Author Archives: Keith Garlington

REVIEW: “I’m Your Woman” (2020)

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2020 was quite a year for Amazon Studios. Take a quick gander at their catalog and you’ll find star-driven features, sharp-minded indies, ambitious anthologies, and some insightful documentaries. They have showcased a diverse selection of films and filmmakers while opening doors for some exciting new voices. And while all of those things are true, for some people it’s as simple as this – they’ve made some really entertaining movies. Now you can add “I’m Your Woman” to that list.

The movie is directed by Julia Hart who also co-wrote the script with her husband and co-producer Jordon Horowitz. The two are the minds behind 2018’s “Fast Color”, a wonderfully moving superhero drama that never quite got the audience it deserved. “I’m Your Woman” is a much different movie. It’s a neo-noir crime thriller that happens to have a lot to say about motherhood and carving out your own identity.

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Image Courtesy of Amazon Studios

Rachel Brosnahan of “The Marvelous Mrs. Maisel” fame stars as Jean, a young wife living a comfortable life in the late 1970’s thanks to her husband Eddie (Bill Heck). He’s a small-time hood who keeps his activities to himself and Jean is content to ask no questions. In fact Eddie keeps his business so secretive that Jean is stunned when he suddenly brings home an infant baby. The couple has wanted children, but Jean hasn’t been able to get pregnant and they can’t adopt due to Eddie’s record. Yet a few minutes into the movie Jean finds herself a new mom.

But things take a dramatic turn when Jean is awoken in the middle of the night and informed that Eddie’s latest job went south and some really bad people are not only looking for him but for her. Eddie has went into hiding but one of his associates named Cal (Arinzé Kene) is tasked with getting Jean and her baby to safety. From there the story makes several stops and introduces several new people. None of them really want to tell Jean (or us) anything so she spends a lot of time in the dark wondering who to trust. Eventually she learns Eddie wasn’t so small-time and it’s ultimately up to her to save herself and most importantly her child. And she’ll have to parse friend from foe in the process.

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Image Courtesy of Amazon Studios

The film moves along at an interesting but unusual pace. There are scenes of high tension and suspense especially in the moments when Eddie’s rivals close in on Jean. But then you’ll get quieter scenes showing Jean struggling with the responsibilities of motherhood but learning from different people she encounters. One of the most intriguing of the supporting characters is Carl’s wife Teri (Marsha Stephanie Blake), a tough-minded woman who is well versed in the life of a criminal’s wife. Like everyone else she has her secrets, but she also inspires Jean to toughen up and be ready for what’s to come.

Of course what’s coming is a violent final act where all of the consequences of Eddie’s actions come back to bite Jean. As someone who hasn’t seen “Mrs. Maisel” the performance from Brosnahan is an eye-opener. In addition we get strong supporting work, a good 70’s throwback vibe, and a surprisingly gritty finish. It can be a bit maddening waiting for the supporting characters to finally reveal to Jean what we already know, but it all adds up to a fun and satisfying female-led noir. “I’m Your Woman” is now streaming on Prime Video.

VERDICT – 3.5 STARS

3-5-stars

REVIEW: “Watchmen” (2009)

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“Watchmen”, the critically acclaimed comic book limited series from the creative duo of writer Alan Moore and artist Dave Gibbons, was always something I admired more than I loved. But there’s no denying the mark it left on the industry. Told through twelve issues that were published from September 1986 through October 1987, “Watchmen” was a complex sociopolitical story that director Terry Gilliam once called “unfilmable”. Yet 20th Century Fox, Universal, Paramount, and finally DC Comics sister-company Warner Brothers all took their shot at a big screen adaptation.

“Watchmen” eventually went to Zack Snyder whose bold style made him both perfect for the material and a question mark. There was no doubt he could create a visually immersive world fitting of Moore’s vision. But could he wrangle together Moore’s fascinating yet complicated narrative? For the most part yes, but much like the highly esteemed comic series, that too is complicated.

