Netflix Drops the Full Trailer for “Extraction 2”

May 16, 2023 by Keith Garlington

I really liked the first “Extraction” – a movie that saw Chris Hemsworth slip away from the Marvel Cinematic Universe to make a full-on old school action flick. Now we’re getting a sequel simply titled “Extraction 2”. A returning Sam Hargrave directs with Joe and Anthony Russo producing. Netflix gave us a good tease a few weeks ago. Now they have dropped the full trailer and it looks like fans of the first film are going to get even more big, brawny, blockbuster action. I can’t wait.

Hemsworth is once again playing Australian black ops mercenary Tyler Rake. This time he’s tasked with rescuing a mysterious woman and her child who are being hunted by an equally mysterious (and heavily armed) force. The trailer does a good job of keeping the details hidden while still promising us some (a lot actually) exhilarating set pieces. As mentioned, I love what Netflix did with the first film and it looks like they are giving us much of the same with this big budget summer sequel.

“Extraction 2” premieres on Netflix June 16th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

RETRO REVIEW: “Straw Dogs” (1971)

May 15, 2023 by Keith Garlington

Sam Peckinpah’s “Straw Dogs” was a provocative and (as a result) controversial movie of its time. Yet after watching it just a few days ago (some 52 years after its original release), I was surprised by how startlingly contemporary (and urgent) its themes happen to be. Take something like “toxic masculinity”, an issue which is routinely examined today and almost always through the same lens. Peckinpah approaches it much differently. He not only explores a warped vision of masculinity, but also what can happen when masculinity is lost.

“Straw Dogs” is an undeniably hard watch and was censored in some places and outright banned in others. The pushback came from the film’s disturbing violence, in particularly a challenging rape scene that upset people for a variety of reasons. Peckinpah scoffed at the criticisms in his notoriously abrasive, no-nonsense style. Yet many of the film’s more vocal critics accused Peckinpah of things like endorsing violence and glamorizing rape. Of course neither are accurate, but it was enough to earn the movie quite a reputation.

Written for the screen by Peckinpah and David Goodman, “Straw Dogs” is an adaptation of the 1969 Gordon M. Williams novel The Siege of Trencher’s Farm. Peckinpah infamously disliked the book. But following an ugly falling out with Warner Bros. he was left with limited opportunities. So he took off for England to create his galvanizing version of Williams’ story. It would end up leaving some critics and audiences shocked despite coming from a filmmaker not exactly known for his delicacy.

Dustin Hoffman delivers one of his very best performances playing David Sumner, an American mathematician who has received a grant to research and study stellar bodies. He and his attractive wife Amy (an indelible Susan George) leave the States for her small hometown village in Cornwall where they move into a rustic two-story cottage once owned by Amy’s father. David hopes the quiet rural setting will be a perfect place to study. But things sour pretty quick.

We quickly notice that the village folks aren’t high on outsiders, especially a milquetoast intellectual from America. First David and Amy run into her ex-boyfriend Charlie Venner (Del Henney) and his four ruffian friends. They’re lifelong locals whose eyes are filled with an unnerving mix of resentment and lust. They lock onto Amy with an uncomfortable gaze, setting the table for a cat-and-mouse game that quickly gets out of control.

Charlie and his friends work under a brutish drunk named Tom (Peter Vaughan) who barely attempts to veil his animosity towards David. Tom send his guys to finish putting a roof on David and Amy’s garage. But they spend more time yucking it up and catching glimpses of Amy than actually working. Rather than call them out, David let’s their behavior go, revealing a side of his character that has serious implications on how the story unfolds.

As we spend more time with David and Amy, the cracks in their relationship begin to show. Amy resents her milksop of a husband, calling him a coward for running away from an America amid the chaos of campus war protests, the civil rights movement, and violent riots across the country. David rejects the label even though he proves her right time and time again. For example, she pleads with him to confront Charlie and the other workers; to say something about their lewd catcalling; to threaten to fire them if they don’t finish their work. But David, as self-absorbed as he is spineless, refuses. From there things only escalate, eventually giving way to a combustible third act.

