REVIEW: “Paris is Us” (2019)

February 28, 2019 by Keith Garlington

There are several things about the Elisabeth Vogler’s “Paris is Us” you simply can’t help but admire. Look no further than its production. Vogler shot her film over the course of three years and on a shoestring budget. Post-production was covered through a Kickstarter campaign that raised over $100,000. And to top it all off the film was picked up by streaming behemoth Netflix. That’s an encouraging story for any aspiring filmmaker.

Vogler not only directed and co-wrote “Paris is Us” but she also handled the cinematography which proves to be what the movie leans on the most. There are moments where it dazzles, bringing thoughts of a trippier “Tree of Life”. But it can also frustrate in how it sometimes muddies our ability to interpret any kind of deeper meaning. I’m also a bit conflicted on how Vogler shoots real-life city tragedies to use in the movie. More on that later.

The film works off of a paper-thin narrative (which is funny considering there are four writing credits). Noemie Schmidt plays a lively twenty-something named Ana who lives her life fully in the moment. Her lack of ambition frustrates her boyfriend Greg (Grégoire Isvarine) who has a detailed roadmap for his life plans. It includes leaving Paris and taking a job promotion in Barcelona. He wants Ana to go with him but she is content waiting tables in Paris.

Storywise that’s pretty much the gist of it. Greg takes off on a plane for Barcelona. At the last second Ana backs out of taking a plane to join him. There is a plane crash. Is it the plane carrying Greg making this a film on grief and loss? Is it the one Ana almost boarded turning this into a study of mortality? Is it either? I lean one way but be honest I’m still not sure. I like to think the answer is there and I have yet to tap into it. But I’m not sure if the movie has enough depth to earn that reading.

One thing is for sure, Vogler definitely wants to tinker with reality or at least our perception of it. Her film constantly has the audience questioning what is real and what isn’t. This is seen mainly through the imagery which can be beautiful and hypnotic while at other times dizzying and disorienting. And then there are the sequences shot during real-life Paris tragedies. I admit to feeling a little uneasy with how Vogler shoots her movie in the middle of these emotionally-charged moments while also seeing it as pretty bold and daring. All of it is accompanied by a heavy dose of voice-over from Ana. Some of it is essential to understanding the character and it harmonizes well with Schmidt’s melancholy. But some of it is far more lightweight than it’s trying to be.

“Paris is Us” ends up being a tricky movie to review. In terms of storytelling there’s not a lot there and even at a slender 83 minutes it seems to be stretching itself as far as it possibly can. But I admit to being intrigued by the entire film. Perhaps it’s the compulsion to believe (right or wrong) that there is a lot more going on under the surface. I also like how it had me questioning almost everything I was seeing (even their relationship – real, a recollection, or an all-out dream). But this kind of movie isn’t easy to pull off, and I think “Paris is Us” shows off both the strengths and difficulties.

VERDICT – 3 STARS

First Glance: “The Kid” Trailer

February 27, 2019 by Keith Garlington

Vincent D’Onofrio is bringing us a new variation the classic Billy the Kid story with “The Kid”. The title is a bit of a trick as the movie is more focused on a young boy named Rio (Jake Schur) who crosses paths with both Pat Garrett (Ethan Hawke) and the infamous Billy the Kid (Dane DeHaan) while attempting to save his sister from his brutish uncle (Chris Pratt).

I’m not high on DeHaan but Hawke and Pratt are certainly eye-catching. The trailer dropped a few days ago and it looks as though D’Onofrio has a good story to tell. We won’t have to wait long. “The Kid” comes out March 8th. Check out the trailer below and let me know if you’ll be seeing it or giving it a pass.

REVIEW: “Rust Creek” (2019)

February 27, 2019 by Keith Garlington

Darned GPS! You just can’t trust those things. That’s one of the earliest takeaways from “Rust Creek”, a new survival picture which right out of the gate feels like something we’ve seen several times before. But it doesn’t take long to see there is a lot more to this little independent gem than meets the eye.

