REVIEW: “Late Night with the Devil” (2024)

March 21, 2024 by Keith Garlington

Hats off to the writer-director duo of Cameron and Colin Cairnes for delivering one of the most devilishly clever and effective horror movie premises you’ll see this year. The Australian siblings have brought together classic supernatural horror and the once popular found footage style to create “Late Night with the Devil”, a genuinely creepy and utterly absorbing high-concept chiller that gives a welcomed leading role to the always captivating David Dastmalchian.

Dastmalchian has always been a fascinating actor. Through the frequent use of leering eyes and an uncomfortable gait, he has made it easy to typecast him in odd and often unsettling roles. But doing so overlooks the impressive range and versatility that he possesses. And we see that truth on rich display in “Late Night with the Devil”, a movie that lets him tap into his well established strengths while also giving us something fresh and new.

Dastmalchian is terrific playing Jack Delroy, the television host of a 1970s nationally syndicated late-night variety show called Night Owls. Through opening narration by the immediately recognizable Michael Ironside, we’re told that Night Owls was a major network hit. Yet despite several years of success, Jack’s sense of fulfillment remained dampened by his inability to top Johnny Carson in the late-night ratings.

As the narrator continues, we learn that Night Owls started to hemorrhage viewers. With his ratings in a free fall and sponsors threatening to abandon his show, Jack began courting controversy through edgier content. And that leads to 1977 during the show’s sixth season. On Halloween night, Jack’s desperate attempt to turn his fortunes around resulted in a shocking and terrifying supernatural encounter broadcasted on live television.

A rediscovered master tape from that horrific night sets the framework for the sinister “Late Night with the Devil”. It’s an ingenious device that the Cairnes brothers utilize to near perfection, capturing a 70s aesthetic through brilliantly detailed production design from Otello Stolfo, Stephanie Hooke’s costumes, and the music of Glenn Richards. Anyone familiar with the variety and talk shows of the era will love the accuracy in the brothers’ recreation. And that accuracy is crucial. If we don’t buy into the setting we’re probably not going to buy into the supernatural chaos that follows.

But the genius of the framing goes beyond the aesthetic. It’s also in the narrative structure itself. After the table-setting narration, the story unfolds through raw footage of the actual live broadcast. During commercial breaks the camera gives us behind-the-scenes looks – following around the various characters and capturing their reactions and growing concerns. It works wonderfully.

As for those characters, the Cairnes’ create and develop a small but beguiling group starting with Jack. Dastmalchian commands every ounce of our attention through a masterful performance that anchors the entire movie. Not only will you never question his position as a seasoned television host, but you’ll never doubt the emotional conflict that drives so much of what his character does.

Also vital to the movie’s success are the supporting roles. There’s Gus (Rhys Auteri), Jack’s very own Ed McMahon-like sidekick. There’s the pompous Carmichael Haig (Ian Bliss), a former magician turned hardcore skeptic cast in the James Randi mold. And then there’s the mysterious (and kooky) medium named Christou (Fayssal Bazzi). But perhaps most fascinating is Dr. June Ross-Mitchell (Laura Gordon), a parapsychologist and author who’s on the show in support of the new book Conversations with the Devil. She brings her book’s subject, Lilly (Ingrid Torelli), the 13-year-old lone survivor of satanic suicide cult. What could go wrong?

It’s those latter two who lead to something no one is prepared for. Despite June’s warnings that Lilly is growing more unstable, the ratings-starved Jack pushes for a demonstration. The condescending Carmichael sees what follows as nothing more than a parlor trick. That is until they summon an evil that defies explanation and can’t be controlled. Soon they all find themselves trapped in this hellish nightmare with no sense of escape. And we feel trapped too – a testament to the film’s effectiveness.

The Cairnes’ love for genre filmmaking can be seen all throughout “Late Night with the Devil”. Countless pop culture nods, obvious horror movie homages, and some killer retro satire are a big part of the fun. But more seriously, the movie also speaks to the cravings for fame and the potential high price of success. It’s all wrapped up in a movie that simmers rather than burns – that is until the fierce and frightening final fifteen minutes which delivers the kind of fitting payoff we all were waiting for. “Late Night with the Devil” opens in theaters March 22nd.