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Image Courtesy of Warner Brothers

The film is a dystopian neo-noir that skips along an alternate reality timeline. The bulk of the film takes place in 1985 at the height of the Cold War. Nuclear paranoia hangs over the globe as the United States and the Soviets wave their sizable nuclear arsenals at one another while a doomsday clock ticks down to the projected Armageddon. Meanwhile costumed heroes, who for years impacted world events from the Vietnam War to Watergate, have been forced into retirement by the government. So the hero-less world sits and waits for what seems like its inevitable doomsday.

That’s a really broad summary of the backstory and setting which actually plays a significant role in the film. Numerous references to the past and meaningful flashbacks take us as far back as 1939 to introduce us to a superhero team called the Minutemen. A montage tells us of their glory days and their tragic demise. At one point we stop in 1959 to witness a lab accident that transforms nuclear physicist Jon Osterman (Billy Crudup) into the glowing blue matter-bending Doctor Manhattan. We learn of the formation of the next wave of crimefighters called the Watchmen who are forced to disband in 1977 after “costume adventuring” is ruled illegal. This is just some of the table-setting and world-building that packs weight on this densely plotted story.

Back to 1985, reverberations from the past are constantly being felt and some old wounds are opened up when a former Watchmen named The Comedian (Jeffrey Dean Morgan) is beat to a pulp and thrown to his death from his top floor apartment. His murder barely leaves a mark with his former teammates save for Rorschach (Jackie Earle Haley), a part masked vigilante and part sociopath who operates like a hard-boiled 1940’s private detective. Rorschach’s investigation leads him to believe that someone from their past is targeting the Watchmen. So he sets out to warn his ex-partners, Silk Spectre (Malin Åkerman) whose mother was an original member of the Minutemen, Nite Owl (Patrick Wilson) who still struggles to find his place in a post-Watchmen society, Ozymandias (Matthew Goode), a billionaire entrepreneur and the world’s smartest man, and the unintentionally cold apathetic Doctor Manhattan who is preoccupied with something a tad more….global.

The film’s central story quickly turns into a murder mystery with a handful of interesting twists and a few conspiracies to unearth along the way. But there’s much more going on which Snyder along with screenwriters David Hayter and Alex Tse manage to fit it with varying degrees of success. The movie shines brightest as a gritty and cerebral deconstruction of the now lucrative superhero genre. It also questions our real-life concept of “heroes” and challenges several societal constructs. And while there is no overtly political message, it does examine political power and how quickly it can be swayed in one direction or another. All of these things were fundamental to Moore’s series and Snyder makes sure they’re present in his film as well.

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Image Courtesy of Warner Brothers

But while Snyder has brought this “unfilmable” story to the screen in the best way imaginable, he still can’t entirely keep it from feeling a bit cramped even at 160 minutes. Part of it is due to his faithfulness to the source material. While a couple of changes were made to the story and some action scenes extended, Snyder generally sticks to the look, themes, and tone of the comic. But this means pouring a lot in and covering a ton of ground some of which is inevitably shortchanged. And that same allegiance to the material means he covers some things the movie could have done without. For instance a certain romance springs up between two key characters that is a big part of the story. They aren’t the most convincing pairing mainly because the movie wastes time on sex scenes that could have been better used elsewhere in their relationship. But these scenes were in the comic so…..

Still I can’t overstate the challenge of bringing “Watchmen” to the screen which makes what Snyder has done here all the more impressive. His filmmaking strengths are vividly on display as “Watchmen” looks incredible and the world he visualizes is compelling and immersive. The characters are given a surprising amount of attention and the performances are strong (maybe a quibble of two with Matthew Goode but that’s it). Still, this is a jam-packed movie that gives you lots of plot often with little time to process what you’re given. There is a 215-minute “Ultimate Cut” out there that may solve some of these problems, but I’ll let you find that out for yourselves.

