REVIEW: “Army of the Dead” (2021)

May 17, 2021 by Keith Garlington

Zack Snyder has had quite the 2021 and we aren’t even halfway through the year. Back in March, fans of his DC Extended Universe movies finally got their eyes on his much-hyped and long-awaited “Justice League” extended cut (aka The Snyder Cut). As expected it stirred up plenty of buzz both from die-hard fans and committed haters. But Snyder had another movie in his back pocket, one backed by Netflix and only a couple of months away from release.

The news of Snyder’s “Army of the Dead” caught a lot of people’s attention. In a nostalgic sense you could call it a return to his zombie roots for the 55-year-old filmmaker who made his directorial debut with his 2004 “Dawn of the Dead” remake. Since then Snyder has used some big hits and a few flops to hone his own distinct cinematic style. One that’s rooted in visual storytelling and that isn’t afraid to ‘go big’. In many ways “Army of the Dead” is an agglomeration of Snyder’s past work – a movie ripe with his signature flourishes, excesses, and indulgences. It pulls from nearly every film in Snyder’s catalogue to delivery something beefy, action-packed, often gory, at times funny, and always self-aware.

At its core the story (written by Snyder, Shay Hatten, and Joby Harold) can be best described as a zombie heist film with a strong survival-horror flavor and a dash of family drama. As with most of Snyder’s movies, a heavy emphasis is placed on setting up his richly detailed world. It begins with a prologue revealing what led to Las Vegas becoming the epicenter of a zombie outbreak. That’s followed by a very Snydery slow-motion mini-movie with the opening credits baked in. As various covers of “Viva Las Vegas” play in the background, this grisly yet almost jaunty interlude shows how the infection spread across Sin City, plunging it into chaos and turning the vacationers, gamblers, showgirls, and even the Elvis impersonators into flesh-eating ghouls. Meanwhile soldiers blast through the undead, eventually walling off the city with stacks of shipping containers.

From there Snyder moves to his characters, fleshing out some of them and wisely sticking with big personality over lengthy backstory for others. It’s the right move because in films like this one thing is for certain, some characters are destined to be zombie food. Here, the beefy wrestler turned actor Dave Bautista stars as Scott Ward, a short-order cook and the former leader of a mercenary group known as Las Vengeance. He was among the soldiers who fought to contain the zombies in Vegas, but all he got for his efforts was a dead-end job, an infected wife, and a fractured relationship with his daughter Kate (Ella Purnell) who works as a volunteer at a quarantine camp just outside of the wall.

While flipping patties at a dried-up burger joint, Scott is approached by billionaire Bly Tanaka (Hiroyuki Sanada) who has $200 million stuck in a vault beneath his Vegas hotel and casino. He offers Scott a job – infiltrate the zombie-infested wasteland and smuggle out the cash before the government drops a small nuke on the city. If Scott succeeds he can keep $50 million and divide it among his crew any way he pleases. And just like that, the basis for the heist angle is established.

It doesn’t take long for the embittered down-on-his-luck Scott to take the job. He put his life on the line to save the world and got nothing in return. Maybe a big cut of a $50 million payout will help make up for it. So he assembles his team of specialists: his old flame Maria (Ana de la Reguera), the buzzsaw-brandishing Vanderohe (Omari Hardwick), Dieter the safecracker (Matthias Schweighöfer), Mikey the sharpshooting YouTuber (Raúl Castillo), and the stogie-chomping pilot Marianne (Tig Notaro). Tagging along is Tanaka’s shady head of security Martin (Garret Dillahunt) who seems to have other interests besides retrieving his boss’ money. Even Kate finds a way to join the team.

Leading them behind the walls is a coyote for hire named Lily (Nora Arnezeder). She not only knows her way around the treacherous living-deadscape, but she’s a key source of information both for the team and for the audience. She’s how we learn about a stronger, faster, and more organized group of zombies. Ones that communicate, strategize, and even have their own leadership. As you can probably guess, that adds a whole new layer of danger to the mission. And all while the government is only hours away from nuking the city. The clock is ticking.

