REVIEW: “Consecration” (2023)

February 10, 2023 by Keith Garlington

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

The latest entry into horror’s possession sub-genre is “Consecration”, a new chiller that plays more like a supernatural mystery than a straight up horror movie. Looking at it that way works in the film’s favor considering there isn’t a single scare to be found in the movie’s lean 85-minute runtime. Unfortunately the mystery itself is never that compelling, and sticking with the story as we wait for the eventual payoff ends up being a test of patience.

What’s frustrating is that there are several cool ideas baked into “Consecration” that simply don’t come together like they could have. Directed by Christopher Smith from a script he co-wrote with producer Laurie Cook, the movie borrows all sorts of religious liturgy, symbolism, and vernacular to create its familiar yet believable sectarian setting. And Scotland’s atmospheric Isle of Skye offers some fittingly spooky yet gorgeous locations.

But “Consecration” lacks the engaging storyline to hold it all together. It’s bookended by a promising premise that both starts and ends in a interesting place. But it’s the sluggish middle that may have enough going on to hold your attention, but that never takes the story (or the audience for that matter) in any exciting directions. Instead it mostly sits in idle, slowing building up but ultimately teasing much more than it delivers.

Malone plays the ironically named Grace, an embittered atheist who more or less embodies the movie’s mostly cynical view of religion. A series of clunky flashbacks hint at a traumatic childhood. One marked by physical and mental abuse stemming from her father’s religious zealotry. These days she’s an eye doctor from the States who has worked hard to put her troubling past behind her. But being this is a horror movie, that proves to be easier said than done.

Grace is devastated after hearing that her brother Michael (Steffan Cennydd) has been found dead at a convent in Scotland. Michael, we learn, was a Catholic priest who was part of a devoutly rigid yet vaguely defined sect. Local police, led by DCI Harris (Thoren Ferguson), are investigating his death as a murder-suicide. They believe that Michael killed a fellow priest before taking his own life. But Grace isn’t buying it. So she flies to Scotland to identify her brother’s body and do a little investigating herself.

At the convent Grace meets the gruff and evasive Mother Superior (Janet Suzman) who claims Michael “fell into darkness”. She believes he killed himself fighting off a demon which a skeptical Grace immediately dismisses as nonsense. Then there’s Father Romero (Danny Huston) who is assigned by the Vatican to investigate the death and consecrate the convent of any residual evil. To Grace’s surprise, Father Romero pledges his full cooperation and support. Huston is such a good actor, and he craftily sells nobility while still leaving us suspicious of his character’s motives.

Unfortunately, he (like much of the movie) is left hanging by a script that simply doesn’t have the depth it needs. It tries to build on Grace’s backstory through the aforementioned flashbacks and a handful of semi-chilling visions that she experiences every so often. There’s also a revelation about some powerful mystical relic that the sect is after. And we get some hard to decipher references to a cult (I think) with connections (again, I think) to the ruins of an old chapel on a cliff. But again, none of that stuff gets the attention or the detail needed for us to really care.

Some of this may be easy to look past if the movie was remotely scary. Sadly, it’s not. It takes a few cheap swings, but none of it is chilling or unsettling which only highlights the film’s more glaring issues. Thankfully, Smith keeps things short and sweet. But actually, this is a movie that could have used another 20 minutes or so. Maybe with a little more time spent on fleshing out its story, “Consecration” could have been the movie it teases rather than the movie it ends up being. “Consecration” opens in theaters today (February 10th).

VERDICT – 2 STARS

First Glance: “Air”

February 9, 2023 by Keith Garlington

Matt Damon and Ben Affleck lead an all-star cast in the new Amazon Studios biographical dramedy “Air”. It’s directed by Affleck from a script by Alex Convery and is set to get wide release in theaters – a significant move from Amazon. In addition to pals Damon and Affleck, the film stars Jason Bateman, Chris Tucker, Chris Messina, Viola Davis, Marlon Wayans, and Matthew Maher.

