REVIEW: “Evil Dead Rise” (2023)

May 1, 2023 by Keith Garlington

(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)

Many of today’s horror movies are custom-made for easy consumption and even easier profit. Many studios have embraced the low-budget low-risk formula. They’ve realized that they don’t need to spend a lot of money to get people in the seats. Horror fans turn out. I’m certainly not against filmmakers taking risks, having fun, or showcasing their style. And I’m certainly not opposed to studios finding ways to make money. But the horror films of today rarely leave a lasting impression. What’s a good remedy for that? Well, fresh new ideas are always welcomed. But sometimes it’s good to get back to the basics.

Take “Evil Dead Rise”. It is absolutely a franchise horror movie so calling it “original” might be a stretch. But it comes from a series that has always had its own brutal (and sometimes wacky) identity. You may know what to expect from an Evil Dead movie, but you’ll never be fully prepared. Also, it’s a series that has wisely kept itself from over-saturating the market. This is only the fifth feature film since the original released back in 1981 and the first in ten years.

“Evil Dead Rise” is the second feature from writer-director Lee Cronin. His previous film was 2019’s “The Hole in the Ground”, a cleverly effective chiller that shares some of the same thematic interests as his latest, namely the anxieties of parenthood. While his first movie had a more psychological horror bend, Cronin’s sophomore effort let’s him explore that parenthood theme in the grisly, gruesome Evil Dead world which longtime buddies Sam Raimi and Bruce Campbell first launched 42 years ago for only $375,000.

Times have changed and movies cost a lot more to make. But “Evil Dead Rise” stays true to its roots and was made for a modest (by today’s standards) $15 million. But don’t worry, every penny made its way onscreen. Everything from the gnarly practical effects to the incredible makeup to the gallons upon gallons upon gallons of blood helps to create this visually amazing buffet of grotesquerie that long-time fans are hungry for.

Cronin has turned in a film that’s every bit as unsettling and gory as its predecessors (the lighter “Army of Darkness” being the one exception). Whether it’s someone swallowing jagged shards of glass, a cheese grater to the back of the leg, or a scalp ripped off a head, “Evil Dead Rise” leaves no doubt that it’s not for the squeamish. It’s a stone-cold killer of a movie that grabs you by the jugular and doesn’t let go. Yet Cronin doesn’t leave us emotionally high-and-dry. He gives us rooting interests, and he develops characters with enough humanity to make us care. That proves crucial.

After one of the best cold opens in recent memory (a nod to the ‘cabin in the woods’ trope the original Evil Dead movie made famous), Cronin takes us to Los Angeles where we’re introduced to Ellie (a terrific Alyssa Sutherland). She lives in a low-income high-rise apartment with her three children, Bridget (Gabrielle Echols), Danny (Morgan Davies), and Kassie (Nell Fisher). Life is hard for Ellie who has been raising her kids by herself ever since her husband and their father left. Even worse, the old building they live in is set to be demolished and Ellie still hasn’t found them a place to live.

Ellie is paid a visit by her estranged sister Beth (Lily Sullivan), a guitar tech for a touring rock band. Beth has gotten some unexpected news and looks to her big sister for guidance. But their family reunion is interrupted after an earthquake rocks their neighborhood. The quake opens up a hole in the parking garage revealing what appears to be an old vault (we learn the building was once a bank). In the movie’s lone instance of head-scratching inanity, Danny crawls down the hole and discovers some religious relics, a couple of old vinyl records, and one particular old tome that’s bound in flesh and inked with blood – the Naturom Demonto aka The Book of the Dead.

