REVIEW: “The Informer” (2020)

November 2, 2020 by Keith Garlington

Predominantly filmed and funded in the UK, based on a Swedish crime novel, led by an Italian director and set in New York City. You could say “The Informer” is a movie full of international flavor. Even the cast it brings together fits the description. You have Joel Kinnaman (Swedish), Rosamund Pike and Clive Owen (both British), Common (American), and Ana de Armas (Cuban).

Despite its impressive assemblage of global talent, “The Informant” feels very much like a homemade Big Apple crime thriller. It plays in the same park as Scorsese’s “The Departed” and Affleck’s “The Town”, both of which were set in Boston but have the same gritty street-smart point-of-view. Director Andrea Di Stefano has his hands full managing the thick plot lines and numerous characters. But for the most part he pulls it off, only slipping a bit during the film’s entertaining yet hard-to-swallow finish.

Photo Courtesy of Vertical Entertainment

A steely, tattooed Joel Kinnaman plays Pete Kosolow, a Gulf War veteran with PTSD who was sentenced 20 years for killing a thug in a bar fight. Now he’s an FBI informant posing as a drug runner for a powerful underground Polish kingpin known as The Captain (Eugene Lipinski). It’s not Pete’s preferred line of work especially with a loving wife Sofia (Ana de Armas) and a beautiful young daughter Anna (Karma Meyer) at home. But working with the feds is the only thing keeping him out of prison.

Pete is told by his FBI handler Agent Wilcox (Rosamund Pike) that an upcoming fentanyl shipment could be his ticket out. But when the job goes bad and an undercover NYPD cop named Gomez (Arturo Castro) is killed, Pete finds himself as the scapegoat for the mob. They force him back behind bars where he is to oversee their prison drug distribution. Special Agent Montgomery (Clive Owen), Wilcox’s boss and head of the FBI’s New York City field office, refuses to pull Pete out and instead forces him to keep tabs on the Captain’s prison dealings. But once Pete’s usefulness runs out, both Montgomery and the mob cut his protection.

With Pete deemed expendable that means his family is too. And with the FBI wiping their hands clean, their only hope may be Common’s NYPD Detective Grens (Common) who’s plagued by guilt and determined to find out who killed Gomez. It’s the perfect role for Common who often has a hard time emoting anything other than super serious. His character becomes a meaningful yet underdeveloped piece of this densely layered narrative.

Photo Courtesy of Vertical Entertainment

The entire story is driven by Kinnaman whose stone-faced toughness is often given away by the anguish in his eyes. There are also these slight cracks of rage that hint at the more unstable side of his character. Kinnaman fits the part well. Most of the other performances are equally solid especially a well cast Clive Owen who once again reminds us that he’s really, really good regardless of the role.

“The Informer” nimbly plays within its gritty crime genre, maintaining a propulsive pace that keeps its audience on their toes. It all tangibly plays out within the moral malaise of underworld violence and crooked law enforcement. It’s not particularly original or groundbreaking and its ending essentially undermines all the effort put into selling the FBI’s deviously smart control. At the same time it packs its share of surprises and its attractive cast alone is enough to keep you engaged. “The Informer” opens November 6th on VOD.

VERDICT – 3.5 STARS

A Halloween Revisit: 5 Phenomenal Horror Movie Classics

October 31, 2020 by Keith Garlington

While I may have grown out of trick-or-treating, I can still have fun on Halloween. And what better way to do it than by watching a good horror movie. And in case you’re looking for some recommendations, what better time to revisit my Phenomenal 5: The Horror Classics edition. The horror genre goes way back to the silent movie era and it has kept audiences fascinated ever since. While you won’t find any films that old on my list, these are still true horror classics that everyone should see (especially on Halloween night). Of course considering how broad of a subject, I wouldn’t call this the definitive list. But you can’t deny that these 5 horror movie classics are nothing short of phenomenal.

#5 – “Psycho”

Alfred Hitchcock’s 1960 masterpiece “Psycho” sports what is arguably the most well-known scene in horror movie history. But there’s so much greatness beyond that memorable murder in the shower at the hands…err, knife of Norman Bates. Anthony Perkins is unforgettably creepy and you know something is off with Bates from the first moment you see him until that final unnerving grin. And of course there is his macabre relationship with his dear, dear mother. “Psycho” still holds up brilliantly and it’s the perfect mix of mystery and horror presented with the sharp style of a master filmmaker. Sure, today many consider it more of a thriller. But it terrified audiences during its release and I’ll always see it as a horror classic.

