REVIEW: “The Dead Don’t Die”

September 20, 2019 by Keith Garlington

From its first announcement I could see hipster filmmaker Jim Jarmusch’s “The Dead Don’t Die” running into problems with two distinct audiences. I could see it being far too Jarmusch-like (weird, dry, and off-beat) for many modern day moviegoers. At the same time I figured many Jarmusch aficionados would find it too lightweight and mainstream when compared to the filmmaker’s past works.

Personally, I’m a big fan of Jarmusch and this film has all the ingredients to be one of my favorites of the year. And while there are several things I like about this wacky zombie satire, it never really gets its footing and it’s hard to see it as anything more than Jarmusch dabbling in a new genre. There are several things he seems to be attempting to say, but none of it has any bite and most of it feels shallow and even a bit smug.

The film takes place in the cozy little town of Centerville, population 738. The welcome sign even reads “A Real Nice Place” so what could go wrong? Jarmusch spends a lot of time taking us around to meet the idiosyncratic townsfolk. Few are given any depth and many are simply set up to eventually become zombie fodder. Order is kept by Police Chief Cliff Robertson (Bill Murry) and Officer Ronnie Peterson (Adam Driver). The two ride around town revealing the numerous locations we will be seeing again: the diner, the motel, the cemetery, the juvenile detention center, the gas station, and so on.

A star-studded and totally game cast fill out Jarmusch’s haughty vision of middle America. Tilda Swinton is the Scottish samurai sword wielding undertaker. Steve Buscemi’s Farmer Miller is a Trump-supporting bumpkin. Caleb Landry Jones runs the gas station/geek memorabilia shop. Tom Waits is the shaggy and homeless town hermit. Danny Glover owns the hardware store. Larry Fessenden runs the Moonlight Motel. A few other faces are sprinkled throughout including a hipster threesome led by Selena Gomez who are passing through Centerville at the worst possible time.

So about the zombies. In Jarmusch’s world the zombie apocalypse isn’t spawned from a passing comet or a viral outbreak. Nope, instead polar fracking knocks the earth off its axis causing the day/night cycle to go haywire, animals to disappear, our phones to go out, and eventually the rise of the innard-eating dead. The citizens of Centerville certainly notice the changes, but they’re either too dense or too ensnared in Jarmusch’s deadpan trappings to make much of it. Their dry, puzzled responses make for some of the movie’s funnier moments.

Jarmusch movies are known for their mellow pacing and laconic dialogue as well as their unique ways of embracing human eccentricities. “The Dead Don’t Die” features all of those traits. The difference here is with how the film meanders at times with no discernible purpose. In his previous films Jarmusch was able to maintain a steady connection to his characters even during his most leisurely moments of storytelling. We never have any real connections to any of these characters. And Jarmusch doesn’t seem to be embracing the eccentricities as much as he is just making fun of them.

That doesn’t mean all of our time spent with these characters is bad. Quite the opposite actually. But it’s mostly due to the performances more than the material. Easily the best scenes are the ones we spend with Driver and Murry. The two have a seamlessly funny chemistry and I found myself laughing without them saying a word. Chloë Sevigny is a great compliment playing Chief Cliff’s junior officer. The three of them together shouldn’t make any community feel safe but they’re plenty good at delivering laughs.

It’s also a hoot watching the supporting cast have fun with their characters regardless of how little depth they may have. Buscemi is able to mine some laughs out of a role that is strictly there for some fashionable but toothless MAGA bashing. Swinton can do ‘weird’ in her sleep and she gets the wackiest character of the bunch. And I really do love seeing Danny Glover popping up in these easy-going, low-key roles. Oh, and Iggy Pop credited as “Coffee Zombie” – magical.

So again, there are things to really enjoy about “The Dead Don’t Die”. When the humor lands well it can be pretty funny and it’s a blast seeing so many familiar faces (By the way, can we all agree that Adam Driver is one of the best and most diverse actors working today?). But sadly the whole thing comes across as aimless right up to its groan-worthy ending. There are several inside jokes and some pasted on commentary about us being the zombies clutching to our materialism and technology. But it has no bite whatsoever. So we’re left with the cast who are enough to save the film but just barely.

