REVIEW: “King Ivory” (2025)

November 14, 2025 by Keith Garlington

It’s nice to see actor James Badge Dale back on screen. After getting his start in 1990’s “Lord of the Flies, Dale would go on to work with Martin Scorsese in “The Departed”, play a key part in Steve McQueen’s “Shame”, star alongside Brad Pitt in “World War Z”, and lead Michael Bay’s Benghazi retelling “13 Hours”. He has always shown a wealth of talent, mostly in supporting roles. But then five or so years ago, he seemed to vanish.

Dale returned earlier this month with a sinister supporting role in the terrific “Violent Ends”. Now he gets an even meatier lead part in his latest film, “King Ivory”, a drug war crime thriller written and directed by John Swab. While Dale gets top billing, the movie relies on a larger ensemble to cover its rather bloated plot. And it’s those plot issues, along with some creative choices and a handful of spotty supporting performances, that hold the movie back.

“King Ivory” follows as many as five different storylines while introducing a host of different characters along the way. Of course the various paths eventually intersect to some degree or another and not always in the most worthwhile way. It ends up being a lot for Swab to manage. Hardened cops clash with violent cartel members over drug smuggling and human trafficking. Indigenous mobsters use Irish gangsters to keep the cartels in check. Fentanyl addicts ensure the money keeps flowing in. There’s a lot going on in Swab’s dark and violent world.

The majority of the movie is set in Swab’s hometown of Tulsa, Oklahoma. Dale plays Layne West, a police officer leading the local Special Investigations Division. The SID is a tectical unit who specializes in narcotics, gang violence, and organized crime. Layne and his team have their hands full due to the inflow of fentanyl into the city. It has led to an overwhelming rash of overdoses, addictions, and (of course) crime.

Meanwhile around Sinaloa, Mexico, a drug runner and human trafficker named Ramón Garza (Michael Mando) dangles the American Dream like a carrot in front of desperate locals. Those who pay his steep price will get smuggled across the border into the United States. Among his latest cargo is a bright teen named Lago (David Barcena). But during their journey, a terrible mishap leads to the deaths of 43 migrants with only Lago surviving. Ramón takes the boy to Tulsa and soon has him making deliveries to neighborhood addicts.

Elsewhere we learn that there’s a drug war in Tulsa with the biggest player being the Indian Brotherhood. It’s ruthless boss, Holt Lightfeather (the late Graham Greene) runs the operation from inside the Oklahoma State Penitentiary where he’s serving a life sentence. He recruits George “Smiley” Greene (Ben Foster), a freshly released sociopathic killer to help wrangle in the cartels. Smiley carries out his orders with the help of his quietly terrifying mother Ginger (Melissa Leo) and his Irish ruffian uncle Mickey (Ritchie Coster).

And if that wasn’t enough story, we also get another thread involving Layne’s obstinate son Jack (Jasper Jones) who gets introduced to fentanyl by his junkie girlfriend Colby (Kaylee Curry). These should be the most sobering and eye-opening parts of the movie. But the kids and their relationships are fairly shallow and underdeveloped. And unfortunately their scenes are plagued by shaky acting which can be hard to look past. Thankfully their storyline does get better as it progresses.

Technically, “King Ivory” is a mixed bag. In an effort to add grit and intensity, Swab too often relies on aggressive closeups and unsteady handheld cameras. So much so that by the second half I was noticing every single use. On the flipside, the action-driven police raids are electric with DP Will Stone putting us in tight quarters with the officers as they clear out drug dens in the city. There is a real ‘you are there’ quality to these sequences.

Swab’s own personal experiences add even more to the film’s authenticity. He offers us a gloss-free look at the underside of Tulsa. Even more, Swab puts a ton of effort into presenting the uncompromising truth about our country’s current fentanyl epidemic. He tells a bleak, no-nonsense story that sometimes slouches towards cliché. But it remains serious-minded, and Swab’s willingness to mine from what he knows has a powerful impact that can be felt despite the movie’s shortcomings.

