REVIEW: “Spin Me Round” (2022)

August 23, 2022 by Keith Garlington

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

Jeff Baena directs “Spin Me Round”, a new genre mash-up that ends up being one of the most perplexing movies I’ve seen this year. Not because of a deep and knotty story. Not due to some heavy thought-provoking themes. And certainly not from layered and challenging characters. No, it’s because I’m still trying to figure out how a movie that started so strong ended up such a mess.

It’s not so much recognizing what went wrong. The issues with “Spin Me Round” aren’t hard to spot. The puzzling part is trying to understand some of the creative choices that takes what started as are sharp and genuinely funny comedy and turns it into this weird melange of clashing undeveloped ideas. It results in a schizophrenic final third that sees the movie trying to be an erotic thriller, a revealing #MeToo drama, a buddy mystery, an absurdist parody, and several other things. But despite its go-for-broke efforts, it all comes across as little more than manufactured chaos.

It’s a shame because “Spin Me Round” has a cast rich with comedic talent: Alison Brie, Aubrey Plaza, Molly Shannon, Alessandro Nivola, Tim Heidecker, Lil Rel Howery, Zach Woods, Debby Ryan, and Fred Armisen for starters. And the story (penned by Baena and Brie) sets off on the right foot, riffing on a basic romantic comedy premise while smartly leaning on the names above to deliver some good laughs.

But something happens just past the halfway mark that makes for an intriguing shift in tone. And for a while Baena does a good job balancing the comedy with this new subtly smarmy under-your-skin thriller vibe. But things turn on a dime and go sideways fast as more twists are introduced and more genres are crammed in. It ends up messy and convoluted to the point that the entire story comes unglued. Call it a miscalculation or over-ambition. Whatever the reason, the movie derails and never has time to get back on track.

Brie stars as Amber, a late thirty-something living a mundane life in Bakersfield, California. She’s fresh off a messy breakup and about the only thing close to excitement in her life is working as manager of the local Tuscan Grove, an Olive Garden-ish Italian restaurant chain. Amber is surprised one day by some news that could spice things up. Her boss (Howery) informs her that she’s been selected for the Tuscan Grove Institute Exemplary Manager’s Program. It’s an all-expense-paid corporate getaway to Italy where she’ll stay at a luxury villa and take part in several haute culinary classes taught by master chefs. And who knows, maybe she’ll get a glimpse of the company’s charismatic CEO, Nick Martucci (Alessandro Nivola).

It doesn’t take long for Amber (who’s never been out of the States) to get caught up in the romanticism. She sees herself being swept away by the beautiful locales, eating the best Italian cuisine, getting lost in the local culture, and maybe even falling in love. But her first dose of reality comes pretty quick. After being picked up at the airport by the slyly sardonic program supervisor, Craig (a really funny Ben Sinclair), Amber is driven, not to a beautiful countryside villa, but a rinky-dink hotel. It’s the first of several signs indicating this company retreat isn’t all it’s cracked up to be.

The funniest bits come when we’re introduced to the other managers – an eccentric blend of pinheads and oddballs who immediately make us question the “Exemplary” part of the program. Among them is the neurotic Deb (a scene-stealing Molly Shannon), the awkward oversharer Dana (Woods), the detached and uninterested Susie (Ryan), and Fran (Heidecker) who wears his brief stint on Chef’s Challenge as a badge of honor. Each deliver some laugh-out-loud moments with Amber often in the straight-man role.

But things shift after Nick appears and whisks Amber away for a romantic afternoon on his yacht. With practically no buildup whatsoever, she gives into her Cinderella-styled fantasy, succumbing to Nick’s big smile and paper-thin charm. And then there’s the acerbic and mysterious Kat (played by Baena’s real-life wife Plaza) who one minute is shuttling Amber to her secret rendezvous with Nick and is warning her to watch out for him the next.

Kat could be the film’s most compelling character, but she’s undone by the script’s lack of interest in her. Kat teases more than she delivers, leaving us with no way to gauge her or her motives. Is she complicit in some queasy dealings or is she guided by some darker self-interests? We eventually get a vague one-word answer, but well after she up and disappears. Despite being framed as a meaningful character, the writers send Kat packing without making sense of anything she has brought to the story. It’s such a waste of Plaza’s talent.

