First Glance: “Land”

December 29, 2020 by Keith Garlington

A couple days back Focus Features dropped the first trailer for “Land”, their upcoming drama set to premiere at Sundance in January before its wider release February 12, 2021 just in time to qualify for Oscar consideration. It’s the directorial debut for Robin Wright working from a screenplay written by Jesse Chatham and Erin Digman. Wright did some directing for the hit television show “House of Cards”, but this is the first time at the helm for a feature film. This first look leaves a really good impression.

Wright also plays the film’s lead character who goes off the grid following a devastating personal loss. “It’s really difficult to be around people.” She retreats to a remote cabin in the wilderness and disconnects from society. But when a hunter played by Demian Bichir saves her from near-death, she finds in him someone who helps her cope with her sorrow and view life through a different lens. So much in this first trailer lands well from its deeply personal perspective to the gorgeous mountain setting. I’m in.

Once again “Land” is set for a Sundance premiere and then a full release February 12, 2021. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Fatale” (2020)

December 29, 2020 by Keith Garlington

If you’re itching for a sleazy 80’s-styled thriller full of terrible unlikable people, boy do I have the movie for you. “Fatale” fits that description to the T and it makes no apologies about it. Directed by Deon Taylor from a script by David Loughery, “Fatale” at first brings thoughts of “Fatal Attraction” to mind. You know the story, a supposed “good guy” makes a “mistake” with a crazy unhinged woman who then terrorizes him and threatens the life he’s forced to protect. I never really bought the idea in that 1987 film and I don’t buy it here either.

“Fatale” deserves credit for eventually cutting the cord with “Fatal Attraction” and going its own way. That doesn’t suddenly make it a great movie or make some of the character’s decision-making any smarter. But it does make it come across as something more than a knock-off. Unfortunately the movie doesn’t really have a gauge to tell it when to slow down. So we get an overheated story with more twists than a pack of Twizzlers. There is some ‘giggle to yourself’ entertainment to be had and enough narrative propulsion to have you wondering how things will turn out. But that’s about it.

Image Courtesy of Lionsgate

Michael Ealy (who teamed with Taylor earlier this year in the flawed but considerably better “The Intruder”) plays Derrick Tyler, a former basketball star turned successful Los Angeles sports agent. If you need proof of his success look no further than his lavish ultra-modern home, his shiny imported sports car, and his posh GQ-ready attire. He lives the good life with his super-model caliber wife Tracie (nicely played by real-life model Damaris Lewis) who has a thriving real estate business of her own. If the old saying went “money DOES buy happiness” then this would be one incredibly happy couple. Instead there’s an obvious disconnect between them which is obvious from the start.

While in Las Vegas for a friend’s bachelor party Derrick meets, flirts, and eventually has a one-night-stand with a woman named Val (a noticeably miscast Hillary Swank). Apparently in the world of “Fatale” adultery has magical properties because suddenly Derrick is all about being a better husband to Tracie (Actually it’s probably his guilt which in reality can dramatically change a person’s perspectives). While wrapping up a night of wining, dining and rekindling the fire with Tracie an intruder breaks into their home. Derrick fights the masked man off who then runs away into the night.

The police arrive and their investigation is led by none other than Detective Valerie Quinlan. Yep “Val” from Las Vegas. And just like the movie shoots down the myth that “What Happens in Vegas Stays in Vegas”. Poorly veiled swerves and misdirections abound as Derrick finds himself in neck-deep trying to save his marriage and his fortune from a sociopath with a badge. But as is often the case, things aren’t always as they appear. Still, no number of plot twists solve what really is the movie’s biggest problem – woefully shallow characters.

Image Courtesy of Lionsgate

The movie does try to bring some depth to Quinlan by introducing some backstory involving an ugly custody battle. But Swank plays her so dryly that it’s hard to invest in her either as a victim or a villain. It’s not a bad performance, she’s just working at the wrong temperature. Meanwhile Ealy just moves from scene to scene in various states of shock and the script hits him with one twist after another. The closest we get to depth with him are scenes involving his family and that’s not much.

