Author Archives: Keith Garlington

First Glance: “The Lost City”

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Next in line in the increasingly popular buddy action-comedy genre looks to be “The Lost City”. Directed by brothers Aaron and Adam Nee, this silly looking romp puts Sandra Bullock alongside Channing Tatum for a wacky adventure with Daniel Radcliffe playing the main antagonist. I’m not 100% sure how those particular pieces will come together, but the first trailer released today by Paramount looks reasonably entertaining.

Bullock plays a romance writer on a book tour for her latest novel when she is kidnapped by a wacky billionaire (Radcliffe) who is convinced she can lead him to a treasure in a place known as The Lost City (or something like that). Tatum plays her hunky but air-headed cover model (think an even more ridiculous Fabio) who makes it his mission to go save her. Obvious hijinks ensue. The trailer looks utterly absurd which could be a good thing. But its biggest laugh comes with the appearance of a certain unexpected star near the end of the trailer. I’ll let you discover it for yourself.

“The Lost City” is set to hit theaters March 25th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Tender Bar” (2021)

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Actor turned mostly director George Clooney helms “The Tender Bar”, an upcoming adaptation of J. R. Moehringer’s 2005 memoir which recounted his life growing up in a complicated Long Island family. Set mostly in the 1970s and 80s, the story (written by William Monahan) bounces back-and-forth between J.R.’s early childhood years and his time at Yale University in New Haven.

The film opens in 1973 with a dirty beat-up Ford Fairlane chugging down the highway. A mattress is strapped to the top of the car, the trunk lid tied down, and “Radar Love” by Golden Earring plays on the radio. Inside is young J.R. (portrayed by expressive newcomer Daniel Ranieri) and his mother Dorothy (Lily Rabe). Unable to pay their rent, the two are moving back to Long Island to stay with her disapproving father (Christopher Lloyd) until she can get back on her feet.

Image Courtesy of Amazon Studios

Through the solemnly observant eyes of young J.R. we learn a lot about his ‘complicated’ family situation. It turns out his deadbeat father (Max Martini) is a popular New York City radio DJ known as “The Voice” who left his family shortly after J.R. was born. He makes the occasional guilt-ridden phone call to his son, but J.R. is mostly left listening to the radio if he wants to hear his father’s voice.

In Long Island, J.R.’s family is a colorful lot. His grandpa’s house is a circus full of aunts, uncles, and cousins. At the top of the list is Uncle Charlie (a terrific Ben Affleck), a much needed father figure who takes J.R. under his wing. Charlie is a brutally honest yet warm-hearted straight-shooter who runs a bar called The Dickens (named after Charles Dickens). There he gives his nephew lessons on “male science” while pushing him to read and write (and discouraging him from playing sports. “You’re not that good.”)

The 1980s scenes sees Tye Sheridan in the role of an older J.R. They follow his time at Yale where he first meets an enchanting yet fickle young woman named Sydney (Briana Middleton). Later we see him finally stepping out to pursue his dream of being a writer. But looming throughout the entire film is his father. Deep down J.R. still holds out hope for his dad and he finally reaches a point where he needs to know where they stand.

The early scenes with young Ranieri are the film’s best (with the exception of a needless gassy grandpa gag) and they do a good job of setting up J.R.’s childhood in a way that helps us to understand the character well. There are some especially good scenes between Ranieri and Affleck, and Rabe gets several strong moments that add important layers to Dorothy.

Image Courtesy of Amazon Studios

The later scenes with Sheridan are a mixed bag. This chapter of J.R.’s life at times feels rushed and there were gaps in his story that I would have loved to see filled. I also grew annoyed at his on-again-off-again “relationship” with Sidney. While Middleton is undeniable charming, her character is frustratingly underwritten and ultimately adds nothing to the movie. It’s also a bummer that Rabe more or less vanishes in the second half. But Sheridan is good and he too gets some really strong scenes with Affleck who ends up stealing the show.

With “The Tender Bar” Amazon Studios gives us a thoughtful coming-of-age drama that has the personality and heart you look for in movies like this. Clooney’s direction, though a little scattershot at times, keeps the story together and moving forward. He also knows what he has in the sincere and grounded Affleck who ultimately steals the show. It’s the script the holds things back. There a few too many holes in J.R.’s timeline. And while Clooney tries to plug them the best he can, the story ends up needing more to make it stand out as something special.

“The Tender Bar” is set for a limited theatrical release starting December 17th before releasing on Amazon Prime January 7th.

