Author Archives: Keith Garlington

REVIEW: “Free Guy” (2021)

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It’s not out of the ordinary so see comedians develop and then stick to their own routine. In many ways they are creatures of habit and if they’re able to tap into something that works it makes sense they would stay with it. I think it’s safe to say that Ryan Reynolds has found his shtick. The 44-year-old Canadian-born actor has dipped his toes into several other genres. But he seems to have found his home playing dim but endearing goofballs.

Reynolds takes his shtick and cranks it up to 10 in his impossible-to-categorize new film “Free Guy”. On the surface the Shawn Levy directed action-comedy looks like a kid-friendly romp and even plays like it at times. But a fairly steady stream of innuendo, profanity, half-baked virginity jokes, and an assortment of other crudities testify otherwise.

Image Courtesy of 20th Century Studios

Instead, the firmly PG-13 rated “Free Guy” is a gaming inspired frolic that borrows from countless other movies including “The Lego Movie”, “The Matrix”, “Ready Player One”, “The Truman Show”. There are even dashes of “Back to the Future II”, “Groundhog Day” and “Star Wars”. It also yanks from numerous video games such as “Grand Theft Auto”, “Fortnite”, “Portal”, “SimCity” and “Tomb Raider”. All of those nods (and trust me, there are many more) make watching the movie feel of a pop-culture scavenger hunt which should thrill the Easter Egg hunters out there. It also helps mask some of the film’s nagging issues.

Reynolds plays the movie’s protagonist Guy, an NPC within a vast open-world video game. Now for those not well-versed in the gaming lexicon, “NPC” stands for non-player character. They’re essentially background sims who fill out a game’s world and are often fodder for the trigger-happy players. As the name suggests, they aren’t controlled by players but are programmed to exist a certain way.

Guy lives in Free City, an uber-violent “Grand Theft Auto” styled video game where real-life players roam around wrecking havoc while the oblivious NPCs carry out their programmed routines. The overly jovial Guy is no different. His routine goes something like this: wake up happy and full of energy, put on the same powder blue shirt and khakis, stroll down to the coffee shop for his morning java (cream and two sugars) and then off to the bank where he works as a teller. At the end of the day or the end of life (whichever comes first), everything resets and Guy does it all over again.

Image Courtesy of 20th Century Studios

In the real world, “Free City” is an enormously popular online video game developed and maintained by Soonami Games. The studio CEO Antwan (a ridiculously over-the-top Taika Waititi) sees dollar signs in a sequel that would ostensibly end Guy and the virtual world he calls home. Meanwhile a programmer named Millie (an eye-opening Jodie Comer) spends her time inside the virtual world of “Free City” in search of evidence that would prove that Antwan stole the code she created with Keys (Joe Keery of “Stranger Things”) who now works for Antwan. Their game was going to be a pacifistic utopia where NPCs and players live in harmony – a far cry from what Antwan created.

The two worlds collide when the wide-eyed and ever-content Guy crosses paths with Molotov Girl, Millie’s in-game avatar. Suddenly the smitten NPC steps out of his programming, joining Millie in her effort to expose Antwan. Guy’s exploits grab the gaming community’s attention and his sudden real-world fanbase watches for what he’s going to do next. And everyone (including an irate Antwan) begin wondering who the player is behind this Blue Shirt Guy, completely unaware that he’s actually an NPC turned groundbreaking artificial intelligence.

Levy along with co-writers Matt Lieberman and Zak Penn infuse “Free Guy” with a playful chaos and they zip through their story at a breakneck pace with practically no down time. But if you aren’t able to stay on the film’s manic and quirky wavelength, there’s a good chance of it wearing you down. And no matter how much it stuffs into its nearly two hour frame, if you aren’t 100% onboard you may start checking your watch at the 90-minute mark like I did.

Image Courtesy of 20th Century Studios

Gamers will have a lot of fun finding all of the references aimed specifically at them. Terms like backwards compatibility, leveling up, teabagging, multiplayer lobbies, and so on. They even paid some well-known video game streamers to appear as themselves. Their scenes happen to be some of the falsest moments in the film, but they’re aimed at gamers nonetheless.

