REVIEW: “Lamb” (2021)

October 7, 2021 by Keith Garlington

No other 2021 movie trailer threw me for a loop quite like the one for “Lamb”. Independent film distributor extraordinaire A24 did their job in delivering a fascinating albeit trippy tease for this Nordic folk-horror tale. The movie premieres this weekend and the trailer certainly had the trippy part right. But it’s a little misleading when it comes to the horror element. “Lamb” is a far cry from conventional and the horror it’s going for is far more subdued.

“Lamb” is directed by Valdimar Jóhannsson working from a script he wrote with poet, novelist and playwright Sjón. The film premiered at this year’s Cannes Film Festival and the first reactions intrigued me far more than the trailer. “Lamb” is unquestionably one of the weirdest movies of 2021. It’s also captivating from start to finish, beguiling and unsettling, and at times darkly funny in a way that fully embraces the absurdity that’s built into the story.

“Lamb” kicks off with a scene that introduces us to one of the film’s biggest assets – DP Eli Arenson. In the opening, his camera slowly eases across a stark snowy tundra where something moving in the icy mist has spooked the local animals. Arenson shoots the sequence from the lumbering something’s point-of-view and the only hint of what it may be is found in its deep heavy breathing and the crunch of the snow under its feet. The camera ends at a barn full of rattled sheep. Cut! Jóhannsson smartly ends the scene, giving us just enough to wet our appetites.

That gives you a good sense of Jóhannsson’s approach to storytelling – patient, methodical, and as reliant on the gaze of Arenson’s camera as the three lone (yet sublime) performances. The dialogue is sparse at times (particularly in the first of the three chapters) and the use of music is strategic. And then there’s Ingvar Lunderg and Björn Viktorsson’s crafty sound design which plays a big part in developing mood and instilling a lingering sense of unease.

The above mentioned barn belongs to Maria (Noomi Rapace) and her husband Ingvar (Hilmir Snær Guðnason), owners of a sheep farm nestled in a scenic mountain valley in Iceland. The farm is as distant and remote as Maria and Ingvar’s relationship. There are no signs of enmity or bitterness between them. They’re just two emotionally withdrawn souls marching to the somber beat of their own drums. Their few conversations consist mostly of farm talk. Attempts at anything else comes across as awkward and frivolous.

But things turn towards the peculiar when a young ewe lamb is born; one alarmingly different than all the others. How is it different? Jóhannsson doesn’t show us, at least not at first. Instead he focuses solely on the farm couple’s astonished expressions. It’s yet another smart directing choice that connects us emotionally with Maria and Ingvar while effectively building our curiosity and anticipation.

Maria’s maternal instincts immediately kick in and she takes the lamb as her own, much to the consternation of the bleating birth mother. Maria names the lamb Ada, wraps her in warm blankets, and let’s her sleep in a washtub bassinet until Ingvar can dust off an old crib from the barn. Something is clearly off with this scenario and the audience members aren’t the only ones who recognize it. The observations of the couple’s sheep dog and house cat as well as the eerie cutting stares of the disapproving sheep convey a similar apprehension.

Things get even more complicated when Ingvar’s deadbeat brother Pétur (Björn Hlynur Haraldsson) shows up unannounced needing a place to crash. He is immediately taken aback by Ada and his wordless deadpan first reaction is an instance of both perfect timing and perfect framing resulting in a true laugh-out-loud moment. It’s that kind of subtle dark humor that Jóhannsson sprinkles throughout his middle chapter. Yet he always maintains a straight-faced sincerity that keeps his movie from becoming farce.

I won’t spoil anything, but it’s pretty easy to figure out what’s going on. What you won’t predict is what happens in the final ten minutes. Myself, I’m still trying to figure out how well the ending works. On one hand, it feels underdeveloped, abrupt, and a bit too ambiguous for its own good. On the other hand, it’s startling, bizarre, and in a sense a perfectly fitting wrap for a movie like this. The emotional payoff is almost certain to hit people differently and the final shot is as puzzling as it is affecting. Does it make for a satisfying finish? I’m still wrestling with that.