VERDICT – 3 STARS

REVIEW: “The Humans” (2021)

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A24’s “The Humans” is a fascinating and impossible to pigeonhole drama and the kind of movie that can often slip under the radar. It’s written and directed by Stephen Karan and sports an eye-catching cast that includes Richard Jenkins, Amy Schumer, Beanie Feldstein, Steven Yuen, Jayne Houdyshell, and June Squibb.

Based on Karan’s one-act play of the same name, “The Humans” plays out in a single location and has a structure that clearly shows its stage roots. But to Karan’s credit, he uses that one setting to great effect, drawing his audience in and then leaving us with the feeling of being trapped in a place that steadily grows more unpleasant. That feeling partially comes from the stellar production design. But just as much is conveyed through the six beguiling characters we spend the running time with.

Image Courtesy of A24

The story is set around the ‘complicated’ Blake family as they gather together for Thanksgiving dinner. Brigid (Feldstein) and her boyfriend Rich (Yuen) are hosting her family for Thanksgiving at their new apartment in New York’s Chinatown. The dated fixer-upper with all of its creaks and cracks plays a pretty big part in Karan’s story. I’ve never seen the stage play, but here the apartment has a leering ominous presence that Karan’s camera conveys in a variety of crafty ways.

As Brigid’s family arrives and it doesn’t take long to notice that they aren’t the happiest bunch. We spend a lot of times listening to their individual problems and mining deep rooted issues between them. But this isn’t some dour study on family misery. Instead Karan gives us a family that is still bound together by their love for each other. But love and family can be a messy combination and the movie shows that with an affecting clarity. There are also slivers of dark humor that makes sure things don’t get too gloomy.

The top-to-bottom strong performances give us a good sense of who each of these characters are. Brigid is ambitious, but is stuck bartending to help pay down her student debt. The generally soft-spoken and supportive Rich has a history of mental illness. Brigid’s father Erik (Jenkins) comes across as preoccupied, often blankly staring down into the complex’s cramped interior courtyard. Her mother Deirdre (Houdyshell) feels unappreciated by her family and her job where she has worked for over 40 years. Her sister Amy (Schumer) has several health problems, is struggling with a recent breakup, and just found out she’s no longer in line for a partnership at her firm. Last is Brigid’s grandmother Momo (Squibb) who can barely get around and struggles with dementia.

Image Courtesy of A24

As their individual stories and the unearthed family drama plays out, Karan uses his camera to create the perspective of a guest. We’re constantly peering over shoulders, observing from other rooms, looking in through windows. His use of still shots through stationary cameras really hones in on his performers letting them do most of the heavy lifting. But Karan breaks up their scenes with shots that accentuate the apartment’s unwelcoming appearance. For a movie with such firm stage roots, Karan’s visuals really impress.

“The Humans” is a talky, performance-driven drama that asks a lot from its audience. It’s not easy to sit for so long listening to a group of people talk about their jobs, the economy, their frustrations, and their ailments. You have to read between the lines and pay attention. You have to assume to role of the quiet guest, listening and learning who these people are and discovering what makes their lives so complicated. By the end, you’ll find yourself sucked in even as the story takes its more unsettling turn. “The Humans” is out in limited release and on Showtime.

VERDICT – 4 STARS

The Southeastern Film Critics Association Announce Their 2021 Awards

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I have the pleasure of being a member of the Southeastern Film Critics Association. Yesterday the voting body presented our awards for the best of the 2021 movie year. It was an interesting year and the voting reflected it. Few of my picks actually won, but I love the group’s enthusiasm and careful consideration that lead to this announcement (Look for my personal Top 10 and a couple weeks). Here is our official press release.

HEADLINE: The Southeastern Film Critics Association Names Jane Campion’s ‘The Power of the Dog’ as the Best Picture of 2021. Campion’s haunting and soulful western also won for Best Actor, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, and Best Director

ATLANTA, DECEMBER 13, 2021 – The Southeastern Film Critics Association (SEFCA) has announced its accolades for 2021 and chosen Jane Campion’s The Power of the Dog as the Best Picture of the Year. This is the second time a Campion film has won Best Picture and Best Director as SEFCA also recognized her film The Piano back in 1993. Her latest work, based on the novel by Thomas Savage, is a captivating examination of loneliness, masculinity, and frailty set on a ranch in 1925 Montana.