“Free Guy” is jam-packed with gags – some that land, many that don’t. Interestingly it’s the more subtle jokes that work best. For example I love how ‘Guy’ has such a perfectly generic name. And his best friend (a wonderfully warm Lil Rel Howery) is fittingly named ‘Buddy’. But there are just as many dated out-of-touch yawners that land with a thud. And I have to get back to Waititi as the film’s incredibly hammy villain. His act is alright for a few scenes, but it’s so outrageous that it’s impossible to take him seriously even when the story needs us to.

Despite its frustrations, “Free Guy” also has several strengths. Burrowed deep down in all of the silliness is a really good message about individuality and wanting more out of life. Even better, the movie features what should be a breakout performance from Jodie Comer. And there’s one particularly incredible cameo that I won’t dare spoil (you’ll know it when you see it). Unfortunately the good doesn’t fully outweigh the bad. It just evens things out a bit. And while it has an undeniably bright and cheery exterior, underneath is little more than a fairly standard and borderline exhausting blockbuster. “Free Guy” is now showing in theaters.

VERDICT – 2.5 STARS

Some Exciting News…

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I’ve been holding onto this for the last few days, but I’m excited to share that I’ll be joining the Arkansas Democrat-Gazette newspaper as a contributing film critic with my first review printing as early as next Friday. As a result, any review of mine that publishes in the paper won’t be visible on this site until the day of printing. So a handful of potentially early reviews may get pushed back a couple of days to meet my exclusivity agreement with the paper. And look for me to share links to each of my published reviews (hope you’ll check them out).

I’m really excited as this is a step I’ve often thought about but never really pursued. I’m grateful for the opportunity and thrilled to join such a talented group of critics. See you in the papers…..(and on here, but you know what I mean).

REVIEW: “Tailgate” (2021)

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A hotheaded dad loses his cool on the interstate and ends up tailgating the wrong fellow. That’s what kickstarts the fittingly titled “Tailgate”, a new horror thriller from the Netherlands that begins similar to the 2020 Russell Crowe thriller “Unhinged”. But road-rage is about all the two films have in common. “Tailgate” spirals into a perplexing stew with more logic-defying moments than actual thrills.

The story revolves around a family of four who are unfortunately led by their inane patriarch Hans (Jeroen Spitzenberger). We first meet them as the short-tempered grump is chewing out his wife Diana (Anniek Pheifer) and their two daughters for being late. They’re supposed to be going to his parents house for dinner but his oldest daughter won’t get off her pogo stick and Diana forgot her sunglasses – just normal family stuff. But not for the irritable Hans.

When they finally get on the road Hans drives like a maniac while still fussing at his family (what a guy). As he weaves through interstate traffic he gets stuck behind a white van poking along in the passing lane. Unable to get around, the incensed Hans lays on his horn and starts riding the van driver’s bumper. He finally gets by and speeds down the highway only to notice the van following him. Behind the wheel is a tall older man (Willem de Wolf) who wants an apology and will do anything to get it including terrorizing this family for the next 80 minutes.

While “Tailgate” builds itself around an unsettling premise, all-in-all it’s nothing we haven’t seen before. There is a little nuance to its psycho – an everyday man in his early sixties armed with toxic herbicide rather than a gun or a knife. There are also some clever visual touches and snappy pacing which keeps things moving forward. But the story doesn’t do enough to distinguish itself from countless other thrillers and the head-scratching choices it makes defies any hint of logic.

Which gets back to Hans who is not only one of the most unlikable people, but he’s quite possibly the dumbest single character I’ve seen in a movie. I wish I could say that’s just hyperbole, but I genuinely mean it. The things this guy does throughout the film goes beyond simply bad decision-making. It’s aggressively stupid and often throws common sense out the window. With that guy calling the shots it’s no wonder the family is in constant danger.

To make matters worse, the version I watched was dubbed with truly awful voiceovers rather than the original language which became somewhat of an endurance test. But even looking past the horrid voice work, “Tailgate” is a movie that latches onto some pretty familiar material but does nothing new with it. It’s made worse by chaining us to an asinine lead character who is as witless as he is insufferable. “Tailgate” is now available on VOD.

VERDICT – 1.5 STARS

First Glance: “Prisoners of the Ghostland”

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The sheer number of movies that Nicolas Cage churns out has made him a cultural sensation of sorts. But as a friend of this site recently pointed out to me, even though Cage puts out a load of forgettable straight-to-VOD fodder, he still surprises with the occasional unexpected gem (look no further than this summer’s “Pig”). His latest is the Sundance hit “Prisoners of the Ghostland”. And if you thought some of Cage’s past work has been bonkers, wait till you see the first trailer for this one.