If you’ve read everything up to this point, you’ve probably figured this out – “Lamb” won’t be for everyone. Its strangeness alone will confound some while it’s simmering slow born may push away others who bought into the trailer’s more conventional sales pitch. Personally, I gravitate towards this deliberate observational style. Jóhannsson’s keen direction, the striking visuals, and the palpable emotion from the performances carry a lot of weight and ground the story (as absurd as it is). At the same time, themes of parenthood, loss, and human/animal coexistence bubble under the surface, often snapping us out of the film’s intoxicating hypnotic spell. “Lamb” opens in select theaters tomorrow (October 8th).

VERDICT – 4 STARS

First Glance: “Cyrano”

October 6, 2021 by Keith Garlington

The movie musical resurgence continues with “Cyrano”, an upcoming adaptation of Erica Schmidt’s 2018 stage musical which was an adaptation of Edmond Rostand’s classic 1897 play, “Cyrano de Bergerac”. The film comes for director Joe Wright who last film “The Woman in the Window” didn’t quite live up to its potential. But Wright has a pretty good track record so there’s reasons to be optimistic.

Rather than being the story of a man with giant nose, the Cyrano in Wright’s film is of tiny stature (played by the always superb Peter Dinklage). Cyrano is in love with a young beauty named Roxanne (Haley Bennett) but he’s convinced himself he’s unworthy of her affection. He’s finally able to express through romantic love letters written in the name of a dashing young suitor (Kelvin Harrison, Jr.). There are definitely some of Wright’s signature visual flourishes and the cast is intriguing. That’s enough for me to give it a go.

“Cyrano” opens in theaters December 31st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Last Mercenary” (2021)

October 6, 2021 by Keith Garlington

The action movies of the 80’s and early 90’s had a goofy and over-the-top style all their own. During my teen years and early twenties I couldn’t get enough of them. At the top of the food chain were the marquee names Arnold Schwarzenegger and Sylvester Stallone. Just a step below were a handful of others including the martial artist known as The Muscles from Brussels (yes kids, that’s what some called him) Jean-Claude Van Damme.

For several years Van Damme was a big box office draw, but he fell out of the mainstream once the cinema landscape began its shift away from the machismo-infused romps that made him and others famous. Still, Van Damme has continued to make movies, releasing mostly straight-to-DVD action flicks every year since 2001. His latest film is “The Last Mercenary”, a French action-comedy from Netflix Studios.

“The Last Mercenary” is a weird experience. At times it’s a painfully bland and erratically edited genre blend that bounces here to there with no real sense of flow. But then you see a self-deprecating JVD, his hair a little thinner and his wrinkles a little deeper. You see him joyously riffing on his past action star persona (even his infamous bad dancing). You watch him poke fun of his own enigmatic up-and-down movie career. Suddenly you can’t help but smile.

The film is directed by David Charhon and co-written by Charhon and Ismael Sy Savane. Their story puts the 60-year-old JVD in the role of the near mythical mercenary Richard Brumère aka “The Mist”. He comes out of seclusion after learning that the French government has accused his dim dope-peddling son Archibald (Samir Decazza) of being a wanted arms dealer named Simyon.

The movie features an off-beat blend of action and comedy that’s built around a fairly predictable father/son reconciliation. Richard left his son and late wife to protect them from the violence that comes with his job. Archibald feels his father abandoned him, and his mother’s death only deepened those wounds. There are occasional moments of heart where this fractured relationship gets some attention. But it always feels secondary to getting a laugh.

In order to protect Archibald from the real Simyon (wildly overplayed by Nassim Lyes) and to root out the corrupt government officials working to keep Simyon’s identity concealed, Richard forms a team of local outcasts to help him. Dalila (Assa Sylla) and her brother Momo (Djimo) make for good comic sidekicks while Alexandre (Alban Ivanov), who was booted from the French Ministry for getting too close to the truth, is the movie’s clown – occasionally funny but way too over-the-top.