Sadly there’s a lot wasted here – the funny anti-romcom first act, the gorgeous scenic stops along the Italian Riviera, the opportunity to go deeper into the weighty themes it introduces. Instead the filmmakers choose to run riot, spinning off in all directions before settling into a poor man’s “Eyes Wide Shut.” Baena clearly wants to jolt us, both with the shock and the silliness of what’s revealed. But it’s easy to lose yourself and your movie when taking such wild swings. Case in point – “Spin Me Round”.

VERDICT – 2 STARS

REVIEW: “Orphan: First Kill” (2022)

August 22, 2022 by Keith Garlington

“Orphan: First Kill” is a prequel to the 2009 psychological horror cult hit “Orphan”. It’s a rather unexpected second feature that sees Isabelle Fuhrman reprising her role as Esther, the creepy and calculating adoptee who terrorized her foster family in the first film. Despite being 13 years older and this new movie taking place prior to the original, Fuhrman falls right back into Esther’s skin, bringing the character and all her devilish cunning back in a startlingly convincing way.

William Brent Bell directs this new installment with David Coggeshall handling the screenplay. It’s based on a story by David Leslie Johnson-McGoldrick and Alex Mace, the brainchildren behind the first movie’s script. Fans of the original film might remember one particularly disturbing aspect of Esther’s background. More specifically, what happened to her family before she was put in the orphanage. “First Kill” gives us a first-hand dive into those events.

“Orphan: First Kill” may not convince us of the need for its existence, but it does provide fans of the 2009 movie plenty to munch on. At the same time, it’s undeniably silly and it doesn’t exactly start off on the strongest foot. But credit to the filmmakers who broadside us with a midway twist that I can’t imagine anyone seeing coming. It’s utterly bonkers and sadistic, but in a weirdly satisfying way it energizes the rest of the movie and makes this much more than just a carbon-copy of its predecessor.

Bell opens his movie with a prologue set in 2007. At an Estonian mental hospital called the Saarne Institute, Leena Klammer, the facility’s most violent patient, escapes. She assumes the identity of Esther Albright, the believed-to-be abducted daughter of a well-to-do American couple, Tricia (Julia Stiles) and Allen (Rossif Sutherland) Allbright. In Darien, Connecticut, Esther/Leena is ‘reunited’ with the Allbrights and their teenage son Gunnar (Matthew Finlan).

From there, the movie borrows the model of the first film as Esther’s deranged game of manipulation really kicks in. It seems like she may have hit the jackpot. The Albrights are a big-money family who fly in private jets, live in a sprawling country estate, and even have a collection of Fabergé eggs lined across their living room mantel just to highlight their wealth. And to top it all off, the ruggedly handsome Allen immediately catches Esther’s eye, if you know what I mean (à la Peter Sarsgaard from the 2009 flick).

That sounds like a pretty copy-and-paste approach, and you’d think it would be a hard sell this time around since we already know Esther’s BIG secret from the previous movie (I won’t spoil it for those yet to see it). Also, there’s an undeniable silliness to the idea of a daughter being gone for just four years yet returning this dramatically different. Yes there’s a physical resemblance, but the weird personality, the ice-cold eyes, the 18th century dress code, the poorly concealed Russian accent. Are there really no question marks or red flags popping up for this family?

Enter that midway twist I mentioned. The movie answers all those concerns (to varying degrees of success) with a wild out-of-the-blue turn that jolts the entire story and sends it in a vastly different direction. It’s pure gonzo camp that doubles down on the nuttiness of its premise and gives the cast some warped yet wildly entertaining places to go. It’s especially true for Stiles and Fuhrman. Stiles has always been an underrated actress. It’s great seeing her get a role she can really sink her teeth into. Fuhrman is an unsettling force, but at age 25, it’s a little tougher to look like a convincing 9-year-old. But the movie pulls it off thanks to a clever mix of body-doubling, strategic camera angles, and an occasional splash of CGI.

Interestingly, the movie’s ending feels a little hurried and cheap. Yet at the same time, it kinda fits considering how zany this thing gets. And I can’t imagine them being able to take the series any further. Overall it’s hard to call “Orphan: First Kill” necessary, and in terms of series status all it really does is fill in a few holes. But who cares about all of that when we’re given something this much fun? Bell and Coggeshall have a field day bending the genre, and the small but game cast are all onboard. By the end, I knew I had been thoroughly entertained, yet I still sat wondering what on earth I had just watched. “Orphan: First Kill” is streaming now on Paramount+.

