Author Archives: Keith Garlington

REVIEW: “Thieves Highway” (2025)

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It’s been too long since the underrated and undervalued Aaron Eckhart has been in a major big screen movie. People may forget, but Eckhart has a pretty stellar résumé, having worked with such heavy-hitting directors as Oliver Stone, Steven Soderbergh, Ron Howard, John Woo, Brian De Palma, Christopher Nolan, and Clint Eastwood. But while he waits for Hollywood to remember his name, Eckhart continues to work, having starred in a run of straight-to-video action thrillers.

His latest thriller is “Thieves Highway”, a feature strengthened by its interesting setting yet frustratingly hampered by a formulaic plot. Written by Travis Mills, the story is set in rural Oklahoma where a sharp spike in livestock theft has cost ranchers and the industry millions of dollars. Eckhart plays the grizzled Frank Bennett, a “cow cop” with the Oklahoma Department of Agriculture who tracks and apprehends modern day cattle rustlers.

Frank’s job has gotten tougher of late. Not only are the cattle thefts on the rise, but the rustlers have become more ruthless, as evident by Frank’s friend and fellow lawman (Johnny Messner) being left permanently paralyzed after a recent encounter. Yet Frank pushes on, mainly because he has nothing else to fall back on after the death of his wife. But we see a spark when he bumps into an old acquaintance named Sylvia (Brooke Langton). Unfortunately their undercooked meet-cute doesn’t lead to anything we can’t see coming.

Equally predictable is the fate of Frank’s partner, Bill (Lochlyn Munro). After sharing his plans to retire and spend more time with his family, Bill insists on accompanying Frank in confronting a gang of rustlers outside of town. To no surprise, Bill is gunned down while Frank manages to escape. From there, a stranded yet determined Frank looks for a way to catch the criminals who killed his partner. Meanwhile the gang hunts for Frank, led by Jones (Devon Sawa), a deranged sociopath wielding a World War II Thompson submachine gun.

Most of the film sees director Jesse V. Johnson setting up a game of cat and mouse between the outgunned but resourceful Frank and Jones, along with his colorful band of thugs. Frank is left stranded with no vehicle and no cell service. But he finds an unexpected ally in an off-the-grid hermit named Axsel (Tracy “The D.O.C.” Curry). Elsewhere a plucky waitress named Peggy (Lucy Martin) finds herself playing a meaningful role in the chaos.

“Thieves Highway” moves along at a fairly crisp pace while streamlining its storytelling within a lean 87-minute runtime. At the same time, the movie could have fleshed out and filled out more if given an extra fifteen minutes or so. As it is, “Thieves Highway” travels down a fairly predictable path. Johnson and Mills do some fun maneuvering with their characters and Eckhart is a sturdy enough lead. But the storytelling takes too many shortcuts and the overall lack of suspense keeps us one step ahead.

VERDICT – 2.5 STARS

First Glance: “Supergirl” Teaser Trailer

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DC Studios has released the first trailer for “Supergirl”, the second feature film in James Gunn’s DC Universe. It follows on the heels of the frustrating yet mostly popular “Superman”, which ended with an awkward cameo of Milly Alcock’s Kara Zor-El, aka Supergirl. Though not written or directed by Gunn, the new trailer shows a movie that’s following his brand to a tee. The angsty attitude, a lazy needle drop, desperate toilet humor, more shameless deconstruction – typical Gunn traits that fans will love and detractors will hate.

It’s hard to know what to expect from “Supergirl”. The trailer portrays Kara as a liquored-up party girl who runs afoul of some unsavory characters while jaunting around in space. We see her share some moments with her CGI dog Krypto and she talks about her home world of Krypton, which Gunn casually ruined in his Superman movie. About the only exciting bit is a two-second glimpse of Jason Momoa as Lobo. The rest looks like a typical James Gunn movie, even if he isn’t seated in the director’s chair.