VERDICT – 3.5 STARS

3-5-stars

First Glance: “In the Heights”

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Following the enormous success of “Hamilton” what better time for Warner Brothers to release “In the Heights”. This musical drama is an adaptation of a Tony-winning stage play by Quiara Alegría Hudes and “Hamilton” mastermind Lin-Manuel Miranda. Jon M. Chu of “Crazy Rich Asians” fame directs the film from a screenplay written by Hudes with music and lyrics by Miranda. I’ve never seen the Broadway musical, but both it and this film have already generated a ton of buzz.

The movie features Anthony Ramos playing a bodega owner reflecting on life in the energetic tight-knit New York City neighborhood of Washington Heights. The first trailer is filled with enthusiasm, big dance numbers, and plenty of songs. The story is about overcoming and making dreams come true, but like “Hamilton” I can see the music being what people talk about most and hold onto the longest. For picky musical viewers like me this is a ‘wait and see’. But for many others this will be one of the summer’s most anticipated films.

“In the Heights” premieres June 18th in theaters and on HBO Max. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Dawn of the Dead” (2004)

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Well before they became major players in the superhero genre, Zack Snyder and James Gunn teamed up to remake George A. Romero’s zombie cult classic “Dawn of the Dead”. Their stylish 2004 action-horror flick set out to pay homage to the 1978 original while also appealing to a new generation of moviegoers. For the most part Snyder and Gunn succeed. Their spin on “Dawn of the Dead” lacks the sly humor and satirical bite that was a pivotal part of Romero’s movie. But it’s far from humorless and the big action, creepy setting, and snappy pacing keeps things engaging.

Director Snyder and screenwriter Gunn basically take the general idea of the ’78 movie and build their own world around it. They fill it in with their own unique cast of characters, all caught in a sudden viral outbreak that reanimates the dead, turning them into rabid flesh-eating ghouls. It drives a host of survivors from different walks of life to a Milwaukee shopping mall where they hole up inside and wait to be rescued. As with most of the better zombie movies, the story revolves around the people – their virtues and their vices; the clashing personalities and the interpersonal conflicts.

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Image Courtesy of Universal Pictures

But make no mistake, this is more of an ‘ode to the genre’ than some deeper social study and the film has a ton of fun playing around in some familiar zombie territory. Over the years Snyder has shown himself to be a visionary director and a visual storyteller. “Dawn of the Dead” was Snyder’s directorial debut and though not nearly as stylized as his sophomore effort “300”, you can clearly see the markings of the visual style that would become an integral part of his storytelling. In “Dawn” he delivers several memorable shots and some exciting high-energy action sequences. And while it’s certainly a horror film, I wouldn’t call his movie scary. Yet it can get under your skin on occasions and Snyder isn’t afraid to splash on a few coats of blood.

Gunn’s script introduces an interesting array of characters who fill out his story. Without question several are closer to archetypes who turn out to be little more than zombie fodder. But most bring their own something to the story, namely Sarah Polley as a nurse named Ana, Ving Rhames as a cop named Kenneth, Jake Weber’s Michael, an electronics salesman, and Michael Kelly’s abrasive mall security guard C.J. There’s also a particularly creepy storyline with a petty criminal named Andre (Mekhi Phifer) and his pregnant wife Luda (Inna Korobkina). Characters who don’t fair as well, Ty Burrell’s Steve who is your prototypical, by-the-books scumbag and Kim Poirier’s Monica, exploited for her sex appeal rather than given anything meaningful to do.

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Image Courtesy of Universal Pictures

It only takes a few minutes for the story’s survival elements to kick in and it quickly becomes a movie of who’s going to make it and who isn’t (which I admit, I’m a sucker for). But the ferocity Snyder brings visually and conceptually comes with a level of immersion I didn’t remember from when I first saw “Dawn” in 2004. It’s hard not to be caught up in the tension of the circumstances and the setting. Speaking of the setting, much of the film was shot in a completely renovated 45,000 square foot vacant shopping mall in Ontario, Canada. Production designer Andrew Neskoromny and his crew individually designed numerous stores and boutiques, developed underground parking areas, and even built a fountain at one of the entrances. It’s completely convincing down to the smallest details becoming the perfect horror movie playground.