#4 – “Halloween”

Oh there are so many things I love about “Halloween”. The great John Carpenter gives us a host of special ingredients that has made this movie both influential and timeless. “Halloween” gives us the quintessential scream queen Jamie Lee Curtis. It gives us the frightening Michael Myers. It gives us Donald Pleasence’s wonderfully goofy prophecies of doom. And how can you forget the simple yet haunting piano score by Carpenter himself. Working with an incredibly small budget, the movie still broke new ground and invented many of the genre tropes that are still imitated today. It’s a true horror movie classic and the king of the slasher sub-genre. It also still entertains me today just as much when I first saw it.

#3 – The Evil Dead”

In 1981 two young new filmmakers Sam Raimi and Bruce Campbell made what would become one of the scariest horror movies of all time. “The Evil Dead” is another example of how to create a great horror film with the tiniest of budgets. It’s a highly influential picture that spawned two uniquely great sequels. It tells the story of five college kids who spend spring break in an isolated cabin in the woods. They accidentally release demonic spirits who begin possessing the friends one by one. “The Evil Dead” is a genuinely creepy experience and everything from its wicked concept to the unsettling makeup effects contribute to it. And of course it introduced us to Campbell’s wonderful character Ash. Nuff said. This is a true horror treasure that is very much a film of its time yet it has stood the test of time.

#2 – “The Texas Chainsaw Massacre”

For years I thought “The Texas Chainsaw Massacre” was based on a true story. That belief made the movie all the more frightening. Once I learned it was largely fictional I was surprised to find it still had the same effect on me. Tobe Hooper directed, produced, and co-wrote this classic film, making it for under $300,000 and casting a group of unknowns. The story of five friends who encounter a cannibalistic family in rural Texas didn’t rely on a buckets of blood and gore for its frights. Instead Hooper creates a disturbing sense of unease with this material alone. Throw in Leatherface and pinches of dark comedy and I have no problem calling it one of the greatest horror movies of all-time.

#1 – “Night of the Living Dead”

I never have a hard time telling people what my favorite horror movie is. George Romero’s classic “Night of the Living Dead” was the first horror movie that really affected me. Culturally speaking, this is the film that put zombies on the map and inspired the insanely popular horror sub-genre. As with some others on this list, Romero uses a small budget and no-name actors yet develops a horror picture that truly broke new ground. Expertly crafted and wonderfully unsettling, “Night of the Living Dead” sets its creepy tone and sustains it through smart and crafty filmmaking. I love everything about Romero’s classic. Not only is it my favorite horror movie, it’s one of my favorite movies of all time, period.

So there you have them, five phenomenal horror movie classics to curl up with tonight. They’re also five films that prove if you’re creative and skilled you don’t need loads of money and a big backing to make a great horror picture. So what did I miss? What would you have included on your list? Please take time to let me know in the comments section below.

REVIEW: “His House” (2020)

October 30, 2020 by Keith Garlington

At a pivotal point in “His Room” a character has a sobering revelation. “Your ghosts follow you. They never leave. They live with you.” It’s a powerful line that gets to the heart of this scintillating new horror thriller from first-time feature filmmaker Remi Weekes. “His Room” is an exciting debut that teases you with some of the horror genre’s most well-worn tropes only to surprise you with its big ideas and potent real-world relevancy.

Wisely snatched up by Netflix prior to its Sundance premiere, “His Room” is one of the craftiest horror movies of 2020. It’s a thematically bold genre film that takes an unexpectedly sharp look at the immigrant experience while delving into themes of grief, denial, racism, and survivor’s guilt among other things. Weekes (who also wrote the screenplay) embraces horror elements but doesn’t rely on them. Instead, the terror in his film is as much true-to-life as it is supernatural. And some of the most frightening scenes happen outside the walls of a seemingly haunted council house.

Photo Courtesy of Netflix

The film is anchored by two sublime performances from Sope Dirisu and Wunmi Mosaku. They play Bol and Rial, a Sudanese couple who in the film’s opening moments are attempting a harrowing escape from their war-torn homeland. Their journey is perilous – dodging gunfire in cramped buses, long rides in the backs of pickups, and taking a small boat across the turbulent sea that ends up claiming their young daughter’s life. They’re picked up and brought to the United Kingdom but not before a heavy emotional toll had been taken.

After being detained for an unspecified length, Bol and Rial are granted refugee status and given a ramshackle house in a council estate outside of London. Though stared at by neighbors, ridiculed by local kids, and treated as second-class citizens at every turn, the couple are determined to turn their new place into a home. Bol is the more optimistic and resolute. He quickly buries everything from their past and pours all of himself into adapting. Rial finds it harder to let go and struggles to conform to their new way of life.

