REVIEW: “Thirteen Lives” (2022)

August 8, 2022 by Keith Garlington

Ron Howard returns to the director’s chair for the new biographical survival thriller “Thirteen Lives”. The film is a dramatization of the 2018 Tham Luang cave rescue. That’s when twelve members of a junior soccer team, their ages ranging from 11 to 16, along with their assistant coach were trapped deep within Tham Luang cave in Northern Thailand following some intense flooding. The film chronicles the fact-based rescue attempts to get the thirteen out alive.

“Thirteen Lives” is a gripping account of an incident that grabbed the attention of the entire world. Howard goes to great lengths to emphasize the gravity of the danger the soccer team faced and the sheer scope of the international rescue operation that included more than 5,000 people from 17 countries. He also spotlights the many shades of humanity that play a big part in the story – the fear and anxiety; the empathy and kindness; the contentions and frustrations; the bravery and sacrifice.

And it should be said at the outset that “Thirteen Lives” is a technical marvel and a glowing example of the creative magic in cinema. The movie splits itself between the riveting action inside the cave and the human drama outside, and both are brought to life through some truly brilliant creativity. Howard and his team of artists pored over the actual schematics of the cave, watched hours of archived news footage, tapped into the knowledge of real divers, and surrounded themselves with Thai advisors and crew members so that the Thai culture would be respectfully represented.

Some of the most jaw-dropping work took place in a Queensland, Australia warehouse. Howard, production designer Molly Hughes, acclaimed Thai cinematographer Sayombhu Mukdeeprom, five-time Oscar nominated sound editor Oliver Tarney, and countless others recreated specific sections of Tham Luang cave. The crew built highly detailed tunnels and submerged them into four 100-foot-long tanks. The results are scenes of hair-raising realism as divers navigate the cramped and claustrophobic tunnelways.

The film is written by Oscar-nominated screenwriter William Nicholson (“Gladiator”, “Shadowlands”) who’s tasked with juggling an astonishing number of moving parts. He starts his story on June 23, 2018 in Ban Chong, Thailand as the Wild Hogs junior soccer team are finishing up practice. A big birthday party for the team’s youngest member Chai (Pasakorn Hoyhon) is planned for later. But before they go, the boys convince their coach (Teeradon Supapunpinyo) to take them to the nearby Tham Luang cave. So the group hops on their bikes and make the scenic ride to Khun Nam Nang Non Forest Park where the mouth of the cave lies at the base of a lush mountain.

The boys and their coach enter the cave at 3:07 PM. As they venture deeper in, a storm gathers outside. Eventually the clouds open up and torrential rain sets in. Shifting to Chai’s house, after none of the team shows up to the party, the parents head to the cave worried the boys will get drenched riding back home in the downpour. But when they arrive to find the bikes parked near the entrance but no sign of their sons, the parents quickly and understandably begin to fear the worse.

We don’t see the Wild Boars again for a while, as Howard and Nicholson move their focus to the growing rescue effort. Family and media gather near the entrance, the Thai Navy SEALS arrive, and engineers begin pumping water out of the submerged cave. Meanwhile, the politicians, Governor Narongsak (Sahajak Boonthanakit) and Minister Anupong Paochinda (Vithaya Pansringarm), butt heads over the best course of action.

As days pass and situations worsen, the Thai government bring in a pair of elite divers from England who specialize in cave rescue – Rick Stanton (Viggo Mortensen) and John Volanthen (Colin Farrell). They’re later joined by an Australian doctor and fellow diver Harry Harris (Joel Edgerton). They eventually find the boys and their coach huddled in a small dark corner some 2500 meters deep into the cave. But that’s hardly the end of the story.

The second half of the movie focuses on the tougher challenge – finding a way to get the thirteen out alive. There’s no way they would survive the arduous five and a half hour dive back through narrow crevices and against strong and shifting currents – a challenge for even the best divers. So Rick, John, and Harry must devise another plan. But with oxygen levels in the chamber dropping, they’ll need to come up with something quick.