While not as innovative or provocative as Romero’s highly revered original, this “Dawn of the Dead” remake is fueled by an admiration for the genre and a gritty visceral style that would become a Zack Snyder signature in the years that followed. It’s hardly subtle with its ambitions but in a kinetic and entertaining way that’s a real strength. Snyder and Gunn, notorious these days for their own individual and distinctly unique reasons, clearly have a ball making a zombie movie that honors its predecessors yet still plays by its own rules. It didn’t forever change the zombie horror landscape, but it did introduce us to an intriguing new filmmaker with some big projects on the horizon.

VERDICT – 3.5 STARS

3-5-stars

First Glance: “Every Breath You Take”

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First announced in 2012 with Rob Reiner attached to direct, “Every Breath You Take” has taken a few detours over the last 9-ish years. Now it’s set for an early April release with Vaughn Stein directing from a screenplay by David Murray. The psychological thriller sports an interesting cast including Casey Affleck, Michelle Monaghan, Sam Claflin, and India Eisley. The first trailer dropped recently and while some elements look pretty familiar, there could be more going on than we may think.

Affleck plays a psychiatrist who loses a young female patient to suicide. Soon he and his family are caught in a terrifying game of cat-and-mouse with the girl’s brother (Claflin). It’s a safe bet that things aren’t quite as they appear and I’m sure we can expect several twists and turns along the way. I like the tense and foreboding tone and if Stein can avoid many of the usual genre pot holes and trappings this could be an entertaining little thriller.

“Every Breath You Take” is set to release April 2nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

Random Thoughts: On the 2021 Oscar Nominations

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I think it’s safe to say 2020 was a year none of us will forget. Like everything else, the craziness of the year was reflected in the movie industry. So many movies were postponed, pushed to streaming, or halted altogether. But 2020 still gave us some great flicks and Oscar time is here to celebrate them. Quite a bit later than normal but hey, it has been a crazy time. This morning the Academy announced this year’s batch of nominations. One thing that hasn’t changed, they have given us things to applaud, things to gripe about, and some things that leave us scratching our heads. Here are a few random thoughts.