It’s fun watching JVD ham it up, whether he’s winking at a poster of his breakout movie “Bloodsport” or donning goofy disguises reminiscent of Peter Sellers’ bumbling Inspector Clouseau. But even that eventually wears thin leaving us with a haphazard movie that has more in common with a hyperactive cartoon. The humor ranges from silly to cringe-worthy with the worse being this running gag about Richard’s ‘ladies man’ status. Meanwhile the skittish editing only emphasizes the story’s overall clunkiness. And JVD’s best (and silliest) efforts can’t quite make up for it.

VERDICT – 2 STARS

REVIEW: “Bingo Hell” (2021)

October 5, 2021 by Keith Garlington

I’ve never claimed to be the sharpest knife in the drawer, and there’s plenty of evidence to prove that I’m not. Case in point, the hilariously titled new horror film “Bingo Hell”. Embarrassingly, it wasn’t until the neon lit title screen that I made the bingo HALL connection. It turns out that wasn’t the only chuckle I would get out of this just released Amazon Studios Original.

Directed by Gigi Saul Guerrero, “Bingo Hell” is the fifth installment of Amazon’s “Welcome to the Blumhouse” horror anthology. As the name intimates, the series of feature films are developed and produced by Jason Blum’s Blumhouse productions and highlight stories told from filmmakers with fresh visions and perspectives. As with any ambitious endeavor like this, you have your hits and misses. But I appreciate what it’s doing, hiccups and all.

“Bingo Hall” is an interesting entry. It’s a brisk and straightforward movie with enough genre flourish to keep horror fans interested. It’s also laced with a fair amount lightly breaded social commentary on class, community, the allure of money, gentrification, etc. Not all of it makes sense nor does it come across as anything especially new or revelatory. But it does offer a unique perspective and its cast of likable characters help overlook some of the storytelling issues.

The story is set in the sleepy little fictional town of Oak Springs. It’s a place where development companies are buying up property and homes while many of the decades-old hometown businesses are closing up shop. The changing landscape doesn’t sit well with some of the town’s old-timers, especially Lupita (Adriana Barraza), a surly and outspoken local who simmers at the influx of coffee shops, vape lounges and the young hipsters who frequent them. Oak Springs is her life, and she’s not about to let it dry up without a fight.

To let off steam Lupita, her best friend Dolores (L. Scott Caldwell), and a fun assortment of other elderly townsfolk enjoy bingo at the town community center. But you know it’s trouble when a fancy black sedan rolls into town with pitch-black tinted windows and a license plate that reads “BIG WINN3R”. The car belongs to a sinister looking cat who goes by the name of Mr. Big (a fittingly creepy Richard Brake). Lupita and her friends learn that Mr. Big has purchased the community center and seemingly over night turns it into a bingo hall with enough flashing neon inside and out to rival anything on the Las Vegas strip.

His glaringly evil look and the movie’s title let us know that Mr. Big is up to no good. Soon his fancy parlor and high stakes bingo games are luring in citizens from all around the city. And as you can guess, the big winners of his games don’t get to enjoy their winnings for very long. In fact, winning gets you a briefcase full of money and a gory death at the hands of this poorly defined supernatural menace. Just who is Mr. Big? What’s he after? What’s with all the green goo that had me thinking about Slimer from “Ghostbusters”? I still don’t know. He throws out a couple of generic lines about feeding on souls, buts that’s about it. Clear as mud.

While Guerrero does a good job early on introducing us to her characters and setting up her story, the buildup to the predictably inevitable ending feels remarkably light. It consists of a lot of elderly bickering but little in terms of development or revelation. The performances liven up the characters and there are some really good interactions between them. It’s hard not to enjoy their individual charms and there is some fun humor that seeps out of their relationships.

Guerrero also shows a good eye behind the camera. She uses a captivating blend of angles, perspectives, and color palettes that really speaks to some of her influences. But “Bingo Hell” needs more than sharp visuals and fun characters. The story is all buildup but little payoff. It introduces a menacing villain, but he’s too thinly sketched to feel like a real threat and we’re left wondering about him rather than being spooked.