“Air” follows Sonny Vaccaro (Damon), a marketing executive and shoe salesman at Nike who attempts to sign Michael Jordan to his first ever shoe deal. Affleck plays Phil Knight, the co-founder of Nike who went from selling sneakers out of his car at track meets to become the billionaire head of the world’s biggest shoe company. In the trailer we see Sonny coming up with the idea of signing a young and unproven Jordan and building the brand around him. It’s a tough sell, and “Air” chronicles the challenges that led to the landmark (and lucrative) deal.

“Air” lands in theaters April 5, 2023. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Alice, Darling” (2022)

February 9, 2023 by Keith Garlington

The new film “Alice, Darling” sets out to shine an honest and earnest light on the issue of psychological and emotional abuse. In her feature directorial debut, Mary Nighy takes this undeniable potent subject matter and examines it from a distance, yet with remarkable clarity. Along the way, she also looks at the bond of friendship and the importance of having supportive people in your life who you can trust unconditionally outside of your partner.

Written by Alanna Francis, “Alice, Darling” takes a strategic and ultimately impactful approach to its central subject. Rather than concentrating on the actual abuse and showing it as it happens, the film reveals more through its effects, namely on a young woman named Alice. The crippling anxiety, the loss of all self-confidence, the physical self-harm – just some of the signs shown that paint a vivid picture of what a victim may sometimes endure. It’s tricky material, but Nighy handles it well by showing restraint and (mostly) avoiding the dramatics.

The film stars Anna Kendrick, a steady hard worker who has put out at least one movie a year for most of her 20-year career. She’s an interesting actress who often plays somewhat similar characters despite the kind of movie she’s in. And while much of her work has been related to comedy, she has taken on some more serious roles, mostly in supporting turns (she received an Oscar nomination for 2009’s “Up in the Air”).

Here, Kendrick is given her heftiest dramatic role playing Alice, a psychologically battered young woman who tries her best to mask the emotional distress brought on by her relationship with her obsessive and controlling boyfriend, Simon (Charlie Carrick). He’s an up and coming artist whose entire world revolves around his wants and needs. He puts on a good show, but he’s a much different person when not hobnobbing with potential backers.

Simon’s abuse isn’t the out-and-open kind. It’s hidden under a veil of sincerity. He tells Alice how much she means to him. He buys her nice things. He proudly introduces her to all his art world friends. In some ways Simon is self-deluded enough to think those things alone make him a good partner. But as the movie progresses, we get a better sense of his unbridled self-absorption and smothering control. He routinely shames and manipulates Alice, exploiting her vulnerability and stripping her of all self-esteem. And we see it taking its toll.

It all comes to a head after Alice is invited to join her friends Sophie (Wunmi Mosaku) and Tess (Kaniehtiio Horn) for a week-long lake house getaway. Rather than tell Simon where she’s going, Alice makes up a fake business trip story and heads off with her pals. She puts on a good face and keeps the ruse hidden. But she can’t fully hide her troubled state of mind. Her friends suspect something is wrong and try to get her to open up. But Alice keeps everything bottled up to the point where she starts to unravel.

Nighy does a good job exploring the dynamic between Alice and her friends. Sophie and Tess can see through Alice’s front, and it’s easy to tell she’s not the same person she used to be. They attempt to break through to her, pointing out her disconnection and questioning the obsessive way Simon texts her and tries to guilt her into coming home. Overall it’s an eye-opening look at friendships; more specifically the supportive systems often found within them. And Nighy uses the dramatically different personalities of Sophie and Tess to show the different sides of such vital relationships.

But so much comes back to Kendrick and her performance which feels rooted in a personal lived experience (In fact it was. Kendrick recently revealed to PEOPLE magazine that she was inspired to do the movie following her own experience in an emotionally and psychologically abusive relationship). It’s a surprisingly subtle portrayal of a woman crumbling, with Kendrick never overplaying it yet vividly conveying the lasting impact of abuse.

While the story starts to come unglued in the final 15 minutes, the most notable misstep is a needless tacked-on subplot involving a missing girl. The metaphor is glaringly obvious, but it’s the idea of using a missing girl that is problematic. It’s not the most tasteful choice. It certainly doesn’t undermine what is otherwise an honest and insightful drama. But it does routinely pull us away from the many things the movie does well. “Alice, Darling” is now showing in select theaters.

