REVIEW: “Aquaman and the Lost Kingdom” (2023)

December 22, 2023 by Keith Garlington

For some of us there’s a pinch of sadness baked into the new Aquaman movie. This marks the final film in what was once called the DC Extended Universe. The DCEU started incredibly strong and offered moviegoers with a healthy alternative to the lighter Marvel formula. Sadly, some poor studio decisions combined with dismissive reactions from many cut from the MCU cloth led to the superhero universe’s demise before it ever had the chance to fulfill its original vision.

James Gunn has been hired to reboot the DC Universe but who knows how that’s going to turn out. As it is, “Aquaman and the Lost Kingdom” clears the way for Gunn. In terms of expectations, this is a movie that felt doomed from the start as critical pitchforks were already sharpened and torches pre-lit. That’s a shame because “Aquaman 2” is a hoot – a proudly wacky and over the top romp full of wild world-building and cool action. Color me surprised.

**Image Courtesy of Warner Bros. Pictures**

James Wan returns to direct following the massive box office success (over $1.1 billion) of the 2018 first film. And of course Jason Momoa reprises his role as the rambunctious and reluctant King of Atlantis, Arthur Curry. As the movie begins, Arthur has married Mera (Amber Heard) and the two have a healthy baby boy, Arthur Jr. All is well in the world, right?

Well, of course not. First off, being King of Atlantis has proven to be a lot harder and more demanding than Arthur expected. In addition to his underwater peacekeeping and diplomatic duties, there’s also political turmoil between him and the Atlantean council of bureaucrats. He believes it’s past time they reveal themselves and form an alliance with the surface dwellers. The cynical council is determined to keep their existence a secret.

But a bigger and far more deadlier challenge arises with the return of David Kane (Yahya Abdul-Mateen II), a ruthless high-seas mercenary whose burning drive to avenge his father’s death has pushed him over the edge. David has recruited Dr. Stephen Shin (Randall Park), a marine biologist obsessed with proving the existence of Atlantis. Together they search for Atlantean artifacts which David needs to repair and upgrade his Black Manta armor before he can take on Aquaman.

While searching in the Arctic David discovers the mysterious Black Trident, a weapon of immense power that connects its wielder with its creator, Kordax (Pilou Asbæk), the ruler of the lost Atlantean kingdom of Necrus. Kordax pledges to provide David with the means to defeat Aquaman in exchange for freeing him from his icy prison. David and Arthur inevitably clash, fighting to a draw. Realizing David is more powerful than when they first met (see the first film), Arthur seeks help from the last person he wants to ask, his imprisoned half-brother Orm (Patrick Wilson).

As the movie progresses we see Wan dabbling in numerous genres, nodding to several of his inspirations, and just doing his own wild and crazy thing. It’s a bit like what you’d get if you rolled together a buddy comedy, a creature feature, and sci-fi fantasy. Certain moments will have you thinking it’s underwater Star Wars while later scenes give off distinct Lord of the Rings vibes. And then there’s Wan’s own inventive world-building. From deep-sea cities, to a mutated volcanic island, to a decayed kingdom buried under ice, Wan and his digital effects team have a field day creating fantastical places and populating them with a gonzo variety of life. Bouncing from one visually stunning location to the next turns out to be an absolute blast.

Wan’s vision for “Aquaman 2” is often awe-inspiring, sometimes thrilling, routinely funny, and consistently entertaining. The great comic chemistry between Momoa and Wilson provides some big laughs. Temuera Morrison’s return as Arthur’s father brings some heart. The film’s self-awareness adds to the fun, providing us with such patent silliness as loyal octopus sidekicks and Dolph Lundgren riding a seahorse. It’s such a bonkers mix and I get that mileage may vary depending on your tastes. But Wan has mostly delivered beyond what I expected. And even with some noticeable flaws, “Aquaman 2” is a satisfying swan song for the late and sometimes great DCEU.

VERDICT – 3.5 STARS

REVIEW: “The Color Purple” (2023)

December 21, 2023 by Keith Garlington

Director Blitz Bazawule and screenwriter Marcus Gardley team up to give us the second big screen adaption of Alice Walker’s 1982 novel “The Color Purple”. The first movie released in 1985 and was directed by Steven Spielberg. He returns alongside Quincy Jones, Oprah Winfrey, and Scott Sanders to produce this enchanting but flawed update that is heavily inspired by the long-running, Tony award-winning musical.

