Author Archives: Keith Garlington

REVIEW: “Not Okay” (2022)

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“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.

Image Courtesy of Searchlight Pictures

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)

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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.

Image Courtesy of 20th Century Studios

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”

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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.

REVIEW: “Where the Crawdads Sing” (2022)

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Based on the wildly popular 2018 novel by Delia Owens, “Where the Crawdads Sing” is a romantic coming-of-age murder mystery set in the marshes of North Carolina. Directed by Olivia Newman, this big screen adaptation stars the immensely talented Daisy Edgar-Jones (so good in the deliciously wicked horror thriller “Fresh” from earlier this year). I haven’t read the book, but the premise is rich with potential. And Edgar-Jones is a young actress with a big future ahead, assuming she’s given the right roles to shine.

Unfortunately, “Where the Crawdads Sing” doesn’t give Edgar-Jones the kind of material that really emphasizes her talent. To be clear, there’s nothing at all wrong with her performance. In fact, she’s a big reason why certain parts of the movie work as well as they do, But she’s handcuffed by a role that has her spending too much time as an observer, often looking on with a doe-eyed innocence and naivety. Her character is the story’s centerpiece and she definitely evolves over the course of the movie. But I can think of several ways a story like this could have better utilized its lead.

However, despite those limitations, Edgar-Jones’ ability to pick up the movie and carry it on her back is a testament to her acting prowess. She quietly conveys both vulnerability and resilience; a deep longing and a strong female spirit. Most importantly, she’s able to make us care for her character, Kya Clark, a resourceful young woman who has grown up in a world of rejection and abandonment. It’s a heartbreaking story, and although it relies too much on soapy melodrama and dutiful box-checking, Edgar-Jones is a strong anchor who keeps us invested even as we’re questioning much of what we see.

Image Courtesy of Sony Pictures

Written by Lucy Alibar (“Beasts of the Southern Wild”), the story unfolds across two timelines. In 1969, Kya is arrested and charged with the murder of Chase Andrews (Harris Dickinson), the son of a prominent family in the small North Carolina town of Barkley Cove. His body was found at the base of fire tower where he had fallen several stories to his death. Despite an alarming lack of evidence, Kya is apprehended and put on trial. While the townsfolk in Barkley Cove are quick to brand Kya guilty, she finds an ally in a sympathetic retired lawyer named Tom Milton (the always reliable David Strathairn) who takes her case out of the goodness of his own heart.

The second timeline sets out to explore Kya’s past, beginning with her turbulent childhood and continuing up to the events just prior to her arrest. As a child, she and her family lived in a shack deep in the marshlands some five miles from Barkley Cove. Kya’s father (Garret Dillahunt) was an abusive man who routinely beat her mother (Ahna O’Reilly) and her siblings. One by one starting with her ma, her family members left, leaving her alone with her father. One morning she woke up to find him gone too. Left to fend for herself, Kya leans on everything she has learned living in the marsh to survive.

Kya’s resourcefulness helps her build a quiet reclusive life for herself in the marsh. Her lone contacts in the ‘real world’ are Jumpin (Sterling Macer, Jr.) and his wife Mabel (Michael Hyatt), a kindly black couple who own a dockside general store. Though routinely confronted by the not-so-subtle prejudices of the Barkley Cove folks, Jumpin and Mabel maintain a quiet dignity. Kya trades them freshwater mussels for sacks of grits, candles, and gas for her boat motor. They may not always need what Kya brings in, but they never let her know it. Kya certainly doesn’t get that kind of compassion from the other locals. To them she’s know as “marsh girl” and they’ve built an entire area legend about her out of gossip and lies.

Image Courtesy of Sony Pictures

Things seem to take a turn for Kya when she connects with an outgoing neighbor named Tate (Taylor John Smith). The two hit it off and soon a sweet but cheesy room-temperature romance blooms. That is until Tate heads off to college in Chapel Hill. He pledges he’ll return soon. But as Kya watches him ride off in his boat, you get the sense that she knows he’s not coming back. Months pass and Kya catches the eye of Chase Andrews, a popular cornball preppy from town. And is where the movie takes a serious dive.

Kya and Chase haven’t a spark of chemistry, and their scenes together are dry and flat. Even worse, Chase is such an obvious slimeball that Kya’s willingness to so easily toss aside her self-sufficiency and discernment is frustrating. Again, it’s an issue with the writing that undermines the characters, especially Kya. Of course we know from the earliest scene that Chase ends up dead which leads to the courtroom scenes that, despite Strathairn’s earnest and convincing presence, fail to serve up any real suspense.

“Where the Crawdads Sing” has as much tragedy (and water) as a Nicholas Sparks movie (not necessarily a good thing). It’s too mushy in spots and some of the second half story mechanics are hard to buy. Yet there are still bright spots in Newman’s direction, in Edgar-Jones’ performance, and in the film’s visuals which pictures the marshland setting through a more romanticized lens. But when all squashed together, the results are uneven, stripped down, and too squeaky clean. It’ll leave you wishing for the kind of movie this could have been. “Where the Crawdads Sing” is out now in theaters.

VERDICT – 2.5 STARS

First Glance: “Till”

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The new biographical drama “Till” tells the real-life story of educator turned activist Mamie Till Mobley. The film comes from director Chinonye Chukwu whose last feature was 2019’s terrific “Clemency”. The first trailer recently dropped ahead of its upcoming premiere at the 2022 New York Film Festival, and it gives us a good sense of Chukwa’s approach to this sincere and utterly heart-shattering true story.