While David’s contempt and cowardice ensures he’s no hero, Amy is far more complex. She rightly calls him out for his haughtiness and condescension. She’s right for expecting him to stand up and defend her and their home. But she’s not above rubbing his insecurities in his face. She’s alluring and vivacious and her provocations range from mocking to suggestive (I’ll leave you to discover what I mean).

Nothing about what happens next is remotely pleasant or cathartic. First is the film’s notorious rape scene – a fixture of controversy as much today as it was in 1971. It’s a fittingly troubling but surprisingly layered sequence that has prompted numerous interpretations over the years. Then there’s the film’s final 30 minutes – a violent siege on the couple’s home where the pacifistic David finally takes a stand. But not out of some noble concern for his wife’s well being. It’s more out of ego and rage which unleashes his own primitive inner violence.

Amy may show bad judgement and sometimes act petulant and juvenile, but make no mistake, she’s the victim of the film. Despite some claims, the film doesn’t cast the blame on her and the complexity of her character doesn’t equal guilt. There’s never a sense that ‘she got what was coming to her’. Peckinpah’s vision isn’t that shallow or misogynistic. Well before the physical and psychological violence Amy is treated with little regard by her husband. She yearns for his attention but David keeps her at a distance, leaving her to feel alone and disconnected. David’s negligence and self-absorption sets into motion much of what follows.

“Straw Dogs” is ugly, disturbing, and hard to take in, just like a story of this nature should be. It’s also hard to turn away from thanks to Peckinpah’s direction, John Coquillon’s fiercely hypnotic cinematography, and great performances especially from Hoffman and George. The film’s ambiguity may be a stumbling block for some, but it has long been a key part of the film’s allure. It opens up the movie to a number of thoughtful (and frankly discomforting) considerations which only intensify as things move from a slow simmer to a scalding boil.

VERDICT – 4 STARS

REVIEW: “The Mother” (2023)

May 12, 2023 by Keith Garlington

I’m up for seeing Jennifer Lopez go full-action heroine just as much as anyone. And that’s what we get in director Niki Caro’s new film “The Mother”. Written by the trio of Misha Green, Andrea Berloff, and Peter Craig, this made for streaming genre feature gives the one-time Fly Girl on “In Living Color” turned multifaceted superstar plenty of scenes to show off her physicality. At the same time it follows a very well-worn formula to a tee and the note-for-note predictability ultimately weighs the movie down.

For some it can be easy to forget that Jennifer Lopez is a really good actress. Her coverage is often skewed towards her celebrity status with the press routinely more interested in who she’s dating than the work she’s doing. But the accomplished singer and dancer has proven to have a terrific screen presence. And despite a few questionable film choices, Lopez has always been very comfortable taking on an interesting variety of roles.

In “The Mother” she plays the titular character who we first meet early one morning at an FBI safehouse in Linton, Indiana. She’s an expecting mother who is never named being interrogated by Agent William Cruise (Omari Hardwick) about a weapons deal she set up between an arms broker Hector Álvarez (Gael García Bernal) and a terrorist leader Adrian Lovell (Joseph Fiennes). She’s looking to cut a deal; the FBI wants information; both Álvarez and Lovell want her dead.

Suddenly the safehouse is assaulted by Lovell who kills most of the agents and seriously wounds the pregnant mother. But using her ‘particular set of skills’ the mother manages to survive. She’s taken to a hospital where she gives birth to a healthy baby girl. Convinced by the FBI that her daughter will be an immediate and constant target, the mother agrees to sign over her parental rights and disappear. She has only three conditions: they put her daughter with a stable family, she gets yearly updates on her daughter’s wellbeing, and if there’s any trouble they will let her know.

Twelve years pass and we see the mother living off the grid in Tlingit Bay, Alaska. Meanwhile her daughter named Zoe (Lucy Paez) has enjoyed a normal childhood with a loving family. But this is an action-thriller so we know the peaceful times aren’t going to last. Cruise contacts the mother and informs her that some of Álvarez’s men were apprehended and one of them had a picture of Zoe. The mother springs into action, leaving her isolated life to protect the daughter she was forced to leave behind.

Along the way it becomes evident that this mother isn’t someone to mess with. We learn she’s ex-military and served back-to-back tours in Afghanistan. There she was trained as an expert sniper with more than a few kills to her credit. But none of this is a surprise. I mean most of these movies are built around a protagonist who is ex-military, ex-CIA, ex-FBI, ex-assassin, etc. It’s a handy history to have in a movie like this. It’s also pretty conventional and something filmmakers have gone back to again and again.

