Retro Review: “The Getaway” (1972)

January 19, 2022 by Keith Garlington

Sam Peckinpah’s star-powered crime thriller “The Getaway” sees Steve McQueen and Ali MacGraw on the run along the U.S./Mexico southern border. McQueen was a huge movie star at the time and had a say in most aspects of the film. He fired director Peter Bogdanovich due to creative differences. He disliked the music by Peckinpah’s long-time composer Jerry Fielding and hired Quincy Jones to completely rescore the movie. And to Peckinpah’s chagrin, McQueen used his final cut privileges to change several of the director’s chosen takes. How’s that for creative control?

For some, “The Getaway” is just as much remembered for what happened behind the scenes. MacGraw was riding high having just starred in the big hit “Love Story”. Though at first intimidated by McQueen’s presence, the two quickly hit it off and began an affair. McQueen was in the process of divorcing his wife of 15 years, Neile Adams. MacGraw was married to Robert Evans, the head of Paramount Pictures who actually suggested she take the role in “The Getaway”. While some feared a possible scandal could hurt the film, it ended up being a box office success.

Written for the screen Walter Hill, the film is an adaptation of a novel by pulp writer Jim Thompson. McQueen plays Carter “Doc” McCoy who we first meet in a Texas prison where he’s serving ten years for armed robbery. Four years into his sentence Doc comes up for parole but is denied. He tells his wife Carol (MacGraw) to contact Jack Beynon (Johnson), a crooked San Antonio businessman. Beynon uses his political influence to get Doc out but with one stipulation – Doc is to knock off a local bank that’s holding $500,000 of an oil company’s money.

Doc wants to pick his own men for the job, but Beynon insists on his goons, Rudy (Al Lettieri) and Frank (Bo Hopkins). Needless to say the robbery goes bad. A security guard is shot and killed, there’s an expected double-cross, and soon Doc and Carol are on the run across south Texas with both the law and Beynon’s hoods on their tails. The wild card in it all is Rudy, who Lettieri plays with equal part slime and menace. He too is after Doc, but his journey is far darker and more sadistic.

Despite having plenty of violent and often bloody action, there’s a strangely uneven pace to “The Getaway”. Peckinpah has a tendency of dragging scenes out and making them longer than they need to be. Normally I like this kind of patience, but here it zaps certain scenes of their energy. Then you have the lead performances. McQueen nails the cold, tough-as-nails part of his character. But he shortchanges the other side of Doc – the softer side needed if we’re to believe in his relationship with Carol. As for a miscast MacGraw, she seems uncomfortable for much of the film. Her performance comes across as dry and often far too mechanical.

Still, the combustible story at the heart of “The Getaway” is pretty gripping. The action is well done, especially the terrifically shot finale which takes place in a border town hotel. The film is also helped by a fine supporting cast that includes Johnson, Lettieri, Sally Struthers, Slim Pickens, and Jack Dodson. There ends up being enough good ingredients to make for a tasty crime thriller. Perhaps not as good as it could have been, but tasty nonetheless.

VERDICT – 3 STARS

REVIEW: “The Free Fall” (2022)

January 18, 2022 by Keith Garlington

While the highest profile horror movie of the year so far (“Scream”) was another all-too-familiar ‘been there, done that’ experience, there have been some smaller films from the genre that have really hit their mark. First there was the crafty period chiller “The Wasteland” that’s out on Netflix (see my review HERE). And now you can add “The Free Fall” to that list, a sharp and savvy slice of psychological horror that keeps you guessing all the way up to its wallop of an ending.

A brief but really well done prologue begins with Sara (Andrea Londo) talking on the phone to her sister Julie (Elizabeth Cappuccino) about an upcoming party for their parents who are planning to renew their wedding vows. Julie drops the news that she’s too busy to make it, but sends some flowers in her stead. Her folks must be proud.

That evening Sara arrives at her parents’ home and finds the place empty. The front door is unlocked, the lights are on, and the table is immaculately set for dinner. Her calls for her parents go on answered so she eases upstairs where she makes a grisly discovery. In the bedroom she finds her mother draped in a blood-soaked wedding gown, repeatedly thrusting a knife into the chest of her dead father who lies on their bed. Her mother then walks towards her saying “Don’t be scared. Everything‘s going to be different now.” She then cuts her own throat in front of her traumatized daughter.