“Supergirl” releases exclusively in theaters on June 26th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Jay Kelly” (2025)

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File Noah Baumbach under ‘Filmmakers I’ll Watch No Matter What’. I have been drawn to his unique body of work since his early Wes Anderson collaborations. And I have enjoyed most of the films he has directed from high-spirited indies à la “Frances Ha”, to serious-minded dramas such as “Marriage Story”, to utterly bizarre concoctions like “White Noise”. I just love his eccentric style, off-beat perspective, and rich dialogue.

His latest is “Jay Kelly” and it’s very much a Noah Baumbach movie. Yet at the same time, it distinctly stands out in a number of interesting ways. Unlike Baumbach’s tightly focused settings, this one plays out on a noticeably grander scale. And rather than tell something more intimate, this time he broadens his story significantly. Even the filmmaking feels different, using a style that calls back to classic Old Hollywood productions.

In a nifty bit of casting, George Clooney plays the titular Jay Kelly, a celebrated actor whose existential crisis forces him to reevaluate what matters most in his life. The movie opens with Jay wrapping his latest film, “Eight Men From Now”. Jay’s hard-working and intensely loyal manager Ron (a terrific Adam Sandler) already has his famous client’s next feature lined up. But Jay throws Ron a curveball when he announces he’s pulling out of his next movie and taking a trip to Europe.

Image Courtesy of Netflix

Jay’s out-of-the-blue decision puts his handlers in a panic as they scramble to make sense of his actions. Ron is forced to set aside his own family plans and join Jay and his entourage on a plane bound for Paris. There he plans on surprising his youngest daughter Daisy (Grace Edwards), who’s traveling abroad with friends. Afterwards he plans on hopping a train for Tuscany where he’s to accept a career achievement award that he had previously declined.

Ron’s main job is to coddle his star client while convincing him not to quit his next movie. But the blasé Jay is more interested in mingling with adoring fans and tracking down Daisy, who would rather be with her traveling companions. It all frustrates Jay’s handlers, especially his volatile publicist Liz (Laura Dern). But amid the chaos, we begin to see the real reason for Jay’s inward sabbatical. He begins reflecting on his life, from his career successes to his failings as a father.

In his melancholy, Jay begins weighing his past choices which forces him to reckon with their consequences, mostly involving his two daughters. While he at least has some connection with the younger Daisy, his relationship with his oldest daughter Jessica (Riley Keough) has soured. The fallout from prioritizing himself and his career has left a divide that she’s not ready to bridge. Keough only gets a couple of scenes, but she provides the story’s most heart-wrenching moments.

Image Courtesy of Netflix

Baumbach also gives time to Jay’s relationship with Ron which plays a key role in the star’s journey. Clooney and Sandler have terrific chemistry and consistently find humanity and humor in the scenes they share. Clooney slides right into Jay’s skin, at times so convincingly that you could interpret it as him playing a version of himself. Meanwhile Sandler gives one of the best supporting performances of the year and one of the best performances of his career. In many ways he’s the beating heart of the story, embodying the many things Jay has lost sight of in the name of success.

Early on, Jay makes the revealing statement, “All my memories are movies.” Could it mean that he has invested so much of his life to movies that it’s hard to find a memory that’s not in front of a camera? Or does he mean he has no memories of his own; that his memories are movies – scripted, directed, and produced for others to relish? Both can be true, and both add to Jay’s overwhelming feeling of regret.

Baumbach’s soulful script (which he co-wrote with Emily Mortimer) has us accompany Jay Kelly on a painful personal journey of self-reflection. But to Baumbach and Mortimer’s credit, they don’t turn it into a clean-cut redemption story. While they do find empathy for Jay, there’s no tidy reprieve from the personal consequences or the collateral damage he has left behind. Together with its rich, nuanced performances, lush cinematography, and Baumbach’s vibrant direction, “Jay Kelly” resonates as both a contemplative character study and a meaningful cautionary tale.

