REVIEW: “The Wonderful Story Of Henry Sugar” (2023)

October 5, 2023 by Keith Garlington

The delightfully eccentric artistry and craft of Wes Anderson is on full display with “The Wonderful Story Of Henry Sugar”, the first film in a four-part series of shorts adapted from the works of Roald Dahl. Written, directed, and produced by Anderson, the 38-minute short film is based on Dahl’s 1977 story of the same name. It’s soaked in the filmmaker’s signature style which turns out to be a perfect fit for Dahl’s flavorful verbiage.

“The Wonderful Story of Henry Sugar” is some of Anderson’s most visually striking work to date. He uses a distinctly theatrical approach in staging scenes and in ushering the audience from one scene to the next – utilizing elaborate moving sets, sumptuously painted backdrops, and richly detailed dioramas. And of course it’s all bathed in Anderson’s unique storybook color palette.

As for the storytelling, Anderson sticks close to Dahl’s own words, pruning it a bit to seamlessly flow with his on-screen vision. The film stars a handful of Anderson reliables who each serve as both characters and narrators. They peer straight into the camera, addressing the audience directly while delivering the fast-paced dialogue with astonishing precision and fluidity.

Ralph Fiennes plays a version of Dahl himself who gives us an introduction to his story from inside his cramped but cozy “writing hut” (later Fiennes shows up as a policeman in one of the film’s funniest bits). A delightfully wry Benedict Cumberbatch plays the titular Henry Sugar, a self-involved and unashamedly bad gambler who finds himself consumed with the contents of a book he swipes while visiting a rich friend’s estate.

The book contains the story Imdad Khan (Ben Kingsley), a man who claimed to have the ability to see without using his eyes. Within the small volume Khan recounts his meeting with an old mystic who taught him how to see things with his mind rather than eyes. Unyielding in his desire to get ahead, Henry sees an opportunity. If he can study the book and learn the ancient skill, he could use it to win (cheat) at the blackjack table.

While every performance hits just the right note, Dev Patel may steal the show. He plays Dr. Chatterjee who chronicles his encounters with Imdad Khan. Together with his colleague Dr. Marshall (an equally fantastic Richard Ayoade), the two find themselves in utter awe and unable to explain the strange man’s ability. Patel is an absolute riot, meticulously detailing every impression and emotion they felt yet doing so in the most deadpan way imaginable. He’s hilarious.

Anderson’s story within a story within a story structure is ingenious and he pulls it off to near miraculous perfection. It’s fascinating to watch as he takes such specific usages of visuals, narrative, and performance and caramelizes them into something so precise and flavorful. Overall this is a far cry from the filmmaker’s more understated(ish) earlier work. Yet nothing here is done for mere eccentricity’s sake. There’s such a wonky harmony between Dahl’s words and Anderson’s profoundly unique style which makes this quirky short film such a delight. “The Wonderful Story Of Henry Sugar” is now streaming on Netflix.

VERDICT – 4.5 STARS

What’s Showing: 5 October Movies to Watch For

October 4, 2023 by Keith Garlington

It’s hard to believe but October has arrived. Spooky season is here and awards season is right around the corner. That means horror fans will be eating well this month and studios will begin rolling out some of their biggest movies it hopes of garnering attention from awards voters. This month sees one of the mostly anticipated movies of the year, a wide range of chillers, some solid streaming fare, and a particularly intriguing biopic.

Here are 5 October movies to watch for…

“Killers of the Flower Moon” (October 20th)

Without question the most exciting movies coming out in October is Martin Scorsese’s “Killers of the Flower Moon”. It’s a big deal any time we get a new Scorsese film. This one, based on David Grann’s 2017 book of the same name, looks to be one of the 80-year-old legend’s most ambitious films yet. It’s a 3-hour and 26-minute period epic that features a sterling cast that includes Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Brendan Fraser, and John Lithgow. In theaters October 20th.

“Priscilla” (October 6th)

In just a few days writer-director Sofia Coppola is back with “Priscilla”, a biographical drama based on Priscilla Presley’s 1985 memoir “Elvis and Me”. The film sees Cailee Spaeny playing the wife of the King of Rock and Roll. The story follows twelve years of Priscilla’s life and takes a considerably more understated approach than Baz Luhrmann’s Oscar nominated “Elvis”. It also stars Jacob Elordi, Dagmara Domińczyk, Raine Monroe Boland, Emily Mitchell, and Rodrigo Fernandez-Stoll. In theaters October 6th.