One of my favorite things about “Thirteen Lives” is Howard’s intense focus on realism. His reliance on authenticity strips the film of artifice and keeps melodrama at a bare minimum. For that reason its tension feels organic and its emotions are earned. Even more, the sense of peril is palpable. For example, every time we get a scene of divers underwater there’s a genuine sense of danger.

If I had a gripe, it would be with how little we see from the boys’ perspective. But at the same time, it’s hard to knock the movie’s linear focus when it’s this well executed. It’s such a thorough and soundly paced account of the rescue, and even at two and a half hours there’s never moments that feel wasted. Of course Mortensen, Farrell, and Edgerton make for a terrific trio and each give firmly grounded performances. But the movie doesn’t get locked in on its three big-named stars. Howard spreads the attention around and stresses the local dynamic as much (if not more) than the international presence. It’s one of many strengths that makes this real-life study of heroism and sacrifice so moving and immersive. “Thirteen Lives” is now streaming on Amazon Prime.

VERDICT – 4.5 STARS

First Glance: “The Banshees of Inisherin”

August 5, 2022 by Keith Garlington

Primed and ready for its festival circuit run, “The Banshees of Inisherin” has released its first trailer. This is a film from Martin McDonagh, his first since 2017’s shaky but beloved “Three Billboards Outside Ebbing, Missouri”. His latest sees him reteaming with his “In Bruges” partners Brendan Gleeson and Colin Farrell. This first look at the film gives us lots to look forward for.

The story centers around two friends and the consequences that follow after one (Gleeson) suddenly and without explanation ends their friendship. As with the best trailers, this one is cryptic. It gives us a basic intro to the story while leaving the details under wraps. I love that. To no one’s surprise, both Gleeson and Ferrell look great in this. And while I’m a little mixed on McDonagh’s films, I’m pretty excited for this one.

“The Banshees of Inisherin” opens in theaters October 21st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Bullet Train” (2022)

August 5, 2022 by Keith Garlington

After co-directing the terrific franchise launcher “John Wick”, director, producer, actor, and stuntman David Leitch has put together a filmography of big action spectacles of varying quality. And while I may not be a fan of his “Deadpool 2” and “Atomic Blonde” romps, there’s no denying that his movies have their fanbases and have made good money at the box office. Those are big reasons why Leitch was brought on to helm the star-studded action-comedy “Bullet Train”.

Maybe he did some convincing. Perhaps he called in a favor. Either way, Leitch was able to get Brad Pitt to lead his rapid-fire over-the-top actioner that pretty much runs at one speed. Based on the Japanese pulp novel “Maria Beetle” by Kōtarō Isaka, Leitch and screenwriter Zak Olkewicz reshape the original story and characters, leaning on the charm and charisma of Pitt and the talent-rich cast to keep us locked in.

But Pitt and company can only carry the movie so far, and it quickly becomes evident that there’s nothing of substance underneath the flimsy veneer of steady quips and non-stop action. You can see Leitch and Olkewicz working so hard to be cool, stylish, and edgy. But all they manage is a Tarantino knock-off that operates under the idea that all you need is forced humor, endless f-bombs, a few needle-drops, and over-cranked violence to capture QT’s success. And as the storytelling more and more takes a backseat, this exhausting endurance test becomes almost unbearable.

The story itself is pretty inconsequential. Basically you have an assortment of assassins who board a bullet train in Tokyo bound for Kyoto. Each are onboard for their own reasons, but they soon discover their individual missions (some professional, some personal) are all connected and it’s no coincidence that they’re all on the same train. That’s a sound enough premise, especially for a movie with action as its centerpiece. Unfortunately, the story barely goes an inch deeper.

While the movie bounces around from character to character, Pitt gets top billing playing a hitman called Ladybug. Sporting a bucket hat and black-rimmed glasses, the notoriously unlucky Ladybug recently took some time away from contract killing to find inner peace or something silly like that (it’s a reoccurring joke the movie never gets tired of). But now he’s back at the behest of his handler, Maria (Sandra Bullock). She has the newly zen Ladybug an easy job – a simple snatch and grab. Yeah right.

