RETRO REVIEW: “The Mechanic” (1972)

March 21, 2023 by Keith Garlington

“The Mechanic” was the second of six movies Charles Bronson and director Michael Winner made together. The action thriller came fresh off the heels of their 1972 revisionist Western “Chato’s Land” and just a couple of films before their most noted collaboration “Death Wish”. Although it received mixed reviews at the time of its release, “The Mechanic” has long been appreciated by Bronson fans and even inspired a 2011 remake starring Jason Statham.

Among the film’s most memorable features is its riveting opening. At just over 15 minutes, with no dialogue, and shrewdly shot by cinematographer Richard Kline, we watch as a highly skilled contract killer (Bronson) sets up shop in an upstairs room above a city pawn shop. There he monitors a man in an apartment directly across the street from his. The assassin notes every detail of the man’s room and memorizes his routine. Then we watch as he meticulously executes his assignment with lethal precision.

The hitman is Arthur Bishop, who is also known as a “mechanic”. He takes exclusive contracts from an international crime syndicate referenced only as “the Association”. Arthur is an expert at his craft, known for his dependability and efficiency. While killing for hire is an ugly job, it pays well, allowing Arthur to live a life of comfort. When not planning and carrying out hits, he loses himself in what he enjoys most – art, a good pipe, and his red silk pajamas.

But we also see signs that Arthur’s work is taking a toll. He takes antidepressants and even ends up in the hospital after an anxiety attack. He frequently visits a call girl (played by Brosnan’s wife at the time, Jill Ireland) to help with the loneliness and isolation his job demands. He pays her to pretend to be in love with him, faking a romantic relationship and even writing fake love letters to help him feel something similar to affection.

Arthur is contacted by his bosses who want one of their owned whacked. They put out a contract on Harry McKenna (Keenan Wynn), an old acquaintance of Arthur’s father who has gotten crossways with the higher-ups. Despite being friendly with his target, Arthur carries out the job without hesitation. As a result, Harry’s cocky and entitled 24-year-old son Steve (Jan-Michael Vincent) inherits his father’s fortune.

If you’ve seen a mob movie or two you may think you know where the story is heading – an angry son sets out to get revenge on the man who killed his father. But writer Lewis John Carlino doesn’t go the predictable route. Instead he throws us a twist. Instead of a quest for vengeance, Steve wants to learn more about his father’s business. He’s especially interested in contract killing. So he seeks out Arthur, knowing he did some work for his father but not knowing he’s the guy who killed him. Or does he? We don’t know, and Carlino does a good job keeping us wondering.

Arthur ends up breaking one of his rules and takes Steve on as his apprentice. It creates an interesting dynamic and builds a satisfying tension. We’re left asking a number of questions. How much does Steve know? Is Arthur letting his guard down? What will the crime bosses do once they get wind that Arthur has brought an unvetted newcomer into their fold? Winner does a good job planting those questions in our minds and unveiling the eventual answers.

The movie bogs down a little once Arthur begins teaching and training Steve in his new craft. Yet these scenes do have value as they help give shape to the relationship between the two characters. But things pick up pretty quick after Arthur takes Steve on his first job, and later when the two head to Naples to knock off a mobster who’s about to talk to the local police. Each scenario is flavored by some good action, particularly one thrilling off-road motorcycle chase, and an even more exciting car chase and shoot-out across the Italian countryside.

Through it all Bronson leads with his signature tough-guy grit and stoicism. It’s a really good performance for a role that was right in his wheelhouse. Vincent, who had a successful but troubled career, is a little more inconsistent. He starts to settle in later in the movie, but early on his attempts at portraying Steve’s spoiled narcissism is a bit spotty.

As for Winner’s direction, he does a solid job building up and bringing together the story and its characters. Aside from a sluggish middle patch, the pacing is good and the payoff is still a satisfying punctuation mark. “The Mechanic” remains a solid entry in Bronson’s filmography and one that sits comfortably in the middle of arguably the best five-year run of the late actor’s four-decade-plus career. I love that it still holds up after 50 years, and it still shows why Charles Bronson was once considered the quintessential movie tough guy.

