First Glance: “Top Gun Maverick” New Trailer

March 29, 2022 by Keith Garlington

First we got a teaser. Then we got the first official trailer which featured more cool nostalgic shots than any hints at the story. Today Paramount has dropped a new trailer for “Top Gun: Maverick”, the long awaited and often delayed sequel to the 1986 box office smash “Top Gun”. This new look answers several questions that many of us have been asking and includes some new fighter jet footage that is nothing short of eye-popping.

“Top Gun: Maverick” sees Tom Cruise returning to one of his most memorable roles – Pete “Maverick” Mitchell. In the thirty-plus years since we last saw Maverick burning up the sky and ticking off his superiors, the talented but reckless pilot has avoided any and all promotions. But when he’s ordered to train a new group of Top Gun grads for a special mission, he’s brought back into a world filled with excitement but also pain. It’ll be interesting to see how a “Top Gun” sequel plays after all these years. As a kid from the 80’s, I’ll be grabbing my ticket.

“Top Gun: Maverick” premieres May 18th at the Cannes Film Festival before opening in theaters May 27th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Random Thoughts – The 2022 Oscars

March 28, 2022 by Keith Garlington

Finally we’ve made our way the 94th Academy Awards. It’s hard to believe we’re still talking 2021 movies on March 27th, yet here we are. Nevertheless, I do tend to get excited for every Oscars ceremony and last night was no different. This year was filled with frustration, namely the ludicrous decision to remove eight Oscar categories from live TV and replace them with needless fluff. Still, there was plenty for us to talk about – several good things, maybe a surprise or two, and a particular slap that has earned more press than the winners. So as I do every year, hear are some random thoughts about the 94th Oscars.

I hate to tell the Academy, but nothing they did this year is going to win the Oscars new viewers. Overall it was a messy show filled with needless filler and that still ran nearly 30 minutes over. They should have stuck with those eight categories the producers inexplicably chose to remove. Hopefully they’ll learn from this.
So “CODA” wins Best Picture. First, I like the movie a lot. It’s a sweet feel-good heartwarmer. It even squeaked into my Top 10. But it’s sudden burst of momentum never made much sense, and it’s hard seeing it as a ‘Best Picture’. On the other hand, I kinda like the idea of breaking the mold of what we’ve long considered ‘Oscar worthy’.
And who would have guessed Apple would get a Best Picture Oscar before Netflix?

In the most sure-thing category of the night, Ariana DuBose wins Best Supporting Actress for “West Side Story”. It’s still insane that Caitríona Balfe wasn’t even nominated. But what a joy seeing DuBose win the award. She was terrific.
I hated not getting to see “Dune” win live for Best Production Design.
I hated not getting to see “Dune” win live for Best Editing.
I hated not getting to see “Dune” win live for Best Sound.
I REALLY hated not getting to see Hans Zimmer win Best Score for “Dune”.
But hey, we did get to see an overly long comedy sketch, a never ending advertisement for the Academy’s new museum, some movie trailers, etc. So who needs actual award presentations?
Speaking of “Dune”, it wasn’t done there. It also won the Oscar for Best Visual Effects. Well deserved and the right choice.
“Dune” also won for Best Cinematography. And DP Greig Fraser could find himself back at the Oscars next year for his amazing work in this year’s “The Batman”.
Denzel Washington is an absolute treasure.
So did you see what happened between Will Smith and Chris Rock? The broadcast’s edit was so bad no one could really tell at first. But it didn’t take long to realize that Will did indeed walk up and slap Rock across the face after a joke about his wife. He followed it up with a couple of profanity laced warnings that let every know this was real. Yikes.

