First Glance: “F9: Fast & Furious 9”

April 14, 2021 by Keith Garlington

So this should more accurately be called a second, third, or fourth glance, but considering how COVID-19 hit the reset button on so many projects (including this one), I think we’ll let it slide. Despite still not knowing the exact title (is it “F9”, “Fast & Furious 9”, “The Fast Saga”, all of the above), I’ve enjoyed what I’ve seen so far. Now Universal has dropped a new action-packed trailer in anticipation of its upcoming June release.

The family’s all back including some surprising old faces and a couple of new ones. The trailer gives us exactly what we expect from a “Fast & Furious” flick – fast cars, big set pieces, ridiculous over-the-top action, and Michelle Rodriguez yelling “DOM!!!”. John Cena (closely following the ‘How to Be the Next Dwayne Johnson’ playbook) enters the franchise as Vin Diesel’s pouty-faced brother and Charlize Theron returns as the bob-haired baddie with a score to settle. It also marks the return of director Justin Lin who last worked on the franchise in 2013. Big, loud, unabashedly silly – it’s a formula that has worked wonders for the series and with “F9” it looks like they are sticking with what works.

“F9: Fast & Furious 9” opens in theaters June 25th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Slalom” (2021)

April 14, 2021 by Keith Garlington

I think it’s safe to say that youth sports has never been as popular as it is right now. At the same time, it has become as addictive and consuming for grown-ups as crack cocaine. Where ‘win at all costs’ and ‘forsake all else’ mentalities are increasingly prevalent and drive many adults in charge and in the stands. We also live in a world where horror stories such as the USA Gymnastics sex abuse scandal are painful realities and monsters like Larry Nassar are able to prey on child athletes for 15 years.

We see these two issues converge in director Charlène Favier stinging feature debut “Slalom”. With a bracing and unflinching honesty, Favier details the vile, calculated sexual exploitation and abuse of a teen skiing prodigy by her much older adult trainer. The snow-covered French Alps make for a beautiful backdrop and setting, but don’t let it fool you. Favier never hides her movie’s intention so we know exactly where the story is heading. Incredibly, she’s able to turn predictability into a strength as she forces her audience to not only watch in discomfort, but to understand how our failures as adults have such devastating effects on our children.

Image Courtesy of Kino Lorber

A fiercely committed Noée Abita plays 15-year-old Lyz Lopez, a talented and ambitious downhill skier recently accepted into a prestigious skiing academy known for churning out champions. As the movie begins we see her already a part of an intense training regimen led by the school’s tenured ski coach Fred (played by Belgian star Jérémie Renier). He’s a product of a familiar mold – a coach who is hard, abrasive and insulting especially to his new trainees. “He crushes you, you listen and you get better.” Over time he has them starving for any scrap of approval he throws their way.

For Lyz, skiing is her passion and she wants to be the best. But when asked why, all she can muster is “I just want to.” It’s a telling moment that speaks a heartbreaking truth. Lyz is essentially alone. She has an absent father and a self-absorbed mother (Muriel Combeau) who is more interested in her new boyfriend and nice-paying job in Marseille. So she skis. Perhaps for validation. Maybe to prove herself. Either way, it leaves Lyz vulnerable to Fred who the movie slowly reveals to be monstrously skillful at manipulating his young prey. His slithery psychology is chilling to watch.

Soon Fred is crossing boundaries that make us squirm in our seats yet is so deceptively persuasive to Lyz, leading her to comply despite her discomfort. It has to be okay. After all he’s her coach. He’s an adult. He’s on her side. Of course he’s looking out for her. All are reasonable thoughts for any young girl to have. But the gross reality is that these vile predators exist and Favier uses her film to remind us of that harsh truth. Meanwhile Favier is subtly yet constantly emphasizing Lyz’s innocence. Her camera will often cut in close to show Lyz’s wide-eyed youthful gaze. Or we get scenes showing her catching snowflakes on her tongue or letting out a childlike giggle when she’s given a new pair of skis. It makes what we eventually see all the more repulsive.