“Jane Campion has been one of our finest directors for decades, and I’m thrilled that our members chose to recognize her exquisite work on The Power of the Dog,” said SEFCA President Matt Goldberg. “Campion has crafted a unique Western that gets to the core of the genre while still feeling fresh and vital. It’s an absolute triumph of mood, performances, and craft that will certainly go down as one of her finest movies in a career full of marvelous filmmaking.”

SEFCA voters also recognized The Power of the Dog in the categories of Best Actor for Benedict Cumberbatch, Best Supporting Actor for Kodi Smit-McPhee, and Best Supporting Actress for Kirsten Dunst while Kristen Stewart was awarded Best Actress for her turn as Princess Diana in Spencer.

Award winners below:

Top 10 Films

1. The Power of the Dog

2. Licorice Pizza

3. Belfast

4. The Green Knight

5. West Side Story

6. The French Dispatch

7. Tick, Tick…BOOM!

8. Drive My Car

9. Dune

10. Summer of Soul

Best Actor

Winner: Benedict Cumberbatch, The Power of the Dog

Runner-Up: Will Smith, King Richard

Best Actress

Winner: Kristen Stewart, Spencer

Runner-Up: Alana Haim, Licorice Pizza

Best Supporting Actor

Winner: Kodi Smit-McPhee, The Power of the Dog

Runner-Up: Jeffrey Wright, The French Dispatch

Best Supporting Actress

Winner: Kirsten Dunst, The Power of the Dog

Runner-Up: Aunjanue Ellis, King Richard

Best Ensemble

Winner: The French Dispatch

Runner-Up: Mass

Best Director

Winner: Jane Campion, The Power of the Dog

Runner-Up: Steven Spielberg, West Side Story

Best Original Screenplay

Winner: Paul Thomas Anderson, Licorice Pizza

Runner-Up: Wes Anderson, The French Dispatch

Best Adapted Screenplay

Winner: Jane Campion, The Power of the Dog

Runner-Up: Tony Kushner, West Side Story

Best Documentary

Winner: Summer of Soul

Runner-Up: Flee

Best Foreign-Language Film

Winner: Drive My Car

Runner-Up: The Worst Person in the World

Best Animated Film

Winner: The Mitchells vs. The Machines

Runner-Up: Flee

Best Cinematography

Winner: Greig Fraser, Dune

Runner-Up: Ari Wegner, The Power of the Dog

Best Score

Winner: Hans Zimmer, Dune

Runner-Up: Jonny Greenwood, The Power of the Dog

 

 

 

 

 

 

 

 

 

 

REVIEW: “Being the Ricardos” (2021)

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Once upon a time in television history over 40 million people would spend their Monday evenings tuned into CBS to watch “I Love Lucy”. The half-hour sitcom ran from October 15, 1951 to May 6, 1957 and for four of its six years (including its final year) it was the most watched show on television. The show’s stars, real-life husband and wife Desi Arnaz and Lucille Ball, quickly became household names for a variety of reasons.

Wordsmith Aaron Sorkin takes on a slice of the TV couple’s life in his new film “Being the Ricardos”. This isn’t your conventional biopic so those looking for such might leave this movie disappointed. But with its more zoomed-in focus, Sorkin’s knack for snappy dialogue, and some knockout performances, “Being the Ricardos” offers a zesty peep into the charismatic couple and the creative process which brought their beloved show to life.

Image Courtesy of Amazon Studios

Nicole Kidman and Javier Bardem are wonderful stepping into the skins of the titular celebrity duo. The movie gives a couple of flashback sequences noting their early years together, but the story mostly unfolds over one particularly stressful production week of “I Love Lucy”. Sorkin’s script nimbly weaves together both Lucille and Desi’s personal and professional relationships (which were often inseparable in real-life).

One of the real treats of the film is the behind-the-scenes look it gives into the making of an episode of “I Love Lucy”. There is a terrific table reading sequence where we get a good sense Lucille’s brutal honesty compared to Desi’s more subtle authority. It’s also where we’re introduced to the witty and hard-drinking William Frawley (played with awards-worthy panache by J.K. Simmons) and the snarky Vivian Vance (a really good Nina Arianda). Frawley and Vance played Fred and Ethel Mertz on the show, the Ricardos’ best friends.

Along the way Sorkin shows us Lucy and Desi butting heads with longtime producer Jess Oppenheimer (Tony Hale). We see their occasionally tempestuous run-ins with their writing team. And then there’s the sometimes combative shoots especially between Lucy and director Donald Glass (Christopher Denham). These scenes are often mixed with these strange documentary-styled interview segments where actors play older versions of the production team recalling their time working with Lucille and Desi. Much better are the incredibly detailed black-and-white recreations of some of the show’s most memorable moments.