VERDICT – 3.5 STARS

REVIEW: “Inside” (2023)

March 20, 2023 by Keith Garlington

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

I’ve always been impressed with Willem Dafoe’s broad range and versatility. With “Inside”, the seasoned and routinely compelling actor takes center stage in a high-concept genre confection from first time feature film director Vasilis Katsoupis. Penned by Ben Hopkins, working from a story by Katsoupis, “Inside” is a movie that sits somewhere between a stark survival thriller and a twisted exercise of the mind. And it sees Dafoe doing something he’s no stranger to – running his character through a mental and emotional wringer.

While you could call it a pandemic-era parallel or a genre lover’s cocktail, “Inside” has a lot more on its mind. It touches on isolation, anxiety, and the need for human connection. But at its core, the film explores the idea of art and its inseparable bond to the human will. It subtly (and occasionally not so subtly) poses thoughtful questions surrounding the purpose of art, keeping its answers vague enough for us to wrestle with.

Interestingly, the movie’s themes aren’t simply laid bare. It takes effort and plenty of observation to get what Katsoupis is going for. Clues are left like bread crumbs, scattered about and easy to miss if you aren’t paying attention. That may sound like a lot of work, but it invigorates the movie and keeps it from being just another solo survival experience.

Katsoupis wastes no time cranking up his story. Dafoe plays Nemo, a name that’s never revealed until the end credits. He’s an art thief who we first meet as he’s breaking into a lavish ultra-modern Manhattan penthouse belonging to a mysterious (and insanely wealthy) collector who is away in Kazakhstan. Nemo is aided by a voice on his two-way radio who first walks him through deactivating the security system. From there he’s told he has seven minutes to swipe a series of prized Egon Schiele paintings, most notably a self-portrait valued at a cool $3 million, and then make his escape.

Nemo nabs several expensive pieces but is surprised to find the self-portrait missing. With time running out, he’s forced to cut and run. But suddenly the security system malfunctions, sealing him behind locked doors, reinforced walls, and panes of unbreakable glass. His handler promptly abandons him, leaving Nemo to fend for himself. At first he frantically looks for a way to break out before the cops arrive. But it quickly becomes evident that no one is coming, and he is indeed trapped, left to his own faculties.

For the next little bit Katsoupis hones in on Nemo’s search for a way out of his posh impenetrable prison. He starts by chipping away at a gaudy ornate wooden door with his pocket knife. He attempts to bust out the giant windows overlooking the city. He tries to make a call but the phone is dead, and he can’t get online because there’s no internet service. It doesn’t take long before the realization of his situation sets in.

From there, Nemo’s ingenuity shifts away from escaping and towards survival. The dichotomy is almost surreal. There he sits in an ultra modern home surrounded by priceless works of art. In fact, you could say the penthouse itself is an art piece. But for Nemo it quickly becomes a hellish cell. Suddenly the heat turns on, sending temperatures climbing to over 100 degrees. Even worse, there’s no running water, and the refrigerator and cabinets are mostly bare.

As days rapidly pass, everything becomes expendable in the interest of staying alive and holding onto his sanity. And that includes the art, whether it’s using an expensive statuette to wedge a door open or busting a framed painting to use the wood and canvas. Yet even in Nemo’s dire circumstances, the movie shows the deeper values of art. For instance, as the freedom of the New York City skyline sits beyond panes of unbreakable glass like a cruel tease, art proves to be a soothing balm. Whether Nemo is sketching on shreds of paper or creating his own mural, we see his inherent urge to create and express.

It feels like a disservice to say much more as “Inside” is all about submerging us into the experience of its central character. It may sound dark and dour, and frankly it kinda is. There are brief moments of levity (such as “Macarena” by Los Del Río playing whenever the refrigerator door is left open too long). But through Katsoupis’ lens the feeling of confinement and being cut off from the outside world is palpable. And Dafoe’s physical and psychological transformation makes it all the more harrowing. His character may be a tad too opaque, but he’s fascinating nonetheless. Much like this reasonably demanding and slyly absorbing movie. “Inside” is out now in theaters.

VERDICT – 4 STARS

Lance Reddick (1962 – 2023)

March 17, 2023 by Keith Garlington

It’s a sad day. Reps have confirmed that Lance Reddick, the charismatic star of countless movies, television shows, and video games, passed away this morning in his Studio City, Los Angeles home. It’s believed to be from natural causes. He was 60.

