REVIEW: “The Auschwitz Report” (2021)

September 30, 2021 by Keith Garlington

It goes without saying that Holocaust movies make for difficult viewings. It also goes without saying that the number of films dealing with the Holocaust are too many to count. Ever since the breadth of the Nazi atrocities against the Jews were revealed, filmmakers from all over the globe have tackled the Holocaust from numerous points of view and have mined countless inspirational and sobering true stories from both inside and outside of the concentration camps.

For a variety of different reasons, some are quick to dismiss Holocaust movies or simply avoid them altogether. Personally, I’m glad filmmakers are still reminding us of horrors we should never forget while also heralding the true stories of heroism and sacrifice from so many who suffered, endured or resisted such abominable evil. As long as there are stories to tell, I hope filmmakers will continue to tell them.

The new Slovak drama “The Auschwitz Report” shares those same beliefs even beginning with philosopher George Santayana’s timeless words “Those who cannot remember the past are condemned to repeat it.” The film comes from director Peter Bebjak and sets its focus on a daring escape of two prisoners Alfred Wetzler (Noel Czuczor) and Rudolph Vrba (Peter Ondrejička). During the war, news of the concentration camps was slow getting to the allies and the Nazi’s went to great links to hide their savagery. Wetzler and Vrba were determined to get news of the atrocities to the outside world – to share the truth hidden behind the veil of Nazi deception and propaganda.

The film’s three-act structure begins on April 7, 1944. The opening scene shows hundreds of Jews – cold, pale, their heads shaved and in dirty striped prison rags – being herded around two prisoners seated and tied to their chairs. “This is what happens to those who try to escape from my camp,” the Nazi officer yells. I’m sure you can guess the outcome. This is Auschwitz. A place of inexplicable barbarity; where the sound of a train whistle sends chills and death is as common as air.

Throughout the first act, Wetzler and Vrba spend most of the time hiding in a small hole underneath a stack of lumber. Bebjak instead focuses on the men from his barracks who stood their ground and refused to reveal the pair’s whereabouts despite tremendous physical and psychological torture at the hands of a depraved Nazi commander (played by Florian Panzner). Bebjak doesn’t sugarcoat the horror, highlighting some of the camp’s brutal rituals while throwing in a handful of effectively uncomfortable flashbacks which show the camp’s processing of new prisoners. It’s harrowing stuff.

The second act moves to the actual escape – more specifically Wetzler and Vrba’s struggles to survive in the cold and rugged woods as they make their way to the border. Along their arduous journey the duo finds help from sympathetic strangers – a young woman in the forest, a kindly couple in a small village, a soldier with connections to the Red Cross. The third act centers on their efforts to convince allied representatives of what was really happening in Auschwitz. In reality, the VRBA-Wetzler Report was one of the first in-person accounts to shed light on the death camps. And their report is directly credited with saving around 120,000 Hungarian Jews set to be sent to Auschwitz.

“The Auschwitz Report” does feel very much like a Holocaust movie (for obvious reasons), but it sets itself apart with some shrewd and thoughtful filmmaking choices. Its three-pronged story leaves a lot of details on the side, but it does a good job centralizing the story around particular acts of bravery. There is a strange collage of audio clips playing over the end credits that makes some questionable equivalents, but for the most part Bebjak message is one of courage and determination. It’s also a searing historical piece that stresses the enormous effort it took to get the world to see what was happening at the hands of the Nazis.

Bebjak also uses an array of clever and powerful visual flourishes to convey his points. There’s a striking mixture of handheld camera an wide-angle shots that are particularly potent during the scenes within Auschwitz. We also see Bebjak playing with perspective, using intense closeups, and shooting from unconventional and often disorienting angles. He and DP Martin Žiaran put a lot of effort into the film’s visual language and often rely on the camera as much as the cast to convey the intensity of emotions.

