Richard joins Ryan Doyle and guest host Tamara Cherry of the NewsTalk 1010 afternoon show to talk about Squirt soda and the origin of the tequila-based cocktail the Paloma, and some movies to watch on the weekend, including “Black Widow” and “No Sudden Move.”
Listen to the whole thing HERE!
If you were to make a Venn diagram of “Black Widow,” now on Disney+ with premium access, and the recent animated film “The Boss Baby: Family Business,” you’d be surprised by the overlap. Both movies are about estranged families coming together and siblings finding a path forward after years of bitter feelings. One is much louder than the other, but underneath it all they are both all about family. “I chose to go west and become an Avenger,” Natasha Romanoff (Scarlett Johansson) says. “They treated me like family.”
The story begins with a flashback.
It’s 1995 and sisters Natasha (played as a child by Ever Anderson) and Yelena (Violet McGraw) are separated from their Soviet sleeper cell family in Ohio. Removed from their undercover agent parents, scientist mother Melina (Rachel Weisz) and super-soldier father Alexei (David Harbour), they are placed under the supervision of evil Soviet General Dreykov (Ray Winston) in a training camp called the Red Room where they are brainwashed and taught the deadly ways of the Widows.
Jump forward twenty-one years to the gap between the events of “Captain America: Civil War” and “Infinity War.” Natasha (Johansson) is cut loose from her Avengers pals after breaking the Sokovia Accords. The superhero clan have gotten “divorced,” and Natasha is hiding out in Norway. When she is attacked by Dreykov’s bodyguard, the mysterious Taskmaster, she reunites with her estranged “family” to take on the Russian general.
“Black Widow,” the first Marvel Cinematic Universe solo outing for Johansson’s character, has spent a year bouncing around the pandemic release schedule and brings with it high expectations from fans.
Directed by Cate Shortland, Romanoff’s convoluted backstory is handled in a fairly straightforward way, part Marvel, part “The Americans.” The movie does offer up a fair amount of fan service but still provides eye-scorching action and basic, relatable themes of the importance of family and responsibility for the casual viewer.
Despite the wild CGI action and Jason Bourne style one-on-one combat, the film feels more grounded than most other Marvel movies. Perhaps it’s because Natasha and Yelena (Florence Pugh) don’t have super powers (although they are VERY resilient) or perhaps it’s because the story details the dysfunctional, tragic past that put Natasha on the road to becoming an assassin or maybe it’s because the villain Dreykov barely makes an impression, but the usual stakes—saving the world—take a backseat to more personal concerns.
“Black Widow” is a swansong for Natasha. The character jumped off a cliff in “Avengers: Endgame,” sacrificing herself so her superhero buddies could acquire the Soul Stone and help defeat genocidal warlord Thanos. Johansson sends her off with a suitably steely yet vulnerable performance, and when she isn’t running, jumping, punching or shooting, she brings some real humanity to the quieter scenes.
Pugh and Harbour bring some much-welcomed levity, the former as the eye-rolling sarcastic younger sister, the latter as the insecure wannabe super soldier who is just a bit too concerned about his legacy. Their bickering and subtle character touches help add life to the family vibe so important to the story the movie is trying to tell.
Like so many of the Marvel films, near the end “Black Widow” succumbs to overkill, noise and frenetic CGI action scenes. The family is united, à la “The Boss Baby” but the onscreen fireworks overwhelm the compelling family story that lies at the heart of Natasha’s journey.
“The Last Full Measure” is the story of two men who are driven by a sense of duty to people they never met.
Based on a true story of bravery during one of the “bloodiest days” of the Vietnam War, the movie begins thirty-two years later when Pentagon staffer Scott Huffman (Sebastien Stan) takes a meeting with Master Sergeant Thomas Tully, Air Force Rescue, retired (William Hurt). Tully wants Huffman’s help to posthumously upgrade U.S. Air Force Pararescuemen William H. Pitsenbarger’s (Jeremy Irvine) Air Force Cross medal to a Medal of Honor, America’s highest and most prestigious personal military decoration. Huffman, an ambitious Department of Defence lawyer, thinks it is a waste of time but is ordered to, “take a few days and collect some war stories,” by his boss Carlton Stanton (Bradley Whitford).
His research connects him with survivors of the battle, U.S. Army’s 1st Infantry Division soldiers Takoda (Samuel L. Jackson), Burr (Peter Fonda) and Mott (Ed Harris), men whose lives were saved by Pitsenbarger. At first he regards their stories as an exercise in “post traumatic exorcism” but soon comes to realize that Pitsenbarger made what Abraham Lincoln called “gave the last full measure of devotion” to help men he didn’t know. By bravely inserting himself into the middle of an ambush he saved over sixty soldiers, losing his life in the process and yet was not awarded the military’s highest honor. With the support of Pitsenbarger’s parents (Christopher Plummer & Diane Ladd), Huffman risks his professional life to go ona journey of self-discovery and uncover a conspiracy that extends to the highest reaches of power at the Pentagon.