VERDICT – 2.5 STARS

REVIEW: “Nouvelle Vague” (2025)

November 13, 2025 by Keith Garlington

One of my favorite directors honors one of my favorite cinematic movements in “Nouvelle Vague”, Richard Linklater’s stunningly realized ode to the French New Wave. This time capsule masterpiece is not only a lesson in movie history. It’s also a celebration of the creative independence forged by the brilliant filmmakers at the heart of the movement – filmmakers who would reshape cinema from France to Hollywood.

The French New Wave holds a special place in my heart. Years ago, it ignited the cinephile within me by opening my eyes to international filmmaking. I had seen foreign language films and was even a big fan of some. But it was my dive into the Nouvelle Vague era that opened my eyes to the styles and influences that paved the way for so many movies and moviemakers who would follow. Even more, I adored the bold experimental style and the iconoclastic verve that were staples of the movement.

To no surprise, Linklater shows he has a firm grasp on what made the French New Wave special with “Nouvelle Vague”. Not only does he tell a story rooted in the movement, but he shoots his film like it’s a New Wave work. He uses the same black-and-white photography with a 1:37 aspect ratio. He uses similar editing tricks such as the hallmark jump cuts. He captures the spirit of spontaneity that was ever-present in the filmmaking of the era. And he sticks almost exclusively with the French language – a huge plus.

As for its story, “Nouvelle Vague” follows the filming of one of the Wave’s signature films, “Breathless” from one of its signature directors, Jean-Luc Godard (played with such comfortable ease by Guillaume Marbeck). Linklater begins in 1958 at the Paris premiere of “La Passé du Diable”. There Godard playfully critiques the current state of cinema with his friends and fellow cinephiles François Truffaut (Adrien Rouyard), Claude Chabrol (Antoine Besson), and Suzanne Schiffman (Jodie Ruth-Forest).

Frustrated that he’s the only film critic from Cahiers du Cinéma magazine who hasn’t directed a movie, Godard finally gets his shot thanks to his friend and producer Georges de Beauregard (Bruno Dreyfürst). He’s given “Breathless”, a story conceived by Truffaut who is just coming off the success of his debut feature “The 400 Blows”. With backing by de Beauregard, encouragement from Rossellini (Laurent Mothe), and advice from Melville (Tom Novembre), Godard begins his filmmaking odyssey.

Godard seeks out actor Jean-Paul Belmondo (Aubry Dullin) who ignores the misgivings of his agent and agrees to star in the film. But his most audacious catch is American starlet Jean Seberg (a delightful Zoey Deutch) who is persuaded to co-star despite her own reservations. With his two stars in place, Godard zips through pre-production and begins shooting his film, shattering conventions and making up his own rules along the way, much to the chagrin of his bewildered and often frustrated cast and crew.

Linklater spends a big chunk of his movie chronicling the twenty-day shoot of “Breathless”, honoring the headstrong director and his guerilla filmmaking along the way. We get to see the creative chaos at the heart of Godard’s process which was maddening to his producer and often perplexing to those working on set. His script was “fluid” and he often cobbled together scenes on the fly. Some days they would shoot scenes that came to Godard the night before. Other days were spent hanging out in café as Godard played pinball awaiting inspiration.

The lack of structure gets especially frustrating for Jean who nearly quits on several occasions. But like everyone else working on the film, Godard wins her over with his breezy demeanor and revolutionary spirit. Those same characteristics are found throughout Linklater’s film. There’s an inherent playfulness in his approach and an easygoing tenor that hearkens back to some of his best hangout movies. Yet there’s also a clear reverence, not just for the New Wave era, but for the filmmaking process itself.

“Nouvelle Vague” is unquestionably a movie made by a cinephile for cinephiles. It’s hard to guess the response of someone not familiar with the French New Wave movement. But there’s plenty here for anyone who generally loves film history and the creative process. Linklater keeps things light and flowing while still capturing the essence of the New Wave’s style and purpose. Marbeck’s uncanny likeness to Godard, Deutch’s effervescent charm, the stunning VFX shots that help recreate late 1950s Paris – it all contributes to this evocative love letter to cinema.