Co-written by Bebjak, Jozef Pastéka and Tomás Bombík, “The Auschwitz Report” pulls yet another remarkable story from the inhumanity that was the Holocaust. You can’t help but wonder about some of the details that are left behind as the narrative progresses. But at the same time, the film keeps you glued to its story – one that highlights the very best of human nature and the absolute worst. It makes for a sobering call to remembrance and a stern warning against repeating the sins of our often ugly past. “The Auschwitz Report” is available now in select theaters and on VOD.

VERDICT – 4 STARS

REVIEW: “Dear Evan Hansen” (2021)

September 29, 2021 by Keith Garlington

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

The path to the big screen hasn’t been an easy one for “Dear Evan Hansen”, a film adaptation of the 2015 stage show by Benj Pasek and Justin Paul. The first trailer for this coming-of-age movie musical dropped back in May, and it only took a viral tweet or two for the film to become a social media punching bag. Much of the criticism centered around the choice to have Ben Platt reprise his Tony-winning role as the titular teen.

Let’s be honest, social media outrage isn’t the most reliable gauge. But in this case, Platt as a 17-year-old is a hard sell and slapping on pasty makeup and a plump crop of curly hair doesn’t help. But the whole age thing isn’t what makes “Dear Evan Hansen” a woefully misguided misfire. Its problems run a lot deeper.

The story kicks off with Platt’s Evan set to begin his senior year of high school. To help with his crippling anxiety, Evan’s therapist recommends that he start each day by writing a motivational letter to himself. “Dear Evan Hansen,” the letters begin. “Today’s going to be an amazing day and here’s why.”

**Image Courtesy of Universal Pictures**

The movie’s portrayal of mental health is hazy at best. Look no further than Evan himself who early on isn’t just socially awkward but almost nonfunctional. His inability to muster a single sentence to anyone other than his jerk of a “family friend” Jared (Nik Dodani ) hints at severe social anxiety. His several prescriptions point to depression. We even see evidence of possible autism. And then there is his childlike body language that comes across as paralyzing insecurity mixed with Platt’s exaggerated attempts to look younger.

The queasier stuff comes after his letter to himself is swiped by a bully and fellow outcast named Connor (Colton Ryan). A few days later Evan is summoned to the principal’s office where Connor’s parents, (Amy Adams and Danny Pino), inform him that their troubled son had committed suicide and they found Evan’s letter with him. They mistakingly take the letter as a sign that Connor actually had a close friend.

Evan tries to correct the grieving couple’s misunderstanding at first. But so hungry for human connection and with a particularly icky crush on Connor’s sister Zoe (a terrific Kaitlyn Dever), Evan turns the misunderstanding into a full-blown lie. Soon it takes on a life of its own as word of his fictional friendship gains him sympathy from his classmates. And after his speech/song at a school memorial service goes viral, Evan becomes a social media sensation.

The more devilish part of Evan’s ruse is in his scenes with the Murphy’s. At first he doesn’t have the heart to tell them the truth about their son. But he relishes their attention, the kind he doesn’t get at home from his hard-working and rarely present single mother (Julianne Moore). So he ingratiates himself with the family through bigger and more elaborate lies. Even worse is Evan’s manipulation of Zoe which makes him look like a creep despite the film’s efforts to paint him otherwise.

Sprinkled in among all the weird and unsavory drama is a mixed bag of pop ballads from Pasek and Paul (the duo behind “La La Land” and ”The Greatest Showman”). None come close to being great, but among the better songs is the peppy opener “Waving Through a Window”, the mournful “Requiem”, and the crowd-pleasing “You Will Be Found”. But most of everything else is both dull and forgettable with a couple of songs even crossing the bounds of good taste.

You don’t have to look hard to see what ”Dear Evan Hansen” wants to be. You also don’t have to look hard to see the many ways it misses its mark. Some of its choices are baffling, such as the film’s willingness to use suicide as a plot device to move Evan’s story forward. Also the questionable ways it attempts to justify Evan’s deceit. And who thought stretching the runtime to 137 minutes was a good idea?