It’s all vividly captured when Bol comes home to find Rial has prepared a classic Sudanese meal. The romantic dinner is spread across a blanket on the floor to flickering candlelight. “Wonderful” Bol says as he sits, “but maybe next time we can use the table.” He then springs up and goes into the kitchen bringing back silverware. “All I can taste is the metal” says Rial. Bol dismissively replies “You’ll get used to it.” Its an eye-opening scene that highlights the fracture between this husband and wife.

Meanwhile both Bol and Rial begin hearing noises in the walls, mostly when they’re alone and mostly at night. Each of their encounters slowly grow more terrifying. Before long the couple are plunged into their own hellish purgatories, each hearing and seeing very different things. Bol refuses to budge and slowly begins to unravel as the hauntings intensify. Rial is convinced that a devilish witch has followed them from Sudan and brought with it a horde of malevolent spirits. But as Weekes digs deeper we begin to wonder, was it really a witch who filled their walls with ghosts?

Photo Courtesy of Netflix

That may sound like standard haunted house fare, but as connections are made particularly in the film’s chilling yet gripping finish, it’s clear that Weekes has far more on his mind than bumps in the walls and creepy figures in the shadows. And he surprises with his sure-handed visual approach whether it’s the penetrating closeups or his effective use of lighting. There’s also one wickedly surreal scene that I won’t spoil but that really leaves a mark without feeling jarring or self-indulgent.

“His House” is easily one of the best filmmaking debuts of the year and another reminder that there is more to the horror genre than cheap gimmicks and jump scares. It’s a technically, narratively, and thematically rich movie with an earnest affection for its genre but with much, much more going on under its surface. It’s a nice grab for Netflix and hopefully great exposure for one the year’s best horror features.

VERDICT – 4.5 STARS

First Glance: “Wander”

October 29, 2020 by Keith Garlington

It was only a few days ago that I was asking someone about Aaron Eckhart. And wouldn’t you know it, over the weekend a trailer dropped for his new film called “Wander”. I’ve always liked Eckhart and this new thriller from director April Mullen gives him what looks like a meaty role. It also helps to have the great Tommy Lee Jones attached. That’s a pretty solid one-two punch.

The new trailer isn’t the easiest to decipher but the story goes something like this. Eckhart plays a mentally unhinged private detective who’s as close to the edge as possible without falling over. He’s brought into a small town to investigate a murder which he grows to believe is connected to the death of his daughter. He also believes there is a huge cover-up that he is determined to expose. But is there really some big conspiracy or is the detective’s mind playing tricks on him? The film also stars Heather Graham and Katheryn Winnick.

“Wander” is set for release December 4th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “The True Adventures of Wolfboy” (2020)

October 29, 2020 by Keith Garlington

I can honestly say I had no idea what to expect from “The True Adventures of Wolfboy”. I mean let’s be honest, its title alone lends itself to a wide range of expectations and conjecture. But the emotionally rich opening ten minutes let me know I had misjudged this coming-of-age indie. I’m not saying it’s without flaws, but don’t let it’s curious title fool you. “Wolfboy” has a heart and a message that will resonate with many. I just wish the second half was a little more sure-footed and the finish as impacting as the beginning.

The opening scene hints that “Wolfboy” is more than your standard fare. A 13-year-old boy named Paul (Jaeden Martell of “It” fame) looks into a mirror desperately trying but failing to convince himself that he’s “a normal boy”. Paul has “a condition” that causes thick hair to grow all over his body including his face. As a result he’s considered an outcast and subjected to constant ridicule and bullying. It’s so bad Paul wears a ski mask to hide his face. It’s a heartbreaking scenario especially when it becomes clear the cruelty is taking a toll.

Photo Courtesy of Vertical Entertainment

Paul’s mother ran away after he was born leaving his father Denny (Chris Messina) to raise him. Denny clearly loves his son, but his well-meaning yet misguided “help” clearly isn’t working. Things like asking Paul to take off his mask at a crowded carnival so he can stand up for himself against the inevitable reactions he will get. Or offering to send him off to a private school for ‘special’ kids. It’s one of those cases of a father who never seems able to say the right thing. Meanwhile Denny is growing more and more frustrated at his inability to make things better for his son.

On his birthday a mysterious package arrives for Paul. Inside is a note from his mother claiming that answers await him at a Pennsylvania address whenever he’s ready. A flustered Paul grabs a map and sneaks away from home, heading to the Keystone State in hopes of finding his mother and the happiness that has long escaped him. But he quickly learns that it’s the journey itself which opens up the world to him and sets him on his path of true self-discovery.