“Fatale” may work as throwaway entertainment for those with some time to kill on a Saturday night. And what can I say, it kept my attention. But other than pulling the rug out from under us in every other scene, it doesn’t have much up its sleeve. Even casting a two-time Academy Award winner can’t bring the movie the oomph it needs. “Fatale” is now showing in theaters.

VERDICT – 2 STARS

REVIEW: “One Night in Miami…” (2020)

December 28, 2020 by Keith Garlington

Regina King makes an astonishing directorial debut with “One Night in Miami…”, a fictionalized story inspired by true events and featuring four cultural legends of the African-American community: Cassius Clay, Malcolm X, Jim Brown, and Sam Cooke. The film imagines what might have happened during their real-life meeting on the night of February 25, 1964, when the four luminaries gathered together at the Hampton House, a motel in Miami’s Brownsville neighborhood.

Kemp Powers pens the captivating screenplay which is based on his own 2013 stage play of the same name. King approaches this tricky material with the confidence and keen senses of a seasoned director, keeping her focus on the film’s talented ensemble and pulling the very best out of them. At the same time King infuses this dialogue-heavy chamber piece with a cinematic feel, something that isn’t always easy for movies based on stage plays. Look no further than another 2020 film “Ma Rainey’s Black Bottom”, a good movie but one where I was often aware of its heavy stage roots. King doesn’t fully evade that, but she makes several small yet effective choices that ensures “One Night in Miami…” feels very much like a movie.

The film begins with a somewhat mechanical opening – four vignettes that introduces the principle characters and gives a glimpse of their struggles in the heart of the Civil Rights era. Then everything moves towards Miami Beach in 1964. Cassius Clay (played by Eli Goree), a 7-1 underdog, beats Sonny Liston for the heavyweight championship with his friends, activist Malcolm X (Kingsley Ben-Adir), NFL star Jim Brown (Aldis Hodge), and soul singer Sam Cooke (Leslie Odom Jr.), in attendance. Afterwards the four retreat to the Hamilton House motel to celebrate the big win. It’s an amazing scenario, one that actually happened, although the exact details of the evening stayed with the four men.

Image Courtesy of Amazon Studios

So it goes without saying King and Powers aren’t attempting to recreate that special night with pinpoint accuracy. Instead they examine where each man was at that particular point in their real lives and then pull from their unique experiences and circumstances to create a series of conversations and interactions that may not be historically precise yet are exactly the kinds of rich and textured exchanges you would envision. Just how well this approach works is one of the film’s most satisfying elements.

Each character is at a defining crossroad in their life. Cassius is the new champ but secretly has converted to Islam under the mentoring of Malcolm and is on his way to becoming Muhammad Ali. Meanwhile Malcolm’s evolving beliefs find him at odds with the Nation of Islam’s more militant leadership. Sam’s music career is thriving but he finds himself caught between making music with a strong appeal to broader audiences (which means more money) or using his voice to speak to the travails of his community. Jim has learned that fame on the football field doesn’t equal color-blind acceptance. And now he’s considering making movies, another industry with its own track record of inequality and exploitation.

Their night starts with bursts of fun, good-natured jousting especially between Sam, Jim, and Cassius who had a much “livelier” party in mind. But Malcolm has planned a night of reflection, dialogue, and vanilla ice cream. Over the course of the night the playful buddy banter gives way to philosophical discussions, clashing worldviews, and meaty debates on activism and civil rights. King keeps easing the temperature up, steadily working towards an impassioned crescendo where biting exchanges fueled by deep personal hurt takes center stage. It’s through their fascinating interplay that we learn who these men really are, and we get to quietly observe it all like flies on the wall.

Image Courtesy of Amazon Studios

Wisely, neither King or Powers set out to deify their characters. Their interests are in the men underneath the celebrity. So we not only see their big personalities but also their blemishes and internal conflicts. The four actors portraying them couldn’t be better and each bring fresh dimensions to their iconic characters. Ben-Adir makes for a mesmerizing Malcolm X, revealing a complex man burdened by belief but well aware of the heat that’s coming his way. It’s a tricky role that tackles Malcolm’s self-righteousness but also his clear-eyed conviction. Ben-Adir nails it.

