REVIEW: “You Cannot Kill David Arquette” (2020)

October 16, 2020 by Keith Garlington

Documentaries come in every shape, size, or form. They can be about any person, place, issue, or topic under the sun. Case in point: “You Cannot Kill David Arquette”, an unusual film telling an unusual story about an unusual man. It comes from co-directors David Darg and Price James and highlights the once starbound Arquette’s journey to regain respect, not in Hollywood, but in the world of professional wrestling.

A little backstory. David Arquette once seemed destined for superstardom. He was considered among the biggest rising stars, even appearing on a 1996 Vanity Fair cover with the likes of Matthew McConaughey, Leonardo DiCaprio, and Will Smith (in fairness it also featured Skeet Ulrich). Also in 1996 Arquette was cast in Wes Craven’s slasher film “Scream” playing the good-hearted but dim-witted Deputy Dewey. It would become his most recognized role, but it also led to him being typecast and his career never took off as expected.

Jump ahead to the year 2000. While doing publicity for his new film “Ready to Rumble”, Arquette partnered with World Championship Wrestling. In the ill-advised cross-promotion it was decided that Arquette would actually win the esteemed WCW Heavyweight Title. The storyline enraged wrestling fans who felt it cheapened the title. Much of the outrage fell on Arquette, a true wrestling fan who loved the business but was quickly considered persona non grata in the wrestling world.

Photo Courtesy of Super LTD

“You Cannot Kill David Arquette” finds its subject lost in the cracks of Hollywood and wrestling, two forms of entertainment he loves, neither of which takes him seriously. “I’m sick of being a joke,” he laments. In one sense it’s hard to feel bad for Arquette. He has a beautiful family and a swanky California home. And while he talks about his promising acting career turning into “ten years of rejection“, a quick gander at his IMDB page shows that’s not entirely true. In reality he has been steadily working, just not in caliber of movies he would like.

On the other hand, we can’t help but sympathize once the film digs into more personal soil. Darg and James put their camera on Arquette and allow him and his family to reveal anything they want about the actor/wrestler’s rollercoaster journey. We learn of depression, anxiety, and self-destructive hard living. At one point Arquette describes himself as a “functioning alcoholic”. Then he has an epiphany of sorts. Despite his physical and psychological problems, Arquette decides to get back into wrestling, starting at the bottom and working his way up in an effort to win over the fans who have shunned him. “I don’t care about being a champ. I care about respect.”

The majority of the documentary follows Arquette’s quest to rid himself of the undeserved shame and earn the respect of the die-hard wrestling community. Not the smartest move for a 46-year-old out of shape guy with health concerns, but admirable and inspiring in its own weird way. It’s not an easy journey. Arquette starts by doing backyard matches in makeshift rings where he’s slammed on thumbtacks and has fluorescent light bulbs shattered across his back. He works his way up to the independent wrestling circuit where he begins to get back in shape. He even travels to Tijuana to train with luchadors.

Photo Courtesy of Super LTD

Some of what we see is fun, even exciting and you can’t help but root for the underdog. Other scenes are uncomfortable to watch, most notably a brutally violent and bloody “death match” against a wrestler named Nicolas Gage that ends in a near life-threatening injury. It leaves you questioning whether the potential sense of accomplishment and purpose Arquette hopes to gain is worth the ultimate cost. The film wants us to wrestle with that quandary even though Arquette doesn’t. He’s resolute and unwavering in his goal.

Along the way we get welcomed perspectives from David’s family including his wife Christina, sisters Patricia and Rosanna, and his ex-wife Courtney Cox. We even get a brief yet touching scene with the late Luke Perry (blink and you may miss it). We also get insight from several recognizable faces from within the professional wrestling sphere including Ric Flair, Jerry “The King” Lawler, and Diamond Dallas Page. All of these contributions are invaluable and they add points-of-view that helps ground the film (something it really needs from time to time).

It may be tempting to view the entire movie as nothing more than a vanity project. Certainly there are elements of that which are hard to get around. But reducing it to such a linear reading means missing its biggest strengths. As cliché as it may sound, “You Cannot Kill David Arquette” is a documentary of self-discovery. It’s about a broken, wayward man-child longing for acceptance and a sense of self-worth. In one of the more subtly sad details, the only way he feels he can get it is to re-enter an industry that views him with bitter contempt. Yes, there are scenes in the doc where it looks like Arquette is putting on a show. And who knows, maybe the whole thing is a ruse. But his pain and yearning feel deeply personal and they set him on a journey that is silly, heartbreaking, endearing, and violent, often all at the same time. “You Cannot Kill David Arquette” is streaming now on VOD.

