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‘wolfs’ review: brad pitt and george clooney reunite for a cunning caper that never takes itself too seriously — sometimes to a fault.

Jon Watts ('Spider-Man: Homecoming') wrote and directed this New York-set action comedy, which will roll out on Apple TV+ after premiering in Venice.

By Jordan Mintzer

Jordan Mintzer

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Can movie stars stay cool forever?

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Either way it’s unfortunate, because Wolfs is a work that deserves big-screen attention — instead of being viewed in bed on a MacBook that’s resting on top of your crotch. Written and directed by Jon Watts , who, after a lengthy stint in the Marvel Universe, returns to the caper mode of his 2015 breakthrough Cop Car , the movie has twists galore and showcases a slick, deadpan style you hardly see in Hollywood anymore. Both fun and thin at the same time, it’s not about much in the end except the idea of reuniting Pitt and Clooney to see if they still have their magic, which they mostly do.

Both play “cleaners” or “fixers” — think Jean Reno in La Femme Nikita or Harvey Keitel, the first and most famous Wolf, in Pulp Fiction — who get hired for a job that winds up stretching out for one long, snowy and action-packed New York night. That job entails helping a district attorney ( Amy Ryan ) get rid of a dead body in her luxury hotel room, but it quickly spirals into much more. The body, in fact, is not dead at all, and belongs to a gabby, nervous wreck of a kid (Austin Abrams), who happens to be carrying four kilos of heroine in his book bag.

Watts teases out the tension and humor between them in every scene, getting plenty of mileage off their slightest gestures or facial expressions, especially during a few sequences where there’s hardly any dialogue at all. Like in Cop Car , or his excellent TV series, The Old Man , the director has a knack for staging visual comedy and action with only a few shots and cuts — the opposite of what most overshot action movies do.

At its best moments, Wolfs takes that style to extreme lengths, in what’s basically a two-hander set on lots of empty Manhattan streets, or inside Clooney’s comfy BMW. A few other characters are brought in, including the aforementioned “kid,” a doctor (Poorna Jagannathan) working out of a restaurant in Chinatown, and an Albanian mob boss (Zlatko Burić) whose daughter’s wedding the two crash in one over-the-top scene.

But like Pitt and Clooney, none of these characters feels like real people. They’re occupants of a movie world closer to the ’90s-era meta-fictions of Tarantino than anything real or contemporary. Which means that whether they live or die, shoot one another or hug it up, finish as besties or arch enemies, doesn’t seem to matter all that much.

As for the question at the top of this review, at one point the kid, who’s as nerdy a New Yorker as they come, tells Pitt and Clooney how cool they are. And it’s true they do some very cool things, like when Clooney bags a body in the hotel room in one quick swoop, brings it casually downstairs on a luggage rack and kicks it into the trunk of his Beemer. Even when, later on, he and Pitt have to simultaneously take out their old man reading glasses, they seem cool as cucumbers.

But does everyone still think that? If you were to ask a bunch of random teenagers or people in their 20s today, it’s possible they don’t even know who the actors are or what films they’ve done. And it’s also quite possible they don’t watch many films at all anymore, if they ever did.

And so if Wolfs is about anything, perhaps it’s about testing whether Hollywood stars exert the same power and fascination they did when movies seemed to matter much more to the general public. The results of that test are yet to be known, and Wolfs leaves us with a final image of Pitt and Clooney suspended together in action, as if to say: If they no longer have us, at least they have each other.

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‘nobu’ review: a glowing and straightforward portrait of the japanese chef and his empire, brad pitt and george clooney whip venice film festival into a frenzy with ‘wolfs’ world premiere, ‘battleground’ review: a sober but overly academic italian drama about the moral conflicts of world war i military doctors, amazon prime video’s new releases coming in september 2024, ‘i’m still here’ review: walter salles returns home with the powerful story of a broken family’s resistance, brady corbet’s wildly ambitious period epic ‘the brutalist’ blows minds at venice premiere, gets 13-minute standing ovation.

