REVIEW: “The Requin” (2022)

October 27, 2022 by Keith Garlington

“Jaws” it’s not. Nor is it in the same category as “The Shallow”. Heck, I wouldn’t even lump it in with “The Meg”. But “The Requin” has sharks in it so at least they all have that in common. Unfortunately for it, the presence of sharks alone doesn’t make a movie entertaining. And in this case, when they do finally show up, they only add to the litany of problems that make this one of the worst movies of the year despite its good intentions.

“The Requin” is written and directed by Le-Van Kiet whose other 2022 film, “The Princess” was an underwhelming yet considerably better effort. With “The Requin”, the filmmaker’s story is all over the map. He tries to make an emotional family drama and a genre thriller at the same time. Sadly neither lands well and both are hampered with their own sets of problems that they simply can’t overcome.

Alicia Silverstone plays Jaelyn who is vacationing with her husband, Kyle (James Tupper). The couple are working through some heavy issues, namely losing their baby during a recent childbirth. It’s put a strain on their marriage as Kyle pushes to put it behind them while Jaelyn still struggles with PTSD and overwhelming feelings of guilt. So they’ve come to a luxury beach resort in Vietnam to try and save their marriage. But things start a little shaky and you can (sorta) feel the tension between the struggling couple.

Kyle has rented out an expensive above-water cabana with all the amenities, an exquisite ocean view, and snorkeling right outside their back door. Everything seems ideal except for one small detail – Jaelyn and Kyle came during monsoon season (smart). And wouldn’t you know it, a tropical storm hits in the middle of the night, shaking them from sleep. Before they’re able to escape, the storm knocks their cabana off its stilts and sends it drifting out to sea (don’t you hate it when that happens).

Thanks to this preposterous scenario, the movie quickly shifts from a relationship drama to an open-water survival thriller. But just as the undercooked relationship stuff is hard to get into, so is the survival angle, mainly because of the laughably hokey dialogue, the exaggerated performances, and the incredibly dumb decisions our two protagonists make. And when the CGI sharks finally arrive (nearly an hour into the movie), they actually make things even more ridiculous. It all culminates in an ending so mind-numbingly absurd, that it kills any sympathy you may have held for the film.

When watching “The Requin” you can see the gears turning as the film tries to bring something different to the screen. But the cheesy (and at times cringe-worthy) melodrama never remotely feels authentic. And the ludicrous character blunders and the laughably bad CGI make the whole man-versus-nature elements impossible to buy. And while its great to see Alicia Silverstone in a lead role, it’s a shame she’s give such bad material that more or less sets her up to fail. “The Requin” is now available of VOD and is streaming on Hulu.

VERDICT – 1 STAR

New on Home Video: 4K UHD “Escape From Alcatraz” (1979)

October 26, 2022 by Keith Garlington

Kino Lorber Studio Classics has two Clint Eastwood gems as part of their November home video lineup. The first is a beautiful 4K UHD release of Eastwood’s terrific 1979 prison thriller “Escape From Alcatraz”. Inspired by J. Campbell Bruce’s 1963 non-fiction book of the same name, the film saw Eastwood re-teaming with director Don Siegel in what was a gripping and methodically told story that still holds up well today. You can read my full film review HERE.

This new 4K UHD “Escape From Alcatraz” hits shelves NOVEMBER 8, 2022. See below for a full synopsis and breakdown of the bonus features.

OFFICIAL SYNOPSIS:

Year: 1979

Rating: PG

Runtime: 112 Minutes

Director: Don Siegel

Actors: Clint Eastwood, Patrick McGoohan, Fred Ward, Roberts Blossom, Jack Thibeau, Larry Hankin

Screen legend Clint Eastwood (Coogan’s Bluff, Dirty Harry) and director Don Siegel (Two Mules for Sister Sara, The Beguiled) re-team for their fifth and final film in this fascinating account of the only three men ever to escape from the infamous maximum-security prison at Alcatraz. In 29 years, the seemingly impenetrable federal penitentiary, which housed Al Capone and “Birdman” Robert Stroud, was only broken once—by three men never heard of again.