So “Bingo Hell” is flawed and doesn’t quite fulfill the potential it shows early on. Yet I’m glad I watched it. It’s hard to let some of the nagging issues slide, but it does have some alluring traits and clever filmmaking touches that show why Guerrero is considered by many to be a young talent to keep your eye on. “Bingo Hell” is now available to stream on Amazon Prime.

VERDICT – 2.5 STARS

REVIEW: “Good on Paper” (2021)

October 4, 2021 by Keith Garlington

It’s amazing how well the title “Good on Paper” fits this new Netflix comedy from first time director Kimmy Gatewood. The film is written by and stars stand-up comic Iliza Shlesinger who has the big personality and snappy wit you often look for in good comedies. But “Good on Paper” is exactly that – an idea for a movie that probably sounded great during conception but that falls apart on screen. It’s a shame because it begins with a fair amount of promise.

Shlesinger plays Andrea Singer, a fairly successful stand-up comic trying to break into acting but getting nothing but rejection from her countless auditions. On a flight back to Los Angeles she meets Dennis (a hunky Ryan Hansen sporting nerdy glasses and a bad comb-over in an effort to make him look homely). He comes packaged with some pretty attractive qualities. He’s a Yale graduate, has a high-paying job as a hedge fund manager, and owns a big house in Beverly Hills. The two instantly hit it off and begin spending a lot of time together in LA.

It doesn’t take long for us to notice that Dennis is clearly smitten, but to Andrea their relationship is purely platonic. Of course the more they’re together the closer they become and the awkward yet inevitable romance blossoms. But to the film’s credit this isn’t a prototypical romantic comedy. And as the two friends slowly morph into a couple, Andrea begins noticing cracks in Dennis’ story. Is he really who he says he is? Did he really go to Yale? Does his mother have cancer? Did he ever really have a supermodel girlfriend?

Then the movie starts to fall apart. Andrea’s state of oblivion is mind-boggling which does no favors to the character. We can certainly see enough to figure things out. Even the suspicions of her best friend Margot, a brash stock character of a sidekick played by Margaret Cho, falls on deaf ears. By the time it all finally comes to a head the story has completely unraveled into a weirdly out-of-tune mess that doesn’t seem sure of what it wants to be. And the final act is painful to sit through, taking several wacky turns, throwing out some jarringly unnatural dialogue, and giving us some cringe-soaked scenes that resemble really bad sketch routines.

By the end it’s really hard to buy into anything “Good on Paper” is selling. Outside of the first 30 minutes, nothing about the film feels remotely authentic from its flaky characters to the unconvincing relationships. And while it tries, the movie has nothing especially meaningful to say about single life or dating. I ended up unsure of what the movie was other than a showcase for Shlesinger who certainly has the comedic chops. She just may want someone else to write the material next time around. “Good on Paper” is now streaming on Netflix.

VERDICT – 1.5 STARS

REVIEW: “Venom: Let There Be Carnage” (2021)

October 1, 2021 by Keith Garlington

It wasn’t much of a surprise to see 2018’s “Venom” rake in over $850 million at the box office. The carnivorous amorphous antihero has been a popular Marvel character since his proper inception into the comic book world back in 1988. And while not considered a part of the lucrative Marvel Cinematic Universe, Venom’s connections to Marvel (and more specifically Spider-Man) certainly didn’t hurt the movie’s chances of success.

Equally to no one’s surprise was the inevitability of a sequel. In today’s Hollywood you don’t make $850 million against a $100 million budget and not have a sequel, especially in the superhero genre. So after a one-year delay thanks to COVID-19, “Venom: Let There Be Carnage” is finally here.

“Venom” was an entertaining but flawed movie that stayed afloat in large part thanks to its star Tom Hardy. The shaky origin story, the dull villain, the hit-or-miss digital effects all contributed to the movie’s issues. But Hardy made for a solid Eddie Brock, an independent investigative reporter who finds himself the host of a super-powered alien symbiote. Hardy did a good job melding terror with humor and he clearly has a deep affection for the character.

