Author Archives: Keith Garlington

The Top 10 Films of 2023

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And just like that 2023 is done and what a wild year it has been for movies. As usual it was a year with its share of surprises and more than a few disappointments. Some movies made big splashes at the box office; some movies deservedly bombed; other highly anticipated movies were pushed to next year. One thing is for sure, 2023 gave us plenty to enjoy.

So here we are in late December, the time where we critics take on that annual tradition of picking the ten best movies from the past year. While some (understandably) argue that such lists are pointless and silly, what can I say? I love reading them and putting mine together. With that said, it’s time to get to it. Without further delay, here are my Top 10 Films of 2023.

As always let me start by showing some love to my #11-20….

  • #20 – “The Boy and the Heron”
  • #19 – “Revoir Paris”
  • #18 – “Are You There God? It’s Me, Margaret.
  • #17 – “May December”
  • #16 – “Society of the Snow”
  • #15 – “The Promised Land”
  • #14 – “The Boys in the Boat”
  • #13 – “The Holdovers”
  • #12 – “Mission: Impossible – Dead Reckoning Part One”
  • #11 – “Fallen Leaves”

The Top 10 Films of 2023

#10 “The Last Voyage of the Demeter” – File this one as the movie on my list that deserved way more attention than it received. “The Last Voyage of the Demeter” didn’t get a warm reception upon its release. That’s a shame. It remains my favorite horror movie of 2023. Stylishly mixing old-school supernatural chills with extraordinary practical effects, “Demeter” takes a lone chapter from Bram Stoker’s “Dracula” and turns it into a harrowing horror movie on the high seas. It all festers into a tense, moody, and gruesome delight from Norwegian director André Øvredal. [REVIEW]

#9 “Ferrari” – Among the more exciting announcements in 2023 was Michael Mann’s return to the director’s chair. “Ferrari” is a movie Mann has been trying to make for over two decades and his passion for the project penetrates every frame. The film follows three tumultuous months in the life of Enzo Ferrari, the founder of the luxury sports car manufacturer that bears his name. Adam Driver is as sturdy as ever while Penélope Cruz is outstanding playing his wife Laura. Mann caps it off with the racing of the Mille Miglia in what is one of the most breathtaking final acts of the year. [REVIEW]

#8 “Godzilla Minus One” – If you had asked me at the beginning of the year I wouldn’t have predicted that a Godzilla movie would be on my Top 10 list. At the time I didn’t even know one was set to be released. But Takashi Yamasaki’s “Godzilla Minus One” ended up being one of the biggest surprises of 2023. This engaging mixture of exhilarating spectacle and heartfelt humanity offers up a crash course on how to make a great blockbuster. The kaiju action is immensely satisfying. But it’s the story’s deeply ingrained human element that makes it stand out. [REVIEW]

#7 “Past Lives” – Writer-director Celine Song blessed us with the very best feature film debut of 2023. Her endearing and poignant drama “Past Lives” received widespread praise after premiering at Sundance. Since then that praise has (rightfully) only grown. “Past Lives” tells a sophisticated and bittersweet story that’s subtly romantic and thematically rich. It’s driven by a sublime Greta Lee who delivers one of the most evocative performances of 2023. Warmly written and beautifully shot, “Past Lives” marks the emergence of a new and truly exciting cinematic voice. [REVIEW]

#6 “John Wick: Chapter 4” – It’s the time of year where many of us start setting guidelines for our ‘Best of the Year’ lists and begin narrowing down what constitutes a “worthy” movie. Take a film like “John Wick Chapter 4”. Fellow critics have rightly sang its praises. But is it an awards caliber movie? Allow me to answer with an emphatic YES! JW4 is far and away the best action movie of the year, with its incredible blend of vision, style, and craftsmanship. The action sequences are mind-blowing and the intensely committed and inherently likable Keanu Reeves is icing on the cake. [REVIEW]

#5 “The Iron Claw” – You don’t have to be a fan of professional wrestling to love Sean Durkin’s brilliant “The Iron Claw”. This wrenching drama tells the true story of the legendary Von Erichs, a family whose in-ring achievements were only outshined by their personal tragedies. Durkin approaches the story with honesty and empathy through one of the year’s best screenplays. The film also features some terrific performances led by a career best turn from Zac Efron. Fans will love the numerous name drops and cool callbacks. Yet it’s the deeply affecting human drama that sets the movie apart. [REVIEW]

