REVIEW: “Star Wars: The Clone Wars” Season 7

May 26, 2020 by Keith Garlington

It goes without saying that K&M is predominately a movie site. But on rare occasions a television series or season resonates so profoundly with a particular fanbase or the culture in general that I feel compelled to write about it. The long-awaited final season of “Star Wars: The Clone Wars” recently wrapped up on Disney Plus, and a Star Wars die-hard like me couldn’t help but spend some time on it.

When Disney bought the Star Wars franchise from George Lucas in 2012 it brought with it some real highs and a few lows. One real travesty to come from the acquisition was the immediate cancellation of the hugely popular animated series “The Clone Wars”. It caught many people by surprise and it left several lose ends, never giving the series a proper finish.

It took years but Disney finally green-lit a 12-episode final season which brought back most of the talent and creative team who had made the series so great. To no surprise the announcement was met with unbridled enthusiasm and the reactions to the finished product have been just as exciting.

Photo Courtesy Disney Plus

The first four episodes are back to business and do a great job reoriented us with the series, its tone, and its characters. The episodes introduce the Bad Batch, a special-ops team of four clones enhanced with “desirable” mutations. They’re called in to help Rex and Cody on a mission to discover how the separatists are predicting every strategic military move the Republic makes. Again, it’s a great way to get us back in tune with the series.

The next four episodes bring back crowd-favorite Ahsoka Tano (voiced by the terrific Ashley Eckstein), really digging into her character and showing her first steps back on her destiny’s path. We see Ahsoka lost and rudderless after leaving the Jedi Order in season 5. She keeps to herself in the lower levels of Coruscant, hiding her identity and her past. After crashing her speeder bike she meets two sisters, hitting it off with one, not so much the other. Ahsoka ends up accompanying them on a mission that quickly turns dangerous. Does she reveal her true self and face the danger or stay hidden and hope for the best? It’s a great setup for what’s to come.

That seamlessly leads into the final four episodes chronicling the long talked about Siege of Mandalore. These are without question the best of the entire series and some of the best Star Wars storytelling we’ve ever seen. With breathtaking precision these episodes don’t just lead up to “Revenge of the Sith”, but they cross over into it. And they do so while wrapping up long unfinished storylines of their own which include Ahsoka, Darth Maul, and others. Surprising connections, startling revelations, and exhilarating showdowns fuel what is a proper finale to a tremendous series.

Photo Courtesy Disney Plus

Quick tip: If you’re only following the animated series you may remember Darth Maul was last seen in season 5 in a rather precarious position with the soon-to-be emperor. In season 7 he’s already on the throne in Mandalore. Wondering what happened in between? Check out the graphic novel “Darth Maul: Son of Dathomir”. It’s a great story that nicely fills in that gap. It’s a brisk, entertaining precursor to season 7.

I can say without hesitation that “The Clone Wars” Season 7 is essential viewing for any Star Wars fan. It’s also one of the best television finales I have every watched. The animation was always good, but it has taken a step up. The direction of each episode still gives each a big screen cinematic feel. Tonally the writing fits the series beat-for-beat while masterfully wrapping up the story’s many moving parts: Maul’s arc gets the attention it needed, Ahsoka gets her well-deserved time to shine, the clones themselves get their moments as well.

Everything comes together in the best way imaginable, brilliantly connecting to “Revenge of the Sith” while setting up what’s to come in the next animated series “Rebels” and elsewhere. Supervising director Dave Filoni deserves a ton of credit for not only recapturing the spirit of the series but also giving it a spectacular send-off (if this is truly the final season). It’s infinitely rewatchable and deserving of every ounce of praise it has received.

VERDICT – 5 STARS

REVIEW: “Inheritance” (2020)

May 25, 2020 by Keith Garlington

“Does any daughter really know her father?” It’s a strange question at the heart of the new feature “Inheritance”, a movie that starts out as a murky family drama of the rich and famous before quickly turning into a twisted sins-of-the-father thriller. It instantly sucks you in and it’s a fun enough ride all the way to the end. But making sense of it all turns out to be more of a chore than it should be.