Ultimately that’s what this film feels like – something we’ve seen again and again. Yet there’s something to be said about J-Lo’s commitment to her role. Despite the familiarity surrounding her character and the generic framework of her story, Lopez earns our empathy and our investment. She can’t quite make up for everything, but she makes it watchable and has the star wattage to get us through the movie’s shakier parts. “The Mother” premieres today exclusively on Netflix.

VERDICT – 2.5 STARS

Review: “Everything Went Fine” (2023)

May 11, 2023 by Keith Garlington

While hard at work writing her new novel Emmanuèle gets a phone call that no one wants to receive. She learns her 85-year-old father André has had a stroke and is being rushed to the hospital. This all too relatable moment sets the table for “Everything Went Fine”, the affecting and probing adult drama from renowned French filmmaker François Ozon.

“Everything Went Fine” is based on a memoir by the late Emmanuèle Bernheim that chronicled her own experience with her father’s death (Bernheim was the screenwriter for Ozon’s 2003 film “Swimming Pool” and his 2004 film “5×2”). Ozon sets aside his more provocative proclivities to give us an honest yet sensitive treatment of some weighty subject matter. The results are a richly human and unsentimental feature that sometimes operates like a procedural but one fueled by an unshakable warmth and empathy.

“Everything Went Fine” isn’t the first movie to tackle assisted suicide. But rather than taking on the ethics of the controversial practice, Ozon’s interests are far more pragmatic. He digs into the more personal and practical implications. His filmmaking and storytelling is intentionally low-key, but the gravity of these ideas and themes are never lost on us. And he even finds time for dabs of mordant humor often when you’re least expecting it.

The movie is driven by a gripping performance from Sophie Marceau who plays Emmanuèle. It’s beautifully modulated work that keeps so many of Emmanuèle’s feelings internalized. Yet her inner conflict is always evident to the audience and is conveyed with resonating emotional detail by Marceau. Also good is André Dussollier playing Emmanuèle’s father, André. He’s a terse and temperamental man who has fueled much of the long-standing tension in their family.

Most of the movie follows Emmanuèle and her sister Pascale (Géraldine Pailhas) as they pay visits to the hospital, get updates from their father’s doctors, and manage his affairs the best way they know how. But after André is moved from the hospital to a rehabilitation clinic (rather than home) he broadsides Emmanuèle with a shocking demand. He wants her to help him end his life. She’s understandably against it and is taken aback by him putting such a thing on her shoulders. It ends up peeling back another layer to their already complicated relationship.

One of the things I love most about “Everything Went Fine” is how delicately Ozon handles the family history. And rather than force-feeding us, Ozon lets us sort it out and fill in the blanks for ourselves. He gives us just enough detail to grasp the dynamics at work. Through his lens the Bernheims are revealed to be a bourgeois family of artists who have lived comfortably off their successes.

But they’re also a family marked by their own inner turbulence. For example while Pascale is really close with her sister, it’s clear Emmanuèle is her father’s favorite. Yet we get a couple of subtly revealing flashbacks to Emmanuèle’s childhood that tell a different story. Then there’s Claude (a subtly penetrating Charlotte Rampling), the girls’ mother and André’s former wife. She has Parkinson’s and severe depression and channels a clear resentment towards her ex-husband. All of it works to enhance the drama. Yet there are even more details that Ozon leaves for us to sort out on our own.

Over time we gain a good understanding of Emmanuèle’s emotional dilemma as she parses through a range of conflicting feelings. On the one hand there is the bitterness left from her painful childhood. On the other hand she feels obligated to be a good daughter. And then there’s the sheer weight of what he’s asking her to do. Ozon lets it all play out organically. And the patient rhythm of his storytelling combined with some top-to-bottom stellar performances lends the material just the kind of dramatic heft it needs.

VERDICT – 4 STARS

Netflix Unveils Their 2023 Summer Movie Lineup

May 10, 2023 by Keith Garlington

Streaming giant Netflix has shared its 2023 Summer Movie Preview which highlights the many films that will be available exclusively on their platform over the next four months. Throughout the summer Netflix will have something for everyone, offering up an interesting variety of movies that includes blockbusters, animated features, family films, documentaries, exciting sequels, and surprising spin-offs. And it all kicks off this Friday, May 12th.