Fans know where it goes from here. The book is opened. The creepy incantations are recited. The soul-feasting flesh-destroying Deadites are unleashed on an unsuspecting Ellie and her family. Through it all Cronin keeps the tension steadily rising while seamlessly blending in slivers of humor often in the most unexpected moments. It’s all accentuated by the eeriness of the dim apartment building setting which becomes a playground of giddy gore-filled horror intent on making you squirm

Any real emphasis on storytelling withers away in the second half, but to his credit Cronin knows what his audience wants. He gives them a tightly wound 97 minutes that’s shrewdly tuned to satisfy the demands of devoted fans and to terrify those who are coming in fresh. And he does it all while subtly planting seeds for possible future films. Altogether it makes “Evil Dead Rise” a bloody good addition to its franchise and a feral jolt of energy for its genre. “Evil Dead Rise” is in theaters now.

VERDICT – 4 STARS

REVIEW: “Sisu” (2023)

April 28, 2023 by Keith Garlington

(CLICK HERE to read my full review in the Arkansas Democrat-Gazette)

“Sisu” is every bit as violent and gory as its red band trailer teased. Gleefully so which turns out to be a big part of its twisted charm. Writer-director Jalmari Helander goes all out with a movie that can be defined a number of different ways. It’s a Finnish World War II film. It’s a grindhouse genre flick with a slick coat of studio paint. And it’s a rousing crowdpleaser full of over the top action aimed at getting visceral responses from its audience. It’s pure genre spectacle, and I had a blast with it.

In case you’re wondering about the title, we get an opening card that reads “Sisu is a Finnish word that cannot be translated. It means a white-knuckled form of courage and unimaginable determination. Sisu manifests itself when all hope is lost.” There’s certainly gravitas in those words. But the movie itself is much more straightforward. It’s about Nazis getting their comeuppance through a delightful assortment of gruesome means. It’s lean, it’s brash, and it has a crystal clear vision of what it wants to be. And boy does it realize that vision.

Broken down into chapters with straight-to-the-point titles like “The Gold”, “The Nazis”, and “The Minefield”, the story unfolds during the late months of 1944 in Finland’s Lapland region. Historically, Finland had recently signed the Moscow Armistice. Among the agreement’s stipulations was that Finland must drive out all remaining German troops from their country. It led to a four-month conflict called the Lapland War. And that’s the setting for Helander’s simple yet invigorating story.

Far away in the sparse Lapland wilds we’re introduced to an old man who we later learn is named Aatami. He’s played with a hushed ferocity by Jorma Tommila in what is a mostly dialogue-free role. Aatami has tried to distance himself from the war, choosing to spend his time prospecting for gold in the quiet company of his loyal dog and horse. While Aatami enjoys his solitude, remnants of the war still lingers, from the roars of aircraft flying overhead to the occasional echo of gunfire to the ominous glow of artillery on the horizon.

While digging deep into the earth Aatami happens upon a huge deposit of sparkling yellow gold. After chiseling out his new found fortune he washes up, hops onto his horse, and heads off with his pup following along. His idea is to cash in at the nearest town, but along the way he encounters a company of Nazis led by a ruthless SS Obersturmführer named Bruno Helldorf (Aksel Hennie). They’re essentially a brutal death squad carrying out Hitler’s ‘scorched earth’ tactics, burning and killing everything in their path on their way out of Finland. They’ve even taken some local women as souvenirs – something that’ll come back to haunt them.

At first it looks as if their encounter with Aatami will only consist of a little ridicule and mockery. But you know movie Nazis – they just can’t help themselves. In their arrogance they pick a fight with what they perceive to be easy prey. Of course they learn the hard way that Aatami isn’t some frail old relic. In fact, they’ve crossed paths with a lethal killing machine who quickly begins dispatching his Third Reich adversaries through a grisly array of methods. Rifles, pistols, a pickaxe, a landmine, a knife the length of your forearm – they all come into play.

“Sisu” quickly settles into its gritty one-man-army mode. It’s as straightforward as a movie can be and its lack of pretension is actually one of its biggest strengths. Simply put, it’s a movie about a grizzled old man impaling, beheaded, eviscerating, and blowing up Nazis. We root for him every step of the way because…well…they’re Nazis. And Helander paints them with as broad of a brush as possible. Secrets are revealed about Aatami’s violent past, but that doesn’t sidetrack the movie’s bigger interest – righteous carnage.

