Posts Tagged ‘Tom Cruise’

CP24: WHAT MOVIES AND TV SHOWS TO WATCH TO KILL TIME DURING THE PANDEMIC!

Richard and “CP24 Breakfast” host Pooja Handa have a look at some special streaming opportunities and television shows to help fill the hours during the pandemic, including the crime documentary series “I’ll Be Gone in the Dark,” a tip of the hat to Tom Cruise on his birthday, the surreal and sweet “Forever” on Amazon Prime and a rave review for “Hamilton.”

Watch the whole thing HERE!

CTVNEWS.CA: THE CROUSE REVIEW LOOKS AT “MISSION IMPOSSIBLE-FALLOUT”!

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 Tom Cruise action flick “Mission Impossible – Fallout,” the surreal and surprising “Blindspot” and the political drama “Shock and Awe.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS FOR JULY 27.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, the Tom Cruise smash-’em-up “Mission Impossible – Fallout,” the surreal and surprising “Blindspot” and the political drama “Shock and Awe.”

Watch the whole thing HERE!

CJAD IN MONTREAL: THE ANDREW CARTER SHOW WITH RICHARD CROUSE ON MOVIES!

Richard sits in on the CJAD Montreal morning show with host Andrew Carter to talk about the epic action of “Mission Impossible – Fallout,” the epic emotions of “Blindspotting” and the not-so-epic “Shock and Awe.”

Listen to the whole thing HERE!

MISSION IMPOSSIBLE – FALLOUT: 4 ½ STARS. “an elephantine action epic.”

Writing a review for “Mission Impossible – Fallout” gave my thesaurus a workout. The film, the sixth instalment in the Tom Cruise franchise, is jammed to the gills with next-level stunts that require an expanded vocabulary to describe. Words like ‘extreme’ or ‘exciting’ or even ‘epic’ (and those are only the ‘e’ words) don’t come close to describing the behemothic action sequences contained within.

Cruise returns as the seemingly invincible action man and IMF (Impossible Mission Force) agent Ethan Hunt. Hunt and his crew, tech wiz Benji (Simon Pegg) and agent Luther (Ving Rhames), are charged with finding and capturing anarchist Solomon Lane (Sean Harris), a baddie who was the leader of the Syndicate during the last film, “Rogue Nation.” “Whatever you heard about Lane,” explains Hunt, “if it makes your skin crawl it’s probably true.” Lane is working with the mysterious and murderous John Lark, a man with some extreme ideas about squashing the world order.

As Lark and Lane collect the necessary plutonium to fulfil their plan the CIA begins to have doubts about Hunt’s loyalty. Add to that the return of former MI6 agent Ilsa Faust (Rebecca Ferguson), and some newbies, CIA assassin August Walker (Henry Cavill) and black market arms dealer and lady of mystery White Widow (Vanessa Kirby) and you have lots of characters to fill the space between the stunts. Complicating matters is the fallout from some of Hunt’s previous, well-intentioned missions.

There are a lot of very good-looking people in “Mission Impossible – Fallout.” Handsome fellas and femme fatale‘s, they are all woven into a stylish story of international intrigue and plutonium. Like the others “MI” movies it’s packed with exotic locations—only James Bond has more air travel points than Ethan Hunt—doublespeak and double crosses but the narrative doesn’t matter that much, it’s all in service of the Bunyanesque action.

Choreographed to an inch of Hunts life—Cruise really puts himself out there for this one—the realism of the stunts gives the movie a sense of danger and the Green Screen Department the day off. Monumental, vertigo inducing single sequences take place on land, wheels, water and air. Only the screeching of tires score one eye-peeling chase scene between a motorcycle and a car. Visually it is so visceral director Christopher McQuarrie wisely avoided cluttering the scene with frenetic music. It doesn’t need it.

Of course those looking for a finely crafted John le Carré style story of espionage in “Mission Impossible – Fallout” will be bitterly disappointed. While it does contain huggerymuggery it frequently falls just this side of making sense. That’s not to say it isn’t entertaining. Even when Hunt isn’t in action the movie is in perpetual motion, but Frederick Forsyth this ain’t. Instead it is an elephantine (although no actual elephants appear) action epic that breaks the blockbuster norm of cutting away to an action sequence every ten minutes or so. It’s made up of three Brobdingnagian set pieces stitched together by words that mostly make sense.

LOOKING BACK AT 2017: RICHARD PICKS FOR THE WORST FILMS OF THE YEAR.

THE BAD (in alphabetical order)

CHIPs: It’s a remake, a comedy and an action film and yet it doesn’t quite measure up to any of those descriptors. It’s a remake in the sense that writer-director-star Dax Shepard has lifted the title, character names and general situation from the classic TV show but they are simply pegs to hang his crude jokes on.

The Circle: While it is a pleasure to see Bill Paxton in his last big screen performance, “The Circle” often feels like an Exposition-A-Thon, a message in search of a story.

The Fate of the Furious: Preposterous is not a word most filmmakers would like to have applied to their work but in the case of the “Fast and Furious” franchise I think it is what they are going for. Somewhere along the way the down-‘n’-dirty car chase flicks veered from sublimely silly to simply silly. “The Fate of the Furious” is fast, furious but it’s not much fun. It’s an unholy mash-up of James Bond and the Marvel Universe, a movie bogged down by outrageous stunts and too many characters. Someone really should tell Vin Diesel and Company that more is not always more.

