Richard joins CRTV National News reporter John Vennavally-Rao to discuss “West Side Story” star Rachel Zegler’s invitation to present at the Academy Awards after an initial snub.
Watch the whole thing HERE!
Richard joins CTV Morning Live Ottawa host Rosie Edeh to talk about 6 movies, from “Marry Me” to “The Big Sick,” perfect for Valentine’s Day.
Watch the whole thing HERE!
Goodbye 2021. Hello 2022. Another weird year in the books.
I got asked two questions over and over this year. Every day someone asks me, “May I see your vaccine passport?” Every other day someone asks, “Do you think movies theatres will ever go back to normal?”
The answer is always an unabashed, “yes.” Theatres are open but audiences haven’t flooded back to fill seats, but I think they will.
Why?
It’s not just the lure of the popcorn or the Twizzlers. It’s an age-old ritual.
During the pandemic we’ve gotten used to watching movies at home or on our phones, but no matter what set-up you have in your living room, the thing missing is the ancient practice of sharing entertainment with a large group of strangers.
It’s a primal thing, hard-wired into our DNA, that dates back to when tribes of cave dwellers would sit around fires and tell stories through to the Globe Theatre, vaudeville, the talkies and right up to today’s IMAX and AUX screenings.
People have gathered to be entertained since there were tales to be told because there is no better way to enjoy the storytelling experience than surrounded by strangers who are laughing, crying, gasping— whatever — in response to a shared event.
In our double and tripled vaxxed era, no matter how large your TV or comfortable your sofa, home viewing misses the magical element of community. And these days we need as much of that as we can get. In the theatre you’re getting the sound and the picture the director intended, but more than that, the experience brings people together, inspires conversation, respect and triggers actual physical interaction with others. Try that as you stream a movie on your iPhone.
In the wake of Omicron, the variant with the name of a supervillain, and whatever comes next, we may be hesitant to flock back to theatres but, when it is safe, I believe we will. I like the way English novelist Angela Carter described watching a film in a theatre. She called it “dreaming the same dream in unison” and that, for me, will never go out of style.
So, without further ado, here, in alphabetical order, is my “Nice” list of the films that made going to the movies in 2021, a pleasurable communal experience.
The search for identity is not a new concept in coming-of-age films but the First Nations context here, combined with Kiawentiio’s breakout performance, make Beans important, vital cinema.
Every frame in Belfast radiates with the warmth of the connection Buddy shares with his family, and his family’s relationship to their home and country. But set against a time of upheaval, this is a family drama, but not a political one.
King Richard may be the most inspiration movie of the year. Maybe ever. There is uplift in almost every frame.
Licorice Pizza is kind of flipping through a diary. Some details are vivid, some glossed over, but everything is relevant to the experience being written about. Like diary entries, the movie is episodic. Each passing episode allows us to get to know Gary and Alana a bit better, and just as importantly, remind us what it means to be young and in love.
Like the people it documents, Lift Like a Girl is dynamic and scrappy, but still wears its heart on its pumped-up sleeve.
Mass is raw and real, devastating, nuanced and somber, a beautifully acted study in misery that allows for a flicker of hope
Mogul Mowgli occasionally bites off more than it can chew, but as uncomfortable as it can get, it is never less than compelling.
Roadrunner: A Film About Anthony Bourdain provides an emotionally raw portrait of a gifted, charismatic man who travelled the world but never quite figured out where he needed to be.
Rockfield: The Studio on the Farm is an exercise in nostalgia, but it’s an entertaining one. A look back at rock ‘n roll’s first residential studio, it’s a guided tour through several generations of British rock’s guitar.
Despite a rather joyous finale, Spencer has more to do with a psychological horror film than a traditional biopic.
Street Gang: How We Got to Sesame Street is a loving portrait, painted with clips that are sure to trigger happy memories for those who grew up watching the show, or even watching kids as they watched the show.
