Posts Tagged ‘Kate Winslet’

LOOKING BACK AT 2017: RICHARD PICKS FOR THE WORST FILMS OF THE YEAR.

THE BAD (in alphabetical order)

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.

THE UGLY

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.

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY DECEMBER 15, 2017.

Richard and CP24 anchor George Lagogianes have a look at the weekend’s new movies including ”Star Wars: The Last Jedi,” the no-bull kid’s tale “Ferdinand” and the coming-of-age romance “Call Me By Your Name.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR DECEMBER 15.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at ”Star Wars: The Last Jedi,” the no-bull kid’s tale “Ferdinand” and the coming-of-age romance “Call Me By Your Name.”

Watch the whole thing HERE!

CTVNEWS.CA: “THE CROUSE REVIEW LOOKS AT “DARKEST HOUR” & 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 “Darkest Hour, “The Shape of Water” and “Wonder Wheel.”

Watch the whole thing HERE!

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY DECEMBER 08, 2017.

Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies including “Darkest Hour, “The Shape of Water” and “Wonder Wheel.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR DECEMBER 08.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at the Winston Churchill biopic “Darkest Hour, “The Shape of Water,” a movie Richard says “is the kind of movie that made me fall in love with movies in the first place,” and the not-so-wondrous “Wonder Wheel.”

Watch the whole thing HERE!

 

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

Richard has a look at the Winston Churchill biopic “Darkest Hour, which, despite its name, is rather funny, “The Shape of Water,” a movie Richard says “is the kind of movie that made me fall in love with movies in the first place,” and the not-so-wondrous “Wonder Wheel” with The Morning Rush host Bill Carroll.

Listen to the whole thing HERE!

 

WONDER WHEEL: 1 ½ STARS. “feels cobbled together from other, better movies.”

Personal details run deep in Woody Allen’s films. His life has been fodder for his stories. Sometimes overt, occasionally self-indulgently, most always accompanied by some sort of neurosis his writing reveals much about who he is. “Wonder Wall,” however, may top everything that came before with its story of a man who carries on with both mother and stepdaughter.

Set on Coney Island in the 1950s, “Wonder Wheel” stars Jim Belushi as Humpty, a carousel operator with Kate Winslet as Ginny, his actress-turned-waitress wife. They live in a dowdy apartment with budding pyromaniac Richie (Jack Gore), her son from a previous marriage. It’s a miserable existence. He’s an unhappy recovering alcoholic who prefers fishing to his wife’s company. Approaching forty, she’s unhappily working at a local clam house, battling migraines caused by the endless din from the surrounding amusement parks. “I am not a waitress in a clam bar,” she says. “There’s more to me than that. I’m playing the part of a waitress in a clam bar.”

Ginny’s only consolation is lifeguard and wannabe playwright Mickey (Justin Timberlake). He’s “poetic by nature with hopes of one day writing a classic,” and

she eats it up until Carolina (Juno Temple), Humpty’s estranged daughter shows up, on the run from some nasty mobsters (Steve Schirripa and Tony Sirico).

Woody Allen has made almost fifty films ranging from lush romantic comedies and introspective dramas to art house explorations and musicals. “Wonder Wheel” feels like a combination of all of the above, and yet less because it feels as though its been cobbled together from fragments of his other, better movies. Nostalgia, over-romanticized sense of place, dangerous relationships, psychiatry and highbrow set decoration like references to “Hamlet and Oedipus” abound but it is all been-there-done-that.

Once upon a time Allen’s films clocked in at a svelte 90 minutes but in recent years have grown flabby. “Wonder Wheel” times out at 101 minutes but feels much longer. The stagey, heightened acting style recalls amateur hour Tennessee Williams and seems not only stuck in time, but actually have the ability to stop time. As Humpty Belushi only reminds us how good a role this might have been for John Goodman. Winslet seems to be channelling a heroine from a more interesting movie and Timberlake, as the movie’s in-demand love interest and Greek Chorus, shows none of the ease and grace so amply on display in his singing and dancing. Only Temple fights her way through the muck to emerge as a compelling character.

At the beginning of the film Mickey warns us that what we are about to see will be filtered through his playwright’s point of view. Keeping that promise, 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 cries out at one point. “Spare me the bad drama.” Amen to that.

CJAD IN MONTREAL: THE ANDREW CARTER SHOW WITH RICHARD CROUSE ON MOVIES!

Richard sits in on the CJAD Montreal morning show with guest host Ken Connors to talk about the Winston Churchill biopic “Darkest Hour, which, despite its name, is rather funny, “The Shape of Water,” a movie Richard says “is the kind of movie that made me fall in love with movies in the first place,” and the not-so-wondrous “Wonder Wheel.”

Listen to the whole thing HERE!