“Ghostland” is a gonzo samurai neo-western from director Sion Sono. In it Cage plays a bank robber who is let out of prison to rescue the daughter of a wacky character called the Governor (Bill Moseley). The problem is the granddaughter is trapped in a mystical and violent wasteland known as Ghostland. Much bloodshed and hilarious Nic Cage hijinks ensue. The trailer looks absolutely gonzo which is probably the only way to handle material like this. Either way it’s crazy enough to grab my interest.

“Prisoners of the Ghostland” will release in theaters and on VOD September 17th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Midnight in the Switchgrass” (2021)

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There are a couple of early moments in “Midnight in the Switchgrass” that tease a gritty and multi-layered crime thriller. But that potential is all but squashed in the first twenty minutes or so. Instead of something fresh and engaging, we end up with a glaringly inert and poorly acted potboiler that treads way too much familiar ground. Strangely enough, it manages to be watchable despite never being anything more than aggressively average.

Directed by Randall Emmett working from a script by Alan Horsnail, “Midnight in the Switchgrass” begins the same way many of these stories do – with the body of a young woman found under a bridge. Turns out she’s one of several female victims reported missing and later found dead in the Pensacola area. It has all the markings and fits the profile of a serial killer. Florida State Police officer Byron Crawford (Emile Hirsch) knows it and immediately connects it to the other killings.

Yet for some inexplicable reason Crawford’s chief refuses to pursue it and wants Crawford to just drop the case. Seriously! There’s never a reason given and no logical answer why. And when Crawford ignores the orders and investigates anyway, his insubordination is never met with an ounce of department pushback. There are no warnings, no repercussions. Nothing! It ends up being one of several meaningless details that are only in the movie because they’re written on the page.

Image Courtesy of Lionsgate

Elsewhere Megan Fox and Bruce Willis play a couple of FBI agents running stings in the area to catch sex traffickers. Fox’s Agent Lombardo works as the undercover bait luring the pervs into their trap while her partner Agent Helter (Willis) listens in helplessly from the car. Helter has lost the stomach for their work and is ready to pack up for an easier assignment in Seattle. But when their operation crosses paths with Crawford’s investigation, Lombardo insists on sticking around and seeing it through.

Amid the sea of crime movie cliches and bland dialogue are a number of performances that are as unconvincing as the story itself. Hirsch gets third billing but he’s really the star of the movie, showing some nice restraint while sporting a truly awful and exaggerated Deep South accent. Willis continues his run of sleepwalking performances, completely detached and only there to add some name recognition. To Fox’s credit, she puts all she can into her role but finds herself chained (both literally and figuratively) to a script that puts her into some unwinnable positions. Cringy dialogue and some bad character beats (especially with her beau Machine Gun Kelly) are too much for her to overcome.

My favorite performance comes from Lukas Haas who plays the killer, a normal middle-America truck driver with a wife and young daughter. Haas is convincing both as a loving husband and father and as a creepy sociopath and killer. He provides a startling reminder that even the most normal exteriors can hide unspeakable evil. But Haas can only do so much, and soon even his storyline runs face-first into bad writing. It’s a recurring issue that handcuffs the movie from the very start. “Midnight in the Switchgrass” is now available on VOD”.

VERDICT – 1.5 STARS

First Glance: “A Journal for Jordan”

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“Dear Jordan, just take one look at your mother. That will tell you what I think beautiful is.” That’s a line from the upcoming movie “A Journal for Jordan”. Based on a true story, the film is an adaptation of Dana Canedy’s memoir “A Journal for Jordan: A Story of Love and Honor”. The story has an interesting hook, but the biggest draw may be the names attached to the film. It’s directed by Denzel Washington and stars Michael B. Jordan. And they’re joined by an intriguing new face Chanté Adams.

The new trailer gives us a brief glimpse of what Washington is going for. The story (written by Virgil Williams) follows 1st Sgt. Charles Monroe King (Jordan) who pens a journal for his newborn son telling him how to live and love the right way. The movie looks sweet, heartwarming, and poignant with Jordan and Adams showing off some sparkling chemistry. I’m in.

“A Journal for Jordan” opens December 10th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.