VERDICT – 3.5 STARS

REVIEW: “Orphan” (2009)

August 22, 2022 by Keith Garlington

For some reason the 2009 psychological horror film “Orphan” slipped completely by me. Not only did I not see it during its original release, I don’t remember even hearing about it. In fact, it wasn’t until the announcement of its recently released prequel and its subsequent good word of mouth that I was actually aware of its existence. That’s crazy for me considering that “Orphan” wasn’t some obscure, minuscule budgeted, straight-to-video release. Even more baffling, it stars two acting talents I really enjoy – Vera Farmiga and Peter Sarsgaard.

To prep for its prequel, I finally sat down with “Orphan”. It’s directed by Jaume Collet-Serra (“Jungle Cruise”, “Black Adam”), written by David Leslie Johnson-McGoldrick (“Aquaman”, “The Conjuring 2”), and co-produced by Leonardo DiCaprio (???). As mentioned, the film stars Farmiga and Sarsgaard playing a struggling couple who adopt a young girl to help cope with the loss of their own child. Needless to say, things don’t quite turn out as they had hoped.

Kate and John Coleman’s marriage is at a critical point following the stillborn loss of their third child, Jessica. Kate (Farmiga), a recovering alcoholic, is finding it harder to resist her urges to drink. And the couple can’t seem to rekindle the intimacy they once had before losing their baby. After much consideration, Kate and John (Sarsgaard) visit St. Mariana’s Home for Girls and adopt 9-year-old Esther (Isabelle Fuhrman).

Esther is exceptionally bright, well-mannered, and artistic. But she’s not without her eccentricities. For example, she dresses as if she’s been yanked from another time period. And what’s with that old Bible she keeps hidden in her sock drawer? She immediately hits it off with the Coleman’s 5-year-old hearing impaired daughter, Max (Aryana Engineer). But their jealous 12-year-old son Daniel (Jimmy Bennett) immediately dislikes the new family addition, and the tension between the two only intensifies.

“Orphan” is one of those movies where the audience knows the angle from the start. We know something is off with Esther and that nothing good is going to come for this family. So it’s all about watching it play out and waiting for the truth about Esther to be revealed. In some films like this, that can be maddening. But kudos to Collet-Serra and Johnson-McGoldrick for creating characters we can connect with and care about. From there the task is to create atmosphere and build tension, something Collet-Serra does very well.

The film is really helped by strong performances from Farmiga, Sarsgaard, and Fuhrman. Farmiga gets the meatiest and most complex role while Sarsgaard is a sturdy scene-sharer. Both find layers of humanity in their characters especially as their family dynamic starts to crumble. In the meantime, Fuhrman is a steadily unnerving presence, and she only gets creepier as Esther’s malevolence grows. It’s a wickedly effective performance.

So it took me a while, but I finally got around to seeing “The Orphan”. I’m glad I did. It’s a fun, preposterous, and at times chilling horror thriller that’s more interested in the psychological than cheap scares or gore galore. Other than a prequel, it’s hard to see what more they could do with it as this works really well as a stand-alone movie. There’s some quality character work, some really good tension-building, and a pretty gnarly final act that should please the genre faithful. “Orphan” is now streaming on Paramount+.

VERDICT – 3.5 STARS

REVIEW: “Beast” (2022 – US)

August 19, 2022 by Keith Garlington

It’s been quite the busy year for Idris Elba. Back in April he voiced a key character in “Sonic the Hedgehog 2”. He co-stars in George Miller’s fever-dream fantasy “Three Thousand Years of Longing” which is set to open next week. And later this year he has “Luther” coming out, a feature film continuation of his popular BBC television series.

And then there’s “Beast”, a survival thriller with plenty of B-movie flavor that sees Elba protecting his two daughters from a ferocious man-eating lion. In many ways it’s a throwback to the many man-versus-beast movies that would pop up on the shelves of my favorite video rental store back in 1980s. But our fascination with these types of movies existed well before that. And while maybe not as prevalent today (with the exception of the endless parade of shark movies), this ‘genre’ has never really gone away. Birds, piranha, alligators, wolves, a Kodiak bear, a wild boar, a rabid St. Bernard, even snakes on a plane – mankind has often found itself at odds (often by their own doing) with our planet’s wildlife.