VERDICT – 3 STARS

Movie Poster Spotlight: “Paint”

February 8, 2023 by Keith Garlington

One of my most anticipated comedies of the year is the hilariously looking indie “Paint”. Written and directed by Brit McAdams, the film stars Owen Wilson as television painter Carl Nargle (gotta love that name). For nearly three decades he has had the top-rated painting show. But when the TV station hires a younger and peppier painter, suddenly everything he has built (or painted) is put in jeopardy. The movie is clearly channeling Bob Ross vibes, and with Owen Wilson starring you know it’s going to be a riot. The just released poster for “Paint” gives us a good taste of what to look forward to. What do you think of it?.

DIRECTOR – Brit McAdams

WRITER – Brit McAdams

STARRING – Owen Wilson, Michaela Watkins, Wendi McLendon-Covey, Ciara Renee, Lusia Strus, Stephen Root, Denny Dillon, Lucy Freyer, Evander Duck, Jr., Will Blagrove, Ryan Czerwonko

RELEASE – April 7, 2023

REVIEW: “The Locksmith” (2023)

February 8, 2023 by Keith Garlington

Ryan Phillippe has a brand new film called “The Locksmith” although there’s a good chance you didn’t know about it. That’s because the modest crime thriller came with barely a whisper of promotion. It’s actually a fairly entertaining time-burner that has no trouble holding your attention. At the same time, it turns out to be too straightforward for its own good. There are no unexpected twists and no real surprises of any kind.

Call it noir-lite, “The Locksmith” marks the directorial debut for Nicolas Harvard. A total of four writers penned the script, John Glosser, Joe Russo, Ben Kabialis, and Chris LaMont, from a story conceived by Blair Kroeber. In addition to Phillippe, the film features supporting turns from an intriguing cast that includes Ving Rhames, Kate Bosworth, and Jeffrey Nordling.

In a brief prologue we meet Phillippe’s Miller Graham, a master safecracker struggling to provide for his wife Beth (Bosworth) and their young daughter. He convinces his equally struggling best friend Kevin (George Akram) to help him on a job that’s orchestrated by Detective Zwick (Nordling), a corrupt vice cop who’s pretty high up on the department’s food chain. But things quickly go south. Zwick guns down Kevin to cover his tracks, and Miller is left to take the fall.

Miller keeps his mouth shut and serves ten years in prison. After being released, he’s given a handyman job by his loyal and wise friend, Frank (Rhames). But his main focus is on mending his relationship with his now ex-wife Beth and being a father to his now 12-year-old daughter Lindsay (Madeleine Guilbot). But things get complicated when he’s approached by April (Gabriela Quezada), Kevin’s kid sister. She’s gotten in too deep with a wealthy and powerful real estate developer, Garrett Field (Charlie Weber) who secretly runs an extensive prostitution and sex-trafficking ring. She wants out and she needs Miller’s help.

While Frank warns him not to get involved, a guilt-ridden Miller feels its his responsibility to help his late friend’s sister. So despite being hassled by Zwick and his two goons (for reasons I’m still not sure of), Miller and April hatch a plan to steel a bag of money from Garrett. It goes about as well as expected, putting Miller, his friends, and his family in danger.

Nothing that happens from there will catch anyone by surprise. Yet it’s clear that Harvard and the team of writers genuinely care for their characters. Both them and their relationships (as conventional as they may be) are given the time and attention they need. There’s an earnestness between Miller’s efforts to win back Beth’s trust and her willingness to give him a chance. There’s a sweetness to his relationship with Lindsay. There’s a sincerity in his friendship with the mentor-like Frank.

As for the villains, they’re all pretty one-dimensional. Garrett as a typical rich baddy who’s more of a plot device than an interesting or memorable character. Zwick is a different story. In many ways he’s your prototypical corrupt cop without a single redeemable characteristic or shade of nuance. But Nordling is so deliciously vile and despicable that he makes the character fun and steadily entertaining.