It all might work better if it was actually leading to something meatier. Instead the movie concludes with a toothless reckoning that ends up far tidier than it should. It only adds to the film’s nagging artificiality and makes the already shaky moral center even harder to digest. That’s especially frustrating considering the heavy topics it’s trying to deal with. The intentions are good and everyone’s heart is in the right place. But one too many missteps sink the film before it even gets started good. “Dear Evan Hansen” is out now in theaters.

VERDICT – 2 STARS

REVIEW: “The Drop” (2014)

September 28, 2021 by Keith Garlington

Tom Hardy has taken tough guy portrayals to new levels. Some actors naturally lean towards playing tough characters. It’s hard to see them as anything else. Hardy has that lean but he has managed to offer a number of cool variations. He has played a comic book villain, an MMA fighter, a moonshiner, and a Cold War Russian Agent just to name a few. In “The Drop” he gives us yet another bend to the tough guy character and just as before he does it exceptionally well.

“The Drop” is a Brooklyn crime drama based on a Dennis Lehane short story. Lehane also wrote the screenplay with Michaël R. Roskam directing. Hardy plays a inner city bartender named Bob Saginowski. He works at “Cousin Marv’s”, a bar ran by his appropriately named cousin (played by James Gandolfini in his final role). Marv recently handed his bar to Chechen gangsters who now use it as a drop for money they have coming in.

At closing time two hoods rob the place at gunpoint stealing a load of the Chechen’s money. The gangsters hold Marv and Bob responsible leading them to desperately search for a way out of their predicament. Marv is bullish and old school in his approach to things while Bob is much quieter and a bit of an introvert. This effects how each go about handling what appears to be a dire situation.

Bob is the main character and we learn a lot about him through a dog (of all things). He finds the abused pup in a trashcan belonging to a neighbor named Nadia (Noomi Rapace). The two spark a reluctant relationship which is complicated by her estranged thuggish boyfriend Eric (well played by Belgian actor Matthias Schoenaerts). The intensity ratchets up as Bob’s bar troubles and his relationship with Nadia come dangerously close to colliding.

Lehane’s script simmers and never allows the story to blow up into an everyday crime thriller. Roskam’s direction keeps thing under control and allows the script and the actors room to work among the seeping tension. I kept expecting it to turn towards the obvious and conventional. It never does. It’s surprisingly calculated and strategic in how it sets up and delivers its story points.

It also doesn’t hurt to have two superb lead performances. Hardy comes across as strikingly genuine and natural – a seamless and perfect fit for his character. Galdolfini’s work is a clear but sad reminder of his immense talents in front of the camera. His ability to absorb the audience in the complexities of his Marv character is a key to the film’s success.

It could be said that there is nothing particularly new or profound about “The Drop”. It’s hard to argue against that view. But at the same time it is a well-made film that may be small in cinematic stature but big in terms of smart and precise storytelling. Toss in a fine cast to help tell your story and the results are sure to be even more promising. Such is the case with “The Drop”.

VERDICT – 4 STARS

First Glance: “Licorice Pizza”

September 27, 2021 by Keith Garlington

The mere mention of a new Paul Thomas Anderson movie is sure to garner a heap of attention. The much beloved PTA is a filmmaker with his own unique style of filmmaking and storytelling. I admit, I appreciate his work but have often been pretty mixed on the results (I absolutely loved his last film “Phantom Thread” and “There Will Be Blood” is an all-time favorite if that’s any consolation).

Armed with one the craziest but best titles of the year, PTA’s new film “Licorice Pizza” is a coming-of-age drama set in the San Fernando Valley during the 1970s. The much anticipated first trailer really digs into the setting while highlighting the film’s interesting cast. It stars Cooper Hoffman (son of the late Philip Seymour Hoffman), Bradley Cooper, Alana Haim, Benny Safdie, Sean Penn, Nate Mann, Skyler Gisondo, Mary Elizabeth Ellis, Destry Allyn Spielberg, Tom Waits, and Maya Rudolph. In one since I’m compelled by Anderson’s vision. At the same time the trailer resembles a host of other of these kinds of teen movies. Hopefully Anderson has some cool stuff up his sleeve.