Danielle Deadwyler plays Mamie Till Mobley, the mother of 14-year-old Emmett Till (played by Jalyn Hall). Emmitt was abducted, tortured, and brutally murdered on August 28, 1955 while visiting his cousins in Mississippi. His killers were put on trial but quickly acquitted by an all-white jury. After his body was returned to Mamie in Chicago, she insisted that his casket be left open so the world could see what they had done to her son. Afterwards she became a diligent activist in the Civil Rights movement. That’s a lot of ground to cover, but it’s a story that deserves to be told. And from what we see in the trailer, Chukwu looks to be a good choice to tell it.

“Till” lands in theaters October 7th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “DC League of Super-Pets” (2022)

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The new animated superhero comedy “DC League of Super-Pets” has a lot of star power in its voice cast. But I wasn’t drawn to it by the two leads, Dwayne Johnson and Kevin Hart. Instead, it was the thought of John Krasinski as Superman and Keanu Reeves as Batman that had me giggling all the way to the theater.

Ok, so that may be exaggerating a bit. It wasn’t just Krasinski and Reeves. I’m actually a proud DC fan so that alone offered some allure. And I do like several other names in the cast including Diego Luna, Daveed Diggs, Keith David, Alfred Molina, and Lena Headey, But while I do sometimes get a kick out of Dwayne “The Rock” Johnson, a little of Kevin Hart’s brand of comedy goes a long way with me. And the tendency of modern-day, big studio animation to follow the same general formula always leaves me a little hesitant.

But I decided to give “DC League of Super-Pets” a try, and I ended up leaving the theater straddling the fence just as much as I was going in. This is the definition of an ok movie – one with as many ups as downs and strengths as weaknesses. It’s the kind of film that will probably have enough to please kids and tried-and-true animated fans. But for anyone looking for something outside the box, “Super-Pets” doesn’t have much fresh to offer.

Image Courtesy of Warner Bros. Pictures

Following a delightful opening that does a little rewriting of Superman’s origin, the story settles down in Metropolis where the Man of Steel/Clark Kent’s faithful pet and best friend Krypto (Johnson) has grown jealous of his owner’s growing relationship with ace Daily Planet reporter Lois Lane (Olivia Wilde). Believing his canine buddy could use a friend, Clark visits an animal shelter. Among the rescue pets inside is an outspoken boxer named Ace (Hart), an insecure potbellied pig PB (Vanessa Bayer), an antsy squirrel Chip (Luna), a nearsighted turtle Merton (Natasha Lyonne), and a hairless guinea pig Lulu (Kate McKinnon).

But before Clark can pick out a new companion for the clingy Krypto, he spots his nemesis Lex Luthor (Marc Maron) pulling a meteorite full of orange kryptonite from the sky. Supposedly, rather than draining powers from heroes, orange kryptonite imbues its wielder with super-human abilities. Superman and Krypto set off to stop Luthor, but in the ensuing fight Lulu (Lex’s former lab rat and pupil) manages to secure a shard from the orange kryptonite granting her superpowers which she uses to capture Superman and the rest of the Justice League. What she doesn’t notice is that the shard also grants the other animals in the shelter with new powers.

A helpless Krypto, zapped of his abilities after being slipped some green kryptonite by Lulu, seeks the help of the newly empowered rescue pets to save Supes, the misanthropic Batman (Reeves), Wonder Woman (Jameela Jamil), The Flash (John Early), Cyborg (Diggs), and Green Lantern Jessica Cruz (Dascha Polanco). Meanwhile, the megalomaniacal Lulu puts together a super-powered guinea pig army (What’s the deal? This is second straight animated movie I’ve watched featuring a guinea pig army) leading to the inevitable big final-act showdown.

While “Super-Pets” has its moments, it’s ultimately little more than another Johnson/Hart vehicle. The movie leans too heavily on the duo’s well-worn schtick often at the expense of their characters. I get they’re big names and having them on the poster draws a lot of eyes. But this is a case where more seasoned voice actors with lower profiles would have helped. This is most glaring with Johnson. Too often when watching Krypto all I could sense was the Rock voicing a pup. It’s hard to shake.

Image Courtesy of Warner Bros. Pictures

Then there is the story itself. Directed and co-written by Jared Stern, “Super-Pets” has its sweet touches such as PB the pig’s Justice League fangirling or the flashback to Ace’s sad puppyhood. There are also some genuinely funny bits like Krypto’s conversations with a hologram of his late father, Dog-El (Keith David) and anytime Batman is on the screen. How is this the first time Keanu Reeves has voiced the Caped Crusader? Not only is Bats the film’s best written character, he’s also the best voiced. Sadly, he’s barely in the movie.

But not everything with the story works. Take its near mechanical structure which hops from point to point, hitting its predestined marks and painting characters in broad strokes rather than giving them any meaningful depth. Some of the jokes land, especially those poking fun at the traditional superhero formula. Others feel lazy, like the occasionally potty-mouthed Merton having to be bleeped-out for no other reason than the writers think its funny. And the humor really dries up during a rather tedious middle stretch where it becomes evident that there isn’t much underneath the film’s clever conceit.

While “Super-Pets” often feels like an attempt to cash in on the superhero craze, it still touches on some worthy themes such as friendship, teamwork, and finding one’s self-confidence. And while the hyper-smoothed textureless animation is hardly wow-worthy, the film still manages to pull you into its world. If only there was more to it for us to take in. Oh, and more of Keanu Reeves’ Batman. “DC League of Super-Pets” is now playing in theaters.

VERDICT – 2.5 STARS