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‘Babygirl’ Review: Nicole Kidman Is Fearless in an Erotic Office Drama About the Age of Control

Halina Reijn's adultery drama recalls films from "Unfaithful" to "9½ Weeks," but with a corporate kinkiness that's both up-to-the-minute and humane.

By Owen Gleiberman

Owen Gleiberman

Chief Film Critic

• ‘Wolfs’ Review: George Clooney and Brad Pitt Are Rival Fixers in a Winning Action Comedy Spiked With Movie-Star Chemistry 27 mins ago
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One of the many reasons that sex scenes in movies have faded as a phenomenon is the omnipresence of pornography. When people can just click on their deepest kinks and favored objects of desire, who needs the carefully staged R-rated “erotic” version?

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Early on, we see Romy in the office and in the mission-statement videos she makes for the company, where every upbeat word is market-tested, including a reference to how “nurturing” the company is — even though its all-robot premise basically results in putting people out of work. (The way Romy sees it, she’s liberating them from menial jobs.) The movie offers up a sly take on what’s happening in corporate culture today, though what gives that its kick is the way that it all connects to Romy’s pent-up sexuality, and to the forbidden office hookup that’s about to ensnare her.

The young man who’s going to ignite Romy’s fantasies is Samuel ( Harris Dickinson ), one of the company’s new slate of interns. That’s right: This is a movie about a fiftysomething boss who falls into an affair with a work dude who’s barely out of college. If “Babygirl” had been made 20 years ago, the movie would probably have been conceived as a “cougar” fantasy. The first time Romy and Samuel saw each other, it would have been all about their animal magnetism. But Reijn does something shrewder than that.

The two characters meet when the interns are given a tour of Tensile’s sprawling lower Broadway office suite. They’re paraded into Romy’s office, at which point Samuel asks her an incredibly rude question about the company’s robot premise. Dickinson, the gifted actor from “The Iron Claw” and “Triangle of Sadness,” his baby face set off by a jagged haircut, is like a more blunt-edged Austin Butler. His Samuel is telling Romy, before they’ve barely glanced at each other, “I make the rules. By breaking yours.” And that’s what’s sexy. These are great-looking actors, yet in “Babygirl” their chemistry is all about — only about — the promise of transgression. Each time Samuel sees Romy at the office, he confronts her with another casually hostile negging remark. He shoots past all niceties and small talk. His “flirting” is an aggro assault. And that’s why she can’t resist it.   

“Babygirl” turns into a shrewdly honest and entertaining movie about a flagrantly “wrong” sadomasochistic affair. In “Bodies Bodies Bodies,” Reijn created a tone of overwrought satirical slasher pulp, but here she settles into a far more realistic mode, and brings it off with flair. The movie is reminiscent, at times, of “Fair Play,” but it’s also a tale of adultery that pushes genuine emotional buttons, the way “Unfaithful” did 20 years ago. And that’s rooted in the fearless performance of Kidman.

Straddling the identities of mother, boss, defiant adulterer, and trembling sexual supplicant, she’s like a walking mood ring. Her Romy takes off from a long-standing (hidden) reality: that people who are hooked on wielding power can have primal fantasies of being sexually submissive. For decades, prominent male executives have been keeping B&D sex workers in business, but in movies we haven’t seen the corporate gender tables turned in quite this way. For a while, “Babygirl” comes on like a less glossy “9½ Weeks,” as Samuel breaks down Romy’s defenses, notably in a scene where people from the office are having cocktails after work and he sends her over a drink … of milk. He’s saying, “You’re my baby girl.” And when she drinks it down, she’s saying, “Yes I am.”

Does it all come tumbling down? “Babygirl” has a conventional design (and one very good eye-candy needle drop, in which the tattooed Samuel snake-dances to George Michael’s “Father Figure”). But one of the film’s strengths is that it avoids the sort of roller-coaster last act that we expect from an “erotic thriller.” There’s an old-school moralism at work in movies like “Fatal Attraction,” where the characters are punished for their sins. Reijn is after something different — she’s out to liberate characters who are too busy punishing themselves. “Babygirl” takes a few turns we don’t expect, but that’s because the movie’s ambition isn’t just to feed the thriller engine. It’s to capture something genuine about women’s erotic experience in the age of control.

