First Glance: “Godmothered”

November 23, 2020 by Keith Garlington

Disney’s “Godmothered” is coming to Disney+ just in time for the holiday season. This part fantasy, part family comedy comes from director Sharon Maguire best known for her “Bridget Jones” movies. Disney was kind enough to provide me with a screener around the same time as its new trailer dropped. At first glance I can see the film appealing to some audiences more than others. And for better or worse it’s hard to miss the similarities to “Elf”. Tell me if you agree.

In a world fittingly known as The Motherland Jillian Bell plays Eleanor, a fairy godmother-in-training who learns that her beloved profession is on the outs. Determined to prove that the world still needs fairy godmothers, Eleanor targets a cynical single mother (played by Isla Fisher) whose hardened shell could prove to be tough to crack. It’s an undeniably sweet concept and I’m always up for a little Christmas cheer. We’ll see where this one lands.

“Godmothered” premieres December 4th exclusively on Disney+. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Freaky” (2020)

November 23, 2020 by Keith Garlington

Writer-director Christopher Landon grabbed a lot of attention with his surprisingly fun horror-comedy “Happy Death Day” and its not-as-good but still entertaining sequel. Of course those weren’t Landon’s first forays into genre. He wrote the crafty 2007 thriller “Disturbia” and several sequels in the “Paranormal Activity” franchise. But “Happy Death Day” showed his knack for blending horror, humor and a healthy helping of nostalgia.

Landon’s latest film “Freaky” attempts to strike that same chord but with mixed results. Produced by Blumhouse (isn’t everything these days?), “Freaky” borrows from countless slasher movies and its basic concept is inspired by Mary Rodgers’ popular children’s novel “Freaky Friday”. But this is certainly no kids movie. On one hand it pours on the blood and gore often to a hilariously gruesome degree. On the other hand it can be needlessly crude with dialogue that’s nothing short of cringe-worthy.

Photo Courtesy of Universal Pictures

The film is set in the not-so-appropriately-named town of Blissfield. It opens with the brutal murder of four insufferable teens who could have been plucked from any number of 80’s slasher flicks. One by one they are slaughtered in absurdly graphic fashion by a deranged serial killer known as the Blissfield Butcher (Vince Vaughn). The sequence is intentionally packed with every trick, every trope, and every stupid character decision from the genre’s history. It’s a pretty fun tone-setter with several cool nods to horror fans.

From there the movie introduces us to Millie Kessler (Kathryn Newton), a shy and unassuming high school senior still hurting from the recent death of her father. At home her clingy mother Paula (Katie Finneran) uses booze to cope with the loss while her older sister Charlotte (Dana Drori), a police officer, has shut herself off emotionally. It’s not much better at Blissfield Valley High where Millie is constantly bullied by an endless parade of unlikable dimwits and snotty preppies.

Like Halloween in Haddonfield, high school homecoming means death in Blissfield. After the big game Millie finds herself stranded at the football field with no ride home. Fresh off killing the teen fodder in the film’s opening, the Butcher spots Millie, chases her onto the field and stabs her with a mystical knife he stole from an earlier scene that somehow causes them to swap bodies. Yes, it’s utterly ridiculous and the film never even attempts to explain it. But I’m kinda glad. The movie knows it’s silly so why waste time trying to make sense of it?

Photo Courtesy of Universal Pictures

Instead the movie leans into its two biggest strengths – Vaughn and Newton. Vaughn is especially funny channeling the personality and sensibilities of a terrified teenage girl. Newton actually gets the tougher assignment and pulls it off remarkably well. Unfortunately the two are surrounded by a slew of supporting characters ranging from bland and shallow to woefully obnoxious. Of course many are intentionally written as specific character types, but that doesn’t make them or their sometimes dreadful dialogue any easier to digest.

Eventually the film’s premise begins to run out of gas, only making it to the finish on the backs of Vaughn and Newton. As a whole the horror elements work pretty well from the hysterically over-the-top kills to the rare moments when the film quiets down and builds tension. The humor is far more uneven. It’s at its best when it’s spoofing the horror genre. Unfortunately it insists on going down the path of other uninspired teen comedies which undermines its potential. So I was left in the frustrating position of admiring certain parts of “Freaky” and wishing I could toss out the rest. “Freaky” is now showing in theaters.