Lily Collins plays Lauren, a strong-minded New York district attorney and proverbial thorn in the side of Wall Street. She’s the daughter of uber-wealthy bank executive Archer Monroe (Patrick Warburton) and the sister of Will Monroe (Chace Crawford), a hotshot congressman fighting for reelection amid some hefty corruption allegations. Catherine (an underutilized Connie Nielsen), the family matriarch, tries to keep everyone happy which isn’t as easy as it sounds.

Photo Courtesy of Vertical Entertainment

Archer’s sudden death in the opening few minutes shakes the Monroe power family to its core. We learn that Lauren’s progressive crusading as DA is partly out of conviction but also an act of rebellion against her family. This had driven a wedge between her and her father who was frustrated with Lauren for not protecting the family interests and for going after his millionaire friends. Everyone tells her “He was so proud of you“, but when the will is read her brother is left $20 million compared to her measly $1 million (oh the rich folk problems).

Lauren is privately approached by her father’s loyal-to-the-death attorney (Michael Beach) who gives her a packet containing a flash-drive and a key. Turns out Arthur has left her something else that no one but her must know about. A cryptic message on the drive leads her to an underground bunker hidden on the far side of the family estate. Inside the dark, musty chamber she finds a shaggy, unkept Simon Pegg, chained on a leash and itching for a slice of key lime pie. Personally, I would have rather had $20 million.

The stranger says his name is Morgan and he holds dark secrets that could bring down the Monroe family dynasty. It sets up a series of Starling/Lecter back-and-forths where Lauren must indulge Morgan’s curiosity for every new bite of information. She then goes out to check the veracity of his claims, learning some rather unsavory truths about her father along the way. Director Vaughn Stein rinses and repeats until things finally begin to come into focus.

Unfortunately for “Inheritance” the payoff isn’t as fun as the anticipation. I was onboard for most of it despite knowing how far-fetched the whole thing is. Actually that’s a big part of the fun. But once the pieces start coming together, you realize many of them don’t fit. And there were several instances where I just quit trying to figure out some of the strange character logic.

Photo Courtesy of Vertical Entertainment

Despite looking more like a college freshman than a NYC district attorney, Collins gives it her all and her performance works for the most part. She nails the rollercoaster of emotions and sells her cunning yet empathetic part in her tangos with Pegg. He’s having a blast doing what he can with the shaky dialogue he’s given. I mean you can’t help but giggle when he chews up lines like ”A lawyer, a banker, and a politician – the unholy trinity“.

To be honest, you really can’t help but giggle at the whole thing. As entertaining as it can be, “Inheritance” never rises above its rather silly premise. It leaves too many questions unanswered, has too many head-scratching moments, and doesn’t quite muster the mystery or excitement it needs. It’s still worth checking out if you’re looking for a fun, daffy escape. Just know that while it’ll keep your attention, sticking the landing proves to be trickier.

VERDICT – 2.5 STARS

First Glance: “The Old Guard”

May 22, 2020 by Keith Garlington

How does the idea of Charlize Theron leading a band of age-old immortal mercenaries sound to you? What if it tossed in Matthias Schoenaerts, Chiwetel Ejiofor, and “If Beale Street Could Talk” standout Kiki Layne? Put it all together and you get “The Old Guard”, an upcoming action-superhero mashup coming to Netflix based on a Greg Rucka graphic novel.

The trailer shows Theron playing the character Andromache (Andy for short). She gathers her team of unkillable soldiers to take out a new villain bent on exploiting and weaponizing their special powers. The action looks gritty and intense, but can the movie separate itself from others which look strikingly similar? We won’t have to wait long to see.

“The Old Guard” drops on Netflix July 10th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Military Wives” (2020)

May 22, 2020 by Keith Garlington

For many of us the States, a quick glimpse of the title “Military Wives” could be misleading. It’s actually a reference to a broad network of choirs made up of women from the British military communities. The original idea was to bring women together while their husbands were deployed, offering them support and the opportunity to express themselves. The Military Wives Choir has grown exponentially and is present in British military bases across the world.

“Military Wives” comes from director Peter Cattaneo and the writing duo of Rachel Tunnard and Rosanne Flynn. It’s inspired by the formation of the very first military wives choir and focuses on a group of women brought together after their partners are deployed to Afghanistan. The film has all the workings of a classic feel-good crowd-pleaser down to some pretty predictable story beats. But even though you can see certain emotionally-charged scenes coming from a mile away, they’re still handled earnestly and respectfully. You can’t help but be affected.