#4 “The Killer” – “The Killer” gives us two long awaited returns – that of David Fincher and Michael Fassbender. Directed by Fincher and written by Andrew Kevin Walker, this lean, smart, and stylish action-thriller proves to be the perfect vehicle for Fassbender’s ice-cold charisma and steely magnetism. Fincher’s steady screw-tightening builds some great tension within the film’s effectively deliberate and deceptively layered frame. “The Killer” is a first-rate pulpy neo-noir that seems to get better with each viewing. And I already have a hankering for the next Fincher-Fassbender collaboration. [REVIEW]

#3 “The Zone of Interest” – Movies rarely leave me speechless. “The Zone of Interest” certainly did. This is no ordinary historical drama nor is it like any Holocaust movie you’ve seen before. Writer-director Jonathan Glazer has made a daringly precise and artfully calculated feature that puts what Hannah Arendt called “the banality of evil” on shocking display. This is a quietly chilling work that doesn’t need gruesome imagery to make you uncomfortable. Explorations like this are never “fun”. But Glazer has delivered a vital movie that is a landmark achievement both in filmmaking and as a historical reflection. [REVIEW]

#2 “Killers of the Flower Moon” – “Killers of the Flower Moon” seems like a movie only Martin Scorsese could make. From its scope to its craft to its style of storytelling, everything about it feels like a Scorsese picture. And it’s not recency bias to say it’s one of the acclaimed director’s very best films. I’ve seen “Killers of the Flower Moon” three times – all three hours and 26 minutes of it. Each time I found myself absorbed in nearly every facet of the film – the performances from the top stars to the terrific supporting cast, the incredible production design, the sweeping epic feel, the unshakable honesty of the story, the moody magnetic score. It’s a masterwork. [REVIEW]

#1 “Oppenheimer” – The sheer achievement that is “Oppenheimer” cannot be overstated. From a simple box office perspective it was the biggest surprise of the year. A three hour biography of a theoretical physicist isn’t the kind of movie you would expect to make nearly $1 billion. But such is the Christopher Nolan effect. From the brilliance of his screenplay to the stunning execution of his direction, Nolan has a made a film that defies expectations. It’s an utterly mesmerizing piece featuring the best ensemble cast of the year, a haunting score, and phenomenal cinematography. It’s extraordinary filmmaking and storytelling making this yet another career defining accomplishment from one of the best in the business. [REVIEW]

And those are my picks for the best movies of 2023. What did you think of my list? What would make yours? Let me know in the comments section below. Till next year….

REVIEW: “Wonka” (2023)

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Director Paul King’s “Wonka” sets out to tell the origin story of none other than Willy Wonka, the popular chocolatier from Roald Dahl’s beloved 1964 novel “Charlie and the Chocolate Factory”. The story (co-written by King and Simon Farnaby from a story conceived by King) follow Willy’s challenging early days in Europe. King has called his film a companion piece to Mel Stuart’s 1971 film “Willy Wonka & the Chocolate Factory”. You can certainly feel that connection.

I don’t have much of a history with the Wonka character or the previous two movies. I’ve seen them both but never felt the same affection that many do. And that’s why “Wonka” was such a pleasant surprise. It turns out to be a delightful fantasy film for the entire family that features a terrific ensemble, great production design, good humor, and even better musical numbers. Oh, and there’s the hysterical Hugh Grant who quite honestly steals every single scene he’s in (and that is no exaggeration).

The film kicks off with a fabulous opening number as Willy Wonka (an affable and energetic Timothée Chalamet) arrives in a European coastal town with very little money but a really big dream. He desperately wants to open his own chocolate shop in the town’s famed Galeries Gourmet. There he hopes to make the finest magical chocolates to share with the world. But as he quickly learns, that’s easier said than done.

Image Courtesy of Warner Bros. Pictures

The wide-eyed Willy is a dreamer at heart. He prides himself in being a magician and an inventor. But his true passion is chocolate – something handed down to him by his late mother (played in flashbacks by Sally Hawkins). Unfortunately the ambitious but gullible Willy doesn’t have a good grasp of the real world and is immediately duped by the devious Mrs. Scrubitt (Olivia Colman) and her lunkheaded goon Bleacher (Tom Davis). Under the guise of kindness, the pair offer Willy a room for the night but trick him into signing a binding contract (always read the fine print) that confines him to labor in her basement laundry.

Willy joins several others who also failed to read the fine print. He takes a liking to the small group of coerced laborers, especially a resourceful orphan girl named Noodle (Calah Lane). The two have a great rapport and the brother-sister dynamic that develops is one of the sweetest (bad pun intended) ingredients in the film.

