REVIEW: “Alone” (2020)

November 16, 2020 by Keith Garlington

In the lean taut thriller “Alone” a woman finds herself constantly in the unwanted company of a creepy middle-aged stalker with all the markings of a serial killer. It’s a simple premise and director John Hyams wrings out every drop of tension while once again proving that when it comes to cinema less is often more.

“Alone” is a remake of the 2011 Swedish film “Gone”. It’s written by screenwriter Mattias Olsson who wrote and co-directed the original. The film opens on a woman named Jessica (Jules Wilcox) loading a Uhaul trailer. She fills it with the last of her personal items, gets into her car, sets the GPS and heads out. She leaves the unnamed city and is soon traveling along winding rural roads lined with beautiful tall timber and scarcely a house to be seen. We aren’t told where she’s going, but we get the sense she’s leaving something behind, perhaps in an attempt to make a new start.

Photo Courtesy of Magnet

From there Hyams begins to tighten his narrative screws. The story is broken into chapters with the first called “The Road”. As Jessica travels she gets behind a slow-moving SUV and attempts to pass. But the driver speeds up almost causing Jessica to have a head-on with an oncoming 18-wheeler. The SUV then begins riding her bumper, honking and flashing its lights before finally veering off at an intersection. Later while getting gas she sees the SUV again. After staying the night at a motel she finds the mustached SUV driver (Mark Menchaca) waiting for her as she starts to leave. He apologizes for their encounter before hitting her with the creepily ambiguous “I’ll see ya around.” Yeah, I’m sure you will.

It’s followed by four more chapters, each with titles like “The River” and “The Rain” that mark our progression through the story. Needless to say the man doesn’t go away and Jessica soon finds herself in a match of wits and survival, alone with a maniac in a dense isolated forest that resembles the Pacific Northwest. In fact they’re so alone that Wilcox and Menchaca are the lone cast members except for a brief but excellent appearance by Anthony Heald (“Silence of the Lambs”). The performances really are terrific led by Wilcox who convincingly sells Jessica’s terror while showing her grit and ferocity specifically in the second half. And Menchaca is absolutely chilling, bringing an ‘average Joe’ menace to every scene he’s in.

Photo Courtesy of Magnet

Hyams helps his cast by showing off a great eye both with the camera and in the editing room. He works with DP Federico Verardi to put together a tense and immersive visual presentation. Keen touches like small and steady camera movements, crafty angles, and stunning high-resolution drone shots. And his co-editor work with Scott Roon is equally effective. Surgically precise cuts that are not only technically impressive, but that also ratchet up the nail-biting tension.

File “Alone” into the Really Nice Surprise category. From the very start the filmmakers commit to their premise, proving the movie’s simplicity is one of the its biggest strengths. We do learn a few character details along the way, but for the most part “Alone” remains an intensely focused thriller anchored by two dramatically different but equally effective performances. “Alone” is now showing in select theaters and on VOD.

VERDICT – 4 STARS

REVIEW: “Black Box” (2020)

November 13, 2020 by Keith Garlington

It was roughly one year ago that we first learned Amazon Studios was partnering with Blumhouse to bring eight original movies to their Prime Video streaming platform. “Welcome to Blumhouse” would offer the (mostly) horror-centered production company the opportunity to highlight a fresh group of talented filmmakers. Founder Jason Blum assured that the eight interconnected films would feature the company’s signature chills and all will explore “family and love as a redemptive or destructive force” in their own unique way.

One of first films from the partnership is “Black Box” from director Emmanuel Osei-Kuffour Jr. The story follows a young father named Nolan (played by the immensely talented Mamoudou Athie) who loses his wife and memory in a tragic car accident. In the few years that have followed he has regained a sense of the man he was in large part thanks to his mature-beyond-her-years daughter Ava (Amanda Christine). But despite his and his daughter’s best efforts, Nolan can’t seem to get back on track.

Photo Courtesy of Amazon Studios

Ava has essentially taken on the parent role – running her father through memory exercises, prepping him for a meeting with his boss, chiding him when he pulls out a pack of cigarettes. “You don’t smoke!” But when Nolan forgets to pick Ava up from school for the umpteenth time, the threat of child services pushes him to seek professional help. His pal Gary (Tosin Morohunfola) recommends Dr. Lillian Brooks (Phylicia Rashad), a well-respected neuroscientist who urges Nolan to take part in her Cognitive Research Study. Skeptical but desperate, Nolan agrees to an experimental therapy which Dr. Brooks assures will reconnect him to his lost memories.