Photo Courtesy of Bleeker Street

The film features a great pairing of Kristin Scott Thomas and Sharon Horgan. Both play wives at Flitcroft Garrison who couldn’t be more different. Kate (Scott Thomas) is the wife of the ranking officer (Greg Wise) and carries a lot of clout around the base. She’s also viewed as a bit stuffy by the other women. Lisa (Horgan) is more freethinking straight-shooter who most of the other wives seem to love.

The call to service comes and soldiers leave for a 6-month tour in Afghanistan where escalating tensions add an extra layer of stress for the women left behind. The wives do their best to create an atmosphere of normalcy, but it’s tough when every ring of the phone or buzz of the doorbell brings a jolt of fear. It’s the reason Kate constantly reminds the others “It’s very important to keep busy.” It’s what she does to keep from dwelling on her own son’s recent combat-related death.

Photo Courtesy of Bleeker Street

As the ones in charge of organizing social activities, Kate and Lisa put together a choir although with very different ideas on what it should be. Kate takes a professional approach while Lisa thinks it should be fun and easygoing. It leads to several funny clashes between two really good actresses. Scott Thomas is a shrewd screen veteran who makes every movie she’s in better. Horgan, best known for her television work, is a terrific foil.

I probably don’t have to tell you where the story goes from there. The movie’s biggest problem is its predictability. Nothing in it will catch you by surprise. It uses the same basic story structure as so many movies before it. The relationships, though fun, come together exactly how you would expect. But what it lacks in originality it makes up for in heart. “Military Wives” plays out like a thoughtful, well-meaning tribute to a those married into the military, a group too often forgotten. The characters make us care and the performances are authentic enough to make the familiarity less of an issue.

VERDICT – 3.5 STARS

REVIEW: “The Lovebirds” (2020)

May 21, 2020 by Keith Garlington

One of the earliest big screen casualties of the coronavirus theater closings was “The Lovebirds”. Paramount was in the middle of a pretty hefty promotional campaign when the coronavirus pandemic shut down movie houses and multiplexes around the globe. In a surprise move the film was sold to Netflix and now set to release on their streaming platform tomorrow.

The film is directed by Michael Showalter who earned critical acclaim for his 2017 comedy “The Big Sick”. He follows it up with “The Lovebirds”, a film that reunites him with Kumail Nanjiani and adds rising star Issa Rae. Their movie plays like a slightly edgier “Date Night” (remember that Steve Carell/Tina Fey flick) but without the memorable supporting players. Instead everything here rides on the backs of the two able leads who are forced to carry the load.

Photo Courtesy of Netflix

Everything starts rosy for Jibran (Nanjiani), an introvert who makes documentaries, and Leilani (Rae), a social go-getter works at an ad agency. They really hit it off on their first date and the lovestruck couple seem destined to be together. Fast-forward four years and the two are still an item but hardly the starry-eyed romantics they once were. They find themselves arguing over the most inconsequential stuff (like whether or not they could win “The Amazing Race”). This couple who once looked like a match made in Heaven now are on the verge of calling it quits.

But something crazy happens on the drive to a dinner party. While arguing (again) Jibran hits a guy on a bike who darts out in front of their car. The man gets up and speeds off, but another man claiming to be cop takes the wheel and runs the cyclist over – literally…over and over. He then takes off leaving Jibran and Leilani to take the heat. Rather than wait for the police, the two panic and run away setting up a night of close calls and off-the-cuff detective work as they try to clear their name.

Nicely set within the not-so touristy parts of New Orleans, “The Lovebirds” bounces Jibran and Leilani around the city dropping them into one ludicrous scenario after another. They start out silly but undeniably amusing such as when they’re abducted and forced to play “Let’s Make a Deal” with a saucy Southern vixen (a really fun Anna Camp). But their predicaments get more ridiculous as we go, topping off with an absurd aristocratic sex cult sequence à la “Eyes Wide Shut”. It’s something that I’m sure looked better on paper than on screen.