At its heart “The Color Purple” is a moving coming-of-age period drama and Bazawule captures that essence most impressively in the film’s first half. From its sweeping opening to the story’s midway point, the movie simmers with powerful storytelling and spectacular musical numbers. Sadly it stumbles in the second half. The rousing and heartfelt tunes are still there, but the storytelling feels rushed, even patched together in spots. Certain character arcs get shortchanged and there is one particular redemption angle that doesn’t feel earned at all.

The story of “The Color Purple” begins in the early 1900s and spans over several decades. In a small African-American community near the Georgia coast lives 14-year-old Celie (Phylicia Pearl Mpasi) and her sister Nettie (Halle Bailey). The two are inseparable and have a joyous relationship. But the sisters live with a dark secret. Their vile and abusive father (Deon Cole) rapes Celie and has impregnated her twice. He then took her two babies and traded them off for the best deal.

A couple of years pass and Celie’s father sells her to the cruel and ruthless Albert “Mister” Johnson (a chilling Colman Domingo). He’s a banjo plucking farmer who immediately puts her to work cleaning his house and raising his kids. Mister is as violent as her father, and the physical abuse is only outdone by the psychological torment. Nettie moves in for a bit which offers Celie a welcomed respite. But when she’s forced to fight off Mister’s sexual advances, he throws her out leading Nettie to go far away.

As years go by Celie (now played by former American Idol winner Fantasia Barrino in her feature film debut) remains trapped under Mister’s rule with no real means of escape. Several more characters are thrown into the mix including Mister’s weak-minded son Harpo (Corey Hawkins), the great Louis Gossett Jr. as Mister’s crusty father, the scene-steaming firecracker Sofia (Danielle Brooks), and even David Allen Grier as a singing preacher.

And then Shug Avery (Taraji P. Henson) comes to town, a rowdy and popular blues singer who happens to be Mister’s former mistress. He’s still smitten with her despite claiming Celie as his wife. Yet rather than become rivals, Celie and Shug form a bond than only intensifies after Celie reveals the years of abuse she has endured from Mister. Shug is a striking presence but she sucks out most of the air from every scene she’s in. It’s not Henson’s fault, she’s quite good in the role. It’s more the writing and direction that at times can make her such an overpowering force.

Over time I found myself less interested in Shug’s role and much more compelled by several other characters. Take Danielle Brooks’ Sofia, a veritable powder keg of righteous energy. It’s a big character and Brooks gives an equally big performance. But she steals so many scenes and belts out some of the film’s very best songs. I also wanted more of Squeak (played by R&B singer H.E.R.), Harpo’s second wife who has her own compelling story although most of it is left offscreen.

That leads (again) to the films’s biggest problem – it leaves too much off the screen specifically in the second half. That’s where Bazawule and Gardley seem to lose focus before rushing everything to a conclusion. Things like the above mentioned redemption angle that’s too thinly sketched and hurried to believe. Or Shug’s tense relationship with her father that’s mentioned several times but is barely explored. Perhaps 30 more minutes would have allowed time to fill in its holes. As it is “The Color Purple” is a frustrating tale of two halves – one half that’s among the very best cinema I’ve seen all year and the other half that can’t see it through to the end. “The Color Purple” hits theaters December 25th.

VERDICT – 3 STARS

REVIEW: “Rebel Moon – Part One: A Child of Fire” (2023)

December 20, 2023 by Keith Garlington

Just hearing the name Zack Snyder seems to invoke wildly different impulses and reactions depending on which side of the filmmaker you sit. In one group you have the Snyder loyalists who saturate any and everything he puts out while pushing back on even the slightest criticism of his work. But just as feral and often more belligerent are the anti-Snyder mudslingers who never pass up on a chance to belittle and berate Snyder’s movies and his fans.

That brings us to his latest project, “Rebel Moon – Part One: A Child of Fire”. Mark it down, you can expect fans to love it and defend it till their dying breath. Meanwhile Snyder carpers will be chomping at the bit to tear it down early and often. But how is it really? Once you weed out the voices of the predisposed and get beyond the hyperbole and grandstanding, is “Rebel Moon” any good? It’s actually quite good although you can tell it’s only a slice of a bigger and better whole. The existence of a director’s cut is out there and this current cut all but confirms it.