VERDICT – 4.5 STARS

First Glance: “Marty Supreme”

November 12, 2025 by Keith Garlington

A24 has released a new trailer for “Marty Supreme”, the new sports(ish) comedy-drama that’s generating a lot of awards season buzz for its star, Timothée Chalamet. The film is directed by Josh Safdie who works from a script he co-wrote with Ronald Bronstein. Their story is loosely based on the life of American table tennis star Marty Reisman. Joining Chalamet is a fantastic supporting cast that included Gwyneth Paltrow, Odessa A’zion, Kevin O’Leary, Tyler Okonma, Fran Drescher, Abel Ferrara, Penn Jillette, and Sandra Bernhard. A24’s latest trailer gives us a broader look into what could be a surprise end of the year hit.

Set in the 1950s, Chalamet plays Marty Mauser, a young and wildly ambitious New Yorker who dreams of becoming a champion ping pong player. No one believes in him or his pursuit which only inspires him to prove everyone wrong. He starts small, hustling in bars on the Lower East Side. But while his obsession with being great catapults him to the top, it also leaves a trail of casualties which contributes to the film’s deeper drama. The movie has looked better with each new reveal, and this latest trailer is the best yet.

“Marty Supreme” releases in theaters on Christmas Day. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

New on Home Video: “One Flew Over the Cuckoo’s Nest on 4K Ultra HD + Digital

November 12, 2025 by Keith Garlington

Warner Bros. Discovery Home Entertainment is bringing “One Flew Over the Cuckoo’s Nest” to 4K Ultra HD Blu-ray for the very first time. Directed by Miloš Forman, the comedy-drama is considered by many to be one of greatest movies ever made. It’s also one of only three films to win all five major Oscars at the 48th Academy Awards. An all-star ensemble remains one of the biggest reasons this fascinating 1975 classic has stood the test of time.

This 4K Ultra HD Blu-ray edition of “One Flew Over the Cuckoo’s Nest” includes a digital copy and will be available to purchase on November 11th. See below for a full synopsis of the film as well as a list of special features.

About the Film:

Year: 1975

Runtime: 133 Minutes

Director: Miloš Forman

Screenwriters: Lawrence Hauben, Bo Goldman

Cast: Jack Nicholson, Louise Fletcher, William Redfield, Christopher Lloyd, Will Sampson, Brad Dourif, Sydney Lassick, Danny DeVito, Dean Brooks, Michael Berryman, William Duell, Vincent Schiavelli, Scatman Crothers, Peter Brocco, Alonzo Brown, Phil Roth, Nathan George

Rating: R for violence and language

A feisty misfit sent to a mental hospital inspires his fellow patients to assert themselves, much to the chagrin of the strong-willed head nurse, who turns out to be more dangerous than any of the inmates. Based on the novel by Ken Kesey and the play by Dale Wasserman.

Special Features:

“One Flew Over the Cuckoo’s Nest” Digital release and 4K Ultra HD Blu-ray Disc contains the following new and previously released special features:

Conversations on Cuckoo: Group Therapy (NEW)

Producer Michael Douglas leads a star-studded conversation with Danny DeVito, Christopher Lloyd and Brad Dourif on the unorthodox casting process that launched the careers of the famous ensemble fifty years ago.

Conversations on Cuckoo: Moviemaking Memories (NEW)

Memories of working with Jack Nicholson and director Miloš Forman and filming the Academy Award-winning film are shared by Producer Michael Douglas and cast members Danny DeVito, Christopher Lloyd, and Brad Dourif.

Completely Cuckoo

A fascinating behind-the-scenes look at the making of “One Flew Over the Cuckoo’s Nest”, tracing the path from Ken Kesey’s 1962 novel to the 1963 Broadway play starring Kirk Douglas to the 1975 film that would sweep that year’s Academy Awards.

Deleted Scenes
- Pecking Party (2:17)
- Where are your Clothes? (1:50)
- Meet Nurse Ratched (1:39)
- First Group Therapy (2:36)
- Shaving Chief (0:49)

REVIEW: “Frankenstein” (2025)

November 11, 2025 by Keith Garlington

Mary Shelley’s 1818 novel “Frankenstein” has always felt like the perfect material for Guillermo del Toro. Now the Oscar-winning filmmaker is bringing to life his extraordinary vision of Shelley’s celebrated classic. Del Toro puts together an exceptional cast along with a team of amazing artists and designers to create a profoundly fresh retelling of “Frankenstein” while also capturing what has made it such a beloved and timeless story.

