Author Archives: Keith Garlington

REVIEW: “The Menu” (2022)

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17

2022 has been quite the year for “eat the rich” satire. We’ve seen the wealthy and privileged skewered in straightforward takedowns such as Ruben Östlund’s terrific “Triangle of Sadness”. They’ve also been torched in playful genre romps like Rian Johnson’s “Glass Onion”. The latest to do it just might be my favorite. “The Menu” never hides what it sets out to do. Yet of this recent batch of movies, it might be the craftiest in its execution. It throws a little bit of everything in the pot and let’s it simmer. Altogether it makes for one wickedly satisfying meal.

Mark Mylod directs this mouthwatering black comedy horror-thriller that exists in a culinary world where language like “ruining palettes”, “flavor profiles”, and “mouthfeel” (???) roll off the tongues of foodies like common speech. The deliciously pulpy story (penned by Seth Reiss and Will Tracy) defies a simple description. It has so much on its mind and takes some pretty wild swings. But it would be a disservice to share them, because this truly is a movie where the least you know better.

The vast majority of the story takes place within the stylish contours of Hawthorne, a renowned restaurant for the rich and famous cozily located on its own private island. It’s where twelve customers per night can enjoy an over four-hour lavish dining experience for $1,250 a head. There they’ll partake in a meal painstakingly planned by Chef Julian Slowik (a devilishly fun Ralph Fiennes).

Over the course of the evening, guests will be able to watch Chef Slowik and his team of cooks meticulously prepare each high-concept dish in an open kitchen adjacent to their dining area. Once ready, Chef Slowik announces each course with a thunderous clap followed by a self-gratifying monologue about its inspiration. For him food is like a religion, and the restaurant is his temple. But on this particular evening he has something different in mind. He’s offering his specially selected group of diners an “exclusive experience”.

Among those holding reservations is a young couple, Tyler (Nicholas Hoult) and Margot (Anya Taylor-Joy). He’s an insufferable gastronome wannabe; she our representative – seeing things the way we see them; saying the things we’re thinking. You get the impression that Tyler probably maxed out his credit card to get their reservations. He’s no trust fund baby. He just wants people to think he is. And his facade of upper-class status and gastronomical savvy is paper-thin to the point where even Margot begins poking fun at him.

Tyler and Margot are joined by a collection of deeply flawed one-percenters. There’s the popular (and pompous) food critic Lillian Bloom (Janet McTeer) and her fawning editor Ted (Paul Adelstein), a semi-washed up movie star Damien Garcia (John Leguizamo) and his younger assistant/side dish Felicity (Amiee Carrero), three smug silver-spoon investors (Rob Yang, Arturo Castro, Mark St. Cyr), and a wealthy older couple (Reed Birney and Judith Light) who seem utterly miserable together.

After a short boat ride to the island, the group of hungry strangers are greeted by Hawthorne’s maî·tre d, Elsa (Hong Chau) who gives them a brief tour before escorting them to their tables. They’re then introduced to Chef Slowik who kicks off their night of upper-class indulgence. Or so they thought. With each new course things get a little weirder and progressively darker. But it’s just theater…stagecraft, right? Right? “It’s all part of the menu”, Chef Slowik repeatedly insists. But is it?

As things get crazier and more twisted, you can sense Mylod and company having a field day running Hawthorne’s fresh batch of guests through the wringer. As for us, it’s a blast trying to figure out where the film is going next. It’s just wacky enough to be unpredictable, and even when we get a feel for what Mylod is going for, there are enough surprise turns to keep us guessing. The film also keeps us laughing with these hilarious dashes of black comedy that seem to land at the most unexpected times. It’s a key ingredient that adds flavor to an already seasoned and savory feast.

The sterling ensemble cast is just a crucial. It starts with the fiendishly good Ralph Fiennes whose dry, solemn presence can either be bone-chilling or disarmingly funny. He shrewdly sells us a disturbingly complex character whose genius is only outdone by his smugness. Yet there’s a darker layer to Chef Slowik which Fiennes teases yet keeps snugly hidden until just the right time. It’s a remarkably measured performance and the one that keeps the film from tipping over into full-blown camp.