“Five Nights at Freddy’s” (October 27th)

Horror fans will have plenty of movies to choose from over the next few weeks. Perhaps one of the wackiest is director Emma Tammi’s “Five Nights at Freddy’s”. Based on the popular video game series, the story takes place in a fictional family pizza restaurant called Freddy Fazbear’s Pizza. The restaurant’s mascot, an animatronic bear named Freddy, and his robotic cohorts turn into killers after the strike of midnight. Sound ridiculous? I certainly hope that it is. The film stars Josh Hutcherson, Elizabeth Lail, Piper Rubio, Matthew Lillard, Kat Conner Sterling, and Mary Stuart Masterson. In theaters October 27th.

“Fair Play” (October 13th)

Chloe Domont writes and directs “Fair Play”, a semi-erotic workplace thriller which marks Domont’s feature film debut. The movie grabbed a lot of attention after premiering at this year’s Sundance Film Festival. It received a very limited big screen release but will be premiering on Netflix within the coming days. Engaged couple Phoebe Dynevor and Alden Ahrenreich work at a cutthroat hedge fund firm where office romances are forbidden. After she gets a promotion that he coveted, their relationship begins to unravel. The film also stars Eddie Marsan, Rich Sommer, and Sebastian de Souza. Streaming on Netflix October 13th.

“Foe” (October 6th)

The always compelling Saoirse Ronan and the internet’s current ‘it guy’ Paul Mescal star in “Foe”, a science-fiction thriller from director Garth Davis who’s perhaps best known for his 2016 film “Lion”. In what plays as much as a psychological thriller as it does sci-fi, “Foe” sees its two stars playing a married couple who have their lives turned upside down after he’s chosen for an experiment on a large space station. While he’s gone she’s left behind with his AI replica. Aaron Pierce also stars. In theaters October 6th.

More Events Announced for Filmland 2023

October 3, 2023 by Keith Garlington

The Arkansas Cinema Society has announced more exciting events for Filmland 2023 highlighted by a special screening featuring Michael Shannon. The two-time Oscar-nominated actor is bringing his directorial debut film “Eric LaRue” starring Judy Greer, Alexander Skarsgård, and Paul Sparks to Filmland on Saturday, October 14th. A screening of the film will be followed by a Q&A hosted by filmmaker Jeff Nichols. Doors open at 6:30 PM and the film starts at 7:00 PM. Tickets are on sale NOW at Filmland.org.

Here’s more from the Arkansas Cinema Society’s official press release…

Old friends will reunite during Filmland 2023 as Academy Award nominee Michael Shannon brings his directorial debut, “Eric LaRue“, to Little Rock for a special screening with long-time collaborator Jeff Nichols on Saturday, October 14th at CALS Ron Robinson Theater, located at 100 River Market Avenue. The filmmakers will have a Q+A following the screening. Doors open at 6:30 p.m. and the show starts at 7:00 p.m. Admission is $40 and tickets can be purchased at Filmland.org. Come connect and network at the happy hour before the screening at Flora Jean’s and after the screening + Q&A at Cache!

“Michael Shannon and Jeff Nichols have a powerful creative partnership that spans almost two decades, having collaborated on eight films to date. We are beyond excited to see them talk from this new perspective, peer to peer as directors, with Michael Shannon’s directorial debut. We are so thankful to Filmland for this special opportunity,” said producers Sarah Green, Karl Hartman and Jina Panebianco.

In the aftermath of a shocking crime at the hands of their son, two parents seek solace in rival religious congregations in Michael Shannon’s emotional directorial debut, Eric LaRue. This special screening takes place during the second weekend of Filmland 2023, running from Oct. 13-17th. All other events will take place at the Arkansas Museum of Fine Arts, located at 501 E. Ninth St., including the Filmland: Arkansas weekend of homegrown films on Oct. 6-7th.

The Arkansas Cinema Society has also announced two intriguing workshops, both set for the afternoon of Saturday, October 14th.

The first is THE ART OF DIRECTING featuring writer/director Jeff Nichols. From ACS: “Take a deep dive into the creative process with master storyteller Jeff Nichols as he discusses his process for taking a story from the page to the screen.” The workshop begins at 1:30 PM and tickets can be purchased HERE.

