Author Archives: Keith Garlington

REVIEW: “The Tank” (2023)

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At times you’ll swear the simple yet ominously titled “The Tank” is a by-the-numbers garden variety chiller. But writer-director-producer Scott Walker peppers the film with just enough of his own seasoning to make even the familiar enjoyable. And then just when you think you have him and his movie figured out, he flips a switch and takes things in a whole different direction. And it turns out to be a pretty fun direction.

Walker’s obvious love for genre is on full display as he hops all around the horror map. You see the influences of haunted house movies. There are dashes of psychological horror. It even becomes a full-blown creature-feature with a finish full of scenes that play like odes to James Cameron’s “Aliens”. And that’s when it really hits its stride. The last 20 minutes or so is nothing short of classic B-movie joy.

Set in 1978, Ben Adams (Matt Whelan) lives in Oakland, California with his wife Jules (Luciane Buchanan) and their precocious young daughter Reia (Zara Nausbaum). Ben and Jules run a pet shop called “Raining Cats and Dogs” while also attending veterinarian school. One evening at closing time a gentlemanly lawyer with a really bad wig comes into the shop and informs Ben that he has inherited some coastal property in Oregon called Hobbit’s Bay from his late mother. The news comes as a complete surprise to Ben, as his mother never mentioned the land.

It may seem like an odd thing for Ben’s mother to forget, but as the old lawyer says “Some families have secrets. You’d be surprised at what people find out after a loved one dies.” Ben’s family’s secrets come to light once he and his family travel to Hobbit’s Bay. After a long drive their map leads them deep into a beautiful forest, down and old dirt road, and finally to an old grown-up cottage. It looks rundown, but then they see the gorgeous view.

After a night’s sleep they begin cleaning up the place for a potential sell. Inside the cottage they discover a bunch of old photos and newspaper clippings revealing a troubled family history Ben never knew about. Meanwhile outside he comes across a concrete slab with a hatch leading down to an underground water tank. Inside the tank he encounters something more shocking, more terrifying, and more deadly. Many of the answers are hinted at through some clever foreshadowing, but I’ll leave that for you to discover.

As I said, early on “The Tank” can come across as fairly conventional. Also, as with so many movies like this, we witness characters make some truly head-scratching choices – the kind that make you want to yell at the screen. And the early attempts at frights consist mostly of things we’ve all seen many times before – creaking floors, the occasional slamming door, glimpses of something lurking outside the window, etc. These scenes are well executed but pretty much standard-fare.

But then Walker makes his big turn and takes his film to a much different place. I’m intentionally dancing around it, because part of the fun for me came by going in blind. But I will say I love how bonkers it gets. It takes us in some wild directions while at the same time making me better appreciate the buildup. There are some cool effects, some gnarly kills, and a gonzo schlocky vibe that left a big dumb smile on my face (I’m still chuckling at a hilariously bad and out-of-the-blue one-liner during the film’s big finish). Sure, it has its issues. But I love when directors take big swings and tinker with genres. That’s what makes this one a winner.

“The Tank” opens in select theaters on April 21st and on VOD April 25th.

VERDICT – 3 STARS

REVIEW: “Renfield” (2023)

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Riding on the wacky idea of Nicolas Cage playing the iconic Count Dracula, the blood-drenched vampire movie “Renfield” looked to have the markings of a potential sleeper hit. But after a grim opening weekend at the box office, it looks as if Universal Pictures has a major bomb on their hands. It’s hard to put much blame on the studio. They’ve had a nice run of successful surprises and they’ve certainly promoted this film. But I think it’s safe to say that something about “Renfield” hasn’t clicked with audiences.

What went wrong is anyone’s guess. Maybe there actually aren’t many folks out there smitten with the idea of Count Cage. Perhaps it was hard for some people to get a good read on this action-horror-comedy mashup. Whatever the reason, people haven’t turned out and its first-week numbers are dreadful. And it’s only amplified by the film’s hefty $65 million budget (before advertising).