Summer of Soul (…Or, When the Revolution Could Not Be Televised) brims with excitement, pain, hope and, of course, dynamic performances and great music.
Tick, Tick… Boom! is a celebration of the creative process and the following of dreams. Director Lin-Manuel Miranda brings Rent composer Jonathan Larson’s story to life with equal parts reverence and joy.
The Tragedy of Macbeth is accessible without ever playing down to the audience. Masterful filmmaking mixes and matches the text with compelling images and wonderful performances to create a new take on the Scottish Play that is both respectful and fearlessly fresh.
The storytelling is linear in The Velvet Underground documentary, but the visuals are an idiosyncratic eyeful that match the ambitious nature of the music.
West Side Story is Spielberg’s most compelling film in years. It reinvents, reimagines and re-contextualizes a classic story with energy, respect and lots of finger snapping.
It wasn’t all sunshine and lollipops, however. Here’s the “Naughty” list of movies that didn’t quite cut it for me in 2021.
An IMDB search reveals the name Above Suspicion has been used at least twelve times, dating back to 1943. This most recent addition to the ever-growing list of Above Suspicion titled movies is about as generic as the common name would imply.
The Addams Family 2 is goofy, not ooky, with none of the eccentric charm of the 1960s TV show.
The Comeback Trail sings the praises of the power of the movies to inspire and transform lives. Film fans may enjoy the sentiment but they likely won’t be as impressed by the slack pacing and obvious telegraphing of joke after joke.
The most Wes Anderson-y film in the Wes Anderson playbook. If you forced a bot to watch 1000 hours of Anderson’s films and then asked it to write a movie on its own, The French Dispatch would be the result.
The first half of Halloween Kills offers up some fun when Myers is onscreen, lumbering his way toward another victim. Unfortunately, it’s less fun when the vigilante mob endlessly chants ‘evil dies tonight.’
The first movie was an over-the-top mish mash of exotic locations, violence, jokes and romance. The Hitman’s Wife’s Bodyguard contains all those elements, but is somehow less than the sum of its parts.
The drama in The Ice Road quickly melts away like ice before a fire, leaving behind a residue of clichés, long, drawn out action & fight scenes and dialogue borrowed from a hundred other, better action movies. A long and winding road to nowhere.
The lo-fi story of Let Us In relies on throwback practical effects, dark contact lenses and loads of alabastrine make-up, but the hair on the back of your neck will never stand up.
Nicolas Cage brings his patented oddball performance style along for the ride but even that isn’t enough to give Primal‘s bland storytelling and lazy action some zip.
The Seventh Day seeks to reinvent the exorcism movie via the buddy cop genre but succeeds only in combing the most hackneyed bits of each.
A strange mix of heartfelt drama and slapstick comedy, The Starling relies on very likeable actors to try and bring a sense of balance to the material but not even Melissa McCarthy, Kevin Kline and Chris O’Dowd can bend this mishmash of tones into a cohesive whole.
The list of films Hollywood considers sacred and untouchable is a short one. Only a bugger for punishment would attempt a redo of “The Godfather.” And imagine the jeers that would accompany the announcement of a reimagined “Casablanca” or “Do the Right Thing.”
Until recently I would have put “West Side Story,” the classic 1961 musical that won ten Academy Awards, in the top five of films on the No Go list. But just as that show riffed on “Romeo and Juliet,” a classic if there ever was one, Steven Spielberg takes another look at a memorable movie the TCM crowd considers untouchable.
Set in 1950s New York City, the story of love at first sight is plays out against a backdrop of the gentrification of the Upper West Side, a then blue-collar neighborhood. Two gangs, the Puerto Rican Sharks and the Jets, the “Last of the Can’t Make It Caucasians,” run the streets as the NYC Department of Slum Clearance chop up their home turf. The only thing they have in common is a “womb to tomb” membership motto.
Into this comes Tony and Maria (Ansel Elgort and newcomer Rachel Zegler), star-crossed lovers whose infatuation causes friction between the gangs. “You’re going to start World War III,” says Anita (Ariana DeBose).