If the show’s producers couldn’t add anything memorable to the Oscars at least Will Smith did.
And just a short time later, Will Smith awkwardly came back on stage, this time to accept his Best Actor Oscar for “King Richard”. Not a big surprise as he had become the clear frontrunner. His speech was something – full of tears, emotion and irony. There was also an apology for what transpired earlier. It was a truly surreal moment.
Troy Kotsur did indeed win Best Supporting Actor for “CODA”. And just as predictable as his win, he also gave one of the most beautiful acceptance speeches of the night. What a class act and what a well deserving winner.
Also predictable, Jane Campion wins for Best Director. This seemed like a lock, but her film “The Power of the Dog” had been losing a lot of steam to “CODA”. Nevertheless Campion holds on, making it back-to-back directing wins for women.
Surprisingly Best Director turned out to be the only win for “The Power of the Dog”, a movie that peaked a little too early this awards season. I read this was the first time a film has only won Best Director since 1968 with “The Graduate”.
Speaking of directing, I’m still astonished that Denis Villeneuve wasn’t even nominated for Best Director. Campion wins despite her movie not winning another Oscar. “Dune” wins six and Villeneuve can’t even get a nomination. I did love how all of the “Dune” winners singled out Denis in their speeches.
This year’s trio of hosts (Regina Hall, Wanda Sykes, and Amy Schumer) were pretty much hit-or-miss all night. A few jokes landed, some fell flat, and some bits seemed to go on forever. Next year just give us Hall (and the eight categories).
One of the few categories with at least some intrigue was Best Actress. It turns out the favorite did indeed win. Jessica Chastain takes home her first Academy Award for “The Eyes of Tammy Faye.” It’s a really good performance in a pretty good movie.

I loved seeing Kenneth Branagh win the Best Original Screenplay Oscar for “Belfast”. Such a beautiful movie written with such passion and perspective.
And “CODA” wins for Best Adapted Screenplay. I ended up predicting “CODA”, but this was one of the categories that could have went another way.
My gosh the upbeat music and dance numbers during the In Memoriam was terribly distracting and frankly disrespectful. I can’t imagine who on the production team ever thought that was a good idea!
Add this one to the ‘easy to predict’ bunch. “Drive My Car” wins Best International Feature Film. It was pretty much a given. I’m still stunned that Asghar Farhadi’s fantastic “A Hero” wasn’t even nominated.
“Encanto” won Best Animated Feature Film. Of course it did. It’s Disney and we all know the Academy rarely ventures outside of Disney/Pixar for their winners in this category. Sorry “The Mitchells vs. the Machines”.
In the end “Dune” led the way with six Oscars, “CODA” won three, and “The Eyes of Tammy Faye” won two. No other film won more than one Oscar. The Academy definitely spread the statues around this year.

And there you have my random thoughts on this year’s ceremony. What did you think of the show? I’d love to hear your thoughts in the comment section below.

REVIEW: “Infinite Storm” (2022)

March 25, 2022 by Keith Garlington

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

Inspired by a 2019 article “High Places: Footprints in the Snow Lead to an Emotional Rescue“ by Ty Gagne, the new film “Infinite Storm” sets out to tell the remarkable true story of a harrowing mountain rescue attempt amid unbearable conditions (the article was originally published in the New Hampshire Union Leader and its well worth seeking out). Directed by Małgorzata Szumowska and written for the screen by Joshua Rollins, “Infinite Storm” takes the truly incredible account and mixes in some dramatic layers of its own. The results are mostly gripping and heartfelt.

Naomi Watts produces and stars in this solid and sometimes terrific blend of genre thrills and remarkably restrained drama. Watts plays Pam Bales a seasoned hiker and nurse with the Pemigewasset Valley Search and Rescue Team. Pam has grit and drive, but echoes from her past point to a trauma that still haunts her to this day. So she spends much of her time hiking. “It’s cheaper than therapy,” she tells her friend Dave (Denis O’Hare) who runs a local diner, “and the mountains always listen and never talk back.”

The movie opens with Pam crawling out of bed and then meticulously packing for her climb up New Hampshire’s rugged Mount Washington – the highest peak in the Northeastern United States. Sitting prominently in the Presidential Range of the White Mountains, Mount Washington is notorious for its unpredictable and often dangerous weather. And (as you can probably guess) that ends up playing a significant role in the film.

Pam’s plan is thorough – a six-hour loop hike along the popular Jewell Trail, up to Mount Washington’s snowy summit, and then back down before a forecasted storm hits. She’s packed for every contingency, she tells Dave where she’s going, and she leaves her itinerary under the wiper blade of her SUV for searchers to find in case something goes wrong.