“Sisu” is superbly shot and teeming with bravado and style. It resembles what you might expect if Sergio Leone and Quentin Tarantino had co-directed a John Wick movie set in the waning days of World War II. It’s a hardcore genre flick through and through and it’s great seeing something like it getting a wider release. How it will do at the box office is anyone’s guess. But it’s a bloody good time that begs to be seen with an energized audience who know exactly what to expect. “Sisu” opens in theaters today.

VERDICT – 4.5 STARS

REVIEW: “Ghosted” (2023)

April 27, 2023 by Keith Garlington

Chris Evans and Ana de Armas pair up in “Ghosted”, the new action-adventure romantic comedy for Apple TV+. Directed by Dexter Fletcher and with screenplay credits going to Rhett Reese, Chris McKenna, Paul Wernick, and Erik Sommers, this hokey head-scratcher tries to ride on the star wattage of its handsome two leads and host of fun supporting players. As it turns out they aren’t enough to keep this maddeningly bland misfire from succumbing to its own lack of originality or imagination.

The core problems of “Ghosted” lies in its script. It’s hard to see it as anything more than some manufactured studio concoction that bases every choice on something seen in other movies. In fact, it borrows so heavily from other better (and worse) movies that it’s a struggle to find anything resembling an original idea. Obviously there’s nothing inherently wrong with drawing from other works. But when your movie is this dependent, it can’t help but show on screen. And no amount of dollars (and this movie clearly cost a lot of them) can hide it.

The film gets off on the wrong foot with a cornball opening act that’s so excessively cloying you’ll swear it’s a spoof. Chris Evans plays Cole, a hapless and high-strung farmer with a love for agricultural history and houseplants. He’s recently been dumped and it doesn’t take long before we can understand why. While manning his booth at a local farmers market he encounters Sadie (Ana de Armas), a beautiful art curator. With their cover model good looks and synthetic charm, Cole and Sadie have their own “Before Sunrise” experience crammed into the film’s opening 15 minutes.

The two go their separate ways, but after Sadie doesn’t answer Cole’s MANY texts he begins to fear he’s been ghosted. So in the creepiest and most implausible move imaginable, Cole tracks Sadie to London and hops on a plane to go find her. But rather than surprising the girl he’s crazy about he ends up tranquilized, taken captive, and hauled to Pakistan by a Russian interrogator with a fascination for bugs (played by Tim Blake Nelson in the first of the film’s many cameos).

The interrogator mistakes Cole for someone called “The Taxman” and he’s been hired by an ex-French Intelligence arms dealer named Leveque (a mustache twirling Adrien Brody) to extract some sensitive information from his captive. But wouldn’t you know it, Sadie busts in to save him, popping off headshots like a poor man’s John Wick. It turns out she’s no art curator. She’s a CIA agent with her own ‘particular set of skills’.

After an obviously expensive, utterly ridiculous, yet pretty fun escape through the winding mountain roads of Pakistan, Sadie tells the antsy Cole (and us) about a dangerous biochemical weapon called “Aztec” and about her mission to make sure it doesn’t fall into the wrong hands. Of course they end up teaming up – the dimwit and the super spy – trying to outwit Leveque, dodging his pesky henchmen, and trying to convince us that there’s some actual romantic chemistry between them. That last one proves to be a toughest sell.

As their not-so-interesting adventure unfolds we’re flooded with an overkill of cameos (a couple are admittedly fun but the movie overdoes it), cringey needle drops, tiresome and unfunny running gags, and generic plotting. Even the big action finish feels overwrought yet strangely lackluster. So that leaves it up to Evans and de Armas. He tries hard to make Cole likable comic relief, but he gets annoying over time. She seems much more comfortable in her character’s skin, but Sadie is so flavorless and nonspecific. When together the two handsome stars can’t make much out of this utterly disposable blockbuster. “Ghosted” is now streaming on Apple TV+.