From there it’s pretty easy to get a sense of where things are heading, but watching Snyder fill in the details is half of the fun. Who makes it out and who doesn’t? Do they get the money? What’s with that roaming zombie tiger? All obvious questions and Snyder has a great time answering them. He full-on embraces the well-established zombie tropes of the past (you know, shoot them in the head, kill the brain, don’t get bit, etc.). At the same time he stretches the genre’s bounds by adding some twists of his own. Most of them work and help distinguish his film from other zombie flicks. But other choices, though original, aren’t as effective and occasionally slow the film’s otherwise kinetic pacing.

In addition to the terrific slow-motion opening montage and the fun world-building, the film is full of other Zack Snyder signatures from the hilariously fitting song drops to its longer running time. And Snyder shot the film himself which means you can expect a visually immersive setting and plenty of eye-popping (and head-popping) action sequences. Yet amid the blood, brains, and bravado he still manages to give each character their moments. Bautista gets high marks as does Schweighöfer, Arnezeder and the scene-stealing Hardwick.

“Army of the Dead” comes with pre-packaged franchise ambitions and Netflix has already shown they are ready to invest. A prequel and an animated series are already in the works. Meanwhile “Army” makes for a good launching point and ends in a place tailor-made for a sequel. While Snyder’s obvious creative freedom adds some bloat to the story, you have to love his vision and his commitment to it. And as far as big blockbustery popcorn entertainment goes, Snyder delivers exactly what he promises. “Army of the Dead” is now show in select theaters and premieres on Netflix May 21st.

VERDICT – 3.5 STARS

First Glance: “The Protégé”

May 14, 2021 by Keith Garlington

For me, Michael Keaton is an instant seller. His status as one of my favorite actors has been solidified in this second stage of career. These days you’ll find him in fascinating variety of starring and supporting roles. They may be in big budget blockbusters or small indies. You may find him with flying around with metal wings in the Marvel Cinematic Universe or a traveling milkshake machine salesman on the verge of founding the world’s largest fast-food chain. In “The Protégé” he plays the big baddie, something he’s always been able to do extremely well.

The film is directed by Martin Campbell, the man behind the incredible “Casino Royale” but also the not-so-incredible “Green Lantern”. In “The Protégé” Maggie Q plays an assassin hunting down those responsible for murdering her mentor (played Samuel L. Jackson). In her quest for revenge, secrets from her past are brought to light and (of course) Michael Keaton in knee-deep in it all. Admittedly the trailer looks pretty conventional but the big names add some intrigue. Hopefully it takes this common revenge tale and adds some flavor all its own.

“The Protégé” opens August 20th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The Woman in the Window” (2021)

May 14, 2021 by Keith Garlington

“The Woman in the Window” is yet another movie planned for a big screen release, pulled after the COVID-19 theater closings, and then nabbed by a big spending streaming company. Netflix, Amazon, and Apple have all dropped loads of cash to bring high profile movies to their platforms. It’s a practice that has worked out great for both the companies and those of us who have been stuck inside of our homes for over a year. Will it be a long term thing? Who knows?

This Joe Wright directed psychological thriller was originally a 20th Century production. But after early delays following some concerning test screenings and later delays due to the pandemic, the Disney-owned 20th Century Studios sold the film to Netflix. Based on a 2018 New York Times best-selling novel and packing a star-studded cast, “The Woman in the Window” seemed like a good catch. But Wright’s Hitchcockian aspirations are never fully realized and his movie slowly begins to resemble one hampered by re-writes and re-shoots.

A very game Amy Adams stars as Anna Fox, a child psychologist who struggles with agoraphobia, an anxiety disorder that has left her fearful of going outside. She’s spent the last ten months isolated inside of her Manhattan townhouse, slowly losing herself to prescription medication and alcohol. Her deteriorating condition has led to a separation from her husband Ed (Anthony Mackie) who still calls to check on her from time to time. So she’s left watching old movies, fussing at her tenant David (Wyatt Russell) who rents out her basement, and observing her neighbors from her window “Rear Window” style.