One scene later Sara wakes up in a strange bed in a strange house with a strange man. His name is Nick (a turtleneck clad Shawn Ashmore) and he reveals that he’s her husband. He hesitantly tells her the reason for her memory loss. It turns out Sara attempted suicide by slitting her wrists shortly after her parents died. She and Nick now live in her parents’ old home where he works on his new book while she rests and recovers. And while Nick pecks away on an old typewriter all day, their housekeeper Rose (an appropriately creepy Jane Badler) helps “looks after things”.

All of that sets the table for this slyly layered horror story. Adam Stilwell directs from a script by Kent Harper and the two make the most of their film’s lean 82 minute running time. They way they create atmosphere, their tone management, their use of Joseph Bishara’s haunting score – it all creates a level of immersion that’s essential to a story like this. And they do a good job of never tipping their hand. We question everything we see from Nick’s doting compassion to Sara’s reliability as a narrator. That level of mystery ensures the ending packs the punch it’s going for.

Perhaps the film’s biggest strength is Stilwell’s use of perspective. His keen ability to convey the confusion and fear in Sara’s head infuses his film with an ever-present sense of unease. The haunting chimes of a grandfather clock she hears that aren’t really there. Her terrifying dreams which are more like cryptic memories hiding fragments of truth. The conflicting voices that fill her mind and slowly intensify. The further we get into the movie, the more frightening (and at times downright macabre) these things get. Yet Stilwell always keeps us in Sara’s head.

“The Free Fall” remains engaging from its shocking opening right through to its big surprise finish which really highlights the movie’s cleverness. Hitchcock vibes run all through this crafty and at times deliciously bizarre feature while themes of trust, trauma, and mental health all simmer underneath the movie’s harrowing surface. I never knew where the story was going which (for me) was simply icing on the cake. “The Free Fall” is now available of VOD.

VERDICT – 4 STARS

REVIEW: “Brazen” (2022)

January 17, 2022 by Keith Garlington

Alyssa Milano plays a crime novelist helping police find her sister’s murderer in the new Netflix thriller “Brazen”. Based on the 1988 novel “Brazen Virtue” by Nora Roberts, this by-the-numbers murder mystery makes an effort, but it’s never able to get above room temperature. Admittedly, some of the unintentional silliness is actually kinda fun. But ultimately it plays like a movie that would get mixed reviews on the Hallmark Channel.

“Brazen” is directed by Monika Mitchell from a script co-written Edithe Swensen, Donald Martin, and Suzette Couture. Early on the movie resembles a relationship drama with glimmers of promise. But you quickly begin to wonder if Mitchell and the film’s trio of writers watched A LOT of television crime mysteries for inspiration. Their movie follows the formula beat for beat before coming unglued in a ridiculous third act where the thing crumbles under the weight of absurdity.

Milano’s Grace Miller is a popular novelist promoting her latest book when she gets an urgent call from her sister Kathleen (Emilie Ullerup) who she hasn’t seen in five years. Grace flies to Washington DC where Kathleen lives in their old family home. After some initial petty bickering, they get down to the reason Kathleen called.

Turns out Kathleen has a troubled past where she left her husband and son after becoming addicted to pain meds. It led to an ugly divorce. But now that she’s off the pills and has a steady job teaching at a prominent private high school, she wants custody of their son. But she’s worried that her rich, well-connected, and fittingly scummy ex-hubby Jonathan (David Lewis) will smear her in court as the ‘bad mother’. But she has an ace up her sleeve. She has information proving Jonathan has been stealing from his family’s trust. Should she use the information as leverage? She has a lot of decisions and she needs some sisterly advice.

What Grace doesn’t know is that her sister has a kinky internet alter-ego, a dominatrix named Desiree. Kathleen dresses up and performs for online “clients” from a secret studio hidden behind a padlocked door in her closet. Her virtual one-on-ones are hosted by a company called Fantasy Inc. Not much subtlety in that company name.

Enter muuuurder. After finishing up an evening performance, Kathleen is attacked and strangled to death in her bedroom. Immediately, hunky homicide detective Ed Jennings (Sam Page) is put on the case. He also happens to be Kathleen‘s next-door neighbor. As you might expect, Grace and Ed hit it off, leading to a lukewarm (at best) romantic angle.

And then things really get ridiculous. After two more Fantasy Inc. performers are attacked, Grace’s “instinct for motive” is all it takes to convince the police captain to put her on the case with Ed, granting her full access to all the department’s evidence, witnesses, and resources (is it really that easy?). It all leads to a preposterous final 30 minutes as the movie’s bland and utterly forgettable mystery is reveal. Call it a fitting finish for a movie that you will have forgotten before the end credits finish rolling. “Brazen” is now streaming on Netflix.

