REVIEW: “The Other Lamb” (2020)

April 28, 2020 by Keith Garlington

Is it just me or does there seem to be a resurgence of cult-related movies? Last year alone we got Ari Aster’s sophomore effort “Midsommar”, the so-so Netflix thriller “The Silence”, and even “Doctor Sleep”, the much-anticipated sequel to “The Shining”. Obviously some of these deal more directly with cults than others, but the timing of this rekindled interest is kinda fascinating.

The latest cult movie entry is “The Other Lamb” and it’s pretty easy to find its modern day inspiration. Polish director Malgorzata Szumowska and screenwriter Catherine S. McMullen have made what is essentially a feminist parable set against patriarchal repression. It’s an moody mix of “Midsommar” and “The Handmaid’s Tale” built around arresting visuals and a persistent, slow-boiling sense of unease.

As the movie begins the unnamed sect is well established and its rituals fully ingrained within its membership. We get little in terms of background, either personal or religious. We see they live in the forest, isolated from modern society – twenty or so women with the same braided hair style wearing ankle-length dresses that only differ in color, red for the “wives” and blue for the “daughters”. They’re led by a suave, charismatic charlatan who they call the Shepherd (Michiel Huisman). His “flock” soaks up his every word with starry-eyed awe while constantly seeking to win his favor.

Like a snake oil salesman with fresh new tonic, the Shepherd peddles his vision of a “new Eden” to his adoring followers. But one lamb in his flock begins to question her blind obedience. At first Selah (played by Raffey Cassidy) is a dedicated disciple looking forward to the day when the Shepherd will extend to her his self-satisfying “grace”. But when he’s forced to lead the flock on a long, arduous journey to find a new home, Selah begins noticing the cracks in his infallibility.

“The Other Lamb” quickly evolves into a young woman’s coming-of-age awakening. Selah’s disenchantment intensifies as she grows closer to Sarah (Denise Gough), a “wife” ostracized within the community. Sarah’s wise to the Shepherd’s shenanigans which has put her on the outs with the group. “His attention is like the sun” she explains. “Bright and glorious at first, but then it just burns.” When Selah inquires about the lack of males among them, Sarah chillingly states “Only one ram in the flock child.”

There really isn’t much else to it. The lack of depth in the characters is mirrored in the story. But what the movie lacks in narrative it makes up for in tone and in its ability to build a steady sense of dread. Szumowska’s mood is immediately unsettling and for the rest of the way we’re never given a reason to believe things will turn out well. From the outset we know something’s not right. Whether it’s the Shepherd’s pharisaical fervor that always leads to his own gratification. Or the “broken” women clearly exploited and brainwashed into subservience.

“The Other Lamb” certainly isn’t subtle with its message. You can’t mistake it for anything other than a metaphor for abusive relationships and their punishing effects. But while it might be obvious, that doesn’t mean it’s ineffective. There is a potency especially in the visual language used by Szumowska and her DP Michał Englert. All that’s lacking is the character depth to help us know these people better. It’s the one missing ingredient that could have enriched the movie as well as our experience with it. Still, there is more than enough creative grit to make it worth your time and Raffey Cassidy is a young actress to keep your eye on.

VERDICT – 3.5 STARS

REVIEW: “Extraction” (2020)

April 27, 2020 by Keith Garlington

I was only a few minutes into Netflix’s new action flick “Extraction” and I could already see the markings from several movies that came before it. The main character, the story’s central conceit, even the ending to a degree are elements we’ve seen before. But not every movie needs to shatter the mold especially when making a genre film. Sometimes it’s enough to do what you’re doing well. “Extraction” does what it does well.

The film reunites Chris Hemsworth with Anthony and Joe Russo, the sibling duo known for directing some of the best films from the Marvel Cinematic Universe (“Infinity War”, “Endgame”, and the last two Captain America pictures). Here the brothers serve as producers with the younger brother Joe writing the screenplay. In the director’s chair sits Sam Hargrave who was the stunt coordinator on “Endgame” and “Captain America: Civil War”. So as you as you can see, there are several big budget connections at work on “Extraction”.