VERDICT – 2 STARS

First Glance: “The Equalizer 3”

April 26, 2023 by Keith Garlington

They had me at Denzel Washington. The endlessly charismatic 68-year-old Oscar winner has such a presence and has proven to be able to do just about anything. Take his action-fueled Equalizer films which see him playing a retired Marine turned vigilante. He brings such intensity to the role and you never doubt him for a second. He’s among our greatest actors and it’s a treat whenever he delivers something new. In this case its “The Equalizer 3”, the final chapter in his surprise hit trilogy.

“The Equalizer 3” is Washington’s fifth collaboration with director Antoine Fuqua. It also sees him reuniting with Dakota Fanning for the first time since starring together in 2004’s “Man on Fire”. In this film Washington’s character, Robert McCall has finally found what looks like peace in a quiet town in Southern Italy. But after a local mob boss takes control, things take a deadly turn. Suddenly McCall once again finds himself serving up justice on behalf of the persecuted. The red band trailer shows Denzel pouring out his own brand of bloody judgement. Fuqua looks to be giving fans a rousing finish to the Equalizer series.

“The Equalizer 3” hits theaters September 1, 2023. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Mandalorian” Season 3 (2023)

April 26, 2023 by Keith Garlington

Disney and Lucasfilm struck gold in 2019 with their terrific streaming series “The Mandalorian”. The sprawling space western was an immediate hit and a much needed win for the Star Wars universe which was still smarting from some of the reactions to their more recent movies. Season 2 followed in 2020 and it was met with similar excitement and praise (the two share the same 93% rating on Rotten Tomatoes). Needless to say, the anticipation for Season 3 was high.

The first season had a fairly simple roadmap. Most of the episodes were like self-contained adventures that followed bounty hunter Din Djarin and young Grogu as they made stops around the galaxy. The season’s easy-to-follow structure was perfect for casual Star Wars fans who didn’t need to be well-versed in the franchise’s history and lore to understand what was going on. Season 2 was much the same, although it did introduce some new characters and began opening up other corners of the galaxy that would play parts in Favreau and Filoni’s greater vision for their Mandalorian universe.

And then came Season 3 with its different feel and much broader scope. Many viewers have had a hard time connecting with this season and have struggled with writer, creator, and showrunner Jon Favreau’s storytelling. Granted, there is plenty to question regarding the season’s structuring. Yet every episode has purpose and expands the Mando-Verse in a number of interesting ways.

**Image Courtesy of Lucasfilm** **Ltd.**

Without question, these latest eight episodes will resonate more with the seasoned Star Wars fan. It demands at least some understanding of the sequel trilogy, the animated shows, Mandalorian lore, the franchise’s history with cloning, etc. in order to fully grasp where it goes (and is going). That’s a big ask, especially for those who simply want more of Din and Grogu bouncing around the galaxy facing new threats and giving us cute gif-worthy moments to enjoy.

But Favreau and company have bigger ambitions. They are building up an interconnected world that will extend into other shows and culminate in a Dave Filoni directed feature film that was recently announced at Star Wars Celebration. You can certainly tell in Season 3 as nearly every episode expands the Star Wars universe in some kind of way. That’s not to say it doesn’t have its issues. Favreau gives us a lot of meat but too much is left on the bone. He doesn’t go as in-depth on some things as he needs to and he doesn’t always communicate well with his audience. It leaves certain story angles feeling underserved, and it’s sure to leave some viewers in the dark.

But what can I say? I love this kind of stuff. I love combing over the episodes, connecting the dots to past Star Wars material, and trying to figure out where things are going to land. In other words, I’m the target audience. And even if the structure is a little wonky and the storytelling a bit demanding, the geek in me found a lot to enjoy in Season 3. And not just from the story stuff, but also the great assemblage of characters, the many scenes of thrilling action, and the jaw-dropping visual effects which are easily the best of the series so far.