Dr. Brooks connects Nolan to what she calls her Black Box, a virtual reality-like experience that transports her patients deep into their subconscious to find and relive old memories. Once inside Nolan begins seeing fragments of memories of his wedding and of when Ava was a baby. But not everything is as it should be, most notably all of the people’s faces are blurred. Even worst, every time he enters the Black Box he is terrorized by a ghastly human-like creature with popping joints and crackling limbs. Certainly all of it means something, but Nolan can’t figure it out and Dr. Brooks dismisses it as part of the treatment. Ultimately he begins seeing things that leaves him questioning whether he’s really the man everyone says he is.

Photo Courtesy of Amazon Studios

Light on gore and free of tired and overused jump scares, “Black Box” leans more into psychological thriller territory, underpinning its story with elements of science-fiction and horror. The script (co-written by Osei-Kuffour Jr. and Stephen Herman) takes a ‘just go with it’ approach to the science, explaining it but sweeping most of the details under the rug. And while it doesn’t telegraph it’s big twist, it all but draws a big bright circle around its antagonist. And by setting our eyes on the baddie early, it can’t help but undercut the suspense.

The story makes up for it in its handling of Nolan. Osei-Kuffour Jr. and Herman write a character that Mamoudou Athie can really sink his teeth into – someone with emotional depth and personal stakes worth investing in. And I don’t want to shortchange the film’s heady ideas and clever twist which adds a fun and unexpected layer. Also two thumbs-up to the eerie score from Brandon Roberts and Osei-Kuffour Jr.’s imagination and resourcefulness in navigating budget constraints while still maintaining a visually compelling style. It’s a solid effort from a first-time feature film director with a promising career ahead of him. “Black Box” is streaming now on Amazon Prime.

VERDICT- 3.5 STARS

First Glance: “Wild Mountain Thyme”

November 12, 2020 by Keith Garlington

It has been 12 years since we last saw John Patrick Shanley behind the camera. The Oscar-winning writer-director is perhaps best known for his 1987 romantic comedy “Moonstruck” but he also hit critical gold with 2008’s period drama “Doubt”. His latest film sees him returning to the light-hearted charms of his debut. “Wild Mountain Thyme” is based on Shanley’s own play “Outside Mullingar” and it puts together an eye-opening ensemble.

Emily Blunt plays a headstrong farmer and Jamie Dornan plays her childhood friend and the oblivious object of her affections. Joining them in this Irish romance is John Hamm playing one of those annoying Americans and Christopher Walken, an Irish accent and all, playing Dornan’s father who seems intent on selling their family’s farm. I love the cast and there looks to be plenty of room for both ample drops of comedy and drama.

“Wild Mountain Thyme” opens December 11th in theaters and on VOD. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Hillbilly Elegy” (2020)

November 11, 2020 by Keith Garlington

When J.D. Vance’s memoir “Hillbilly Elegy” came out in 2016 it was almost instantly thrust into the divisive political arena. To no surprise many partisans from both sides of the aisle had dramatically different reactions to book. But at it’s heart Vance’s memoir was a deeply personal work. It was a therapeutic release derived from his first-hand experiences growing up among three generations of a troubled Appalachian family. The poverty, the physical and verbal abuse, the cyclical nature of his family’s plight – just some of the things that clearly left their mark on Vance.

Director Ron Howard teams with screenwriter Vanessa Taylor in adapting “Hillbilly Elegy” for Netflix. Their film is told from Vance’s point-of-view, both from his teen years (where he’s played by Owen Asztalos) and as a college student (played by Gabriel Basso). Howard and Taylor nimbly maneuver along the two timelines, frequently crossing over in an effort to capture where J.D. came from and what he’s trying to escape.

Photo Courtesy of Netflix

The performance many will be talking about/debating comes from Amy Adams. She plays J.D’s mother Bev, a woman known more for her history of drug abuse and failed relationships than for being a loving and responsible parent. Adams gives an undoubtedly big performance, sometimes sucking all the air out of a scene. But that’s more to do with the writing and directing than the actress. Adams is fully committed and convincing. But Bev lacks the complexity the film wants her to have mainly because far to little time is spent fleshing out any redeemable qualities. We’re given light strokes but hardly anything that evokes sympathy.

Glenn Close is given a much more rounded character. She plays J.D.’s tough-skinned, tough-tongued grandmother who makes it her job to keep the family together. Close goes big in a few scenes herself, but she’s also given quieter moments that add dimension and clarity to her character. It’s a bit startling how much Close resembles Vance’s real-life Mamaw (we see her picture during the end credits). Her transformation and performance both help form a character who ends up saving numerous scenes from getting out of hand.