VERDICT – 3.5 STARS

REVIEW: “Rebecca” (2020)

October 15, 2020 by Keith Garlington

Daphne du Maurier’s classic 1938 novel “Rebecca” is no stranger to the stage or screen. Perhaps the most celebrated adaptation is Alfred Hitchcock’s 1940 Academy Award Best Picture winner. It was Hitchcock’s very first American production and the first film in his rather bumpy seven-year deal with film producer and studio executive David O. Selznick.

Director Ben Wheatley is the latest to take a stab at this alluring romantic thriller working from a script written by the team of Jane Goldman, John Shrapnel, and Anna Waterhouse. This new Netflix Original stars the vastly underrated Lily James, the busy Armie Hammer, and the always great Kristen Scott Thomas. It gets off to a strong start, smartly and smoothly manages its significant shift in tone, and then brings everything to light in a satisfying but hurried finale.

Photo Courtesy of Netflix

In “Rebecca” James plays a young woman working as an assistant to a wealthy and pompous crow named Mrs. Van Hopper (Ann Dowd). Much like in Daphne du Maurier’s popular novel, James’ character is given no name yet we learn all we need to know about her through the unfolding story. We learn she comes from a meager background. She lost her parents two years earlier. She’s smart, loves sketching, and dreams of traveling which is why she works for the globetrotting Mrs. Van Hopper. “Everything I know is from books. I haven’t really experienced anything yet.” Oh how that is about to change.

The story gets going in Monte Carlo with the young woman and Mrs. Van Hopper settled in at the posh Hotel Regina. It’s the first of several instances where the movie explores the subject of class and upper-crust snobbery. The assistant is repeatedly reminded of her role as “staff” or “help”. She’s verbally belittled by her employer, denied dining privileges, and given those haughty, dismissive glances from the rich pampered guests. This is a theme that the film revisits later on.

While running errands for her boss the young woman repeatedly crosses paths with the tall, dashing aristocrat Maxim de Winter (Hammer). Against all odds, the two hit it off and begin a simmering summer romance. She is swept away by the charming yet mysterious Maxim, a recent widower who brushes aside any questions about his late wife Rebecca.

After a spur of the moment proposal, the two marry, have a brief honeymoon, and then settle into Maxim’s huge Manderley estate. It’s an almost mythological family property that has been passed from fathers to sons for generations. A beautiful and lavish mansion, Manderley resembles something plucked right out of a new bride’s storybook dream. But the new Mrs. de Winter quickly learns that her husband has his secrets and the memories of Rebecca haunt every room and every hall. To make matters worse she quickly finds herself at odds with the cold and devious Mrs. Danvers (Kristen Scott Thomas), the chief housekeeper with an uneasy attachment to Mandeley.

Photo Courtesy of Netflix

“Rebecca” may surprise those unfamiliar with its story. It turns a simply-looking romance built around naïveté and secrets into an unexpectedly empowering story driven by three very different women. The delightfully expressive Lily James makes an enchanting lead. Thomas imbues Mrs. Danvers with an unsettling menace. And the third woman, Rebecca herself, is someone we never really see. Yet the film does a terrific job showing the grip she maintains on Manderley well after her death. And the chilling echoes of her influence haunts her husband, their home, and really anyone close to her.

My biggest beef is with the last act. Wheatley flies through the final twenty minutes or so, covering so much ground in an effort to wrangle together the story’s numerous moving parts. It all comes together neatly enough, but you’ll need to be focused and locked in to keep it all together. Still, there’s so much to admire about this latest “Rebecca”. It maintains a wonderful period feel thanks to Julian Day’s costumes and Katie Spencer’s set design. Laurie Rose’s stellar cinematography vividly captures the beautiful sun-soaked Monte Carlo as well as the gloomy, atmospheric Mandeley. It’s anchored by a wonderful cast and a story that still has the same kick it’s had for 80+ years. “Rebecca” premieres October 21st on Netflix.

VERDICT – 4 STARS

REVIEW: “Ava” (2020)

October 14, 2020 by Keith Garlington

In case you didn’t know it, Jessica Chastain is a bonafide movie star. Case in point, take a look at her latest film “Ava”, a mixed bag of a movie made considerably better by Chastain’s terrific lead turn. Star-powered performances can often (but not always) carry a movie and elevate it beyond what it would have been otherwise. Chastain does just that with “Ava”, driving the film with killer charisma and intense commitment.

