Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres. Today we talk about the bespoke thriller “The Outfit,” the erotic thriller “Deep Water,” the wholesome family flick “Cheaper by the Dozen,” and a pair of horror film, “Master” and “X.”
Richard joins CTV NewsChannel anchor Marcia MacMillan to talk about the non-erotic thriller “Deep Water,” the bespoke gangster drama “The Outfit” and the family friendly “Cheaper by the Dozen” on Disney+.
Richard sits in on the CFRA Ottawa morning show with guest host Matt Harris to talk the new movies coming to theatres including the well dressed thriller “The Outfit,” the tense college thriller “Master,” the “adult” horror of “X,” the non-erotic, non-thrilling “Deep Water” and the wholesome “Cheaper by the Dozen.”
“Deep Water,” the new movie from Ben Affleck and Ana de Armas, now streaming on Prime Video, is an erotic thriller in name only.
Neither erotic or thrilling, it lacks the smoldering energy of director Adrian Lyne’s previous work. Movies like “9 ½ Weeks” and “Unfaithful” established him as a steamer of screens, but that was then.
This is now. A better title for “Deep Water” may have been “Cold Water.”
Affleck plays Vic, a retired software developer who made a fortune designing a chip that helps drones locate and destroy targets. He spends his days with his daughter while his wild wife Melinda (de Armas), having grown bored of their routine, entertains herself with a series of very public affairs. For the most part Vic bites his lip but when one of Melinda’s flings winds up dead, face down in their pool, cuckold Vic becomes a suspect and their already tenuous situation comes closer to the breaking point.
Lyne, in his first film in twenty years, seems unable to tease out the tension from the love-hate story, sexual or otherwise. The repeated affair/disappearance cycle gets old fast and Lyne does little to make us care about any of them, Vic, Melinda or her unfortunate boyfriends.
I can say that Affleck has one of the best scowls in movies, but that’s not enough to hang an entire performance on. A Sad Affleck meme come to life, for much of the movie it appears he’s given up, Ben, not Vic. It’s as though he stopped caring after the first reel. Vic should display hidden reserves of resolve but Affleck’s performance is as inert as the film.
De Armas, so wonderful in “Knives Out” and “No Time to Die,” is reduced to an eye-batting subject for Lyne’s male gaze.
A tepid psychosexual cuckold tale with a side of murder and loose ends galore, “Deep Water” wastes its stars in a movie that does not rise to the challenge of exploring the story’s themes of morality, murder and marriage.
Richard speaks to “CTV News at Six” anchor Andria Case about the best movies and television to watch this weekend including “Spiral,” the next chapter of the “Saw” franchise, the Amy Adams Netflix thriller “The Woman in the Window,” the non rom com “Together Together” with Ed Helms.
Richard joins CP24 to have a look at new movies coming to VOD, streaming services and theatres including “Spiral,” the Chris Rock reboot of the “Saw” franchise, the Amy Adams thriller “The Woman in the Window,” the non rom com “Together Together” with Ed Helms and Patti Harrison and the trippy folk horror of “In the Earth.”
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to theatres, VOD and streaming services including “Spiral,” the Chris Rock reboot of the “Saw” franchise, the Amy Adams thriller “The Woman in the Window,” the non rom com “Together Together” with Ed Helms and Patti Harrison and the trippy folk horror of “In the Earth.”
Richard joins NewsTalk 1010’s Jim Richards coast-to-coast-to-coast late night “Showgram” to play the game “Did Richard Crouse like these movies?” This week we talk about “Spiral,” the Chris Rock reboot of the “Saw” franchise, the Amy Adams thriller “The Woman in the Window” and the non rom com “Together Together” with Ed Helms and Patti Harrison.
In adapting “The Woman in the Window,” a new thriller starring Amy Adams, now streaming on Netflix, director Joe Wright borrows liberally from the Hitchcock playbook, paying visual tribute to everything from “Foreign Correspondent” and “Psycho” to “Vertigo” and, of course, “Rear Window.” There are so many Hitch lifts in the look of the movie it makes Brian DePalma’s myriad Hitchcock homages look like petty thievery.
Adams plays child psychologist Anna Fox who lives alone in a rambling brownstone on 124th Street in Manhattan. Agoraphobic, she gets panic attacks at the idea of going outside, let alone actually stepping over her front threshold to the big bad world. Her only regular contact with the outside comes with her weekly visit from her therapist (Tracy Letts) and a downstairs tenant (Wyatt Russell).
When her new neighbors from across the street drop by unexpectedly, she reluctantly lets teenager Ethan (Fred Hechinger) in for a get-to-know-you visit. A day or so later Jane (Julianne Moore) swings by to chat, ask nosy questions and have a glass of wine.
After the visits Anna becomes voyeuristically invested in their lives, watching them from the safety of her apartment as they go about their day to days lives, exposed by two large windows that showcase their living areas.
One night, after mixing wine with her anxiety medication, she witnesses what appears to be an ugly domestic dispute that turns fatal. Trouble is, no one believes the “drunken, pill popping, cat lady.”
Question is, did she really witness a murder or was it a hallucination?
Anna is a classic unreliable narrator, a character whose credibility is questioned at every step of the way. Adams keeps her interesting, bringing a human face to trauma, anxiety and grief. We’re never sure if what we’re seeing is filtered through a haze of medication or actually happening and while Wright finds flashy visual ways to portray this, it is Adams who connects emotionally.
There are moments of supercharged filmmaking in “The Woman in the Window” but the tonal shifts and pacing get in the way of making this edge of your seat viewing. Director Joe Wright brings his trademarked visual style to illustrate Anna’s anxiety. Unusual angles and lurid colours illustrate Anna’s disconnected moments, wide shots of her empty apartment represent her isolation. It’s effectively and inventively done, but the slack pacing sucks much of the energy out of the storytelling.
“The Woman in the Window” has moments that truly work but it is dulled by its deliberate pace, repetitive nature and typical confessional ending.