Archive for the ‘Uncategorized’ Category


Richard joins CP24 to have a look at the weekend’s new movies including the devil doll flick “Annabelle: Creation,” the Jeremy Renner thriller “Wind River” and Jenny Slate’s dramedy “Landline.”

Watch the whole thing HERE!

NewsTalk 1010: Escalators at Scotiabank Theatre Broken with Jim Richards

NewsTalk 1010 midday host Jim Richards asks Richard if some of the summer’s most anticipated movies are worth sidestepping the Scotiabank’s broken escalators–Roger Ebert called the vertigo-inducing staircase the “escalator of terror”–and climbing 75 steps to get upstairs instead.

Listen to the whole thing HERE!

Richard on Anthony Lemke in Sotheby’s International Realty RESIDE Magazine

From Sotheby’s International Realty RESIDE Magazine: “Anthony Lemke’s reach is worldwide. As cocky mercenary Marcus Boone on the hit space opera Dark Matter he is seen in 160 countries around the world. Off screen he travels the world as an Official ambassador in Canada for Handicap International. Recruited by a chum from law school—that’s right, he’s also a lawyer—he lobbies for reducing the impact of armed conflicts on innocent civilians in regions ravaged by the use of explosive weapons…” Read the whole thing HERE!


Welcome to the House of Crouse. We welcome two film directors to sit a spell at the HoC today. William Friedkin is a legend, the director of The Exorcist and The French Connection among many others. We don’t talk about those. Instead I asked him about one the most trangressive movies ever made, The Devils. Listen in to hear his opinion on why naked nuns may have cost Ken Russell a box office hit. Then Christopher Nolan brings his big brain over to talk about Dunkirk and why cinema matters. It’s good stuff, swing by.


Just for Laughs: Superior Donuts Cast and Executive Producers Panel

Richard will host a panel with the stars and producers of “Superior Donuts” at Just for Laughs in Montreal on Saturday July 29 at 3:15 pm.

More details here: CBS’s SUPERIOR DONUTS is a comedy about the owner of a small donut shop that’s located in a quickly gentrifying Chicago neighborhood and the enterprising employee who’s determined to bring his shop into the 21st century. JFL brings star/executive producer Jermaine Fowler, stars Judd Hirsch, and Katey Sagal, who will be joined by executive producers Bob Daily, Neil Goldman and Garrett Donovan for the CBS presents Superior Donuts Cast and Executive Producers panel on Saturday, July 29, 2017 at 3:15pm in the Grand Salon Opera, Level 4, Hyatt Regency Montreal.

Buy tickets HERE!


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THE LITTLE HOURS: 2 ½ STARS. “the idea is funnier than the script.”

Take “The Decameron,” a collection of novellas by the 14th-century Italian author Giovanni Boccaccio, add in “Mean Girls” and you have “The Little Hours.” Set at the time of the Black Death, director Jeff Baena has made a quirky comedy with an all-star comedy cast including Alison Brie, Dave Franco, Aubrey Plaza, John C. Reilly and Molly Shannon, period costumes and dialogue that would not be out of place in a raunchy, modern day teen comedy.

The spoiled Alessandra (Brie), eye-rolling Fernanda (Plaza), and befuddled Ginevra (Micucci) are medieval nuns, bored out of their minds at the convent. They spend the day doing chores, stealing bottles of communion wine and having impure thoughts.

When Massetto (Dave Franco), a young servant forced to flee home after he was caught sleeping with his Lord’s (Nick Offerman) wife (Lauren Weedman), arrives at the convent he provides a release for the pent up repression. Cue bawdy wickedness and even a satanic ritual or two.

Like the period “Carry On” movies, in “The Little Hours” the genre is the joke. Baena mines some outrageous moments by casting Brie, Plaza and Micucci as repressed, nuns but the humour primarily comes from the situation, not the script. In other words, like many of the “Carry On” movies, the idea is funnier than the actual script.

“The Little Hours” is a movie with “mischief in its heart.” Its satire is so broad it doesn’t aim to offend. Instead, it revels in its irreverence, relying on its cast—particularly the trio of nasty nuns and John C. Reilly as Father Tommasso—to find whatever humour is hidden in this audacious material.

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THE TRANSFIGURATION: 3 STARS. “unsettling sincerity that underscores the inner rage.”

When we first meet “The Transfiguration’s” lead character, fourteen year old Milo (Eric Ruffin) he’s drinking the blood of his latest victim. He’s not a vampire as such; he’s simply a confused kid, orphaned and alone save for his brother Lewis (Aaron Moten). At night he passes the time watching horror movies—“Let the Right One In,” “Near Dark” and “Shadow of the Vampire” are his favourites because “they’re realistic”—and, more troublingly, videos of animals being tortured. He’s serious about bloodsuckers—“Vampires don’t twinkle,” he says dismissively—because he thinks he is one.

“I think it starts with drinking blood,” he says. “Like you need to. It’s like when you have a cut on your finger as a little kid and you’re sucking on it. Eventually that’s not good enough. So you switch to animals and then people. You change a lot after the first person you kill.”

One night a month he indulges his blood thirst, killing and draining a victim, only to suffer a nasty plasma puke after each attack. The quiet loner is drawn out of his shell with the arrival of Sophie (Chloe Levine), a teen who lives with her abusive grandfather on the ninth floor of their apartment block. They connect almost immediately and that intimacy brings with it a change in Milo’s metamorphosis. It’s Dracula and Juliet, a love story with high stakes.