Reviewed at Venice Film Festival (In competition), Aug. 30, 2024. Running time: 114 MIN.

• Production: An A24 release of a 2AM, Man Up Film release. Producers: David Hinojosa, Julia Oh, Halina Reijn. Executive producers: Christine D’Souza, Gelb, Erika Hampson, Zach Nutman.
• Crew: Director, screenplay: Halina Reijn. Camera: Jasper Wolf. Editor: Matthew Hannam. Music: Cristobal Tapia de Veer.
• With: Nicole Kidman, Harris Dickinson, Sophie Wilde, Antonio Banderas, Esther McGregor, Vaughn Reilly, Victor Slezak.

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‘Wolfs’: George Clooney and Brad Pitt’s New Movie Is Shockingly Bad

“Wolfs” was a Venice Film Festival disappointment. It turns out that star power is not enough when those stars are auto-piloting their way through their new movie.

Barry Levitt

Freelance Writer

Courtesy of Venice Film Festival

VENICE, Italy—District Attorney Margaret (Amy Ryan) is in big trouble. On an impulse, she invited a younger man back to her hotel room—and it was going well…until he collapsed on the floor and died. What was supposed to be a fun night of debauchery and stress relief turned into something awful. She’s terrified and covered in blood. Being discovered in this state would be disastrous for her career. There’s only one person Margaret can call: A Wolf.

They work alone, and only alone. Wolfs are fixers—they do the work that nobody else is willing to do, and they do it discreetly. Wind up with a dead guy in your hotel room? A Wolf is who you call to make sure that guy not only is no longer in your room, but that there’s no trace that that person ever was anywhere near you at all. These are the people who work in the underbelly of society, leaving no trace. They have names, and they may even have families. But you’ll never learn anything about them. “There’s nobody who can do what I do,” George Clooney ’s character tells Margaret.

Except there is someone who does exactly what Clooney’s character does. He’s another Wolf, and he’s played by Brad Pitt . While Margaret called Clooney’s Wolf, the hotel, spying on its guests, called Pitt’s Wolf. And as these people thrive on working entirely alone, they have no idea who one another is. But there’s one thing that they can both agree on: They don’t want to work with anyone else. Ever. But they decide the only chance they have of completing this task is for the pair of them to do something they’d never dream of doing: Working together.

Wolfs , which just premiered at the Venice Film Festival , is an unbearable comedy with jokes all surrounding a single theme: These guys don’t want to work together. Driving along with Clooney and Pitt in Wolfs captures all the thrilling fun of your kids shouting “Are we there yet?” ad infinitum. It repeats the same joke over and over (and over again). And just when you think Wolfs might be interested in moving onto fresh new material, it attempts the same punchline again, in its 400th variation.

George Clooney and Brad Pitt arriving at the Venice Film Festival

Ernesto Ruscio/Getty Images

Wolfs should go down like gangbusters. Clooney and Pitt are two of the biggest movie stars in the world, and writer-director Jon Watts is behind the hugely successful and critically admired MCU Spider-Man trilogy. But Wolfs is an idea without any followthrough—it’s like someone pitched a compelling tagline in a meeting and forgot to fill it out with any actual ideas after the fact. It’s big-budget filmmaking at its most vacant. Clooney and Pitt are gifted actors, and they’ve had great success working together in movies like Burn After Reading and the Oceans trilogy. But they’re both delivering auto-piloted performances here, moving their mouths and churning out exhausting dialogue because they’re being paid a lot of money to do so (more than $35 million apiece according to The New York Times ).

They’re both lifeless and their characters lack any interiority. The joke is that they’re annoyed with each other and are convinced that they work completely differently, when the reality is that they’re extremely similar. This renders both their characters identical—if they swapped all their dialogue, it would make no difference whatsoever. Austin Abrams is the only major player to walk away unscathed from Wolfs , delivering a charming and genuinely funny performance as a man who unexpectedly finds himself assisting the fixers.