While the first movie didn’t exactly leave me hungry for a sequel, my appetite changed dramatically thanks to one single word – Carnage. As many comic fans know, the Carnage symbiote is a terrifying villain especially when attached to the sociopathic sadist Cletus Kasady, a serial killer with tendencies towards extreme violence. Bringing Carnage to the big screen is an idea ripe with potential. The question became, would Sony and director Andy Serkis give Carnage the dark and savage treatment the character deserves or would they mimic the MCU blueprint and give us something too lighthearted for such a gruesome villain? All the pieces are there for something memorable, but would the absolute need for a hit movie leave us with a more conventional superhero flick?

Well, it has been several hours since I watched the film, and I’m still not sure how to define what I saw. I don’t think I can put it any more succinctly than this – “Venom 2” is a disappointing mess. It doesn’t do enough to feel fresh, and it skips past too much to be called formulaic. It ends up being this surprisingly bland and shockingly shallow exercise that never seems sure of its story or of how to tell it.

You have to feel for Tom Hardy. Once again he gives 110% and he is easily among the best things about the movie. Unfortunately he’s hitched to a truly bad script (penned by returning screenwriter Kelly Marcel) that plays like a barebones outline for a story that never had the details filled in. It’s astonishing how little it does with its characters and how many questions go unanswered in the paper-thin plotting.

Storywise, Hardy’s Eddie lands an exclusive interview with imprisoned serial killer Cletus Kasady (played by a satisfyingly deranged Woody Harrelson). Eddie needs the scoop to jumpstart his lagging career. A local police detective (Stephen Graham) wants Eddie to use his meetings with Kasady to discover where the killer hid the bodies of his completely nameless victims. Why Kasady wanted the interview is still a mystery to me (there is one weird line at the end that might explain it but who knows).

In an early scene, Eddie and Venom discover the location of the bodies (in the most absurd way imaginable) which upsets Kasady. During their last interview Cletus bites Eddie’s hand, contracting (is that how it works) the alien symbiote. Soon after he morphs into the feral and vicious Carnage. From there Kasady/Carnage breaks out of San Quintin and goes looking for his mutant-powered old flame Shriek (Naomi Harris) so the two can get married in a creepy old cathedral. Seriously. That’s the gist of Carnage’s story.

Ok, so maybe there’s a little more to it. The prison break is easily the film’s best scene with Carnage unleashing a barrage of eye-popping PG-13 violence. There’s also a pretty good action scene at an abandoned orphanage and (of course) there’s the final showdown at the cathedral which the movie rushes towards at a breakneck pace. It too looks really good in spots, but there are parts of the battle that Serkis cuts to pieces and (once again) he’s clearly handcuffed by the rating. And that’s really it for Carnage’s angle. No wrecking havoc across the city. No terrorizing the citizens. Just a psychopath with an alien parasite wanting to marry his girl. I admit, I was hoping for more.

So if the movie isn’t spending its time building its villain and unleashing him as a real threat, what is it doing with its time? Well, a lot it is spent on the Odd Couple relationship between Eddie and Venom. The pair’s banter is lightly amusing at first but grows exhausting over time. So much so that I was happy when the two actually separated following a particularly numbing spat. Unfortunately that sets up a mind-boggling nightclub scene that defies everything both movies have told us about Venom. It’s weird, out of tune, and an instance of silliness not only clashing with the film’s darker elements but undermining them as well. It’s one of several miscalculations where the movie’s desire to be funny comes at the wrong time or is presented the wrong way.

I could go on, but the more I think about what this movie could have been the more frustrated I get. Hardy makes it watchable with an all-out effort; doing what he can with what he’s given. The rest of the cast has a harder time. Harrelson gets a meaty character but no meaty material. Meanwhile Michelle Williams is wasted and seems understandably bored out of her mind.

Some may be able to coast through the 93 minutes ignoring the movie’s glaring flaws. I wish I could. Instead I kept seeing glimpses of the movie I wish this had been. Admittedly, the CGI Carnage looks amazing and the anticipated bursts of violence upped my heart rate a bit. Just not enough for me to get onboard with this head-scratching misfire. “Venom: Let There Be Carnage” is out today in theaters.