As you probably guessed, Chastain plays the title character Ava Faulkner, a globetrotting assassin doing jobs for a shadow organization simply known as “management”. Sound familiar? That’s because writer Matthew Newton borrows a lot from the action genre he’s playing in. Newton was also slated to direct the film but bowed out amid assault and domestic violence allegations. Tate Taylor was hired as a replacement, directing Newton’s script but bringing nothing particularly new to the film. Instead he puts the bulk of the load onto his able cast, specifically Chastain.

Photo Courtesy of Vertical Entertainment

Ava is one of the organization’s best assassins but she comes with some baggage. She’s a recovering alcoholic slowly losing her grip on sobriety. She’s also having bouts with her conscience. In hopes of justifying her actions, Ava begins questioning her “subjects” about their sins before offing them. That’s a big no-no in her line of work and “management” starts to worry. Thankfully she has Duke (John Malkovich), her handler for the organization and proverbial father figure, a welcomed replacement for the slug of a dad she had growing up. Duke works to convince his boss Simon (Colin Farrell) that Ava is stable and still an asset. MmmHmm.

That’s all one side of the story. We get the flipside once Ava returns home to Boston. Surprisingly, the movie spends a ton of its running time on this part of Ava’s story. In one sense the filmmakers should be applauded for bringing depth to its lead character. They do so by digging into her dysfunctional family history with her sharp-tongued mother (Geena Davis) and her embittered sister Judy (Jess Weixler). Toss in the presence of Ava’s ex-fiancée Michael (a painfully wooden Common) who’s now engaged to Judy. Talk about throwing gas on an already raging family fire.

Chastain shines in both sides of Ava’s story. She’s a tough, physical force and makes for a thoroughly believable action movie lead. And she brings strong and relatable emotion to the family drama half of “Ava”. The problem is the two sides of the story are at odds with each other. You watch and wait for their inevitable convergence but oddly they never come together (at least not in a truly meaningful way). Instead they both kinda play out, connecting superficially rather than substantively.

Photo Courtesy of Vertical Entertainment

Strangely both of the movie’s two halves work good on their own but they don’t gel together in the way they need to. Sadly it’s the action stuff that gets shortchanged the most. Chastain brings intensity and physicality to the shoot-outs and fight scenes while Bear McCreary’s pulsing score amps up the energy. But ultimately it all needs more time and setup.

While “Ava” may not come together to form the most cohesive movie, it has enough meat on its bones to make for an entertaining escape. It’s also sure to catch a lot of people off guard, especially those expecting a more straightforward action flick. Instead “Ava” is just as much a tough dysfunctional family drama. If only the two parts melded together to make a better whole. So we’re left with a movie that teases franchise ambitions but will probably end up as a one-and-done. It’s a shame because I wouldn’t mind following Chastain’s Ava on the next leg of her journey. “Ava” is now available on VOD.

VERDICT – 3 STARS

First Glance: “I’m Your Woman”

October 13, 2020 by Keith Garlington

I was huge fan of “Fast Color”, an empowering female-led superhero origin story of sorts. The supernatural drama was directed by Julia Hart from a script she co-wrote with her husband Jordan Horowitz. It was one of my favorite films of 2018. So naturally I’m excited to see the trailer for “I’m Your Woman”, a 70’s era crime thriller that sees Hart and Horowitz working together again.

“I’m Your Woman” comes from Amazon Studios and it stars Rachel Brosnahan. She plays a wife and new mother named Jean who is forced to flee with her young child after her husband double-crosses his literal partners in crime. A mysterious man named Cal (Arinzé Kene) takes Jean into his care while her husband’s ex-associates try and track her down. The look, the vibe, the story potential – this could be REALLY good.

“I’m Your Woman” is set to premiere December 11th on Amazon Prime. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

First Glance: “The 355”

October 13, 2020 by Keith Garlington

Stop me if you’ve heard this one before: A group of the world’s best intelligence specialists join forces to stop a mysterious terrorist organization threatening to start World War III. The new action flick “The 355” brings together superspies from around the globe but with one obvious twist – they’re all women. The first trailer proudly sports an old-school action movie vibe completely with lots of bullets, big set pieces and cheesy one-liners. In other words, exactly what you want from a film like this.

Director and co-writer Simon Kinberg puts together a killer cast of superspies. Jessica Chastain gets the “I’m putting together a team” role. She’s joined by an international flavor of great female talent including Lupita Nyong’o, Penélope Cruz, Diane Kruger, and Fan Bingbing. Sebastian Stan and Edgar Ramirez get supporting roles. I’m thinking “Mission: Impossible” meets “Ocean’s 8”. But ultimately it’s the cast that sells it for me.