To Snyder’s credit he gives us a good taste of this new original universe he has created. The world is full of vibrant and diverse locations. There are plenty of interesting people, races, and creatures. And the battle lines are clearly distinguished between an oppressive militaristic regime and the valiant group of rebels who rise up to fight back. But they’ll need a leader who can bring together the fiercest warriors from across the galaxy if they are to have any chance of winning.

That’s hardly what you would call an original story, but Snyder is fine with that. He hasn’t been shy about honoring his inspirations, and he doesn’t attempt to hide his open embrace of numerous classic science-fiction tropes. He has set out to make a dark space fantasy that plays like “Seven Samurai” meets “Star Wars”. It’s not that his story is bold and unique. It’s that it is unfolding with characters he has crafted and within a world he has created.

Still, this cut of “Rebel Moon” is more enticing than fulfilling. I found myself thoroughly riveted while in its world yet it left me needing more of it. For example, the action in this version feels sanitized, with the camera too often turning away to ensure a PG-13 rating (Snyder has said his full cut is wilder and edgier). But more than that, key supporting characters often feel like sketches rather than portraits. Their motivations are vague and their backgrounds (which in this movie play a big part in defining them) are mostly mysteries. More than anywhere else in the film, it’s here that the cuts stand out most.

The cast is made up of an intriguing array of talent led by Sofia Boutella. She plays Kora who lives a quiet life in a small, tight-knit farming village on the mostly peaceful planet of Veidt. Though considered independent, Veidt exists in the shadow of the Motherworld which is ruled by Regent Balisarius (Fra Fee). The Motherworld was once devoted to peace and prosperity. But following the mysterious assassination of its King, Queen and Princess, the then ambitious senator Balisarius rose to power. He created a massive military known as the Imperium and has used it to strengthen his reign and expand his empire.

Kora’s village is visited by an Imperium squad under the command of Admiral Atticus Noble (a fittingly vile Ed Skrein). He’s on a mission to hunt down and destroy pockets of resistance that are believed to be hiding among the outer planets. Noble forces the village into a pact to provide an unreasonable amount of grain for his armies. He gives them ten months to have it ready before showing them the consequences of failing him.

After a group of remaining Imperium soldiers attempt to rape a young local girl, Kora kills them all, revealing a side of herself she has kept hidden from her community. Due to her secret past with the Imperium, Kora knows Noble will retaliate after hearing his soldiers are dead. So she sets off to recruit warriors to help stand against the Imperium. She convinces a fellow villager named Gunnar (Michiel Huisman) who has connections with the resistance to accompany her. They’re helped off the planet by a mercenary and smuggler named Kai (Charlie Hunnam).

From there Snyder whisks us from one visually rich and interesting planet to the next, recruiting a new member to his band at each stop. They include a former Imperium general (Djimon Hounsou), a cyborg swordmaster (Bae Doona), a prince in bondage (Staz Nair), and a fierce freedom fighter (Ray Fisher). Together they make a formidable team despite many of them lacking in individual detail.

As with other Snyder movies, “Rebel Moon” features most of the filmmaker’s visual trademarks. There’s the jaw-dropping CGI, lots of stylish slow-motion, and crisply choreographed action sequences, all of it shot by Snyder himself. And as the story progresses we get several fun nods to past movies, television shows, and genres. As the full title clearly indicates, this is just the first part of Snyder’s opus. But he does bring it to a kinetic climax before setting up his next film due out in April.

Of course before the next film releases we will be getting the extended cut of Part One in early 2024. This begs the question, why release the first film like this? From every indication it was a Netflix decision. It seems Snyder was given the green light to “go nuts” and create whatever he wanted under the agreement that Netflix would release a neutered PG-13 version first. Was it to make a version of the film that was suitable for a broader audience? Was it some bizarre tactic to try and recreate the Snyder Cut zeal? Either way, this cut certainly entertained me. But what it did most was excite me for the potentially better extended cut that’s just around the corner.