It’s here that director Martin Krejčí and screenwriter Olivia Dufault shift to a road trip movie of sorts, introducing several unique characters for Paul to encounter along the way. First he has a run-in with a slimy, opportunistic carnival owner named Mr. Silk (John Turturro). After that he’s befriended and joined by the enigmatic Aristiana (Sophie Giannamore), a hard to figure out character who sometimes seems more fantasy than real. And later he meets a hellion named Rose (Eve Hewson) who sports a killer eye-patch and has a penchant for robbing convenient stores. For Paul it ends up being an adventure full of firsts.

Photo Courtesy of Vertical Entertainment

The ragtag group of new friends bounce from place to place on the road to Pennsylvania. It’s here that the movie hits a few snags. While the group’s antics convey a sense of liberation for Paul, the scattershot storytelling causes the film to lose some of its intimacy. Characters have some worthwhile moments together, but they’re often bookended by more playful yet far less compelling scenes. As a result the tone of the story ends up all over the place. It takes Paul reaching his destination for us to once again feel the same deep emotional draw as in the film’s earliest scenes.

Great talents like Chloe Sevigny and Stephen McKinley Henderson show up later in the film and are given pivotal roles but little screen time. Still both bring a needed gravitas to their characters and the story which ultimately plays out as part reality, part fairytale. The two don’t always meld together as smoothly as the filmmakers would like, but I admire its willingness to try new things even if they don’t always land. “The True Adventures of “Wolfboy” premieres October 30th on VOD.

VERDICT – 3 STARS

REVIEW: “The Secrets We Keep” (2020)

October 28, 2020 by Keith Garlington

Director and co-writer Yuval Adler’s “The Secrets We Keep” is one-half period thriller and one-half domestic drama. Set in small-town America during the late 1950’s, the movie embraces the implausibility of its premise while touching on post-war anxiety, revenge, the fragility of the American Dream, and (as the movie’s title eludes to) keeping secrets from loved ones and then dealing with the consequences once they inevitably come to light.

The aptly titled “The Secrets We Keep” opens with a woman named Maja (Noomi Rapace) sitting in the grass at her neighborhood park watching her young son play. She’s rattled when she hears a distinct whistle coming from a man calling his dog. It’s a familiar whistle; one she’s convinced she has heard before; one that instantly triggers traumatic memories from her past. She follows the man as he gets into his car, never seeing his face but certain their paths have crossed.

Photo Courtesy of Bleeker Street

A day or so later Maja sees the man again (he’s played by Joel Kinneman), this time at a hardware store. Still unable to get a good look at him, she follows the man to his house where he is greeted by his wife and two young children. Maja sneaks across their yard, peers through a window and finally sees his face.

Her next move is far more calculated. As the man walks home from work he stops to help Maja who fakes car trouble. With his back turned she clubs him with a hammer, throws him in the trunk, and drives home. There she reveals to her stunned husband Lewis (Chris Messina) that she has abducted one of the Nazi soldiers who raped her and murdered her sister during the final days of World War II. How’s that for a revelation? And all of that happens in the first 15 minutes or so.

The fast setup and little buildup is a bit jarring, but you certainly can’t accuse Adler of dragging his feet. At least not in the first act. But once his pieces are in place the film slows down and lets the characters open up and take over. It still has the big (and small) genre moments you expect. But it’s at its best when it lets the triad of Rapace, Kinnaman, and Messina navigate the thorny psychology, volatile emotions, and the dubious morality that hangs over the film like a ominous cloud.

Rapace is terrific, giving a strong two-sided performance that requires both physicality and emotional heft. Her Maja is a woman full of repressed sorrow and painful secrets. Seeing this man again forces her to relive all of her past horrors. But the question lingers, does she have the right guy? There is no evidence and nothing to go on other than her feelings and flashes of old memories. He insists she’s mistaken and his name is Thomas. He says he is Swiss not German, and that he moved to America to start a family with his wife Rachel (Amy Seimetz). Kinnaman’s sincerity and restraint make a strong case.

Photo Courtesy of Bleeker Street

That leaves Messina’s Lewis, a man utterly in the dark who wants to believe his wife but understands the ramifications of her being wrong. He’s still processing the slew of secrets hidden by his wife for 15 years – her family’s Gypsy background, her time in a war camp, the rape, the murder of her sister. More urgently, he has the determine whether to go with Maja’s instincts or stop her from crossing a line and making a mistake she will come to regret. This ends up forming the central conflict of the entire film.

Shot mostly in Louisiana, Adler and his production designer Nate Jones nail the look and feel of the late 1950’s and of small-town America. It was a time when aftershocks from the second world war were still being felt all over the world. “The Secrets We Keep” taps into that yet on a more personal level. But it’s still very much a genre film albeit one that is well acted, consistently entertaining, and that dabbles in its themes more than explores them. Overall it’s not a bad way to spend 97 minutes. “The Secrets We Keep” is now showing in select theaters and on VOD.