VERDICT – 3 STARS

First Glance: “Dark Waters”

September 19, 2019 by Keith Garlington

The new trailer for the Todd Haynes corporate drama “Dark Waters” gives us a good idea of the company it wants to keep. It clearly shoots to be in the vein of the fabulous “Spotlight” and the lesser “The Post”. But something feels off. Perhaps it’s the ominous horror movie score pulsating in the background. Maybe it’s the well-worn ‘noble blue-collar vs. nefarious white-collar’ storyline. I can’t put my finger on it.

Mark Ruffalo plays a corporate defense attorney who has his eyes opened to the shady and life-threatening negligence of DuPont chemicals. This one-time company loyalist turns against his employers to defend a small town which puts his career and potentially his life in danger. The trailer revs up the tension throughout which makes it feel slightly more romanticized than it needs to be. But that could just be the trailer.

“Dark Waters” is set to hit theaters November 22nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Denzel Day #3 – “Courage Under Fire” (1996)

September 18, 2019 by Keith Garlington

Over a span of two months each Wednesday will be Denzel Day at Keith & the Movies. This silly little bit of ceremony offers me a chance to celebrate the movies of a truly great modern day actor – Denzel Washington.

When it hit theaters in July of 1996 “Courage Under Fire” was Hollywood’s first big movie about the Persian Gulf War. But it was far from what could be perceived as a run-of-the-mill war picture. Combat served as a narrative backdrop for what is more accurately a military mystery. It’s one man’s search for the truth and how his personal state of mind depends on being able to tell it to someone…anyone.

In 1996 Denzel Washington was already in top form, here playing Lieutenant Colonel Nathaniel Serling. The film opens with him leading a tank platoon into combat just outside of Baghdad. In the chaos of war Serling gives the order to fire on a tank his spotter (Sean Astin) identifies as an enemy but which turns out to be a friendly. US soldiers are killed, the Army covers it up, and Serling is given a desk job at the Pentagon.

Serling works under General Hershberg (Michael Moriarty) who knows the truth but is intent on keeping it under wraps. He gives Serling a new assignment – to run an inquiry on the recommendation to award the Medal of Honor to a female helicopter pilot killed in the line of duty. Captain Karen Walden (Meg Ryan) would be the first woman to receive the honor and the White House is giddy over the optics of a big televised Rose Garden ceremony.

But as Serling begins carrying out what should be a routine inquiry, he immediately notices discrepancies in the testimonies from the soldiers who survived the incident where Walden lost her life. Unable to bear the burden of another cover-up, Serling sets out to find the truth amid intense pressure from Hershberg and the White House to wrap up his investigation quickly and quietly.

Director Edward Zwick and screenwriter Patrick Sheane Duncan do a remarkable job with some pretty tricky material. As Serling interviews the soldiers flashbacks capture their perspectives of the events leading to Walden’s death. The filmmakers deftly handle these transitions both narratively and visually. Duncan’s script is full of strategically revealed detail and information while Zwick gives it visual form through the lens of the great cinematographer Roger Deakins.

There is also a smart and humanizing personal side to the story. Throughout the film we see Serling still haunted by his experience on the battlefield and the truth he knows that needs to be told. He has nightmares, his drinking is out of control, and the stress has driven a wedge between him and his wife (a really good Regina Taylor) and children. His investigation is a way to occupy his mind and keep him from coping.

Washington is truly the linchpin of the film displaying his signature charisma and a subtle intensity that seeps out into every scene. Yet he’s always under control even as his character is emotionally crumbling. Meg Ryan is also quite good. Her tough girl military jargon isn’t always convincing but the variations within her performance certainly are. She’s asked to act out the same scenario several times but each from a different person’s point of view.

Matt Damon and Lou Diamond Phillips are both fantastic as soldiers with very different recollections of Walden and what happened to her. Scott Glenn is a good fit playing a former Ranger but now Washington Post reporter who knows Serling and the Army are covering up what took place on the battlefield near Baghdad.

“Courage Under Fire” is a military drama that delves into an assortment of interesting themes from the deep personal costs of war to women in combat. Its central mystery is compelling even though it takes some time before we finally get to the truth. And even though the emotion is pretty thick in the final 15 minutes it still feels earned.