I can only assume Wolfs made it into the Venice lineup because the star power was enough to get it here. But Wolfs provides ample evidence that celebrity wattage is not nearly enough, especially when neither star seems particularly invested in being on screen. This is a movie in desperate need of another dimension. Its set pieces are uninspired and lifeless, and the script grinds to a halt every time you think things are about to gain momentum. If you’re still curious about Wolfs , just watch the trailer —it has every “highlight” of the movie in a few digestible minutes.

Got a tip? Send it to The Daily Beast  here .

READ THIS LIST

The movies that came out on top this year, and those you probably should avoid

Topic: Arts, Culture and Entertainment

The Beatles: Get Back was among Zac Hepburn's top picks for the year. ( News Video )

The verdict is in from Zak Hepburn — regular film critic for ABC News Breakfast — on the best and worst films of 2021.

In another year where going to the cinemas was hampered by the pandemic, there were still some great films to catch — and some not so good ones. 

Let's rip the bandaid off first with the worst films of the year.

Worst films of the year

Coming in at number one in the category of worst films in 2021….

The Misfits

What it's about: Renowned criminal Richard Pace is recruited by a group of unconventional thieves and finds himself caught up in an elaborate gold heist with far-reaching consequences.

Who's starring in it: Pierce Brosnan, Tim Roth, Nick Cannon

Zak Hepburn's verdict: It's the worst film of the year according to Zak Hepburn, who brutally took it down by saying he would walk out on it — even if he was on a plane at 30,000 feet.

"I stand by this," said Hepburn.

"It only lasted a week in cinemas so I would like to think that was my community service for the year.

"Avoid at all costs."

Where to see it if you're brave enough: Available to purchase on iTunes.

Dishonourable mention

Dear evan hansen.

What it's about: Loosely based on a true story, Dear Evan Hansen is about an anxious and lonely high school student – Evan Hansen – who begins writing letters to himself. When one of those letters falls into the hands of a grieving couple whose son took his own life, Evan embarks on a journey of self-discovery.

Who it's starring: Ben Platt (Pitch Perfect), Amy Adams, Julianne Moore, Kaitlyn Dever, Amandla Stenberg.

Zak Hepburn's verdict: "It is based on the very, very, very popular Broadway musical of the same name. And it is woefully miscast, woefully misdirected and misjudged," Hepburn said.

Loosely based on a true story, Dear Evan Hansen is about an anxious and lonely high school student who begins writing letters to himself. ( Supplied: Universal )

"I think that the worst part of this is the actual casting of 27-year-old Ben Platt, who was very successful in the stage version of the show.

"He's cast as a teenager in this film and I'm not buying that foundation on him to make him look a little bit younger."

"It's almost like an episode of Undercover Boss. So, this is a dud note in my opinion."

Where to see it if you're brave enough: In cinemas now.

Best films of the year

Number 3: coda.

What it's about: Ruby is the only hearing member of a deaf family in Massachusetts. In joining her high school's choir club, Ruby finds herself drawn to both her duet partner and her latent passion for singing.

Who it's starring: Emilia Jones, Eugenio Derbez, Marlee Matlin

Zak Hepburn's verdict: "Incredible cast," he said.

"Emilia Jones was in the central role.

"And a really empathetic and fantastic family story.

"I'm actually tipping this is going to be a dark horse in the Oscars race, that you'll see a lot of nominations for this film."

"It's also got a great use of the Joni Mitchell song, Both Sides."

Where to see it: Apple TV+

Number 2: Dune

What it's about: Paul Atreides is a brilliant and gifted young man who must travel to the most dangerous planet in the universe to ensure the future of his family and his people, where only those who can conquer their own fear will survive.

Who is it starring: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Zendaya, Jason Momoa

Zak Hepburn's verdict: Not everyone liked this film, but Hepburn has given it a solid thumbs up. He's referred to it as epic.

"I absolutely adored this experience," he said.

Paul Atreides is a brilliant and gifted young man who must travel to the most dangerous planet in the universe to ensure the future of his family and his people.

"This really reminded me of the power of a big-screen experience.

"What I appreciated about this film is that it opens up a whole new world and you have to get in on the ground and follow it.

"It's a really impressive story based on the very popular sci-fi novel from the 1960s. Many claimed it to be unfilmable.

