REVIEW: “Black Adam” (2022)

October 24, 2022 by Keith Garlington

While the Marvel Cinematic Universe veers off in countless strange and indulgent directions, the DC Extended Universe sits suffering from a glaring identity crisis. What exactly is the DCEU? Who’s running the DC ship? Is there a roadmap? Which movies and what characters are a part of it? There was a time when I could answer those questions, but not these days. It’s all so convoluted and confusing, which is frustrating considering the iconic characters in their catalog.

Zack Snyder had a well defined blueprint he was following. Unfortunately, his vision was “too dark”, “too gloomy”, and “too serious” for many who cut their teeth on the MCU. That, along with the Joss Whedon debacle and a considerable amount of studio meddling, insured that Snyder’s vision would never be fulfilled. So here we are, still wondering where they go from here. Sure, DC Films has put out some incredible movies (“The Batman”, “Joker”, etc.) that aren’t connected to their extended universe. But what about the DCEU?

Enter Dwayne Johnson and “Black Adam”, a pairing that attempts to bring balance and (more importantly) direction to the DCEU. The engrossing superhero epic “Zack Snyder’s Justice League” aside, “Black Adam” is the first DCEU film since 2018’s “Aquaman” that genuinely feels a part of something bigger. I’m not knocking smaller and more individual projects, but a sprawling universe needs interconnectivity and continuity. With “Black Adam”, it looks like the DCEU is finally ready to deliver that once again.

**Image Courtesy of Warner Bros. Pictures**

One of the film’s biggest strengths was also one of its biggest question marks – Dwayne Johnson. The wrestler turned movie star brings loads of influence and notoriety to whatever film he’s in. But he also has a truly larger-than-life personality which begs the question: would we be able to see beyond Dwayne Johnson to see Black Adam? The answer turns out to be a resounding “Yes”, and it’s in large part due to Johnson himself who gives a lights-out performance. He’s surprisingly restrained, intense and menacing, and slyly funny in some good moments of levity.

Directed by Jaume Collet-Serra and written by the trio of Adam Sztykiel, Rory Haines, and Sohrab Noshirvani, “Black Adam” quite intentionally avoids heavy exposition within its origin story framework. The most we get comes in a prologue where we’re taken back to 2600 BC. In the country of Kahndaq, a despot named Anh-Kot enslaves his own people, forcing them to mine for a mysterious metal called Eternium. The corrupt king wants the metal to forge the powerful Crown of Sabbac, but the people revolt. Legend says a champion named Teth-Adam was granted the power of Shazam which he used to kill Anh-Kot and free Kahndaq.

In the present day, Kahndaq is oppressed by a high-tech organized crime syndicate called Intergang who are seeking the location of Crown of Sabbac. Knowing the dangers if Intergang gets its hand on the Crown, archaeologist Adrianna Tomaz (Sarah Shahi) tracks the artifact to a secret chamber deep in a mountain. It also happens to be the tomb of Teth-Adam. When she and her team are ambushed by a squad of Intergang soldiers, Adrianna recites an inscription that summons Teth-Adam himself (Johnson), an incredibly powerful being who immediately slaughters all of the Intergang soldiers.

With Adam’s arrival, the people of Kahndaq believe they have finally found their champion. But his powerful presence is discovered by Amanda Waller (Viola Davis), a ruthless government official who dispatches the Justice Society of America to apprehend him. With a team consisting of the Nth metal empowered Hawkman (Aldis Hodge), a master sorcerer Dr. Fate (Pierce Brosnan), the wind controlling Cyclone (Quintessa Swindell), and Atom Smasher (Noah Centineo), who can grow enormous heights by manipulating his molecular structure, the JSA set out for Kahndaq.

A big chunk of the movie operates within an interesting moral gray space as it wrestles with the questions: is Adam the hero longed for by the people of Kahndaq, or is he a dangerous villain who needs to be taken into custody? They’re questions that shape the very battles between the JSA and Adam as well as their inevitable team-up later on, once a more sinister threat arises. The movie offers no easy answers. Adam’s willingness to brutally kill his enemies clearly poses a problem for the JSA who are much more by-the-book. But where were the JSA and earth’s other heroes during Kahndaq’s centuries of oppression? This opens up some of the film’s deeper themes. And things only get more complicated as facts of Adam’s past come to light.