Photo Courtesy of Netflix

Hemsworth plays Tyler Rake (yep, that’s his name), a hard-drinking mercenary who is hired to retrieve and extract the teenaged son of a drug lord. The boy, named Ovi (Rudhraksh Jaiswal), was kidnapped in Mumbai and taken to Dhaka, Bangladesh by a rival gangster named Amir Asaf (Priyanshu Painyuli). From prison Ovi’s father threatens his top henchman Saju (Randeep Hooda) – “You want your son to see his next birthday? Then get mine back.”

Tyler gets the contract from his colleague, Nik Khan (the always enjoyable Golshifteh Farahani). It’s a high-stakes job but nothing a cash-strapped loner with a death wish would pass up on. So Tyler heads to Dhaka and grabs the kid in a thrilling hyper-violent exchange that sets the table for the R-rated carnage to come. Things ratchet up when it becomes clear Ovi’s father doesn’t intend to pay the contract. Instead Saju is in Dhaka to kill Tyler and take the boy. Meanwhile Asaf gets wind that Tyler has Ovi and orders the corrupt local police to lock down the city and hunt them down.

Despite the boy now being expendable Tyler refuses to leave him, promising Ovi he’ll get him out of Dkaka. It’s partly paternal instinct, but mostly a quest for redemption. So with two enemies closing in, Tyler takes Ovi into the heart of the crowded city. It culminates in one of the best action scenes I’ve seen in years – an electrifying 10-minute sequence shot as one continuous take. It starts with a car chase, moves to a shootout, throws in a knife fight before finishing with another car chase. It’s a work of brilliance from Hargrave and his DP Newton Thomas Sigel.

Aside from being exceptionally well-choreographed, the action works because Hargrave shoots it clearly and distinctly. No frantic quick-cuts or headache-inducing shaky cams. It’s allowed to play out in front of the camera instead of being chopped up in the editing room. It’s an applause-worthy choice and a welcomed change from what we often get. The action is also helped by the physicality Hemsworth brings. Neatly shorn and Mjölnir-free, the Aussie fights with a ferocity and grit unlike anything he’s done before.

Photo Courtesy of Netflix

Performance-wise Hemsworth is limited by a role that mainly asks him to show intensity and brood. It makes sense within the story. He’s a broken and tortured man with bullets whizzing by in nearly ever frame. Thankfully there a couple of scenes where he gets to soften a bit and the script gives us a glimpse inside of his character. Hemsworth sells them well. Outside of the nameless, faceless contributors to the body count (and there are a ton of them), the main antagonist does fare as well. He’s more of a thinly sketched caricature – evil and abhorrent but without an ounce of depth.

But in the movie’s defense, it is very self-aware. It doesn’t want to be character study or a think piece. It’s not interested in commentary or metaphors. Instead “Extraction” is a throwback to the better action movies of the late 80’s to mid-90’s. It’s straightforward, unapologetic and an absolute blast. At the same time, debut director Sam Hargrave pushes his film to be more than just another genre entry. He brings an expertise and enthusiasm that shows itself in every fight, every shootout, and every chase.

VERDICT – 4 STARS

REVIEW: “Atlantics” (2019)

April 24, 2020 by Keith Garlington

In 2019 French-African director Mati Diop had the distinguished (and overdue) honor of being the first black woman to compete for the main prize at the Cannes Film Festival. Impressively, her first feature film “Atlantics” finished in second place behind Bong Joon Ho’s exceptional “Parasite”. That’s quite the debut.

“Atlantics” is a genre defying drama that opens like a documentary and ends as a poignant supernatural romance. In between we get a police procedural, a creepy ghost story, an examination of class injustice, and a rarely-seen look at Europe’s refugee crisis. Diop sets her film in the Senegalese coastal capital of Dakar where an ultra-modern skyscraper is being built. This is where we first meet a poor construction worker named Souleiman (Ibrahima Traore).

Photo Courtesy of Netflix

The film opens at a pretty high temperature as we see Souleiman and other frustrated laborers confronting their foreman. It turns out they’ve been stiffed out of three months worth of wages by the wealthy businessman in charge who refuses to answer the foreman’s calls. Discouraged and fed up, Souleiman and his friends head back to their village on the outskirts of the city.

