REVIEW: “Corsage” (2022)

January 19, 2023 by Keith Garlington

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

With “Corsage”, writer and director Marie Kreutzer has taken a scalpel to the standard biopic formula and made a witty, irreverent, and openly fictionalized take on the life of Empress Elisabeth of Austria (known more affectionately throughout Europe as Sissi). It’s a gutsy reimagining that reshapes a well documented life in such a way that we’re never quite sure where it’s going. Yet it never goes so far as to lose the tug of history, even during its completely invented ending – one that’s still tragic, yet in a more fitting way.

Born in 1837, Duchess Elisabeth Amalie Eugenie of Bavaria married Emperor Franz Joseph I when she was only 16. Elisabeth was immediately thrust into a life she wasn’t initially fond of or prepared for. Her struggles were compounded by tragedies including the death of her infant daughter, the murder-suicide of her only son and his mistress, and the death of her sister in a fire at a Paris charity event. Elisabeth was assassinated by an Italian anarchist while visiting Geneva, Switzerland in 1898. She was 60-years-old.

Empress Elizabeth was an emotionally complex individual. She was an introvert who was obsessed with maintaining her renowned beauty and notably slender figure. She had a rigorous physical regimen and barely ate. Overwhelmed by the demands and rigidity of court life, she often retreated to Hungary, England, or Greece, bypassing many of her “duties” and seeing less of her husband. It sparked rumors of affairs, yet no evidence proved their validity.

Kreutzer uses all of these real-life strokes in her portrait of Empress Elizabeth. She paints a recalcitrant monarch who routinely bucks the expectations associated with nobility much to the chagrin of her family and fellow aristocrats. It isn’t a showy or in-our-face defiance. In fact, Kreutzer puts a lot of effort into grounding her story in the humanity of the character. It’s a tough sweet-spot to hit, and I can see some thinking it goes too far while others are left wishing it had gone further.

The movie’s ace in the hole is its star, Vicky Krieps. The 39-year-old had her breakthrough in Paul Thomas Anderson’s 2017 drama “Phantom Thread” and has appeared in a number of interesting films since. But this is easily her meatiest material since that PTA gem. She gives a fierce and layered performance, holding the screen while dodging the many traps that can come with a role like this one. She’s brings both heartfelt empathy and jolts of playful energy.

Beginning in December of 1877, “Corsage” follows roughly a year in Elisabeth’s life. We first meet her in Vienna, a few days before her 40th birthday. But it’s hardly a joyous occasion for the melancholy Empress. “At the age of 40 a person begins to disperse and fade, darkening like a cloud,” she laments. Her disaffection isn’t helped by her controlling husband, Emperor Franz Joseph I (Florian Teichtmeister) who’s quick to let her know her place in the Royal order. At one point, he bluntly informs her that he is the one called to make decisions. She is “merely to represent“.

But there’s a narcissistic side to Elisabeth as well. She demands loyalty and obedience from her small cadre of servants, even coldly denying her closest handmaid the chance to marry. On several occasions she seems to bask in the compliments on her beauty. And after some lively flirting, she even tells one smitten hopeful lover, “I like looking at you when you look at me” before promptly cutting ties. Her behavior gets even more erratic as her tolerance of oppressive court life dwindles, leading to plenty of gossip and even more tension with her family.

We do get some borderline cliché moments where Kreutzer attempts to poke fun at the stuffy and stately costume drama tropes. We get chamber versions of contemporary songs and a handful of crude modern gestures – choices that grasp for attention rather than add anything meaningful. And I’m not sure its lightly episodic structure always works.

But I do like how Kreutzer doesn’t bind herself or her film with the usual biopic constraints. There’s a sense of freedom in her direction, in her storytelling, and in the capturing of her setting (exquisitely shot by DP Judith Kaufmann). Together with the sublime Vicky Krieps, Kreutzer has made a messy but alluring anti-biopic that both critiques history and puts its own unique spin on it. “Corsage” is now showing in select theaters.

VERDICT – 3 STARS

REVIEW: “The Pale Blue Eye” (2022)

January 18, 2023 by Keith Garlington

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

Christian Bale investigates a series of gruesome murders in 1830 Hudson Valley, New York in Scott Cooper’s “The Pale Blue Eye”, an adaptation of Louis Bayard’s 2003 novel of the same name. It’s a film based on some really good material, that takes place in an intriguing setting, and that sports a terrific cast who all click right into place. Yet despite the many things it has going for it, “The Pale Blue Eye” can never quite get out of second gear.