Below you’ll find their slate of summer movies along with links to where you can learn more about them. (All Images Courtesy of Netflix)

May

MAY 12

“The Mother“

Genre: Action
Logline: An assassin comes out of hiding to protect the daughter that she gave up years before, while on the run from dangerous men.
Cast: Jennifer Lopez, Joseph Fiennes, Lucy Paez, Omari Hardwick, Paul Raci and Gael García Bernal
Director: Niki Caro

Read more about The Mother and its cast.

MAY 16

“Anna Nicole Smith: You Don’t Know Me“

Genre: Documentary
Logline: From director Ursula Macfarlane (Untouchable) and producer Alexandra Lacey comes an unflinching and humanizing examination of the life, death and secrets of Vickie Lynn Hogan — better known as model and actress Anna Nicole Smith. From her first appearance in Playboy in 1992, Anna Nicole’s dizzying ascent was the very essence of the American dream, brought to a tragic halt with her untimely passing in 2007. With access to never-before-seen footage, home movies and interviews with key figures who have not spoken out until now, Anna Nicole Smith: You Don’t Know Me reveals new insights into the story of the quintessential blonde bombshell hardly anyone really knew.
Director: Ursula Macfarlane

Read more about Anna Nicole Smith: You Don’t Know Me HERE.

MAY 23

“Victim/Suspect“

Genre: Documentary
Logline: On her first solo investigation, journalist Rae de Leon travels nationwide to uncover a shocking pattern: Young women tell the police they’ve been sexually assaulted, but instead of finding justice, they’re charged with the crime of making a false report, arrested and even imprisoned by the system they believed would protect them.
Director: Nancy Schwartzman

June

JUNE 16

“Extraction 2“

Genre: Action
Logline: Chris Hemsworth returns as Tyler Rake in Extraction 2, the sequel to Netflix’s blockbuster action film Extraction. After barely surviving the events of the first movie, Rake is back as the Australian black ops mercenary, tasked with another deadly mission: rescuing the battered family of a ruthless Georgian gangster from the prison where they are being held.

Hemsworth reunites with director Sam Hargrave, with Joe and Anthony Russo’s AGBO producing and Joe Russo writing. Golshifteh Farahani reprises her role from the first film, with Adam Bessa, Olga Kurylenko, Daniel Bernhardt and Tinatin Dalakishvili also co-starring. Get to know the cast of Extraction 2 here.

This is a sequel to the first film that was based on the graphic novel Ciudad by Ande Parks, from a story by Ande Parks, Joe Russo and Anthony Russo, with illustrations by Fernando León González. Extraction 2 is produced by Anthony Russo, Joe Russo, Mike Larocca, Angela Russo-Otstot, Chris Hemsworth, Patrick Newall and Sam Hargrave, with Jake Aust, Benjamin Grayson, Steven Scavelli, Christopher Markus and Stephen McFeely as executive producers.
Cast: Chris Hemsworth, Golshifteh Farahani, Adam Bessa, Daniel Bernhardt and Tinatin Dalakishvili
Director: Sam Hargrave

“Take Care of Maya“

Genre: Documentary
Logline: When 9-year-old Maya Kowalski was admitted to Johns Hopkins All Children’s Hospital in 2016, nothing could have prepared her or her family for what they were about to go through. As the medical team tried to understand her rare illness, they began to question the basic truths that bound the Kowalskis together. Suddenly, Maya was in state custody –– despite two parents who were desperate to bring their daughter home. The story of the Kowalski family –– as told in their own words –– will change the way you look at children’s healthcare forever.
Director: Henry Roosevelt

JUNE 23

“The Perfect Find “

Genre: Rom-com
Logline: After a high-profile firing, Jenna’s (Gabrielle Union) fashion career comeback hits a snag when she falls for a charming, much younger co-worker (Keith Powers) — who happens to be her boss’ son. As sparks fly, Jenna must decide if she’ll risk it all on a secret romance.
Cast: Gabrielle Union, Keith Powers, Aisha Hinds, D.B. Woodside, Janet Hubert, Alani “La La” Anthony and Gina Torres
Director: Numa Perrier

Read more about The Perfect Find HERE.