Turns out “Rust Creek” is a delightfully harrowing thriller from director Jen McGowan. She along with screenwriter Julie Lipson take a fairly well known basic premise and inject it with a surprisingly restrained tone and genuine human empathy. With a fantastic use of character and setting, McGowan creates a tense atmosphere full of dread and suspense.

Hermione Corfield plays Sawyer, a college student who decides to skip Thanksgiving with her family for a job interview in Washington DC. Along the way her GPS reroutes her around road construction, miles down a rural highway, and deep into the Kentucky hills. When she stops to get her bearings two local yokels (Micah Hauptman and Daniel R. Hill) pull up, a bit concerned about her presence in ‘them thar hills’. A scrap ensues leading Sawyer running through the cold woods with the bumpkins on her trail.

So far it sounds like fairly familiar territory, but McGowen keeps it from being too conventional. For instance Sawyer is instantly portrayed as a strong young woman with plenty of fight in her. That’s always welcomed but you can ride it too far. Instead we see that (like most of us) her strength has limits. For instance she’s no deep-woods survivalist. Soon nature and the elements take their toll both physically and psychologically. Still she is no ‘damsel in distress’. Even when there is the appearance of submission to her situation you can see the wheels turning in her head.

Corfield is a big reason it works so well. After memorable bit parts in “Mission: Impossible – Rogue Nation” and “Star Wars: The Last Jedi” this is the first leading role for the 25-year-old English actress. She’s more than able to handle the demands of the part which asks her to carry most of the load. Much of the film’s first half sees her leaning on physicality and expression while the second half gives her more dialogue to work with.

This is also where the film works the hardest to defy traditional stereotypes. Sawyer is unknowingly rescued by a meth cooker named Lowell (Jay Paulson). This unexpected dynamic leads to some interesting perspectives on rural poverty, the meth epidemic, and several other social issues. A local sheriff (Sean O’Bryan), who is set in his backwoods ways of doing things, adds yet another wrinkle to Sawyer’s situation.

At a key point “Rust Creek” surprisingly pivots from its seemingly conventional survival-thriller mold to a more dialogue-driven character exploration. It can be a slow boil but most importantly it never loses its suspense. McGowen makes sure her film offers us constant reminders of the looming dangers to Sawyer making it easy to invest in her and her plight. That’s a mark of a good thriller.

VERDICT – 4 STARS

First Glance: “The Intruder” Trailer

February 26, 2019 by Keith Garlington

Over the past few days we looked at the trailers for “Ma” and “Greta”. Here is the third 2019 movie featuring a unexpected actor/actress playing a creepy terrorizing nutcase. This time it’s Dennis Quaid who plays the psychopath. In this eerie looking psychological thriller a young couple buys a country home only to find the past owner (Quaid) hasn’t quite let it go.

The first trailer has a pretty twisted vibe to it and it’s a hoot watching the freaky wild-eyed Quaid come unhinged. Let’s hope this effective trailer translates to an even more effective feature length film.

“The Intruder” hits theaters May 3rd. Check out the trailer below and let me know you will be seeing it or giving it a pass.

REVIEW: “Paddleton”

February 26, 2019 by Keith Garlington

I always have time for a Mark Duplass movie. And while not all of his films land as firmly as they could, the ones that do always manage to pull me in. I’ve always appreciated his aversion to big Hollywood formula. His movies operate on a small budget, tend to be short but economical, and usually have a warm and intimate center. That definitely holds true for his latest (and the first film in his new exclusive deal with Netflix) “Paddleton”.

The movie begins with Michael (Mark Duplass) getting test results from his doctor which reveal a large mass in his stomach. His fears are proven true after seeing an oncologist – he has terminal cancer. Unable to bear the thought of hospitals, radiation and side effects, he chooses a controversial alternative to chemotherapy – a prescription that essentially helps a cancer patient end their life before the disease does.