Eastwood portrays Frank Morris, the cunning bank robber who masterminded the elaborately detailed and, as far as anyone knows, ultimately successful, escape. Patrick McGoohan (Ice Station Zebra, TV’s The Prisoner) is a superb counterpoint as the suspicious warden. Filmed on location in Alcatraz, this gritty and realistic reenactment of a true story has all the power one expects of an Eastwood/Siegel movie. The stellar cast includes Fred Ward (Remo Williams), Roberts Blossom (Deranged), Jack Thibeau (Sudden Impact), Paul Benjamin (Across 110th Street) and Larry Hankin (Running Scared). Screenplay by Richard Tuggle (Tightrope), based on a book by J. Campbell Bruce.

BONUS FEATURES:

DISC 1 (4KUHD): HDR/Dolby Vision Master by Paramount Pictures – From a 4K Scan of the Original Camera Negative | NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson | 5.1 Surround and Lossless 2.0 Stereo | Triple-Layered UHD100 Disc | Optional English Subtitles

DISC 2 (Blu-ray): HD Master by Paramount Pictures – From a 4K Scan of the Original Camera Negative | NEW Audio Commentary by Film Historians Steve Mitchell and Nathaniel Thompson | THE GHOSTS OF ALCATRAZ: NEW Interview with Screenwriter Richard Tuggle | TALES FROM THE CELLBLOCK: NEW Interview with Actor Larry Hankin | Theatrical Trailer (Newly Remastered in 2K) | Dual-Layered BD50 Disc | Optional English Subtitles

REVIEW: “The Banshees of Inisherin” (2022)

October 26, 2022 by Keith Garlington

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

While I may be a little iffy when it comes to the films of Martin McDonagh, his latest, “The Banshees of Inisherin” is pretty great and my favorite film of his to date. It’s McDonagh’s most intimate, most soulful, and most mature movie, yet it still features many of the trademarks his fans (and critics) will look for. It’s built on the back of one of the best screenplays of the year – one that ushers us down a dark and twisted path, yet has us laughing every step of the way.

McDonagh reteams with two of his favorites, a sublime Colin Farrell (what a year he’s had) and Brendan Gleeson, one of the most reliably great actors working today. The two stars were a fantastic pair in McDonagh’s 2008 hoot “In Bruges”. Together again, they make for another captivating duo in “Banshees” and once again they’re in perfect sync with McDonagh’s mordant sensibility.

“Banshees” is a movie that lives and breathes in the mundanity of life. It examines humanity through petty grievances. It pits the desire to be alone against the need for companionship. It asks the strangely fascinating question – what’s more important, being nice or being remembered? Why not be both, you ask? That’s a question never posed on Inisherin, a small fictional isle sitting close enough to the Irish mainland to see and hear the sounds of civil war, yet sits far enough away to feel like a world all its own.

**Image Courtesy of Searchlight Pictures**

Set in 1923, McDonagh greets us with a stunner of an opener as his camera introduces us to Inisherin, with its lush green grass, jagged cliffs, long sandy beaches, endless stone fencing, and handful of cozy rustic cottages. And of course there’s the hub of all social activity – the local pub, where everything can be celebrated, mourned, or hashed out over a pint of Guinness. Well, almost everything.

In this small, tight-knit, and delightfully eccentric community, Pádraic Súilleabháin (Farrell) and Colm Doherty (Gleeson) have long been best friends. But something has changed, quite literally overnight. Colm comes to the conclusion that he no longer wants to be friends with Pádraic. “I just don’t like ya no more,” is the only explanation he gives. But that’s not enough for Pádraic, an all-around nice guy who’s perfectly content with his simple, unremarkable life on the island (so much so that he’s earned the reputation of being a bit dull).

But the older Colm has found himself in an existential malaise. Convinced he hasn’t much time left (12 years to be exact), Colm has dreams that reach beyond Inisherin – not far beyond, but beyond nonetheless. He wants to do something people will remember, and sitting around listening to Pádraic ramble on about donkey manure isn’t helping him reach that goal. So he ends their friendship and trades his best friend for his fiddle.

But the earnest and genuinely perplexed Pádraic keeps coming around, sure that his former friend will eventually snap out of his funk. Fed up, Colm does what any of us would do if we existed in a Martin McDonagh film. He warns that every time Pádraic bothers him, he’ll hack off one of his own fingers. You’d think that would be a deterrent, but (again) this is a Martin McDonagh film. So the story takes a darker turn, and what started as simple spat soon spirals completely out of control.