Image Courtesy of Kino Lorber

Make no mistake, there are moments in “Slalom” that are extremely difficult to watch. At times you’ll want to turn your head and look away. Renier, a veteran of several Dardennes brothers films, has a knack for giving very natural and unvarnished performances which proves to be a real asset in fleshing out a character who by necessity is deeply rooted in reality. Renier’s grounded authenticity reveals the devious layers his character – his facade of respectability, his ability to veil his motives, the way he uses Lyz’s improvement on the slopes as a means of controlling her. It’s made more unnerving when put together with the earnestness and vulnerability Abita brings to Lyz.

“Slalom” is a gut-wrenching dose of realism that should leave any adult with a working moral compass uncomfortable, appalled, and enraged. There are a couple of short and needless angles that add more to the ‘mature’ rating than to the actual story. But those aside, the movie maintains a razor-sharp focus and a deep sense of conviction. It takes its subject seriously and forces its audience to do the same. It’s the kind of treatment this material needs and it speaks to an issue that can’t be allowed to continue. “Slalom” is now showing in select theaters and virtual cinemas.

VERDICT – 4 STARS

First Glance: “Army of the Dead”

April 13, 2021 by Keith Garlington

Zack Snyder has been making entertainment headlines everywhere lately following the long awaited release of his epic “Justice League” director’s cut. But he has had another movie in the pipe, “Army of the Dead”. We got our first tease several weeks ago and now we get our first full look at this upcoming Netflix action-horror flick. Snyder directs, co-writes, and shoots what is a Las Vegas-set zombie heist movie and potential franchise launcher.

Dave Bautista leads a band of down-on-their-luck mercenaries who are hired to swipe $200 million sitting in a vault beneath the zombie-infested Las Vegas strip. The have a 32-hour window to grab the loot and get out of the city. “This should be a simple in-and-out,” they’re told by their employer (played by the always good Hiroyuki Sanada). Yea right. Turns out these aren’t your garden variety undead. They’re smart, agile, organized, and they have a ZOMBIE TIGER! The trailer shows Snyder swinging for the fences with this crazy, hyper-violent, self-aware romp. And it all plays out to Kenny Rogers’ “The Gambler”. I’m sold.

“Army of the Dead” opens May 21st in select theaters and streaming on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “In the Earth” (2021)

April 13, 2021 by Keith Garlington

Filmed over the course of fifteen days during the COVID-19 pandemic, Ben Wheatley’s new film “In the Earth” is a micro-budget chiller with the anxieties of our current locked-down society sewn within its fabric. Coming off last year’s fun yet imperfect “Rebecca”, Wheatley returns to the dark and gnarly storytelling he cut his filmmaking teeth on. And at a time when so many are burned out from quarantining and itching to get out of the house, “In the Earth” may leave you second guessing that impulse.

Despite the obvious constraints of filming during a pandemic, “In the Earth” doesn’t deserve to be simply tagged as a ‘COVID movie’ the way some others do. None of the limitations show up on-screen which is quite an accomplishment. Even better, nothing about it feels like genre rehash. Wheatley takes several rather familiar horror ingredients (a creepy forest setting, ominous fog, etc.) and then twists them to fit into his unsettling and occasionally macabre mold.

Image Courtesy of NEON

The film opens with science specialist Martin Lowery (Joel Frey) arriving at the Gantalow Lodge which has been turned into a research site. He’s there to check on a friend and former colleague Dr. Olivia Wendle (Hayley Squires). She came to the nature reserve to study the brain-like mycorrhizal network of roots believed to control the entire forest, but he hasn’t heard from her in months. As most of us are familiar with, Martin is immediately ushered through a series of safety and decontamination protocols. Blood tests and urine samples frame this is a much more severe pandemic than ours. But other touches (masks, gloves, hand sanitizer) seem plucked right out of our current climate.