Tony’s best friend Riff (Mike Faist) runs the nativist white Jets—“Everything is being taken over by people I don’t like,” he sneers.—while Maria’s brother Bernardo (David Alvarez) leads the Sharks.
Tony is on parole for almost beating a boy to death in a rumble, but has turned over a new leaf. “I want to unlike myself,” he says, “because I was headed to the sewer.” He also puts to rest the notion that “once you’re a Jet, you’re a Jet all the way.” He wants out of that life, but most of all, he wants Maria.
As Riff and Bernardo plan a rumble to viciously work out their differences, Maria begs Tony to put an end to the violence. “We can’t pretend what we do didn’t cause this trouble,” she says. Tony intervenes, but the situation quickly spirals out of control.
Steven Spielberg’s take on “West Side Story” feels rooted in the tradition of movie musicals but vibrates with current themes. The social mindfulness that was revolutionary for musical theatre in the 1950s Broadway run is present and expanded on. Tony Kushner’s script offers context and backstories for underdeveloped characters and plays on hot button themes of racial animus, poverty and violence.
Most of all, however, it’s about love.
It’s love that causes all the trouble but also gives the movie its beating heart. As the couple in question Elgort and Zegler are appealing, wide-eyed romantic figures. Zegler is a convincing swirl of determination and innocence, with a beautiful voice. Elgort can wrap his mouth around Stephen Sondheim’s lovely lyrics—”Maria, say it loud and there’s music playing. Say it soft and it’s almost like praying”—but doesn’t shine as bright as some of his co-stars.
As Bernardo, Alvarez brings the menace, smooth charm and athletic dance moves to steal his scenes. Faist also impresses as hardheaded gang leader Riff. DeBose gives a high stepping performance as Bernardo’s girlfriend Anita, a role that grows more poignant in the movie’s third act.
But it’s a returning cast member from the 1961 film who gives the movie its soul.
Rita Moreno won an Oscar for playing Anita in the original. Here she plays drug mart operator Valentina. Kushner expands the role, making the character the conscience of the neighborhood. She is luminous in the part, and, in a major departure from the 1961 film, does a solo rendition of “Somewhere,” a song of hope usually sung by the romantic leads. Here it is devastating, played as song of longing and loss. If my goosebumps voted for the Academy Awards, Moreno would have another statue to put on her shelf.
“West Side Story” is Spielberg’s most compelling film in years. It reinvents, reimagines and recontextualizes a classic story with energy, respect and lots of finger snapping.
In the interest of full disclosure I have to admit that I am not a fan of musicals. In fact, the term “all singing, all dancing” is usually enough to send me running and screaming. Despite winning ten Academy Awards on its release in 1961, MGM’s West Side Story has never been a favorite of mine, and I haven’t seen it for years. So it was with mild disinterest that I viewed the new slickly packaged 40th anniversary DVD reissue of this retelling of the Romeo and Juliet story. As it turns out I was in for a pleasant surprise. While I still find the larger-than-life Puerto Rican accents grating and have to suppress giggles at the vision of tough gang members dancing in tandem, this new version boasts a wonderfully remixed and re-mastered audio track, a digitally polished Panavision picture and interesting extras, adding up to a beautifully done reissue. The two disc set offers a wide screen presentation of the film, with English, French and Spanish subtitles and spoken language options; a new, comprehensive 56-minute documentary that includes every major West Side Story figure, and a host of shorter features, including alternate trailers, original film intermission music and three photo galleries. As an added bonus MGM has included a thick print scrapbook featuring the entire script, an original lobby brochure and behind the scenes photos. Nice package all in all, and while West Side Story will never make my Top Ten Favorite Movies Of All Time list, this reissue has made me reconsider the work, especially the lyrical beauty of Ernest Lehman’s script and the nice supporting performances of George Chakiris and Rita Moreno. Recommended.