JUNE

“Nimona“

Genre: Animated family film
Logline: When Ballister Boldheart (Riz Ahmed), a knight in a futuristic medieval world, is framed for a crime he didn’t commit, the only one who can help him prove his innocence is Nimona (Chloë Grace Moretz), a mischievous teen with a taste for mayhem — who also happens to be a shape-shifting creature Ballister has been trained to destroy. But with the entire kingdom out to get him, Nimona’s the best (or technically the only) sidekick Ballister can hope for. And as the lines between heroes, villains and monsters start to blur, the two of them set out to wreak serious havoc — for Ballister to clear his name once and for all, and for Nimona to… just wreak serious havoc.

Directed by Nick Bruno and Troy Quane, Nimona is an epic tale about finding friendship in the most surprising situations and accepting yourself and others for who they are. Based on the National Book Award-nominated, New York Times best-selling graphic novel by ND Stevenson.
Cast: Chloë Grace Moretz, Riz Ahmed, Eugene Lee Yang, Frances Conroy, Lorraine Toussaint, Beck Bennett, Indya Moore, RuPaul Charles, Julio Torres, Sarah Sherman
Director: Nick Bruno and Troy Quane

July

JULY 5

“Wham!“

Genre: Documentary
Logline: In 1982, the best of friends and still teenagers –– George Michael and Andrew Ridgeley as WHAM! set out to conquer the world. By June of 1986 they played their very last gig at Wembley Stadium having done exactly that. Now for the very first time, told in their own words, the amazing story of how in four years they dominated the charts around the world with timeless and classic pop songs. Hit after hit –– “Club Tropicana,” “Wake Me Up Before You Go Go,” “Freedom,” “I’m Your Man” and of course “Last Christmas.” Their time in the spotlight was white-hot, becoming the very first western pop act to play in China. It was a time that both encapsulated and epitomised not just their youth, but also those of the many millions of fans that adored them. Wham! is a feature-length documentary that captures this magical time, from director Chris Smith (Tiger King, “Sr.”) and producers John Battsek (The Deepest Breath) and Simon Halfon (Supersonic) With unprecedented access to both George and Andrew’s personal archive including remarkable and never-before-seen footage, alongside rare, candid and previously unheard interviews. Wham! charts their incredible journey from school friends to superstars.
Director: Chris Smith

“The Out-Laws“

Genre: Action comedy
Logline: Owen Browning (Adam Devine) is a straitlaced bank manager about to marry the love of his life, Parker (Nina Dobrev). When his bank is held up by the infamous Ghost Bandits during his wedding week, he believes his future in-laws (Pierce Brosnan and Ellen Barkin), who just arrived in town, are the infamous Out-Laws.
Cast: Adam Devine, Nina Dobrev, Michael Rooker, Poorna Jagannathan, Julie Hagerty, Richard Kind, Lil Rel Howery, Blake Anderson, Lauren Lapkus, Laci Mosley, with Ellen Barkin and Pierce Brosnan
Director: Tyler Spindel

“Bird Box Barcelona“

Genre: Action thriller
Logline: From the producers of the global phenomenon Bird Box comes Bird Box Barcelona, an expansion of the film that riveted audiences in 2018. After a mysterious force decimates the world’s population, Sebastian must navigate his own survival journey through the desolate streets of Barcelona. As he forms uneasy alliances with other survivors and they try to escape the city, an unexpected and even more sinister threat grows.
Cast: Mario Casas, Georgina Campbell, Diego Calva, Alejandra Howard, Naila Schuberth, Patrick Criado, Lola Dueñas, Gonzalo de Castro, Michelle Jenner and Leonardo Sbaraglia
Director: Álex Pastor, David Pastor

Read more about Bird Box Barcelona HERE.

JULY 19

“The Deepest Breath“

Genre: Documentary
Logline: A champion freediver trains to break a world record with the help of an expert safety diver, and the two form an emotional bond that feels like fate. This heart-stopping film follows the paths they took to meet at the pinnacle of the freediving world, documenting the thrilling rewards — and inescapable risks — of chasing a dream through the silent depths of the ocean.
Director: Laura McGann

Read more about The Deepest Breath HERE.