The story attempts to cover a lot of ground, settling mostly in the family’s hometown of Middleton, Ohio. The early images of a once bustling town drying up and dying really resonates. As does the terrific production design from Molly Hughes and the set decoration from Laura Belle and Merissa Lombardo. They create very real and lived-in spaces while offering a vivid portrait of struggling low-income living. “Whatever better life my grandparents had been chasing up Route 23 they never caught it“, says J.D. in narration.

While J.D.’s teen years show us a good kid surrounded by heartbreak and hopelessness, his college scenes reveal a young man working hard to break out of his family’s mold. J.D. works three jobs while attending Yale Law School and has beautiful and supportive girlfriend named Usha (played by the 36-year-old Freida Pinto who can still easily pass for a college student). But when those inseparable family bonds (specifically his mother’s demons) tempt to pull him back in, J.D. is forced to make some life-defining choices.

Photo Courtesy of Netflix

It’s here that Howard and Taylor wrestle with the idea of family obligation and expectation. We know what J.D. should do regardless of how difficult it would be. But it clashes with his deep-rooted sense of family duty which gives us one of the film’s more well-developed conflicts. Does he remain a product of his raising or does he pursue the better life that is waiting for him at Yale. Or the bigger question – is it possible to do both?

“Hillbilly Elegy” isn’t the easiest material to cover but Howard gives it his best. It’s a gritty, coarse and intense family drama that works really hard to sell itself. Unfortunately there are a few loose threads and narrative oversights that hold it back. Keeping us almost exclusively behind J.D.’s eyes doesn’t always work either. Both performances, young and old, can be a little dry and you’ll often find yourself more invested in the characters around him. It doesn’t squash the things “Hillbilly Elegy” does right, but it does leave the film feeling like a missed opportunity. “Hillbilly Elegy” opens November 11th in select theaters and premieres on Netflix November 24th.

VERDICT – 2.5 STARS

REVIEW: “Let Him Go” (2020)

November 10, 2020 by Keith Garlington

I have to admit the new film “Let Him Go” had me onboard just with its cast. Kevin Costner as a retired sheriff, Diane Lane as his tough resolute wife, and Lesley Manville as a wicked backwoods matriarch. You have three screen veterans whom I love starring in a gritty family drama set across Montana and North Dakota. Talk about a movie that’s right up my alley. So considering all of those glowing personal affections, my expectations were probably a little higher than most.

Don’t you love it when a highly anticipated movie doesn’t let you down? That’s certainly the case with “Let Him Go”. This character-driven neo-Western drama comes from Thomas Bezucha, a Massachusetts native who you would swear was born and raised in Big Sky country. From the very start his film makes such great use of its setting, whether it’s the stunning snow-capped mountain backdrops or the sprawling desolate landscapes that are both ominous and beautiful. Bezucha wastes no time planting our feet on the rich rocky ground.

Photo Courtesy of Focus Features

What surprised me most about “Let Him Go” was the script. This could have easily turned out to be a much more conventional thriller. But Bezucha (who both writes and directs) burrows into his two lead characters making them the focal point. I haven’t read the 2013 novel by Larry Watson, but Bezucha’s adaptation centers itself on the themes of grief, regret and loss, examining them with heartfelt and earnest emotion. The film does have a few genre flourishes, but they come well after we’ve connected with these characters which give the scenes more weight than they would have otherwise.

Set in the early 1960’s, George and Margaret Blackledge (Costner and Lane) are still struggling to cope with the death of their son. Margaret, once an accomplished horse trainer, lost her enthusiasm and has quit riding altogether. George has buried his pain, content with locking it away rather than dealing with it. Both go about their days work on their small Montana ranch doing an admirable job concealing their heartbreak. But it gets tougher when their son’s widow Lorna (Kayli Carter) remarries, this time to a miscreant named Donnie Weboy (Will Brittain).

Neither George or Margaret like Donnie and are especially worried about their grandson Jimmy (played by twins Bram and Otto Hornung). Their suspicions are confirmed after Margaret witnesses Donnie slap both Lorna and Jimmy. The next day she goes to check on them only to discover that they have packed up and left town. No notice, no goodbyes. Determined that her grandson won’t grow up in an abusive home, Margaret convinces George to help her track them down and bring Jimmy home. But Donnie’s a Weboy, a notorious family name known all across North Dakota. The Blackledge’s track Jimmy to the remote Weboy farm house which is ran by the family matriarch Blanche Weboy (a wickedly fun Manville). And let’s just say she’s not too keen on letting Jimmy go.