Photo Courtesy of Netflix

And then you have the mystery/conspiracy itself (if you can find enough meat on its bones to even call it that). It’s half-baked and barely held together. It completely fizzles out by the end while the antagonist is as generic and paper-thin as any you’ll ever see. I get that these things are secondary and are only there to offer up moments for Nanjiani and Rae to do their thing. But the stakes seem like an afterthought and if it’s going to be a fundamental part of your story it should at least be mildly convincing.

The movie finds its dual saviors in Nanjiani and Rae. It’s at its strongest when the two charismatic leads are bouncing barbs back-and-forth or bickering over frivolous nonsense in the face of various dangers. Nanjiani is solidly within his comfort zone while Rae continues to open eyes and turn heads. I wouldn’t say they are brimming with romantic chemistry, but as a comedy duo they pair up nicely doing a lot with little and ultimately keeping “The Lovebirds” afloat.

VERDICT – 3 STARS

REVIEW: “Wendy” (2020)

May 20, 2020 by Keith Garlington

Benh Zeitlin blew me away with his tender, fantastical 2012 debut “Beasts of the Southern Wild”. The film was critically acclaimed and was nominated for four Oscars including Best Picture. It has taken eight years but we finally have his follow-up feature, a slightly modernized reimagining of J. M. Barrie’s century old Peter Pan. The catch is he tells the story from Wendy’s point of view.

“Wendy” sees Zeitlin once again exploring childhood in the rural south. As with “Beasts”, we spend the vast majority of the time seeing things through a young girl’s eyes. That’s the headspace Zeitlin is most interested in and it leads to some indulgences that several fellow critics had a hard time digesting. There are moments where the story seems to drift, but when the visuals and the story come together, the film exudes a magical quality that quite frankly swept me away.

We first meet Wendy (played by delightful newcomer Devin France) as a young child, her head draped in brown curls, watching the world through her inquisitive blue eyes. Her single mom (Shay Walker) waits tables at a train station diner to support Wendy and her rambunctious twin brothers James (Gavin Naquin) and Douglas (Gage Naquin). It’s hard work but she’s a mom doing what she can for her kids.

Photo Courtesy of Searchlight Pictures

Bop ahead a few years where 10-year-old Wendy worries about a depressing future stripped of joy and adventure. She sees the melancholy in every adult face that comes through the diner. She listens to her mother talk about forsaking her own childhood dream of being a rodeo queen. It’s too much for Wendy who swears off getting old and sets out with her two brothers to escape the bittersweet reality of growing up.

Late one night the three hop out of their bedroom windows and onto a passing train where they meet a mysterious boy named Peter (Yashua Mack). He whisks them away to a remote volcanic island where he leads the Lost Boys, a band of children who run free and never grow old. The one prerequisite is that they believe in Peter and his close connection to the island’s mystical spirit which he calls Mother.

But they aren’t the only ones on the island. On the far side of Neverland live those who have lost faith in Mother. And much like the patrons at the train station diner, they’re old, worn down, and without hope. Their presence sets up the inevitable clash with the Lost Boys, with Wendy and her brothers as key players.

Photo Courtesy of Searchlight Pictures

Written by Zeitlin and his sister Eliza, “Wendy” tells a story where reality and fantasy co-exist. Their movie is a fascinating puzzle filled with metaphors and symbolism, where images are the Zeitlins’ greatest method of storytelling. They lean heavily on Sturla Brandth Grøvlen’s stunning cinematography which wrings feeling out every closeup and captures childlike wonder in every sweeping pan of the island (shot mostly in Montserrat).

It’s the harmonious gelling of image and music that stands out the most. Dan Romer’s breathtaking score is crucial, never manipulative, and pulsating with heart and adventure. It and the camera do as much as the dialogue to explore the film’s many themes. Motherhood, rural poverty, fear of growing old, yearning for lost youth – just some of the things Zeitlin has on his mind.

“Wendy” won’t please purists who are intent on comparing it with other Peter Pan adaptations. It’s built around Barrie’s general framework but it puts its own contemporary spin on things. Sometimes Zeitlin is too literal, sometimes he’s too vague. The occasional salty dialogue from the kids feels forced and not all of the non-professional performances click. But those things never rob the movie of its imagination, emotion, and grit. Sure, you could pick it apart. Or you could put your guard down, fall under its spell, and let it sweep you away. I chose the latter and I’m so glad I did.