Everyone at the lodge comes across as exhausted and drained, worn down by the isolation and ready for some semblance of normalcy (sound familiar?). Martin is no different. In fact we learn this is his first time outside in four months. So they all go through their testing routines with a detached sense of obligation. They passionlessly discuss the pandemic, Martin’s work, and even a local folktale about about a creepy forest entity called Parnag Fegg. During these early scenes Martin is introduced to Alma (Ellora Torchia), a park ranger who will guide him on the two-day walk to Olivia’s remote camp.

Early the next morning Martin and Alma begin their long and soon-to-be terrifying trek. Wheatley sets his audience up as an observant tag-along, listening in on their small-talk and shadowing the two as they make their way through the woods. Sometimes DP Nick Gillespie’s camera lurks several yards away, taking in more of their surroundings and slyly creating a sense of dread for what’s to come. Wheatley’s crafty visuals bring a subtly sinister quality to the forest especially when they set up camp after the first day’s walk. Tall trees creaking in the wind like old bones, indiscernible howls in the night – it’s all really effective. And the suspense ramps up even more once Martin and Alma meet a mysterious park squatter named Zach (Reece Shearsmith).

Image Courtesy of NEON

It would be a major disservice to go much further and not because there is a lot of plot to spoil. It’s more about experiencing what the characters experience and the murky revelations we get once Wheatley’s loose-fitting puzzle pieces start coming together. It all plays out like a wicked blend of horror sub-genres, from the sadistic splashes of gruesome body horror to the wild psychedelic mind-screw of the final 15 minutes. That’s where Wheatley starts mixing mysticism, technology, and science into one bizarre and somewhat macabre stew. And through it all Clint Mansell’s twisted synthesized score keeps things slightly off-kilter and us constantly on edge.

“People get a bit funny in the woods sometimes.” That early line from a doctor back at the lodge turns out to be some pretty meaty foreshadowing. With “In the Earth” Ben Wheatley and his small but able cast and crew take that idea and run with it. The result is a movie full of unease; with moments that will make you squirm, and enough confidence to rely on its material rather than cheap scares. It doesn’t all come together in the clearest or cleanest way which manages to be both frustrating and strangely fascinating. Still the movie represents a fresh slice of horror which is something the well-traveled genre is always in need of. “In the Earth” premieres in theaters April 16th.

VERDICT – 4 STARS

First Glance: “Things Heard & Seen”

April 12, 2021 by Keith Garlington

Fresh off of her recent Oscar nominee Amanda Seyfried and Netflix team up again in the upcoming horror thriller “Things Heard & Seen”. The movie is based on Elizabeth Brundage’s 2017 best-selling novel “All Things Cease to Appear”. The adaptation comes from the writer-director duo of Robert Pulcini and Shari Springer Berman. The first trailer gives us a wickedly satisfying taste of what we can expect later this month.

Seyfried and James Norton play Catherine and George, a married couple relocating from Manhattan to a cozy yet soon to be hellish farmhouse nestled in New York’s Hudson Valley. But their sweet and bubbly romance soon shows cracks and what Netflix describes as “a sinister darkness” marks their new house and their relationship. Everyone seems to know what’s going on except for Catherine and the audience which adds to the suspense. Natalia Dyer, F. Murray Abraham, Rhea Seehorn, and Karen Allen make for interesting supporting players.

“Things Heard & Seen” premieres April 29th on Netflix. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Hope” (2021)

April 12, 2021 by Keith Garlington

There is no shortage of movies that deal with the sensitive subject of illness. It’s delicate ground to cover and an emotional minefield for filmmakers willing to navigate such heavy material with earnestness. Yet you can never judge these types of movies by one over-arching standard. That’s because there are deeply human and often intensely personal stories of all kinds related to sickness. That’s why when done well these movies can have a powerful and visceral impact on an audience. And when done poorly, words like ‘exploitative’ and ‘manipulative’ often come up.