Told in flashbacks to the fateful day on the battlefield, “The Last Full Measure” is part detective story, part examination of what it means to be a soldier. Huffman’s interviews reveal men troubled by the events of a life time ago, riddled with PTSD, unable to sleep or function in regular society. Tully, in particular is wracked by survivor’s guilt, the feeling that he didn’t do enough while Pitsenbarger gave his all. These scenes aren’t subtle but what they lack in finesse they make up for in sheer thought-provoking power.
The film’s strength may be as a conversation starter regarding the psychological price soldiers pay when they return from war. But as well-intentioned as the film’s messages of respect for the sacrifices of the fallen are, “The Last Full Measure” succumbs to melodrama at almost every turn. Clichéd, tough guy dialogue and characters that feel more like a collection of tics than actual fully rounded people, detract from the film’s serious message.
From the title on down to the story and performances “Miracle Season” is a film that trumpets its uplifting, inspirational point of view. The story may be rooted in tragedy but this is a tale of perseverance.
In 2011 the Iowa City West High School volleyball team were champions starting a new season. Team captain Caroline ‘Line’ Found (Danika Yarosh) is a popular student and daughter of the kindly Dr. Ernie Found (William Hurt). “She reached out to everyone,” says coach Kathy Bresnahan (Helen Hunt), “strangers, opponents teachers, even lowly Coach. To Line they all meant the same thing, friends.” When Line is killed in an accident the team, especially best friend Kelly (Erin Moriarty), must work through their grief if they want to “Live Like Line” and take the state championship.
“Miracle Season” is exactly what you think it will be, a respectful movie that wears its heart on its sleeve. There’s barely a rough edge here anywhere, except in the underwritten script. Characters are inherently decent, inspired to be better people by the memory of their late friend. Good messages all round but it doesn’t really make for great drama. The spectre of Hallmark hangs heavy over every scene.
What’s left is Oscar winner Hunt as the tough love coach pumping her fist, mouthing the word “yes” as her team gains confidence on the court and lots of talk about winning for Line. Director Sean McNamara, who mined similar territory with Hunt in the film “Soul Surfer,” is unafraid to pluck heartstrings, often steering the story into motivational melodrama. It’s likely some tears will be wrung from the easy emotion on display, but “Miracle Season,” for all its good intentions, is a simply a generic sports movie.
By Richard Crouse – Metro In Focus
There’s trouble in Avengers Land.
Like the recent Batman v. Superman: Dawn of Justice, which saw the Caped Crusader and the Man of Steel go head-to-head in a showdown over how best to police the world, Captain America: Civil War sees the Avengers go mano e’ mano e’ mano e’ mano e’ mano e’ mano (there’s a lot of them) in an effort to settle their differences.
As anyone who has seen the Avengers movies knows, the superhero team have caused havoc all over the world, blowing things up dropping buildings on people, all in the name of law and order. It’s been a wild ride but after a rescue mission leaves 11 innocent people dead the United Nations decides it’s time to rein them in.
The proposed restrictions divide the group. Tony ‘Iron Man’ Stark (Robert Downey Jr.) wants more oversight while Captain America (Chris Evans) refuses to compromise.
Watching from the sidelines is Sharon Carter, ex-S.H.I.E.L.D field agent and love interest of Captain America. Played by Port Perry, Ont., native Emily VanCamp, the character is firmly onside with her superhero suitor.
“It’s an interesting debate,” she says, “because there is no real right or wrong at any given moment. It is difficult to take sides. I know where my character stands. I understand that. Because I play her, I get it but at the same time, as Emily, I really do feel it would make much more sense to be on Iron Man’s side. That’s what makes it interesting. You think you’re going to go into it with a very clear vision of whose side you’re on but you don’t leave feeling that way.”
With two Captain America films under her belt VanCamp is part of the Marvel Universe. That means she has a whole new group of fans with ideas about her character.
“The fans are incredibly invested,” she says. “There are a lot of people with very specific ideas of who they want to see with Steve (aka. Captain America) and sometimes Sharon is not that person. I certainly hear about that. You have to admire how invested people are, whether they’re on your side or not. You have to respect it. I just have to do the best job I can do as Sharon and create the best version of the character and not take some of it personally. You hope, for the most part, the fans are happy.”
The 29-year-old actress began performing in dance class when she was just three years old.
“There were a lot of us in my family so it was a way to tire us out,” she laughs. “It was an outlet to run around which then turned into more serious dance training.”