VERDICT – 4.5 STARS

REVIEW: “Wake Up Dead Man: A Knives Out Mystery” (2025)

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Despite making striking and subversive indies, trippy star-driven science-fiction, and a massive franchise blockbuster, writer-director Rian Johnson has found his comfort zone in the cinematic world of whodunits. His 2019 film “Knives Out” was a surprise hit, as was his 2022 sequel, “Glass Onion”. Now he’s back with a third mystery, “Wake Up Dead Man”, and it just might be the best of the bunch.

Written and directed by Johnson, “Wake Up Dead Man” follows the same basic blueprint as its predecessors. There’s a murder, an unsolvable mystery, an all-star lineup of suspects, and the return of the charismatic super sleuth, Benoit Blanc (Daniel Craig). His latest case takes him to the sleepy little town of Chimney Rock in upstate New York where a controversial priest has been murdered in the middle of his church’s Good Friday service. It thrusts us and our famed detective into a religious setting that Johnson explores with earnest curiosity.

Image Courtesy of Netflix

Josh O’Connor continues his remarkable year playing Rev. Jud Duplenticy, a young priest who is reassigned to a new parish after punching out one of his deacons. He’s sent to Our Lady of Perpetual Fortitude in Chimney Rock to assist the polarizing Monsignor Jefferson Wicks (Josh Brolin). Rev. Jud has went from a boxer from the streets to a faithful and driven young priest. But the vain and domineering Monsignor Wicks sees Rev. Jud as a threat to his authority, setting up some early tension with lasting effects.

Making the noble Rev. Jud’s new position even more challenging is the church’s congregation – a small group of regulars who are notably bitter, self-absorbed, and fiercely loyal to Wicks. There’s the town doctor (Jeremy Renner) whose wife recently left him; a smart yet resentful attorney (Kerry Washington); a failed politician turned wannabe YouTuber (Daryl McCormack); a former cellist (Cailee Spaeny) now struggling with a crippling illness; and a once popular sci-fi writer (Andrew Scott) whose book sales have tanked.

Other significant players include Martha Delacroix (Glenn Close), Wicks’ right-hand church lady who handles the bookkeeping, plays the organ, launders the vestments, and so on. And then there is Samson Holt (Thomas Haddon Church), the church’s longtime groundskeeper who has a thing for Martha. All languish in their own personal states of misery which is only made worse by the fear-wielding Wicks.

As he’s done before, Johnson does a fine job defining his characters. While some could use a tad more depth, Johnson sets them up nicely for the story’s key event – the murder of Monsignor Wicks. It happens during the church’s Good Friday service with all of the above players in attendance. With so many suspects and no plausible explanation, the case proves to be more than the town’s police chief, Geraldine Scott (Mila Kunis) can handle.

Image Courtesy of Netflix

Enter private detective Benoit Blanc, with his exaggerated Southern drawl, blaring panache, and a haughty cynicism towards religion that he quickly makes known. He waltzes in with a blasé air of case-solving self-assurance. But he’s brought down to earth with a murder that instantly leaves him stumped. Blanc’s rationalism and Rev. Jud’s spirituality leads to an amusing partnership. Johnson’s script turns the skeptic and the disciple into a Holmes and Watson of sorts, at least until the mystery takes a ‘miraculous’ turn.

As it all unfolds, Johnson keeps us routinely off balance with a steady wave of new clues, shaky alibis, and surprising revelations. There’s a mischievousness in Johnson’s storytelling which leads to some of the film’s funniest moments. But he also offers an even-handed assessment of fanaticism versus faith from a perspective that neither proselytizes nor condemns. And all through another cadre of colorful characters who feel right at home in Johnson’s latest and possible best Knives Out to date.

VERDICT – 4 STARS

REVIEW: “The Mastermind” (2025)

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Kelly Reichardt’s latest film “The Mastermind” just might be her very best. It’s a movie that highlights the filmmaker’s most noteworthy strength, namely the hushed realism that defines her perspective. It’s also a movie that includes her most frustrating habit which is her tendency of being observational to a fault. Yet without question, her strength outweigh the frustration in this mostly absorbing character study posing as a crime drama.