Leslie Odom Jr. of “Hamilton” fame gets another chance to showcase his singing chops. He also deftly brings out the layers in Cooke whose smooth, confident exterior conceals a whirlwind of contradiction inside. Odom Jr. has some powerful moments. Playing Jim Brown, Aldis Hodge is easily the most subdued of the four but his presence is always felt and he speaks volumes through subtle gestures and cutting expressions. And when he does speak Hodge brings a quiet intensity that you can’t turn away from. Eli Goree is the most playful as Cassius Clay, but he tempers his performance and keeps it from becoming a caricature. And he too brings an emotional weight to his character when the story calls for it.

Regina King got her feet wet directing television shows over the last several years. “One Night in Miami…” sees her enter the feature film space as a force. We already know she’s an eminently talented actress with an Oscar to prove it. But it’s always exciting to see a first-time director deliver on this level. And it’s just as exciting to watch a well-cast ensemble work with such charisma and verve to bring a pretty remarkable story to life. It takes the movie a few minutes to get going, but once it hits its sweet-spot it makes for some pretty riveting viewing. “One Night in Miami…” is out now in a limited theatrical release and will release on Prime Video on January 15th, 2021.

VERDICT – 4 STARS

5 Phenomenal Christmas Movie Santas

December 25, 2020 by Keith Garlington

Christmas is here which means Christmas movies are everywhere. In the spirit of the season I thought it would be fun to look back at an older Phenomenal 5 that I originally published in 2013. One that focuses on a signature yuletide character. Of course I’m talking about Santa Claus. So today I’m revisiting five of the very best Santas from cinema. Now obviously with so many to consider I wouldn’t call this the definitive list. But I have no trouble recognizing these five jolly old elves as nothing short of phenomenal.

#5 – Tim Allen (“The Santa Clause”)

While I’m not a big fan of this series of movies as a whole, I do really enjoy the first film. “The Santa Clause” tells the story of a selfish father named Scott Calvin who through a nutty accident inherits the position as Santa Claus. Of course a lot of things come with that role – a big round belly, a snow-white beard, etc. Allen is great showing us his character’s transformation from a self-absorbed slug to a loving, caring father and ultimately Jolly Old Saint Nick.

#4 – Ed Asner (“Elf”)

He’s certainly not the main draw in “Elf”, but Ed Asner’s performance as Santa Claus is a key ingredient to this movie’s success. Asner never winks at the camera. Instead he seems completely invested which accounts for some really funny moments. He not only looks the part but he carries himself just as you would imagine his character would. There are several good moments as he manages things at the North Pole but also when his sleigh crash lands in Central Park. Fun and fitting – that is how I would describe Asner’s portrayal.

#3 – Tom Hanks (“The Polar Express”)

I know some people have problems with Robert Zemeckis’ motion-captured animated film “The Polar Express”. Not me. I’m a fan and it has become one of our holiday favorites. And while he doesn’t appear until the very end of the film, Tom Hanks is a wonderful Santa Claus. What makes him such a great Santa has a lot to do with the buildup. The film truly creates a larger than life, jaw-dropping perception of Santa and we the audience see him through the awe-struck eyes of those children. The animation is gorgeous and Hanks fits the picture perfectly.

#2 – Jeff Gillen (“A Christmas Story”)

How can a movie Santa Claus who only appears for 3 minutes of a film have such a prominent position on this list? Easy – when he gives us such a hilarious and utterly timeless scene. This is what Jeff Gillen does in the modern holiday classic “A Christmas Story”. His tired and grumpy department store Santa grows more and more irritable as he approaches the end of his Christmas Eve shift. Grumbling elves and Gillen’s bored and dismissive delivery doesn’t provide young Ralphie with the best experience, but it sure is a load of fun for us.