Those lessons came in handy while shooting one of Civil War’s wild fight scenes. “Dancing teaches you to be connected with your body,” she says.
“We had to shoot the scene in Civil War where Sharon and Black Widow take on Bucky, quite fast. We didn’t practice it. They were running behind that day and they shot the reaction to getting slammed on the table the next morning but all of the fight stuff was in an hour-and-a-half. I don’t think I would have been able to do that unless I had some formal training in dance.”
Why can’t you superheroes just get along? Like the recent “Batman v. Superman: Dawn of Justice,” which saw the Caped Crusader and the Man of Steel go head-to-head in a showdown over how best to police the world, “Captain America: Civil War” sees the Avengers go mano e’ mano e’ mano e’ mano e’ mano e’ mano (there’s a lot of them) in an effort to settle their differences.
Thankfully this isn’t a repeat of the Zack Snyder film. While the themes may be similar to “B v S” the Russo Brothers (Anthony and Joe) achieve a much different result. There’s humour, a story that more or less makes sense and lots of surprises.
As anyone who has seen the other Avengers movies knows the superhero team have caused havoc all over the world, blowing things up dropping buildings on people, all in the name of law and order. It’s been a wild ride but after a debacle in Lagos leaves eleven innocent people dead the United Nations decides it’s time to rein them in.
“While a great many people see you was heroes,” says Secretary of State Thaddeus Ross (William Hurt), “there are those who would use the word vigilante.”
Captain America (Chris Evans), Tony ‘Iron Man’ Stark (Robert Downey Jr), War Machine (Don Cheadle), Black Widow (Scarlett Johansson), Scarlet Witch (Elizabeth Olsen) and Vision (Paul Bettany) are asked to sign a document that would limit their autonomy, requiring a U.N. okily-dokily before they can spring into action. The restrictions divide the group. Stark wants more oversight. “With no limits we’re no better than the bad guys,” he says. Captain America refuses to compromise. “If we sign this,” he says, “we lose our right to choose where and when we fight.”
Complicating matters is Cappy’s old pal Bucky Barnes a.k.a. Winter Soldier (Sebastian Stan). When he’s not under the influence of HYDRA’s mind-control he’s a good guy, but when he is exposed to a series of code words he turns into a Manchurian Candidate style super-duper high tech killing machine. When Winter Soldier is accused of a terrible crime Captain’s loyalty to his friend that drives a wedge between him and Iron Man. As The Avengers self-destruct a mysterious figure (Daniel Brühl) watches from the sidelines.
In some ways “Captain America: Civil War” feels like an echo of “Batman v. Superman.” The difference is a matter of tone. The films share many of the same ideas about responsibility and culpability but whereas “B v. S” was a dark soul-searching affair, “Captain America: Civil War” opts for a cleaner, simpler approach. Minus the ponderosity of Snyder’s film, the Marvel movie manages to make its point in a more concise and interesting way. It’s not exactly a case of less is more—“Civil War” is almost two-and-a-half-hours long and is a Superhero-A-Rama with Black Panther (Chadwick Boseman), Antman (Paul Rudd) Spider-Man (Tom Holland) joining all the usual suspects—but there is an easy elegance to a line like, “Victory at the expense of the innocent is no victory at all,” missing from “B v. S.”
Better yet, “Civil War” finally finds a recipe for juggling its characters. “Age Of Ultron” featured more stars than there are in the heavens and I left the theatre feeling as though I had just left a kindergarten Christmas pageant where they have to give a part to everyone in class so no one feels left out. The Russo Brothers de-clutter, but still manage the sprawling cast effectively, giving each of them a moment or two in the spotlight and more importantly, a reason to be in the spotlight. Extended cameos from Spider-Man and Ant-man are woven into the fabric of the story, bringing some fun with them while Black Panther is set up to be an interesting recurring character.
Of the regulars Robert Downey Jr holds sway, although his Tony Stark is more subdued than usual. The wisecracks are still there, but there’s fewer than usual. Perhaps it has something to do with spending much of the movie fighting with Captain America. Much humour comes from the other characters. There’s something sublimely ridiculous about superheroes complaining about everyday things. “Can you move your seat up?”
“Captain America: Civil War” delivers. It provides all the high-flying action you expect from a summer superhero blockbuster but also delivers a thought provoking look at the nature of power, loyalty and yes, even the practicality of wedging three superheroes into a Volkswagen.
I am not a cold-hearted man. I like love stories as much as anyone and, as a fan of Say Anything, almost well up whenever I hear Peter Gabriel’s “In Your Eyes,” but the sledgehammer romance of “Winter’s Tale” left me feeling bruised rather than buoyed. What is meant to be an uplifting experience about the power of love and the triumph of good over evil felt more like being strapped to a chair and force-fed all nine seasons of “Touched by an Angel.”