Bale plays Detective Augustus Landor, a seasoned detective who knows his share of heartache. When we first meet him, it has been three years since his beloved wife died. To make matters worse, his daughter Mattie (Hadley Robinson) has ran off, leaving Augustus alone with his sorrow. Aside from drinking at a nearby tavern ran by Charlotte Gainsbourg’s warm but underwritten Patsy, he copes by losing himself in his work, which leads to him being summoned to the West Point Military Academy by Superintendent Sylvanus Thayer (played by Timothy Spall who wears a well-carved stoic expression better than anyone).

We learn there has been a tragic death at the esteemed institution – a suicide by hanging of one of their cadets, a young man named Fry (Matt Heim). Superintendent Thayer wants Augustus to investigate. But it turns out he isn’t nearly as interested in finding out the truth as he is in protecting the honor and reputation of the country’s premier military academy. Augustus accepts, setting up the mystery that drives the rest of the movie.

Upon beginning his investigation several disturbing truths are revealed. Augustus meets with the medical examiner, Dr. Daniel Marquis (Toby Jones) who informs him that the young cadet’s heart was cut out of his body postmortem, apparently while it was in the Academy’s morgue. To add an extra layer, while examining the body Augustus discovers evidence indicating this may not be a suicide but a ritualistic murder. His suspicions are later confirmed after the body of another cadet is found, it too with its heart removed.

To help with his investigation, Augustus secretly recruits an eccentric yet brilliant cadet named Edgar Allen Poe (Harry Melling). Poe serves as his eyes and ears around West Point, and the two develop a strange but compelling partnership. Both characters have their own interesting angles. Bale’s scruffy and tired-looking Augustus is haunted by ghosts from a past he keeps tightly bottled up inside of him. Melling’s Poe is somewhat of an outcast at the Academy but a keen observer. A future poet himself, Poe begins to see the case through his own unique lens. He also falls for Lea (Lucy Boynton), the sickly daughter of Dr. Marquis which is one place where the story starts to show some cracks.

Unfortunately the mystery itself never quite comes to a boil the way you might hope. Despite its hearty premise and good setup, it feels like something was lost between paper and screen. Even its impressive cast (which also features Gillian Anderson, Simon McBurney, and Robert Duvall) can’t quite make this overlong and overly staid story hum. It isn’t until the actual mystery is solved, and we get an interesting (though not altogether convincing) final act character shift, that the movie really starts to simmer.

While the story has a tough time finding its footing, the setting is nicely realized starting with Stefania Cella’s production design and Kasia Walicka-Maimone’s costumes. The chilly blues and grays of Cooper regular Masanobu Takayanagi’s cinematography create a gothic atmosphere fitting for a Poe-like short story. It all makes for a handsomely made period piece with a visual presentation that almost makes you look past the borderline sluggish storytelling. “The Pale Blue Eye” is now streaming on Netflix.

VERDICT – 2.5 STARS

First Glance: “Marlowe” (2023)

January 17, 2023 by Keith Garlington

I’m a sucker for classic film noir, and the latest modern day film to venture into the mostly forgotten genre is Liam Neeson’s “Marlowe”. As the name makes obvious, the film is based on Raymond Chandler’s famous hard-boiled detective Philip Marlowe. It’s more directly inspired by the 2014 novel “The Black-Eyed Blonde” by Irish writer John Banville. Neeson plays the title character in what is the 100th movie of his career. It’s directed by Neil Jordan (“The Crying Game”, “Interview with the Vampire”) and written for the screen by Oscar winner William Monahan (“The Departed”). That’s a pretty interesting group.

The first trailer leans heavy in the film noir style showing Neeson’s Marlowe navigating the seedy parts of 1939 Los Angeles. He’s hired by a wealthy heiress (played by Diane Kruger) to find her ex-lover. But to no surprise, the case leads him down some dark and twisted paths. The film also stars Jessica Lange, Adewale Akinnuoye-Agbaje, Danny Huston, Alan Cumming, and Colm Meaney. “Marlowe” has the look and sizzle of a classic film noir. I’m looking forward to seeing if it delivers.

“Marlowe” hits theaters February 15th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Offering” (2023)

January 17, 2023 by Keith Garlington

Jewish folklore meets horror’s demon possession sub-genre in director Oliver Park’s smart and sinister new chiller “The Offering”. Written by Hank Hoffman from a story he conceived with Jonathan Yunger, this surprisingly rich and devilishly spooky tale digs into themes of family, reconciliation, repentance, and sacrifice. At the same time, it fully embraces many elements of the horror genre, leading to its eerie atmosphere and ominous sense of dread. Best of all, nothing about “The Offering” feels old hat.

Park and Hoffman’s melding of classic horror with strained family dynamics is a key ingredient that sets “The Offering” apart. It has the perfect horror movie setting which Park utilizes to the fullest, and genre fans will immediately recognize many of his techniques and tricks. But it’s his keen management of tone rather than an over-reliance on cheap jump scares that keeps you on the edge of your seat.

