Posts Tagged ‘Tom Everett Scott’


Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies, “Alien: Covenant,” the return of one of the most fearsome alien species ever, the Xenomorph, the continuing adventures of Greg Heffley in “Diary of a Wimpy Kid: The Long Haul,” Liev Schreiber as the real-life Rocky in “Chuck” and the edgy rom com “The Lovers.”

Watch the whole thing HERE!


Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the big weekend movies, the Xenomorphic Alien: Covenant,” the whimptastic adventures of Greg Heffley in “Diary of a Wimpy Kid: The Long Haul,” Liev Schreiber as the real-life Rocky in “Chuck” and the edgy rom com “The Lovers.”

Watch the whole ting HERE!

DIARY OF A WIMPY KID: THE LONG HAUL: 3 ½ STARS. “fresh poop jokes.”

The “Diary of the Wimpy Kid” movies are meant for children who have aged out of “Dora the Explorer” but aren’t quite ready for “Thirteen Reasons Why.”

Based on the ninth book in the wildly popular children’s book series by Jeff Kinney, “Diary of a Wimpy Kid: The Long Haul” takes place a year after the events of the last film 2012 “Dog Days” but don’t expect to see many familiar faces.

Original star Zachary Gordon aged out of the title teenager role and was replaced by newcomer Jason Drucker. Also recast was Devon Bostick who played the popular Roderick character. Charlie Wright took over, a move that didn’t please the film’s fans. One Wimpy aficionado tweeted, “The new Rodrick looks like a kid Rodrick would bully,” while others voiced dissatisfaction with the hashtag #NotMyRodrick.

When we first meet the new Heffley family—whimpy kid Greg, brother (and drummer for the metal group Löded Diper) Roderick, Mom (Alicia Silverstone), Dad (Tom Everett Scott) baby Manny (Wyatt and Dylan Walters)—they’re on the way to Corky’s—imagine a bigger, wilder Chuck E. Cheese’s and you get the idea—for dinner. When Manny gets lost inside a chute maze Greg comes to the rescue. His act of heroics backfires when he emerges from the ball pit at the end of the chute with Manny in one hand and a diaper on the other. A video of the event immediately goes viral and Greg becomes famous on the internet as Diaper Hand.

If Greg doesn’t do something soon he’ll be teased relentlessly, more a meme than a man. “If I don’t do something soon I’ll be branded Diaper Hands until I die,” he says. “Maybe longer.” Then inspiration hits. He realizes his hero, videogame guru Mac Digby (Joshua Hoover), will be appearing at a giant convention called Player’s Expo. “If I get a video of me with Mac I’ll be the coolest kid in high school,” he says. “Everyone will forget about Diaper Hands.”

Conveniently the family is planning a road trip to their great-grandmother’s 90th birthday, which, according to the map, is only two inches away from where the expo is taking place. The family heads off, Mom and Dad blissfully unaware of Greg’s plan, on an adventure that will play out like Griswold Lite.

Gently paced, “Diary of a Wimpy Kid: The Long Haul” is like a 1950s family sitcom updated with cell phones, pee, barf and poop jokes. There’s also a pig with the pacifier, some mild action and a slapstick villain named Beardo (Chris Coppola). The underlying messages of family togetherness, respect and the importance of reading “word books” are circa “Leave It To Beaver” era, and so are many of the jokes, but that’s not an entirely bad thing.

There are some genuinely funny moments—many supplied by clueless goofball Roderick—but mostly this is a sweet story fuelled by the familial relationships. It’s a generation gap between the kids who want to stay connected online while the parents went to connect as a family.

“Diary of a Wimpy Kid: The Long Haul” doesn’t reinvent the family movie wheel. Instead it searches for new ways to freshen up the kind of poop jokes so often found in neo-children’s movies.


Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the big weekend movies, the great ape flick “Kong: Skull Island,” the Shirley MacLaine dramedy “The Last Word” and the animated “Window Horses.”

Watch the whole thing HERE!

THE LAST WORD: 2 STARS. “pop psychology and feel-good platitudes.”

“The Last Word” is a new dramedy starring Shirley MacLaine as a woman determined to have the last word not only in conversation but also in life.

MacLaine is Harriet. A woman of a certain age, her best days are behind her. Once an advertising mogul, she controls every part of her life from how the gardener trims the hedges to how the cook prepares her eggs. Managing life is one thing but now she wants to control how she will be remembered after she dies.

It’s an uphill battle. “She is a human dark cloud,” says one “friend.” Her priest says she’s a “hateful woman” and when a former employee is asked to say one nice thing about Harriet she says, “If she was dead that would be nice.”

Her cynical search for a legacy leads her to Anne Sherman (Amanda Seyfried), the obituary writer at the local newspaper. Anne is an aspiring essayist so wracked with insecurity she can’t show her serious work to anyone. As a result she kills time writing about death for the paper.

The assignment is tougher than Anne imagined. “She puts the bitch in obituary,” she grumbles. When she can’t find anyone with anything nice to say about Harriet, let alone sing her praises, the older woman once again takes charge. Thus begins a campaign to lighten up Harriet’s legacy. “You are going to shape my legacy instead of just transcribing it,” Harriet says.

“The Last Word” is an extremely predictable movie. Ten minutes in you know that a.) the two women will bond and b.) at some point they will dance joyfully. In between they will learn from one another and we’ll discover that Harriet was not liked because no one could control her and Anne will find inner strength.

Predictable yes, but still somewhat enjoyable. It’s a pleasure to see MacLaine in a juicy lead role, even if she spends most of the time doling out life lessons. She commands the screen, elevating the grumpy-old-woman role in the process. Seyfried is spunky but underwritten as though she exists simply to give Harriet someone to talk to because no one else will.

“The Last Word” aims to have deep, meaningful things to say about life but never rises above the level of pop psychology and feel-good platitudes.