Based on the best-selling novel of the same name by Mark Helprin and brought to the screen by Oscar winning writer-turned-director Akiva Goldsman the story begins when Peter Lake (Colin Farrell), a turn-of-the-last century burglar, comes across the love of his life while robbing a mansion he thought was empty.
Beverly Penn (Downton Abbey’s Jessica Brown Findlay) the beautiful-but-doomed daughter of a wealthy newspaper tycoon, is a precocious and philosophical young woman with just months to live. He wants to save her, but first he must save himself from demonic crime lord Pearly Soames (Russell Crowe), a brutal man who wants Lake dead. Then, in a twist suggested by the Brothers Grimm, he finds himself thrust one hundred years into the future with only the faded memory of Beverly and a white guardian angel horse as company.
The opening narration let’s us know that “magic is everywhere around us.” I just wish that some of that magic had spilled into the screenplay. The movie’s mix of metaphysical romance, magic realism and demonic revenge is a strange stew that worked well in the novel but seems to have lost something in the translation to the screen. In other words, perhaps the sight of Colin Farrell flying above New York on a winged Pegasus is best left in the mind’s eye.
As silly as the movie is, and make no mistake, this is what I like to call an S.D.M.—Silly Damn Movie—Farrell and Findlay manage to bring the romantic side of the tale alive. Their first meeting, over a cup of tea, is simple, effective and bristles with sexual tension. The love story, although a bit starry-eyed, works until the magic realism takes over and the story becomes loopier and loopier. By the time the words, “Is it possible to love someone so much they can’t die?” spill from Farrell’s lips all is lost, and that’s not even an hour into the story.
Putting aside the enchanted horses and dime store spirituality for a moment, the story often requires leaps of faith that would have even terrified Evel Knievel. This is the kind of movie where mothers willingly hand over their sick children to scruffy looking strangers on the promise of a miracle. It’s the kind of movie where people accept outlandish events with a tossed off phrase like, “How’s that even possible?” It’s the kind of sloppily plotted movie that involves a level of suspension of disbelieve so off-the-charts it’s almost in outer space.
“Winter’s Tale” is a frustrating movie. It overly complicates a boy-from-the-wrong- side-of-the-tracks-meets-rich-girl story with a bunch of hocus pocus that wastes some good work from Farrell, Findlay and Russell Crowe.
Imagine if there had been eight people named Zapruder in Dallas, Texas on Friday, November 22, 1963 and you get the high concept of the new thriller Vantage Point—one catastrophic event, eight different viewpoints.
In the chaotic minutes after President Ashton (William Hurt) is shot while giving a speech at a global summit on the war terror in Spain, two secret service agents, Thomas Barnes (Dennis Quaid) and Kent Taylor (Mathew Fox), try and piece together what happened. Thus begins the movie’s deep debt to Rashômon as the attempted assassination of the president is told from five different perspectives, including American tourist Howard Lewis (Forest Whitaker), who, camcorder in hand, videotaped the whole thing and television producer Rex Brooks (Sigourney Weaver) who was producing a new piece on the summit.
First the good stuff. Vantage Point does a nice job of showing the awful suddenness in which violence can happen, and the terrible consequences of terrorism. Director Pete Travis stages the ferocious opening with gusto. As shots ring out and chaos reigns his camera conveys the intensity of the mass panic that follows. Jittery camera work effectively conveys how the bad guys can take advantage of the chaos they create to follow through with their plans. The first time through it’s a thriller, too bad it loses its oomph in repeated viewings.
The story, starting form the beginning rewinds and unspools from the point of view of the major characters. It’s a cool idea but one that is flawed in its execution. The horror of the assassination and the subsequent terror attack is blunted by the constant duplication until it loses all impact and simply becomes tiresome.
This kind of fractured storytelling is very difficult to pull off without boring the audience. It would have been interesting to see what more accomplished directors like Christopher Nolan, Alfonso Cuarón or even Quentin Tarantino, all of whom have experimented with nonlinear timelines, would have been able to do with this same material.
Amid the bombast, blood and bombs Vantage Point presents itself as an anti-war manifesto, including a reporter who blames US foreign policy for the amount of terrorism in the world and a president who seems to understand that the US isn’t loved all over the world and favors showing moral strength over military strength. It would be easier to accept these ideas from a movie that didn’t eventually dissolve into a violent shoot out with a body count that rivals Rambo.
Wonky politics aside Vantage Point does have some exciting moments, and enough political intrigue to keep conspiracy theorists happy, but its awkward construction drags the whole film down.