All of that makes for the kind of compelling dynamic that superhero movies rarely engage these days. But make no mistake, this is a popcorn genre film through-and-through. “Black Adam” is the epitome of ‘action-packed’ with Collet-Serra putting together several terrific set pieces. Every character gets their moment to shine, with Hodge’s Hawkman and Brosnan’s Dr. Fate making intriguing new additions. But this is Black Adam’s show. Johnson energizes things with his magnetic antihero grit and gnarly kills which push the PG-13 rating, yet are still very much in tune with his character.

In its noble effort to avoid the usual origin story trappings, “Black Adam” bypasses a lot of meaningful backstory, leaving us with a few too many questions. I was hungry to know about the Justice Society, and what is Waller’s connection to them? That said, “Black Adam” does a admirable job introducing new pieces and charting new courses for the DCEU, all within a mostly self-contained story. Obviously those quick to roll their eyes at franchise-building or DCEU movies in general will find plenty to nitpick. But “Black Adam” accomplishes everything it needs to. It offers big action and cracking new characters. It puts its own unique stamp on the superhero origin story. And it sets the DCEU on an exciting new trajectory. “Black Adam” is now showing in theaters.

VERDICT – 4 STARS

REVIEW: “Ticket to Paradise” (2022)

October 22, 2022 by Keith Garlington

Aside from its half-fun and half-cringey trailer, “Ticket to Paradise” advertised a potentially fun throwback romantic comedy built on the backs of two Hollywood A-listers. For some of us, it’s hard not to be drawn to the prospect of George Clooney and Julia Roberts hamming it up again on the big screen. And considering both have dialed back their workload in recent years, it’s nice seeing them again even if this is a pretty by-the-numbers romcom.

Built on Clooney’s charm, Roberts’ effervescence, and their effortlessly fun chemistry together, “Ticket to Paradise” (from director Ol Parker) is the kind of movie that calls back to decades ago when mega-stars frequently took these gigs, often between bigger and better projects. The movies were always light and frothy and they stuck to a pretty strict formula. Eventually these movies ran their course and were even looked down upon as tastes went a little more highbrow.

**Image Courtesy of Universal Pictures**

Don’t get me wrong. Like many other people, I too grew tired of these uninspired studio products and haven’t exactly been longing for their return. That said, I did feel a slight tingle of nostalgia when “Ticket to Paradise” was announced. I like Clooney and Roberts and seeing them together in one of these romcom concoctions of yesteryear wasn’t the worst thing in the world. And for me personally, sometimes I enjoy stepping away from the heavier stuff and taking in something like this.

Well, I can honestly say that “Ticket to Paradise” didn’t disappoint. Not because it’s something extraordinary, but because it’s exactly the kind of movie you think it is. It’s strongly beholden to the well-known romantic comedy formula, both in its handling of characters and in its storytelling. And it’s a movie where you know exactly how things are going to play out. Nothing will catch you by surprise. You’ll have figured out the ending before the opening credits have finished. But that will hardly bother the audience the film is aiming for.

Clooney plays a Chicago architect named David Cotton. Roberts plays a Los Angeles art dealer named Georgia. The two have been divorced for five years, and in this case time has not healed their wounds. It’s safe to say David and Georgia detest each other. Each blame the other for their split. Each relish the opportunity to degrade their former spouse. Together they’re an undeniably toxic recipe, but Clooney and Roberts, along with co-writers Parker and Daniel Pipski, offer up some pretty hilarious verbal jabs, needles, and takedowns, with both stars playing off each other extremely well.

The lone bit of joy David and Georgia share is their daughter, Lily (Kaitlyn Dever) who takes a trip to Bali with her best friend, Wren (Billie Lourd) to celebrate their recent graduation from law school. While there, Lily meets and falls in love with a local seaweed farmer named Gede (Maxime Bouttier). Only 37 days later, David and Georgia get emails from Lily informing them that she and Gede are engaged. Convinced Lily is throwing her life away, David and Georgia hop a plane for Bali, reluctantly join forces, and hatch a plan to discourage their daughter from getting hitched. Hijinks ensue.

Parker soaks us in crystal blue waters and lush green forests (courtesy of Queensland, Australia) so we always have something pretty to look at. Meanwhile the story plays out like your typical crowdpleaser, hitting most of the notes and checking most of the boxes. The antics range from cute and amusing to facepalm worthy. But the sheer star wattage of Clooney and Roberts keep the movie afloat. Their individual presences mixed with their smile-inducing chemistry ensure that those going to see “Ticket to Paradise” leave with exactly what they came for. “Ticket to Paradise” is now showing in theaters.