I’ve long loved Lance Reddick, and he had the innate ability to make anything he was in better. The Baltimore born Yale graduate appeared in such hit television shows as “Oz”, “Fringe”, “Bosch”, and “The Wire”. He’s been a signature voice in the popular video game franchise “Destiny” since 2014. But he’s probably best known for his reoccurring role in each of the “John Wick” films. He played Charon, the scene-stealing concierge at the Continental Hotel in New York City. Just recently he had been doing press tours for the upcoming fourth installment due in theaters next week.

Lance Reddick is survived by his wife, Stephanie Reddick and his children, Yvonne Nicole Reddick and Christopher Reddick.

REVIEW: “65” (2023)

March 17, 2023 by Keith Garlington

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

How does this sound to you: Adam Driver playing a space traveler who crash-lands on prehistoric planet earth and fights dinosaurs? There’s enough wackiness in that basic description to get me onboard with “65”, a lean, unambiguous, and all-around fun genre mash-up from the filmmaking team of Scott Beck and Bryan Woods. They’re the duo behind the tension-soaked 2018 horror-thriller “The Quiet Place”. Here they pluck genre ingredients of all kinds and mixes them together into an old-fashioned and surprisingly low-key stew. It’s a bit of science-fiction and a bit of horror. It’s a creature feature. It has a touch of character drama. There’s even a little B-movie schlock.

Some may be surprised to see Driver lend his sizable star wattage to a modest small-scale genre flick like this. And I can see where fans of his might go into it with bigger expectations than they should. But again, “65” delivers exactly what it advertises – nothing more and nothing less. It tells a linear story with no big surprises or unexpected twists. That may sound like a knock, but I actually like its simplicity and straightforwardness. I like its indifference to being something revolutionary or groundbreaking. And I like its taut 93-minute frame, which turns out to be all a movie like this needs.

If you haven’t already guessed, the “65” in the title is a reference to 65 million years ago “prior to the advent of mankind”. Driver plays a pilot named Mills. In a brief prologue we see him with his wife (Nika King) and their young daughter Nevine (Chloe Coleman) enjoying some family time at the beach on a faraway planet called Somaris. We learn Nevine is seriously ill, and Mills has accepted a job at triple his normal salary to help pay for his daughter’s treatment. The problem is, the job will keep him away from his family for two years.

We then jump ahead one year. While his passengers and crew sleep in cryo-stasis, Mills pilots their long-range exploratory mission. Things are going smoothly until their ship flies into an asteroid field where they take catastrophic damage which sends them careening towards a nearby uncharted planet – our earth some 65 million years ago. The ship breaks apart while entering the planet’s atmosphere and violently crash-lands on the forest surface. Mills manages to survive but his human cargo aren’t so lucky.

Marooned on a mysterious unknown planet, all alone, and with no means of communication, Mills is content to resign all hope (we later see why he’s so quick to give up). But while exploring his strange new surroundings, he comes across a cryo-pod in some wreckage. Inside is a little girl close to his daughter’s age – her vital signs stable. From the ship’s manifest Mills learns her name is Koa (played wonderfully by Ariana Greenblatt) and she was traveling with her parents, both of whom were killed in the crash.

At first a reluctant Mills has no interest in taking on a father figure role. He finds communicating with Koa to be difficult (she speaks a language he doesn’t understand) and her presence sparks some painful feelings. Yet over time a bond forms between the two wounded souls. Even more, Mills feels a connection to his own daughter through Koa. So he determines to get Koa off the planet. But to do so will require them to journey nearly ten miles to the top of a mountain where a escape vessel from their ship has landed.

Of course they quickly learn that the planet they’re on is full of dangers and threats, many of the prehistoric kind. Soon they’re dodging scalding geysers, swatting massive bugs, and frantically running from carnivorous CGI dinosaurs of all shapes and sizes. Mills turns into the fatherly protector, blasting away at Raptors and T-Rexes with his space rifle and ushering Koa to safety. But Koa shows herself to be brave and resourceful. Together, Driver and Greenblatt have a warm chemistry, and they’re an easy pair to root for.