Noodle helps Willy slip out of his confinement so he can begin selling his chocolate. But he runs into bigger challenges than mean old Mrs. Scrubitt. It turns out there is a cartel of chocolate shop owners (played with hilarious over-the-top panache by Paterson Joseph, Matt Lucas, and Matthew Baynton) intent on squashing any competition. They ensure their chocolate dominance through bribes to the crooked sweet-toothed police chief (Keegan Michael Key) and an equally corrupt local cleric (Rowan Atkinson).

Image Courtesy of Warner Bros. Pictures

Then there’s the nagging issue of the small green-haired orange-skinned man who keeps slipping in and stealing Willy’s chocolates. He identifies himself as an Oompa-Loompa and he’s played by the riotously starchy Hugh Grant. It’s such a wildly absurd pairing (Grant and Oompa-Loompa) but it works so well thanks to the effortlessly droll veteran actor. He had me smiling every time he popped up on screen.

The ‘overcoming adversity’ tale that follows sticks close to formula as Willy the confectioner and his new friends go head-to-head with the choco-conglomerate. Yet King (best known for his terrific “Paddington” films) infuses the movie with his own charming effervescent style of storytelling, slyly navigating through some surprisingly dark themes with a warm and genial spirit. And to his credit, King gets the tone just right, whether he’s submerging us in his sugar-coated fantasy, tenderly touching our emotions, or playfully venturing into full heist movie territory.

As for the music (and yes, “Wonka” is very much a musical), none of Neil Hannon’s original songs will stick in your mind. But that’s not to say they’re bad. In fact the songs are perfectly in tune with the storytelling and the smile-inducing musical set pieces offer entertaining rushes of vibrant creativity. And kudos to Chalamet who does a great job balancing all that’s asked of him. He’s a nice fit for a story that smoothes off most of the Dahl’s sharp edges and embraces the childlike sense of wonder that makes this movie such a treat. “Wonka” is in theaters now.

VERDICT – 4 STARS

REVIEW: “The Boy and the Heron” (2023)

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The renowned Studio Ghibli and animation legend Hayao Miyazaki return with their highly anticipated “The Boy and the Heron”. It’s the 82-year-old Miyazaki’s first feature film since 2013 – the year he announced his retirement after the release of the critically acclaimed “The Wind Rises”. But to the elation of his many fans, the beloved filmmaker had a change of heart and began working on a new feature-length project in 2016. After a lengthy production (one made lengthier by the COVID-19 pandemic) it has finally made its way to theaters.

To be completely honest and forthright, I’m hardly what you would call a Miyazaki connoisseur. I haven’t seen all of his movies nor have I ever felt inclined to. That’s not to say I haven’t respected him as a filmmaker. Quite the opposite. I’ve often lamented the fact that his movies have rarely registered with me in the same way they do with his legion of passionate fans. That said, Miyazaki’s career is nothing short of inspiring and his legacy is undeniable.

Image Courtesy of Studio Ghibli

“The Boy and the Heron” sees Miyazaki drawing from his own childhood to tell a warm-hearted coming-of-age story. It’s told from the perspective of 12-year-old Mahito (voiced by Soma Santoki), a character whose experiences echo Miyazaki’s in a number of ways. Both were deeply affected by the losses of their mothers. Both had fathers who worked for companies that manufactured parts for fighter planes. Both were part of families forced to evacuate to other cities due to bombings in World War II.

“The Boy and the Heron” gets its title from Genzaburō Yoshino’s 1937 novel of the same name, but their connection is largely thematic. This is very much an original Miyazaki story set in the turbulance of 1943. A few years after the loss of his mother and amid the growing chaos from the war, 12-year-old Mahito and his father Shoichi (Takuya Kimura) leave Tokyo for the countryside to live with Natsuko (Yoshino Kimura), Shoichi’s new pregnant wife who is the younger sister of Mahito’s late mother.

Still grieving his mother’s death, Mahito is cordial but lukewarm towards the kindly Natsuko. During the day, while Shoichi is away running a nearby air munitions factory, Mahito mostly avoids his ‘new mother’ and her gaggle of elderly maids. He spends chunks of his time exploring the grounds which is where he discovers a creepy old tower grown up and in disrepair. Even stranger is his encounter with a bizarre and pesky talking grey heron (Marsalis Suda).

Things move further into the fantastical after Natsuko wanders off into the forest and goes missing. As parties search for her in our world, Mahito, paired with the suspicious Grey Heron, venture into the tower which turns out to be a gateway to a parallel universe. It’s an bizarre place filled with wild characters, weird creatures, and profound truths that may help Mahito cope with his sadness and find happiness in what he still has.