Anna takes a special interest in the Russells, a family of three who just moved into the house across the street from Boston. She first meets their lone child Ethan (Fred Hechinger), a simple and inquisitive 15-year-old who takes a liking to Anna and doesn’t mind stopping by unannounced. But she really hits it off with Ethan’s mother, the brash and outspoken Jane (Julianne Moore) who brings a little energy and spirit into Anna’s home.

But the more she spies on the Russells (who are firm believers in leaving every curtain in the house open) the more she begins noticing signs of an abusive household. It culminates in Anna witnessing a particularly violent argument ending with Jane being stabbed to death. She immediately calls the police who investigate but find no evidence of foul play. Adding to the confusion, two detectives (Brian Tyree Henry and Jeanine Serralles) come to visit Anna with an agitated Alistair Russell (Gary Oldman) from across the street and an entirely different Jane Russell (now played by Jennifer Jason Leigh).

With all of its pieces nicely in place, the gnarly story (written by Tracy Letts) begins to uncoil in an uneven mix of interesting imagery and on-the-nose exposition. Nearly all of the story’s twists, turns, and revelations are told to us rather than shown. Characters spell out practically everything to the point where we’re left with little to figure out for ourselves. It’s frustrating considering the film’s first half weaves together a fairly compelling mystery. But it’s undone by a second half that relies too heavily on a series of surprisingly pointed conversations accompanied by an ending that offers no believable payoff.

It’s also amazing to see this many big names given so little to do. I’m not sure if they owed the filmmakers a favor but Oldman, Moore, Leigh, and Mackie each pop up in a scene or two and then they’re gone. It’s not a dealbreaker, but in a movie that’s struggles to reveal its mystery in a unique and interesting way, a few more scenes with some key players might have helped. Instead everything falls on Adams who is both committed and convincing. If only the same were true for the material. “The Woman in the Window” premieres today (May 14th) on Netflix.

VERDICT – 2.5 STARS

First Glance: “The Forever Purge”

May 13, 2021 by Keith Garlington

Just yesterday I was telling a movie-loving friend of mine about my experiences with the trailers for the last two “Purge” movies. I fell for the creepy and well-made teases for “The First Purge” and “Election Year” only to be let down by the actual movies themselves. Series creator James DeMonaco’s attempts at mixing action-horror with heavy-handed political exploitation ended with messy results. Highly profitable, but messy nonetheless.

Getting our first look at “The Forever Purge” left me with similar feelings as before. It’s yet another effective trailer full of chills and tense, rousing moments. This one (allegedly the final film of the surprisingly popular franchise) is set around the southern border between the United States and Mexico. After the end of yet another annual Purge night, a band of baddies decide to keep the violence and mayhem going. While it sounds like an interesting idea, it doesn’t really hold up to scrutiny. But that’s nothing new for the series and I don’t expect fans to be too concerned with it making sense.

“The Forever Purge” premieres in theaters July 2nd. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Spiral: From the Book of Saw” (2021)

May 13, 2021 by Keith Garlington

Before getting into the new film “Spiral: From the Book of Saw” I have a confession: I’ve never really connected with the “Saw” series. I haven’t seen all of the movies. I don’t fully understand the allure. The franchise’s success is a puzzle I just can’t solve. I say all of that to stress that I’m not well versed in the Saw-verse (is that a term?) and that I don’t come to this ninth installment (yes…nine!) with any sense of attachment. Does that help or hurt my thoughts on “Spiral”? Considering the sometimes hard to read pulse of fandom, I’ll let you determine for yourself.

I will say the trailers for “Spiral” caught my attention in a way “Saw” movies never have before. They teased a new direction for the franchise – going the route of a gritty and grisly crime thriller in the vein of Fincher’s “Se7en”. Despite hesitations over casting Chris Rock as the film’s lead, I was still interested to see if “Spiral” could pull the series away from its tortuous central conceit and onto something fresh and inspired. To the film’s credit it does try something (kinda) new, but suffice it to say “Spiral” is certainly no “Se7en”.