The first leg of Pam’s hike goes well as she makes her way through the lower forest trails and up the stony mountain pass. Szumowska and her DP Michal Englert fill these early scenes with breathtaking shots of natural beauty. At the same time, the camera captures the ruggedness of the land which really emphasizes the perilous nature of the journey to come.

After two hours the coming storm still sits in the distance. But after three hours Pam begins to feel its affects. She considers cutting her hike short and heading back down the mountain. But then she spots sneaker tracks in the snow. She follows them to the peak where she finds a man (Billy Howle) alone and unable to speak; underdressed and freezing to death. With the temperatures dropping and the wind whipping the snow and sleet in a violent frenzy, Pam knows neither of them can last in the worsening conditions. So her survival instincts kick in and she goes to work.

The second act primarily focuses on Pam’s race against the clock as she attempts to get a man twice her size (who she names “John”) down the mountain before nightfall. Adding to the challenge is John’s erratic behavior which leads Pam to wonder if he’s on drugs or mentally unstable. Similar to the real-life account, John remains a mystery for most of the film, and the script (penned by first-time screenwriter Josh Rollins) leaves us with a lot of questions. While that may be an unexpected choice, it ends up adding some emotional heft, especially during the third act.

“Infinite Storm” really is a two person show, and while Howle does solid work, it’s Watts who carries the load. The two-time Academy Award nominee is no stranger to deglamorizing in order to get to the core of her characters and their experiences. Here she gives us an authentic portrait of Pam Bales. And even in the couple of instances where the film gets a little carried away heightening the drama, Watts keeps Pam genuine and relatable.

Aside from the couple of instances where Szumowska and Rollins give in to the urge to ramp up the action, “Infinite Storm” remains surprisingly grounded. It proves to be a key reason the film works. We’re also treated to a surprising amount of craft, especially through the camera. Intense closeups, partially obstructed framing, blurred perspective shots – it’s all strategically used to both intensify the drama and root the emotions. And while it not have enough thrills for genre fans and lack the risk-taking style and originality for the arthouse crowd, it absolutely delivers on a human level. And that’s what you need most with a story like this. “Infinite Storm” opens today (March 24th) in theaters.

VERDICT – 3.5 STARS

Oscar Weekend: My Picks for the 94th Academy Awards

March 25, 2022 by Keith Garlington

I love Oscar weekend. I enjoy the ridiculous pageantry, the overstuffed television broadcast, and of course the focus solely on movies. And while I don’t take them too seriously, I do tend to avoid the condescending (and seemingly obligatory) dismissal of the awards which makes its way through critics circles nearly every year at this time. That’s because I do think the Oscars matter. Not so much in definitively proclaiming the ‘best’ movie of the year. But in highlighting certain movies and advancing careers.

This year I’ve had a tough time keeping myself excited for the Academy Awards. Not because I’ve lost interest or due to the nominees. But because we are already three months into 2022. It’s hard to stay focused on 2021 movies when we’re already this far into the new year. Simply put, March 27th is too long to wait.

Still, here we are two days away from Oscar night, and I have to admit my juices are beginning to flow. Suddenly I find myself looking forward to Sunday night’s big show. So in keeping with that excitement, I decided to put together my picks for some of the Academy’s big categories. Critics often get together to consider, debate and discuss. So why not join the choir. Today I’m simply sharing who I think WILL win and who I WANT to win. So let’s go.

BEST PICTURE

The Nominees:

Belfast
Don’t Look Up
Drive My Car
The Power of the Dog
Dune
West Side Story
CODA
King Richard
Licorice Pizza
Nightmare Alley

Who Will Win: “The Power of the Dog”

Who I Want to Win: “Dune”

For a long time this has been a one horse race with “The Power of the Dog” being the clear frontrunner. But lately “CODA” (of all movies) has been surging and now there is some real belief that the little feel-good movie could win the big prize. I’m not ruling it out, but I’m still not seeing it. I like “The Power of the Dog” but don’t feel it’s storytelling is nearly as sharp as most do. But it has a lot of push behind it – probably enough to get it across the finish line. I’d prefer a number of other nominees (“Dune”, “Belfast”, “Nightmare Alley”, “West Side Story”) but they don’t stand a chance. BY THE WAY: I can think of 20 movies I would have nominated over “Don’t Look Up” or “Licorice Pizza”. Oh well.

