A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at Denzel Washington in “The Equalizer 2,” the delightful “Eighth Grade” and the biopic “Don’t Worry, He Won’t Get Far on Foot.”
Watch the whole thing HERE!
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including Denzel Washington in “The Equalizer 2,” the delightful “Eighth Grade” and the biopic “Don’t Worry, He Won’t Get Far on Foot.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Erin Paul to have a look at the weekend’s big releases, Denzel Washington in “The Equalizer 2,” the delightful “Eighth Grade” and the biopic “Don’t Worry, He Won’t Get Far on Foot.”
Watch the whole thing HERE!
Like a perfectly cooked egg, or popping the individual pockets of air on bubble wrap or the “pawooof” sound a properly opened bottle of champagne makes, watching Denzel Washington open up a can of whoop ass on bad people is extraordinarily satisfying. His latest film, “The Equalizer 2,” the first sequel in his long and stories career, offers up a cornucopia of fisticuffian delights that should keeps fans of tough guy Denzel happy.
Denzel returns as former secret agent and righter-of-wrongs Robert McCall. Although he’s looking to scale back his ongoing quest to protect and serve the exploited and oppressed, when his former boss and close friend Susan Plummer (Melissa Leo) is murdered, he goes looking for revenge. “You killed my friend,” he says to the baddies, “so I’m going to kill each and every one of you. My only disappointment is that I only get to do it once.” Cue the carnage, Denzel-style.
There’s more, like a subplot with a young artist McCall tries to steer away from gang life and some double crosses, but you don’t go to an “Equalizer” movie for the social messaging or the plot. You go to see Denzel reign holy hell down on people that deserve a punch or two. That’s why the first, largely plot free, half of the movie is more satisfying than the second. We see McCall in random situations doing what he does best, not getting bogged down by the vagaries of narrative style or thematic statements. The fight scenes are don’t vary much, he scopes out the room, mutters a killer one-liner and devastates those who get in his way. It’s in the second half, after Susan’s murder that it sags as the movie strays into procedural territory. McCall’s investigative work leads to another improbable “Equalizer” style climax, although this one, set in a beach town during a hurricane, isn’t quite as ridiculous as the Home Hardware shootout—who knew those places were so dangerous?—in the first film, but it still requires some suspension of disbelief. (Start by asking yourself, when did he have time to hang up all those pictures of Susan in a wild windstorm?)
Director Antoine Fuqua has snapped up the pace from the first film, showcased the action, and added in two great motivators, betrayal and grief. Washington brings gravitas and ferocity to a character stuck somewhere between atoning for his violent life by helping those around him and knocking the snot out of people who get on his bad side. This sequel muddies the character by presenting him as a one-man posse, meting out his own brand of over-the-top justice. You can root for him, just don’t get on his bad side.
Not as trashy as “Death Wish” or as action-packed as “John Wick,” two other exemplars of the man on a crusade genre, “The Equalizer 2” is a solidly entertaining popcorn flick with pretensions of bringing Shakespearean level of pathos to the tale of vengeance. Instead, it’s “Taken” with the special set of skills and without the annoying daughter character.
“Canada AM” film critic Richard Crouse reviews “The Equalizer,” “The Boxtrolls” and “Hector and the Search for Happiness.”
Watch the whole thing HERE!
At the beginning of “The Equalizer,” a remake of the cult 1980s television show, Robert McCall (Denzel Washington) pontificates on “The Old Man and the Sea,” summing up Hemingway’s take on human nature.
“The old man gotta be the old man,” he says. “The fish gotta be the fish. Got to be who you are in this world no matter what.”
Of course this is a movie, so he’s actually talking about himself and not Ernest’s adversarial fisherman.
Washington plays a home improvement store worker by day, righter of wrongs by night. He’s a former black ops commando trying to leave his violent ways in the past but just when he thought that part of his life was over, the Russian mob leans on him because he tried to protect a young woman (Chloë Grace Moretz) from her violent pimp.
When he singlehandedly wipes out the east coast wing of the Russian mob Teddy (Marton Csokas), an enforcer from Moscow arrives to put an end to McCall’s one man search for justice.
“The Equalizer” is more elegant than Liam Neeson’s recent action movies but less viscerally satisfying. All the elements of Neeson’s Euro-trash thrillers are in place—tattooed bad guys and the “seasoned” hero with a “special set of skills”—but the pace is much slower.
