REVIEW: “Nobody” (2021)

March 22, 2021 by Keith Garlington

Hutch Mansell is a mild-mannered everyday average Joe. His days are an endless cycle of monotony – get up, catch the bus, go to work, come back home, go to bed. The only real highlights of his week are his morning cups of coffee and missing the trash truck every Tuesday. Even his family seems lulled by his ordinariness. But as the press notes for the upcoming film “Nobody” strategically warns, “Sometimes the man you don’t notice is the most dangerous of all.”

The aptly named “Nobody” is a gritty action thriller with a heavy dose of black comedy. It comes from director Ilya Naishuller and screenwriter Derek Kolstad who penned the three “John Wick” movies and is currently attached to the MCU streaming series “The Falcon and the Winter Soldier”. In “Nobody” Emmy winner Bob Odenkirk plays the aforementioned Hutch, an overlooked and altogether unremarkable fellow stuck in a rut. I’ll be honest, Odenkirk together with the the writer of the “John Wick” movies didn’t sound like the most convincing pairing. But the 58-year-old “Better Call Saul” star proved me wrong, especially in the film’s wacky and corpse-filled second half.

Image Courtesy of Universal Studios

Hutch is someone you would barely even notice; a guy who would walk by and never catch your eye. Even at home his wife Becca (Connie Nielsen) seems to have lost interest in him. Then you have his teen son Blake (Gage Munroe) who looks at his humdrum father with indifference and poorly-hidden shame. The only warmth Hutch feels is from the idolizing glow of his adorable young daughter Abby (Paisley Cadorath). When she looks at her daddy she sees safety and security. She sees her hero.

Things at home get worse after two robbers break into their suburban house in the middle of the night. Hutch passes on the chance to club the thug holding a gun on Blake leading to his son getting punched in the face and the robbers fleeing. This strains their relationship even more and pushes Hutch closer to the brink. But not in the Michael Douglas “Falling Down” sense. Hutch isn’t having a mental breakdown and he’s certainly not insane. He simply has a “dormant” side that’s suddenly itching to come out.

I won’t spoil things but let’s just say we are introduced to that “dormant” side during a ferocious bus sequence that should instantly be front-runner for fight scene of the year. And just like that we’re thrust into an underworld where titles like “the Barber” and “Auditor” are the norm. We’re introduced to the film’s antagonist, a Russian drug kingpin named Yulian Kuznetsov (Aleksei Serebryakov), “a connected and funded sociopath” and babysitter for the “Obschak”. In gangland terms he manages and guards the Russian mob’s 401(k). And of course he has a slew of disposable henchmen, all dressed in black and armed to the teeth.

Image Courtesy of Universal Studios

If you’re thinking all of that sounds pretty familiar you wouldn’t be wrong. We’ve seen variations of this story before. But several things make “Nobody” stand out. Tops on the list is Odenkirk who nails every shift and turn in his character (and there are several of them). He’s convincingly physical, funny, and even feral when things intensify. The movie also shows off a deliciously wicked and frankly wacky sense of humor. Whether it’s a perfectly timed line of dialogue, the hysterically over-the-top nature of some of the action, or the hilariously on-the-nose music choices from Louis Armstrong, Andy Williams, and the like. And then you have the great supporting cast. Connie Nielsen is always good so it’s no surprise she is here too. We also get a small but wildly entertaining role for Christopher Lloyd playing Hutch’s elderly father Harry. There’s even Michael Ironside, a face (and great voice) that I haven’t seen around in a while.

As “Nobody” propels forward the violence gets crazier and the body count mounts. Yet the movie never loses its self-awareness. Naishuller has a field day playing around with action genre norms and together with DP Pawel Pogorzelski puts together a number of thrilling sequences that are stylish and visually coherent (an often underestimated plus). And while it certainly has it’s fun, there is a nastiness to “Nobody” that might catch some folks off-guard. But that’s another part of what makes it such a rip-roaring ride. “Nobody” opens in theaters March 26th.

VERDICT – 4 STARS

First Glance: “Four Good Days”

March 19, 2021 by Keith Garlington

There have been several good movies lately that have either directly or indirectly dealt with the subject of addiction. The upcoming drama “Four Good Days” from director and co-writer Rodrigo Garcia takes a deep look at the crippling effects prolonged substance abuse has on both individuals and families. The film is based on an 2016 article by Pulitzer Prize-winning writer Eli Saslow and had its premiere at the 2020 Sundance Film Festival.

The movie stars Glenn Close and Mila Kunis as an estranged mother and daughter working through the younger’s recovery from drug addiction. The daughter Molly (Kunis) has been in and out of rehab 14 times and this latest attempt at getting clean drives her to the doorstep of her mother (Close). By the look of the trailer it won’t be an easy journey as the two struggle with Molly’s withdrawal and with past tensions that quickly boil to the surface. Movies like this are by necessity heavy and they can end up going either way. Kunis and Close look extremely committed and if the material is good I can see this being a tough but worthwhile watch.

“Four Good Days” is set for a limited theatrical release April 30th followed by its VOD premiere May 21st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “I’m Your Woman” (2020)

March 19, 2021 by Keith Garlington

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.

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.

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

REVIEW: “Watchmen” (2009)

March 18, 2021 by Keith Garlington

“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.

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.

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

First Glance: “In the Heights”

March 17, 2021 by Keith Garlington

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)

March 17, 2021 by Keith Garlington

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.

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.

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.