“The Mastermind” is the second 2025 film to feature a brilliantly understated Josh O’Connor lead performance (the other being “Rebuilding” – don’t miss that one). Here he plays James Blaine “J.B.” Mooney, an unemployed husband and father of two living in the sleepy Massachusetts suburb of Framingham. The story is set in 1970 with the growing discontent over the Vietnam War often playing out in the background. It’s a small detail that relays the pulse of the nation. But Reichardt also uses it as a larger scaled reflection of J.B.’s plight.

Image Courtesy of Mubi

We first meet J.B. at the Framingham Museum of Art with his wife Terri (a wonderfully subdued Alana Haim) and their two sons, Tommy (Jasper Thompson) and Carl (Sterling Thompson). It looks like a fun family outing. But in reality J.B. is using their trip to case out the museum for a heist. In vintage Thomas Crown form, J.B. masterminds a full-proof plan and recruits other thieves to execute it. But when one gets cold feet, J.B. is forced to join Guy Hickey (Eli Glen) and Ronnie Gibson (Javion Allen) on the job.

To no surprise, the heist doesn’t go off as seamless as planned, but the trio does escape with four valuable Arthur Dove paintings. The three go their separate ways, with J.B. hiding the paintings until he can find a buyer. And this is where the bulk of the movie unfolds. Reichardt pulls inspiration from classic heist movies and the real-life 1972 Worcester Art Museum robbery in presenting the heist itself. But the job only takes up a small chunk of the movie.

Instead Reichardt is more interested in the aftermath which sees J.B. in way over his head. Warning signs were everywhere before they set foot into the museum. He has to con his mom into giving him money to fund the job. His driver bails on him the day before the heist. He even forgets his boys are out of school that day, forcing him to find a sitter. Yet he carries on – a sign of his bad judgment and self-delusion. But things only get worse after the heist. And the more things go awry, the more Reichardt’s genre reinvention surprises.

Reichardt offers more insight through J.B.’s bumpy family dynamic. We see he’s a disappointment to his pompous and locally prominent father, Bill (Bill Camp) but is secretly coddled, often financially, by his adoring mother, Sarah (Hope Davis). Meanwhile his wife Terri buries her frustrations the best she can. She knows her husband’s shortcomings yet silently serves as the backbone of the family, working a day job while managing the household. Haim isn’t given much to do but she conveys a lot in the moments she has. She impresses enough that I would watch a spin-off movie focused on her character alone.

Image Courtesy of Mubi

Equally important is the evocative period design which masterfully recreates the rich textures of 1970 via the sharp eyes of production head Anthony Gasparro and costume genius Amy Roth. It’s all captured through the warmly lit lensing of Christopher Blauvelt. Together they paint a visually alluring canvas that vividly represents the period down to the smallest details – a station wagon’s roll-up rear window, the pull tab on a can of Pepsi, the plastic eggs that held L’eggs Pantyhose.

While most everything in “The Mastermind” clicks, there are a couple of instances where Reichardt’s tendency of overextending a scene comes into play. Studied fans may find purpose in these moments where others might see indulgence. But it’s a small gripe compared to the overall strength of Reichardt’s smart and savvy anti-heist film. From the presentation to the performances to Rob Mazurek’s jazz-fueled score, “The Mastermind” is a film that finds depth and meaning in the most ordinary corners of life. And I found myself hooked from the very start.

VERDICT – 4 STARS

REVIEW: “Song Sung Blue” (2025)

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I remember the first time I heard the catchy hook of a Neil Diamond song. It was through the 8-track tape player in my parents’s 1974 Chevrolet Malibu Classic. I was just a kid, but even I was drawn to Diamond’s distinctive baritone. While Craig Brewer’s new film “Song Sung Blue” isn’t specifically about Neil Diamond, his music and its impact can be felt from the opening frames to the closing credits.