The point of the story is that McCall equalizes situations, using his talents to help the down trodden but it takes about thirty minutes before any settling of scores happens. We meet McCall, learn about his orderly life—his shirts are immaculately pressed, he likes to read the classics and is particular about the placement of cutlery at his local diner—but we don’t learn anything about his past. He’s Denzel and ergo, a badass, but the first thirty minutes of this movie could have snapped things up a bit by illuminating his past.
The slow burn does build some tension, and by the time McCall unleashes hell on the Russia mobsters it comes as a bit of a catharsis. Now the movie is rolling! Except that it isn’t. It takes ages for McCall to open another can of whoop ass. Instead director Antoine Fuqua has elected to gradually build up to a wild showdown in a massive hardware store. Who knew those places were so dangerous? The climax is tense and inventive, apparently there is no home improvement device that cannot be turned into a WMD, but it is a more standard blockbuster-movie ending than you might expect from a movie so stingy with the action in the first hour.
It’s a good movie and Denzel is, as always, charismatic and interesting, but if “the old man gotta be the old man,” then “The Equalizer” gotta be more of an action movie to be completely satisfying.
By Richard Crouse & Mark Breslin – Metro Reel Guys
SYNOPSIS: Washington plays a home improvement store worker by day, righter of wrongs by night. He’s a former black ops commando trying to leave his violent ways in the past but just when he thought that part of his life was over, the Russian mob leans on him because he tried to protect a young woman (Chloë Grace Moretz) from her violent pimp. When he singlehandedly wipes out the east coast wing of the Russian mob Teddy (Marton Csokas), an enforcer from Moscow arrives to put an end to McCall’s one man search for justice.
STAR RATING:
Richard: 3 ½ Stars
Mark: 3 Stars
Richard: Mark, The Equalizer is more elegant than Liam Neeson’s recent action movies but less viscerally satisfying. All the elements of Neeson’s Euro-trash thrillers are in place—tattooed bad guys and the “seasoned” hero with a “special set of skills”—but the pace is much slower. The point of the story is that McCall equalizes situations, using his talents to help the down trodden but it takes about thirty minutes before any settling of scores happens. We meet McCall, learn about his orderly life but we don’t learn anything about his past. He’s Denzel and ergo, a badass, but the first thirty minutes of this movie could have snapped things up a bit by illuminating his past.
Mark: Richard, withholding information must be what passes for suspense in this thriller. But I can accept a slow burn off the top if the rest of the movie ignites. But the plot and tone of the movie is standard stuff, as you say. What lifts the rote material into the stratosphere is Denzel who is such a good actor we forget we’re watching an expensive Steven Seagal flick.
RC: It is a slow burn that does build some tension, and by the time McCall unleashes hell on the Russia mobsters it comes as a bit of a catharsis. Now the movie is rolling! Except that it isn’t. It takes ages for McCall to open another can of whoop ass. Instead director Antoine Fuqua has elected to gradually build up to a wild showdown in a massive hardware store. Who knew those places were so dangerous? The climax is tense and inventive, apparently there is no home improvement device that cannot be turned into a WMD, but it is a more standard blockbuster-movie ending than you might expect from a movie so stingy with the action in the first hour.
MB: Homeowners…killing homeowners, as the jingle sorta goes. I liked the set piece at the end; it was very well directed, and I have no quibble about the technical virtuosity of the movie. Denzel’s tactiturn hero is mysterious and engaging. But when I thought about it, all of the hero’s efforts to eliminate the Russian mob in Boston would only result in the ascendancy of the Irish mob. And what’s Bill Pullman doing in the movie with three lines? Time to fire his agent?
RC: Pullman did have the nicer house though, so I guess that counts for something. Overall it’s a good movie and Denzel is, as always, charismatic and interesting, but as he says, paraphrasing Hemingway, if “the old man gotta be the old man,” then The Equalizer gotta be more of an action movie to be completely satisfying.
MB: I might say the violence was often gratuitous, but there’s not much of a movie without it.
By Richard Crouse – Metro – In Focus
In 2001 Denzel Washington won his first Best Actor Academy Award. The movie was Training Day and Washington’s performance as the corrupt Los Angeles Police Department narcotics officer Alonzo Harris established the actor’s propensity for playing ambiguous antiheroes.
