Posts Tagged ‘Bill Camp’

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY DECEMBER 29, 2017.

Richard and CP24 anchor Nathan Downer have a look at the weekend’s new movies including “All the Money in the World” and “Molly’s Game.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR DECEMBER 29.

Richard sits in with CTV NewsChannel anchor Beverly Thomson to have a look at “All the Money in the World” and “Molly’s Game.”

Watch the whole thing HERE!

MOLLY’S GAME: 2 ½ STARS. “a pair of deuces when it should have been a full house.”

If “Molly’s Game” wasn’t a true story it would be unbelievable.

Jessica Chastain plays Molly Bloom, a one-time Olympic class skier sidelined by injury. Leaving the slopes behind she found her way into the world of high stakes poker but not as a player, as a purveyor. In Los Angeles and then again in New York she cultivated a guest list of rich and powerful men of movie stars, Russian mobsters and Wall Street hedge funders. They bet, lost (and sometimes won) millions of dollars, catered to by drink slinging models and Bloom’s huge line of credit. With the game come wealth, drug addiction and ultimately, an FBI arrest for a variety of charges. Money seized, drug addiction kicked, all the Poker Queen has left is her integrity and a supportive criminal defense lawyer in the form of Charlie Jaffey (Idris Elba).

Written by ninety-words-a-minute screenwriter Aaron Sorkin (who also directed), coats the unlikely tale of a dedicated athlete who uses the dedication an skill she developed in her sport to create a new life for herself with an elegant sheen. The dialogue is top notch, the performances very good but it’s all surface. The psychology—her father (Kevin Costner) is a pontificating psychologist—doesn’t provide the kind of depth we need to truly care about Molly, before or after her downfall. She’s all ambition and little else. Chastain breathes life into her, rattling off Sorkin’s impressive dialogue, ripe with pop culture references, mythology and bon mots, but it’s the performance that illuminates the character for the audience, not the script.

Sorkin doesn’t exactly deal “Molly’s Game” a bad hand but he does bog down the story with clever asides and details instead of moving the plot forward. Aside from Bloom, his characters are all sharp-tongued creations whose personalities are become increasingly interchangeable as the same Sorkin-esque style of witty dialogue spills from all their lips.

In many ways “Molly’s Game” overplays its hand. It’s neither a searing indictment of high-stakes illegal gambling nor a psychological study of its main character. Instead it’s a pair of deuces when it should have been a full house.

Metro In Focus: Molly’s Game actor Jessica Chastain on recent roles.

By Richard Crouse – Metro In Focus

Director Guillermo del Toro sings the praises of Jessica Chastain, saying she brings authenticity to everything she does and is “interested in being chameleonic.”

Indeed. Earlier this year the two-time Oscar nominated actor played World War II Warsaw human rights activist Antonina Zabinski in The Zookeeper’s Wife. Soon we’ll see her as 1890s era portrait painter Catherine Weldon, as screen legend Ingrid Bergman and as a mysterious alien with shape-shifting abilities in X-Men: Dark Phoenix.

This weekend in Molly’s Game, she is Molly Bloom, an Olympic-class skier who also ran the world’s most exclusive high-stakes poker game.

She is the very definition of versatile, a performer who is hard to pin down.

“I feel like the bigger risks I take, the more I learn,” she says. “I know I learn more from my failures than successes.”

From big films like Interstellar and The Martian, to small ones like A Most Violent Year and Miss Julie she is always distinctive and always interesting.

For instance contrast her work in two recent films, Miss Sloan and Crimson Peak.

In Miss Sloane she plays Elizabeth Sloane, a sleep-deprived D.C. lobbyist “at the forefront of a business with a terrible reputation.”

She’ll represent anyone, it seems, except the gun lobby, who offer her a lucrative contract, only to be laughed at and rejected. Soon after she leaves her firm—one of the biggest in the country—to join a small, scrappy group who aim to whip up support for a bill that will demand background checks for all gun owners.

Zippy dialogue flies off the screen probably easier than it would actually fly off the tongue, giving voice to colourful characters who say mostly interesting things.

“When this town guts you like a trout and chokes you with the entrails don’t come snivelling to me,” snarls Sloane.

It’s a catchy line and Chastain spits it out with conviction and often transcends the rat-a-tat dialogue by bringing some actual humanity to a character largely made up of bon mots and a bad attitude. It’s a struggle for Chastain to grow Elizabeth Sloane as a character but in her rare quiet moments, when she isn’t mouthing Jonathan Perera’s carefully crafted words, she finds warmth and vulnerability in a person described as the “personification of an ice cube.”