Fifty Shades Darker: Depending on your point of view “Fifty Shades of Grey” either made you want to gag or want to wear a gag. It’s a softcore look at hardcore BDSM (bondage, discipline, sadism and masochism) that spanked the competition on its opening weekend in 2015. Question is, will audiences still care about Grey’s proclivities and Ana’s misgivings or is it time to use our collective safeword? “Fifty Shades Darker” is a cold shower of a movie. “It’s all wrong,” Ana says at one point. “All of this is wrong.” Truer words have never been spoken. 

The Mountain Between Us: Mountain survival movies usually end up with someone eating someone else to stay alive. “The Mountain Between Us” features the usual mountain survival tropes—there’s a plane crash, a showdown with a cougar and broken bones—but luckily for fans of stars Idris Elba and Kate Winslet cannibalism is not on the menu. Days pass and then weeks pass and soon they begin their trek to safety. “Where are we going?” she asks. “We’re alive,” he says. “That’s where were going.” There will be no spoilers here but I will say the crash and story of survival changes them in ways that couldn’t imagine… but ways the audience will see coming 100 miles away. It’s all a bit silly—three weeks in and unwashed they still are a fetching couple—but at least there’s no cannibalism and no, they don’t eat the dog.

The Mummy: As a horror film it’s a meh action film. As an action film it’s little more than a formulaic excuse to trot out some brand names in the kind of film Hollywood mistakenly thinks is a crowd pleaser.

The Shack: Bad things in life may be God’s will but I lay the blame for this bad movie directly on the shoulders of director Stuart Hazeldine who infuses this story with all the depth and insight of a “Davey and Goliath” cartoon.

The Snowman: We’ve seen this Nordic Noir before and better. Mix a curious lack of Oslo accents—the real mystery here is why these Norwegians speak as though they just graduated RADA—Val Kilmer in a Razzie worthy performance and you’re left with a movie that left me as cold as the snowman‘s grin.

Valerian and the City of a Thousand Planets: Movies like the high gloss crime thriller “La Femme Nikita,” the assassin mentor flick “Léon: The Professional” and outré sci fi opera “The Fifth Element” have come to define director Luc Besson’s outrageous style. Kinetic blasts of energy, his films are turbo charged fantasies that make eyeballs dance even if they don’t always engage the brain. His latest, “Valerian and the City of a Thousand Planets,” not only has one of the longest titles of the year but is also one of the most over-the-top, retina-frying movies of the year. Your eyes will beg for mercy.

Wonder Wheel: At the beginning of the film Mickey (Justin Timberlake) warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, writer, director Woody Allen uses every amount of artifice at his disposal—including cinematographer Vittorio Storaro’s admittedly sumptuous photography—to create a film that is not only unreal but also unpleasant. “Oh God,” Ginny (Kate Winslet) cries out at one point. “Spare me the bad drama.” Amen to that.

THE UGLY

Song to Song: I think it’s time Terrence Malick and I called it quits. I used to look forward to his infrequent visits. Sure, sometimes he was a little obtuse and over stayed his welcome, but more often than not he was alluringly enigmatic. Then he started coming around more often and, well, maybe the old saying about familiarity breeding contempt is true. In “Song to Song” there’s a quick shot of a tattoo that sums up my feelings toward my relationship with Malick. Written in flowery script, the words “Empty Promises” fill the screen, reminding us of the promise of the director’s early work and amplifying the disappointment we feel today. This is the straw that broke the camel’s back, the Terrence Malick movie that put me off Terrence Malick movies. I’ll be nice though and say, it’s not him, it’s me.

EXTRA! EXTRRA! MOST COUNFOUNDING

mother!: Your interest in seeing “mother!,” the psychological thriller from “Black Swan” director Darren Aronofsky, may be judged on your keenness to watch American sweetheart Jenifer Lawrence flush a beating heart down a toilet. Aronofsky’s story of uninvited guests disrupting the serene lives of a poet and his wife refuses to cater to audience expectations. “mother!” is an uncomfortable watch, an off-kilter experience that revels in its own madness. As the weight of the weirdness and religious symbolism begins to feel crushing, you may wonder what the hell is going on. Are these people guilty of being the worst houseguests ever or is there something bigger, something biblical going on?

Aronofsky is generous with the biblical allusions—the house is a paradise, the stranger’s sons are clearly echoes of Cain and Abel, and there is a long sequence that can only be described as the Home-style Revelation—and builds toward a crescendo of wild action that has to be seen to be believed, but his characters are ciphers. Charismatic and appealing to a member, they feel like puppets in the director’s apocalyptic roadshow rather than characters we care about. Visually and thematically he doesn’t push button so much as he pokes the audience daring them to take the trip with him, it’s just too bad we didn’t have better company for the journey.

“mother!” is a deliberately opaque movie. Like looking into a self-reflective mirror you will take away whatever you put into it. The only thing sure about it is that it is most confounding studio movie of the year.

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY SEPTEMBER 29, 2017.

Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies including the drug addled biopic “American Made,” the real-life-royal dramedy “Victoria & Abdul” and Robert Redford and Jane Fonda in the late-in-life love story “Our Souls at Night.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR SEPTEMBER 29.

Richard sits in with CTV NewsChannel anchor Jennifer Burke to have a look at the Tom Cruise War on Drugs movie “American Made,” the real-life-royal dramedy “Victoria & Abdul” and Robert Redford and Jane Fonda in the late-in-life love story “Our Souls at Night.”

Watch the whole thing HERE!

CTVNEWS.CA: “THE CROUSE REVIEW LOOKS AT “AMERICAN MADE” & “VICTORIA & ABDUL”!

A new 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 Tom Cruise War on Drugs movie “American Made,” the real-life-royal dramedy “Victoria & Abdul” and Robert Redford and Jane Fonda in the late-in-life love story “Our Souls at Night.”

Watch the whole thing HERE!