I hate to kick a movie when it’s down. I really wish I could be a positive force and say it’s worth a trip to theater. Sadly “Renfield” is a unexpectedly limp and frustratingly hollow experience that squanders most of the potential it had. It starts with promise, setting up its goofy premise in a fun and imaginative way. But once it establishes itself it really has nothing else to offer. Instead it sputters along, milking its one good joke dry and leaving us to ponder what could have been. Even the unflappable Nic Cage can’t ham it up enough to save the movie from its many self-inflicted wounds.

It’s sad to say, but once you get past that initial setup it’s hard to find much to latch onto. There’s probably enough good material for a few SNL sketches, but the bulk of the rest is pretty tough to endure. The film is plagued with issues such as uninteresting side stories, revelations that come with poor buildups and (in some cases) no resolutions, humor that often lands with a deafening thud, and gory action that resembles what you would see in a cheap splatter film rather than a $65 million studio project.

For a while Cage is the film’s saving grace. His manic charm and giddy theatrics imbues his version on Dracula with the kind of preposterous spin we’re looking for. He completely goes for it which is a key reason he is so enjoyable. The bummer of it all is that he isn’t in the movie nearly as much as you might expect. And the movie certainly struggles whenever he’s away from the screen.

“Reinfield” comes from director Chris McKay (“The Lego Batman Movie”, “The Tomorrow War”). It’s written by Ryan Ridley who’s working from a story pitched by Robert “The Walking Dead” Kirkman. The script follows Robert Montague Renfield (Nicholas Hoult), the indebted and long-suffering servant of the Prince of Darkness himself. Renfield is tasked with supplying his master with human blood, the more innocent the tastier. But Dracula’s penchant for blood-sucking benders means the pair are constantly having to move from city to city. Their latest stop – New Orleans.

Dracula has blessed (or cursed) Renfield with immortality as a reward for his faithful service. Renfield also has been granted superpowers that are activated whenever he eats a bug (???). Yet despite the ‘benefits’, Dracula’s demanding personality and unbridled narcissism puts a strain on their relationship. So much so that Renfield wants out. He wants a normal life. He has joined a support group to help people with codependency, but so far it hasn’t helped him muster the courage leave his oppressive master.

The best material is found in the main storyline where Renfield tries to find the strength to stand up to Dracula. Unfortunately we have to endure all of the side stuff which really weighs the movie down. Awkwafina is woefully unconvincing playing a dutiful New Orleans cop named Rebecca Quincy. She has an axe to grind with a local crime family ran by matriarch Bellafrancesca Lobo (Shohreh Aghdashloo) and her obnoxious son Teddy (Ben Schwartz playing one of the most insufferable characters I’ve seen on screen all year). There’s nothing remotely fun or interesting about these characters, and their ill-conceived stories offer little more than dead weight.

I will say Hoult gives a good performance. His ingratiating timidity is both endearing and humorous, and the film is at its best when he and Cage are sharing the screen. But the movie’s misfires are aplenty – the half-baked storytelling; the flat and uninspired humor; the wildly inconsistent action sequences; the even more inconsistent visual effects. They take what should have been a goofy, over-the-top good time and turns it into a 90-minute slog. “Renfield” is in theaters now.

VERDICT – 1.5 STARS

REVIEW: “Andor” (2022)

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Out of the many Star Wars streaming shows Disney has put out, I’m not sure any have been as well received as the first season of “Andor”. The amount of love it has gotten from both fans and critics has been surprising and (in some cases) suspicious. While some like pretty much anything Star Wars related, there are those who are put out with the franchise and like “Andor” simply because it bucks traditional Star Wars trends. Cynical nonsense aside, what matters most is “Andor” is good – legitimately good and among the best of the franchise’s streaming series.

Without question, “Andor” was quite the gamble for Kathleen Kennedy and the heads at Disney. The character for which the show is named, Cassian Andor (exceptionally played by Diego Luna), first appeared in the 2016 film “Rogue One: A Star Wars Story”. He was hardly a top-tier player in the ‘galaxy far, far away’, so a lot of people were surprised to see him getting his own dedicated streaming series. But like every show thus far, his series doesn’t have a singular focus. It’s not wrapped up in following one character alone. It is just as interested in broadening our understanding of the greater Star Wars universe.