With a title taken from Diamond’s #1 pop hit from 1972, “Song Sung Blue” is based on the Greg Kohs documentary of the same name. It tells the true story of Mike and Claire Sardina, a singing duo who performed under the names Lightning & Thunder. They called their act a “Neil Diamond Experience”. And while Mike had the look and the voice, Lightning & Thunder didn’t set out to imitate Neil Diamond. Instead, they celebrated his songs by bringing their own unique energy and emotion to their performances.

Mike (played with effervescent charm by Hugh Jackman) is a recovering alcoholic who we first meet as he’s celebrating twenty years of sobriety with his fellow AA members. Mike was a tunnel rat in Vietnam, and after returning to the States he started drinking to battle the trauma that followed him home. But he got help and found refuge in entertaining. He began singing at birthday parties, restaurants, and county fairs. And it was at a fair in Milwaukee where he met Claire Stingl (an awards-worthy Kate Hudson).

Image Courtesy of Focus Features

Claire is a single mother raising two kids, her angsty teen daughter Rachel (Ella Anderson) and her spirited younger son Dayna (Hudson Hensley). She’s a part-time hairdresser who also sings Patsy Cline tributes on the side. And that’s what initially draws Mike. The two immediately hit it off romantically and creatively, and the movie gives equal time to both. Brewer pays just as much attention to Mike and Kate as he does to Lightning & Thunder. It turns out to be a great balance of humanity and showmanship.

The movie’s first half focuses on Mike and Claire bringing together their two families while sorting out what would become their Neil Diamond act. As the two fall in love and eventually marry, Dayna latches onto Mike while Rachel finds an unexpected friend and Mike’s daughter, Angelina (King Princess). At the same time, Lightning & Thunder starts to take form. The couple get their band together, and with the help of Mike’s dentist / manager Dr. Watson (Fisher Stevens) and wannabe booker Tom D’Amato (Jim Belushi), they begin performing at small venues across Milwaukee.

But in the film’s second half, Brewer takes a sharp turn after tragedy strikes. The tone gets darker and the story is more serious after a freak accident leaves Claire indefinitely sidelined, leading to bouts with severe depression. Mike tries to keep their act going while she recovers, performing three nights a week at a local Thai restaurant while hiding his own health issues. But without Claire by his side, entertaining no longer has its allure. And keeping his family together quickly takes precedent over chasing the dream they were so close to catching.

Image Courtesy of Focus Features

For those like me who are unfamiliar with this remarkable true story, the sudden shift hits like a ton of bricks. Brewer keeps things anchored and doesn’t take any emotional shortcuts. Jackman is perfectly cast, effortlessly gushing charm and creative energy while turning it down when the movie needs him to. Equally great (if not better) is Hudson who is thoroughly convincing whether she’s glowing on stage or retreating into Claire’s despondency.

As for the music, Brewer hits us with one soaring song after another, all delivered through impassioned, full-bodied performances from Jackman and Hudson. Of course we get Neil Diamond’s eternal “Sweet Caroline”, along with other sing-along hits like “Cracklin’ Rose” and “Forever in Blue Jeans”. And there’s the energizing “Brother Love’s Traveling Salvation Show”. But Brewer also highlights the diversity of Diamond’s catalogue by including such tunes as “Play Me”, “Soolaimon”, and “Holly Holy”.

“Song Sung Blue” tells a stranger-than-fiction true story that’s sure to resonate with audiences of all kinds. Craig Brewer has crafted a rousing crowd-pleaser built on the timeless music of Neil Diamond and the spectacular chemistry between Hugh Jackman and Kate Hudson. Together they’ve made a film about the indomitable human spirit, expressed not only in making music, but through love, faithfulness, and resilience in the face of adversity. You’ll leave with your heart full and a song on your lips.

VERDICT – 4 STARS