BEST DIRECTOR

The Nominees:

1. Kenneth Branagh (Belfast)
2. Ryusuke Hamaguchi (Drive My Car)
3. Paul Thomas Anderson (Licorice Pizza)
4. Jane Campion (The Power of the Dog)
5. Steven Spielberg (West Side Story)

Who Will Win: Jane Campion

Who I Want to Win: Kenneth Branagh

Yes, I know it’s fashionably absurd to root for Kenneth Branagh or “Belfast” is any regard. Too bad. It’s a great movie and I would love to hear it’s name called. But none of that matters. This has been and remains Campion’s category, and I don’t see anything changing on Oscar night. This one’s pretty much a lock. BY THE WAY: Where on earth is Denis Villeneuve (“Dune”)? It’s easily one of this season’s more glaring omissions.

BEST ACTOR

The Nominees:

1. Javier Bardem (Being the Ricardos)
2. Benedict Cumberbatch (The Power of the Dog)
3. Andrew Garfield (Tick, Tick…Boom!)
4. Will Smith (King Richard)
5. Denzel Washington (The Tragedy of Macbeth)

Who Will Win: Will Smith

Who I Want to Win: Denzel Washington

There was a time where I thought this was a really intriguing category. But over the last month or so Will Smith has emerged as the clear favorite. I have to say, as a luke-warm Will Smith fan, I was really impressed by his work in “King Richard” and would have no beef with him winning. But I really wish Denzel would get the statue. Unfortunately almost no one is talking about his incredible performance so it’s hard to imagine he stands a chance. Sunday will be Smith’s night. BY THE WAY: No Bradley Cooper for “Nightmare Alley”???

BEST ACTRESS

The Nominees:

1. Jessica Chastain (The Eyes of Tammy Faye)
2. Penélope Cruz (Parallel Mothers)
3. Olivia Colman (The Lost Daughter)
4. Nicole Kidman (Being the Ricardos)
5. Kristen Stewart (Spencer)

Who Will Win: Jessica Chastain

Who I Want to Win: Olivia Colman

This is a pretty stacked category. It’s one that features several really good performances in pretty good movies. Obviously K-Stew has been getting a big social media push while Cruz’s name suddenly started popping up as a potential dark horse. A part of me says never count out Kidman, but I really do think Chastain will pull it out. She was terrific in a movie that was too focused on rewriting certain bits of history. Still, Chastain didn’t miss a beat and should get the Oscar. BY THE WAY: I’m still surprised that Ruth Negga didn’t slip in for “Passing”.

BEST INTERNATIONAL FEATURE

The Nominees:

1. The Hand of God
2. Drive My Car
3. Flee
4. The Worst Person in the World
5. Lunana: A Yak in the Classroom

Who Will Win: Drive My Car

Who I Want to Win: The Worst Person in the World

This is a wild category and one noted by some pretty stiff omissions. Regardless, it’s hard to see anything else winning other than “Drive My Car”. After all, it is the only nominee that’s also nominated for Best Picture. In fairness, I haven’t seen “Lucana”, but the other four make for an interesting group. Still, the winner here is pretty easy to predict. BY THE WAY: How did the Academy not even nominate Asghar Farhadi’s “A Hero”? Talk about mind-boggling.

BEST ANIMATED FEATURE

The Nominees:

1. Encanto
2. Flee
3. Luca
4. The Mitchells vs. the Machines
5. Raya and the Last Dragon

Who Will Win: Encanto

Who I Want to Win: The Mitchells vs. the Machines

Another interesting category. I personally loved “The Mitchells vs. the Machines” and “Raya and the Last Dragon”. But boy does Oscar love Pixar so it’s hard to bet against them. I can’t see “Encanto” losing. BY THE WAY: I remain an animated movie weakling so don’t put much value on anything I have to offer to this category.