Is there another A-list leading man who explores the dark side of his characters as often as Washington? Will Smith and Tom Cruise occasionally let the heroic side of their on-screen personas take a back seat, but Washington revels in mucking around in the mud. From Training Day to American Gangster, Safe House to Flight, he has crafted complex characters you wouldn’t want to sit next to on the bus.
This weekend he’s back as Robert McCall, home improvement store manager by day, equalizer of odds by night. Based on the cult 1980s television show The Equalizer starring Edward Woodward, the film begins with the former black ops commando trying to leave his violent ways in the past. He meets his greatest adversary just when he thought that part of his life was over. Namely, the Russian mob leans on him after he tries to protect a young woman (Chloë Grace Moretz) from her pimp.
No other superstar seems as comfortable with moral haziness as Washington. In American Gangster, for instance, he was Frank Lucas, the one-time driver for a Harlem mob boss who rose to the top of the drug world by flooding the streets of Manhattan with cheap, high-grade heroin smuggled into the United States in the coffins of dead soldiers returning from Vietnam. He’s a dichotomy — bloodthirsty and ruthless, but he also attends church every Sunday with his mother.
In Flight, he played troubled pilot Whip Whitaker, an anti-hero who is functional in day-to-day life despite his predilection for wine, women and cocaine. He’s charming one minute, enraged the next and passed out on the floor the minute after that. Washington manages to subtly capture the ego and hubris that allows Whitaker to present a sober face to the public while bringing us into the messy world of addiction.
The actor has played his share of assorted good guys over the years — Ricochet’s cop-turned-attorney and Don Pedro of Aragon in Much Ado About Nothing — but it is his willingness to mine the heroism of the nasty men he plays that makes him one of the most interesting A-listers.
Reel Guys By Richard Crouse and Mark Breslin – Metro Canada
Synopsis: Out with the old and in with the new: 2013 contained many magnificent movie moments (and some bad ones as well, but let’s not dwell on those) for the Reel Guys and it looks like 2014 will be just as bountiful. This week we gaze into our cinematic crystal balls and choose the films we’re looking forward to in the new year.
Richard: Mark, years ago I loved a show called The Equalizer. It starred Edward Woodward as a private detective who helped people in need “equalize the odds.” It was a cool show, and as much as movie versions of programs like The A-Team and Starsky and Hutch have disappointed, I’m looking forward to this. Denzel Washington is masterful at playing ambiguous antiheroes and reteaming him with his Training Day director Antoine Fuqua seems like a good idea to me.
Mark: Richard, I don’t know the show but I do like Denzel, I do like Fuqua and I do like the concept. One movie I am looking forward to is The Monuments Men with George Clooney, Matt Damon and John Goodman as civilians pressed into battle during the Second World War to save art treasures from the Nazis. This should hit all the bases for me.
RC: Clooney is always cool, and he also directed the movie, so I’m keen to see it. I’m also very excited for The Zero Theorem. Terry Gilliam says his new film is the third part of the trilogy he began with Brazil and continued with 12 Monkeys. If that isn’t enough, it stars Christoph Waltz and Matt Damon. And did I mention it sprung from the wild mind of Terry Gilliam?
MB: Reality check: Whose last movie was the unwatchable The Imaginarium of Doctor Parnassus. When Gilliam stinks he stinks up the whole room. Just saying…. If it’s sci-fi you’re looking for, how about the RoboCop reboot, a franchise that’s had more reboots than an Ugg store? Or Transcendence, which has a Philip K. Dick meets Body Snatchers sound to it. Appeals to the paranoid side of my split personality Richard…
RC: I liked Parnassus! It was like a Salvador Dali painting come to life! Gilliam Rules! But there are other things I’m looking forward to, like Maleficent. The creepy but beautiful Sleeping Beauty villain is a role Angelina Jolie’s cheekbones were born to play. If the movie is as cool looking as the clips I’ve seen, I’ll go for the art direction alone.
MB: Sure, but I think we’re both ignoring what must be the Greatest Movie of 2014 — the cinematic adaptation of the great novel Fifty Shades of Grey. C’mon, Richard, admit it, you’ll be second in line to see it, only because I got there the night before… and I understand James Franco is playing the handcuffs.