VERDICT – 3 STARS

REVIEW: “The Good Nurse” (2022)

October 21, 2022 by Keith Garlington

Tobias Lindholm is the screenwriter behind two of my very favorite movies of the last ten years, 2012’s “The Hunt” and 2020’s “Another Round”. He steps back behind the camera for the first times since 2015 to direct his English language debut, “The Good Nurse”. Though known most for his writing, Lindholm gives way to Krysty Wilson-Cairns (“1917”, “The Last Night in Soho”) who pens this thoroughly enthralling biographical crime drama that leans on the powerhouse performances from two Oscar winners.

Based on Charles Graeber’s 2013 book of the same name, this smart and surprisingly dense feature at times plays a little like a television medical procedural (and I say that as a compliment). Other times it has distinct old-school thriller vibes. It’s also biographical, telling the unsettling true-crime story of Charlie Cullen, a nurse who was confirmed to have murdered 29 patients (suspected to be as many as 400) in various hospitals over a 15-year span. Despite several suspicious incidents, hospitals chose to protect themselves rather than turning Cullen in. This allowed him to continue to find work up until a fellow nurse named Amy Loughren worked with New Jersey law enforcement to bring Cullen down.

The opening credits set a good tone. In 1996 at a Pennsylvania hospital, a nurse named Charlie Cullen (Eddie Redmayne) steps away from a patient who suddenly codes. Doctors rush in to attempt to resuscitate. But the camera stays focused on Charlie, slowly zooming in on his face as he watches the doctors frantically try to save the patient’s life. During this disquieting single shot, Charlie’s visible concern slowly erodes into a cold stare as a doctor takes off his gloves and announces the time of death. Redmayne nails the scene, and from that moment on we no longer see him. We see Charlie Cullen.

Jumping ahead to 2003, we’re introduced to Amy Loughren (Jessica Chastain), an ICU nurse at a New Jersey hospital. As the movie’s title suggests, Amy is a good nurse. She takes her job seriously and genuinely cares for her patients. She also has a serious heart condition, one that calls for a heart transplant. But she has to work at the hospital for one year before qualifying for health insurance. She has four months to go. If that wasn’t bad enough, she’s also a single mother struggling financially. She works long hours to provide for her two daughters, but with her medical bills it’s barely enough to scratch by.

Short on staff and hampered by budget cuts, the hospital hires Charlie Cullen to help the overworked night shift. Thin and slight, with sloped shoulders and dangling arms, Charlie has a quiet and unassuming presence. He’s the kind of person who easily disappears into the background. Amy shows him the ropes, and over time the two become close friends. Before long Charlie becomes a fixture in Amy’s life, driving her to work and even helping with her daughters. And after learning of her medical condition, he covers for her at the hospital, determined to see her through until she can get insured. For someone struggling like Amy, Charlie seems like a godsend. But then one of Amy’s patients unexpectedly dies, and the true-crime elements really kick in.

Led by their buttoned-up and aggressively corporate risk manager (a very good Kim Dickens), the hospital administrators immediately go into self-preservation mode, gathering what information they can and keeping it hid behind the veil of an “internal investigation”. It’s a full seven weeks after the death that they’re forced to notify the police. The two New Jersey homicide detectives assigned to investigate (Nnamdi Asomugha and Noah Emmerich) are incensed by the delay especially after learning the patient’s family has already cremated the body. No body means no autopsy which means no case.

But the hospital’s lack of promptness and obvious stonewalling only raises the suspicions of the detectives who eventually set their eyes on Charlie. But getting through the hospital bureaucracy proves to be a chore. They need someone on the inside – someone close to Charlie who could help them get the evidence the hospital is intent on hiding.

So often movies like this can wander, especially when topping two hours. But “The Good Nurse” remains compelling throughout thanks to some good behind-the-camera choices. Rather than making Charlie, his motives, and his pathology her centerpiece, Wilson-Cairns builds her story around Amy. Together with Chastain, she hooks us emotionally and adds a penetrating human layer. And Lindholm’s crisp and methodical dramatic pacing has us glued to every frame. He keeps this talky restrained thriller from ever feeling dry, and his management of tone is spot-on.

The real-life events behind “The Good Nurse” is inherently chilling, so no additives needed in that department. But it does require a specific kind of performance to pull it off. Redmayne fits the bill plus some. Everything he does lands well, from his unnerving reticence to the small hints of the monster within. Then you have Chastain, our emotional connection who grounds the story with her remarkable restraint. Both are key ingredients to fleshing out this terrifying true story that will leave you second-guessing your next hospital visit. “The Good Nurse” is out now in select theaters and streams October 26th on Netflix.