  • “Mank” led the way this morning with 10 nominations yet it kinda feels like it could be one of those “The Color Purple” scenarios. I loved “Mank” and hope it wins some statues. But the stars don’t feel aligned.
  • On the other hand “Ma Rainey’s Black Bottom” didn’t fair quite as well. It did grab major awards for Viola Davis and Chadwick Boseman. But nothing for Best Picture. I’m not upset. “Ma Rainey” is a good movie but not a great one.
  • Speaking of Boseman, he’s a shoo-in to win Best Actor. He’s good in “Ma Rainey” and gets a couple of huge attention-getting scenes. And of course there is the sad factor of his passing. I so wish Anthony Hopkins would win. He gives not only the best performance of 2020, but one of the best of the decade.
  • The Best Picture category is pretty solid. I could do without “Judas and the Black Messiah” and “The Trial of the Chicago 7”, but happy for everything else.
  • Let me go ahead and get this out of the way. “Borat Subsequent Moviefilm”? Really? It getting a screenplay nomination is baffling. It’s a considerably lesser movie than its predecessor. So is the Academy awarding Sasha Baron Cohen’s outspoken political takes instead?
  • And Maria Bakalova. Very good in “Borat”, but an Oscar nominee? Is this simply a sentimental favorite or another sign that 2020 was one surreal and wacky year?
  • As for that Supporting Actress category, lots of gnashing of teeth over Glenn Close’s nomination for “Hillbilly Elegy”. Look I agree, the movie wasn’t great but Close was. And she’s also nominated for a Razzie? Sure, okay.
  • I was happy for Youn Yuh-jung and Amanda Seyfried. Both deserve to be there.
  • No Supporting Actor nod for Bill Murray. Not enough people seem to appreciate Sofia Coppola’s delightful “On the Rocks”. What a shame.
  • Yet both Daniel Kaluuya and Lakeith Stanfield get Supporting Actor nominations for “Judas and the Black Messiah”, a decent but uneven movie. And shouldn’t Stanfield be in the Lead Actor category?
  • Only Visual Effects and Production Design for “Tenet”? I mean I wasn’t expecting Best Picture (even though it belongs there) but not even Best Original Song for “The Plan”?
  • No “Dick Johnson is Dead” in the documentary category? Really? It had won numerous awards coming in but gets the cold shoulder from the Academy.
  • It was a pretty quiet morning for “Da 5 Bloods”. It makes sense. Pretty good movie but far from Spike Lee’s best work.
  • No Mads Mikkelsen for Best Actor. I knew it was a longshot but I was hoping the Academy would do the right thing. But no one else has so I’m not surprised.
  • But speaking of “Another Round”, it does get nominated for Best International Film. And with “Minari” competing as an American movie maybe this Danish gem will get a much deserved win.
  • And Thomas Vinterberg for Best Director? I love it! But couldn’t they have slipped “Another Round” into the Best Picture race. After all there were only eight nominees.
  • I am assuming Vinterberg took Aaron Sorkin’s spot? If so, Bravo! “The Trial of the Chicago 7” was a good movie but hardly great. Or did he take Regina King’s spot? I really liked King’s work but I still prefer Vinterberg.
  • Steven Yeun becomes the first Asian American to be nominated for Best Actor. That’s a sad, hard to believe fact. But if anyone deserves it Yeun does. What a great performance in a truly great film (“Minari”).
  • Speaking of “Minari”, I love that film so much and hats off to the Academy for handing it six nominations including Best Picture. Well deserved.
  • Isn’t it great that “Minari” was nominated for Best Original Score? I was starting to worry it would go largely unnoticed this awards season. It’s soooo good. Well done Academy voters.
  • Wonderful to see “The Father” with six nominations. It truly was one of the very best films of 2020. Not only was Hopkins nominated but also the wonderful Olivia Coleman for Supporting Actress. I would love to hear her name announced on Awards night.
  • Another big year for Netflix. This morning they broke their own record getting a total of 35 nominations.
  • Nothing for Dick Poop?
  • Happy to see “The Midnight Sky” nominated for Best Visual Effects. One of the more underrated movies of 2020.
  • “Nomadland” is still considered the Best Picture and for good reason. Nominations also for Chloe Zhao for directing and Adapted Screenplay and Frances McDormand for Best Actress.
  • As for Best Actress, that’s a pretty stacked category. I actually think McDormand should win but I would smile big for either Mulligan or Kirby.
  • Also happy for “Sound of Metal” and its six nominations including Best Picture, Original Screenplay, Best Actor (Riz Ahmed), and Best Supporting Actor (Paul Raci). What a journey it has been for this moving indie.
  • What a ride it has been for Emerald Fennell. Her feature film debut “Promising Young Woman” grabs five nominations including Best Picture. She herself is nominated for Best Director and Best Original Screenplay. Gotta be happy for her.
  • Quite a showing for “News of the World”. I’d be surprised if it wins anything but it’s a very good movie and worth a few mentions.
  • And what a morning for Leslie Odom, Jr. He becomes the third person to be nominated for both acting and songwriting (“One Night in Miami…”). Well done sir.
  • About Best Original Song, laugh at me but I’m rooting for “Husavik (My Hometown)”.

Those are a few random thoughts. What did you think of the Academy’s picks? Let me know in the comments section below. And in case you missed it, here is the full list of this year’s nominees.