VERDICT – 2.5 STARS

First Glance: “Chaos Walking”

November 20, 2020 by Keith Garlington

It took some time but we’re finally getting our first look at Doug Liman’s “Chaos Walking”, an upcoming sci-fi adventure that I’ve been really curious about. In addition to loving good science-fiction, I was immediately grabbed by the cast: Daisy Ridley, Tom Holland, and (the biggest draw for me) Mads Mikkelsen. Several other good names fill out what looks like a really strong ensemble. And while Liman doesn’t always hit his marks, when he does the results can be terrific (see “The Bourne Identity” and “Edge of Tomorrow”).

“Chaos Walking” is based on a popular young adult sci-fi trilogy that I know nothing about. Basically a mysterious girl crash lands on a planet inhabited solely by men (and a few not-so-hospitable creatures). The girl is discovered by a young man played by Holland who pledges to protect her against the bevy of dangers, one of those being Mikkelsen’s ruthless Mayor Prentiss. The kicker is that the men are afflicted by something called “the Noise” which puts all of their thoughts on display either audibly or visually. Interesting concept.

“Chaos Walking” is set for a January 22, 2021 release. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Run” (2020)

November 19, 2020 by Keith Garlington

Originally set for a theater release them nabbed by Hulu, “Run” is a “Mommy Dearest” styled psychological thriller that highlights an often underrated actress while welcoming an exciting young newcomer. It’s also the sophomore effort from director Aneesh Chaganty who earned a lot of well-deserved attention for his 2017 tech thriller “Searching”.

In “Run” Chaganty (who also co-wrote the script with Sev Ohanian) examines mother/daughter relationships through a sleek Hitchcockian lens. In his film Sarah Paulson plays Diane, a devoted single mother who has cared for her wheelchair-bound 17-year-old daughter Chloe (Kiera Allen) since her troubled premature birth. That means raising her, homeschooling, and tending to her numerous medical needs. “No one in the universe loves their kid as much as I do.”

Photo Courtesy of Hulu

At first look their relationship seems heartwarming, even inspiring. Sure Diane is a bit overprotective but she clearly loves her daughter. Chloe on the other hand loves her mother but she’s eager to leave the nest, anxiously awaiting an admission letter from The University of Washington.

Chaganty doesn’t waste time showing cracks in Diane’s psyche and the smart, resourceful Chloe begins questioning her mom’s restrictions. Things like her refusal to let her daughter have a cell phone, no internet browsing, and Diane’s insistence on being the only one who gets the mail. Things get even fishier when Chloe finds a bottle of her pills with her mother’s name on it instead of hers.

Photo Courtesy of Hulu

As you can guess things get darker and deranged as we learn the lengths momma will go to keep her baby under her wing. Paulson’s methodical portrayal of an unhinged Diane is terrific, revealing a deeply sinister edge to the character without going overboard. And Allen is a convincing foil, nailing down several demanding scenes with both physical and emotional commitment.

Sadly the movie does run out of steam before sticking its big batty finish. And while I liked the nuttiness of the last act, countless questions came to mind once the obligatory reveals started pouring in. And to be honest, it took a ton of effort to look past them. Still, “Run” is a sneakily absorbing thriller that pokes at the idea of a mother’s domineering love and a child’s blind trust. And the two central performances keep us glued to the screen even when things get a little hard to swallow. “Run” premieres Friday, November 20th on Hulu.

VERDICT – 3.5 STARS

REVIEW: “The Lie” (2020)

November 18, 2020 by Keith Garlington

My second dive into Amazon’s “Welcome to Blumhouse” series was the snappy domestic thriller “The Lie”. The film actually premiered at the Toronto International Film Festival back in 2018, but it wasn’t picked up for distribution until August 2020. It’s the second of eight original films producer Jason Blum is doing for Amazon Prime. All of the movies center around the similar theme of “family and love as a redemptive or destructive force”. Each come from uniquely fresh filmmakers who explore the subject matter in their own distinct style.

