Author Archives: Keith Garlington

REVIEW: “The Creator” (2023)

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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.

Image Courtesy of 20th Century Studios

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.

Image Courtesy of 20th Century Studios

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.

VERDICT – 4 STARS

REVIEW: “It Lives Inside” (2023)

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In the supernatural horror film “It Lives Inside” Sam (Megan Suri) is an Indian-American high school student caught between fitting into western culture and honoring the traditions of her Hindu heritage. It’s a key conflict in the film with one side represented by dim and insensitive white kids and the other by Sam’s stern and legalistic mother Poorna (Neeru Bajwa). In that brief description lies both the strengths and weaknesses of this admirable yet unremarkable chiller.

Despite being a little too on the nose in how it’s represented, the above mentioned clash offers writer-director Bishal Dutta an opportunity to explore several compelling themes surrounding cultural identity, assimilation, and faith in our modern society. Unfortunately the movie never goes too deep into anything. But even a light treatment of such interesting and relevant subjects is welcomed. How long that good will lasts may vary.

Growing up, Sam and her childhood best friend Tamira (Mohana Krishnan) were inseparable. But once they entered high school Sam’s desire to make new friends led to them drifting apart. Sam fell in with the popular crowd while Tamira found herself bullied and an outcast. But something else is going on with Tamira. She looks as if she hasn’t slept for days. And she walks around clinging to a mysterious mason jar. A sympathetic teacher named Joyce (Betty Gabriel) encourages Sam to check on her estranged friend.

Image Courtesy of NEON

Meanwhile Sam’s strained relationship with her ultra conservative mother makes things difficult at home. Her more lenient father Inesh (Vik Sahay) tries to play peacemaker but to no avail. Dutta creates an interesting family dynamic and sets the table for some potentially thoughtful developments. But like so much in “It Lives Inside”, the movie barely scratches its thematic surface.

Then you have the movie’s horror element which offers plenty of atmosphere but very little in terms of genuine frights. Not wanting to ruin her newfound popularity, Sam eventually confronts Tamira, breaking her jar and unintentionally unleashing something quite sinister. Tamira suddenly vanishes and the demon begins terrorizing Sam. There’s certainly ambition and some of the symbolism is pretty smart. But the movie never gears up into something even remotely unsettling.

So we end up with a movie that hints at its cultural themes more than digs into them. And we end up with horror that’s too derivative to muster much tension. There are flashes that show Dutta’s potential as a filmmaker and the cast is solid despite the sometimes flimsy material. But as it is, “It Lives Inside” never quite reaches its mark. And that’s a shame because it has plenty of good ingredients that could have made for something tastier. “It Lives Inside” is in theaters now.

VERDICT – 2 STARS

REVIEW: “Love at First Sight” (2023)

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Haley Lu Richardson is just one reason to enjoy “Love at First Sight”, an unexpectedly contagious romantic comedy from director Vanessa Caswill. The 28-year-old actress has shined in a number of independent features since debuting in 2014 and she remains one of the most compelling young faces in modern cinema. She again shows why in this sweet but not saccharine Netflix Original that’s based on Jennifer E. Smith’s 2011 novel “The Statistical Probability of Love at First Sight”.

Interestingly, there’s nothing especially groundbreaking about the movie’s framework. Its premise is fairly familiar and the story plays out pretty much how we expect it to. But Caswill and screenwriter Katie Lovejoy do something that is essential for movies like this to work – they create and develop likable characters who we genuinely care about. And that attachment makes it easy to invest in their budding relationship, even if it’s a little by-the-books.

Image Courtesy of Netflix

While its hokey title may give you pause, “Love at First Sight” isn’t as much about the warm and fuzzies of love as it is about its meaning and the possibility of its inextricable link to fate. Yes it’s plenty sweet and charming. But Caswill wants us to see her characters as real people rather than stock quality rom-com cut-outs. So she presents them as real people by focusing more on their situations and circumstances rather than the usual genre schmaltz.