In Crimson Peak she is Lucille Sharpe who, along with her brother Thomas (Tom Hiddleston), is British gentry in America to raise money to perfect and build a machine to mine the rich red clay that lies under Crimson Peak, their family estate.

The movie is love letter to both V.C. Andrews and Edgar Allen Poe. Madness and murder are front and center, coupled with Chastain’s arch performance that embodies the Hammer Horror style of wild-eye-acting. To play Lucille she worked with a dialect coach to perfect her English accent, learned to play piano and, most unsettlingly, never blinks. “Lucille not blinking is her trying to say, ‘Look at me, I’m normal. Everything is fine.’ And there’s effort in that,” she said.

As the scoundrel of the piece the versatile actress is a commanding presence, one who drips with evil.

“My God, she creates one of the truly scary villains I have seen, so dark,” says Guillermo del Toro. “Jessica took this to 11. She went full Spinal Tap here.”

CTVNEWS.CA: “THE CROUSE REVIEW LOOKS AT “THOR: RAGNAROK” & MORE!

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 the clown prince of Asgard in “Thor: Ragnarok,” the grammatically incorrect “A Bad Moms Christmas,” and the strange “The Killing of the Sacred Deer.”

Watch the whole thing HERE!

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY NOVEMBER 04, 2017.

Richard and CP24 anchor Nick Dixon have a look at the weekend’s new movies including Chris Hemsworth’s funny take on his most famous character in “Thor: Ragnarok,” the lump of coal that is “A Bad Moms Christmas” and the strangest movie of the year, “The Killing of the Sacred Deer.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR NOVEMBER 03.

Richard sits in with CTV NewsChannel anchor Lois Lee to have a look at the clown prince of Asgard in “Thor: Ragnarok,” the grammatically incorrect “A Bad Moms Christmas, the strange “The Killing of the Sacred Deer” and the religious drama “Novitiate.”

Watch the whole thing HERE!

CFRA IN OTTAWA: THE BILL CARROLL SHOW WITH RICHARD CROUSE ON MOVIES!

Richard sits in on the CFRA Morning Show with host Bill Carroll to talk about the clown prince of Asgard in “Thor: Ragnarok,” the grammatically incorrect “A Bad Moms Christmas” and “The Killing of the Sacred Deer.”

Listen to the whole thing HERE!

THE KILLING OF A SACRED DEER: 4 STARS. “wallows in cruelty and depravity.”

Director Yorgos Lanthimos makes idiosyncratic films. From the bizarre home schooling fantasy “Dogtooth” to “The Lobster,” a film about turning lovesick divorcees into wildlife, he is unafraid to let his freak flag fly. His newest film, “The Killing Of A Sacred Deer” starring Colin Farrell and Nicole Kidman, may be his most unapologetically odd film yet.

Farrell is Steven Murphy, an uptight cardiac surgeon married to ophthalmologist Anna (Kidman). Their two kids, Bob (Sunny Suljic) and Kim (Raffey Cassidy) are polite, happy kids. They eat dinner together every night and by all outward appearances lead a disciplined, quiet suburban life. It wasn’t always that way. Just three years before Steven was forced to stop drinking when it began to interfere with his work.

Now all is calm. The only strange thing is Steven’s attachment to Martin (Barry Keoghan), the son of a patient who died unexpectedly. Steven buys him expensive presents and always seems to have time to talk to the boy or take him out for lunch. Shortly after Martin is invited over for dinner, however, things in the Murphy household take a turn for the worse. Little Bob’s legs give out and soon he is paralyzed from the waist down. He’s given every test known to man and science but no diagnosis is forthcoming. Then Kim takes ill, collapsing at choir practice. Again, there doesn’t seem to be a medical reason for her paralysis.

There’s more, but there will be no spoilers here. If you want clues look up the Greek myth of Artemis’s demand of atonement from Agamemnon after he killed a sacred deer.

From this point on “The Killing Of A Sacred Deer” becomes a horror film about ideas rather than actions. It’s a study of extreme consequences, atonement and the length to which people will go to save their families. In many ways it’s the kind of story we’ve seen many times before but Lanthimos has filtered the domestic drama through his lens, creating an unsettling and absurd film that is as gripping as it is strange.

Lanthimos uses language and tone to bring us into his world. The actors have a eerie, mannered way of speaking as though they are always reading aloud from an Emily Post book. Before anything odd happens the matter-of-fact speech, often about the most trivial or, sometimes, inappropriate things, establishes the film’s otherworldly tone. It hangs heavy over every second of the movie and when the character’s veneers begin to crack it is even more disquieting.

“The Killing Of A Sacred Deer” does not offer explanations or apologies for anyone’s behaviour. Instead it is content to wallow in the cruelty and depravity of its story. Strange days indeed.