Diop makes a surprising shift by introducing Ada (Mame Bineta Sane) and making her the lead character. She and Souleiman are in love but cultural/religious tradition has her set to marry the wealthy Omar (Babacar Sylla). The day before her arranged wedding Souleiman and several fellow construction workers vanish after secretly hopping a boat for Spain. Strange events begin to occur following their disappearance including a series of fires which police detective Issa (Amadou Mbow) is called to investigate.

It’s here that Diop makes yet another unexpected shift which I won’t spoil. It’s an interesting twist (if you want to call it that) even if it doesn’t come across as fully thought out. It brings a supernatural element that’s never really explained in a satisfying way. I’m not saying I need rules and thorough guidelines to how things like this work in a movie. But here it’s required that we simply go with it and I couldn’t help but have some questions.

Photo Courtesy of Netflix

While the final act of “Atlantics” may lack some narrative detail, the film as a whole lacks nothing when it comes to its visual style. Diop has such a clear and perceptive eye. She and cinematographer Claire Mathon use the camera as an essential storytelling tool. Some scenes are shot with a dreamy haze imbuing them with an evocative, otherworldly quality. Others simply focus on the gentle ceaseless sway of the Atlantic Ocean as various levels of sunlight dance on the surface.

The metaphor-rich imagery speaks to many of the feelings at the heart of Diop’s film – loneliness, betrayal, an ever-present longing. But they also convey a silent rage towards the many injustices vividly portrayed throughout this haunting tale. It’s one of several indicators that this the work of smart and savvy filmmaker we all should keep our eye on.

VERDICT – 3.5 STARS

REVIEW: “The Lost Husband” (2020)

April 23, 2020 by Keith Garlington

After watching the trailer for Vicky Wight’s new film “The Lost Husband” I was immediately left with a “no thanks, seen it before” impression. But over the years trailers have proven that looks can be deceiving and I love being surprised. Now I’m not claiming this movie brings anything particularly fresh or is breaking any new ground. But it’s a thoughtful, feel-good story which is something we all could use right now.

Much of the story is built around a pretty familiar framework. A hurting woman meets a hunky man. They clash at first but then that inevitable spark is ignited. You know the rest. But Wight makes one pivotal choice that ends up setting her film apart from so many of its kind. She puts her focus squarely on her lead character Libby (Leslie Bibb). It turns out this isn’t a movie about a woman finding love. It’s about a woman finding her way. The prospect of love is certainly an ingredient, but it’s hardly the emphasis.

Photo Courtesy of Quiver Distribution

Libby is still reeling from the death of her husband Danny. In the opening scene she and their two children are leaving her mother’s house in Houston and heading to her Aunt Jean’s (Nora Dunn) farm in rural central Texas. There is a lot of family baggage that goes with her and the movie spends much of its time unpacking it. Suffice it to say Libby and her domineering mother Marsha (Sharon Lawrence) don’t get along. To make matters worse, an ugly scar from their past has left sisters Marsha and Jean at each other’s throats.

Libby only plans to stay at the farm until she can get on her feet. Jean, a widow herself, needs a new farmhand, but before putting her to work Libby needs to be trained. Enter James O’Conner (Josh Duhamel), Jean’s “farm manager”. He reluctantly (it’s always reluctance) agrees to show his city slicker pupil the basics on milking goats, pitching hay, and the importance of opening and shutting gates. That last one provides a metaphor that becomes more obvious as the movie moves forward.

Yes, an attraction springs up between Libby and O’Connor. Yes, we get some of the predictable ‘city girl on a farm‘ humor. Yes, nearly everyone has a secret. But those things are made bearable by Wight’s clear-eyed intent. Her movie never loses sight of Libby’s plight, even during the scattered moments of cheesiness and the couple of scenes that feel like they belong in a different movie (take a strange seance sequence for instance). Grief, family conflict, reconciliation – just some of the prominent themes Wight thoughtfully navigates.

Photo Courtesy of Quiver Distribution

It helps to have an engaging performance from your lead. There’s something a little different about Bibb’s work that I couldn’t quite put my finger on. It took some time for me to get in step with it, but I ended up drawn to the personality she brings to her character. And Duhamel brings a pickup truck full of charm but there is a subtly to his performance that keeps him out of cliche territory. And it’s very much a supporting role, further emphasizing the movie’s broader interests.