For decades del Toro has longed to make his own Frankenstein movie. He was finally given the means by Netflix following the massive success of his Academy Award winning “Pinocchio”. Del Toro’s approach to “Frankenstein” is much the same as it was for “Pinocchio”. By that I mean he not only looks at the well known core of the story, but also the depths of the source material that has yet to make it on screen. And of course we also get del Toro’s unique sense of the dark and fantastical which is what ultimately gives the movie its distinct identity.

Del Toro opens his film with a stunning prelude that highlights the kind of eye-popping practical effects work woven throughout the entire production. In 1857, a Danish ship finds itself trapped in thick Artic ice while on an expedition to the North Pole. As night falls, an explosion in the distance grabs their attention. The Captain (Lars Mikkelsen) leads a detail of men to investigate the site where they find a severely injured man. A loud unidentifiable roar sends the frightened men retreating to the ship. Once back, the captain takes the injured man to his quarters. The stranger introduces himself as Victor Frankenstein (Oscar Isaac).

As the creature (a sublime Jacob Elordi) wreaks havoc amid the terrified crew, Victor begins telling his story to the Captain. Through exquisitely crafted flashbacks he shares about his troubled childhood under the rule of a cold and overbearing father (Charles Dance). And he expresses his immense sadness at the loss of his mother, who died while giving birth to his younger brother William. That loss triggered an obsession in young Victor who pledged to one day conquer death.

Years later in 1855, we see the brilliant yet vain Victor defending his attempts at reanimating the dead during a disciplinary hearing at Edinburgh’s Royal College of Medicine. After he brings part of a corpse to life, the repulsed professors expel him from their ranks. But he impresses Henrich Harlander (Christoph Waltz), a wealthy arms broker who offers him unlimited funding, starting with securing an abandoned coastal tower to serve as Victor’s laboratory. Through del Toro’s beautifully twisted lens we see Victor bring his grotesque creation to life and soon after face the consequences of playing God.

From there the perspective shifts to the creature. While Victor’s tale is one of genius converging with madness, the creature’s story is more of a heart-wrenching tragedy. Elordi brilliantly captures his character’s traumatic evolution, where childlike innocence transforms into pain-filled maturity. Just as del Toro vividly reveals Victor’s profound arrogance and recklessness, he equally conveys the creature’s emptiness and despair. The ugliness he encounters leaves him dejected and hopeless, eventually fueling a vengeful fury within him which only adds to the tragedy.

To no surprise, “Frankenstein” is a feast for the senses. Whether it’s the intensely detailed sets, the gorgeous vistas, or the meticulously designed costumes, there’s never a moment where there’s not something for our eyes to admire, especially as captured by DP Dan Laustsen. The sound design is equally captivating, as is composer Alexandre Desplat’s score which oscillates between ominously Gothic to emotionally tender. As for the violence, it’s fittingly gruesome and in-tune with the gloriously dark vibe del Toro is going for.

The performances are nearly as captivating. As mentioned, Elordi impresses in a role originally planned for Andrew Garfield. But the 28-year-old Australian makes the character his own. Isaac is just as good, furiously teetering between brilliance and insanity. Waltz is his usual sturdy self while Mia Goth is compelling as Harlander’s niece, Elizabeth. The grizzled Mikkelsen is a nice fit for as the sea-weary Captain Anderson. And Felix Kammerer is solid as William although his character sometimes gets lost within the story’s many moving parts.

“Frankenstein” is a symphony of creative energy emanating from a filmmaker with a deep and obvious passion for the classic tale he’s retelling. Del Toro’s passion project honors the very best from Shelley’s beloved work. But as with most inspired filmmakers, he adds his own distinct spin which manifests itself in the soulful storytelling and the visionary craftsmanship. His imagination soars throughout his richly textured world. His heart finds empathy and humanity in the story’s darkest places. And his longstanding affection for myth and the macabre is on full display, pleasing GDT fans everywhere.