VERDICT – 4 STARS

REVIEW: “I, Frankenstein”

September 13, 2019 by Keith Garlington

I suppose somewhere deep in the bowels of what is. “I, Frankenstein” lies an interesting concept with real potential. Of course that’s just an assumption because the actual film itself squanders any potential it may have. After seeing the bushels of negative reviews my expectations for the film were always as low as star Aaron Eckhart ‘s monotone, teeth-grinding line deliveries. Maybe that’s why I didn’t find it unwatchable (hows that for a compliment).

The film is based on a graphic novel by Kevin Grevioux. It was adapted and directed by Australian born Stuart Beattie, a man known more for his writing in films like the first (and best) “Pirates of the Caribbean” and Michael Mann’s “Collateral”. The movie picks out pieces of the well known Frankenstein story and then adds a modernized gothic coat of paint. Mad scientist Victor Frankenstein creates a soulless monster (Eckhart) but then rejects it and dumps it in a river. In a fit of vengeance the monster returns and kills Victor’s wife. Victor eventually dies trying to seek out and destroy his creation.

The monster finds his creators body and buries him in his family’s cemetery plot. While doing so he is attacked by demons and then rescued by gargoyles. This is heavy stuff, right? He is taken to a huge gothic cathedral, the headquarters of The Gargoyle Order. He is given the name Adam and through a number of stilted speeches is told of a war between the Gargoyles (representing Heaven) and the Demons (well, you know where they’re from). He refuses to help and goes out on his own only to return and become the centerpiece of a demon plan to end the gargoyle order and humanity.

Now is “I, Frankenstein” as absurd and hokey as I just made it sound? Well actually yes it is. There are a few decent effects and the dark setting is cool in a moody, gothic kind of way. Also at under 90 minutes it’s here and gone without stretching things out. There is also this unexpected but entertaining late night vibe to it. I can genuinely see this film being showcased on Elvira’s Movie Macabre.

Unfortunately none of those things make this a good film. There are just too many problems. The film has no idea of how to tell its story. There are so many history lessons in the form of bland exposition. And then there is the dialogue. Often times it’s unintentionally hilarious. And I do mean unintentionally because this film doesn’t show an ounce of humor. Everything is taken deadly serious which doesn’t do the film any favors. And then there are the absurdities that I couldn’t shake. The funniest may be the locations of the gargoyle and demon headquarters. One scene seems to reveal that for the entire time the gargoyle’s cathedral and the demon’s mansion are only a few blocks away from each other. Brilliant.

Regardless of how much I might enjoy goofy, cheesy material especially in the horror genre, at some point you have to offer more. I’m not going to lie, I didn’t find it as boring and offputting as some have. But I also can’t and won’t defend its obvious flaws. Even more, it’s a movie you’ll watch once (maybe) and then never consider watching again. I know that’s the case for me.

VERDICT – 2 STARS

5 Phenomenal Movies from 1990

September 12, 2019 by Keith Garlington

A while ago I did a series of Phenomenal 5 lists looking at the best movies from each year of the 1980’s. I’m not sure why it took me so long, but now it’s time to jump into the 90’s. Of course we begin with 1990, a year that typically doesn’t come to mind as a great for movies. Still there were several films that stood out and while I wouldn’t call this the definitive list, there’s no denying that these five movies are phenomenal.

#5 – “Total Recall”

On the surface it could be easy to dismiss “Total Recall” as another meat-headed action flick from Arnold Schwarzenegger. Actually Paul Verhoeven’s ultra-violent sci-fi romp plays with several meaningful themes and manages to subvert practically every expectation. It’s loaded with great special effects, good humor, a fun supporting cast and just enough satire to set it apart.

#4 – “Die Hard 2”

It’s quite the task the make a satisfying sequel to a movie that many consider to be one of the best action films of all-time. It’s another Christmas and another terrorist attack, this time at Washington’s Dulles International Airport. Thankfully Bruce Willis recaptures all of John McClane’s wit and attitude while several other fun familiar faces from the first film return. Certainly not as good as 1988’s “Die Hard”, but still a ton of fun.

#3 – “Goodfellas”

I can hear a lot of people already challenging me for not having this Martin Scorsese crime epic in the #1 slot. I completely understand because it truly is an amazing piece of cinema. Robert De Niro, Ray Liotta, and Joe Pesci wonderfully navigate several years of mob life – the ups, downs, the friendships, and the violence. Scorsese’s signature style and trademark characterizations make this one of the quintessential mob movies.