While Sorkin’s timeline may differ from the actual account, he does pack in a number of defining points from Lucille and Desi’s relationship and their career together. There are references to Lucille’s time stuck as a contract player at RKO Pictures and to Desi’s family fleeing Cuba for Miami in 1933. He also digs into the accusations that Lucille was a communist, something that was reported by the media despite its lack of credibility.

Image Courtesy of Amazon Studios

The movie’s attempts at covering Lucille and Desi’s strained marriage is noble but not as well-rounded as the TV stuff. It’s never insincere and there are several heartfelt moments. But by limiting its overall scope, the movie doesn’t leave itself much space to do more than highlight their highs and lows. Regardless, both Kidman and Bardem are magnetic, pulling us deeper into their characters’ story than the script sometimes allows.

Again, “Being the Ricardos” may disappoint those hoping for an exhaustive biography of one of television’s most famous couples. This isn’t that kind movie nor does it ever try to be. But it does give us a good sense of who Lucille Ball and Desi Arnaz were at this point in their marriage and careers. It’s also richly entertaining with crackling dialogue and a cast who burrow into these characters and bring both them and the era to life. “Being the Ricardos” is getting a limited theater release before premiering December 21st on Amazon Prime.

VERDICT – 4 STARS

Random Thoughts: The 2022 Golden Globes Nominations

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This morning the Hollywood Foreign Press (and Snoop Dogg) unveiled this year’s batch of nominees for the 79th annual Golden Globes. After a (shall we say) rocky year, the HFPA returns and have left us with plenty to talk about. There are a few surprises and a few headscratchers. But such is the nature of these things. So as I’m prone to do, here are a few Random Thoughts from today’s announcement.

  • It was a great morning for “Belfast” which was great to see. Seven total nominations for what is one the year’s best films. Hopefully it can hold out against the inevitable wave of dismissal that is sure to come.
  • Speaking of a good morning, “The Power of the Dog” also grabbed seven nominations. This is the kind of movie that scratches the itches of a lot of awards voters. It’s going to have a good awards season run.
  • How about “CODA” slipping into Best Picture – Drama? Love seeing it.
  • “Dune” gets a well deserved Best Picture nomination. It’s an extraordinary science-fiction epic that could have easily failed. Great seeing it getting recognized.
  • Speaking of “Dune”, I love seeing Denis Villeneuve get a Best Director nod. Sadly he has no chance of winning, but he’s (rightfully) nominated.
  • By the way, what did Snoop call Denis Villeneuve????
  • “Licorice Pizza” gets a lot of love from the HFPA which is both icky and expected. But it’s Paul Thomas Anderson so don’t expect there to be too much outcry (or even conversation) over the film’s ‘problematic’ central relationship.
  • LOVE seeing “Cyrano” get nominated for Best Picture – Musical or Comedy. It was one of the biggest and best surprises of a year that was full of them.
  • And Peter Dinklage getting nominated for “Cyrano” made me smile. Much deserved and hopefully the Academy takes notice.
  • What a batch of talent in both Best Actress categories. But no Jennifer Hudson for “Respect”? In a group that included Jennifer Lawrence, Emma Stone, and Marion Cotillard, I’m a bit stunned that Hudson got nothing.
  • Kristen Stewart vs Lady Gaga? I’m hoping Colman slips in and beats them both.
  • So glad to hear Rachel Zegler’s name called. What an amazing debut in “West Side Story”.
  • Speaking of “West Side Story”, love seeing it get a Best Picture nomination and I’m sure an Oscar bid is in its future.
  • It seems like all of the push is behind Jane Campion in the director’s category, but I love seeing Branagh, Villeneuve, and Spielberg. And Maggie Gyllenhaal? She did a terrific job with “The Lost Daughter”. She absolutely belongs.
  • Supporting Actor is the one category that actively annoyed me. No Mike Faist? Seriously?
  • I would also liked to have seen J.K. Simmons nominated for “Being the Ricardos”.
  • I know Kodi Smit-McPhee seems to be trending as an early favorite, but there were several better turns this year. Put your money on Smit-McPhee though.
  • Best Actor – Drama, WOW! Who to pick? Easily one of the strongest categories. In my critics group I went with Denzel Washington for “The Tragedy of Lady MacBeth”. He never disappoints.
  • Hooray for Caitriona Balfe. She was such a key part of what made “Belfast” so good. I hope she wins (she should), but I’m not sure if she has a shot.
  • Nothing for “Mass”. It’s unfortunate but the movie is just now (finally) getting some kind of push.
  • Will Smith gave his best performance in years in “King Richard”. Great to see the HFPA recognize him and the movie. Both were wonderful surprises.
  • Nothing for Guillermo del Toro’s “Nightmare Alley”. Unfortunate. It’s a movie that has really stuck with me the more I’ve thought about it. Cate Blanchett was incredible and should have been in that Supporting Actress field.
  • “A Hero” gets a nod for Best Picture – Foreign Language. Not only is it my favorite film from that category, but it deserves a Best Picture nomination. But you know how these things go. I’m glad it at least got a mention.