BEST SUPPORTING ACTOR

The Nominees:

1. Ciarán Hinds (Belfast)
2. Troy Kotsur (CODA)
3. Jesse Plemons (The Power of the Dog)
4. J.K. Simmons (Being the Ricardos)
5. Kodi Smit-McPhee (The Power of the Dog)

Who Will Win: Troy Kotsur

Who I Want to Win: Troy Kotsur

A fun category but also one of the most sure-things come Oscar night. Troy Kotsur has been on an amazing streak this awards season, and it’s hard to see anything derailing him leading up to his last stop. A part of me would love to see Hinds win. He gives such a wonderful performance in “Belfast”. But no one is stopping Kotsur. He’ll win and it will be one of the most memorable moments of the night. BY THE WAY: I like Jesse Plemons. But his nomination here is such an odd one. It’s a solid performance but he’s given very little to do. I would have much rather seen someone like Ben Affleck for “The Tender Bar”.

BEST SUPPORTING ACTRESS

The Nominees:

1. Jessie Buckley (The Lost Daughter)
2. Ariana DeBose (West Side Story)
3. Judi Dench (Belfast)
4. Kirsten Dunst (The Power of the Dog)
5. Aunjanue Ellis (King Richard)

Who Will Win: Ariana DeBose

Who I Want to Win: Caitriona Balfe (Oh wait…)

This category is a mix of of excitement and utter bewilderment. Buckley was such a nice surprise and Ellis was quite good. But no one is beating DeBose. She was magical in “West Side Story” and she has had this category locked up since well before the nominees were announced. BY THE WAY: The Caitriona Balfe snub is the most baffling and egregious of the year. She was incredible in “Belfast” and had been nominated in nearly every award stop leading up the Oscars. I have no idea how the Academy dropped the ball this badly.

BEST ORIGINAL SCREENPLAY

The Nominees:

1. Belfast
2. Don’t Look Up
3. King Richard
4. Licorice Pizza
5. The Worst Person in the World

Who Will Win: Belfast

Who I Want to Win: Belfast

This category is a complete toss-up. I can pick apart the scripts for nearly every one of these nominees. But I think Kenneth Branagh’s “Belfast” screenplay is a near perfect mix of heart, soul, and humor. I think it’ll win, but the near irrational pushback to that film in some circles may point to a more fashionable choice. Still, I’m sticking with “Belfast”. BY THE WAY: How “Licorice Pizza” and “Don’t Look Up” found their way into this category is beyond me. Perhaps certain names do carry more weight during awards season.

BEST ADAPTED SCREENPLAY

The Nominees:

1. CODA
2. Drive My Car
3. Dune
4. The Lost Daughter
5. The Power of the Dog

Who Will Win: CODA

Who I want to Win: Dune

Here’s another one that could go a number of ways. While I think the script is the one thing that holds “The Power of the Dog” back, I still believe it has a good shot at winning this category. But the recent push “CODA” has received makes me lean towards it, and I wouldn’t be upset if it wins. I do think people are overlooking “Dune” and how it’s screenplay brought together its vast and sweeping story. But in a category this stacked, it’s understandable why it wouldn’t win. BY THE WAY: Even in a crammed group, it’s really a shame that Tony Kushner wasn’t nominated for “West Side Story”.

So there are a few of my picks for Sunday night‘s big show. I’d love to hear what you agree or disagree with. What would be your choices for the categories mentioned above? Let me hear from you.

First Glance: “Men”

March 24, 2022 by Keith Garlington

Independent film distributor extraordinaire A24 teams with writer-directer Alex Garland (“Ex Machina”, “Annihilation”) in the new horror thriller “Men”. The film stars the wonderful (and now Oscar-nominated) Jessie Buckley and Rory Kinnear. A24 dropped a killer teaser a month or so ago and now have released the first official trailer. To no surprise this looks really good and you can see Garland’s fingerprints all over it.

In “Men” Buckley plays Harper, a grieving woman who retreats to English countryside following the tragic death of her husband (Paapa Essiedu). Her quiet escape is quickly interrupted by a number of men from the village (many played by Kinnear). The images are mysterious and often unsettling, giving us a taste of the horrors to come but also leaving much to our imagination. One thing’s for sure, there will be more going on under the surface that what the trailer shows us. I can’t wait.