Also on the train are two quarrelsome “twins”, Lemon and Tangerine (Brian Tyree Henry and Aaron Taylor-Johnson) who are escorting a mob boss’ son and a briefcase full of cash back to a mysterious crime lord known as White Death. There’s Prince (a good Joey King), a calculated killer who plays the “poor innocent girl” card to deadly perfection. Then there’s Yuichi, a Japanese assassin looking to pay back the person who put his 6-year-old son in the hospital. There are a few others like The Hornet (Zazie Beetz) and The Wolf (rapper Bad Bunny), but they mainly show up for a quick action scene each and that’s it.

The biggest problem with these characters is that none of them feel real. None of them give you anything to latch onto or any reason to care about them. The cast puts in the effort and seem to be having a good time. But aside from their surface appeal, every character feels hollow. And once their cartoonish coolness wears off there’s nothing left. Now that may sound like nitpicking especially for a movie that clearly aims more towards style than story. But I can’t help it. I like characters with at least a few layers.

Muddying things up and bloating the runtime are a plethora of irrelevant flashbacks framed to have more meaning than they really do. Add to them several snooze-worthy exposition drops that play like vain attempts to add story depth. When you combine all of that with the juvenile dialogue and the slew of jokes and gags that aren’t nearly as clever or funny as the filmmakers think they are, you’re left with a tedious and frankly numbing experience.

As the story barrels forward, the filmmakers choose louder over smarter and end up sending the film right off the rails (sorry, it’s a cheap pun but I couldn’t resist). We’re left with a movie that doesn’t bother with logic and that believes piling on more stylized action, more shallow humor, and a few cheap cameos in enough to get by. And maybe they’re right. Maybe the film’s furious pace will offer enough misdirection to keep audiences from looking at its glaring flaws. And maybe some will see this as one of those films where you just turn your brain off and have a good time. But even throw-away popcorn movies need a soul. And no matter how hard I looked, I never found one in “Bullet Train”.

VERDICT – 1.5 STARS

REVIEW: “Not Okay” (2022)

August 4, 2022 by Keith Garlington

“Did you ever want to be noticed so badly that you didn’t even care what it was for?“ Those opening words cut to the heart of “Not Okay”, the new social satire from 27-year-old writer-director Quinn Shephard. This is yet another feature-length roast of modern digital culture and internet celebrity. That isn’t a bad thing considering how much time we spend marinating in viral videos, clickbait, hashtags, the latest memes, and 280-character hot takes.

The problem is “Not Okay” spends too much time taking easy shots at the most obvious targets rather than exploring what drives the obsession for web-based celebrity and our insatiable appetites for instant notoriety. It gives lip service to symptoms such as self-loathing, insecurity, loneliness, and depression. But it never treats any of those things as causes worth examining. Instead the movie bops around with an admittedly entertaining energy. If only it had more weight.

A really good and thoroughly committed Zoey Deutch plays Danni Sanders, a photo editor and wannabe writer working for a New York-based magazine called Depravity (fitting). She’s no hero which the movie lets us know through a pretty hilarious opening content advisory that reads “This film contains flashing lights, themes of trauma, and an unlikable female protagonist.” As it turns out, “unlikable” is massive understantment. But thanks to Deutch’s charisma, unlikable never turns to insufferable.

**Image Courtesy of Searchlight Pictures**

Danni may say she wants to be writer, but her true dream is to be noticed. Danni craves attention and she sees writing as a way to gain notoriety rather than to say something of value. She’s the kind who always has her face glued to her smartphone and who measures worth by someone’s follower count. So it’s no surprise she doesn’t connect with the people she works with. She often clashes with her boss (a really funny Negin Farsad) and is frequently snubbed by the office cliques. The lone exception is her eccentric cubicle partner, Kelvin (a funny and underused Karan Soni) who she’s quick to brush off.

It also makes sense that she would have a crush on her co-worker and dedicated pothead Colin (Dylan O’Brien). He’s a big-time Instagram personality whose ludicrous persona, ever-present vape cloud, and “weedboiiicolin” online handle tell you all you need to know. Colin is basically an avatar for the shallowness of internet celebrity. He delivers some good early laughs before dwindling into nothing more than a punchline in the second half.