The second is THE ART OF BEING A FILM CRITIC featuring Variety‘s chief film critic, Peter Debruge and writer/director Jeff Nichols. From ACS: “Writing a movie is one thing; writing about a movie is a whole different set of skills. Join Variety’s chief critic, Peter Debruge, in a conversation with Jeff Nichols about Peter’s experience being a film critic.” The workshop begins at 4:00 PM and tickets can be purchased HERE.

More Filmland 2023 announcements are on the way so stay tuned…

REVIEW: “Saw X” (2023)

October 3, 2023 by Keith Garlington

Full disclosure: I have no vested interest in the Saw franchise. I haven’t seen all the movies so I can’t tell you how the tenth installment, “Saw X” stacks up against the previous films. But I’ve seen enough of them to know what’s going on. And despite not liking the 2021 spin-off “Spiral”, the trailer for “Saw X” was enough to convince me to give it a shot. Color me surprised.

Regardless of my own personal history with it, the Saw series clearly has a following. It has grossed over $1 billion at the box office and usually against relatively modest production budgets. It’s no wonder Lionsgate has kept the franchise going.

Director Kevin Greutert (“Saw VI” and “Saw 3D”) returns to helm the latest which is said to be a direct sequel to the original 2004 “Saw” and a prequel to 2005’s “Saw II”. Tobin Bell (now 81-years-old) is back as John Kramer, the ruthlessly principled killer known as “Jigsaw”. I’m not well versed enough to fully understand how this fits in the Saw timeline, but the movie opens with John Kramer finding out he has terminal brain cancer. John struggles with his grim prognosis and even joins a cancer support group to help him cope.

John learns about The Pederson Project, a radical experimental cancer treatment in Norway developed by Dr. Finn Pederson. It touts a success rate of over 90% but the doctor has been forced into hiding by the big drug companies. John reaches out and is contacted big the doctor’s daughter Cecilia (Synnøve Macody Lund). She’s taking her father’s treatment on the road for trials and schedules John for a procedure in Mexico City for a small fee of $250,000.

Unexpectedly, a large chunk of the film plays like a thoughtful drama, following John as he’s forced to reckon with his fate and later as he finds hope after thinking all was lost. Not only does this add some interesting layers to the John Kramer character, but it offers Tobin Bell a chance to extend himself as an actor. He gives a subtly rich performance with some surprising emotional depth.

But don’t worry Saw fans, Greutert and co-writers Peter Goldfinger and Josh Stolberg know what you come to a Saw movie for. I won’t spoil how, but John’s new lease on life is shattered after he finds himself the victim of a heartless con (boy did they pick the wrong guy). With the help of his young apprentice Amanda Young (Shawnee Smith), John begins rounding up everyone involved and forcing them to play a new round of cleverly designed and gruesomely gory games.

“Saw X” runs a little long and it has a few slow patches. But Greutert and company tell a tight and well-structured story built firmly around a riveting Tobin Bell performance. He’s grizzled and pitiless; still driven by his warped moral code. Yet he also brings a human pulse to both John Kramer and the movie as a whole. Bell is crucial to the film’s success.

But again, franchise die-hards need not worry. Greutert still delivers the gag-worthy gore they demand including what might be the craziest scene involving a pile of intestines you’ll ever see on screen (sorry, I couldn’t resist mentioning it). It’s still very much a Saw movie although one that makes a little more sense of the bloody carnage and chaos the franchise is known for. And that makes “Saw X” a welcomed surprise. “Saw X” is in theaters now.

VERDICT – 3.5 STARS

First Glance: “Leave the World Behind”

October 2, 2023 by Keith Garlington

How’s this for an exciting cast: Julia Roberts, Ethan Hawke, Mahershala Ali, and Kevin Bacon. The quartet star along with Myha’la Herrold, Farrah Mackenzie, and Charlie Evans in writer-director Sam Esmail’s “Leave the World Behind”. Netflix has dropped the first trailer for this intriguing psychological thriller which is based on Rumaan Alam’s 2020 novel of the same name.

Roberts and Hawke play Amanda and Clay, a couple who have their Long Island vacation interrupted when the two mysterious owners of their Airbnb (Ali and Herrold) arrive to warn them of an impending blackout. The man claims that the “patterns of the world” indicate that something far more serious is on the horizon. The apocalypse perhaps? I love the look of this and can’t wait to find out where Esmail takes this story.

