doing ten interviews in a row, the first two interviewers get the short end of the stick because during the interviews you’re reminded of what the film was about. By the third interview, twenty minutes in, you remember what it was about the film that excited you and interested you and challenged you. Today after the first couple of interviews I hung up the phone and thought, ‘God, those poor people must think I’m an idiot.’”
Bruce Greenwood first met director Atom Egoyan in a singles bar. “Atom was alone in the corner and I felt sorry for him,” says Greenwood. “We were introduced by a mutual friend.”
That was in the early 1990s, when Egoyan was on the brink of international acclaim as a director and Greenwood was a film and television star with a handful of movies and recurring roles on St. Elsewhere and Knots Landing under his belt. That chance meeting led to their first film together, Exotica, a study of loneliness and desire in a lap-dancing club that Roger Ebert called “a deep, painful film” in his four-star review. “We became good friends during that process,” said Greenwood, “and in the ensuing years.”
Three years later the pair collaborated on The Sweet Hereafter, an adaptation of the novel of the same name by Russell Banks about the effects of a tragic bus accident on the population of a small town. Greenwood earned a Genie Award nomination playing a grieving father and in 2002 readers of Playback voted it the greatest Canadian film ever made.
Next was a small role in Ararat, Egoyan’s story of a young man whose life is changed during the making of a film about the Armenian genocide, and then, in 2013, a cameo in Devil’s Knot. Greenwood played a judge in Egoyan’s retelling of the events leading up to the West Memphis Three murders and the “Satanic panic” that fuelled the hysteria surrounding the subsequent trial of teenagers Jessie Misskelley Jr., Damien Echols and Jason Baldwin.
These days Greenwood is best known for his work as Capt. Christopher Pike in the 2009 Star Trek film and its sequel, Star Trek Into Darkness, but he’s not too busy in Hollywood — the Quebec-born actor has lived in Los Angeles since the late 1980s — to reteam with his Canadian cohort. In Egoyan’s new psychological thriller, The Captive, Greenwood joins stars Ryan Reynolds, Scott Speedman, Rosario Dawson and Mireille Enos in a story of a child kidnapping. Egoyan says he and Greenwood share a shorthand that makes for easy work on set. As for Greenwood, he says he trusts the director, “more than anyone I’ve ever worked with. He can ask me to do anything and if my initial instinct is ‘Oh no,’ it ends up being the right idea. He’s a tremendous guy.”
After five television series, ten movies, countless books, comics and video games, a stage version and even an Ice Capades style show is there anything left, story wise, to do with Captain Kirk, Spock, Bones and the rest of the crew of the USS Enterprise? Director J.J. Abrams, the brains behind hit TV shows like Felicity, Lost and Fringe, thinks so and has re-launched the big screen franchise, which has lain fallow since 2002’s Nemesis. Simply called Star Trek, he takes audiences where no man (or director) has gone before, back to the very beginning of the story before Kirk bore an uncanny resemblance to T.J. Hooker.
In this prequel to the original series James Tiberius Kirk (Chris Pine) is a young punk; a thrill seeking juvenile delinquent son of a dead hero recruited to join Starfleet Academy by an associate of his father’s. On another planet is Spock (Zachary Quinto), a half human, half Vulcan outcast who becomes the first of his race to be accepted into the Starfleet Academy. Soon their paths will cross as they are assigned to the maiden voyage of the most advanced starship ever created, the U.S.S. Enterprise under Captain Christopher Pike (Bruce Greenwood). On their first dangerous mission they will become the original intergalactic odd couple as they find a way to stop the vengeful Romulan villain Nero (Eric Bana with Mike Tyson-esque tattoos on his face) from destroying all of mankind.
With Star Trek J.J. Abrams has made the first great popcorn movie of the year. Notice I didn’t say sci-fi movie. Star Trek is a lot of things but despite all the talk of warp speed, black holes and time travel, it can’t be classified as science fiction. This is a character based space serial more concerned with the burgeoning relationship between Spock and Kirk than with photon thrusters. That may bother the purists and the Roddenberries but shouldn’t trouble anyone simply looking for a good time at the movies.
Abrams gets right into the thick of things, front loading the movie with two wild action scenes in the first ten minutes. It’s edge of the seat stuff that neatly gives Captain James T a back story and sets the tone for the rest of the film. It’s big. It’s loud. It’s bombastic. It’s also the best Trek since The Wrath of Khan.
Abrams succeeds because he isn’t precious with the source material. All the prerequisite catchphrases—“Live long and prosper”—are there, coupled with some sly homages to the show’s history—Trekkers will note the fruition of Kirk’s flirtation with the green Orion woman from the TV show—but he’s more interested in creating an overall entertainment experience than displaying reverence for Roddenbery’s creation. The subtle (and sometimes not so subtle) social commentary of the series has gone the way of the spent lithium crystals from season two, episode four, replaced by flat out action that engages the eye but not the brain. In terms of CGI Abrams has set phasers to stunning. It’s state of the art and will make your eyeballs dance.