The strangely titled “The 355” hits theaters January 15, 2021. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Hubie Halloween” (2020)

October 12, 2020 by Keith Garlington

It’s that time of the year again. You know, the time when we get the next film from Adam Sandler’s lucrative contract with Netflix. The two first came together in a four-movie deal in 2014. They extended their partnership in 2017 adding two more films into the mix. So far every movie Sandler has made for Netflix has received (and rightfully earned) the dreaded ‘Rotten‘ tag from review aggregator Rotten Tomatoes. Yet they remain popular with subscribers which is why Netflix once again extended their deal earlier this year – four more movies, $275 million.

“Hubie Halloween” is Sandler’s sixth film for the streaming giant and it brings with it many of the things you’ve come to expect: cheap gags, lowbrow humor, and a cast full of Sandler’s buddies who soak up most of the film’s budget. Within the overloaded cast of characters and cameos you’ll find Ben Stiller, Julie Bowen, Ray Liotta, Steve Buscemi, Michael Chiklis, Kenan Thompson, Dan Patrick, Maya Rudolph, Tim Meadows, Rob Schneider, and Shaquille O’Neal among others. Many of the usual suspects, a few new ones.

Photo Courtesy of Netflix

What’s frustrating is that “Hubie Halloween” is built on an entertaining premise – a Halloween comedy that’s part spoof and part lighthearted romp. And having a gentle, kind-hearted simpleton as the chief protagonist in a town full of bullies could be something sweet, timely, and funny for the whole family. At times it seems like that’s what “Hubie Halloween” wants to be. But then it (unfortunately) remembers it’s an Adam Sandler movie and in comes the vomit jokes, the fart jokes, the urine jokes, the innuendos and entendres. And the longer it goes the less you see of its once promising charm.

Sandler plays Hubie DuBois, a Halloween loving local from Salem, Massachusetts, “America’s Unofficial Halloween Capitol“. For some reason Sandler (who co-wrote the script with frequent collaborator Tim Herlihy) decides to speak with a weird and annoying voice, his jaw locked and muttering in a way that can at times be hard to understand. Is he trying to give Hubie a speech impediment? Is he somehow trying to equate Hubie’s speech with his IQ? Regardless, Sandler’s Hubie sounds more like a grown man impersonating a 6-year-old than a character speaking naturally. But I digress…

It turns out that benevolence is a rarity in Salem, a town with a bully problem since the 1600’s. It’s a place full of mean-spirited punks including a pestering pack of juveniles who hurl more than insults at Hubie. There are Hubie’s co-workers who scare him every chance they get for their own wicked enjoyment. Two of his old classmates (Meadows and Rudolph) insult him relentlessly. And the town’s bully-in-chief (Ray Liotta) hounds Hubie for no discernible reason whatsoever.

The lone exceptions are Hubie’s mother (June Squibb), a well-meaning old maid with a penchant for crude t-shirts, and Violet (Bowen), an attractive single mother who has been in love with Hubie since they were in first grade (don’t ask, just chalk it up to living in a place where kind men are in short supply). Oh, and there is Mr. Lambert (Buscemi) who just moved in next door. He seems nice other than boarding up all of his windows and telling Hubie “If you ever hear some commotion coming from my house, it’s nothing to be concerned about. So you don’t need to come over and check on me. In fact, it’s important that you don’t.” Sounds normal.

Photo Courtesy of Netflix

Evening approaches and as the self-anointed ‘Halloween Monitor’ of Salem, Hubie grabs his trusty Swiss Army Thermos (yes, that’s a thing) and begins patrolling the neighborhoods making sure people are following safety protocols and observing proper candy etiquette. From there the story unfolds into a series of forgettable encounters between Hubie and the townsfolk. There are a few decent jokes sprinkled in, but most of the scenes are little more than Sandler goofing around with his pals. Meanwhile a half-baked horror mystery plays out in the background as an uninteresting masked “terror” starts abducting citizens. Whatever.

There’s more that you could break down and analyze but there’s really no point. You’ve seen and heard most of this stuff before. The big positive (if you want to call it that) is that “Hubie Halloween” is easily among the more tolerable films out of Sandler’s Netflix efforts. It’ll find its audience as most of his film’s usually do. But the few moments of amusement and a fun premise isn’t enough for the rest of us. “Hubie Halloween” is now streaming on Netflix.