Photo Courtesy of Focus Features

As you can tell there is a lot of room in the story for tension. And we do get some really good white-knuckled scenes when the Blackledges and the Weboys get together. But at the same time there is a quiet solemnity that runs through much of the film. Bezucha leans heavily on Lane and Costner and their ability to convey deep emotions often with little dialogue. Both performances are superb and give us layered characters rich with honest feelings and unshakable authenticity. It helps that Lane and Costner have a strikingly natural chemistry. Of course this isn’t the first time they played husband and wife on screen. They were also Superman’s earth parents Ma and Pa Kent.

The film’s shakiest scenes come when the Blackledges befriend a thinly sketched Native American named Peter (Booboo Stewart). We see shades of an interesting character but he needed more attention. Otherwise “Let Him Go” hits all the right chords from its wonderfully low-key early rhythm to its effectively pulpy final third. It helps to have seasoned talents giving perfectly calibrated performances. And the story’s unexpected layers of humanity make us genuinely care while ultimately bringing out the deeper meaning to the film’s title. “Let Him Go” is now showing in theaters”.

VERDICT – 4.5 STARS

REVIEW: “Fatman” (2020)

November 9, 2020 by Keith Garlington

‘Tis the season for Christmas movies galore and I guarantee you won’t find one quite like “Fatman”. Think about it, Mel Gibson playing a down-on-his-luck, liquor-swilling Santa who has to resort to taking military contracts in the off-season just to keep his workshop open. Obviously that’s just a sliver of the movie’s plot, but you have to admit there hasn’t been a Christmas movie in the same wacky vein as this one.

“Fatman” comes from the writing-directing duo of Eshom and Ian Nelms. The two brothers have crafted a movie that’s part dark comedy, part action flick and with an ever so slight Western vibe tossed in for good measure. It even finds time to fire a couple of shots at out-of-control consumerism and commercialism. But social commentary isn’t the main thing on its mind. “Fatman” is more of a fun and playful genre-mashup with some enjoyable performances and a goofy enough story to be both funny and entertaining.

Photo Courtesy of Saban Films

A well-cast Gibson has a ball playing a grizzled Chris Cringle. Times are hard for the not-so-jolly old elf who feels tossed aside by the cold and selfish world. “I’ve lost my influence,” he laments to his devoted wife Ruth (Marianne Jean-Baptiste). She’s an encourager by nature but also level-headed and not afraid to speak the truth when he needs to hear it. I couldn’t help but love the simple yet sweet chemistry between Gibson and Jean-Baptiste. They make for a convincing couple.

On the business side of things, kids are naughtier than ever which means fewer toy deliveries. This displeases the US Government who sees Chris as an economic asset. “We want your holiday spirit. It generates holiday spending.” With their yearly subsidy set to be well below his current budget, Chris agrees to take on a military contract to make ends meet. The sheer absurdity of it had me laughing out loud – subsidies, bottom lines, the elves in Santa’s workshop manufacturing jet fighter parts for the military. It’s funny stuff made even funnier by the film’s straight-faced approach.

But soon Santa has more to worry about than finances. After a rich and insufferable little snot named Billy (Chance Hurstfield) gets a lump of coal for Christmas, he secretly uses his family’s wealth to hire a hitman (Walter Goggins) to kill Santa Claus. Goggins hams it up playing a cold-blooded sociopath with his own bone to pick with Chris over a Christmas present he never received as a kid. Perfectly reasonable reaction, right? But hunting down the Fatman won’t be easy. It’s not like Santa’s workshop is marked on a map or can be found on a GPS.

Photo Courtesy of Saban Films

So Chris tries to find his lost Christmas spirit while keeping his elves employed and his business afloat. Meanwhile there’s a contract on his head and an eager assassin is ready to cash in. It leads to the inevitable bullet-riddled final act that is far more satisfying than it has any right to be. The Nelms brothers show off a knack for shooting action but don’t expect a lot of it. Most is contained in the final 15 minutes or so.

About a month ago “Fatman” introduced itself with an unexpectedly diverting trailer. The finished product is equally surprising and just as fun as I had hoped. There is a stretch where not much happens; where the movie is content with simply goofing around within its wacky premise. But I admit, I even got a kick out of that. More importantly the whole thing works as waggish escapist entertainment which is exactly what the filmmakers were shooting for. “Fatman” opens November 13th in select theaters and November 24th on VOD.