Star Trek is an origin story that works. It has heart, ferocious CGI and is dead cool. It’s the best movie geek-out since Iron Man. In the words of Scotty (Simon Pegg), “I like this ship. It’s exciting.”
The news of today’s Oscar nominations from Los Angeles shot around the world, leaving critics and film buffs shaking their heads over snubs made by Academy Award voters.
Much has been made this year of the Academy’s move to broaden the nominations for Best Picture from five to 10 entries.
For decades highbrow fare dominated this category. Oscar organizers felt it was time to give mainstream hits like “Star Trek” and other films a chance to vie for Best Picture gold.
“‘Star Trek’ was even used as the example for the kind of movie that would get nominated,” says Canada AM movie critic Richard Crouse.
Then why is “Star Trek” nowhere to be found among 2010’s Best Picture nominations?
The same can be asked about Clint Eastwood’s rousing sports drama, “Invictus.”
Toppled by popcorn-guzzling entries like “The Blind Side” and “District 9,” “Invictus” fell to the wayside like an old wad of gum.
Is “District 9” really a better picture than “Fantastic Mr. Fox” or “Where the Wild Things Are”?
Does “District 9″and all its tentacled alien fury really surpass the craftsmanship in movies like Jane Campion’s “Bright Star” or the sparkling storytelling in Nora Ephron’s “Julie & Julia?”
What where Academy voters thinking?
Julianne Moore gave one of the best performances of her career in Tom Ford’s searing drama, “A Single Man.” Moore, sadly, is a surprising shutout from this year’s Best Supporting Actress race.
Ditto for Mélanie Laurent, the fierce World War II heroine in Quentin Tarantino’s film “Inglourious Basterds.”
Viggo Mortensen’s gut-wrenching performance in “The Road” had some critics betting on a Best Actor nod for this underdog.
The same can be said for underdog Tobey Maguire, who blew critics away with his blistering portrayal of a troubled American soldier in “Brothers.”
Sadly, Mortensen and Maguire are out of luck.
Today’s Oscar nominations turned “Avatar” and “The Hurt Locker” into the heroes of Hollywood for the moment.
Oscar’s snubs, on the other hand, turned some incredible films and talents into yesterday’s news.
Zoe Saldana’s career is white hot after starring roles in Star Trek and Avatar but she is no newcomer.
She’s been a big screen regular for ten years, even appearing in the odd blockbuster like Pirates of the Caribbean: The Curse of the Black Pearl and working with high end directors like Steven Spielberg, but she didn’t become a household name until last year.
The actress, who describes herself as “a cool geek who happens to dress nice,” hopes to add to her growing box office clout this weekend with The Losers, a wild action movie based on the comic book series of the same name.
She may have become a bold face name sucking up to the fanboys, but she hasn’t always played comic-book characters, giant blue aliens or iconic sci fi characters.
Early roles included a sharp-tongued aspiring dancer in Center Stage and the prim-and-proper best friend of Britney Spears in Crossroads — although she’d probably rather forget that one.
Roger Ebert said, “I went to Crossroads expecting a glitzy bimbofest and got the bimbos but not the fest,” but it was another dance role in Drumline that earned her the best notices of her budding career.
In the time between Drumline and Star Trek, however, she made thirteen films, some big, like Pirates, some so small they barely made a blip on the screen.
For example, Haven, a complex crime drama set in the Cayman Islands scarcely made it past a festival run, but is well worth a look on DVD. Mixing and matching stories of corrupt businessmen, tax havens and romance it was too out-of-the-box for general audiences, but Saldana shines (the L.A. Times called her performance “sweet and complicated”) opposite her Pirates co-star Orlando Bloom.
Also unfairly relegated to the bargain bin was Ways of the Flesh, a 2005 medical comedy about a chief resident at a Florida Hospital who also happens to be a stand-up comedian. Saldana plays an artist whose life was once saved by the main character.
Directed by real-life doctor-turned-filmmaker Dennis Cooper, it’s a sweet and funny film about not taking yourself too seriously.
Dues paid, Saldana now stars in blockbusters, which has benefits other than the juicy paycheques. In the past she says she was often mistaken for Thandie Newton — so much so that her own mother once confused the two of them — but given her recent success, I’m guessing it’s now Newton who gets mistaken for Saldana.
“Richard Crouse, a film critic and pop culture expert, was part of the group that selected the movies that would be included as part of the festival. It basically involved them sitting around and lightheartedly arguing about what movies they would like to see back on the big screen.
