Author Archives: Keith Garlington

REVIEW: “Bullet Train” (2022)

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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.

Image Courtesy of Sony Pictures

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.

Image Courtesy of Sony Pictures

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)

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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.