There’s just so much to love about “The Menu”: its sparkling cast, its gonzo premise, its gripping storytelling, and Mark Mylod’s pinpoint direction (and that’s just for starters). And even if it doesn’t perfectly stick its landing (something I’m still a bit unsure about), the film’s almost giddy, full-throttled takedown of culinary culture and the uber-wealthy is otherwise so well conceived and executed. I’m still thinking about it a week after seeing it, and I’m already hungry to see it again. “The Menu” is now showing in theaters.

Final Food Pun Count: 14

VERDICT – 4.5 STARS

REVIEW: “The Ambush” (2022)

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9

Based on an actual event, “The Ambush” tells a remarkable story of heroism, sacrifice, and survival through a harrowing encounter in war-torn Yemen. Directed by Pierre Morel (“Taken”), the film first released on November 25, 2021 in the United Arab Emirates. Since, it has gone on to become the country’s highest grossing Emirati film ever made. With its setting, intensity, and overall quality, “The Ambush” is a solid entry into the war film catalog.

For context, in 2015 following years of civil unrest, the foreign backed Al Houthi Militia overthrew the government of Yeman and seized control of the vast majority of the country. As a war broke out between rebels and loyalists, innocent civilians paid a heavy price. The instability strengthened many terrorist groups in the region leading Yemini President Hadi to reach out to his international allies for help. As part of a gulf coalition, members of the UAE military were deployed with many patrolling the area and providing much-needed aid to civilians. After three years, the coalition was still trying to help stabilize the ravaged region.

Image Courtesy of Well Go USA Entertainment

The film opens with the obligatory introduction to the UAE soldiers we’ll be spending most of our time with. At Mocha Base in Southern Yemen, Ali (Marwan Abdulla Saleh), Bilal (Khalifa Al Saadi), and Hindasi (Mohammed Ahmed) are only one week away from getting to go home to their families (rarely a good sign at the start of a war movie). While out on one of their final patrols the three learn about possible insurgent activity in some nearby foothills just off their normal patrol route. After delivering some supplies to a local settlement, they decide to check it out.

As they drive through a rocky jagged canyon, they’re suddenly hit by an RPG rocket. And then another one. Before long they’re taking a hail of small arms fire as insurgents descend into the valley and surround their disabled armored vehicle. Inside, Ali, Bilal, and Hindasi radio for back-up. Mocha Base immediately deploys a rescue team, but it will be at least an hour before reinforcements, led by a determined Colonel Mazrouie (Abdulla Saeed Bin Haider), can reach the incapacitated soldiers. That leaves Ali, Bilal, and Hindasi to survive the calculated ambush on their own until help arrives.

There are two facets of the story that plays out over the remaining runtime. Early on, most attention is given to the three soldiers trapped within the armored hull as enemy forces gather. Later it becomes about the rescue itself with Mazrouie and his team arriving and being met with heavy resistance. Both are thrilling and inevitably come together in the film’s final act. Morel both shoots and paces the action well which gives us a realistic sense of what these soldiers endured.

Image Courtesy of Well Go USA Entertainment

At the same time he does get a little carried away in an extended sequence near the end of the film. It’s a visually arresting 15 minutes or so, but it goes a little too heavy on the smoke and slow-motion. It’s simply a case of drawing a scene out longer than he needs to. Otherwise, the film’s gritty and grounded visuals (shot by veteran cinematographer Thierry Arbogast) do a good job enhancing the realism and immersing the audience.

The movie also does good remembering the human element, although admittedly it does lean into some pretty familiar war movie tropes. Still, it never crosses a line, and we get just enough character development for us to care about the troops and root for their survival. Then you get some added potency from just knowing the film is based on a real account. It’s all harnessed in what is a satisfying war movie. It doesn’t get lost in the history or politics of the region. Instead, it shows us the soldier’s perspective. And that alone makes it a story worth telling. “The Ambush” is out now on VOD.

VERDICT – 4 STARS

REVIEW: “Bones and All” (2022)

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7

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

What if I told you there was a new teen romance hitting theaters? You probably wouldn’t think much about it. What if I told you it starred current darling Timothée Chalamet? A large number of you probably just perked up. What if I told you it was a cannibal love story? I’m guessing many of you instantly checked out while others are left understandably scratching your heads.