“The Lie” comes from writer-director Veena Sud and is an adaptation of a 2015 German film titled “We Monsters”. It’s hardly the kind of film you would expect from the horror-focused Blumhouse. It has already met criticism for its lack of scares, but it makes sense considering this is in no way a horror movie. It’s a domestic drama/thriller that’s far more interested in the central family dynamic than the murder mystery the film is built upon.

Photo Courtesy of Amazon Studios

Sud begins her film with a montage of old videos. They show a bright and sunny little girl named Kayla sharing fun moments with her mom and dad. Within those few brief images we see the picture of a happy family. Sadly, a lot can change in just a few years. Jump ahead to now 15-year-old Kayla (Joey King) and we see a much different girl. The smile and playful chatter has given way to a moody, frustrated teen. We’re quickly shown the reason for her melancholy.

Turns out Kayla’s parents have divorced and both are trying to move on with new people in their lives. Her mother Rebecca (Mireille Enos) is a successful corporate layer dating a nice-enough business traveler. Her father Jay (Peter Sarsgaard) is a middle-aged musician having a fling with one of his bandmates. Both parents try their best under the circumstances, but Kayla still feels lost in a new life she never asked for.

As Jay drives Kayla to a ballet school retreat they pick up her friend Brittany (Devery Jacobs) at a bus stop. Several miles down the road the girls need a roadside bathroom break. Kayla and Brittany run into the woods and a short time later Jay hears a chilling scream. He runs through the snow to find his stunned daughter sitting alone on a bridge. Jay frantically begins searching for Brittany until Kayla suddenly admits to pushing her friend off the bridge.

Assuming Brittany is dead, Jay hurries Kayla into the car and drives away. After telling Rebecca what happened the parents decide to keep quiet for fear of ruining their daughter’s future. But (as you would expect) soon their cover-up begins to unravel especially when Brittany’s father (Cas Anvar) begins asking questions. And you can’t really blame him. Several of the family’s actions are almost begging to be questioned.

Photo Courtesy of Amazon Studios

But that’s actually a point of the film. It shows what happens when you compound one bad decision with another. It shows how a desperate and emotionally rattled person can do rash and unthinkable things. The film also prods us to wonder how well we really know our own kids. And how far will a family go to ‘protect’ their daughter? Don’t get me wrong, this is no intellectually stimulating cinematic probe. But some people may be surprised at how relevant these questions are today, and the film’s answers to them intentionally pushes rationality to the brink.

But unfortunately this is a movie with an obligatory twist and it’s one I figured out within the first 20 minutes. Strangely I can’t pinpoint one particular instance where the movie tips its hand. Yet I had an idea where it was going and that’s exactly where it went. I still enjoyed the meat of the movie, the committed performances, and a few scenes of genuinely good tension. Unfortunately it ends with one of the most ho-hum, nonchalant reveals imaginable. Sarsgaard and Enos deserve credit for working hard to sell the scene. But it ends up cutting the legs out from under what is otherwise a surprising effective high-stress thriller. “The Lie” is streaming now on Amazon Prime.

VERDICT- 3.5 STARS

First Glance: “Let Them All Talk”

November 17, 2020 by Keith Garlington

While many of Meryl Streep’s more recent films have seen her in supporting roles, she still knocks out the occasional starring turn. And while the Academy is prone to shower accolades on any Streep performance, I find she’s at her best when given meatier lead roles. It looks like she gets one in the upcoming film “Let Them All Talk”, a Steven Soderbergh dramedy streaming soon exclusively on HBO MAX.

The film sees Streep playing an author who reunites with old friends played by Candice Bergen and Dianne Wiest. The “Gang of Three” as they were once known come together with all of the surface niceties but soon old wounds start to fester. The film also stars the wonderful Gemma Chan and Lucas Hedges.

“Let Them All Talk” premieres December 10th on HBO MAX. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.