**Image Courtesy of Universal Pictures**

“Beast” sees Elba teaming with Icelandic director Baltasar Kormákur. They’re working from a screenplay by Ryan Engle which is based on a story by Jaime Primak Sullivan. Speaking of the story, it’s light in terms of depth and pretty basic when it comes to plot development. But that’s okay for a movie as straightforward as “Beast”. All it needs to do is set the stage, give us characters we care about, and then keep us firmly planted on the edges of our seats. Kormákur hits every one of those marks.

“Beast” is a feral, rip-roaring nail-biter (bad puns absolutely intended) that’s all about giving its audience a taut, immersive experience. There is a touching family dynamic that’s built upon themes of loss, resentment, guilt, and reconciliation. But let’s be honest, most people who go see “Beast” are there to watch Idris Elba go one-on-one with a rabid CGI lion.

Elba plays recently widowed Dr. Nate Samuels who’s taking his two daughters, Mere (Iyana Halley) and Norah (Leah Sava Jeffries), on a trip to South Africa to the place where he and their late mom first met. This is an important trip for this struggling family who are not only burdened by grief but also old wounds from their family’s past (which are brought to light within the first act). The three are well written and they possess a good family chemistry, dysfunction and all. Their relationships feel organic in large part thanks to the performances. The sturdy and reliable Elba is as good as always, but so are the two young actresses, Halley and Jeffries.

When they arrive they’re met by Martin (Sharlto Copley), a close family friend who works at a wildlife reserve protecting animals from poachers. After settling in and getting some rest, Martin takes Nate and the two girls on a safari to the far ends of the reserve. But when they stop to visit a local village they make a grisly discovery. Everyone is dead – savagely ripped to shreds by what looks like a lion attack. Realizing how out of the ordinary it is for a lion to attack in such a way and fearing the predator is nearby, Martin gets Nate and the girls back to their truck. But they don’t get far before running headfirst into the bloodthirsty man-eater.

And that pretty much sets up the tension for the entire film. Marooned, with no communication, and with an angry lion on the prowl, Nate must protect his girls and find a way to get them to safety. Along the way there are some unexpected encounters highlighted by several vicious and gnarly attack scenes. And as usual for movies like this, the characters give us a few of those head-scratching moments that have you internally yelling “Close the door!” or “Don’t go out there!”.

Narratively, there is an effort by the story to give purpose to the lion’s attacks which makes it more than just ‘a killer lion killing people’ tale. Visually, the movie looks pretty great, from arid sun-parched surroundings to the digitally animated cats. Kormákur and Oscar-winning DP Philippe Rousselot shoot the film with a visceral style that features numerous long takes and tight tracking shots. It gives certain scenes bite (sorry, I couldn’t resist) and adds to the suspense.

Clocking in at a lean 90 minutes, “Beast” doesn’t outstay its welcome, wrapping up pretty predictably but in a satisfying way. Overall, it’s a movie with a simple premise that’s executed very well technically and narratively. Just know what you’re going in for and don’t expect a ton more than that. Kormákur certainly understands what kind of movie he’s making, And he delivers just the kind of fun B-movie entertainment I was hoping for. “Beast” opens today in theaters.

VERDICT – 4 STARS

First Glance: “The Greatest Beer Run Ever”

August 18, 2022 by Keith Garlington

With a name as goofy as this one, it’s tempting to think you have a good sense for what this movie is going for. I know I did. But then I watched the trailer for “The Greatest Beer Run Ever”. It turns out to be a far cry from what I expected. This biographical action-comedy from director and co-writer Peter Farrelly looks quite good and it sports a terrific cast that includes Zac Efron, Russell Crowe, and Bill Murray.

Based on genuinely wild and crazy real events, “Beer Run” tells the true story of John “Chickie” Donohue (Efron). In 1967, Chickie would sneak into war-torn Vietnam on a dare and began taking cans of beer to U.S. soldiers, even those on the battlefield. His idea was to let them know that there are people back home who support them. The trailer is a hearty mix of comedy, wartime action, and feel-good drama. Now hopefully the movie ends up as good as the trailer teases.