But for the intrigued, the twisted, and the Chalamet faithful, I present to you “Bones and All”, the latest film from Italian auteur Luca Guadagnino. “Bones and All” is a genre fusion that starts incredibly strong, but meanders a bit in the middle before coming unglued in the final 15 minutes. It’s an undeniably enigmatic movie that occasionally plays like cheap YA love story. Other times it resembles a poor man’s “Badlands”. At one point the words “Natural Born Cannibals” came to mind (and not necessarily in a good way).

Yet when Guadagnino is hitting his marks, you can’t help but be pulled into the morally murky muck of his grisly yet at times unexpectedly endearing story. There are scenes where the movie seems to be at odds with itself. Yet it’s fascinating to watch as Guadagnino somehow successfully juggles the sweet, the gruesome, and the trashy. He also pieces together a couple of the most unsettling sequences of the year – ones energized by two brief but absolutely chilling supporting turns.

Image Courtesy of Metro-Goldwyn-Mayer

“Bones and All” tries to be a road trip movie, a romance, a horror film, and a coming-of-age drama. Not all of its genre pieces fit, yet there’s still much to admire, and Guadagnino isn’t the kind of filmmaker who simply rehashes things we’ve seen before. That said, I kept wondering to myself, what’s the point? It’s not romantic enough to say much about love. Outside of the two mentioned scenes, it’s not scary enough to move the horror needle. And our main characters are too withdrawn to convey much about humanity. Yes, there are some readings that range from pointlessly vague to on-the-nose. But none that pack a real punch.

But again there’s still an undeniable draw to what Guadagnino is doing, and it feels original despite noticeably pulling from several influences. And even when it starts to wander in the second half, there are enough little surprises along the way to keep the film afloat. It’s also helped by its lead, Taylor Russell, who blends nicely into Guadagnino’s canvas. Her quiet, earnest presence fits well with the film’s mellow pacing.

Set in the late 1980s, the story spreads across an imagined middle America: one where two young lost souls can openly drive from state-to-state in a stolen blue pickup, occasionally satiating their shared taste for human flesh along the way, without having to worry about cops, the FBI, or anything other than creepy fellow “eaters”. Taylor plays 18-year-old Maren who is abandoned by her heartbroken father (André Holland) after she chomps down on the finger of a classmate, revealing her appetite for human flesh. He leaves her with her birth certificate, $50 cash, and a cassette tape explaining her situation.

Image Courtesy of Metro-Goldwyn-Mayer

All alone, Maren sets out to find her mother who left home years earlier. Why she left was a mystery, but Maren has some clues as to where she may be. While at a bus stop, she’s approached by a creepy and alarmingly soft-spoken Mark Rylance, with his brimmed hat topped with a feather, a fishing vest, and a long braided ponytail. He introduces himself as a fellow eater named Sully who smelled Maren from across town. What follows is the film’s best and most unsettling scene, as Sully gives Maren a lesson on who they are. “Whatever you and I got,” he says, “it’s gotta be fed.”

It’s hard to figure out the purpose of Rylance’s character other than to explain the eaters and get under our skin. But he does both well. So much so than even Maren skips out on him and hops a bus for Minnesota. During a stop, she meets a drifter named Lee (Chalamet), fresh off of munching on a redneck (yep, he too is an eater). Lee is a bit of a vagabond – scrawny, tattered jeans, a dirty orange-highlighted crop of hair. The two hit it off and set out to find Maren’s mother.

An inevitable relationship blooms, but it’s a hard one to read. Some have called it sensual, sexy, and simmering. But frankly neither character sells that kind of romantic interest. If anything, they’re two outcasts who find an unexpected kinship in each other. That’s enough to hold our interest. But again, the movie starts to drift in the final third and ends with a time-jump scenario that’s too hard to swallow. It’s a confounding yet strangely fitting finish to what is an eerily alluring yet equally confounding movie. “Bones and All” opens Wednesday,

VERDICT – 3 STARS

REVIEW: “Poker Face” (2022)

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8

Russell Crowe directs, writes, and stars in the new feature “Poker Face”, a puzzling movie built around a puzzling premise and hampered by puzzling execution. It’s a movie I’m still trying to wrap my mind around. It’s one that had me onboard with its early teases of some strange and knotty thriller. But then it plays out, and you quickly realize there’s not much to this unremarkable and frustratingly shallow endeavor.