Filming took place in the pine-covered hills and hardwood bottoms of Louisiana’s Kisatchie National Forest which gives the 65 million-year-old landscapes both an alluring beauty and a forbidding sense of peril. DP Salvatore Totino bathes too many of his images in cold blues and grays, but the overall look is striking. And there’s a fun and ferocious variety of dinosaurs thanks to the teams at Framestore and Ghost VFX. It all adds a visual quality to a story that may be pretty light, but that is also very honest about what it is. And frankly, that was enough for me. “65” is out now in theaters.

VERDICT – 4 STARS

REVIEW: “Shazam! Fury of the Gods” (2023)

March 17, 2023 by Keith Garlington

The unfortunate demise of Zack Snyder’s DC superhero universe has made it hard to know what to expect from upcoming hold-over movies such as “The Flash”, “Aquaman and the Lost Kingdom”, and the just released “Shazam! Fury of the Gods”. New DC head-honcho James Gunn has spoken highly of all three films and has indicated that they each have roles to play in what he has planned going forward. Whether that’s true or just studio speak remains to be seen.

I was a big fan of Zack Snyder’s vision. Where Kevin Feige’s MCU sought to stress the humanity of its heroes, Snyder looked at humanity through the prism of his god-like characters. It may sound like a small detail, but it gave the two universes a much-needed contrast. Interestingly, 2019’s “Shazam!” was the most MCU-like DC movie to come during Zack Snyder’s tenure. It made money and received good reviews. But it was a little too silly and lighthearted for my taste.

Regardless of my thoughts of its tone, “Shazam!” was well directed by David F. Sandberg and it had the pitch-perfect star in Zachary Levi. Both return in the inevitable sequel “Shazam! Fury of the Gods”, a movie that began production before the COVID-19 pandemic and prior to the dissolution of the Snyder-led DCEU. Now several delays later and with a cloud of uncertainty over the character’s future under James Gunn looming, the film is finally getting its release.

**Image Courtesy of Warner Bros. Pictures**

Screenwriter Henry Gayden also returns from the first film, this time helped with the script by Chris Morgan of “Fast & Furious” fame. As before, their story is infused with the same whimsical brand of humor although this time it’s dialed back just a bit. I’m guessing that’ll disappoint some, but for me it was a plus. Interestingly, their two big antagonists, the Daughters of Atlas, are plucked straight from Greek mythology and don’t actually appear in DC Comics. But Hespera (Helen Mirren) and Kalypso (Lucy Liu) turn out to be a fun and menacing (enough) duo.

Once again the movie follows the spirited teen Billy Batson (Asher Angel) who is transformed into a super-powered adult (played by Levi) whenever he yells the magically charged word “SHAZAM”! That’s when he’s instantly imbued with “the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles, and the speed of Mercury”.

Despite getting more comfortable with his powers, Billy still finds it difficult juggling life as a 17-year-old living with his foster parents (Cooper Andrews and Marta Milans) and being a superhero to his hometown Philadelphia. Even more challenging for a kid in an adult’s body is his well-meaning yet sometimes overbearing impulse to lead and protect his super empowered foster siblings. It’s especially frustrating to his foster brother Freddy (a delightful Jack Dylan Grazer) and his foster sister Mary (Grace Currey).

Sandberg kicks things off with two terrific scenes that serve as introductions. The first takes place at a museum in Athens, Greece. Two people decked in Ancient Greek armor enter the crowded museum like cosplayers at a convention. But they quickly reveal themselves to be the Daughters of Atlas, and they’ve come to reclaim a broken staff that’s said to be crafted from the mystical Tree of Life. They believe it to be rightfully theirs, and once they seize the two pieces, they let out some of their anger on the museum-going innocents. It’s a grim sign of things to come.

Over in Philadelphia, Billy and his super-family race to help the many citizens trapped on the collapsing Ben Franklin Bridge. They get everyone to safety but don’t exactly save the bridge, prompting the local newspapers to label them the Philly Fiascos. Back at home, Billy is worried about aging out of the foster system and losing another family. Meanwhile Freddy hits it off with a new girl at school named Ann (Rachel Zegler). These are just some of the human elements that play a big part in the movie, much as they did in the first film.

Of course everything leads to the Daughters of Atlas coming to Philly to duke it out with Billy and his fam. The buildup to the big climax is filled with giddy talk of magic and mythology, but Sandberg is smart enough not to take things too seriously. Much of it comes from Djimon Hounsou who returns as the master wizard still regretting choosing Billy as his champion. His story here doesn’t make much sense, but he’s sure having a great time. Same with Mirren and Liu who are given the bare minimum to get by in terms of backstory. But they’re a lot of fun in their roles.