“Licorice Pizza” gets a limited release November 26th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Blue Bayou” (2021)

September 27, 2021 by Keith Garlington

Producer, director, writer, and star Justin Chon pours himself into his new movie “Blue Bayou”. The film had its world premiere back in July at the Cannes Film Festival but was then kept from a lot of critics by its distributor Focus Features. That’s often a concerning (and frustrating) sign, often showing a lack of confidence by the studio.

In this case it’s hard to tell the reason. Certain distributors have stepped back from the strategies that worked so well in the heart of the pandemic resulting in fewer critics having access to their movies. Despite its flaws, “Blue Bayou” isn’t the kind of movie you keep away from reviewers. In fact, it’s exactly the kind of movie that could use as much exposure as possible. But Focus Features went another route meaning the movie not only missed a word-of-mouth push from critics, but it was also missed by a lot of moviegoers.

“Blue Bayou” has a lot on its mind, and for many people it’s sure to open their eyes to some upsetting truths. It’s story takes aim at America’s immigration system, more specifically the legal loopholes used to deport adoptees regardless of how long they have been in the country. The Child Citizenship Act of 2000 righted this wrong but only for adoptees under 18 at the time the act was signed into law. Anyone over 18 were not protected and therefore subject to be deported. It’s an ugly truth and Chon deserves credit for bringing it to light.

Set and shot just outside of New Orleans, the film is part blue-collar family story and part immigration drama. For the most part Chon holds those two elements together well. But he loses his grip during the final act which features a couple of maddening storytelling blunders and a bludgeoning overwrought ending that didn’t leave me with the feeling Chon wants us to have.

Storywise, Chon plays Antonio LeBlanc, a tattoo artist expecting a new baby with his wife Kathy (Alicia Vikander). Financially, times are rocky for the LeBlancs. Kathy is a nurse who picks up as many shifts as she can while Antonio struggles to find a second job due to some past non-violent felonies on his record. But when it comes to love, the two couldn’t be happier. And Antonio’s relationship with his young step-daughter Jessie (a charming Sydney Kowalske) is one of the story’s sweetest components.

The first half of “Blue Bayou” does a terrific job developing the emotional connections between Antonio, Kathy, and Jessie. One of my favorite moments in the film is a tender scene where Antonio takes Jessie to his “secret spot” – a small remote pond surrounded by trees covered in weepy Spanish Moss. The playful interplay between the two is both organic and moving.

Through the first two-thirds of the movie Chon also does a good job building up central tension that ultimately turns this family’s life upside down. Antonio was born in Korea but was adopted by an American family when he was 3-years-old. So he’s lived in the United States for over 30 years. After being arrested for an altercation with an abusive (and laughably bad) police officer caricature, Antonio is turned over to ICE to face deportation due to the aforementioned government loophole. He can fight it in court, but if he loses he can never come back to the States.

The sheer reality of that system existing is appalling and for the most part Chon does a good job exposing it. It’s the final third where the storytelling turns from really good to downright messy. The last 20 minutes are equal part frustrating and baffling. I wouldn’t dare spoil anything, but it’s one of those cases where a couple of simple and obvious lines of communication would have led to a much different ending. And in Chon’s attempt to heighten the drama, he misses a couple of glaring questions that I was still asking well after the movie ended. And there’s that emotionally bruising final scene where you can see the movie working hard to squeeze every single tear out of its audience.

There are a couple of other nagging little ticks that bugged me. Like the hand-held camera that’s ALWAYS moving particularly in the first half (thankfully it seemed to settle down a bit in the second). There’s also a subplot involving a Vietnamese-American woman named Parker (Linh-Dan Pham) that’s beautiful and touching on its own merit, but often feels disconnected from the film as a whole once the melodrama really kicks in.

“Blue Bayou” may get lost trying to do too much and it might lay things on a little too thick. But there’s still plenty to like about it. At the top of the list has to be the performances starting with Chon’s. You can’t help but be drawn in by the humanity he brings to Antonio. His emotions are raw and true and he grounds us in a reality that’s sobering even as things start to feel fabricated. Vikander is a good match, drawing more out of her character than I expected. And her rendition of the title song around the midway point left me speechless.