#1 – Edmund Gwenn (“Miracle on 34th Street”)

Let’s be honest, who else could be number one? In my book Edmund Gwenn’s fabulous portrayal of Santa Claus is the perfect blueprint for how to play the character. Gwenn’s Oscar-winning performance still stands out today and from the first moment you see his Kris Kringle you can’t help but be drawn to him. He has the demeanor, the cheer, the charisma, the childlike exuberance. And with the exception of one old grump, he makes everyone around him happier and every circumstance better. Edmund Gwenn embodies the character to absolute perfection and he is unquestionably the best movie Santa Claus.

So what do you think of my list? Agree or disagree with my choices? Please take time to share your choices in the comments section below. And of course…Merry Christmas!

REVIEW: “Wonder Woman 1984” (2020)

December 24, 2020 by Keith Garlington

2020 began with a number of exciting blockbusters scheduled for release. But then COVID-19 hit leading to one disappointing postponement after another. Warner Bros. was bold enough to test the big screen waters in early September with Christopher Nolan’s big budget mindbender “Tenet”. But its sagging box office numbers showed other studios that many anxious moviegoers simply weren’t comfortable returning to the theaters. That proved to be the final nail in the coffin for 2020 Hollywood tent-poles.

Well, it was ‘almost’ the final nail. “Wonder Woman 1984” was still slated for a Christmas Day release but in this crazy year nothing is for certain. And then came the earth-shaking announcement that Warner Bros. would be releasing its entire lineup of delayed 2020 movies throughout 2021 in theaters and on the HBO Max streaming platform on the same day. They went on to say the move was kicking off with “WW84” on December 25th. And just like that one of the year’s most anticipated blockbusters was only a few weeks away.

Making a sequel to 2017’s “Wonder Woman” was never going to be easy. Minus its bombastic CGI-heavy finale, the first film is easily in the top-tier of the superhero genre. It was a movie that entertained and inspired; one that felt remarkably fresh yet captured the essence of its comic book source material. It was wonderfully directed by Patty Jenkins who became the first woman to direct a major American superhero flick. And of course it starred the impeccably cast Gal Gadot who instantly became Wonder Woman, not just for a new generation but for old die-hards as well.

Image Courtesy of Warner Bros.

All of that brings me to the long-awaited sequel, “Wonder Woman 1984”. Most of the key ingredients for a fun and exhilarating follow-up are back. It again sees Patty Jenkins directing and co-writing. It sees Gal Gadot returning as the film’s titular character. It still inspires and in its own unique way still feels fresh. But sadly this time around too many things don’t click. Too many good ideas simply don’t come together. And it can’t quite reach its own lofty ambitions. In the end “WW84” left me fascinated yet baffled; entertained but ultimately disappointed.

“Wonder Woman 1984” is a strange movie. I don’t know how else to put it. It’s strange in terms of story, in terms of structure, in terms of tone. It tries to do so much but it struggles to balance it all. So we end up getting its ideas in segmented chunks. First we get a lengthy prologue set in Themyscira. Next it spends time having fun with its main story’s 1980’s setting. Then it reintroduces Chris Pine’s Steve Trevor who does the ‘fish out of water’ thing. Then it takes its serious turn leading to its inevitable action-packed finish. The nostalgic 80’s playfulness and quirky sense of humor is pretty much restricted to the first half and then all but vanishes in the film’s more serious second leg.

After the prologue which is basically there to lay out the story’s main theme, the timeline shifts to 1984. Diana Prince (Gadot) now works as a head anthropologist at the Smithsonian Institute in Washington D.C. She still fights crime on the side as Wonder Woman but keeps a low profile (somehow no one has noticed her? No one?). Some of the film’s more moving moments are when it emphasizes Diana’s loneliness. Despite her prominent position at the museum and a beauty untouched by age that grabs the attention of countless men (crappy ones included), Diana remains isolated and heartbroken, still feeling the loss of her boyfriend Steve from decades earlier.

Image Courtesy of Warner Bros.

Diana sympathetically befriends a sheepish new co-worker named Barbara Minerva (Kristen Wiig). Her character is a fairly familiar one for people who have watched superhero movies. She’s awkward and insecure; a bit nerdy and basically overlooked by everyone other than Diana. Think Jamie Foxx’s Electro or Uma Thurman’s Poison Ivy. While discussing a believed-to-be worthless rock, Diana and Barbara unwittingly trigger the stone’s wish-granting properties. Diana wishes that Steve was alive while Barbara wishes she had Diana’s beauty and strength, not knowing that Diana was actually a super-powered Amazon.

