REVIEW: “Vanquish” (2021)

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A cool idea can go a long way in making a good movie. But rarely is a movie good solely because of a cool idea. That speaks to the biggest problem with “Vanquish”, the new crime thriller directed and co-written by George Gallo. The movie’s snappy premise is action movie junk food, the perfect scenario for wild car chases, shoot-outs, and all sorts of cinematic mayhem. It’s the pieces around it that ends up dragging the whole thing down.

Although he’s been working pretty steady for over three decades, George Gallo is probably still known best as the screenwriter for “Midnight Run” and the first “Bad Boys” movie. With “Vanquish” he takes budding action star Ruby Rose and teams her with screen veteran Morgan Freeman. Both prove to be more than capable of pulling their weight and selling their roles. It’s the unconvincing supporting characters around them and the wafer-thin story that squashes any potential. It ends up being a movie all about the action beats and not much else.

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Image Courtesy of Lionsgate

A lengthy opening credits scene introduces us to Freeman’s character. He plays Damon Hickey, a highly decorated former police detective who later became known as “America’s Police Commissioner”. But then he was gunned down on the front steps of his home by a drug cartel seeking retribution. He survived the attempted hit but was left paralyzed and confined to a wheelchair for the rest of his life. Now he lives in a posh ultra-modern home where he’s visited daily by his caregiver, a young single mom named Vicky (Rose).

It doesn’t take long for us to learn that “America’s Police Commissioner” has a dark side. It turns out he runs a shady crew of dirty cops and they have their hands in some ugly underworld business. But good luck making much sense of it. Unfortunately it’s all pretty muddled and woefully underwritten. Basically you have dirty cops and dirtier cops, a crooked federal agent and an angry German drug-runner with a vendetta. More importantly, Damon has five bags of money at different locations around the city and he needs someone he can trust to make the pickups. So he asks Vicky to dust off some lethal skills from her past that she has tried to bury and retrieve his cash. And just to make sure she falls in line, Damon has Vicky’s daughter kidnapped until all five pickups are complete.

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Image Courtesy of Lionsgate

For the sake of her daughter, Vicky reluctantly agrees. The movie then becomes a series of five action-laced encounters as she picks up a bag of money, has it out with some double-crossing baddies, and takes the cash back to Damon who then gives her the address for the next pickup. In between we get snippets of a broader story about police corruption but it’s so insubstantial you won’t even care. You’ll want more of Ruby Rose cutting through thugs with her pistols as Freeman keeps tabs through her body-cam. The two have a good chemistry and do what they can to keep the film afloat.

But ultimately “Vanquish” needs more than a fun action loop and two well-tuned stars. Gallo tries to spruce things up with the few stylish flourishes, such as bathing several scenes in fluorescent greens and blues, or by occasionally shifting to first-person view when Vicky is zipping through the night on her motorcycle. But the bland band of supporting players and the even more forgettable story (complete with a preposterous ending) are liabilities too big to overcome. “Vanquish” opens April 16th on VOD.

VERDICT – 2 STARS

2-stars

First Glance: “F9: Fast & Furious 9”

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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)

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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.

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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.

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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

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First Glance: “Army of the Dead”

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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)

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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.

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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).

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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

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First Glance: “Things Heard & Seen”

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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.