Pedro Pascal steps back behind the beskar helmet and armor, reprising his role as bounty hunter Din Djarin. In this season his journey goes from seeking reinstatement into his Mandalorian clan to playing a key part in unifying the fractured Mandalorian tribes so they can reclaim their home world of Mandalore. Along the way he reconnects with such familiar faces as Greef Karga (Carl Weathers) and Carson Teva (Paul Sun-Hyung Lee). And then of course there are the shadier sorts such as the villainous Moff Gideon (Giancarlo Esposito), the slimy Elia Kane (Katy O’Brian) and the curious Penn Pershing (Omid Abtahi).

But it’s the Mandalorians who take center stage in Season 3. We once again meet The Armorer (Emily Swallow), Axe Woves (Simon Kassianides), Paz Vizla (Tait Fletcher), and Koska Reeves (Mercedes Varnado). Of them all, Bo-Katan Kryze (Katee Sackhoff) is given the biggest boost. Over the course of the eight episodes, Bo-Katan finds her courage, shows her resolve, and proves herself to be the unifying leader her people need. She’s a terrific character dating all the way back to The Clone Wars animated series, and it has been great seeing her get her live-action due

Sprinkled throughout the season are a number of other delights: Anzellan mechanics, R5-D4 facing his anxiety, a…remodeled IG-11, and of course the infinitely lovable Grogu. He’s not as big of a player this season and it’s still bizarre that his big reunion with Din took place in another series (“The Book of Boba Fett”). But he still has a significant presence and he’s given some meaningful character progression.

It should be said that a couple of much-talked-about episodes have divided many viewers. One hones in on Dr. Pershing who is now part of the New Republic’s amnesty program. The episode may seem extraneous, but it actually sheds a lot of light on some of the New Republic’s flaws. And it gives us our first hints on some darker forces at work. Then there’s the reasonably fun yet glaringly contrived “Guns for Hire” marked by its distracting Jack Black and Lizzo cameos. The episode is bookended by a couple of good moments, but otherwise it’s the weakest of the eight.

When taken as a whole “The Mandalorian” has delivered once again with terrific characters old and new, extraordinary visuals, and the kind of Star Wars action fans crave. This season tapped into much of what many of us enjoy about the series while also exploring new parts of this incredible galaxy that so many of us love. That said, I can see it being catnip for diehards and confusing for more casual viewers. But even with its occasional wonkiness and a handful of questionable choices, I found myself locked into every episode. Even better, it ended with a bang and it left me hungry for more. Hopefully we won’t have to wait long. All three seasons of “The Mandalorian” are streaming now on Disney+.

VERDICT – 4 STARS

REVIEW: “Are You There God? It’s Me, Margaret.” (2023)

April 25, 2023 by Keith Garlington

Kelly Fremon Craig surprised many with her 2016 feature film debut “The Edge of Seventeen”. The film was a smart, sincere, and funny hit that won over critics and audiences. Now she’s back with “Are You There God? It’s me, Margaret.”, a big screen adaptation of Judy Blume’s award-winning 1970 middle-grade novel of the same name. And what a delightful sophomore effort it is.

As she did before, Craig once again shows an impeccable grasp of her craft both as a writer and a director. It’s abundantly clear through her handling of characters, the pacing of her storytelling, her keen instincts with the camera, her management of tone, and her clear-eyed understanding of her material. She may be only two movies in, but Craig is already a treasure.

This faithful adaptation of Blume’s beloved novel is full of warmth, feeling, and well-placed laughs. It’s also clear-eyed and honest in its examination of a young girl’s quest for self-discovery. Thankfully Craig doesn’t pander to more modern expectations or feel some need to drastically overhaul the source material. But she doesn’t cut corners either. She stays true to the spirit of the book while also creating something pertinent for today. The result is a film that’s sure to resonate with women of all ages.

