Richard and CTV NewsChannel anchor Andrea Bain talk about the latest movies coming to VOD and streaming services, including the exciting Apple TV+ war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Watch the whole thing HERE!
Richard speaks to “CTV News at 11:30” anchor Andria Case about television and movies to watch this weekend, including the Tom Hanks war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Watch the whole thing HERE! (Starts at 18:58)
Richard sits on on “CTV News at Noon” to review the latest Tom Hanks’ film “Greyhound,” now streaming on Apple TV+ and talk about what the new TV season might bring.
Watch the whole thing HERE! (Starts at 45:48)
Richard sits in on the CTV NewsChannel with host Marcia MacMillan to have a look at the new movies coming to VOD and streaming services including the exciting Apple TV+ war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Watch the whole thing HERE!
Richard and “CP24 Breakfast” host Pooja Handa have a look at some special streaming opportunities and television shows to kill time over the weekend including the financial satire “Black Monday” on Crave, “Twenty Thousand Leagues Under the Sea” on Broadway on Demand, the Bruce Springsteen documentary “Western Stars” and Tom Hanks’ war drama “Greyhound” on Apple TV+.
Watch the whole thing HERE!
Richard sits in on the CFRA Ottawa morning show with host Bill Carroll to talk the new movies coming to VOD and streaming services including the exciting Apple TV+ war drama “Greyhound” starring Tom Hanks, the Netflix superhero franchise starter “The Old Guard” and the British feel good rom com “Fisherman’s Friends.”
Listen to the whole thing HERE!
Tom Hanks is the above the title star of “Greyhound,” a new naval thriller now streaming on Apple TV+, but the star of the film is the tension that takes hold in the first ten minutes and does not let go.
Set during the onset of the United States’ involvement in World War II, Hanks plays Commander Ernest Krause, a stoic sailor on his first command. His mission is to lead an international convoy of 37 Allied ships across the North Atlantic with a wolfpack of German U-boats in hot pursuit. Running out of depth charges and fuel, the convoy needs air cover which is hours away.
That’s it. “Greyhound” Isn’t so much story driven as it is propelled by the action. In a breathless ninety minutes director Aaron Schneider, working from a script written by Hanks, adapted from C. S. Forester’s 1955 book “The Good Shepherd,” ratchets up tension, creating an old-fashioned action movie that mines a life and death situation for real cinematic thrills. That being said, there’s no fight scenes, you never see the face of the enemy and the only dad bodies are wrapped in linen, getting a proper burial at sea.
Inspired by the Battle of the Atlantic, the movie takes place completely on board the USS Keeling (Call sign “Greyhound”). Krause is in the ship’s claustrophobic helm for ninety percent of the running time, barking orders, peering through binoculars, making hard decisions with consequences that will affect the lives of hundreds of people.
Hanks plays Krause as a man with nerves of steel who hides his concern behind his furrowed brow. In the heat of battle every second counts and both Hanks and Schneider understand that the mental gymnastics required to do the job must be front and centre. This is a movie where the fiercest action is verbal. Sure, there’s gunfire, torpedoes and explosions, but the exciting stuff comes from Krause’s mental perspective. Never have coordinated turn equations and rudder work been this exciting.
“Greyhound” was originally set for a theatrical release. The more sweeping shots, those of the ships as specks in the vast ocean, feel like they would have benefited from the big screen treatment, but the story, driven by intellect, the effectiveness of team effort and old-fashioned thrills, works well in any format.
By Richard Crouse – Metro In Focus
In the latest Jason Bourne movie, Matt Damon will punch, kick and spy master his way to the top of the box office charts.
His previous Bourne films, Identity, Supremacy and Ultimatum, were all hits commercially and critically.
Damon says he owes a great deal to the fictional character.
After the early success of Good Will Hunting, Saving Private Ryan and The Talented Mr. Ripley made him a star, a string of flops cooled his box office appeal.
“Right before The Bourne Identity came out,” he said, “I hadn’t been offered a movie in a year.”
Then his career was Bourne again.
“It’s incalculable how much these movies have helped my career,” he told The Telegraph. “Suddenly it put me on a short list of people who could get movies made.”
In the spirit of “one for them, one for me” for every film like The Martian or the new Jason Bourne, Damon has attached himself to smaller, riskier projects.
He lent his star power to The Good Shepherd, a low budget film directed by Robert De Niro. It’s a spy movie without the bells and whistles we’ve come to expect from our favorite undercover operatives.
There are no elaborate chase scenes a la James Bond or even the great scenery of the Bourne flicks.
In fact, the only thing The Good Sheperd shares with any of those movies is Damon, who plays Edward Wilson, one of the (fictional) founders of the CIA.
Despite mixed to good reviews — USA Today gave the film three out of four stars—and winning the Silver Bear of the prestigious Berlin International Film Festival, the movie barely earned back its production costs at the box office.
Ninety per cent of director Steven Soderbergh’s job on The Informant! was casting this mostly true tale of a highly paid executive-turned-whistleblower who helped uncover a price fixing policy that landed several executives (including himself) in jail.
It’s a tricky balancing act to find an actor who can keep the audience on-board through a tale of corporate malfeasance and personal greed, who can be likeable but is actually a liar and a thief, but Damon is the guy.
The Informant! skewed a tad too far into art house territory to be Soderbergh’s new Erin Brockovich-sized hit, but Damon’s presence kept the story of accounting, paperwork and avarice interesting. Reviews were kind but A Serious Man and The Twilight Saga: New Moon buried the film on its opening weekend.
Damon teamed with John Krasinski to produce and co-write Promised Land, a David and Goliath story that relied on the charm and likability of its cast to sell the idea that fracking is bad and the corporations who dupe cash-strapped farmers into leasing their land are evil.
It’s hard to make talk of water table pollution dramatic but Promised Land makes an attempt by giving much of the heavy lifting to Damon.
Done in by middling reviews and “sobering” box office receipts, this earnest and well-meaning movie might have been better served in documentary form.
With an Oscar on his shelf and more than 70 films on his resume Damon is philosophical about the kinds of films he chooses to make, big or small.
“If people go to those movies, then yes, that’s true, big-time success,” he says.
“If not, it’s much ado about nothing.”
The Good Shepherd is a spy movie without the bells and whistles we’ve come to expect from our favorite undercover operatives. There are no elaborate chase scenes a la James Bond, no cool gadgets like Ethan Hunt’s presto-chango masks in the Mission Impossible movies, not even the great scenery of the Bourne Supremacy. In fact the only thing The Good German shares with any of those movies is star Matt Damon, who has traded his Bourne identity for that of Edward Wilson, one of the (fictional) founders of the CIA.
The Good Shepherd is a movie about secrets and duplicitous men who live in a shady underworld where nothing is as it seems. Director Robert De Niro, in his first stint behind the camera in over a decade, has delivered a long, thoughtful movie about the paper pushers who fought the cold war from behind desks.
Damon is a stone-faced bureaucrat who is involved at the very highest levels of espionage. De Niro dispenses with most of the spy movie conventions to tell a complex story of this man’s career and private life. From a life groomed for clandestine politics first as a member of the Scull and Bones Club at Yale to counter-intelligence in WW2 to the Bay of Pigs to the sexual politics of feeling trapped in an unhappy marriage while feeling guilty about carrying on affairs, The Good Shepherd covers it all.
It’s an ambitious story, but the movie over-reaches in its attempts to present a well-rounded portrait of this man’s life. The time frame leap frogs constantly and it isn’t always clear whether we’re in the past or present, but I found the espionage story interesting enough to keep me engaged in the confusing story.