One person who does know the stone’s power is failing businessman and television huckster Maxwell Lord (Pedro Pascal). He manipulates Barbara and is able to secure the stone for himself. He then wishes to be the very embodiment of the stone giving him the power to grant people’s wishes and taking whatever he wants as payment. Pascal makes for a deliciously campy megalomaniac especially in his early scenes. Unfortunately he loses some of his appeal once the film tosses aside its sense of humor.

Wiig is really good channeling the two sides of Barbara. She delivers several good laughs as the timid yet slyly charming outcast and then has a blast as the super confident “apex predator” who grows more and more enamored with her new self. Meanwhile Diana’s wish comes true when Steve’s soul returns in another man’s body. Visually we basically see what Diana sees in her heart which means we see Chris Pine. There are so many obvious questions about this that the movie avoids. Basically Pine is here for comic relief and only in the later scenes does he become something more than a punchline. Ultimately his value as a character is seen in how he changes Diana. How his very presence brings her the joy and happiness she’s been missing. And how the thought of losing him is more than she can bear. So while Pine is clowning it’s Gadot who gives us our emotional connection.

Image Courtesy of Warner Bros.

The story takes its serious turn as Lord becomes obsessed with gaining (of course) more power. “Why not more? Why not wish for more?” He begins targeting world leaders, granting their wishes then broadsiding them with his demands (the film has some fun dabbling in the world politics of 1984). And the further he pushes his lust for control the closer society comes to a full-on collapse. Sadly Wiig gets back-burned during most of this with Barbara basically reserved for action scene duty and not much more. And then there is the ending. Absolutely no spoilers here, but let’s just say it leaves glaring questions that seem like oversights rather than narrative choices.

In one sense I absolutely love the look of the film. Some of the DC movies have been criticized for their dark and gloomy palettes. Not this one. “WW84” is bright and vibrant. Its colors pop off the screen in ways fitting of its neon-loving 80’s setting. But then you get to the special effects, a head-scratching mixed bag of bad character design (sorry Cheetah) to jarringly obvious CGI. It stands out most when Diana is running at super high speeds. Her motions are strangely out of whack, as if she were running in place on a stage and then digitally added to the scene. While there isn’t a ton of action in “WW84”, we do get a couple of exciting scenes, one in a shopping mall and one in the White House, that helps overlook the rougher stuff.

To be clear I did like “WW84”. I like its big-hearted and hopeful message. I still love Patty Jenkins. I still think Gal Gadot is some of the best casting in the entire superhero genre. She carries the movie with an effortless grace. It’s some of the moving parts and the shaky structure around her that unavoidably leaves this feeling like a letdown. Still, there is real entertainment value in breezy big-budget escapism especially after a year like 2020. “WW84” certainly supplies that. But after the greatness of the first film, don’t blame us for expecting more. “Wonder Woman 1984” premieres Christmas day in theaters and on HBO Max.

VERDICT – 3 STARS

REVIEW: “News of the World” (2020)

December 23, 2020 by Keith Garlington

In the crazy world of cinema a seasoned actor or actress can sometimes find themselves inextricably bound to their big screen personas. In other words they can build such a reputation through their characters that they create a very specific appeal that audiences gravitate towards. Tom Hanks is one such actor. The latter half of his career has seen Hanks turn decency into a signature as he consistently turns in one sturdy good-guy role after another.

Some actors have bucked their on-screen image to great effect. Look no further than Henry Fonda in Sergio Leone’s classic “Once Upon a Time in the West”. Shocked audiences didn’t see the blue-eyed big screen nice guy they were accustomed to. Instead they saw Fonda playing a menacing cold-blooded killer. But for Hanks it has become a genuine asset – a dependable hallmark that he has used to bring to life an assortment of memorable and endearing characters. This has never been more true than in his latest film “News of the World”.