VERDICT – 4 STARS

First Glance: “A Man Called Otto”

October 20, 2022 by Keith Garlington

I loved the 2015 Swedish dramedy “A Man Called Ove”, and I remember thinking then that an American remake was all but guaranteed. It actually took longer than I expected to get here, but now we have “A Man Called Otto” from director Marc Forster. And playing the titular curmudgeon is none other than Tom Hanks. I’m always a believer in Hanks, but this felt like an odd role for him. Then I saw the new trailer. In typical Hanks fashion, he falls right into the character and I’m looking forward to seeing where he takes it.

Storywise, Otto is in a bad way. His wife has died, and he was forced out of a job he loved. So he’s decided to end his life. But every attempt is accidentally thwarted by his sweet and lively new neighbors. Soon this single mother, two young daughters, and one persistent gray cat help Otto see that he has more to live for. The original film was dark yet funny. I’m not sure how far this version will go, but the trailer looks really promising.

“A Man Called Otto” opens in theaters January 13th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Triangle of Sadness” (2022)

October 20, 2022 by Keith Garlington

The rich and pampered have become a favorite punching bag of filmmakers and studios (it’s hard to miss the baked-in irony of that statement). It makes sense considering the snobbish upper crust elites routinely give us new things to scrutinize and satirize. So you could call them an easy but deserving target. The latest film to take a big swing at the wealthy and privileged is Swedish director Ruben Östlund’s “Triangle of Sadness”.

This satirical black comedy surprised a lot of people by winning the Palme d’Or at this year’s Cannes Film Festival. Early critics scores revealed a more mixed reaction, and understandably so. “Triangle of Sadness” is a peculiar movie – one whose blistering intentions are so clear from scene to scene that there’s no room whatsoever for subtlety or nuance. In fact, its heavy-handedness is so pronounced it drags the movie down on a few occasions. Yet there are other times when the Östlund’s bluntness feels like part of the joke.

Perhaps the most surprising (and perplexing) thing about “Triangle of Sadness” is in seeing how much more Östlund enjoys poking fun at the one-percenters and relishing in their suffering than saying anything new and insightful about them. Yes, there are some pointed cuts at the systems that provided and sustains their wealth, and we get some obvious commentary on class disparities and skewed power dynamics. But this is mostly a all-out basting and humiliation of the rich and powerful.

But don’t get me wrong, part of the mad genius of Östlund’s batty concoction is in how he takes everything I said above and makes it into something so thoroughly entertaining. “Triangle of Sadness” is a blast, firing off a number of good laughs through both its overt directness and its unbridled absurdity. Östlund’s irreverent style is tailor-made for such a scourging. And though there’s nothing revelatory in his portrayal of the uber-wealthy, he exaggerates his perception in such a way that we’re always given something to chew on.

The closest we get to protagonists are Carl (Harris Dickinson) and Yaya (Charlbi Dean). They’re a young couple in the literal sense, but it’s hard to tell if their relationship is built on true affection or social clout. Carl is your prototypical male model and makes most of his money with his shirt off. Yaya is a social media influencer whose success is based more on followers than revenue. Both live off of their good looks, but it’s hardly a lucrative business. Yet they happily live above their means, in large part thanks to the freebies Yaya gets from companies hungry for free advertising.

One such freebie is a luxury cruise on a $250 million yacht. Carl and Yaya join an assemblage of obscenely rich high-society types that includes a Russian fertilizer magnate (Zlatko Burić) and his self-deluded wife (Sunnyi Melles), an elderly British couple (Oliver Ford Davies, Amanda Walker) who made their fortune on hand grenades, a disabled German woman (Iris Berben) who continually shouts “In Den Wolken” (which means “in the clouds”), and a forlorn mobile app creator (Henrik Dorsin) among others.

The very makeup of the ship could be a reflection of class structures around the world. The privileged out-of-touch cruisers soak up the amenities of the lavish upper deck where mostly white servers pamper them in anticipation of huge tips. Meanwhile the predominantly non-white service members stay in cramped cabins below. They’re considered part of the service crew, but not allowed to be seen topside. Like many things, it isn’t the slightest bit subtle, but nor is it trying to be.

While the first half focuses on the privilege the rich enjoy, the second half explores what happens when they have it taken away. But connecting those two halves is what’s sure to be considered the film’s signature scene – a posh Captain’s Dinner that goes horribly wrong. Let’s just say it involves spewing vomit, overflowing toilets, turbulent seas, and the ship’s stone-drunk captain (a hysterical Woody Harrelson). It sends the story careening into its third act as a select number from the boat find themselves stranded on a deserted island. Once there, class status is tossed, gender roles are reversed, weaknesses are exposed. But being good-looking still has its benefits.