“Men” hits theaters May 20th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Topside” (2022)

March 24, 2022 by Keith Garlington

For New Yorkers, the new film “Topside” may cover some pretty familiar ground. But this cutting drama from the filmmaking duo of Celine Held and Logan George has a lot for the rest of us to chew on and it should open the eyes and touch the hearts of anyone with a soul. Held and George both co-wrote and co-directed this hard-hitting indie with Held also starring in one of the film’s two lead roles.

“Topside” actually premiered way back in 2020 at the Venice Film Festival and now is finally set for its release here in the States. The movie brings to mind a number of other terrific independent films from the past several years. It’s kinda like “Beasts of the Southern Wild” but minus the fantasy element. It’s a bit like “Room” but without the hostage angle. Yet it’s also very much its own thing, and it has a powerful real-world story to tell.

The movie opens with a quote that stayed in the back of my mind for the duration of the movie. It’s from Jennifer Toth’s 1993 book “The Mole People: Life In The Tunnels Beneath New York City”. It reads “J.C. told me initially that his community had no children. After a moment he added, ‘We have adults as young as five.’” It doesn’t take long for the quote’s relevance to be realized.

**Image Courtesy of Vertical Entertainment**

Much of the film’s first act is spent on setting up its world. Held and George do a great job visualizing the subterranean homeless community living deep underneath the concrete jungle of New York City. In a dark deserted dead-end section of the subway system, a small group has made homes out of shipping pallets, sheets of tin, and tarp. It’s in this world where we meet 5-year-old Little (played by the remarkable young actress Zhaila Farmer).

“Topside” is mostly told from Little’s unique perspective. Early on we watch her innocently soaking up the few rays of sun beaming through a couple of gaps in the concrete above. It’s all she’s ever seen of the outside world. She’s never been “topside”. Her mother Nikki (wonderfully played by Held) tells her she has to wait for her wings to grow. It’s one of several made-up stories Nikki tells her daughter in order to shield her from their real-life situation.

Nikki is very well aware of their condition. She slips away while Little sleeps and goes topside to get what money and supplies she can. We get the sense that Nikki’s time above is more complicated than she lets on, but it isn’t until later that the film really shows where desperation has led this single mother. While Nikki is gone, Little is looked after by a fellow dweller named John (Fatlip). He’s a mysterious character but buried within his short temper is genuine concern for Little.

While Nikki and Little seem settled into their circumstances, we know that it’s doomed. Glimpses of trespassing notices and warnings to evacuate go unheeded by the community and sets up what’s to come. And it comes to a head early one morning when a group of city workers surprise the community with strict orders to leave. Knowing she’ll loose her daughter to Social Services if they’re caught, Nikki takes Little and runs.

As everything she has told her daughter about the topside crumbles under the weight of reality, Nikki frantically scrambles to shield and protect Little despite having no money, no food, and no place to go. In the meantime Nikki’s above-ground connections begin painting a clearer picture of this loving yet troubled mother. Interestingly, the movie doesn’t get lost in Nikki’s backstory or explaining how she ended up in the situation she’s in. It stays fully focused in the present. That willingness to stay centered in the here-and-now is a key reason the story packs such a punch.

As the mother and daughter flee, the movie takes a heart-shattering turn. Nikki escapes topside, exposing Little to the real world for the very first time. The young child’s fear is palpable as she’s overwhelmed by the city’s blinding lights and assaultive collection of sounds. DP Lowell A. Meyer’s visceral camerawork is constantly shooting from the little girl’s point-of-view, conveying a real sense of terror and anxiety. It’s harrowing stuff.

“Topside” embodies everything I love about independent cinema. It tells a fiercely intimate story without any obligations to studio guidelines or genre expectations. It features an unflinching authenticity that comes through the fantastic cinematography, the moving script, its crisp editing, and two phenomenal performances from Held and Farmer. At times it plays like a hellish thriller. But that’s a testament to the film’s ability to draw us closer to the uncomfortable themes it’s dealing with. And while it can be troubling and hard to watch, it’s also honest and straightforward, which is exactly what this kind of material needs. “Topside” premieres Friday in select theaters and on VOD.