"The director got an incredible cast together."

Where to see it:  In cinemas now.

Number 1: Pig

What it's about: A truffle hunter who lives alone in the Oregon wilderness returns to Portland to find the person who stole his beloved pig.

Who is starring in it: Nicholas Cage, Alex Wolff, Adam Arkin

Zak Hepburn's verdict: "What on paper looks like a John Wickian revenge film is tender about grief and healing and about how we connect with each other through food.

A truffle hunter who lives alone in the Oregon wilderness returns to Portland to find the person who stole his beloved pig.

"This surprised me and that's always what I'm looking for when I look at films. Something to surprise me and something that's different.

"This one, I'm tipping Nicholas Cage to get an Oscar."

"A minimal piece, I really encourage viewers to give this film a shot."

Where to see it: Available to rent or buy online

Streamers Choice

The beatles: get back.

Zak Hepburn's verdict:

"Eight hours of pure Beatles joy.

"I absolutely adored this.

"A fantastic look at the creative process and an incredible moment in the first episode where Paul McCartney is tingling away on the guitar while George and Ringo watch him and at 25 seconds he has the chord structure of Get Back.

"The archival footage is great as well and Peter Jackson did a great job."

Where to see it: Disney+

Reagan 2024 Movie Reviews: Strong First Reactions Get Shared Online

The upcoming Ronald Reagan movie (officially titled Reagan ) is quickly garnering strong reactions and reviews from those who have seen it early.

Directed by Sean McNamara, Reagan follows Dennis Quaid's take on the United States' 40th President from his early life through his time spent in the White House from 1981 to 1989.

The story is based on a book written by Paul Kengor titled The Crusader: Ronald Reagan and the Fall of Communism , detailing President Reagan's reign as the country's leader from a political and personal perspective.

The film is set to be released theatrically on Friday, August 30.

First Reviews to Reagan Movie

Ahead of Reagan 's debut in theaters, general audience members and government officials who saw the film early shared their first reactions and reviews on X (formerly Twitter).

Van Hipp , the Chairman of American Defense International and former U.S. Army Deputy Assistant Secretary, thoroughly enjoyed the film, calling it a "powerful movie" showing how "God can use one man to make a difference:"

"Jane & I had a blast at the World Premiere of the movie, 'REAGAN!' This is a powerful movie that shows how God can use one man to make a difference in the World. Take the whole family and your children can see how great America can be."

Reagan Legacy Foundation President Michael Reagan , who is President Reagan's son, praised the film's producers and team for the work they did on his father's story:

"Don’t be afraid to go see 'REAGAN' the writers & producers nailed it and so did the Actors & my family who saw it Aug 20 100% support the Movie..Pass the word"

Joseph Joyce of Angelus News admitted in his review that most presidential biopics are not the most needed in the movie space as a whole. He even joked that the film covers "the whole of the president’s 93-year-long life" while showing "no respect for the viewer’s bladder."

He also described the way the film ended by calling it "as open a declaration of love one can manage without shouting" while noting how it's "structured like the biography of a saint."

Kathy Petsas urged fans not to miss the movie, sharing how much she enjoyed the "honest portrayal" of the first President she cast a vote for:

"Don’t miss the 'Reagan' Movie... Loved this honest portrayal of the first President and First Lady I ever voted for."

X user @Ranchmemaw called Reagan "a beautiful movie," heaping heavy praise upon Dennis Quaid for his performance as the former President:

"Seeing it for the second time...⁩ It’s a beautiful movie! Dennis Quaid IS Reagan!"

Young America's Foundation COO Jess Jensen spoke highly of the Ronald Reagan biopic, specifically highlighting the scenes highlighting Reagan Ranch:

"What a memorable night for @yaf and our @TheReaganRanch team attending the worldwide premiere of 'Reagan' Movie in Hollywood. What an amazing film and tribute to President Reagan. The Reagan Ranch scenes are spectacular. Go see it!"

What to Take From Positive Reagan Reviews

Reagan is in a truly unique position as a Presidential biopic coming out in the midst of an election year. Its release date comes only two months before the election for the United States' top leadership position, putting it directly in the heart of a likely heated time for the country socially.