If you skip the forgettable trailer and misleading title you’ll find that “The Lost Husband” has more to offer than you might think. It is hampered by a couple of standard-issue genre tropes, some spotty child performances, and a couple of story angles that needed more attention. But at the core of the movie is a solid story centered on a lead character you root for from the start. And while not perfect, there couldn’t be a better time for a movie like this to come along.

VERDICT – 3 STARS

First Glance (kinda): “Venom…2”?

April 22, 2020 by Keith Garlington

I’m not going to spend much time on this and will do a proper First Glance once we get the final trailer. But let me just say this is how you first tease your movie! Venom, Carnage, that ominous music, the blood red Symbiote. Enjoy!

RETRO REVIEW: “Bill & Ted’s Excellent Adventure” (1989)

April 22, 2020 by Keith Garlington

Imagine pitching this idea to studio heads – two air-headed slackers use a time-hopping telephone booth to gather great historical figures for their end-of-the-year history project. I wouldn’t call that the easiest sell. But what originated as a college stand-up routine ended up turning a nice profit, spawned a sequel, an animated TV series, even a breakfast cereal. I wonder who ever saw that coming?

“Bill & Ted’s Excellent Adventure” came from the writing duo of Chris Matheson and Ed Solomon. The two college friends conceived the idea, winning over director Stephen Herek who told The Hollywood Reporter that he knew the film was “either going to be a huge hit or a huge flop“. After a roller-coaster production including hundreds of auditions, budget constraints, and a rewritten ending, “Bill & Ted” released in February of 1989 to mediocre reviews. But over time it has been reevaluated and the two lovable goofballs have found themselves a following.

Photo Courtesy of Orion Pictures

Set in San Dimas, California 1988, best buddies Bill S. Preston Esquire (Alex Winter) and Ted Theodore Logan (Keanu Reeves) are more interested in their not-so-good rock band Wyld Stallyns than something silly like passing their history class. But they get a rude awakening when their teacher (the always fun Bernie Casey) informs them that if they don’t get an A+ on their history project they will flunk his class. Even worse, Ted’s draconian father threatens to send his son with military school in Alaska if he doesn’t pass the course.

While studying outside of their local Circle K, a time machine phone booth suddenly appears and out of it walks George Carlin (of all people). He plays Rufus, a time traveler from 2688 who has come back to help Bill and Ted ace their history project. Why you ask? Turns out that future humanity now live in utopian bliss thanks to the music of Wyld Stallyns. If the boys fail, Ted gets sent to Alaska, Wyld Stallyns never happens, you get the picture.

So Rufus gives Bill and Ted the keys to the phone booth. Things start a little rocky after they inadvertently bring Napoleon Bonaparte back to modern day. But it ends up inspiring the duo (not exactly known for their genius). They begin making other stops in the past, scooping up some of history’s greatest (and in same cases most notorious) celebrities including Socrates (affectionately mispronounced “so -crates”), Billy the Kid, Beethoven, Genghis Khan, Sigmund Freud, Joan of Arc (played by Jane Wiedlin from The Go-Go’s), and of course Abraham Lincoln.

Photo Courtesy of Orion Pictures

Obviously such a ridiculous plan will have its share of kinks and the filmmakers have fun working them out. But what really makes the movie click is the playful buddy chemistry between Reeves and Winter. Charmingly dimwitted from start to finish, their silly banter and “most triumphant” air guitar rewards those who come at the story with a lighthearted approach. If the duo doesn’t work for you, neither will the movie. Everything else is pretty much dressing and/or part of the joke. It’s Bill and Ted’s movie from start to finish.

“Bill & Ted’s Excellent Adventure” is every bit as absurd as it sounds, and that’s a compliment. Rewatching it, I was quickly reminded why it didn’t win any awards. Its skin-deep storytelling doesn’t have an ounce of nuance and the special effects definitely reflect the budget. But I was also reminded of why the movie still has a vocal, fun-loving following. It’s such a happy, good-natured escape that couldn’t take anything serious if it tried. Is that enough to make it worth your time? Totally!