Michael seeks the help of his neighbor and best friend Andy (Ray Romano) to help him go through with it. The buddies are like two peas in a pod – kinda homely and a tad eccentric. They have longstanding traditions of watching Kung fu movies, cooking pizzas, and putting together puzzles. Oh, and then there’s Paddleton, a racquetball-like game they made up and play together at an abandoned drive-in theater.

The closest pharmacy willing to fill the prescription is in a small tourist town some six hours away. So Michael and Andy head out on a road trip made up of quirky conversations, an ostrich farm, a dryly hilarious pharmacist named David (Kadeem Hardison) and meditations on their favorite movie “Death Punch”. But more importantly it opens up these two characters and the endearing and routinely funny friendship at the core of the film.

Romano is just the right fit to play Andy, an insecure worrywart by nature with a disdain for smalltalk (and for David), yet he’s undeniably tender-hearted and quietly devastated by his friend’s plight. Duplass is just as good playing a variation of the comedy straight man. His Michael is a tad more level-headed but not without his own peculiarities.

Duplass and Romano have a sharp, witty chemistry and what makes it stand out most is their improvisation. Duplass’ script offers plenty of room for the two stars to play off each other and director Alex Lehmann is smart enough to let them. It’s not surprising since Duplass and Lehmann did the same thing in 2016’s “Blue Jay”, an underseen drama/comedy featuring its own healthy dose of improv.

The film’s early playfulness all but disappears in its final 20 minutes as “Paddleton” blindsided us with an emotionally earnest and deeply affecting ending. It left me looking at the film as a whole through an entirely different lens. I’ve seen it a second time now and the themes of loneliness, friendship, and mortality stand out even more profoundly now. I get why a lot of people won’t be as enamored with “Paddleton” as I am. But what can I say? I’m an unabashed fan of its simplicity, its humor, and its heart.

VERDICT – 4.5 STARS

Random Thoughts: The 2019 Oscars

February 25, 2019 by Keith Garlington

I’m pretty sure I said the same thing last year – I do love Oscar season. But my excitement for this year’s big Hollywood bash was as low as it has been for years. Last year it was due to the absolute predictability of every major category. The lack of suspense proved to be a killer.

This year’s s actually offered up some genuine intrigue. The problem I had was with the Academy’s glaring snubs and ludicrous omissions. And the batch of Best Picture nominations were far from great (only one of the films made my top 20). Still, I’m a sucker for the show and I went in with my fingers crossed. Could Oscar overcome the series of goof-ups leading up to this year’s broadcast? To be honest, it wasn’t terrible. Here are a few random thoughts.

Turns out the ‘No Host’ approach wasn’t too bad. In fact, I would MUCH rather jam out to Queen and Adam Lambert than sit through another aggressively mediocre stand-up routine.
Actually I think the Academy showed you could do a show without a host. And it definitely seemed to make it go by quicker.
I’m still trying to figure out how “Won’t You Be My Neighbor” didn’t even get a documentary nomination! I guess cramming Fred Rogers into that opening montage was supposed to suffice?
“Green Book” took home Best Picture setting many on social media ablaze. Personally I’m fine with it winning especially considering the so-so batch of movies the Academy nominated this year (with the exception of “Roma”).
Speaking of “Roma”, I think it is by far the best film of the eight Best Picture nominees. But I put this out several times leading up to the show – would “Roma” winning Best Foreign Language Film cut into its votes for Best Picture? It’s seems a possibility.
Or are Academy voters simply not ready to give a Netflix movie its biggest prize? 🤔
“Green Book” is the first film since “Argo” to win Best Picture while not being nominated for Best Director. It’s only the fifth time it has happened in the Academy’s 90-year history.