“Andor” certainly gives us a a better picture of Cassian by showing his life leading up to the events of “Rogue One”. But it’s just interested in the tumultuous galaxy around him. Creator and showrunner Tony Gilroy takes us to new places, introduces us to new characters, and offers up new perspectives during the volatile time between “Episode III: Revenge of the Sith” and “Episode IV: A New Hope”. It’s a time when the evil Empire was tightening its grip on planets and peoples. It’s also the time where we see the genesis of a young rebellion. It’s an interesting period made even more compelling thanks to Gilroy’s incredible vision.

Image Courtesy of Lucasfilm

“Oppression breeds rebellion.” It’s a line that gets to heart on “Andor”. Gilroy gives us a clear-eyed view of what drives people to rise up and revolt. Poverty, oppression, subjugation – they’re just some of the things we see that plants the first seeds of rebellion. The series also puts a heavy emphasis on the chasm between the ‘haves’ and the ‘have-nots’; between those reaping the benefits of the Empire’s aggression and those being crushed by it. There are fascinating dynamics of all kinds scattered throughout its twelve episodes.

“Andor” starts slow and deliberate and the first couple of episodes may try the patience of those looking for a more traditional Star Wars experience. But from the very start, Gilroy is working towards something and he takes his time getting there. He doesn’t gloss over his world. He wants us to feel a part of it. And he doesn’t just introduce characters. He gives them depth which helps us understand their place in his world. Those are signatures of good storytelling, and they prove to be the backbone of the entire series.

Much of the show’s story is a chain reaction of events leading to its many pieces coming together in a combustible season-ending episode. Early on we spend time with Cassian who’s forced to go on the run after killing two antagonizing security guards on the industrial planet of Morlana One. It catches the attention of Syril Karn (Kyle Soller), an overambitious Deputy Inspector for a corporate trade conglomerate called Preox-Morlana. While Cassian heads to his home planet of Ferrix to cook up an alibi, Syril disobeys the direct order of his superior and begins an aggressive investigation into the two deaths.

Image Courtesy of Lucasfilm

Elsewhere we’re introduced to the Imperial Security Bureau, the Empire’s secret police and intelligence agency that’s in the same vein as the KGB and Gestapo. It’s headed by Major Partagaz (an outstanding Anton Lesser) who reports directly to Emperor Palpatine. Rising fast within the ISB ranks is a motivated young supervisor Lieutenant Dedra Meero (Denise Gough). Her keen instincts lead her to suspect that recent heists of Imperial weaponry might be a coordinated effort, potentially by a fledgling rebellion. Convincing her superiors won’t be easy.

Another key player is Senator Mon Mothma (wonderfully played by a returning Genevieve O’Reilly). She works on the political frontlines on the capital planet of Coruscant, slowing down the Emperor’s intensifying power grab the best she can without exposing her opposition to the Empire. Behind the scenes she’s secretly funding the growing rebel efforts, a task that is growing more difficult and that’s even harder to hide.

Then you have the mysterious Luthen Rael, played by the beguiling Stellan Skarsgård. Luthen is a fierce underground orchestrator of the new Rebel Alliance who secretly masquerades as an flamboyant dealer of fine antiquities on Coruscant. He takes a special interest in Cassian, yet throughout the series we never quite know what to make of him. He’s a fascinating presence.

Image Courtesy of Lucasfilm

As it progresses the show expands even further. We spend more time on Ferrix where those close to Cassian, including his old flame Bix Caleen (Adria Arjona) and adopted mother Maarva (Fiona Shaw), do their best to evade the suspicious Empire. We go on a heist with Cassian and a group of rebels on the planet Aldhani. Lead by Vel Sartha (Faye Marsay), the mission’s target is an Imperial garrison that houses the bankroll for an entire sector. There’s even a prison storyline where we’re introduced to Kino Loy, played by the indomitable Andy Serkis.

There’s just so much to explore, experience, and unpack in the twelve episodes of “Andor”. While it’s visually captivating on many different levels, it’s really the writing that sets the series apart. The team of Tony Gilroy, his brother Dan Gilroy, Stephen Schiff, and Beau Willimon handle the script duties. Admittedly, as a longtime fan I do like a little more action in my Star Wars. That said, the show’s intense focus on character is both exhilarating and rewarding. And while there may be less action, every episode offers lovers of Star Wars mythology and world-building (like me) so much to chew on.

