The jokes and the set pieces are bigger and badder but it’s the mushy stuff that prevents “Deadpool 2” from slipping solely into freak show mode. It's a movie that works both as a superhero flick and as a twisted family drama.
"Tully," new dramedy from Oscar nominated director Jason Reitman, presents an often-used stereotype, the stressed out mom, then takes the story to some unexpected places, writes CTV News contributor Richard Crouse.
Based on the novel of the same name, 'Ready Player One' isn't a reboot or reimagining of a comic book or old film, it's an original story with enough pop culture icons to warm the hearts of any nostalgic moviegoer.
“A Wrinkle in Time” contains good messages for kids and some visuals that will make your eyeballs dance and it is made with heart but it feels like it bites off more than it can chew, says film critic Richard Crouse.
Watching “Fifty Shades Freed", the final movie in the trilogy, feels like breaking up with someone you know you’ll never see again. You feel relief that it is over mixed with regret that you wasted all that time in the first place, says film critic Richard Crouse.
Based on Doug Stanton’s non-fiction book “Horse Soldiers,” “12 Strong” is both conventional and unconventional in its approach. Structured like a traditional war film, it’s also the first time (to my memory) we’ve seen modern warfare on horseback on the big screen.
“Paddington 2” isn’t just a kid’s flick, it’s a film for the whole family; it’s one of those rare movies for children that doesn’t just feel like an excuse to sell toys, says film critic Richard Crouse.
'Downsizing,' for all its ingenuity, gets bogged down in its second half, though the opening hour is inventive. The film flits from one issue to another so quickly it’s like channel surfing, says film critic Richard Crouse.
Finding a balance between the nostalgia many aficionados hold for the iconic series and moving it forward in an entertaining and organic way is a juggling act, one that director Rian Johnson has pulled off in 'Star Wars: Episode VIII – The Last Jedi,' says film critic Richard Crouse.
Film critic Richard Crouse says Gary Oldman hits a career high as Winston Churchill in the "Darkest Hour." Underneath layers of makeup and with a cigar wedged in his face, he brings history to life in a performance that goes far past impersonation.
"Happy Death Day" is not a thrill-a-minute movie but in addition to the fun performances, it also has a few vulgar laughs, a few shocks and enough twists to be worth the price of the popcorn, says film critic Richard Crouse.
Fans of the original will find much to like in “Blade Runner 2049.” It’s a skillfully made movie that works as a companion piece to Ridley Scott’s film and as a detective mystery, says film critic Richard Crouse.
As a portrait of women's rights and the sexual revolution of the 1970s, “Battle of the Sexes” covers a lot of ground but does so in an entertaining although slightly overlong way, says film critic Richard Crouse.
“Patti Cake$,” a story of big dreams and hip-hop glory, introduces two major new talents to the world, writer, director Geremy Jasper and star Danielle Macdonald. Together they present a movie that is gritty, sweet and quite unforgettable.
“The Hitman’s Bodyguard” mixes and matches all the usual action movie flourishes—exotic locations, violence, jokes and romance—but succeeds because of the match between its leads, Ryan Reynolds and Samuel L. Jackson, says film critic Richard Crouse.
'Dunkirk,' the new war epic from director Christopher Nolan, could be one of those rare movies—rare like a unicorn or a modest Kardashian—that comes out in the summer and earns a Best Picture nomination.
“Spider-Man: Homecoming” is easily the best web tale since 2004's “Spider-Man 2,” says CTV's film expert Richard Crouse. Crouse says the film is the most diverse entry in the Marvel Universe to date and one of the most entertaining.
“Despicable Me 3” isn’t terrible, but it doesn’t have the spark of the other films in the series. The film raises a smile when it is in silly mode but is less successful when it defaults to being a capital ‘F’ family film, which is far too often.