VERDICT – 3 STARS

REVIEW: “Cry Macho” (2021)

September 24, 2021 by Keith Garlington

(CLICK HERE to read my full review in the Arkansas Democrat-Gazette.)

One thing about Clint Eastwood, even at 91-years-old the seasoned and often surly actor, director and producer still plays by his own rules. His notorious and staunch independence is what led him to turn down an offer to play James Bond and pass on the lead role in Francis Ford Coppola’s “Apocalypse Now”.

Yet that same self-reliance also drove many of the choices that led to his screen-legend status. And when it’s all said and done, few will be able to claim a more impressive or prolific career than the man with the steely squint and gravelly snarl.

For over six decades Eastwood has been a poster boy for stoic masculinity in movies. From his iconic Man with No Name role in Sergio Leone’s trio of spaghetti westerns to his gnarly San Francisco police officer “Dirty” Harry Callahan to his crusty intolerant curmudgeon in “Gran Torino”. I mention that because his latest film “Cry Macho” offers Eastwood a chance to look back on a long career often defined by its tough machismo-soaked roles.

“Cry Macho” won’t go down as one of Eastwood’s best films nor is it the kind of movie that will change any minds about his work. Yet it’s the type of stripped-down and straightforward story that’s perfect for this stage in Clint’s career. It’s an endearing reflection wrapped in an overly simplified story that gets by, not because of the character on the screen, but because of the legend who fills his shoes. Then again, so much of Eastwood is packed into the character that you could call them inseparable.

Set in 1979, Clint plays Mike Milo, a worn-down former rodeo champion working as a horse trainer for a wealthy rancher named Howard Polk (Dwight Yoakam). We first meet the unapologetically gruff Mike as he shuffles in late for work (again) prompting a fed up Howard to fire his crusty ranch hand. But before doing so Howard unloads with an exposition-heavy rebuke that only exists to lay out Mike’s troubled backstory – his crippling rodeo accident, the addiction to pills and booze, the crushing family tragedy.

This hurried and awkward opening continues “one year later” when Howard shows up needing help. He wants Mike to go to Mexico City and bring back his estranged 13-year-old son, Rafo (Eduardo Minett) who lives with his wild and neglectful mother, Leta (Fernanda Urrejola). “You owe me Mike,” he reminds the old cowboy. “Yeah, I owe ya,” Mike replies honoring an old-fashioned code that believes a man’s word means something.

The story then heads south of the border where Mike finds young Rafo at a back-alley cockfight. The two don’t exactly hit it off, but predictably over time a bond develops between the old man, the young boy, and a rooster named Macho. Their road-trip has its hazards – car thieves, the federales, Leta’s goons. At the same time, the absurdity of it all isn’t lost on Eastwood who never misses a chance to squeeze out some pretty good laughs.

Despite all of its neo-western dressing, “Cry Macho” is actually pretty mellow and is much more interested in the two lost wandering souls than its low-key thriller elements. This becomes clearer when the movie takes a sudden detour eventually settling down in a small Mexican village. There Rafo gets his first feel of stability while Mike’s leathery exterior begins to soften thanks to the kindness of a local cantina owner (Natalia Traven). This is where the movie really hits its free and easy stride.

The aggressively simple story has its obvious conveniences and missing details which Eastwood has no interest in exploring. But that’s consistent with Clint’s signature efficiency and clear-minded classicism. It’s the emotional and even spiritual undercurrent that ends up driving the movie. It’s Eastwood’s critical self-analysis and reflection mixed with a healthy dose of irony. It’s the unexpected sweetness, warmth, and compassion.

Ultimately the mileage you get out out of “Cry Macho” may hinge on your connection with its legendary star and director. If you’ve been with him for decades, this film will be a graceful extension of that journey. And while the his latest won’t be for everyone, it reminds me of how glad I am that Clint Eastwood is still making movies.