Image Courtesy of Studio Ghibli

There is a lot in “The Boy and the Heron” that Miyazaki fans will recognize. There is the exquisite hand-drawn animation featuring painterly compositions with gorgeous backgrounds and rich detail. There are his classic themes of loss, grief, and childhood, all treated with his signature sense of optimism. It seems these and other Miyazaki trademarks have made the film a little too familiar for some ardent lovers of his work. But as someone who sees himself as more of an admirer than an authority, I found myself mostly swept away.

Admittedly the movie did lose me a bit in the second half where the wackiness reaches its height. Yet I was still captivated by how Miyazaki maintains his thematic connections throughout. And the way he steadily mirrors reality with the otherworldly is impression. It all leads to a truly touching ending that brings the entire story to a beautiful conclusion. As for Miyazaki, if this is his final feature, he has gifted us with something delightfully charming and artistically precious. “The Boy and the Heron” is in theaters now.

VERDICT – 4 STARS

New Character Posters Drop for Zack Snyder’s “Rebel Moon” Franchise

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The first cut of Zack Snyder’s “Rebel Moon – Part One: A Child of Fire” has released and Netflix has dropped a series of cool character posters to go along with it. To absolutely no surprise the film has been met with scalding reviews from many critics. Yet equally predictable is the film’s enormous success as it quickly became the #1 movie on Netflix worldwide.

This first installment in Snyder’s sprawling space opera introduces us to a fascinating original world full of interesting characters, jaw-dropping locations, and of course stylish action. It’s a fun two hours but it does more to entice than fulfill, ramping up the anticipation for the already announced extended cut. You can read my full review of “Rebel Moon – Part One” HERE.

Check out the new “Rebel Moon” character posters below…

REVIEW: “Memory” (2023)

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The immensely talented duo of Jessica Chastain and Peter Sarsgaard lead the way in “Memory”, the new film from the often provocative yet thoughtful Michel Franco. This engrossing adult drama about two broken souls finds its strength in the transcendent performances of its two leads and in Franco’s resonating script which analyzes the human condition from a perspective we’re not used to seeing in his films.

Chastain plays Sylvia, a single mother and recovering alcoholic. When not working at an adult daycare center or attending AA meetings, she’s raising her daughter Anna (Brooke Timber) the best way she knows how. Sylvia is a loving mother, but overprotective which is a byproduct of her own childhood trauma. It’s a past that still haunts her and has defined so much of her adult life.

The story takes off in earnest after Sylvia agrees to attend a high school reunion with her well-meaning but persistently uncomfortable sister, Olivia (Merritt Wever). As Sylvia sits at a table, alone and detached, an unknown bearded man (Sarsgaard) locks his eyes onto her from across the room. He slowly makes his way to her and takes a seat. His sudden appearance prompts her to grab her coat and hurriedly leave. The man creepily follows her from a distance, first to the subway, and then as she makes the dark walk home.

Franco infuses the scene with mystery. Who is the man? Why is he following her? Why is she so afraid of him? The questions only mount the next morning after Sylvia discovers the man asleep outside of her apartment building. We soon learn the man’s name is Saul Shapiro and he has early stage dementia. Through a series of unlikely circumstances a relationship develops between the two. Sylvia is even hired by Saul’s brother Isaac (Josh Charles) and niece Sara (Elsie Fisher) to sit with him during the day.

As the story progresses we notice some striking parallels between Sylvia and Saul. They went to the same high school and they both are outsiders (in their own ways) within their upper-class families. Yet there’s more to their stories, especially Silvia’s which comes to light after some dark secrets are unearthed. But Franco doesn’t paint every detail or spell out every emotion. Even more, he never caters to our expectations. There are several moments where he lures us in only to flip the script and go in an entirely different direction.

“Memory” wraps up with a moving third act that brings the film’s mature themes to a thoughtful and satisfying place. As with the rest of the movie, it doesn’t take our emotions for granted. Franco does a good job earning our investment and he delivers a touching payoff. He gives his two stars some really good material to work with and has the smarts to let them carry the bulk of the dramatic load. As a result, Chastain and Sarsgaard turn in two of the year’s best performances, cementing Franco’s latest as an exciting and unexpected turn for the notoriously daring filmmaker.

VERDICT – 4 STARS

Merry Christmas!

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You can almost hear the voice of late, great Andy Williams singing “It’s the most wonderful time of the year”. It’s Christmas day and I wanted to take a moment to wish everyone of you a very Merry Christmas. I hope all who celebrate has a special day full of family, food, and festivities.

I also want to say “thank you” for another great year for this little site of mine. Just by reading, liking, commenting, and conversing, you help make this whole movie review gig worthwhile. I’m really excited to see what kind of movies we will be talking about in 2024. May God bless each of you and your families, and I hope you all have a healthy and prosperous new year.