It is also facing light competition at the box office , as no other huge movies are being released over that same weekend. Additionally, heavy hitters like Deadpool & Wolverine , Twisters , and Alien: Romulus are well into their own runs as their box office potential begins to level out.

This film should be a solid option for those looking to brush up on American history, even through a fictionalized take on Reagan's life and legacy. Considering his story largely took place as the President in the last 40 years, there is also plenty of source material to ensure accuracy from a historical perspective.

How the movie is received by the general public is still a mystery, although it should have a chance to gain a solid following as the election is brought more into the spotlight.

Reagan is set to arrive in theaters on Friday, August 30.

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Here's When Alien Romulus' Streaming Release Is Expected to Happen

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Bette Davis famously owned a pillow with the adage “old age ain’t no place for sissies” stitched across it. This truism is at the heart of writer/director Paul Weitz ’s “Moving On,” which stars Jane Fonda and Lily Tomlin as Claire and Evelyn, two aging, estranged friends thrown together again after decades at the funeral of their mutual friend Joyce.

A melodrama with comedic elements, plot-wise the film is about Claire’s desire to get vengeance for a sexual assault perpetrated by Joyce’s husband Howard ( Malcolm McDowell ) nearly 50 years earlier that completely derailed her life. In the wake of the event, she pulled away from Joyce and Evelyn, left her loving husband Ralph ( Richard Roundtree , as charming and suave as ever), and has spent most of her life petrified by the trauma. 

Yet, this is not a film that exists solely for its plot mechanics. It’s a clear-eyed examination of the compounding weight of growing older, of carrying your life and your hopes and your memories and your regrets with you everywhere you go. The title, “Moving On,” does not just mean to move beyond your past but also to keep moving forward in life, even if your past stays with you. 

Like the characters they play, Fonda and Tomlin have spent decades building a deep friendship while appearing together in projects like “9 to 5” and “Grace and Frankie,” and their chemistry shines as bright as ever. They are not, however, just playing versions of their own personas. 

Claire is a woman who never found her own power, always living for others after the assault left her “mute.” Fonda plays her with a somber rigidity, holding her body tight as if thousands of emotions are one moment away from escaping the cage she’s built around them. As she reconnects with Evelyn, Ralph, and even Howard, Claire’s long-repressed sense of humor, sensuality, and seething anger she kept hidden for so long find their way to the surface. 

Tomlin plays retired musician Evelyn with her trademark deadpan sensibility, always seeming to say what she means and what feels at any given moment, unafraid to be unabashedly herself. Yet, Evelyn is a woman with secrets, wounded pride, and a passion for music – and for women – that hasn’t had an outlet in far too long. She secretly ekes out as free an existence as she can in the independent section of an assisted living facility. Joyce’s death, and Claire’s return to her life, bring out in Evelyn a bevy of complex emotions, this shift played with subtle precision by Tomlin, whose eyes belie her stoic face and monotonous voice. 

While Evelyn helps Claire plot out how to get her revenge, the two discuss the immediate aftermath of the incident. Claire didn’t report it to the police because “They wouldn’t have believed me.” On one hand, the dialogue here is on the nose, yet when looking back 50 years and then forward again, and seeing that not much has changed for women in this country in terms of their bodily autonomy and the prosecution of rapists, perhaps on the nose becomes just the truth. 

When Claire does finally get to say her peace to Howard, she graphically describes the assault, recalling every horrid detail as if it happened yesterday and not nearly 50 years ago because, for her, time stopped on that day. Fonda delivers this monologue with as much power and conviction as any in her career, tapping into the weight not just of Claire’s trauma but all the compound traumas that the actress has witnessed as a woman in this country for the last half-century. 

For his part, McDowell plays Howard as the kind of privileged man who has done just enough work on himself to consider himself a “changed man” yet has only really achieved healing for himself and for his own sake, not for those he’s harmed. Howard is less a character than an emblem of all the powerful men who get away with it over and over and over again. This could be seen as a failure at the script level, but it also allows Howard to get his just desserts at the end without the audience feeling too bad for the family he leaves behind. 