Pádraic tries to fill his best friend vacancy by hanging out with Dominic (a perfectly cast Barry Keoghan), the simple, girl-crazy village outcast. He’s been tossed aside by the townsfolk, yet he may be the most honest of the bunch. Keoghan’s line delivery and mannerisms are so precise they make Dominic one of the funniest, definitely the saddest, and in many ways the most tragic figure in the film.

Another key player is Pádraic’s loving yet long-suffering sister, Siobhán (a stellar Kerry Condon). She lives with her brother and his miniature donkey named Jenny, looking after him and taking up for him. Empowered by Condon’s warmth and vigor, Siobhán’s motherly bond with Pádraic is both sweet and constraining. Opportunities for a richer life are calling her from the mainland. But how does she leave behind her dear brother and only sibling?

There are so many other quirky and colorful community members who’ll show up from time to time. But it all comes back to Pádraic, Colm, and the two Oscar-worthy performances behind them. Farrell with his perpetually furrowed brow, sad eyes, and whimsical charm. Gleeson with his world-wearied face, stoic gruffness, and melancholy gaze. They have a beguiling chemistry, and together they imbue this proudly Irish production with an acerbic wit and a firm gut punch that you’ll be feeling for days after. “The Banshees of Inisherin” is now showing in select theaters.

VERDICT – 4.5 STARS

Huge News: James Gunn & Peter Safran named co-CEOs of DC Studios

October 25, 2022 by Keith Garlington

In a mind-blowing Tuesday afternoon shocker, Warner Bros. Discovery announced that filmmaker James Gunn and producer Peter Safran have been named the heads of DC Studios, a brand-new Warner Bros. division replacing DC Films. The pair will oversee DC’s films, television, and animation going forward. According to the Hollywood Reporter, Gunn and Safran will be operating as co-CEOs of DC Studios, with Gunn focusing on the creative and Safran handling the business and production side. However the duties are split up, this is an unprecedented move.

In a statement, Warner Bros. Discovery CEO David Zaslav said “DC has among the most entertaining, powerful, and iconic characters in the world and I am thrilled to have the singular and complementary talents of James and Peter joining our world-class team and overseeing the creative direction of the storied DC Universe. Their decades of experience in filmmaking, close ties to the creative community, and proven track record thrilling superhero fans around the globe make them uniquely qualified to develop a long-term strategy across film, TV, and animation, and take this iconic franchise to the next level of creative storytelling.”

In a separate statement Gunn and Safran expressed their excitement saying, “We’re honored to be the stewards of these DC characters we’ve loved since we were children. We look forward to collaborating with the most talented writers, directors, and actors in the world to create an integrated, multilayered universe that still allows for the individual expression of the artists involved. Our commitment to Superman, Batman, Wonder Woman, Aquaman, Harley Quinn, and the rest of the DC stable of characters is only equaled by our commitment to the wonder of human possibility these characters represent. We’re excited to invigorate the theatrical experience around the world as we tell some of the biggest, most beautiful, and grandest stories ever told.“

It’s still a little hazy as to how this impacts movies already in the works, mainly those outside of the DCEU such as Todd Phillips’ upcoming “Joker” sequel and Matt Reeves’ developing universe revolving around “The Batman”. But one thing is for sure, Gunn has a deep affection for comics and superhero storytelling. And Safran is no stranger to producing big-budgeted superhero franchise movies. Gunn’s brash and more comedy-leaning individual style is reasonably concerning. But there’s no reason to believe he will force that style onto every DC property.

What’s most exciting about the hiring is that DC is all but guaranteed to once again have a vision. Gunn and Safran already have some terrific groundwork laid with the recent release of “Black Adam” and the announcement that Henry Cavill is back as Superman. Stability will do wonders, and Gunn’s enthusiasm is sure to take the DCEU (or whatever it’s going to be called) into some fresh and fun directions. Let’s go!

So what do you think about the big news?

First Glance: “Ant-Man and the Wasp: Quantumania”

October 25, 2022 by Keith Garlington

Hey look, an upcoming marvel movie that may help wash away the bad taste left by their last film, “Thor: Love & Thunder”! As someone who genuinely likes the comic book characters, Thor’s latest wasn’t a happy experience. And the steady stream of mediocre television hasn’t exactly helped the MCU’s current state. And then along comes the trailer for “Ant-Man and the Wasp: Quantumania” and suddenly I’m feeling a slight reason for optimism.