Much like she did with “The Edge of Seventeen”, Craig amasses an outstanding cast. With “Are You There God?” it all begins with her star, Abby Ryder Fortson. After being dropped by Marvel Studios following two really good “Ant-Man” movie performances (a blessing in disguise), Fortson landed the role of Margaret which she takes on with effervescence and charm. At the same time she also deftly captures a young girl’s awkwardness and angst with a wide-eyed authenticity. It’s tricky material yet Fortson never misses a step. She’s great.

Tagging “Are You There…” as a coming-of-age story seems like a disservice. It’s that and so much more. Much like Blume’s book, Craig’s film looks at growing up through an 11-year-old’s eyes. But it’s also about her deeper relationships with those within her small yet intimate family circle. Margaret is hands-down the story’s protagonist. But much of what makes the film great involves the wonderful collection of supporting characters, specifically Margaret’s mother Barbara (a sublime Rachel McAdams – more on her in a second).

Set in 1970, we first meet 11-year-old Margaret returning home from a fun-filled summer at Camp Minnewaska. But back home she’s broadsided with some surprising news. Her father Herb (a delightful Benny Safdie) has gotten a promotion and their family is moving to New Jersey. Anxious about leaving her friends, her school, and her loving yet aggressively opinionated grandmother Sylvia (Kathy Bates), Margaret reaches out to God, offering up awkwardly sweet petitions like “Please stop this move from happening” or “Please don’t let New Jersey be too horrible.”

Religion played a significant role in Blume’s book and does so in Craig’s film. Margaret lives in an interfaith household – her mother is Christian, her father is Jewish. But Barbara and Herb made a decision to let Margaret figure it out for herself. Her faith-finding journey not only reveals a young girl’s confusion and frustration, but it also unveils some long-standing family tensions which Craig handles with tenderness, empathy, and candor.

But just as much time is put into sorting through the highs, the lows, and the unknowns of girlhood. The story spans one year as Margaret adjusts to a new neighborhood, a new school, and new people. She’s befriended by the snotty and gossipy Nancy (a fantastic Elle Graham) whose lacerating slights are as hilarious as they are insulting (“I live in the bigger house up the street,” she utters without a thought.). Together with pals Gretchen (Katherine Kupferer) and Janie (Amari Price), the four form a secret girls-only club and have hilariously earnest discussions about such topics as cute boys, wearing bras, and getting their periods. Of course everything is perception for these young girls on the cusp of womanhood. They don’t really know what they’re wishing for and that’s what makes their conversations so endearing.

Through it all Margaret keeps conversing with God, wrestling with faith, and sorting through an array of conflicting feelings. Sweet visits with her grandmother bring back the warm comforts of the way things used to be. At the same time she’s growing impatient with her body in her rush to become a woman. It’s such a wonderfully chaotic representation of the whirlwind emotions girls can experience at that stage of their life.

Back to McAdams, is it too early to start my Best Supporting Actress campaign? She gives an award-worthy turn that I was connected to from her very first scene. Perfectly calibrated, she plays more than just a prototypical movie mom who slips in from time to time to offer motherly support. Barbara is a loving parent who McAdams captures with warmth and grace. She’s also suppressing her own vulnerability and insecurities for the sake of supporting her family – something that plays out in a thoughtful compelling side story. It’s a great character and an even better performance.

“Are You There God?…” is a joy-filled straight-shooting feature brimming with heart, humor, honesty, and a broad appeal that makes it a must-see for ANY audience. It never condescends to its younger viewers. It never comes across as mawkish or contrived. And it completely earns its big emotional payoff. It’s energized by the star-making performance from Abby Ryder Fortson and grounded by some of Rachel McAdams’ best work to date. And it all coalesces under the care and craftsmanship of Kelly Fremon Craig, a relatively new filmmaker who has already cemented herself as one of our most exciting voices. “Are You There God? It’s Me, Margaret?” Opens in theaters Friday.