VERDICT – 3.5 STARS

REVIEW: “The Boys in the Boat” (2023)

December 19, 2023 by Keith Garlington

George Clooney returns to the director’s chair with “The Boys in the Boat”, a biographical sports drama based on the true story of working class University of Washington rowers who defied all odds to represent the United States in the 1936 Summer Olympics in Berlin, Germany. The film is written for the screen by Mark L. Smith (“The Revenant”) who is adapting Daniel James Brown’s 2013 nonfiction book of the same name. It’s really good material.

Whether he hits or misses his marks, I’ve mostly enjoyed Clooney’s classical directing style (a style that’s rarely as appreciated today as it once was). With “The Boys in the Boat” he has delivered one of the bigger surprises of the year – a film with the kind of old-fashioned crowdpleaser quality that still resonates for many of us. It tells yet another inspirational underdog sports story yet one rich with humanity. And it takes place within a period setting that’s captured with impeccable authenticity.

Standing out among the film’s many strengths is the tough yet affecting performance from Callum Turner. He brings grit and pathos to the character of Joe Rantz. Abandoned by his father shortly after his mother died, Joe has been raising himself since he was 14-years-old. Set in 1936, we meet Joe living in the hull of a rusted out car. Each day he walks from his homeless community in Seattle to the University of Washington where he’s working on a degree in engineering.

**Image Courtesy of Amazon MGM Studios**

But Joe gets some bad news. He still owes for his current semester and he’s given two weeks to pay his balance or he’ll be kicked out. Desperate and unable to find a part-time job, Joe decides to try out for the rowing team after being told he can earn some money. He joins dozens of other young men vying for the eight open spots on Washington’s junior rowing crew. Overseeing the grueling tryouts is former rower and seasoned university coach Al Ulbrickson (a terrific Joel Edgerton).

To no surprise Joe makes the team which gets him in a dorm and helps pay for his school. But he quickly learns that rowing is all about the boat and the team you put in it. And as a brotherhood forms between the eight young men, they begin to realize some unexpected potential. Soon the junior crew is outshining the varsity team leaving Coach Ulbrickson with a decision – does he endure the scorn of his boosters and do the unthinkable? Does he take his junior crew rather than his varsity guys to the Olympic qualifiers?

Without question many of the film’s themes are familiar ones. Topics such as defying the odds and overcoming adversity are inherent to stories like this. But that doesn’t make them any less impactful especially when they’re handled as well as they are here. But beyond these more traditional ideas, it’s the movie’s setting that steers it into more unexpected waters.

On the precipice of a Second World War, the 1936 Summer Olympics were held in Nazi Germany. Adolph Hitler saw hosting the event as a means of promoting his party’s antisemitic platform. It’s a necessary part of the film’s true account and Clooney approaches it smartly. He doesn’t linger on the obvious and he doesn’t give in to the urge to spell everything out. Instead he allows us to take it in and absorb it. The scarlet red Nazi banners and black swastikas; the appearance of Hitler himself, and the chilling cheers from the mass of supporters. Clooney lets his images speak rather than spinning us off on an unnecessary side story.

The performances are great throughout. I’ve mentioned Turner who is a revelation and Edgerton who seems to be able to plug into any role and nail it. There’s also a great turn from Peter Guinness who plays a wise old boatmaker and the team’s mentor. Hadley Robinson is utterly charming as Joe’s sweet but forward love interest. And then you have the collection of young actors who bring character and personality to the rowing team. It’s a fine ensemble.

In some ways “The Boys in the Boat” shares a common framework with many other sports movies. But narrowing this one down to just a ‘sports movie’ would be dismissive. There’s so much more to this uplifting and sincerely human feature. The heart-pounding races are brilliantly shot and edited while the production design and costumes help transport us. But it’s Clooney’s ability to create and define the personal stakes as well as deliver satisfying emotional payoffs that make “The Boy in the Boat” more than your run-of-the-mill feel-good sports flick.

VERDICT – 4.5 STARS

“Oppenheimer” Takes Top Honor as the Southeastern Film Critics Association Award the Best From the 2023 Movie Year

December 18, 2023 by Keith Garlington

Today the voting body of the Southeastern Film Critics Association (which I’m proudly a member of) has announced their choices for the best of the 2023 movie year. The big winner was Christopher Nolan’s “Oppenheimer” which was named Best Picture. In addition, the film took home honors for Best Director, Best Actor, Best Supporting Actor, Best Adapted Screenplay, Best Ensemble, Best Cinematography, Best Score.