Both of the previous Ant-Man movies have been flawed but fine when it comes to entertainment. This third feature looks as if it has a lot more significance than what we have seen before. Paul Rudd, Evangeline Lily, Michael Douglas, and Michelle Pfeiffer all return, while MCU newcomer Kathryn Newton takes over as Cassie Lang (still not sure why, but ok). But the big attraction from the trailer is Jonathan Majors reprising his role of Kang the Conqueror. There are several other teases to be found if you look close. But most importantly, it looks like we’re finally getting a movie that (hopefully) will bring some of these MCU properties together.

“Ant-Man and the Wasp: Quantumania” hits theaters February 21st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Aftersun” (2022)

October 25, 2022 by Keith Garlington

Writer-director Charlotte Wells makes her feature film debut with the alluring yet frustratingly elusive new drama “Aftersun”. Not far off its highly acclaimed premiere at this year’s Cannes Film Festival, “Aftersun” comes to us courtesy of A24 and is an unquestionably personal film from Wells. And it’s anchored by two thoughtful and true performances that only highlight her emotional connection to the material.

But while it’s impossible to miss the heartfelt feeling behind “Aftersun”, staying connected to film proves to be a chore especially for anyone looking for character development and anything resembling a plot. To be fair, when it comes to the art of cinema, not every film hinges on those elements. I can list several movies that I dearly love as examples. But Wells omits so much and keeps the details incredibly vague, to the point that I can see many people seeking information from outside the movie just to connect with what’s happening within it.

A woman named Sophie (played in a scattered handful of scenes by Celia Rowlson-Hall) recalls an idyllic summer vacation from her childhood twenty years ago. It’s when she and her father traveled to Turkey and spent a week or so at a seaside resort. Resembling a flashback, the story unfolds as adult Sophie thinks back on that time. Yet as she does, we sense a sadness within her. But we only get a sense of it, and we can only speculate the reason. That’s because adult Sophie gets very little screen time. And much of it is bathed in assaultive strobe-lighting, an odd and not too revealing metaphor for her memory (or maybe something more. It’s hard to tell because everything about her remains so opaque).

The vast majority of our time is spent on vacation with 11-year-old Sophie (an impressively natural Frankie Corio). She and her father Calum (Paul Mescal) spend their days swimming, playing pool, taking mud baths, and laughing at the resort’s other guests doing the Macarena (it’s the 90’s after all). And with that you have the story in a nutshell. Relaxed to a fault, Wells milks her understated approach dry, content with just following Sophie and Calum around on their holiday. Yes it plays like a memory. But another person’s memory (much like watching other people’s home movies) isn’t always interesting. We do get clues that hint at problems yet little in terms of answers. We get small pieces of information but little glue to hold them together.

That said, Corio and Mescal have a strikingly organic chemistry. Corio is a revelation, bringing childlike innocence face-to-face with sudden maturity. She’s one example where Wells’ choice of leaving things unsaid works. Corio conveys volumes through her mannerisms, tone, and sometimes a simple look. Through Mescal, Calum is tough to read. He’s a puzzle box, clearly trying to be a good dad. Yet later there are moments when he appears aloof and disconnected, as if he’s lost in some inner darkness. But this (like so much else in the movie) is mostly guesswork and speculation.

“Aftersun” is sure to please those who aren’t necessarily looking for answers and who enjoy filling in the blanks themselves. Others will be frustrated by its evasive nature and its unwillingness to do more (not all) of the heavy-lifting. Myself, I don’t mind ambiguity, and I enjoy following breadcrumbs and piecing together clues left behind by a filmmaker. These things can be especially potent when a project is so personal to its creator.

But for me, “Aftersun” is too hazy and blurred. Some of its techniques are effective (the grainy camcorder video, the use of 90s music including one specific REM tune in a karaoke scene that’s too good to spoil, etc.). But it’s a movie that hinges on your ability to put a big portion of yourself into it. For me that requires a deeper connection – one that comes from an understanding of the characters that (for one reason or another) I never had. So it ends up being a movie I sincerely admire and desperately wanted to love. But without that internal connection, it feels as if you’re just plugging holes rather than sharing in something meaningful.