VERDICT – 4.5 STARS

REVIEW: “Nuremberg” (2025)

November 10, 2025 by Keith Garlington

Writer-director James Vanderbilt’s riveting “Nuremberg” chronicles key events surrounding one of the biggest trials in world history. The Nuremberg Trials were a joint Allied effort to prosecute captured Nazi leaders following the death of Adolf Hitler and the fall of the Third Reich. The purpose of the trial was not only to convict the Nazi High Command, but to also present irrefutable evidence of Nazi atrocities to the world while discouraging the defeated Germans from following the same path they did after World War I.

The highest ranking Nazi put on trial at Nuremberg was the Führer’s second in command, Hermann Göring. Highly intelligent, fiercely loyal, and grossly narcissistic, Göring expanded his role as the Supreme Commander of the German Air Force to become one of Hitler’s most trusted officers. His arrogance and cunning were on display at Nuremberg, with both working for him and then later against him.

Inspired by the 2013 nonfiction book “The Nazi and the Psychiatrist” by Jack El-Hai, Vanderbilt’s “Nuremberg” focuses more on the buildup to the first trial than the a trial itself. It’s an effective approach that gives us clearer insight into how the prosecution’s case was built. It also allows us into the head of Hermann Göring, as seen through the commanding performance of Russell Crowe, who deserves nothing less than an Oscar nomination for his astonishing portrayal.

**Image Courtesy of Sony Pictures Classic**

Set mostly in 1945 and 1946, “Nuremberg” begins in Austria with Hermann Göring surrendering to American troops. He’s taken to the Grand Hotel Mondorf in Luxembourg which has been turned into a secret prison to house Nazi war criminals. Meanwhile the Allies are struggling to find the best way to hold their prisoners accountable for their crimes. After much deliberation and internal wrangling, they decide on an international tribunal to take place at the reconstructed Palace of Justice in Nuremberg, Germany.

The steadfast yet slightly insecure Associate Justice Robert H. Jackson (Michael Shannon) is sent to Nuremberg to represent the United States on the prosecution team. He’s joined by the savvy and straightforward British prosecutor David Maxwell Fyfe (Richard E. Grant). As they are working through logistics problems, lack of precedent, and untested case law, U.S. Army psychiatrist Douglas Kelley (Rami Malek) is summoned for a specifically challenging task. He is to evaluate Göring and his fellow Nazi prisoners until they face justice in front of the entire world.

Much of the movie is centered on the numerous meetings between Kelley and Göring. Kelley’s plan is to earn Göring’s trust and to exploit his overconfidence. By doing so, not only would he be gaining insight for his superiors, but he could also collect data for a honey of a book deal once the trials are done. But what he doesn’t expect is for the calculating Göring to be playing his own game, turning on the charm and using Kelley’s empathy to his advantage. It’s a mesmerizing psychological chess match energized by two stellar performances. Crowe is especially good, luring us in just as he does Kelley.

**Image Courtesy of Sony Pictures Classics**

A strong and sturdy supporting cast reinforces the already powerful script. In addition to Shannon and Grant, Leo Woodall gets the film’s most memorable monologue playing Sgt. Howie Triest (Leo Woodall), a young American translator with a sobering connection to Germany. John Slattery is appropriately leathery as Colonel Burton C. Andrus, the commandant of the Nuremberg Prison. And Lotte Verbeek pulls some unexpected humanity from Göring’s wife Emmy.

The trial itself plays out in a stunning recreation of the palace courtroom. By putting the time and effort into building up to the moment, the trial sequence packs a surprising emotional punch. The anticipation in the opening shots, the discomfort that fills the room once Göring and his fellow Nazis are ushered in, the tension in every question and answer – it all keeps you glued to the screen. But the most sobering moments come with the inclusion of the film footage from inside the concentration camps. It’s the same footage shown during the real trial and it will leave you speechless.

“Nuremberg” ends with a powerful quote from R.G. Collingwood, “The only clue to what man can do is what man has done.” Those words echo well after the film’s final credits have ran. Yet even before that, Vanderbilt keeps that central thought in the forefront of our minds throughout his enthralling drama. Not only does “Nuremberg” offer a powerful historical account, but it has an incisive current-day relevance that makes it even more potent. Perhaps it could have gone deeper. But it’s perspective is crystal clear, and its conveyed with sincerity and urgency.