JULY 21

“They Cloned Tyrone“

Genre: Mystery action thriller
Logline: A series of eerie events thrusts an unlikely trio (John Boyega, Jamie Foxx and Teyonah Parris) onto the trail of a nefarious government conspiracy in this pulpy mystery caper.
Cast: John Boyega, Teyonah Parris, David Alan Grier, J. Alphonse Nicholson, Tamberla Perry, Eric Robinson Jr. with Kiefer Sutherland and Jamie Foxx
Director: Juel Taylor

Read more about They Cloned Tyrone HERE.

JULY 27

“Happiness for Beginners“

Genre: Rom-com
Logline: Helen (Ellie Kemper) has always lived her life as far from the edge as possible. Newly divorced, she joins a quirky group of strangers on a survival course for the “adventure of a lifetime” with the hope of learning how to live — and love — again.
Cast: Ellie Kemper, Luke Grimes, Nico Santos, Blythe Danner, Ben Cook, Shayvawn Webster, Esteban Benito, Gus Birney, Julia Shiplett
Director: Vicky Wight

Read more about Happiness for Beginners HERE.

August

AUG. 11

“Heart of Stone“

Genre: Action
Logline: Rachel Stone (Gal Gadot) is an intelligence operative, the only woman who stands between her powerful global peacekeeping organization and the loss of its most valuable — and dangerous — asset.
Cast: Gal Gadot, Jamie Dornan, Alia Bhatt, Sophie Okonedo, Matthias Schweighöfer, Jing Lusi, Paul Ready
Director: Tom Harper

“The Monkey King“

Genre: Animated family film
Logline: Inspired by an epic Chinese tale, translated into an action-packed comedy, a Monkey and his magical fighting Stick battle demons, dragons, gods and the greatest adversary of all — Monkey’s ego.
Cast: Jimmy O. Yang, Bowen Yang, Jolie Hoang-Rappaport, Jo Koy, Ron Yuan, Hoon Lee, Stephanie Hsu, Andrew Pang, Andrew Kishino, Jodi Long, James Sie and BD Wong
Director: Anthony Stacchi

“You Are So Not Invited to My Bat Mitzvah“

Genre: Family comedy
Logline: Stacy and Lydia are BFFs who’ve always dreamed about having epic bat mitzvahs. But things start to go comically awry when a popular boy and middle school drama threaten their friendship and their rite of passage.
Cast: Idina Menzel, Jackie Sandler, Adam Sandler, Sadie Sandler, Sunny Sandler, Samantha Lorraine, Dylan Hoffman, Sarah Sherman, Dan Bulla, Ido Mosseri, Jackie Hoffman and Luis Guzmán
Director: Sammi Cohen

Read more about You Are So Not Invited to My Bat Mitzvah HERE.

AUG. 31

“Choose Love“

Genre: Interactive rom-com
Logline: Cami Conway has it all. She’s got the job she wants and is headed toward engagement, marriage and kids with her wonderful boyfriend, Paul. And yet, she feels something is missing. Cami faces a kaleidoscope of tempting but tough choices: from serious ethical dilemmas to the frivolous “Truth or Dare.” What she chooses depends wholly on you, the viewer. But be careful! Things don’t always play out like you think!
Cast: Laura Marano, Avan Jogia, Jordi Webber and Scott Michael Foster
Director: Stuart McDonald

REVIEW: “Hypnotic” (2023)

May 10, 2023 by Keith Garlington

Robert Rodriguez’s new mind-bender “Hypnotic” screened as this year’s SXSW Film Festival as a “work in progress”. Now just two months later it’s getting the full theater treatment. I’m not sure what has been added, subtracted, or fine-tuned since its recent premiere. But the theater release we get is a twist-filled, deceptively deep, and wildly entertaining genre film that was constantly exceeding my expectations.

“Hypnotic” is a Robert Rodriguez movie through-and-through, not so much in terms of style and flourish (although we do get some of that), but in a more literal sense. Rodriguez directs, produces, conceived the story, and wrote the script along with Max Borenstein. Rodriguez also edited the movie and shares co-cinematographer credit with Pablo Berron. His fingerprints are all over the film.