VERDICT – 1.5 STARS

REVIEW: “Scream” (2022)

January 14, 2022 by Keith Garlington

I still remember that December night in 1996. The late Wes Craven’s “Scream” had already been out a little over a week. I somehow convinced my wife of barely over a year to go see it with me. She didn’t like horror movies. I grew up on them. Thankfully we left the theater that night still happily married. That’s because not only did I enjoy “Scream”, but she did too. Well done Mr. Craven.

A fun, subversive and self-aware horror flick, the original “Scream” caught a lot of people by surprise. And while I never bought arguments that it dramatically changed the struggling genre, it certainly injected it with some much needed new energy. Not only did it launch its own series of sequels (one good, the others not so much), it also inspired a number of other blood-drenched young adult slashers, “I Know What You Did Last Summer” being the biggest.

But I don’t want to downplay the 1996 film’s impact. “Scream” was a blast and it knew how to utilize the genre’s strengths and have fun with all of its absurdities. It also did something that so many of its slasher predecessors couldn’t do – give us a broad cast of entertaining characters who we like being around and who are actually memorable. That’s a big reason why several careers were launched thanks to the movie.

**Image Courtesy of Paramount Pictures**

Co-directors Matt Bettinelli-Olpin and Tyler Gillett (“V/H/S”) set out to relaunch the series with their new film “Scream” (in keeping with the goofy horror movie trend of reusing the same title as the franchise’s first film). But the title isn’t the only thing they steal from the original movie. If you’ve seen the trailer you probably know it kicks off with a clear homage to the 1996 film’s iconic opening. The rest of the film features several other callbacks which range from fun fan service to unremarkably derivative. And then you get the final act which I won’t dare spoil. But let’s just say where the opening is a nice homage, the ending is a glaringly uninspired rehash.

Storywise, it’s been twenty years since the last brutal killings in the little town of Woodsboro. But wouldn’t you know it, in the opening scene a teenager named Tara (Jenna Ortega) is terrorized and then violently attacked by a knife-wielding psycho in a Ghostface mask. Yet unlike the 1996 opening scene (which this one is clearly mimicking), here the victim survives despite being stabbed multiple times.

After getting word of the attack, Tara’s estranged sister Sam (Melissa Barrera), who works at a bowling alley in Modesto, rushes back to Woodsboro with her generic tag-along boyfriend Richie (Jack Quaid). While it first seems like a tender reunion, we soon learn there’s some serious baggage between the sisters which once unpacked gives us one of the film’s more outrageous twists.

Oh, and then there is Tara’s gaggle of friends, your normal group of twenty-something’s playing high-schoolers. I could list their names but there’s not much point. They’re basically just fodder for the killer, and each time one is savagely flayed we scratch them off the suspect list. And yes, the 1996 film had its group of party-hardy teens. But none in this new batch are remotely memorable or have half the personality and presence as Ulrich’s Billy, Lillard’s Stu, McGowan’s Tatum, or Kennedy’s Randy. The one saving grace from the new cast is Barrera who does the very best she can with the hit-or-miss material.

The biggest way “Scream” 2022 connects with the previous films is by bringing back the franchise’s most beloved legacy characters. Neve Campbell returns as Sidney, David Arquette as Dewey, and Courtney Cox as Gale. Without question it’s fun to see these three back in a “Scream” movie. At the same time, their roles here feel more nostalgic than important to the story.

This movie also embraces the same meta aspect which gave the original film its fresh and playful energy. But here it isn’t nearly as effective as the filmmakers want it to be. That’s because they go to it a few too many times. It often comes across as disingenuous, and while we see the actress speaking the words, all we hear are the writers trying to be clever. At other times it’s haphazardly crammed into scenes, to the point where the movie begins to resemble lazy self-parody rather than anything smart and/or creative. This is meta overload.

While slasher movies aren’t known for having the smartest characters, I was surprised at the sheer number of dumb decisions people make in this one. Especially in a series that has made pointing out horror movie clichés and tropes a key part of its storytelling. It’s head-scratching to watch characters be so smart one minute and as dumb as a box of rocks the next; wisely suspicious for one scene but then forget to be in the very next one. You can argue that’s kinda the point,

Then you have equally baffling holes in the story’s logic. Like the police deciding to move Tara away from people to a completely empty floor of a hospital. Brilliant. Or the weird idea of hitting a wild party only a few hours after one of your best friends was brutally murdered. But my favorite might be Ghostface, not just taking four rounds from a .357 magnum at close range, but hopping back up like nothing happened? How does he survive? We don’t know. The movie forgets to tell us. Oh well.