While the tonal shifts from melodrama to mordant comedy don’t always work, Fonda and Tomlin are as good as they have ever been and “Moving On” proves itself a powerful rumination on the strength it takes to age—mentally, physically, and economically. It takes strength to live with yourself and your traumas, to embrace your pleasures, and to be there for those you care about despite it all. 

Now playing in theaters. 

Marya E. Gates

Marya E. Gates is a freelance film and culture writer based in Los Angeles and Chicago. She studied Comparative Literature at U.C. Berkeley, and also has an overpriced and underused MFA in Film Production. Other bylines include Moviefone, The Playlist, Crooked Marquee, Nerdist, and Vulture. 

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These media sources have a slight to moderate liberal bias.  They often publish factual information that utilizes loaded words (wording that attempts to influence an audience by appeals to emotion or stereotypes) to favor liberal causes.  These sources are generally trustworthy for information but may require further investigation . See all Left-Center sources.

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Bias Rating: LEFT-CENTER Factual Reporting: HIGH Country: Canada MBFC’s Country Freedom Rating: EXCELLENT Media Type: TV Station Traffic/Popularity: High Traffic MBFC Credibility Rating: HIGH CREDIBILITY

Founded in 1936 by an Act of Parliament, Canada’s public broadcaster,  CBC ,  is a division of the Canadian Broadcasting Corporation, which replaced the Canadian Radio Broadcasting Commission. CBC presents news, talk, music, and entertainment programs in English, French, and Aboriginal languages. The CBC is based in Toronto, Ontario, Canada.

In 2009, CBC’s Television News, Radio News, and Digital News departments merged with CBC News. Michael Goldbloom is the chairman, and Catherine Tait   is the President and Chief Executive Officer of Canadian Broadcasting Corp.

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The CBC’s primary revenue comes from government funding (66%); other sources of income include advertising revenue ( 18%), subscriber fees ( 8%), and other sources. You can also view CBC Business Model details Here .

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In review, when it comes to world news, CBC re-publishes stories from credible sources such as the Associated Press and Reuters : “ U.S. stock markets flirt with end of historic rise”  and “ Indonesian rescuers struggle against heavy rain to reach tsunami-hit villages.”

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CBC’s straight news reporting is consistently low-biased, factual, and covers both sides of issues. Editorially, the opinion pages tend to be balanced with some stories leaning left, such as this: Doug Ford’s ‘efficiencies’ seem to be costing taxpayers an awful lot of money: Robyn Urback and right-leaning:  Why low-income earners should actually welcome Ontario’s reversal on rent control.  Opinion pieces have also  been critical of liberal Prime Minister Justin Trudeau. On the whole, slightly more opinion pieces favor the left. Further, the right-leaning National Post has accused the CBC of liberal bias . Finally, a Reuters Institute survey found that 68% of respondents trust their news coverage and 14% do not, ranking them #4 in trust among the major English-language Canadian news providers.

During the Canadian Trucker protest in 2022, CBC anchor Nil Koksal opined that Russia might be instigating or fueling the protest. This unproven claim was clarified by the CBC, stating the claim “should have referenced experts.’

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Overall, we rate CBC as Left-Center Biased based on editorial positions that lean slightly left and High for factual reporting due to proper sourcing and a clean fact-check record. ( 7/27/2016) Updated (M. Huitsing 12/31/2023)

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Movie Review: Mimi

Posted by CBC-Network | Aug 11, 2021 | Blog , Film

If you follow surrogacy related news, you’ve likely encountered a number of recent headlines about “Mimi,” a 2021 Indian comedy-drama now streaming on Netflix. 

The film stars Kriti Sanon, and it chronicles the story of Mimi, a young aspiring actress, who turns to commercial surrogacy as a way to generate the income necessary to pursue her dream of becoming a Bollywood star. Here’s what you should know about it:

Overall, the acting and cinematography are nothing to write home about. The script is not particularly well-written, a number of the numerous attempts at comedy fall painfully flat, and the cheese factor is difficult to overlook, even for the most generous critic. But this is hardly noteworthy for a Netflix feature film, and it’s not what interests us at the CBC. 