I could write another ten paragraphs on “Andor”. There’s that much to dig into. What was expected to be a revealing series about a main character from “Rogue One” turned out to be so much more. We definitely do get a clearer picture and better understanding of Cassian Andor. He’s our conduit into the story and the connecting tissue that brings all the show’s moving parts together. But we also see the trials, tribulations, and tragedies of a young rebellion. We see how the growing Empire spreads its power and how people are pushed to point of fighting back. We see oppressive strategies, overzealous ambition, and lust for power. But we also see resilience, heroism, self-sacrifice, and a love for freedom. The clashing ideals and the characters behind them are the meat and potatoes of “Andor” Season 1. Now bring on Season 2.

VERDICT – 4.5 STARS

First Glance: “The Last Voyage of the Demeter” (2023)

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How’s this for giving a classic Universal monster movie a fresh reintroduction? “The Last Voyage of the Demeter” from Norwegian director André Øvredal gives us a new look at Dracula but from an older perspective. Written for the screen by Bragi F. Schut and Zak Olkewicz, the film is based on “The Captain’s Log”, a chapter from Bram Stoker’s classic 1897 novel “Dracula”. The first trailer gives us an exciting first taste of what we can expect from what might be a surprise horror hit of the year.

Corey Hawkins, David Dastmalchian, Aisling Franciosi, Liam Cunningham, and Javier Botet star in this period horror story set aboard a merchant ship sailing across the high seas. But wouldn’t you know it, there’s some particularly deadly cargo onboard. Soon the ship’s captain (Cunningham), his first mate (Dastmalchian), the ship’s doctor (Hawkins), and a stowaway (Franciosi) find themselves trapped aboard their vessel fighting for their lives. The trailer looks terrific, from its period production design to the cool makeup and effects. I love the look of it and it seems ready-made for the big screen.

“The Last Voyage of the Demeter” sails into theaters on August 11th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Pope’s Exorcist” (2023)

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Within the realm of horror movies lies a number of fun sub-genres. There’s zombie horror, vampire horror, haunted house horror, slasher horror, etc. etc. etc. Among the most explored over the years is the realm of supernatural horror. Movies from this sub-genre tend to branch out in a number of different directions. Possession films are a clear favorite of filmmakers and we get another one with the new Russell Crowe led chiller “The Pope’s Exorcist”.

Directed by Julius Avery from a script by Michael Petroni and Evan Spiliotopoulos, “The Pope’s Exorcist” is based on the memoirs of Gabriele Amorth, a Catholic priest and exorcist for the Diocese of Rome from 1986 to 2016. A controversial figure in modern Catholicism, Amorth gained international notoriety for the thousands of exorcisms he has performed. The film pulls elements of its story from two of Amorth’s books, “An Exorcist Tells His Story” and “An Exorcist: More Stories”.

Russell Crowe is a nice fit playing Father Amorth. He’s the movie’s biggest strength, selling us with his believable look, demeanor, and a really good handling of the Italian language. It’s the type of seasoned turn that can carry a film. And there are times in the movie where Crowe does just that. It’s a fascinating performance that’s sincere yet delightfully wacky. Whether Crowe was intensely going toe-to-toe with a malicious demon or puttering around Rome on an undersized Vespa while fully decked out in priestly regalia, I was onboard.

Image Courtesy of Sony Pictures Releasing

Overall, there’s really nothing here we haven’t seen before, and if you have at least a couple of exorcism movies under your belt, there’s not much here that will catch you by surprise. Yet Avery builds some good atmosphere and cranks up enough tension to keep things entertaining. He even cooks up a fun but admittedly lightweight demonological Da Vinci Code-esque mystery that really emphasizes the movie’s open-armed embrace of the fantastical.