VERDICT – 4.5 STARS

Movie Poster Spotlight: “Alien: Romulus”

March 20, 2024 by Keith Garlington

So I’ve found myself falling behind in my efforts to highlight some of the very best movie posters. I’m a sucker for these things and I had to take a moment to share the brand new poster for the upcoming film “Alien: Romulus”. This long awaited seventh installment in the beloved Alien franchise is directed by Fede Álvarez, known best for his 2013 “Evil Dead” remake and 2016’s “Don’t Breathe”. Ridley Scott produces the film which is said to take place between “Alien” (1979) and “Aliens” (1986). How connected “Romulus” is to either of those movie’s remains to be seen. Either way I’m excited.

“Alien: Romulus” was originally slated to release on Hulu but will now be getting the full theatrical treatment on August 16th. The film stars Cailee Spaeny (“Priscilla”), David Jonsson, Archie Renaux, Isabela Merced, Spike Fearn, and Aileen Wu. Check out the killer new poster and let me know what you think…

REVIEW: “Jawan” (2023)

March 20, 2024 by Keith Garlington

Director and co-writer Atlee makes his Hindi film debut with Jawan, a high-energy big-budget action thriller starring fan favorite Shah Rukh Khan. The film was a box office smash, emerging as the highest grossing Indian film of the year (topping King Khan’s other big 2023 hit “Pathaan”). Atlee’s ambitious first feature is a wildly entertaining blend of violence, romance, and music, all built around the endless charisma of one of Bollywood’s biggest stars.

“Jawan” proudly embraces many of the trademarks of Indian action cinema including outrageous plot twists, lavishly produced musical numbers, and of course the thrilling stylized set pieces. The story itself features as many wild narrative flourishes as eye-popping action. It shrewdly interweaves both past and present day storylines, evolving its characters along the way. Not everything clicks into place as it should and certain elements of the story feel rushed. Yet Atlee keeps us hooked for the entire 170 minutes.

SRK gets to stretch himself in all kinds of directions starting in the film’s opening scene. A man (Khan) is shown floating in the river high in the mountains near the Indian border. Bloodied, wounded and near death, the man is found by a young woman who takes him back to her village. As the villagers are nursing him back to health, soldiers from a brutal military regime attack the village and begin slaughtering the people. The man suddenly rises up and slays the invaders, saving the people like a mythical hero.

Jump ahead thirty years where a strikingly similar man has hijacked a metro train in Mumbai with the assistance of his six highly skilled female accomplices. He threatens to kill the passengers if a hefty ransom isn’t paid. Government agent Narmada Rai (an excellent Nayanthara) is called in to negotiate. Kalee Gaikwad (Vijay Sethupathi), a notorious arms dealer, learns that his daughter is aboard the train and agrees to pay the ransom.

“Jawan” has so many twists and turns that I hesitate to say much more about the story. Suffice it to say Shah Rukh Khan is given a “multifaceted” role that he tackles with his signature charm and panache. Nayanthara is fabulous in a supporting turn that lets her flex her emotional intensity and physicality. As for Sethupathi, it takes time, but he eventually evolves into a solid villain – devious, cold-hearted, and fueled by his own self interests.

The action is spectacular and ranges from entertainingly cartoonish to absolutely jaw-dropping. The sequences can amaze you with their insane creativity and sometimes jolt you with their bursts of brutality. Outstanding cinematography (G. K. Vishnu), editing (Ruben), and stunt choreography (Anal Arasu) help Atlee put his wild and stylish vision to screen.

Narratively the movie is fun and diverting, but it does ask a lot of its audience. It challenges our ability to suspend disbelief and needs us to go along with some pretty far-fetched ideas. But to be honest that’s a big part of the fun. “Jawan” is such a wild ride, playfully blending genres while also making serious statements on government corruption, greed, class discrimination, and healthcare scandals among other things. It has a little bit of something for everyone, and Atlee’s ability to corral it all together is pretty impressive.