What we really wanted to know about the film is this: What does it invite the viewer to think about surrogacy? What message does it communicate? And, for good or ill, is it effective in its aim?

The movie begins with John and Summer, an infertile American couple who have traveled to Rajasthan in search of a “perfect surrogate” to carry their child. They reject the offers from one of the surrogacy agencies they visited, despite the manager promising them “brand new stock” and “young, beautiful new women” from which to choose.  The women at that factory are visibly impoverished and unhealthy, reducing their value as potential surrogates in Summer’s mind. So she and John set off to find their own surrogate- one whose mere appearance doesn’t plague their consciences or make them fear for the viability of a full term pregnancy. And with the help of their opportunistic taxi driver, they do just that when they encounter Mimi, an aspiring and beautiful young actress whose personal dream of stardom lies somewhere on the other side of her ability to raise enough money to finance it. Mimi is healthy and strong. According to Summer, she has “the perfect body” for gestating a baby. 

At first Mimi rejects the proposition as absurd. She’s not married, and unwed pregnancy in her culture would bring devastating shame to her family. But the offer of 20 lakh rupees ($28k US) proves too tempting to resist, and after a few short IVF cycles, she becomes pregnant with the rich American couples’ baby. Mimi convinces her parents she has an acting contract in a different city, and she moves out of town for nine months to conceal her pregnancy from them. She’s got money in her pocket to finance her dreams. The Americans are thrilled at the prospect of completing their family. Everything is going perfectly. Until….

Everything is going perfectly until a test reveals the couples’ unborn child has Down Syndrome. Horrified by this news, Summer wails, “We wanted a perfect surrogate so we could have a perfect baby, not a disabled one!” The couple demands that Mimi abort the baby, and they abandon her and return home without any further contact, funding, or direction.

Mimi chooses to carry the child to term and gives birth to a healthy little boy, surprised to discover the initial Down Syndrome diagnosis was inaccurate. There is nothing wrong with him at all. The rest of the film is spent following Mimi’s journey into the role of unplanned, unwed motherhood. Though initially furious and confused, her community eventually comes together to embrace her and the baby.

As the little boy grows, the viewers are invited to reflect on his own minor identity crises. His white skin sets him apart as markedly different, and he has to work to figure out who he is and where he belongs in the world. 

Ultimately, the biological parents see Mimi and the little boy on TV, discover that he doesn’t have Down Syndrome after all, and fight to take custody of him once they realize he’s healthy. In the end, they realize that Mimi is the one who should really be his mother, they drop the case, and everyone lives happily ever after.

Despite the aforementioned low budget quality of the film, mediocre acting, and poorly written script, there are a number of things “Mimi” gets surprisingly right, and that’s no small thing in today’s heavily saturated newsfeed of romanticized surrogacy narratives. 

• The movie is not shy or unclear about the exploitative nature of so many surrogacy agreements . It is obvious from the get-go that every single surrogacy situation featured in the film is motivated by financial need. At one point during the film, a main character boldly says, “Money can buy you just about anything.” The surrogacy agency is referred to as a “factory.” The women working there look miserable. There’s no hint of the “I just want to be a blessing to a family in need” media spin we’re perpetually spoonfed in American media.
• The film tugs at the heartstrings, inviting empathy for the surrogate and child, not just the intended parents . Again, this is a major inversion of the textbook American narrative, and it’s an important one.
• The film draws badly needed attention to real life surrogacy nightmare situations, inviting people to ask the questions that usually get glossed over : What happens if the baby has a disability? Who gets to decide? Are babies only worth keeping if they’re “perfect?” How does surrogacy contribute to eugenics? What happens to surrogates when they’re abandoned by the intended parents?
• The movie never once frames surrogacy as a human right.
• The movie illuminates important truths about the bond between surrogate mother and child. 

In the end, we were pleasantly surprised by the bold messaging in “Mimi,” and we’re hopeful that those who watch it will walk away from it asking themselves the questions about surrogacy that should give all of us pause. We’re grateful there’s a movie in widespread circulation with enough courage to ask those questions in the first place.

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