Set in 1987, Father Gabriele Amorth is summoned before a panel led by the insufferable Cardinal Sullivan (Ryan O’Grady). Sullivan is part of a youth movement who are anxious to move the Catholic Church away from its older practices and towards things that are more “relevant” in their modern world. Gabriele’s exorcisms fall among those “older practices”, but he’s having none of it. Gabriele is quick to remind them of who he works for – none other than the Pope himself (played by the one and only Franco Nero).

Meanwhile, a recently widowed mother named Julia (Alex Essoe), along with her rebellious teen daughter Amy (Laurel Marsden) and introverted younger son Henry (Peter DeSouza-Feighoney), leave the States and travel to rural Spain after she learns her late husband has inherited a long vacant old abbey. In desperate need of income, Julia is having the place fixed up to sell. But when the construction team unearths a hidden chamber in the cellar, they inadvertently release a malevolent spirit who immediately possesses young Henry.

After getting word of the potentially powerful demon, the Pope sends Gabriele to Spain to help Julia and her family. Once there he’s joined by an inexperienced local padre named Father Tomas Esquibel (Daniel Zovatto). The pair quickly learn that they are dealing with a particularly evil spirit – one who knows their deepest secrets and who is ready to use their past sins against them. The mystery angle is set in motion once Gabriele sets out to discover the demon’s name in order to cast it out. From there Avery runs with the craziness. The story takes some bonkers turns as a host of secrets are revealed.

Image Courtesy of Sony Pictures Releasing

The batty final act is a hoot despite being a little hard to follow (I’m still not sure why certain things were happening). It’s where we get to watch Crowe go full-tilt, hamming it up yet maintaining a surprising amount of warmth. The best thing about Crowe is that he’s not just playing for the camera and cashing a check. He remains engaged and takes on the material with tenacity and integrity. The Oscar-winner brings seriousness and levity to the movie, embracing its wilder elements yet also showing earnestness and affection.

While Avery creates some good atmosphere, the movie isn’t particularly scary. We get several conventional attempts at frights (noises within the walls, whispers in the night, and so on). And Henry has all the signs of possession that many of us know by heart (a menacing demonic voice, deep cuts across his skin, violent convulsions, etc.) Yet there is a persistent eeriness in large part thanks to production designer Alan Gilmore and DP Khalid Mohtaseb. And we get some pretty splashy visual effects that really lets the blood flow (quite literally).

“The Pope’s Exorcist” may not fully differentiate itself from the myriad of other exorcism movies that have come before it, but it did hit me with a few things I wasn’t expecting. I mean who knew this was really a buddy priest movie with Conjuring-like franchise ambitions? I sure didn’t. And again there’s Russell Crowe. He’s at a stage in his career where (sadly) the roles aren’t always what they used to be. It’s great to see he’s embracing it and still doing the kind of work that can elevate whatever he’s in. “The Pope’s Exorcist” is in theaters now.

VERDICT – 3.5 STARS

Revealed: New Posters for the Upcoming “John Wick” Spin-off Miniseries “The Continental”

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Still riding high off the success of “John Wick: Chapter 4”, Lionsgate Television and Thunder Road Pictures have revealed the new teaser posters for the upcoming spin-off miniseries titled “The Continental”. The three-part series will stream exclusively on Peacock this September and is helmed by showrunners Greg Coolidge and Kirk Ward.

The title refers to the “chain” of hotels in the John Wick movies that serve as a safe haven for members of the criminal underworld. They each have their individual owners, but they operate under the authority of the High Table, a council of twelve crime lords that govern the underworld’s most powerful syndicates. The New York Continental is ran by Winston Scott (played in the movies by the great Ian McShane). The miniseries is set in the 1970s and will show how a younger Winston (played by Colin Woodell) came to run the New York Continental.

It’ll be interesting to see how this turns out considering it’s a story set within the John Wick universe that won’t feature the eponymous character or it’s star, Keanu Reeves. It’s also not being directed by Chad Stahelski who has led all four feature films. So there are plenty of questions. But there is also lots of potential. The John Wick universe is a rich and vibrant world filled with colorful and charismatic characters. There’s so much to explore. And what better place to start than the Continental Hotel.

Are you excited for “The Continental”? Will you be watching it this Fall? What do you think of the new posters?