“Leave the World Behind” premieres on Netflix on December 8th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Creator” (2023)

October 2, 2023 by Keith Garlington

If there ever was a 2023 movie that seems to have flown under many radars it would have to be “The Creator”. This ambitious science-fiction action thriller crept up with little fanfare yet left a significant impression with its eye-popping trailers. Now it’s in theaters and what we‘ve been given borders on extraordinary. This is a movie built around a bold original vision that begs to be experienced on the biggest screen available. Hopefully it finds a well-deserved audience.

“The Creator” is the brainchild of director and co-writer Gareth Edwards, the mind behind 2014’s “Godzilla” and 2016’s “Rogue One: A Star Wars Story”. This time he has stepped away from franchise movies and created something entirely his own – a thoughtfully conceived and incredibly well-crafted sci-fi epic brought to screen through a true visionary’s lens. Not everything clicks into place (more on that later), but as a whole it’s pretty remarkable.

**Image Courtesy of 20th Century Studios**

Storywise “The Creator” does what some of the best science-fiction movies do – it opens up and examines real-life current-day issues. In this case it’s several things including the growing AI debate. Visually it’s a breathtaking spectacle – an $80 million movie that looks ten-times better than most of the $200 million features we have gotten this year. Together they combine for some spectacular world building, immersing us in an enthralling war-torn dystopia that shrewdly combines the influences of “Blade Runner”, “District 9”, and even “Platoon” among many others.

Set in 2065, Earth has found itself on the brink. Robots created with hi-tech artificial intelligence gained independent thought and over time grew more advanced, even donning the faces of humans who have donated their likenesses. They’ve sought to assimilate into human society. But after a robot allegedly detonated a nuclear warhead in Los Angeles, incinerating nearly one million people, AI were banned in the West. As robots were being rounded up and destroyed, many fled to New Asia where AI manufacturing remained legal. There they built an army and soon they were at war with the West.

John David Washington plays Sgt. Joshua Taylor, an American special forces operative who we first meet on an undercover mission behind enemy lines in New Asia. He’s tasked with discovering the identity and whereabouts of Nirmata, the mysterious and inspiring leader of the AI. During his mission he fell in love and married Maya (Gemma Chan), a human ally to the robots who is pregnant with his child. But after a premature assault by American forces, Maya and their unborn child are presumed killed.

Five years pass and a hardened Joshua is approached with information that Maya is alive and working alongside the AI in New Asia. He agrees to lead an assault on a lab where the AI are creating a super weapon. Backed by the truly ominous USS Nomad, an orbital station looming overhead, the Americans seek to destroy the weapon, level the lab, and end the war. Joshua’s goal is the find Maya and get her to safety before the assault commences. But things change when Joshua discovers the weapon is actually a 6-year-old AI girl who he dubs Alphie (Madeleine Yuna Voyles).

Believing the child can help him find Maya, Joshua disobeys orders and escapes with Alphie. This sets in motion the bulk of the film which follows their growing relationship while on the run. Joshua’s eyes inevitably begin to open while the American military’s violent fervor to destroy Alphie only intensifies. Edwards uses their journey to introduce a number of thoughts related to conspiracy theories, fearmongering, militarization, and justifying violence in the name of peace. Then of course you have the whole AI issue.

It goes without saying that Edwards has a lot on his mind. The themes he’s dealing with are rich although his positions can be overly simplistic and even sketchy in places. He often ignores more probing concerns and goes for surface level treatments instead. And his metaphors can be so glaringly on the nose that they sometimes lose their power.

Elsewhere his story leans too heavily on some well-worn tropes without doing much new with them. Clichés pop up in the plotting and in some of the characters, especially the one-note American military. This issue is epitomized in an overly brawny Allison Janney who plays a prototypical cold-blooded Colonel without a hint of nuance. She barks out orders with a callousness that borders on comical. There’s never a doubt of whose side Edwards is on.

Yet despite the occasional sloppy messaging, “The Creator” remains a striking original work. The world Gareth Edwards has created is captivating and imaginative, full of evocative imagery and jaw-dropping spectacle. But equally important is the film’s human pulse. It never loses its heart. And when combined with its stunning visual palette, it makes it a lot easier to look past the movie’s rather noticeable issues. “The Creator” is in theaters now.