Below is the official press release from the Southeastern Film Critics Association along with a full list of the winners.

Monday, December 18, 2023 – The Southeastern Film Critics Association (SEFCA) has named
Christopher Nolan’s Oppenheimer as the Best Picture of the Year. SEFCA’s eighty-nine members
located across nine Southeastern states also recognized Christopher Nolan for Best Director
and Best Adapted Screenplay. Additionally, the film earned Best Actor for Cillian Murphy, Best
Supporting Actor for Robert Downey, Jr. and Best Ensemble for its star-studded cast that
includes Emily Blunt, Matt Damon, Aldren Ehrenreich, Jason Clarke, Tom Conti, Josh Hartnett,
Kenneth Branagh and others. Behind the camera Oppenheimer took the top prizes for Best
Cinematography (Hoyte Van Hoytema) and Best Score (Ludwig Goransson).
“This fall featured three big films from three grandmasters of cinema,” said SEFCA President
Scott Phillips. “Martin Scorsese released Killers of the Flower Moon. Ridley Scott brought
Napoleon to the big screen and Michael Mann hits theaters next week with Ferrari. Despite this
bumper crop from heavy-hitting auteurs, Christopher Nolan’s film from six months ago is
walking away with eight SEFCA awards. Oppenheimer is a stunning cinematic achievement. Our members recognized that in July, and they are rewarding it in December.”
When asked about the film year that was 2023, SEFCA Vice President Jim Farmer said, “2023
will be remembered by many as the year that featured the commercial, critical and cultural
phenomenon known as Barbenheimer. But it was also a season that offered a stunning amount
of high-quality films, with master filmmakers near the top of their games, fresher faces making
strong impressions and performers showing new dimensions. It was a pleasure to take in all that
2023 had to offer.”
Those “fresher faces” include writer/director Celine Song whose debut feature, Past Lives, lands
at # 4 on SEFCA’s Top 10 of 2023, and writer/director Cord Jefferson whose debut feature,
American Fiction, placed seventh in the SEFCA Top 10. The diverse list also includes an
animated film (Spider-Man: Across the Spider-Verse) and two foreign films (Anatomy of a Fall,
The Zone of Interest).

Read SEFCA’s full list of winners below. Visit SEFCA on the web at SEFCA.net to learn more
about its members as well as past winners. You can also follow SEFCA on Twitter at
@SEFilmCritics.

Top 10 Films of 2023

Oppenheimer
Killers of the Flower Moon
The Holdovers
Past Lives
Barbie
Poor Things
American Fiction
Spider-Man: Across the Spider-Verse
Anatomy of a Fall
The Zone of Interest

Best Actor:
Cillian Murphy, Oppenheimer

Best Actress:
Lily Gladstone, Killers of the Flower Moon

Best Supporting Actor:
Robert Downey, Jr., Oppenheimer

Best Supporting Actress:
Da’Vine Joy Randolph, The Holdovers

Best Ensemble:
Oppenheimer

Best Director:
Christopher Nolan, Oppenheimer

Best Original Screenplay:
David Hemingson, The Holdovers

Best Adapted Screenplay:
Christopher Nolan, Oppenheimer

Best Documentary:
Still: A Michael J. Fox Movie

Best Animated Film:
Spider-Man: Across the Spider-Verse

Best Foreign-Language Film:
Anatomy of a Fall

Best Cinematography:
Hoyte Van Hoytema, Oppenheimer

Best Score:
Ludwig Goransson, Oppenheimer

REVIEW: “The Iron Claw” (2023)

December 18, 2023 by Keith Garlington

Growing up as a kid in the South during the 1980s, professional wrestling had a huge impact. But it wasn’t just for knot-headed boys like me. Regional wrestling had fans of all shapes, sizes, and colors. Heck, it was my incredible grandmother who first introduced me to the wonderful world of pro wrestling. The two of us had a ritual. I would walk over to her house on Saturday mornings and together we would sit and watch Mid-South Wrestling. It was a special time.