Unfortunately Östlund doesn’t see his story through to the end. Instead he takes an easy out, giving us an ambiguous ending that doesn’t offer any real conclusion. It’s the old “you determine for yourself” finish which often works nicely. But in a movie like this, where everything is so straightforward and Östlund is basically shooting fish in a barrel, it really needs to end with a punch.

Still, Östlund gives us plenty to absorb as he runs his filthy rich subjects through the wringer. Some scenes are savagely funny while others are simply savage. More importantly, we’re always engaged. And his satire, though glaringly blunt and without an ounce of subtlety, has bite. “Triangle” is a wild and wildly original film, and it’s hard not to be drawn to it, flaws and all. And though Östlund may whiff on a few of his crazy swings, most of them connect with bludgeoning force. So much so that we may feel a little guilty about laughing at these people’s suffering. Not much, but maybe a little. “Triangle of Sadness” is now showing in select theaters.

VERDICT – 4 STARS

REVIEW: “Raymond & Ray” (2022)

October 19, 2022 by Keith Garlington

Two of my favorite working actors teaming up in an off-beat family dramedy? That’s too much for me to pass up on. And wouldn’t you know it, “Raymond & Ray” turns out to be right up my alley. It’s the kind of slice-of-life movie I’m often drawn to. It doesn’t strive to be innovative, nor does it pretend to be something momentous. It’s a simple and grounded look at the human condition through the experiences of two well-rooted characters. It’s tight in scope and honest with its emotions, but it also finds time for levity which is welcomed considering death is a key component.

Written and directed by Rodrigo García, “Raymond and Ray” features a story that’s a bit warped and even a little zany. Yet it always has its feet planted in reality. It follows two half-brothers. Both are very different people who have lived very different lives. Yet they do have one thing in common – they both detest their father. And that shared hatred has only driven them apart. Not because of any disdain for each other (they were actually inseparable as kids). But because being together only brings back the memories of the neglect and abuse they experienced.

Ewan McGregor plays Raymond, an straight-laced stiff with two divorces behind him who’s now separated from his third wife. Ethan Hawke plays Ray, a recovering heroin addict who once aspired to be a trumpet player but gave it (and everything else) up after his wife died of cancer. Both are damaged people whose lives never panned out they way they hoped. And they sought answers in places that only led to more problems.

The movie opens with Raymond arriving at Ray’s house to inform him that their father has died. It’s the first time the two have seen each other in years and even longer since either had seen their estranged father. Ray isn’t especially moved by the news, but he is surprised to learn that their father’s dying wish was that his sons attend his funeral. Ray says to brush it off. After all, the old man’s dead; he won’t know. But Raymond wants them to go (plus he recently lost his drivers license after a DWI so he needs a ride). Ray reluctantly agrees, and the two load up and make a trip to Richmond.

After arriving, Raymond and Ray discover that their late father’s last wishes didn’t end at attending his funeral. He also left word that his boys were to dig his grave and cover it up (their father was able to get the cemetery’s consent through a bogus religious freedom request – a funny gag that pops up several times). While Raymond sees it as their duty, Ray quickly begins to lose patience. Was this really a heartfelt wish of their dead dad or was he heartlessly screwing with them from beyond the grave?

From the very start, the story structure of “Raymond & Ray” is pretty obvious. There will be plenty of revelations along the way, both for the two half-brothers and the audience. These reveals come through their father’s various acquaintances who describe a much different man than Raymond and Ray experienced. Among them are their father’s attorney (Oscar Nunez), his former lover (Maribel Verdú), his pastor (Vondie Curtis-Hall), and his nurse (Sophie Okonedo). Raymond and Ray begin to discover who their father became in recent years. But it doesn’t erase who he was in the past, and those old wounds prove to be deep and painful.

While Garcia gives us plenty of great character moments and some genuinely good laughs, the story doesn’t fully stick its ending. Obviously I won’t spoil it, but let’s just say one lead character ends in a more believable place than the other. But for the most part, “Raymond & Ray” has all the heart and quirkiness it needs to work well as a dysfunctional family drama and a subtle black comedy. And it doesn’t hurt to have talent the caliber of McGregor and Hawke, two savvy seasoned actors who keep this oddball tale on a human level. “Raymond & Ray” premieres October 21st on Apple TV+.