A new biopic hopes to rehabilitate the reputation of Tammy Faye Bakker, the scandal plagued televangelist who may be best remembered for her outlandish taste in make-up. But “The Eyes of Tammy Faye,” now playing in theatres and starring Jessica Chastain in the title role, looks at the unusual rise and fall of a woman many wrote off years ago as a pop culture joke, through fresh eyes. “I won’t go forward looking in the rearview mirror of my life,” she says. “This is who I am.”
The eldest of eight children raised by stern mother Rachel (Cherry Jones), Tammy Faye (played as a youngster by Chandler Head) makes an impression at her mother’s Pentecostal Church when she speaks in tongues over a glass of sacramental wine.
Cut to 1960, Tammy Faye (now played by Chastain) is studying at the North Central Bible College in Minneapolis when she meets a charismatic student named Jim Bakker (Andrew Garfield). His approach to religion flipped the script from God fearing to expecting God to exalt those who made money in His name.
“God does not want us to be poor,” he says.
The pair, now man and wife, take their act on the road. Jim preaches, Tammy does puppet shows and both dream of starting their own church. After a meet cute with a producer for Pat Robertson’s Christian Broadcasting Network, the couple get a TV gig and their biggest audience to date. Their folksy blend of religion, songs and hellfire catch on and within five years their Praise the Lord (PTL) Network hits the airwaves and the seeds of a scandal that will rock the televangelist community, and turn the Bakkers into tabloid fodder, are planted.
“The Eyes of Tammy Faye” features a bravado performance from Chastain, but like the make-up painted on the actress’s face, it is all surface. She is an entertaining combination of pluck, nervous giggle and giant eye lashes, but despite the occasional flash, the work is all personality with not enough going on behind the titular eyes. It’s big, bold and even admirable work, but never gets to the core of what made Tammy Faye run.
Chastain isn’t aided by a Wikipedia style script that hits the high and low points of the Tammy Faye’s life, career and marriage, but often forgets the connective tissue that brings these elements together. Despite the disjointed storytelling, the movie does do some interesting world building in its recreation of the PTL broadcasts and the presentation of the Bakkers’s elaborate lifestyle in all its lurid 1980s detail.
“The Eyes of Tammy Faye” entertains the ocular orbs but blinks when it comes to really digging deep into what was behind Tammy Faye’s eyes.
From tiff.net: Stanley Kubrick’s critically acclaimed Full Metal Jacket was marked by a special drive-in screening of the film in 4K resolution with high dynamic range (HDR) for the first time, complemented by a pre-recorded panel, hosted by Richard Crouse, featuring stars Vincent D’Onofrio and Arliss Howard and Stanley Kubrick’s daughter Katharina Kubrick.
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 Jennifer Lawrence spy thriller “Red Sparrow,” the 1970s retread “Death Wish” with Bruce Willis and the deliciously venomous “The Party” starring Patricia Clarkson.
Richard and CP24 anchor Nathan Downer have a look at the weekend’s new movies including the Jennifer Lawrence spy thriller “Red Sparrow,” the 1970s retread “Death Wish” with Bruce Willis and the deliciously venomous “The Party” starring Patricia Clarkson.
Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the weekend’s big releases, the Jennifer Lawrence spy thriller “Red Sparrow,” the 1970s retread “Death Wish” with Bruce Willis and the deliciously venomous “The Party” starring Patricia Clarkson.
For twenty years, from 1974 to 1994, Charles Bronson starred in “Death Wish” films as Paul Kersey, a successful New York architect turned vigilante after his wife was murdered and child assaulted. “If the police don’t defend us,” he growled, “maybe we ought to do it ourselves.”
In “Death Wish,” the new Eli Roth-directed reboot of the series, Bruce Willis steps in, beating out—but not beating up— Sylvester Stallone who was originally cast as Kersey.
This time around the backdrop is Chicago. Dr. Kersey (Willis) is a surgeon whose work in the ER gives him an up-close-and-personal look at the effects of violence in his city. He gets an even closer look at the carnage when home intruders viciously attack his wife (Elisabeth Shue) and young daughter (Camila Morrone). The healer turns killer, exchanging the scalpel for a gun, which he learns to fire by watching a YouTube show called Full Metal Tactics. “I love my family and when they needed me most I failed to protect them.” As bad guy bodies (and snappy one-liners) pile up he becomes headline news—the newspapers billboard “Grim Reaper Alerts”—but is he right to take the law into his own hands? Is he a folk hero or domestic terrorist?
With gun control front and center in public debate right now “Death Wish” could have been a timely and relevant film. It could ask questions. When does a good guy with a gun, shooting bad guys with guns, become a bad guy with a gun? It could have been a poignant film about a man pushed too far but there is nothing poignant about Roth’s reboot of the seventies series. It’s not a character study of grief or a portrait of Chicago’s escalating crime rate. Satisfied to take the low road, it’s a revenge film pure and simple. Audiences are meant to applaud every time Kersey blows away a bad guy and not think too deeply about the normalization of dangerous behaviour.
Willis, whose resume is dotted with charming hero types, plays Kersey as a wounded man who finds strength in his revenge. He’s locked, loaded and ready to rock. His most famous character, off-duty New York City Police Department officer John McClane, was always keen to dispatch a villain but he didn’t go hunting random victims or torture them once he found them. We are supposed to get the great contradiction of Kersey’s life—he’s a healer in the O.R. but a killer on the street—but the movie gives equal weight to the yin and yang. He’s a good guy because he cures people and a patriot because he rids the streets of undesirables. To be truly effective he must be one or the other. The muddy antihero middle is an ugly, exaggerated male violence fantasy. Is Kersey a folk hero or a killer? The movie can’t seem to decide.
“Death Wish” will provide ammunition for discussion, so that’s something. Gun violence has been a hot button topic when the first movie came out in 1974. It still is, but the conversation has changed.
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.
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.