The terrific “Hope” dodges those pitfalls thanks to the clear-eyed sincerity of writer-director Maria Sødahl. She pours herself into the movie, pulling from her own cancer scare to convey the gamut of emotions that surround such a life-changing diagnosis. At the same time it’s a deeply affecting relationship drama anchored by two unforgettable performances. “Hope” premiered at Toronto in 2019 and was Norway’s official selection for this year’s Academy Awards. Now it’s finally getting its official US release courtesy of Brooklyn-based KimStim Films and it’s easy to see why it has garnered so much praise.

Image Courtesy of KimStim

When talking about “Hope” you have to begin with the emotionally rich and complex performances from Andrea Bræin Hovig and Stellan Skarsgård. They play partners Anja and Tomas, two stage producers who have been together for years yet have steadily grown apart. They have a nice spacious flat in Oslo where they live with their three children and three other children from Tomas’ previous marriage. Anja and Tomas never married, always finding some reason, either personal or professional, to put it off. These days they maintain their relationship out of a sense of routine, both withdrawn into their own disconnected worlds.

On the day before Christmas Eve Anja goes to see her doctor to get something for her dizzying headaches. Her concerned physician immediately calls for an MRI which reveals a malignant brain tumor believed to be linked to her lung cancer from exactly one year earlier. It’s obviously devastating news and there’s no proper handbook on how to handle it. Sødahl understands this and she gives both Anja and Tomas space to deal with the news in their own ways without ever making judgements. This is where Hovig and Skarsgård really shine.

Image Courtesy of KimStim

As the story plays out through the Christmas and New Years holiday, the couple attempt to come to grips with her diagnosis while wrestling with the ‘hows’ and ‘whens’ of telling their family. “I don’t want my kids to hate the holidays,” Anja laments. At the same time, her condition forces the partners to come together in a way they haven’t been in years. At first it’s out of necessity, “I can’t do it on my own,” she explains. But later, as Anja and Tomas reckon with their relationship, waves of raw and repressed emotions come to the surface. Long buried anger, frustration, perhaps even love are unearthed as the two struggle to find themselves amid Anja’s life-threatening condition. And with her time remaining suddenly in question, they’re finally willing to open up and be candid with each other.

Hovig’s performance is something to behold – a rich and textured portrayal that equally captures her character’s strength and fragility. With a striking authenticity Hovig sells every facet of Anja’s physical, mental, and emotional struggle. And she’s just as powerful in her quieter and more intimate moments. Meanwhile the seasoned Skarsgård can speak volumes without saying a word. His sad, heavily burdened eyes show a man crushed by his wife’s diagnosis and silently processing it to the best of his ability. Other times he seems lost, unsure of what to do or say. So he listens, knowing Anja needs that outlet to release her emotions and unpack her frustrations.

Image Courtesy of KimStim

As the story pushes forward the reason for the movie’s title comes into focus. As Anja suffers through headaches, nausea, mood swings, and anxiety; as she suppresses and endures all of that pain just to give her family a “normal” Christmas; as she listens to conflicting suggestions from medical specialists; she’s left with the aching question – is there any hope? Is having hope in her situation rooted in reality or is it simply a coping mechanism? It’s a weighty question that Sødahl handles delicately but sincerely. And she can do so because she’s been in Anja’s shoes.

Yet the question of hope isn’t reserved just for Anja’s cancer, but also her relationship with Tomas. Is there hope for two people full of regret, who wasted years of their lives disconnected from each other and burrowing into their work, to rediscover the love that brought them together in the first place? Sødahl, Hovig, and Skarsgård explore this question with a real-life sensibility – no frills, no gloss, no melodrama, just truth. And because of that unclouded honesty and deep human expression, this becomes so much more than just another movie about cancer. “Hope” is set for a limited theater release April 16th.