I join CTV NewsChannel anchor Marcia MacMillan to talk about the Will Smith drama “Emancipation,” Olivia Colman in “Empire of Light” and “Guillermo Del Toro’s Pinocchio.”
Watch the whole thing HERE!
I sit in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres including the Will Smith drama “Emancipation,” Olivia Colman in “Empire of Light” and “Guillermo Del Toro’s Pinocchio.”
Listen to the whole thing HERE!
“Empire of Light,” a new drama from director Sam Mendes, takes almost two hours to deliver the same magic-of-the-movies message Nicole Kidman’s AMC advertisement drove home in just one minute and one second.
Set in 1981, Olivia Colman plays Hilary Small, a lonely duty manager at a Margate cinema called The Empire. She is fastidious, detail oriented and on top of every little thing, even if she doesn’t really care for the movies she shows in their beautiful Art Deco auditoriums. “They’re for the customers,” she says.
Her personal life is as messy as her work life is ordered. An illicit affair with her boss, Mr. Ellis (Colin Firth), the theatre’s general manager, is a study in power imbalance and an unnamed mental illness leaves her unable to sleep and reliant on lithium to maintain equilibrium.
Stephen (Micheal Ward), a new theatre employee, fits in perfectly with the others, Neil (Tom Brooke), punk rocker Janine (Hannah Onslow) and projectionist Norman (Toby Jones) but really sparks with Hilary, even though she is many years his senior.
At the theatre romance blossoms between them, but in the outside world the rise of the National Front troubles Stephen, and he is regularly harassed by skinheads simply because he is a Black man living in Britain.
As Mr. Ellis prepares to host the regional gala premier of “Chariots of Fire,” events conspire to change the nature of Hilary and Stephen’s relationship, and perhaps the rest of their lives.
“Empire of Light” takes on a lot but does not seamlessly blend its many ideas into a whole. A study of racism, mental illness, power structures and the transformative power of the movies, it is splintered into too many pieces to work as a cohesive story. When Mendes focusses his camera on Hilary and Stephen the movie finds its power, when he does not, it drifts.
Colman, in the film’s most demanding role, once again proves her remarkable ability to inhabit a character. Hilary is a complex person, and as her depression grips, she boards an emotional rollercoaster. Colman carefully and sensitively portrays that aspect of Hilary’s life in a terrific performance, filled with humanity and sympathy.
Opposite Colman in the film’s best scenes is Ward. As Stephen, in a career making performance, he brings empathy to the film. In one of his early moments, he helps a pigeon with a broken wing. That action could have served as an overworked metaphor, given his budding relationship with the damaged Hilary, but instead establishes Stephen’s innate decency in a world that does not always return the favor. Conversely, Ward’s steeliness comes through in several scenes of outrageous racism.
At its heart “Empire of Light” is a love letter to film and grand old movie palaces like The Empire. But once again, Mendes uses the metaphors like a jackhammer on concrete. In an impassioned speech, Toby Jones, who calls the theatre’s projectors his “babies,” explains the magic of the movies to Stephen. “Still images with darkness in between,” he says. “If I run them at 24 frames a second, you don’t see the darkness.” Jones delivers the line with breathless reverence, as if the idea that film as a panacea for all that ails us was something new instead of a clunky metaphor. The “Cinema Paradiso-esque” veneration is well intended, but, given the film’s essaying of racism and mental illness, feels overstated and trite.
Richard joins CP24 anchor Nathan Downer to have a look at the weekend’s new movies including“Jurassic World: Fallen Kingdom,” the family dramedy “Paper Year” and the doc noir “The Cleaners.”
Watch the whole thing HERE!
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, “Jurassic World: Fallen Kingdom,” the family dramedy “Paper Year” and the doc noir “The Cleaners.”
Watch the whole thing HERE!
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 the return of marauding dinos in “Jurassic World: Fallen Kingdom,” the family dramedy “Paper Year” and the doc noir “The Cleaners.”
Watch the whole thing HERE!
Richard sits in with CKTB morning show host Tim Denis to discuss the weekend’s flickers including “Jurassic World: Fallen Kingdom,” the family dramedy “Paper Year” and the doc noir “The Cleaners.”
Listen to the whole thing HERE!
One thing is for sure, the “Jurassic Park” movies are not an endangered species. The film series, now entering its fourth iteration since 1993’s prehistoric original, has outlived most other monster movie franchises of its vintage. With another one already scheduled for 2021 the dinos-gone-wild-movies show no signs of extinction. It seems audiences have an endless appetite to see people become dinosaur snacks.
The new one, “Jurassic World: Fallen Kingdom,” picks up three years after the “de-extinct” dinosaurs destroyed Isla Nublar, the island paradise where “Jurassic World” took place. Now abandoned and overrun by dinosaurs, the former theme park and its inhabitants face a new threat—“the flashpoint animal rights issue of our time,” we’re told—in the form of a volcano poised cover everything in a thick layer of molten lava.
Some people, like Dr. Ian Malcolm (Jeff Goldblum), feel nature should be allowed to take its course even if that means the end of the dinosaurs. Others, like Sir Benjamin Lockwood (James Cromwell), John Hammond’s partner in developing the dinosaur clone technology, want to see them rescued. Enter two former park employees, dinosaur trainer Owen Grady (Chris Pratt)—the Cesar Millan of the dinosaur world—and former park director Claire (Bryce Dallas Howard) and small team of helpers, computer whiz and comic relief Franklin (Justice Smith) and paleo veterinarian Zia (Daniella Pineda) who spearhead a campaign to relocate the creatures to a newer, safer sanctuary. “Save the dinosaurs from an island that is about to explode,” says Owen. “What could go wrong?” Lots. There’s more, like a nefarious plan to sell the rescued dinosaurs and a “creature of the future made from pieces of the past” but who cares as long as the creatures are let loose.
Sure enough, half-an-hour into “Jurassic World: Fallen Kingdom,” after some call backs and set up, dinos are chasing humans, summing up the two most important elements of the Jurassic franchise—giant dinosaurs and people for them to eat. Other stuff, like narrative logic, plain old common sense and interesting characters, come a distant second to gnarling teeth and big action set pieces.
The usual franchise mumbo jumbo about science tampering with the natural world is in place but it’s even more cursory than in the first “World” film. Instead it embraces the thing that has always been at the rapidly beating heart of these movies, monster mayhem and on that level it succeeds.
Ultimately, however, the stakes are very low. It is obvious who will become a dinosaur entree and who won’t. Also much of the danger has been replaced by more family friendly light moments—i.e. Owen doing a tranquilized acrobatic act to escape molten lava or Franklin’s ladder gag. There is some suspense, but it’s not subtle like Alfred Hitchcock style suspense. Instead it’s will-Owen-get-eaten-by-a-dinosaur-as-Claire-and-Franklin-roll-away-into-a-giant-motorized-orb suspense.
By the end credits what do we learn about “Jurassic World: Fallen Kingdom”? Chris Pratt could probably outrun Tom Cruise without breaking a sweat. The rules of physics and do not apply in Dino Land. When you have dinosaurs you don’t need much else and some sequels are easier to set up than others.
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 “Paddington 2,” one of the most entertaining movies of the year, the train terror movie “The Commuter” and the family drama “Happy End.”
Watch the whole thing HERE!