Best Picture

“The Father”

“Judas and the Black Messiah”

“Mank”

“Minari”

“Nomadland”

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago 7”

Best Director

Thomas Vinterberg (“Another Round”)

David Fincher (“Mank”) 

Lee Isaac Chung (“Minari”) 

Emerald Fennell (“Promising Young Woman”) 

Chloé Zhao (“Nomadland”) 

Best Actor in a Leading Role

Riz Ahmed (“Sound of Metal”) 

Chadwick Boseman (“Ma Rainey’s Black Bottom”) 

Anthony Hopkins (“The Father”) 

Gary Oldman (“Mank”) 

Steven Yeun (“Minari”) 

Best Actress in a Leading Role

Viola Davis (“Ma Rainey’s Black Bottom”) 

Andra Day (“The United States v. Billie Holiday”) 

Vanessa Kirby (“Pieces of a Woman”) 

Frances McDormand (“Nomadland”) 

Carey Mulligan (“Promising Young Woman”) 

Best Actor in a Supporting Role

Sacha Baron Cohen (“The Trial of the Chicago 7”) 

Daniel Kaluuya (“Judas and the Black Messiah”) 

Leslie Odom Jr. (“One Night in Miami…”) 

Paul Raci (“Sound of Metal”) 

Lakeith Stanfield (“Judas and the Black Messiah”)

Best Actress in a Supporting Role

Maria Bakalova (“Borat Subsequent Moviefilm”) 

Glenn Close (“Hillbilly Elegy”) 

Olivia Colman (“The Father”) 

Amanda Seyfried (“Mank”) 

Yuh-jung Youn (“Minari”) 

Best Animated Feature Film

“Onward” 

“Over the Moon” 

“A Shaun the Sheep Movie: Farmageddon”

“Soul” 

“Wolfwalkers” 

Best Adapted Screenplay

“Borat Subsequent Moviefilm” 

“The Father”

“Nomadland”

“One Night in Miami…”

“The White Tiger”

Best Original Screenplay

“Judas and the Black Messiah”

“Minari”

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago”

Best Original Song

“Fight for You” (“Judas and the Black Messiah”)

“Hear My Voice” (“The Trial of the Chicago 7”)

“Húsavík” (“Eurovision Song Contest”)

“Io Si (Seen)” (“The Life Ahead”)

“Speak Now” (“One Night in Miami…”)

Best Original Score

“Da 5 Bloods” 

“Mank”

“Minari”

“News of the World”

“Soul” 

Best Sound

“Greyhound”

“Mank”

“News of the World”

“Soul”

“Sound of Metal”

Best Costume Design

“Emma” 

“Mank”

“Ma Rainey’s Black Bottom”

“Mulan”

“Pinocchio”

Best Animated Short Film

“Burrow” 

“Genius Loci” 

“If Anything Happens I Love You”

“Opera” 

“Yes-People”

Best Live-Action Short Film

“Feeling Through” 

“The Letter Room” 

“The Present” 

“Two Distant Strangers” 

“White Eye” 

Best Cinematography

“Judas and the Black Messiah”

“Mank”

“News of the World”

“Nomadland”

“The Trial of the Chicago 7”

Best Documentary Feature

“Collective”

“Crip Camp”

“The Mole Agent”

“My Octopus Teacher”

“Time”

Best Documentary Short Subject

“Colette”

“A Concerto Is a Conversation”

“Do Not Split”

“Hunger Ward”

“A Love Song for Latasha”

Best Film Editing

“The Father”

“Nomadland” 

“Promising Young Woman”

“Sound of Metal”

“The Trial of the Chicago 7”

Best International Feature Film

“Another Round” (Denmark) 

“Better Days” (Hong Kong)

“Collective” (Romania) 

“The Man Who Sold His Skin” (Tunisia)

“Quo Vadis, Aida?”(Bosnia and Herzegovina) 

Best Makeup and Hairstyling

“Emma” 

“Hillbilly Elegy”

“Ma Rainey’s Black Bottom”

“Mank”

“Pinocchio”

Best Production Design

“The Father”

“Ma Rainey’s Black Bottom”

“Mank”

“News of the World” 

“Tenet”

Best Visual Effects

“Love and Monsters”  

“The Midnight Sky”

“Mulan”

“The One and Only Ivan”

“Tenet”