Then you have the family angle which adds some unexpectedly potent layers to the story. From the father-son tensions to their Hasidic background, Park gives a lot of attention to developing the frayed family at the center of Hoffman’s story. But its the details, both familial and cultural, that not only enrich the drama, but that feeds directly into the horror. It ends up turning something potentially conventional into a more thoughtful yet delightfully creepy experience.

After years away from home, Art (Nick Blood), along with his pregnant wife Claire (Emily Wiseman), arrive in Borough Park, Brooklyn where his estranged father Saul (a terrific Allan Corduner) owns and operates Feinberg Funeral Home. They arrive unannounced and with no real explanation other than Art’s desire (at Claire’s urging) to reconcile with his father.

Saul is delighted yet understandably curious at his son’s sudden reappearance. He welcomes Art with open arms and immediately hits it off with Claire, who happens to be non-Jewish. But Heimish (Paul Kaye), a long-time family friend who also works at the funeral home, is much more skeptical. He doesn’t trust Art and warns Saul to keep his guard up.

Things take a more sinister turn after the body of a local Jewish man arrives at the funeral home. During the film’s opening prologue we see man encounter a terrifying demon known by many different languages, cultures, and religions as “The Taker of Children”. Before dying, the man was able to trap the demon within his body and seal it inside by an enchanted pendant. As long as the demon remains in the dead body it is powerless. But if the pendant is taken away or destroyed, the seal will be broken. See where this is going?

As the story unfolds we’re treated to more family drama as Art’s motives for returning are revealed. And we get more frights once the demon is inevitably let loose in the cold unnerving funeral home. Lorenzo Senatore’s cinematography is essential to capturing the mood Park is going for, making especially great use of lighting and shadows. Add to it Park’s confidence in his vision and his ability to build tension through his camera, often by small and/or or subtle choices that really enhance a number of scenes.

And then you have the heavy infusion of Jewish faith and folklore; of ritual and tradition. It’s a component that effectively places us within an immersive orthodox world that will be as foreign to some (myself included) as any purely fictional setting. It’s authentic and eye-opening. But it also brings something fresh and original to the horror genre. And as any honest fan will tell you, freshness and originality aren’t words often associated with the horror movies of today. They certainly apply here. “The Offering” is now showing in select theaters and on digital/VOD.

VERDICT – 4 STARS

New on Home Video: “Death Wish” 4K UHD

January 16, 2023 by Keith Garlington

Kino Lorber has announced the new 4K UHD home release of “Death Wish”. This two-disc combo pack features the film in 4K Ultra HD and on Blu-Ray. This 1974 neo-noir action-thriller sees Charles Bronson turn from straight-laced architect to lethal vigilante after his wife and daughter are victimized by a brutal crime. Directed by Michael Winner, “Death Wish” was a controversial film at the time of its release. But over the years it has become a cult classic. You can read my review of the film HERE.

This new 4K UHD of “Death Wish” hits shelves JANUARY 24, 2023. See below for a full synopsis and breakdown of the bonus features.

OFFICIAL SYNOPSIS:

Year: 1974

Rating: R

Runtime: 94 Minutes

Director: Michael Winner

Starring: Charles Bronson, Hope Lange, Vincent Gardenia, William Redfield, Kathleen Tolan, Christopher Guest, Steven Keats, Chris Gampel, Stuart Margolin, Stephen Elliott, Fred J. Scollay, Jack Wallace, Jeff Goldblum

In this explosive story of revenge and urban violence, screen legend Charles Bronson (Mr. Majestyk, Breakheart Pass) plays Paul Kersey, a bleeding-heart liberal who has a change of opinion after his wife and daughter are brutally attacked by a gang of thugs in their apartment. His daughter is sexually assaulted and his wife is murdered. Bronson then turns vigilante as he stalks the mean streets of New York on the prowl for muggers, hoodlums and the like.

Another classic collaboration between Bronson and director Michael Winner (Chato’s Land, The Mechanic, The Stone Killer), Death Wish is a violent, controversial film that is frank and original in its treatment of urban crime and the average citizen’s helplessness in dealing with it. Jazz great Herbie Hancock (Colors) wrote the musical score. Vincent Gardenia (Death Wish II), Steven Keats (The Friends of Eddie Coyle), Stuart Margolin (TV’s The Rockford Files), Stephen Elliott (Beverly Hills Cop) and Hope Lange (Blue Velvet) co-star. And watch for Jeff Goldblum (The Fly) in his film debut as one of the thugs.