The film sees Hanks reteaming with director Paul Greengrass. The two previously worked together on 2013’s Oscar-nominated “Captain Phillips”. Instead of the high seas this time they head to the Old West some five years after the end of the Civil War. Hanks plays Captain Jefferson Kyle Kidd, a Confederate war veteran who now travels from town to town sharing news stories from around the world. Captain Kidd is a bit of a lost soul, haunted by demons from his past and burdened by feelings of guilt and regret. Constantly moving keeps his pain on his heels and reading the stories of others keeps him from dwelling on his own. Interestingly his melancholy and sorrow isn’t obvious right away. Kidd hides it well, but Hanks’ sad, world-weary eyes speaks volumes.

Image Courtesy of Universal Pictures

After an evening reading in Wichita Falls, Texas the Captain heads out for his next destination, coming across a wagon wreckage along the way. Among it he finds the body of a black soldier lynched by racist locals as a message to anyone who dares to challenge their pungent ideologies. He also finds a fair-skinned blonde-haired little girl, distraught and speaking no English (she’s played by the dazzling German actress Helena Zengel). The Captain discovers her paperwork and learns her name is Johanna and that the soldier was transporting her south to her Aunt and Uncle in Castroville. The papers say she was kidnapped as a child and raised by the same Kiowa tribe who killed her immigrant birth parents and sister. But now she’s twice orphaned and has fallen through the crack separating two very different cultures.

Kidd refuses to leave the girl behind, and after getting the runaround at an army outpost in Dallas he commits to taking her to Castroville himself. So the two unlikely companions set out on a 400-mile trek across a lawless Reconstruction-era Texas, crossing paths with an assortment of unsavory types. Greengrass uses their journey as a means to develop a touching human bond. But he also uses it to explore the complex anatomy of a turbulent America; one in the throes of some ugly and often violent growing pains. All while making some keen observations about our country’s modern day complexion.

It becomes evident over time that both Captain and Johanna are meant to represent a wounded and fractured nation. But there are so many more layers to their individual characters and their uncommon relationship. The script (written by Greengrass and Luke Davies and adapted from a 2016 novel by Paulette Jiles) portrays both as tragic figures, each alone in a hard and unforgiving world. Yet their attachment grows with each ugly encounter and dangerous hardship (and there are several).

Image Courtesy of Universal Pictures

One comes when they cross paths with a thug (Michael Angelo Covino) who offers to “buy” Johanna. He doesn’t take kindly to being told “no” which leads to the film’s action high mark – a thrilling and brilliantly devised shootout set on a jagged rocky hillside. Another is when they cross into a county ran by an oppressive and bigoted gang leader named Farley (a convincingly vile Thomas Francis Murphy). A tension-soaked sequence follows that speaks to our current issue of truth versus propaganda. Thankfully there are some helpful hands along the way and they’re nicely played by some wonderful familiar faces including Ray McKinnon and Elizabeth Marvel.

“News of the World” simmers with current day relevancy, but it very much looks and feels like a classic Hollywood Western in large part thanks to cinematographer Dariusz Wolski. Perhaps best known for his collaborations with Ridley Scott, Wolski brings a painterly beauty to the sparse rugged territory and some of his images would feel right at home in a John Ford picture. And whether his camera is in a cramped dimly lit room full of news-hungry townsfolk or gazing over a sprawling countryside without a person in sight, his compositions crackle with life and sharp period detail.

It’s hard to believe that this is the first Western Tom Hanks has ever made. He’s such a natural fit especially at this stage of his career. But what a wonderful time for him to jump into the genre and what a great film for him to call his first. In addition to being wonderfully made and exceptionally well acted, “News of the World” is such a timely movie. Its like a soothing balm that comes at the end of a year that’s been full of division, strife, and distrust. Yet here we have a movie about the simple value of showing compassion and doing the right thing. A tender and heartfelt story about finding peace in the most unexpected of places. Yes the film prompted me to ponder our society both past and present. But it also left me with my heart full, which is feeling I welcome after a year like 2020. “News of the World” opens Christmas Day only in theaters.