In case die-hard franchise fans were worried, the movie kicks off with a gruesome Saw-like opening, assuring the audience that there would be no shortage of blood and viscera. From there it shifts to Rock’s character, Ezekiel “Zeke” Banks. He’s a homicide detective living in the shadow of his father and former police chief Marcus Banks (Samuel L. Jackson). Zeke is generally hated by the other officers in his precinct who have labeled him a rat for turning in a dirty cop. Unable to trust the other detectives, he often goes at it alone much to the chagrin of his shouty and perpetually angry Captain (Marisol Nichols).

As punishment for failing to report his undercover work, Zeke is assigned a rookie partner Detective William Schenk (Max Minghella). You’ve seen it before – the sour and cynical veteran paired with the young enthusiastic family man who carries around a picture of his wife and newborn baby and can’t wait to get out on the streets. He doesn’t have to wait long. Soon the two are neck-deep in a murder case that has all the markings of a Jigsaw copycat. But this is a psychopath with a social conscious and on a not-so-subtle crusade for police reform.

“Saw” alum Darren Lynn Bousman directs from a script written by Josh Stolberg and Peter Goldfinger. In one sense their movie does precisely what it intends to do – it manages to differentiate itself from its predecessors by offering a new spin on the series. But on the other hand, “Spiral” does little to distinguish itself from countless other better made police thrillers. The film is overflowing with hard-boiled cop movie tropes and head-scratching details and oversights that you can’t help but laugh at. It does maintain a grim and nasty tone, so much so that its few vain attempts at humor land with a thud. But tone alone can’t immerse you into a world. You can see “Spiral” working hard to pull in its audience much like Fincher did with “Se7en”. Sadly it never happens.

And then you have Chris Rock . The 56-year-old comedian goes for it and gives it his all, yet I was never convinced I was seeing his character. Instead I was always seeing Chris Rock playing Zeke. From his confused squinty expressions to his constant yelling, comedic traits he’s always been known for end up seeping into his performance. And he’s not helped by the relentless f-bomb saturated dialogue which calls back to so many of his earlier stand-up routines. In his defense, there are a handful of welcomed moments where he dials down the volume and we see flashes of the dramatic turn he’s going for. But the character and the story need considerably more than he can ultimately give.

At times “Spiral” can be gnarly, brutal, and borderline sadistic which is exactly what the “Saw” movies have always promised. Yet it barely feels like a “Saw” film. If not for the three or four signature torture contraptions scattered throughout you could easily dismiss this as just another bland and uninspired police procedural. It makes an effort to add some weight, but the ham-fisted social commentary and the not-so-big twist does little to help. So we’re left with something that feels kinda new for the long-running franchise, but deep down is nothing we haven’t seen before. “Spiral” opens in theaters tomorrow (May 14th).

VERDICT – 2 STARS

First Glance: “Stillwater”

May 12, 2021 by Keith Garlington

Matt Damon teams up with director Tom McCarthy in the new film “Stillwater”, a crime thriller about a father trying to prove his estranged daughter’s innocence after she is accused of murder. This is McCarthy’s first dramatic feature since “Spotlight”, a movie that earned him Oscars for Best Picture and Best Screenplay. The premise is full of potential and the trailer shows off a wonderful international flavor. And it goes without saying there is plenty of talent at the top.

Damon plays an Oklahoma oil-rig worker who learns his daughter (Abigail Breslin) has been charged with murder while studying overseas in Marseille. So he flies over to exonerate her and find the truth behind what happened. But the clashes of culture and hard-to-penetrate language barriers complicate matters. And navigating the country’s complex legal system proves to be more than he can handle. There’s a lot to like about the first trailer, especially Damon walking around the streets of Marseille with his truckers cap, Carhartt work shirt, and thick Southern drawl. Hopefully the story meets its potential.

“Stillwater” releases in theaters July 30th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.