With the exception of a few underwritten characters, some occasional convolution, and a little late movie cringe, “Shazam! Fury of the Gods” was an unexpected treat and a surprising step up from the first film. It’s unashamedly silly, but it has the heart and humor fans will be looking for. There’s some cool creature designs, big action, and several fun set pieces. Oh, and there’s a dragon. Yet underneath the layers of expensive digital effects is a story of friendship, family, and sacrifice. And it’s all once again carried by Zachary Levi, who may never suit up as Shazam again, but he’s sure been good when he has. “Shazam! Fury of the Gods” hits theaters today.

VERDICT – 3.5 STARS

REVIEW: “Boston Strangler” (2023)

March 16, 2023 by Keith Garlington

A taut journalism procedural meets a dark crime drama in the Ridley Scott produced “Boston Strangler”, a new film inspired by a true account of the two woman who broke the story of the eponymous murders of 13 women in the Boston area between 1962 and 1964. Written and directed by Matt Ruskin, the movie chronicles the search for truth through the eyes of investigative reporters Loretta McLaughlin and Jean Cole. The results are pretty riveting.

Aside from its rather on-the-nose title, “Boston Strangler” surprises in a number of ways. Its narrative is very straightforward, bypassing needless setup and avoiding the urge to pad the story with distracting drama. And while Ruskin decides against showing the horrific acts of violence in brutal detail, the movie still possesses a dark and gritty Fincher-like feel thanks to Ben Kutchins’ moody cinematography and Paul Leonard-Morgan’s simple yet ominous score.

**Image Courtesy of 20th Century Studios**

Keira Knightley plays Loretta McLaughlin, a wife and mother of three who works for Boston’s Record-American newspaper. Like most of the other women, she’s shackled to the Lifestyle section, churning out puff-pieces and kitchen product reviews. She aspires to work at the male-dominated crime desk, but she has a hard time convincing her editor, Jack Maclaine (Chris Cooper). That is until she begins connecting a series of unsolved murders that have understandably rattled the city.

Jack pairs Loretta with Jean Cole (Carrie Coon), a seasoned undercover reporter and one of the only women at the Record-American to break through the newsroom sexism. The two ratchet up their investigation, finding links between the murders and first dubbing the killer “The Boston Strangler”. But their news stories are met with skepticism. Some dismiss the assigning of two women to a high-profile crime case as nothing more than a circulation stunt. Meanwhile their articles spark the ire of the Boston PD by revealing the police’s mishandling of the cases.

As the number of murders increases, Loretta and Jean start questioning some of their original theories. Loretta begins squeezing information from a close-to-the-vest police detective (Alessandro Nivola). Jean uses her clout to dig deeper into what the police department may be hiding. Soon a prime suspect emerges – Albert DeSalvo (David Dastmalchian) who eventually confesses. But is the case really so cut and dried? Loretta and Jean aren’t so sure.

Ruskin’s script takes a methodical step-by-step approach to its story, intensely centering on Loretta and Jean’s search for the truth. But its linear focus means we barely get to know the two reporters outside of their jobs. We do get a few scenes with Loretta and her family, and we see the toll her work is taking on her relationship with her husband James (Morgan Spector). But aside from that and a couple of brief bar scenes, not much time is spent fleshing out the two leads.

But that’s ok considering how well the true crime and journalism elements fall into place. Ruskin pieces together a compelling and finely paced story that unfolds in several unexpected ways. And the ways he authentically weaves the sexism of 1960s America into his movie is both clever and revealing. He makes a clear-eyed point without sidetracking the central narrative.

The movie is helped even more by some strong performances, particularly from Knightley and Coon. Both are perfectly calibrated for the film’s tone. Knightley shrewdly conveys Loretta’s dogged determination while Coon portrays Jean as a woman with toughness and grit. Together they’re an intriguing duo with a beguiling workplace chemistry and a willingness to go heads-up with the pseudo-macho norms of their day. They’re key ingredients that both energize and humanize this already gripping thriller. “Boston Strangler” premieres March 17, 2023 on Hulu.