The seasoned Crowe is too good not to give it his all, and he does that here. The Oscar winner has proven to be a great actor and his sadly underseen “The Water Diviner” from 2014 was a solid directorial debut. But here he handcuffs himself with a script full of gaping holes and head-scratching shortcuts. He writes a good enough setup – one that allows him to portray a character much different than most he’s played throughout his over 30-year career. But the lack of focus in his writing, particularly in the second half, is too much for his directing to overcome.

Image Courtesy of Screen Media Films

Crowe plays a billionaire tech mogul and high-stakes gambler named Jake Foley. Following a beautifully shot yet rather fruitless intro, we meet Jake solemnly admiring a painting at an art gallery. He’s approached by a young woman named Alyra who wants to paint his portrait for the Archibald Portrait Prize. He gives her his consent and she snaps his picture. “Maybe if I make the short list I will see you at the exhibition,” she hopefully comments. “No you won’t” he replies with an exasperated half-smile and walks away.

We learn the 57-year-old widower has just gotten a bad medical diagnosis and he hasn’t long to live. From there it’s on to a strange sequence as Jake drives his fancy Rolls-Royce deep into the country where he consults with a grizzled old shaman (played by character actor Jack Thompson). The mystic gives Jake some drug-induced peace of mind and sends him home with a prescription. With his newfound clarity, Jake begins getting things in order with the help of his lawyer and personal right-hand man, Sam (Daniel MacPherson). One of his first orders of business – a poker night with friends.

That may sound shallow and frivolous, but Jake actually has deeper intentions. Seeing beyond the facade of success, Jake has come face-to-face with his mortality. It has caused him to self-evaluate and reflect. It’s also led him to examine his old relationships, namely those with his childhood chums Michael (Liam Hemsworth) a struggling alcoholic; Alex (Aden Young) a published author; Paul (Steve Bastoni), a politician; and his business partner and best friend, Drew (RZA). Each have their own unflattering secrets that Jake wants to root out.

So Jake sets up an elaborate plan under the guise of the ultimate poker night. He sends a message for his old friends to gather at a fancy hotel. There they meet Sam who gives them keys to luxury cars and GPS coordinates to Jake’s swanky, state of the art, oceanside home. When they arrive they’re greeted by Jake who offers them an intriguing choice. They can keep the luxury car they drove, no strings attached, or they can trade it in for $5 million in chips and a spot at a high stakes game of Texas hold ‘em (winner take all, of course).

Image Courtesy of Screen Media Films

Most of us would probably keep the car and sell it. But these guys all turn it their keys and collect their chips. Now you might be thinking this is where we get the poker in “Poker Face”. Well, technically yes. But there’s only about five minutes of actual card playing. Michael, Alex, and Paul quickly discover that their old pal Jake has something else up his sleeve. It all sounds goofy yet kinda cool, but the suspense is squandered when a goon named Victor (Paul Tassone) shows up with his armed henchmen to rob the place. What unfolds is a tensionless and woefully underdeveloped final act that guts the movie of any remaining potential.

To Crowe’s credit, he throws out some clever ideas and opens up a number of compelling themes. And his restrained, lived-in performance is a nice plus. But his storytelling never quite matches his ambition. Too often the movie bolts from one place the another, leaving out what feels like critical details and skipping over opportunities to flesh out its story more. And the practically non-existent character development in some cases really hurts, making it hard to invest in anyone or anything we say. It’s a shame because Crowe can handle himself behind the camera. His script here just doesn’t give him the room to really show it. “Poker Face” is out now in select theaters.

VERDICT – 2 STARS

REVIEW: “Glass Onion: A Knives Out Mystery” (2022)

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Crack detective Benoit Blanc returns to solve another murder among the rich and privileged in “Glass Onion: A Knives Out Mystery”. This is writer-director Rian Johnson’s standalone sequel to his 2019 smash-hit “Knives Out” and the first of two franchise films he’s making for Netflix after they doled out $469 million for exclusive distribution rights back in March 2021.