Rodriguez came onto the scene in the early 1990s alongside Quentin Tarantino. And while the latter has turned into one of the most heralded and talked-about filmmakers of our time, Rodriguez has often flown a little closer to the ground – under the radar to some but sticking close and staying true to his renegade style of genre filmmaking. The results certainly vary, but I’ve always loved his faithfulness to his interests and his belief in cinema as entertainment first and foremost.

**Image Courtesy of Ketchup Entertainment**

All of that comes through in “Hypnotic”, a movie that features more cinematic sleight of hand than anything Rodriguez has attempted before. Early on it’ll have you questioning some of his choices, picking apart some of his execution, and wondering if he has gotten in over his head. But then when you’re least expecting it, Rodriguez hits us with an assembly line of reveals and suddenly everything starts coming together. And I for one ate it up.

A somber and wounded Ben Affleck is a near perfect fit as Daniel Rourke, an Austin police detective tortured by memories of the day his daughter Minnie was abducted while the two of them enjoyed an afternoon at the park. That was seven years ago. An unstable 18-year-old named Lyle Terry was charged for the abduction but was ruled innocent by reason of insanity. Minnie’s body was never found and Lyle has maintained he has no memory of committing the crime or disposing of her body. Daniel clings to a sliver of hope that his daughter may still be alive.

In the opening few minutes you’ll swear you’re in for a by-the-book police procedural. After the cops get tipped off about a possible bank heist, Daniel and his partner Nicks (J.D. Pardo) are sent to stake out the place. But things take a trippy turn when a mysterious man (William Fichtner) appears and begins controlling people with nothing more than his words. Chaos ensues, people are killed, the mystery man escapes, and Daniel discovers a clue that seems to have been left specifically for him.

Later Daniel tracks the anonymous tip to a dime-store psychic named Diana Cruz (Alice Braga). She clearly knows more than she’s willing to tell and Daniel is immediately suspicious. But after the mystery man shows up and attempts to kill them both, they begin to open up. Diana reveals the man’s name is Dellrayne and he’s what’s called a hypnotic. What’s a hypnotic you ask? “They’re people with an ability to actually influence the brain over a psychic bandwidth,” she explains. Clear as mud.

We get several more amusing attempts at explaining such as “Telepaths just read the mind. Hypnotics reshape its reality.” At first Daniel doesn’t buy it and brandishes the same amount of skepticism we do. But then Diana puts on a little display and changes his mind. Yep, she too is a hypnotic although not nearly as powerful as Dellrayne.

I don’t dare reveal any more because what makes the movie so entertaining is watching all the pieces come together. Again, much of what you see early on will undoubtedly have you questioning the story and pointing out holes in its logic. But once Rodriguez starts peeling back the layers things start to click into place and suddenly most of our questions have answers.

The cast is top-to-bottom strong with Affleck wonderfully selling us a dogged father who is both burdened and driven by his pain. He’s a little dry in spots, but it makes sense why. I love seeing Braga getting a well-deserved meaty role. And then there’s William Fichtner, one of today’s best character actors who has shined in films like “Black Hawk Down”, “The Dark Knight”, and “Heat”. Here he brings a quiet menace to the film’s devilishly fun antagonist. Terrific faces like Jackie Earle Haley and Jeff Fahey are icing on the cake.

Clocking in at a brisk and compact 94 minutes, the sleekly made and surprisingly inventive “Hypnotic” resembles an “Inception” inspired thriller with a dab of Alfred Hitchcock and a full helping of Robert Rodriguez. It makes for a tasty meal, especially for fans of genre filmmaking. By the way, stay for the cool mid-credits scene which teases a possible sequel if this one manages to find an audience. Hopefully it does because I’d love to pay another visit to Rodriguez’s delightfully idiosyncratic world. “Hypnotic” hits theaters this Friday.

Keith & the Movies

Monthly Archives: May 2023

Netflix Drops the Full Trailer for “Extraction 2”

RETRO REVIEW: “Straw Dogs” (1971)

VERDICT – 4 STARS

REVIEW: “The Mother” (2023)

VERDICT – 2.5 STARS

Review: “Everything Went Fine” (2023)

VERDICT – 4 STARS

Netflix Unveils Their 2023 Summer Movie Lineup