BONUS FEATURES:

DISC 1 (4KUHD): Brand New 2022 HDR/Dolby Vision Master – From a 4K Scan of the 35mm Original Camera Negative | NEW Audio Commentary by Film Historian Paul Talbot, the Author of the BRONSON’S LOOSE! Books | 5.1 Surround and Lossless 2.0 Audio | Triple-Layered UHD100 Disc | Optional English Subtitles /

DISC 2 (BLU-RAY): Brand New 2022 HD Master – From a 4K Scan of the 35mm Original Camera Negative | NEW Audio Commentary by Film Historian Paul Talbot, the Author of the BRONSON’S LOOSE! Books | Interview with Actor John Herzfeld | US and UK Radio Spots | TV Spot | Theatrical Trailer (Remastered in 2K) | 5.1 Surround and Lossless 2.0 Audio | Dual-Layered BD50 Disc | Optional English Subtitlesthe following special features:

REVIEW: “Thunivu” (2023)

January 16, 2023 by Keith Garlington

The new Tamil-language film “Thunivu” is a lot of things packed into one movie. It’s loaded with kinetic action, there’s plenty of good humor, and (of course) there’s the occasional pulse-pounding musical number (often when you’re least expecting it). But more than anything, “Thunivu” is a heist film. It may be impossible to nail it down into one single category, but the heist genre is clearly baked into the movie’s DNA.

Written and directed by H. Vinoth, “Thunivu” surprises by seeking to be both a searing indictment of financial systems and institutions and unabashed big screen entertainment. Each are (mostly) effective, and Vinoth does a good job conveying both thrills and his message. Where the movie struggles is in weaving both aspects together. Suffice it say we’re left with what feels like a film of two very different halves.

“Thunivu” stars Ajith Kumar, a fascinating and electric lead who oozes charisma from his first scene till his last. The prolific actor and race car driver has appeared in over 60 movies throughout his remarkable 33-year career. Here he’s handed a meaty role that leans into his physicality, sly sense of humor, and overflowing swagger. He gives a fun (and at times delightfully over-the-top) performance that’s as playful as it is intense.

Vinoth wastes no time setting up and kicking off his elaborate story. The film opens with a gangster named Radha (Veera) meticulously laying out his plan to rob the privately owned “Your Bank” in the heart of Chennai. Within minutes he and his heavily armed crew storm the bank, taking out the guards and rounding up their hostages. But as they prepare to cash out, their plan is disrupted by a mysterious white-bearded man (Kumar) who takes out Radha’s men in a gloriously ballet of finely choreographed violence.

But this mystery man is no angel. He’s actually a gangster himself known as Dark Devil, and he has targeted the bank for his own well-hidden purposes. The police quickly gather outside led by their determined commissioner (Samuthirakani). Soon the tactical units arrives, a war room is set up, and snipers are placed on the rooftops. But with the help of his partner on the outside Kanmani (Manju Warrier), who is observing and feeding him information from a distance, the morally ambiguous Dark Devil stays one step ahead of everyone, including the audience.

As the high-energy, furiously paced first half steams forward, Vinoth introduces several more characters to help fill out his story. There’s a timid constable (Mahanadi Shankar), a cut-throat journalist (Mohanan Sundaram), a sleazy inspector (Bagavathi Perumal), and a crooked banker (John Kokken) just to name a few. Yet there’s never a doubt that Kumar is the centerpiece, and his Dark Devil drives the adrenaline-fueled, action-packed first 100 minutes.

But then the movie takes a surprising turn. The action is somewhat dialed down as Vinoth hits us with a slew of reveals, many through some rather lengthy flashbacks. It’s a bold but jarring change of pace that sees Dark Devil go from ruthless gangster to a roguish Robin Hood of sorts. Soon we’re talking about bank scams, mutual funds, and credit card debt. And suddenly the villains aren’t just gangsters. They’re also bankers, policemen, politicians, and the news media. In Vinoth’s story everyone has dirty hands.

The shift from full-throttled action to biting commentary isn’t the most graceful transition. But it’s hard not to appreciate the shots Vinoth takes at the various forms of corruption, especially from the financial sector. As far as other gripes, Nirav Shah’s cinematography is spectacular. But there are a handful of clips that are awkwardly sped up to the point of being distracting. And while Ghibran’s relentless score fits the movie, it can be a bit overpowering. I also wanted more of Manju Warrier. She’s a tough and fiery presence, but I wish she was given more to do.

But in the end those are small quibbles, especially for a movie that packs this much fun. “Thunivu” may not hit every mark, but I love it when a filmmaker takes big swings. Vinoth goes for broke, delivering a densely plotted, old-school heist movie that’s bursting with a fresh style and energy. He feeds a full course to those hungry for big action, and rewards those who patiently wait for his story to unfold. By the end there’s a good chance you’ll still have a few questions. I know I did. But for the most part Vinoth does a good job covering all his ground. The magnetic Ajith Kumar handles the rest. He’s a force of nature who commands the screen whether he’s cracking bones or cracking jokes. It’s just the kind of star power “Thunivu” needs.