The story begins on December 20th which the narrator (played by Jameela Jamil) tells us is the busiest day of the year for JFK airport in New York. Jamil represents fate itself and she routinely pops up to play her part, sometimes as a flight attendant, a bartender, a bus driver, etc. She introduces us to Hadley Sullivan (Richardson), a 20-year-old NYU student and Oliver Jones (Ben Hardy), a 22-year-old Englishman. Unexpected circumstances lead to them meeting while waiting on their flight to London.

Hadley is on her way to her divorced father’s (Rob Delaney) wedding. Oliver is heading back home to attend a Shakespearean themed “living memorial” for his dying mother (Sally Phillips). Both are navigating tough family situations and both find solace (and maybe even true love) in each other after the stars align during their seven-hour flight across the Atlantic.

Of course you all know how these things work. It’s never that easy at first. In this case the two go their separate ways after customs and the narrator is quick to remind us that the statistics (and the movie loves sharing statistics) aren’t in the potential couple’s favor. But don’t forget about the craftiness of fate and its ability to defy mere facts and figures.

Image Courtesy of Netflix

The movie could have easily taken the more sappy conventional route. But to its credit, it does allow Hadley and Oliver some time away from the romantic angle. It’s welcomed time spent focused on their individual storylines and allowing them the space to grow as characters. Don’t get me wrong. It’s still very much a love story at its heart. But it might surprise you with how much attention it gives to other things.

“Love at First Sight” may not work for the curmudgeon at heart. But it’s the kind of lean and savory comfort food that certain others are sure to find tasty. Clocking in at under 90 minutes, the movie never overstays its welcome. Yet I do wish more time was given to Hadley and Oliver hammering out the feelings they have for each other. Still Richardson and Hardy have a sparkling chemistry and the movie gleams whenever they’re on screen together. They’re authentic, relatable, and all the motivation we need to see their story play out. “Love at First Sight” is now streaming on Netflix.

VERDICT – 3.5 STARS

First Glance: “May December”

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Netflix has dropped a new trailer for their upcoming drama “May December” from director Todd Haynes. It’s written by Samy Burch and based on a story he conceived with Alex Mechanik. The film had its premiere in May at the Cannes Film Festival where it was promptly acquired by the Netflix for $11 million. The very premise is discomforting and by the looks of the trailer we’ll be able to say the same thing about the movie itself.

“May December” is anchored by two terrific leads, Natalie Portman and Julianne Moore. Portman plays an actress who visits a married couple’s home to do research for a film about their lives. It turns out that 20 years earlier the wife (Moore) and her significantly younger husband (played by Charles Melton) were involved in a scandalous affair that made headlines across the country. Their relationship begins to crumble as they’re forced to relive their troubling past in the presence of their watchful guest. Without question there is an ickiness baked into the story. I’m anxious to see what Haynes does with it.

“May December” opens in select theaters on November 17th before streaming on Netflix on December 1st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Reptile” (2023)

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For my money Benicio del Toro is an instant draw and he’s handed a tasty role in the sleek new crime thriller “Reptile”. It marks the feature-film directorial debut from Grant Singer who co-wrote the screenplay with del Toro and Benjamin Brewer. Playing like a gritty whodunnit but with a dash of neo-noir flavoring, “Reptile” revolves around the brutal murder of a young real estate agent and a hard-boiled detective’s relentless search for answers.

In classic whodunnit fashion, the truth is elusive in “Reptile”. New characters enter the picture, each framed as potential suspects with their own potential motivations. Del Toro’s Detective Tom Nichols is the one tasked with sorting out facts from fiction. As he tries, “Reptile” takes on the feel of a slow-burning police procedural. One that uncoils at a methodical pace (perhaps too slow for some) yet maintains its simmer.

Image Courtesy of Netflix

But what sets it apart is the strange and slightly offbeat vibe that permeates the entire movie. “Reptile” is very much a crime thriller. But Singer takes it in some peculiar and even darkly funny directions. It takes a few minutes to get in sync (bad joke intended) with what he’s doing. But once you do, its smattering of cliches and overtly obvious needle drops end up adding to the movie’s quirky appeal.