VERDICT – 3.5 STARS

First Glance: “Rebel Moon – Part Two: The Scargiver”

March 19, 2024 by Keith Garlington

Zack Snyder’s two-part space epic “Rebel Moon” kicked off a few months ago with “A Child of Fire”. Well, it kicked off in part. What we actually got was a shortened and toned-down PG-13 version of the film (Snyder’s fully realized vision for Part One will be in his extended director’s cut due out soon). Most critics teed off on the film with many lighting their torches just from hearing Zack Snyder’s name. “A Child of Fire” wasn’t nearly as bad as it was received despite only being a taste of the finished product.

Now we’ve been given our first proper look at “Rebel Moon – Part Two: The Scargiver”, an equally epic-sized streaming blockbuster that picks up right where the first film left off. The first trailer is loaded with eye-popping action and striking imagery which are Snyder staples. It also reintroduces us to the terrific ensemble that includes Sofia Boutella, Djimon Hounsou, Ed Skrein, Anthony Hopkins, Michiel Huisman, and Doona Bae among others. It all culminates in a movie that should be catnip for Snyder fans and fuel for Snyder haters. I’m onboard.

“Rebel Moon – Part Two: The Scargiver” premieres April 19th on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

RETRO REVIEW: “The Sting” (1973)

March 18, 2024 by Keith Garlington

There are a plethora of things that fascinate me about the movies. Among them is the way our impressions of a particular movie can change so dramatically over a fairly long period of time. Such is the case with “The Sting”, a beloved Tinsel Town caper which last year turned 50 years-old.

Rarely has my opinion of a film changed after a rewatch quite like it has with “The Sting”. For clarity, it’s not that I ever openly disliked the movie. It just never left much of an impression. In fact my apathy towards it was such that I had no real urge to revisit it in the thirty or so years since my first viewing. Boy what a difference a few decades can make.

Recently I sat down to rewatch and reevaluate “The Sting” and to my surprise it felt like a different experience altogether. For reasons I still can’t quite put my finger on, the movie clicked with me in ways I wasn’t expecting. The stylish Saturday Evening Post inspired title cards by artist Jaroslav “Jerry” Gebr. Its use of Scott Joplin’s iconic ragtime piano tune “The Entertainer”. George Roy Hill’s steller direction and David Ward’s snappy screenplay. The award winning production design and costumes. And of course the cool and charismatic duo of Paul Newman and Robert Redford. This time they all came together like it didn’t before.

**Image Courtesy of Universal Pictures**

Releasing on Christmas Day in 1973, “The Sting” was a smash-hit at the box office earning $160 million against a $5.5 million budget (quite the contrast from today’s model). It was also a hit with critics and at the 46th Academy Awards. The film earned a total of ten Oscar nominations, winning seven including Best Picture, Best Director, and Best Original Screenplay. It even spawned a sequel (of sorts) some ten years later that starred Jackie Gleason, Mac Davis, and Teri Garr. Most people (wisely) choose not to talk about it.

Coming into “The Sting”, George Roy Hill was just a couple of years removed from directing Newman and Redford in the highly acclaimed “Butch Cassidy and the Sundance Kid”. The three reunite in another period film, this one taking place in 1936. It was a time when big cities were full of gangsters and hustlers; dirty cops and dirtier politicians; speakeasies and underground gambling halls. It’s an era Hill has a ton of fun exploring.

Redford plays Johnny Hooker, a good-looking but reckless grifter from Joliet, Illinois who gets himself in a bind after he and his hustling partner Luther (Robert Earl Jones) swindle $11,000 in cash from a poor sap. The problem is, that ‘poor sap’ is actually a numbers runner for a powerful mob boss named Doyle Lonnegan (a fantastic Robert Shaw).

Hooker is approached by William Snyder (Charles Durning), a crooked police detective on Lonnegan’s payroll, who demands he pay back what he stole. Hooker pays him off in counterfeit bills which understandably provokes the ire of Lonnegan even more. His goons kill Luther which sends Hooker fleeing to Chicago.

After arriving in Chicago Hooker seeks out Henry Gondorff (Newman). Gondorff was an old friend of Luther’s and a big-time conman. But lately he’s been laying low, trying to avoid the pesky FBI. Hooker tells Gondorff about Luther’s murder and persuades him to help pull “the big con” on Lonnegan.