There are kills and some gore in “The Transfiguration” but it can’t rightly be called a horror film. It’s more a psychological drama examining the dark corners of Milo‘s mind. He’s a tortured soul but Ruffin plays him with an unsettling sincerity that underscores the inner rage that drives his fascination with death.

Levine, as an equally lost soul but without the deadly streak, is the film’s heart. Beaten down, she plays Sophie as someone who hasn’t given up, who still has hope. It’s a grounded, naturalistic performance in a film that values understatement over grand gestures.

“The Transfiguration” is a downbeat slow burn, a movie that for better and for worse takes it’s time with Milo and Sophie’s story. Director Michael O’Shea could have revved up the pacing but his storytelling is uncompromising, Margaret Chardiet’s electro score is anxiety inducing and the performances, while unfussy, reveal deep reservoirs of emotional depth.


From After an overwhelmingly positive response in 2016, Inside Out is excited to partner with BravoFACT for the second Inside Out BravoFACT Pitch Competition. Five teams will be selected to pitch their short narrative film projects in front of a jury of industry experts and a live audience at the 2017 Toronto LGBT Film Festival (May 25 to June 4, 2017).

The winning team will receive a cash prize of $50,000 from BravoFACT to complete the project and will screen it at the 2018 Toronto LGBT Film Festival.

Applications for the 2017 Inside Out BravoFACT Pitch Competition are due on Friday, March 31, 2017. We are looking for teams of two who are passionate about making Canadian films for and about the LGBTQ community. Learn more about the competition and apply, here.

The winners of the 2016 Inside Out BravoFACT Pitch Competition were Kyle Reaume (Director) and Carolyn Reznik (Producer) for their short film What About Shelley. Their short film will world premiere at the 2017 Toronto LGBT Film Festival, as part of the annual Local Heroes program.

The finalists for the 2017 Inside Out BravoFACT Pitch Competition are:

Against the Tide
Logan Cerson (Director) and Morgana Mackenzie (Producer)
A transgender woman returns to her hometown and to her father before their tiny Newfoundland fishing village is bought out by the Canadian government.

Last Postcard
Michael Hanley (Director) and Heidi Tan (Producer)
In a digital age where social interaction is in abundance, but true human connection is scarce, childhood friends Austin and Connor search for love.

Queen of Hearts
Lindsey Addawoo (Co-Director) and Alicia De Four (Producer)
When tragedy strikes, a powerful Queen struggles to navigate supernatural abilities tied to her emotions.

The Tragedy That Was Valerie Mallory Finkerstein
Martina Monro (Co-Producer/Co-Director) and Dacen James (Producer/Co-Director)
On the day of her best friend’s birthday, Valerie must confess her love for Ava or lose her forever.

The Transplant
Maxyme Tramblay (Director) and Raghda Elrayyes (Producer)
When Gail, a witty lesbian, and Connie, a bitter homophobe, find themselves cohabiting the same hospital room, their wait for organ transplants could not be more uncomfortable.

Join us on Sunday, June 4 at 11:00AM at the TIFF Bell Lightbox during the 2017 Toronto LGBT Film Festival as the finalists pitch their short narrative film projects in front of a jury of industry experts, moderated by CTV film critic Richard Crouse. Tickets for the event are FREE but can be reserved at the TIFF Box Office.

GOING IN STYLE: 3 STARS. “’The Italian Job’ with electric wheelchairs.”

“Going in Style” is a blistering social commentary disguised as an old coot caper comedy. Michael Caine, Morgan Freeman and Alan Arkin play factory workers who did all the right things only to have the system give them the middle finger in old age.

A remake from the 1979 George Burns, Art Carney, and Lee Strasberg adventure “Going in Style,” the movie begins with Joe (Caine) confronting his condescending bank manager (John Pais). The older man’s mortgage has tripled and he will soon be evicted from his home. As they argue, outside the manager’s office armed masked men invade the bank, scooping handfuls of cash from the tellers. Joe is unharmed in the heist—one of the thieves tells him, “It is a culture’s duty to take care of the elderly.”—and later excitedly tells his family and friends Willie (Freeman) and Al (Arkin) about the robbery.

The afternoon’s excitement aside, Joe’s financial situation is still dire. His old company, now in the midst of a takeover, has frozen all pension cheques. He needs to come up with a way to get his hands on some cash. Ditto for Willie, who needs a new kidney and Al who can barely afford to feed himself.

When their favourite waitress gives them a free piece of pie with the truism, “Everybody deserves pie,” it dawns on Joe that she’s right. “We should be having our pie and eating it too,” he says, hatching a plan to steal back their pensions. “These banks practically destroyed this country and nothing ever happened to them,” he says. “If we get caught we get a bed, three meals a day and free healthcare.”

“Going in Style” then drops the social commentary and becomes a heist flick. Think “The Italian Job” with electric wheelchairs and you’ll get the idea.

Much of the charm of “Going in Style” comes from watching Caine, Freeman and Arkin glide—OK, it’s more like shuffle—through this material. There’s nothing particularly new here, we’ve seen loads of elderly men take back their lives on film in recent years, but subtext and actor goodwill elevate this slight story.

Caine, Freeman and Arkin are formidable actors but expertly portray the invisibility that can come with old age. As eighty-somethings they are unseen—banks take advantage of them, the police ignore them—until they take their future into their own hands. The story is implausible but by the time the heist happens you want the best for these grandpas, no matter how silly the story gets.

“Going in Style” is part knockabout comedy, part rage against the machine. Director Zach Braff adds in just enough sentimentality and slapstick to frame the film’s message of “having a pie of pie whenever the hell I want to!”