Comparisons to the first film are all but guaranteed. Some will be unfair while others are unavoidable. But as whole, “Glass Onion” stands well on its own as a deliciously satisfying romp, driven by Johnson’s signature snarky wit and knack for savory dialogue. It’s crazier and more elaborate which doesn’t always work in its favor. But even when Johnson seems to lose control, he’s always quick to rein things back in. And that’s quite the task considering the film’s many moving parts. It may not match its predecessor stride-for-stride, but there’s a lot to love for fans of crafty whodunnits and sharp-edged comedies.

“Knives Out” won me over for a number of reasons and most trace back to Johnson. The film was fueled by his seamless storytelling, crisp pacing, whip-smart humor, and gaggle of well-defined characters. I really loved the out-of-touch dysfunctional family setting and how Johnson used two dramatically different yet equally terrific outsiders (played by Ana de Armas and LaKeith Stanfield) to expose and ultimately eviscerate their upper-crust entitlement.

Image Courtesy of Netflix

And then there was Benoit Blanc himself, a delightfully wry and erudite Hercule Poirot/Sherlock Holmes hybrid, played with such sly and unshakable confidence by Daniel Craig. I loved his quiet and calculated demeanor. I loved how he played his suspects like a fiddle, maintaining an air of maddening mystery, as he applied pressure and waited for them to crack. How could you not love him?

Embracing the popular impulse to go bigger the second time around, Rian Johnson ups the ante in “Glass Onion”. It’s still well crafted, devilishly insightful, and full of the surprise twists you’d expect. It’s also a little zanier, a lot showier, and definitely more far-fetched. And while Craig brandishes the same Southern charm and is genuinely funny (he handles dry humor like an ace), his Blanc doesn’t quite feel the same this time around. He’s is a bit goofier and more exaggerated. Yet it’s impossible to not love the Poirotian gumshoe’s vibrant presence.

With its ‘ode to Agatha Christie’ formula, “Glass Onion” begins by laying out all the essential pieces needed for a good whodunnit. We have a murder, a colorful array of suspects, each with their own reasonable motive, and of course a supersleuth to cut through the lies and root out the killer. It all unfolds on an private island in Greece owned by tech billionaire Miles Bron (Edward Norton), who has planned a weekend long murder-mystery party at his ridiculously posh estate. His four closest friends, his former business partner, and one Benoit Blanc have all received invitations.

After being greeted by a fabulous early cameo (I’ll let you enjoy the discovery), the partygoing guests take a two-hour yacht ride to Miles’ island where they’re met by their an Elon Musk-like host. Among the eclectic bunch is Claire (Kathryn Hahn), the governor of Connecticut who is eyeing a Senate run; Lionel (Leslie Odom Jr.), a chief scientist at Miles’ Alpha Industries; Birdie (a scene-stealing Kate Hudson), a celebrity fashionista with a penchant for insensitivity; Birdie’s assistant Peg (Jessica Henwick); Duke (Dave Bautista), a beefcake Twitch streamer, and Duke’s saucy younger girlfriend Whiskey (Madelyn Cline). Then there’s Andi (Janelle Monáe), who lost everything after Miles squeezed her out of their company. And on the outside is Blanc, who’s still wondering why he’s even there.

Image Courtesy of Netflix

Needless to say, Miles’ party is interrupted by an actual murder and Benoit finds himself in the middle of yet another prickly case. Meanwhile Johnson has a field day, indulging in several classic tropes but putting his own contemporary spin on them. And as you would expect, much of the fun revolves around the characters who are both written and performed with personality and panache. Through them Johnson steadily pokes at the filthy rich along with those who bury their integrity and milk their wealthy connections for all they can get.

That gets to one area where “Glass Onion” tops its predecessor – in its handling of its politics. In “Knives Out” you could almost sense Johnson’s pride as his class critique would sometimes veer into heavy-handedness. But in “Glass Onion” it’s more ingrained in its characters and more organic within the story. It’s still obvious, but Johnson seems to trust us more. Some things you can’t miss, such as the oblivious self-absorption that pours out of the conversations. Other indictments are more subtle yet equally damning. Take the story’s pandemic-era setting. As most are confined to their homes, the story’s pampered elites are living it up. It’s reminiscent of certain politicians and celebrities who talked a serious game, only to be caught out enjoying their privilege while so many suffered under lockdowns.