In a spur-of-the-moment attempt at impressing Colin, Danni gins up a story about attending a writer’s retreat in Paris. Rather than following the wisdom of that great sage Barney Fife and nipping it in the bud, Danni embraces the lie. She begins photoshopping pictures to make it look like she’s in the City of Lights and then posting them online. Before long she has created one big elaborate ruse, and all to earn the attention of a flake who can’t even remember her name.

But the scheme blows up in her face after a string of coordinated terrorist attacks strike Paris, targeting major landmarks across the city. It’s not the most sensitive or empathetic choice from Shephard considering the real-life deadly attacks the city has faced in recent history. Nonetheless the movie goes with it and soon Danni finds herself faced with a dilemma. Does she come clean and admit her lies or does she roll with the scam and bask in the attention it brings. She chooses the latter.

Morally oblivious and shockingly self-centered, Danni becomes in instant social media star, milking her faux survivor status for every follower she can get. She becomes the toast of her swanky but superficial workplace where she’s given her own office and unlimited “mental health days” which she abuses without shame. But her most detestable act involves a school shooting survivor turned fireball activist Rowan (Mia Isaac). I won’t spoil it, but the two develop a friendship built around Danni’s lie. And while Rowan offers Danni some much-needed perspective, she also exposes Danni’s most vile proclivities.

“Not Okay” is a hard movie to size up. In one sense it’s a gutsy film that goes to some unexpectedly icky places. Unfortunately it doesn’t go far enough. Danni is clearly a disgusting person (the movie even tells us so in case we missed it), but there’s still a nagging empathy for her that keeps the movie from going as far as it could have. And while Shephard’s messaging is sincere, she occasionally veers into preachiness that seems aimed solely at the choir, leaving the movie without the insight it desperately wants to have.

To its credit, “Not Okay” has some good things to say about influencer culture, our twisted fascination with tragedy, and the dehumanization of social media and web culture in general. And you can’t knock Deutch’s performance, especially her incredible management of energy and tone. But just as Danni tries incredibly hard to be noticed, so does the movie. And while she often comes across as tone-deaf, so are some of the story choices. It makes the film hard to fully embrace, despite the many things it does well. “Not Okay” is now streaming on Hulu.

VERDICT – 2.5 STARS

REVIEW: “Prey” (2022)

August 3, 2022 by Keith Garlington

Ranking Arnold Schwarzenegger movies is hardly akin to examining fine art. Forgive me if that sounds condescending. It’s not meant to. I’m actually a fan of his movies. I was a teen during the 1980s and ate up every Arnie film that came down the pipeline. For that reason, his movies (even the bad ones) hold a special place in my heart. But that doesn’t permit me as a critic to overlook the obvious – Schwarzenegger movies (much like the ones from Stallone, Norris, and the second tier guys who came after them) are very much movies of their time. Undeniably fun for people like me, but admittedly silly, formulaic, and sometimes off the rails.

That being said, there are some standouts from Schwarzenegger’s action-heavy filmography. You have the obvious ones – 1982’s “Conan the Barbarian”, 1984’s “The Terminator”, it’s highly-acclaimed sequel 1991’s “Terminator 2: Judgement Day”. But my very favorite movie from the former California Governor and one that still holds up incredibly well today is his 1987 sci-fi action mashup “Predator”.

For years 20th Century Fox (now 20th Century Studios) has tried and mostly failed to replicate what made “Predator” such a beloved fan favorite. That is until now. “Prey”, the much anticipated prequel to the ‘87 film, is not only a worthy franchise entry. It’s also the best “Predator” movie since the original (by far). And it’s the companion piece many of us have spent years waiting for.

**Image Courtesy of 20th Century Studios**

Now I don’t want to oversell it. “Prey” is very much a straightforward genre movie that happens to be very proud of its roots. Fans of the original film will find several smile-inducing callbacks, from simple lines of dialogue to how it gets back to the primal man-versus-beast basics. But while “Prey” has an undeniably cool nostalgic kick, it also manages to put its own original spin on the franchise in large part thanks to its period, its setting, and one lights-out lead performance from Amber Midthunder.