Alfonso Cuarón (“Roma”) won well deserved Oscars for Best Director and Best Cinematography. The Academy definitely got these categories right (sorry Spike).
I know some people don’t care for the In Memoriam segments but I do. This year’s featured some toughies – Reynolds, Finney, Marshall, Lee, etc.
Jason Momoa and Helen Mirren presenting together. Simply epic!
I loved Regina King’s win for Supporting Actress and her acceptance speech was amazing. You have to love pure, genuine, heartfelt emotion.
“Vice” wins for Best Makeup, the one and only category that it remotely deserved to be nominated for.
By the way, someone may want to check. The makeup winners may still be trying to read that piece of paper they had.
“Black Panther” gets big wins in Costume Design and Production Design. No arguments here.
Mahershala Ali is now a two-time Oscar winner. I’m okay with him winning for Supporting Actor, but I still see him as a co-lead in “Green Book”.
“Spider-Man: Into the Spider-Verse” wins Best Animated Feature. It’s a good movie but hardly a great one. I would have went with “Isle of Dogs”.
“First Man” won for Special Effects. It deserved so much more but I guess we’ll take what we can get. Not sure why the film didn’t resonate with the Academy. I adore it.
Bradley Cooper and Lady Gaga absolutely crushed it with “Shallow”. It was utterly heart-melting and one of the best Oscar night performances I’ve seen.
How many times did ABC go to commercial breaks saying “And coming up Lady Gaga and Bradley Cooper sing Shallow live”? Can’t really blame them. If you’re starved for viewers you want to hold your mainstream attraction as long as you can. Still, its obviousness was pretty funny.
And of course “Shallow” won for Best Original Song. I mean who in their right mind would have voted against it?

I do love that When a Cowboy Trades His Spurs for Wings was nominated. I don’t like country music but that song was such a perfect fit for that “Buster Scruggs” scene. I’m not sure if the live performance translated that well though.
I don’t even remember the score from “Black Panther” yet it wins for Best Original Score. I’m still chapped that “First Man” wasn’t even nominated despite some big (and deserved) wins leading up.
It seems Spike Lee wasn’t much into humility or sportsmanship. It started in a pre-show interview where he went on about how he should have already won an Oscar. And apparently he threw a little fit in the theater when his film lost Best Picture to “Green Book”.
Ever the complainer, Lee continued in the Oscar press room by saying “Every time somebody’s driving somebody, I lose,” and “I thought I was court-side at the Garden and the ref made a bad call.” 🙄 Give it a rest Spike.
Olivia Colman gets the surprise Best Actress win for “The Favourite”. It’s a nice performance but nothing that especially stands out. Her acceptance speech though – funny, sweet, and full of surprise and joy.
Speaking of “The Favourite”, it went in as one of the most nominated films but left with the one lone statue. I’m okay with that. Not a big fan.
I thought Glenn Close had Best Actress in the bag. But to be honest, I felt what Lady Gaga did in “A Star is Born” was more impressive than either Close or Colman.
Willem Dafoe was so much fun to listen to in the pre-shows. We all knew he wouldn’t win but I’m so glad he was there. Genuine appreciation and enthusiasm.
How could you not laugh at Melissa McCarthy and Brian Tyree Henry. Definitely the right choices for presenting Costume Design. Those bunnies….

I have to admit to being happy that “Vice” fell short on screenplay, editing, director, and Best Picture. How it was even nominated ahead of so many far more deserving films still blows my mind.
Who else loved Mike Myers and Dana Carvey introducing “Bohemian Rhapsody”? It was the “Wayne’s World” reunion I never thought I needed.
Rami Malek took home Best Actor, another win that sent social media in a tizzy. I actually didn’t mind Malek’s performance. But let’s be honest, he was the least deserving out of the nominees. I would pair him with Bale, but Dafoe, Mortensen, and Cooper were all considerably better.
I don’t claim to be a fashion aficionado, but some of the style from last night…nope.
It’s kinda funny watching so much outrage over who won and who lost. It’s not as if the Oscars have the best record when it comes to picking winners. The best thing to do is just enjoy the focus on movies, root when you have a favorite nominated, and don’t be surprised when another movie wins. Oscar night is a lot more fun that way.

So that does it for another Oscar ceremony and another awards season. So what did you think? Let me know your thoughts in the comments section below. Let’s do it again next year.