#2 – “Miller’s Crossing”

Speaking of gangster pictures, the third film from Joel and Ethan Coen happened to be one of my favorites from the brothers. “Miller’s Crossing” drips with neo-noir flavor, touches of dark comedy, and showcases some brilliant performances particularly from Albert Finney and Gabriel Byrne. It’s a movie armed with that rich sense of style both narratively and visually that the Coens have sense become known for. I love it.

#1 – “Dances with Wolves”

Kevin Costner’s Oscar-winning epic has taken its share of low blows. Nonsensical ‘white savior’ accusations and general discontent for it winning Best Picture over “Goodfellas” has soured many opinions. But “Dances with Wolves” deserves better. It’s a gorgeous, sprawling film teeming with classic filmmaking spirit and a grand artistry that captures both the beauty and ugliness of its subject. I’ll stand up for this film any day.

There you have my picks for the best films of 1990. What say you? Agree or disagree? Please hit the comments below and let me know what I got right and what I got wrong. Can’t wait to hear from you.

Denzel Day #2 : “Crimson Tide” (1995)

September 11, 2019 by Keith Garlington

Over a span of three months each Wednesday will be Denzel Day at Keith & the Movies. This silly little bit of ceremony offers me a chance to celebrate the movies of a truly great modern day actor – Denzel Washington.

Submarine thrillers are a special brand of war movie. Because of their isolated locations and confined spaces, the bulk of their focus is on the interpersonal drama between characters. Perhaps that’s one reason there aren’t very many of them. And of those out there, the ones that do get the character-driven drama right are the ones that stand out from the others. “Crimson Tide” gets it right.

Tony Scott directed this tense undersea thriller that is surprisingly intimate despite having all of the big budget trimmings. Both Michael Schiffer’s snappy script and the strong supporting cast (particularly Viggo Mortensen, George Dzundza, and James Gandofini) are dressing for the charisma and fierce screen presence of the movie’s two leads – Denzel Washington and Gene Hackman.

Drawing inspiration from the Cuban Missile Crisis, “Crimson Tide” takes place as political turmoil embroils post-Soviet Russia giving rise to civil war and ultra-nationalist bomb-thrower Vladimir Radchenko. This radical rebel leader declares war against the Russian government while threatening a nuclear attack against the United States for their involvement in war-ravaged Chechnya. Needless to say tensions are high.

The United States submarine USS Alabama is sent to the region armed with nuclear missiles to either be a deterrent to a Radchenko attack or to wage a pre-emptive strike which would certainly lead to all-out nuclear war. Hackman plays the vessel’s Commanding Officer Captain Frank Ramsey. He’s a hard-nosed leader who has been commanding ships for over twenty years. Washington plays Ramsey’s new Executive Officer, Lieutenant Commander Ron Hunter. He comes highly regarded from the Naval Academy and even has a year at Harvard, but no military experience.

These two big personalities begin to clash, at first over small things such as philosophies and by-the-book protocols. But when tensions in the region escalate and the ship is ordered to DEFCON 3, their dramatically different approaches in the face of potential nuclear war could determine the fate of billions. Their main beef is over two emergency action messages from Washington. The first orders the vessel to launch missiles at a Russian nuclear site. The second message is cut off before it can be fully transmitted.

With communications down Hunter pushes to be prudent and cautious until the second message can be retrieved. Ramsey is more headstrong and impulsive, choosing to follow the orders of the first message while disregarding the second. Assertions of aggression, insubordination, and mutiny splits the crew and raises the story’s dramatic tension. It sets up the film’s biggest conflict as emotionally charged, high stakes back-and-forths between CO and XO stand in for the normal big action set pieces.

Once we enter the submarine we never leave until the very last scene. During our time underwater we run into several familiar tropes: water bursting into a lower decks, crew members running down tight corridors, a fire in the galley. Those things are nothing new. But it’s Washington and Hackman as the film’s centerpieces who drive the story. Their performances are (as you would expect) top-notch and the screenplay gives them several big moments.

Neither Scott nor Schiffer seem worried about the deeper details of the crisis or the geopolitics at its center. That’s a good thing as it keeps the narrative tighter and more focused. It also enables the film to be exactly what it wants to be. “Crimson Tide” doesn’t aim to be some deeply psychological or politically charged story. It’s very straightforward mainstream entertainment with two dynamic box office leads and solid supporting work. That’s more than enough for me.