“The Greatest Beer Run Ever” hits select theaters and AppleTV+ on September 30th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Sonic the Hedgehog 2” (2022)

August 18, 2022 by Keith Garlington

“Sonic the Hedgehog” surprised a lot of people in 2020 in terms of both quality and box office numbers. Based on the classic SEGA video game platformer, the movie had its flaws. But overall it was a fun and often funny family feature that earned nearly $320 million. A sequel was all but guaranteed and we got it earlier this year. As of today, “Sonic the Hedgehog 2” has earned just over $400 million and now it’s available to stream on Paramount+.

Back is director Jeff Fowler along with screenwriters Pat Casey and Josh Miller (they’re joined this time by John Whittington). Also returning is Ben Schwartz voicing the blue anthropomorphic hedgehog with lightning speed, James Marsden as small-town sheriff and Sonic’s adoptive father Tom Wachowski, and Jim Carrey, reprising his role as mad scientist Dr. Robotnik. The sequel includes a few more familiar faces (and voices) and a couple of new ones as well.

Despite mostly enjoying the first film, I wasn’t in a hurry to see “Sonic 2” (as evident by this late review). Call it lukewarm expectations. But to my surprise, the sequel turned out to be an entertaining romp and better than the first film in several areas. It doesn’t quite utilize its biggest strength (Carrey) the same way its predecessor did, but it has a few cool additions that brings new energy to the series.

**Image Courtesy of Paramount Pictures**

The movie opens with the delightfully maniacal Dr. Robotnik marooned on The Mushroom planet (see the first movie or check out its Wiki) and plotting his revenge against Sonic. Of course first he’ll need to find a way off the world. He uses what tech he can salvage from his crashed hovercraft and the energy from one of Sonic’s quills (again, see the previous film) and sends out an intergalactic pulse. It attracts the attention of Knuckles (voiced by none other than Idris Elba), a red echidna warrior endowed with super strength. He turns out to be Robotnik‘s ticket off the planet.

Meanwhile on earth, Sonic is overanxious to put his powers to use, even not-so-secretly posing as a superhero he calls Blue Justice. But his guardian Tom pleads with him to be patient telling him that his time to be a hero will come. As it turns out Sonic doesn’t have to wait long.

While Tom and his wife Maddie (Tika Sumpter) are attending a wedding in Hawaii, Robotnik and Knuckles arrive on earth. The honor-bound Knuckles, the last of his tribe, is after a powerful relic called the Master Emerald which grants its possessor the ability to turn thought into reality (Think of it as the “Sonic” franchise’s Infinity Gauntlet). Knuckles wants to honor his extinct tribe’s role as the relic’s protectors. Of course the diabolical Robotnik has far more sinister intentions. But watching from a distance is a flying two-tailed fox appropriately named Tails (voiced by Colleen O’Shaughnessey) who has arrived on earth to warn Sonic of the looming threat.

Much like the first film, “Sonic 2” is as much a lighthearted comedy as it is a frolicsome action-adventure. It has plenty of funny bits, the best coming from Carrey who owns every goofy scene he’s in. But we also get some good laughs from Natasha Rothwell playing Maddie’s sister who hates Tom, and Lee Majdoub who plays Robotnik’s loyal servant Stone. They’re just some of the characters who fill out the story, most of whom are entertaining and fit well within the world.

But what I like most (and what separates it from so many of today’s animated features) is that the action never reaches an assaultive fever pitch. There’s plenty of it, but Fowler doesn’t go for the sensory overload. There some really good digital effects work and the blend of live-action and animation is practically seamless. And while I won’t spoil the climactic battle, I love how it took inspiration from certain Japanese Toho films.

Speaking of inspiration, “Sonic 2” features countless other nods to movies and pop culture. “Cast Away”, the “Indiana Jones” films, “Army of Darkness”, and “Poltergeist” just to name a few. There’s even a gag referencing the Vin Diesel and Dwayne Johnson feud. Toss in some good themes of friendship, responsibility, forgiveness, and family and you have a movie that will resonate in several ways with kids and adults.

Now I don’t want to oversell it. There are some lazy gags (will we ever get away from the fart jokes?) and certain segments of the story don’t really feel necessary. And the two-hour runtime may wear some viewers out. But I can’t lie, “Sonic the Hedgehog 2” surprised me. I had fun with the characters, was impressed by the visuals, and enjoyed all the winks to other movies and genres. And perhaps most surprising – I’d be up for a third film. Just one request – more Jim Carrey please. “Sonic the Hedgehog 2” is available on VOD and is streaming on Paramount+.