During the territory days, the television shows, wrestling magazines, and arena cards were dominated by big names like Ric Flair, Harley Race, Junkyard Dog, Hacksaw Jim Duggan, and the Fabulous Freebirds (just to name a few). But few were bigger than the Von Erichs, a family of wrestlers originating out of Denton County, Texas. Brothers Kevin, David, Kerry, Mike, and Chris wrestled professionally under the leadership of their father Fritz. Sadly their many accomplishments inside the ring are often overshadowed by the personal tragedies that followed their famous family.

Sean Durkin writes and directs “The Iron Claw”, a wrenching biographical drama that sets out to share the story of the Von Erichs. Durkin highlights many of the family’s professional achievements and documents their rise in popularity. But his biggest focus is on their lives outside of the ring, namely the tight-knit brotherhood the boys shared and their well-meaning yet self-destructive drive to please their overbearing and demanding father.

If you’re familiar with the true story of the Von Erichs you know “The Iron Claw” won’t be an easy watch. Durkin approaches it with honesty and empathy, palpably manifesting the pressurized father-sons dynamic and then hitting us with the inescapable heart-crushing results. It makes for a devastating family portrait. Yet it’s a story that doesn’t quite feel complete due to the odd omission of Chris Von Erich, the youngest brother who committed suicide in 1991. Durkin has stated Chris was left out because of running time concerns. But it could also have been an act of mercy – sparing us of even more anguish.

“The Iron Claw” is told mostly from the perspective of Kevin Von Erich (Zac Efron), the oldest son after the tragic death of his brother Jack Jr. at age 6. Through his eyes we see a family driven and ultimately decimated by a father’s personal war against a wrestling industry that never gave him the respect he felt he deserved. As a wrestler-turned-promoter, Fritz Von Erich (played with unnerving intensity by Holt McCallany) viewed everything through the prism of competition, pitting son against son and grooming them for his own selfish interests.

But Durkin keenly establishes the unbreakable fraternal bond between Kevin and his brothers David (Harris Dickinson), Kerry (Jeremy Allen White), and Mike (Stanley Simons). Their in-ring scenes are exquisitely choreographed and shot, often captured in rigorously detailed recreations of old television broadcasts and inside famed venues such as the Sportatorium south of downtown Dallas. When wrestling, the brothers have an electric presence that can energize a crowds (and us). These scenes are rich with nostalgia and loads of fun.

But it’s when they’re navigating the turbulence of their lives outside of the spotlight that their closeness really comes to light. Of course the brunt of that turbulence comes from their embittered father who shows little concern for the consequences of pushing his sons too hard. Fritz is especially tough on Mike who dares to have interests outside of wrestling. Their mother Dottie (Maura Tierney) isn’t much help. She refuses to get involved preferring to stay emotionally detached. So all the brothers really have are each other.

The unfaltering love and devotion they share makes their eventual downward spiral all the more difficult to endure. “Ever since I was a child people said our family was cursed,” Kevin solemnly shares. It’s a thought firmly lodged in the back of his mind and that haunts him more with each devastating gut-punch to his family. There are moments of light, such as Kerry beating Ric Flair (Aaron Dean Eisenberg) for the NWA World Heavyweight Champion and Kevin meeting and falling for a straightforward sweetheart named Pam (Lily James). But in reality they’re doomed by a self-serving father’s iron claw-like grip on his family.

Thankfully Durkin does provide us with a needed emotional release – a cathartic final scene that’s wholeheartedly earned and that offers us a glimmer of hope. It’s a surprisingly tender stroke for Durkin and a fitting cap on his affecting screenplay – one of the year’s best. Equally great is the terrific ensemble cast led by Efron who has never been better. He physically bulks up for the part, almost to the point of being unrecognizable. But it’s his artlessness and heartfelt sincerity that imbues the performance with such authenticity and texture.

You don’t have to love professional wrestling to be enthralled with “The Iron Claw”. But that’s not to say old-school fans won’t love the numerous name drops and cool callbacks (Durkin has really done his homework). At the same time, you can’t put this film in a box with other sports dramas. The heart-rending true story it tells doesn’t allow it. And for that matter neither does Durkin. He has crafted a painfully absorbing feature through both his pen and camera. And even with the aforementioned omission, it’s clear he cares about this story. And the sincerity of his affection resonates in a really big way. “The Iron Claw” hits theaters December 22nd.