Set in 1719 along the Northern Great Plains, “Prey” follows a young Comanche woman named Naru (Midthunder) who seeks to prove to her tribe that she is a capable hunter. Armed with a hatchet left to her by her late father, Naru trains herself in combat, in tracking, and in survival. She’s more than ready for her trial, but there’s one problem – hunting is reserved for the men. The women stay close to the camp, going out early in the morning to gather herbs, roots, and berries for food and medicines.

The headstrong and determined Naru would much rather sling her hatchet than carry a basket. So she tags along with her big brother, Taabe (Dakota Beavers), who is the tribe’s best warrior. Taabe tries to discourage his little sister from hunting, but he also defends Naru from the other male hunters who give her a hard time and are quick to brush her off.

Disgruntled, Naru begins venturing further away from the camp where she starts seeing signs of a giant animal of some sort. Maybe it’s a bear; maybe it’s a cat. She warns her brother and the other hunters, but they immediately blow off her claims. So Naru decides to track down and kill the beast herself and in the process prove to her tribe that she’s a worthy hunter. But her prey is no bear or cat. It’s a bigger and more deadly predator. It’s not of this world and it’s here to hunt.

From the very beginning, there’s one thing the film has working against it. Because of the previous movies, we pretty much know everything about the predator. We already know it’s from outer space. We know it has retractable wrist-blades, active camouflage, thermal vision, and a penchant for skinning its prey and collecting their skulls. All of that inescapably removes an element of suspense that was so vital to the 1987 film. But director Dan Trachtenberg clears that hurdle by immersing us into his world and creating a steady palpable tension. He smartly keeps things simple, developing a protagonist we genuinely care about and giving the alien antagonist plenty of moments to shine.

Visually, “Prey” is a stunner. While the CGI wildlife can occasionally look a tad off, overall the movie is an eye-popping collage of images both beautiful and bloody. As far as the setting, Trachtenberg and DP Jeff Cutter surround us with jaw-dropping skies, cascading streams, lush forest canopies, and gorgeous mountain backdrops. And then there’s the dazzling action sequences which are fueled by some fierce combat and plenty of gnarly kills. Trachtenberg knows what fans are looking for, and he delivers it through some remarkably inventive framing and deliciously brutal encounters.

To my surprise, “Prey” was everything I hoped it would be plus a little more. Going back in time to show our planet’s first encounter with the alien predators turned out to be a great move. And while it offers a cool twist on the franchise, the period setting isn’t just a gimmick. There’s a bevy of themes (both cultural and historical) that seep from the story, and we get a hero (played by the superb Midthunder) we’re excited to root for. But fear not fans. The alien predator is as brutal and calculated as ever, and there are moments where you’ll actually find yourself rooting for him. It’s one of several wicked twists that make this such a welcomed surprise. “Prey” premieres this Friday (August 5th) exclusively on Hulu.

VERDICT – 4.5 STARS

First Glance: “Devotion”

August 2, 2022 by Keith Garlington

Yesterday saw Sony Pictures dropping the first trailer for their upcoming Korean War film “Devotion”. Based on the book “Devotion: An Epic Story of Heroism, Friendship, and Sacrifice” by Adam Makos, the movie shares the real-life story of Navy pilots Jesse Brown and Tom Hudner. Led by stars Jonathan Majors and Glen Powell, “Devotion” looks to examine race, friendship, heroism, and sacrifice during what many still call “The Forgotten War”.

Majors plays Jesse Brown, a Hattiesburg, Mississippi native who became the first African-American pilot to complete the U.S. Navy’s basic flight training program. Tom Hudner was a pilot and eventual Medal of Honor winner. Both went and served in the Korean War and the movie chronicles the events that left their names forever linked together. I won’t give away the details, but this is a true story that deserves to be told. I really like the combination of Majors and Powell. And the CGI air combat holds up, this could turn out really good.

“Devotion” lands in theaters this November. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.