But “The Locksmith” tries to incorporate a little too much into its straight-line crime story – safe-cracking, assault, robbery, murder, prostitution, kidnapping, sex-trafficking, police corruption, plus some. There are also some pretty noticeable lapses in logic. Take April’s belief that it’ll take $500,000 (!!!) just to “start a new life“. Or Miller’s incredibly bad plan to steal the cash. Or Zwick’s irrational obsession and harassment of Miller.

As for Phillippe, it seems he has found a home in these B-movie thrillers. But to his credit there’s never a sense he’s slumming it or just cashing a check. He’s a sturdy lead who finds ways to make each of his characters interesting. It’s the same with “The Locksmith”. Phillippe earns our empathy and keeps us engaged, regardless of how dense Miller can seem and how head-scratching his choices can be. “The Locksmith” is now showing in select theaters and on VOD.

VERDICT – 2.5 STARS

REVIEW: “The Wonder” (2022)

February 7, 2023 by Keith Garlington

Florence Pugh continues to deliver strong performances through a fun and eclectic variety of well chosen roles spanning numerous genres. Her latest is “The Wonder”, a period drama with a tinge of psychological thriller from Chilean director Sebastián Lelio. The film is set in 1862 where Ireland has been stricken by a great and devastating famine. But in a rural Irish village a young girl has inexplicably been able to survive without eating. Some including her family insist it is a miracle from God. Skeptics believe the attention is unwarranted and that it’s all a ruse.

Lelio, who co-wrote the screenplay with Emma Donoghue and Alice Birch, spends a lot of time exploring the tensions between faith and science, more specifically those who prescribe to one side with no regard for the other. Pugh plays an English nurse named Mrs. Elizabeth Wright who is summoned to the remote village by a committee of local dignitaries (Toby Jones, Ciarán Hinds, and Brían F. O’Byrne). She’s joined there by a nun, Sister Michael (Josie Walker). The committee wants the two to observe a 9-year-old girl named Anna O’Donnell (Kíla Lord Cassidy). After 14 days, they are to report back to the committee with their findings, Elizabeth from a medical perspective; Sister Michael through the eyes of faith.

It’s said to have been four months since the seemingly healthy young Anna last ate and the townsfolk are baffled. How can she still be alive? “I don’t need to eat,” she tells Elizabeth in one of their first meetings, “I live on manna from Heaven.” Elizabeth and Sister Michael begin their observation in shifts and are instructed not to confer with each other before reporting back to the committee. Tom Burke pops up playing William Byrne, a reporter from London’s The Daily Telegraph with a special interest in the girl (and later in Elizabeth). He’s there to sniff out a story – is it something scientific that they don’t yet understand or is it something spiritual and supernatural?

The truth slowly comes into focus as Lelio patiently begins putting his pieces together. Many of them come from Anna’s family which includes her mother Rosaleen (Elaine Cassidy), her father Malachy (Caolán Byrne), and her older sister Kitty (a terrific Niamh Algar who’s also the story’s unconventional narrator). Through them we learn the O’Donnell’s are deeply religious and a certain family tragedy still looms over their household. Much the same, Elizabeth has a deeply buried grief of her own which drives her desire to get to the truth.

“The Wonder” provokes some intriguing questions as it moves along, answering them from what seems like a fairly cynical point of view. The final act is a little shaky, but Lelio holds it together, ultimately ending in a place of hope while still making his overarching message abundantly clear. Interestingly, the movie is book-ended by scenes from a warehouse movie set where our narrator speaks to the value and persuasive power of stories while encouraging the audience to engage with them. It’s an interesting idea that doesn’t quiet land the way it intends.

It may have a few shortcomings, but they don’t outshine the many things “The Wonder” does well. Lelio shows an exceptional management of tone and the way he captures and uses his period setting enhances the story in a number of ways. He also knows what he has in Florence Pugh whose standout performance is both thoughtful and haunting. She keeps the movie centered and engaging, even in the few instances where its sputters. “The Wonder” is now streaming on Netflix.