Well, enough of my rambling. Here’s a full list of this year’s nominees for all of the film categories:

Best Motion Picture, Drama

  • “Belfast”
  • “CODA”
  • “Dune”
  • “King Richard”
  • “The Power of the Dog”

Best Picture, Musical or Comedy

  • “Cyrano”
  • “Don’t Look Up”
  • “Licorice Pizza”
  • “Tick, Tick… Boom!”
  • “West Side Story”

Best Director, Motion Picture

  • Kenneth Branagh, (“Belfast”)
  • Jane Campion, (“The Power of the Dog”)
  • Maggie Gyllenhaal (“The Lost Daughter”)
  • Steven Spielberg (“West Side Story”)
  • Denis Villeneuve (“Dune”)

Best Performance by an Actor in a Motion Picture, Drama

  • Mahershala Ali (“Swan Song”)
  • Javier Bardem (“Being the Ricardos”)
  • Benedict Cumberbatch (“The Power of the Dog”)
  • Will Smith (“King Richard”)
  • Denzel Washington (“The Tragedy of Macbeth”)

Best Performance by an Actress in a Motion Picture, Drama

  • Kristen Stewart (“Spencer”)
  • Olivia Colman (“The Lost Daughter”)
  • Lady Gaga (“House of Gucci”)
  • Nicole Kidman (“Being the Ricardos”)
  • Jessica Chastain (“The Eyes of Tammy Faye”)

Best Performance by an Actor in a Motion Picture, Musical or Comedy

  • Leonardo DiCaprio (“Don’t Look Up”)
  • Peter Dinklage (“Cyrano”)
  • Andrew Garfield (“Tick, Tick… Boom!)
  • Cooper Hoffman (“Licorice Pizza”)
  • Anthony Ramos (“In the Heights”)

Best Performance by an Actress in a Motion Picture, Musical or Comedy

  • Marion Cotillard (“Annette”)
  • Alana Haim (“Licorice Pizza”)
  • Jennifer Lawrence (“Don’t Look Up”)
  • Emma Stone (“Cruella”)
  • Rachel Zegler (“West Side Story”)

Best Supporting Actress, Motion Picture

  • Caitriona Balfe (“Belfast”)
  • Ariana DeBose (“West Side Story”)
  • Kirsten Dunst (“The Power of the Dog”)
  • Aunjanue Ellis (“King Richard”)
  • Ruth Negga (“Passing”)

Best Supporting Actor, Motion Picture

  • Ben Affleck (“The Tender Bar”)
  • Jamie Dornan (“Belfast”)
  • Ciarán Hinds (“Belfast”)
  • Troy Kotsur (“CODA”)
  • Kodi Smit-McPhee (“The Power of the Dog”)

Best Screenplay, Motion Picture

  • “Licorice Pizza”
  • “Belfast”
  • “The Power of the Dog”
  • “Don’t Look Up”
  • “Being the Ricardos”

Best Original Score, Motion Picture

  • Alexandre Desplat (“The French Dispatch”)
  • Germaine Franco (“Encanto”)
  • Jonny Greenwood (“The Power of the Dog”)
  • Alberto Iglesias (“Parallel Mothers”)
  • Hans Zimmer (“Dune”)

Best Picture, Foreign Language

  • “Compartment No. 6”
  • “Drive My Car”
  • “The Hand of God”
  • “A Hero”
  • “Parallel Mothers”

Best Original Song, Motion Picture

  • “Be Alive” (“King Richard”)
  • “Dos Oruguitas” (“Encanto”)
  • “Down To Joy” (“Belfast”)
  • “Here I Am (Singing My Way Home)” (“RESPECT”)
  • “No Time To Die” (“No Time To Die”)