Gondorff puts together a crack team of hustlers played by a terrific collection of actors including Ray Walston, Harold Gould, and James Sloyan. But pulling one over on a tough guy like Lonnegan proves to have its challenges and consequences.

“The Sting” plays a lot differently than many of the gangster pictures of its time and ours. There’s a playful allure that permeates much of the film and it has a cool retro style that calls back to the classic mob movies of Raoul Walsh and Lloyd Bacon. But it also has a touch of 1970s grit which helps sets it apart.

Things do get a bit far-fetched in the third act, but it’s hard not to be hooked by the quirky mix of old-fashioned playfulness and gritty violence. That’s a big part of what gives the movie its unusual charm. And to George Hill’s credit, it might be a bigger sleight-of-hand than anything we actually see on screen.

VERDICT – 4 STARS

REVIEW: “Knox Goes Away” (2024)

March 15, 2024 by Keith Garlington

Comfortably seated within that small group of actors who I’ll watch in anything is Michael Keaton. From his early comedies of the 1980s to his time as Gotham City’s Caped Crusader to the more character driven dramas of the last ten years, I’ve always been drawn to Keaton’s wit, charm, and versatility. So naturally I was going to check out his latest film, “Knox Goes Away” which sees him not only starring but also in the director’s chair.

“Knox Goes Away” is the kind of low-key thriller that’s much more into studying its main character than delivering anything that resembles nail-biting tension. It’s deliberately paced and stealthily hypnotic – a result of Keaton’s sure-handed direction. It’s also emotionally layered, resonating in a number of unexpected ways – a testament to Keaton’s shrewd and well-modulated performance. Then add an intriguing supporting cast that includes Al Pacino, James Marsden, Marcia Gay Harden, and one of my very favorite character actors Ray McKinnon.

The script is written by Gregory Poirier who pens a story as much about one man’s mental conflict as the crimes that unfold on screen. Keaton plays John Knox, a seasoned contract killer who has his world shaken when he is diagnosed with a rapidly progressing and incurable form of dementia. Given only weeks before his mind completely fails him, John meets up with his partner and fellow hitman Tommy (McKinnon) to carry out a final contract. They’re tasked with taking out a human trafficker, but the job goes south and Tommy ends up dead.

The botched job convinces John that his days as a hitman are over and it’s time to “cash out”. But then he’s paid a visit by his estranged son Miles (Marsden) who he hasn’t spoken to in years. Panicked, covered in blood, and in big trouble, Miles tells his father how he just stabbed to death a racist scumbag (Charles Bisset) who got his 16-year-old daughter Kaylee (Morgan Bastin) pregnant. Knowing his father’s line of work (but not knowing his deteriorating mind), Miles begs for his help. “I’ve never asked you for anything in my life.”

John immediately goes to work, instructing his son to go home and say nothing while he visits the blood-drenched crime scene. It’ll take a meticulous plan with attention given to every single detail to cover up the grisly murder. But can he pull off a plan so precise with his failing mind? That becomes a key conflict in the film. John begins writing down each step of the plan in a pocket notebook as reminders. And he contacts a trusted old friend, Xavier Crane (Pacino), to help him stay on point. But hot on his heels is the stiff and overly grumpy Detective Emily Ikari (Suzy Nakamura) who begins investigating both murder scenes.

Using weeks like chapters, Poirier’s story follows John as he races against two clocks. One sees him trying to pull the ultimate cover-up in an effort to protect his son before the dogged detective can put the pieces together. The other sees him personally facing his cognitive decline, something Keaton captures realistically and with empathy. He truly is the film’s anchor, bringing strength, vulnerability, and nuance to the central character.

Not all of the stellar supporting cast get much to do, most notably Al Pacino and Marcia Gay Harden. But they do fill in some important story gaps. And you could also make the case that the film’s ending isn’t the most plausible. Yet I found it to be clever, satisfying, and unexpectedly moving. Either way, “Knox Goes Away” works thanks to the savvy Michael Keaton who shines in what is an absorbing character study masquerading as a hitman movie. “Knox Goes Away” hit theaters on Friday, March 15th.