Set in the New England suburb of Scarborough and with Juice Newton’s “Angel of the Morning” echoing in the background, we’re introduced to power couple Will (Justin Timberlake) and Summer (Matilda Lutz). They’re high-end realtors selling pricey homes in an affluent part of town. As for their relationship, there is some clear tension from the get-go. Enough that when Summer ends up savagely murdered, Will is immediately the prime suspect.

Switch to Detective Tom Nichols, a fascinating protagonist made so through del Toro’s wily performance. Throughout his career del Toro has excelled at playing intense and often eccentric characters. Here he’s a far cry from your prototypical movie cop. He sports a jet-black pompadour, loves Oklahoma square dancing, and has a deep appreciation for well-designed kitchens. He’s also fiercely dedicated to his work which now includes finding Summer’s killer. It’s a spellbinding lead performance.

While a big chunk of the movie follows Tom’s investigation, we also spend a lot of time with him away from the case. Much of it is with his wife, Judy (a deliciously cryptic Alicia Silverstone). They have an interesting chemistry that is a nice change of pace from the more conventional movie marriages. Then you have Tom’s close friends from the Scarborough Police Department that includes his Captain and Judy’s Uncle, Robert (Eric Bogosian), his partner, Dan (Ato Essandoh), and his mouthy fellow officer, Wally (Domenick Lombardozzi).

Image Courtesy of Netflix

As often happens in movies like this, both of Tom’s worlds collide as the truths (yes, plural) finally make their ways to the surface. The story ventures down some unexpected paths and the mystery (unsurprisingly) proves to be more complicated than Tom ever imagined. There are a few too many red herrings and not all the suspects are given enough time to feel like consequential pieces of the puzzle. And that’s saying something considering the film clocks in at a lengthy 136 minutes.

Yet “Reptile” never feels long and remains enthralling throughout in large part thanks to the beguiling lead work from Benicio del Toro. Less effective is Timberlake who seems to be channeling Ben Affleck from “Gone Girl” but never as convincing. Other performances make up for it including Frances Fisher as Will’s domineering mother and Karl Glusman as Summer’s creepy ex-husband. They help fill out a mostly excellent ensemble that gels nicely with Singer’s fittingly dark and deliberately peculiar world. “Reptile” releases on Netflix this Friday, September 29th.

VERDICT – 4 STARS

New on Home Video: “Insidious: The Red Door” on Blu-Ray + Digital

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This week Sony Pictures Home Entertainment is bringing their supernatural horror film “Insidious: The Red Door” to home video. It’s the fifth movie in the Insidious franchise and the directorial debut for the film’s star, Patrick Wilson. Released in theaters earlier this year, the film was a financial success and now it’ll be available to own in this new combo-pack that is releasing just in time for the start of spooky season.

This Blu-ray + Digital edition of “Insidious: The Red Door” hits shelves on September 26th. See below for a full synopsis and release information.

Official Synopsis:

Year: 2023

Runtime: 107 Minutes

Director: Patrick Wilson

Screenwriter: Scott Teems

Story by: Leigh Whannell and Scott Teems

Produced By: Jason Blum, Oren Peli, James Wan, Leigh Whannell

Cast: Ty Simpkins, Patrick Wilson, Sinclair Daniel, Hiam Abbass, Rose Byrne, Andrew Astor, Juliana Davies, Steve Coulter, Peter Dager

Rating: PG-13 for violence, terror, frightening images, strong language and suggestive references

From the Studio:

The original cast from the horror franchise is back for the final chapter of the Lambert family’s terrifying saga, with Patrick Wilson (also making his directorial debut), Ty Simpkins, Rose Byrne and Andrew Astor. To put their demons to rest once and for all, Josh and a college-aged Dalton must go deeper into The Further than ever before, facing their family’s dark past and a host of new and more horrifying terrors that lurk behind the door.

Special Features:

  • Special Featurettes
    • Past, Present, Further
    • A Possessed Director

Specs:

1080p High Definition / 2.39:1 • Audio: English, French (Doublé au Québec), Spanish 5.1 DTS-HD MA, English – Audio Description Track 5.1 Dolby Digital • Subtitles: English, English SDH, French, Spanish • Mastered in High Definition • Color