While its title is inspired by a Beatles song from their “White Album”, the “Glass Onion” is more directly a reference to the huge glass chamber in the shape of an onion that sits atop Miles’ gazillion-dollar mansion. Yet if you know the history of the song you can probably see another reason Johnson chose it. Either way, “Glass Onion” the movie proves that “Knives Out” was no fluke, and Rian Johnson has a bonafide franchise on his hands. This one has a few question marks (I’m still not sure about its big ending), but it packs plenty of laughs, it keeps you guessing, it has its own flavor, and it’s more than just a rehash of the previous film. If Johnson can keep that up, we have some good stuff to look forward to.

“Glass Onion” will be in theaters for one week starting November 23rd. It will release globally on Netflix December 23rd.

VERDICT – 4 STARS

REVIEW: “Hit: The First Case” (2022)

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5

A police detective tormented by a past trauma races against the clock to solve two missing person cases in the awkwardly titled “HIT: The First Case”. On the surface that sounds like a pretty good crime-thriller recipe. But this Teluga-language remake from director Sailesh Kolanu too often plays like a drawn-out procedural rather than a genuine thriller. And its slow boil and surprising lack of action may catch some viewers by surprise.

Rajkummar Rao plays Vikram Rudraraju, an esteemed cop working for the Homicide Intervention Team (also known as HIT). Vikram is known for his keen instincts and his ability to notice every detail of a crime scene. While his skills earn him the respect of most of his department including his chief Ajit (Dalip Tahil), he does butt heads with the ambitious Akshay (Jatin Goswami), a petty fellow detective driven by jealousy (as far as I can tell).

Personally, Vikram’s life is more complicated. He’s haunted by memories from a past case which has his doctor and friend Ritika (Noyrika Bhatheja) concerned. She warns Vikram that the stress of his work combined with his PTSD will do a irreparable harm, even giving him an ultimatum – quit the force or she’ll rule him unfit meaning he’ll lose his job.

Frustrated, Vikram takes an extended leave from his department but rushes back after getting news that his co-officer and love interest Neha (Sanya Malhotra) has disappeared. Along with his partner, Rohit (Akhil Iyer), Vikram makes a connection between Neha’s disappearance and the abduction of a teenage girl named Preeti (Rose Khan).

It takes a while, but Vikram’s investigation eventually begins to heat up. His list of suspects grows to include Preeti’s parents, a suspended police officer named Ibrahim (Milind Gunaji) who happens to be the last person who saw the missing girl, and a divorcee hungry for attention named Sheela (Shilpa Shukla). Vikram intensifies his search for Preeti, hoping that finding her will also lead to Neha.

The story finally starts picking up steam in the second half, but even then it’s not without several head-scratching hurdles. Characters do things that simply don’t make sense, and motivations for certain actions are such a stretch that they’re too hard to believe. Then you have the out-of-the-blue and unconvincing twist/reveal that seems more outlandish the more I think about it. And never mind it ends with a rather shameless plug for a sequel (and I mean it literally says “HIT: The Second Case” coming soon”).

There are a few other nagging issues. Take Vikram’s psychological state which seems to be a significant part of the story in the first act before all but vanishing later. And then there’s Sen’s performance which is almost cold to a fault. We never get to see much beyond his steely, super-serious demeanor. It makes empathizing difficult, and it dulls the movie’s most emotional storyline.

I know I’ve thrown a lot of criticism at “HIT: The First Case”, and it’s not undeserved. But the movie isn’t a total drag. If you’re able to connect with the case then there’s a good chance you’ll enjoy watching the investigation run its course. I actually was engaged enough to stay with it. I was interested in the many moving parts and seeing how the pieces would fit together. Sadly, there’s nothing about the borderline ridiculous conclusion that feels remotely satisfying. And it leaves the movie on a forgettable note. “HIT”: The First Case” is now streaming on Netflix.

VERDICT – 2 STARS