A lot of this may sound like nitpicking, especially for a self-aware blood-drenched slasher movie. I don’t know, maybe I was expecting too much from “Scream” 2022. Perhaps I was wrong for thinking that resuscitating this old franchise meant they had something new to bring to it. Unfortunately, if you take out the handful of new faces and few grisly new kills, all you’re left with is a pretty run-of-the-mill horror flick. One that clearly respects Wes Craven’s original “Scream”, but spends too much time milking his ideas rather than coming up with fresh ones of its own. “Scream” is now showing in theaters.

VERDICT – 2 STARS

First Glance: “Against the Ice” (2022)

January 13, 2022 by Keith Garlington

Mark this down as another movie that looks right up my alley. Danish filmmaker Peter Flinth teams with Nikolaj Coster-Waldau to give us one of those “based on an unbelievable true story” movies. In addition to its compelling historical bend, the movie also looks to be a gripping and possibly terrifying survival story. The first trailer looks great and gives us plenty to chew one.

Coster-Waldau plays Captain Ejnar Mikkelsen, a polar explorer who is tasked with retrieving the findings of a Danish expedition lost in the frozen tundra of North-Eastern Greenland. Only one man volunteers to accompany Mikkelsen on his treacherous journey – a young mechanic played by Joe Cole. Shot on location in Iceland and Greenland, the movie looks to fully embrace the dangers of its setting. I love the look of this.

“Against the Ice” premieres on Netflix March 2nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Wasteland” (2022)

January 13, 2022 by Keith Garlington

The slow-boiling, atmosphere-heavy psychological horror film “The Wasteland” is among the first of Netflix’s 2022 offerings. It’s also a great way to kick off the movie year especially for horror fans. Set in 19th century Spain, the movie’s rich period setting brings with it a distinct folk horror flavor. But the psychological edge is just as potent, and it’s examination of heavy themes such as fear and isolation leave a strong impression.

Horror is a tricky thing these days. The genre can’t be narrowed down or painted with broad strokes. And while too many creepers come across as derivative and old hat, there are still filmmakers who are constantly finding new ways to use horror. “The Wasteland” certainly falls among the latter.

Directed by David Casademunt from a script he wrote with Fran Menchón and Martí Lucas, “The Wasteland” begins by telling us of consecutive wars in Spain that drove many people to isolate themselves in an effort to escape the “violence and madness”. We’re then immediately taken to a vast barren moor where a small stone house sits alone in the middle of nowhere. It’s where young Diego (Asier Flores) lives with his stern and rigid father, Salvador (Roberto Álamo) and his gentle and tender mother Lucia (Imma Cuesta).

Salvador is a sad and distant man, determined to prepare his son for the harshness of the outside world. There are only bad people out there, he explains to his son. He also tells of a beast which feeds on the fears of its victims. “Once you see the beast”, he ominously warns Diego, “you’re doomed forever.” Lucia scolds her husband for scaring the young boy with such tales. But Salvador’s solemn eyes and the tall posts draped in tattered cloth that he’s built around their property gives you the uncomfortable sense he believes it.

Things take a turn after a rickety boat floats up in a nearby stream. Aboard lies a man, bloody and unconscious. After the man dies (in one of the film’s more shocking moments), Salvador finds a picture in the stranger’s pocket. Its of the man and his family. It leads an already troubled Salvador to make a rash decision and take the stranger back to his family, leaving his own to fend for themselves while he’s gone.

As days turn to weeks, Diego watches as his mother begin to drift away, seeing things lurking in the shadows or behind bushes. Does she now see the beast? And as the security Diego once had in his mother starts to fade, will he too be terrorized by the fear-consuming creature?

Casademunt poses these questions by slyly making us feel a part of this slowly deteriorating family. Through his sharp pacing, smart visual choices, and Balter Gallart’s fantastic production design, we’re able to feel the same isolation and fear they feel. It mostly comes through young Diego’s eyes whose perspective is raw, emotional, and sincere. But it also comes through the camera – the exquisite framing as well as the crafty use of focus, shadows, and angles.

There are other touches that soak us in atmosphere and sustain the film’s foreboding mood. Little details such as the eerie wood-carved toy figures or the macabre nursery rhymes and children’s songs Lucia sings to Diego. But it comes back to examining fear and feelings of lonliness and isolation. It’s a tough subject especially during this pandemic era we still find ourselves in. But Casademunt uses horror to explore it all in a way that should impress viewers whether they’re fans of the genre or not. “The Wasteland” is now showing on Netflix.