REVIEW: “Amy”

March 27, 2020 by Keith Garlington

I know this will kill my chances of being the coolest guy in the room, but I couldn’t name you one Amy Winehouse song. That’s not a slight to her. I’m simply not into newer music like I once was. But despite that I certainly knew who Amy Winehouse was. From 2003 through 2011 Winehouse became an international music sensation. Her powerful vocals and jazz-influenced sound gave her a uniqueness that was embraced by millions around the world. Unfortunately her life was also troubled which led to her sad and untimely death in 2011 at the age of only 27.

Asif Kapadia’s documentary simply titled “Amy” seeks to shed light on the young woman behind the music and the headlines. It offers viewers a chance to reevaluate Winehouse by diving deeper into her personal life, close relationships, and intense emotional struggles. Music is a key part of the film, but this is first and foremost an individual inner-exploration. And as someone who knew more about Winehouse from news headlines, this is an insightful and eye-opening look.

Amazingly so much of Winehouse’s rise to fame and eventual tragic slide was caught on video. Kapadia gained access to hundreds of hours of footage highlighting her life much of it never before seen. Some of the footage comes from performances including her disastrous final show in Belgrade, Serbia approximately a month before she died.

Juggling this wealth of real-time information must have been a formidable undertaking, but Kapadia’s decisions on what to include and what to omit couldn’t have been much better. And then there are segments pulled from over 100 interviews. Kapadia’s approach along with Chris King’s impeccable editing create a fluid and cohesive narrative that will undoubtedly shed a new light on a talented young woman scared by her past and overwhelmed by her present.

“Amy” tells the singer’s story while also looking at a number of other pertinent topics such as aggressive media obsession, drug addiction, alcoholism, harmful relationships, and destructive personal lifestyles. These topics aren’t wielded as weapons of judgment towards Amy Winehouse. They are respectfully used to explain and put her troubled life into perspective. But at the same time you can’t help but sense the subtle warnings Kapadia is showing us. These elements combine to give us an interesting and challenging documentary that transcends the simplicity of music or entertainment.

VERDICT – 4 STARS

Ranked: Christopher Nolan Movies

March 26, 2020 by Keith Garlington

We are a little less than three months away from a new Christopher Nolan movie. Well, that is unless the current global pandemic has its way. But let’s think positive. “Tenet” will be Nolan’s 11th feature film and easily my most anticipated movie of the year. Readers of this site probably know he is near the top when it comes to my favorite filmmakers. In fact (and this is a little crazy) his last FIVE MOVIES ended up being my favorite film for the year they came out!

So with “Tenet” (hopefully) only a few weeks away, I thought what better time than now to rank the ten movies Nolan has given us so far. Now it should be said, I don’t think Christopher Nolan has made a bad film. I like them all. But such is the nature of ranking so here we go.

#10 – “Following” Christopher Nolan’s debut film is still a movie many people don’t know anything about. The low budget crime thriller was made for a tiny $6,000 and has a lean 69 minute running time. “Following” is dripping with noir flavor and sports a crafty structure, something Nolan would employ in several of his later films. And shooting on black-and-white 16mm film stock was a great choice. Despite its many limitations, “Following” remains a great introduction to a phenomenal young filmmaker.

#9 – “Insomnia” This is one of the more unique films on Christopher Nolan’s resume. “Insomnia” is a movie that doesn’t tinker with time or have mind-bending special effects. It’s very much a riveting crime thriller driven by its characters, great direction, and a wonderful script. “Insomnia” has the distinct honor of being Nolan’s only film that he didn’t write or co-write. But you see his fingerprints all over the place. Still, despite great performances from big names like Al Pacino and Robin Williams, “Insomnia” is probably the mainstream Nolan film that gets overlooked the most.

#8 – “The Prestige” Think about it, Hugh Jackman and Christian Bale playing dueling magicians in the late 1800’s. Then throw in David Bowie as Nikola Tesla. How can you not love that? Nolan’s period thriller features a fascinating script with as much sleight of hand as the illusionists use themselves. I’ve always loved “The Prestige” and it’s one of those movies that seems to get better with each fresh viewing. Scarlett Johansson, Michael Caine, Rebecca Hall, and Andy Serkis are icing on the cake.

#7 – “Batman Begins” Nolan’s Dark Knight trilogy kicked off with the appropriately titled “Batman Begins”. It was a genre film that immediately showed Nolan had something original up his sleeve. It’s dark, moody, and takes a more realistic approach. It was a gutsy movie simply because of its willingness to put much of its focus on Bruce Wayne and the psychology behind Batman. Ultimately Nolan took a familiar origin story and injected it with humanity and pathos all while capturing the essential superhero elements you look for in these movies.

#6 – “Memento” Christopher Nolan and Guy Pearce – one of my favorite filmmakers and one of my favorite actors. Any hesitations about either of these great talents should have died with “Memento”, a gripping neo-noir thriller that features one of Nolan’s most innovative story structures to date. It challenges viewers to stay locked in, leaving clues for us to ponder and puzzle pieces to fit together. It’s a masterclass in non-linear storytelling and the film is blessed with a game lead actor in Pearce who pulls it off brilliantly.

#5 – “The Dark Knight Rises” Nolan’s third and final installment to his Dark Knight trilogy is probably the most divisive, but I love its sprawling story, amazing set pieces, and perfect ending. Sure, Tom Hardy’s Bane isn’t nearly the villain as Ledger’s iconic Joker, but comparing the two is a bit unfair. Hardy brings a much different type of menace and it’s very effective. Nolan’s signatures can be seen from start to finish and the final ten minutes are some of the best in the entire trilogy.

#4 – “Interstellar” I still contend that Nolan’s ninth film “Interstellar” is his most underrated. There were several critics who criticized its length, its sentimentality, even the science behind its story. I still find it to be an audacious and thought-provoking experience with perhaps the strongest emotional pull of any Nolan movie. As the director himself said, it’s essentially a movie about human nature influenced by numerous sci-fi classics. Most of all it’s a unique slice of science-fiction, personal and spectacular.

#3 – “Dunkirk” The idea of Christopher Nolan doing a World War II film was exciting. The results turned out to be utterly mind-blowing. “Dunkirk” tells an inspirational true story of heroism and sacrifice within the structure of one of Nolan’s favorite devices – time. The story is told from three perspectives: land, sea, and air while focusing more on immersing the audience in the experience rather than spelling it out through dialogue. The performances are superb, the cinematography sublime, and the emotional punch at the end gets me every time.

#2 – “The Dark Knight” Leave it to Nolan to give us the best superhero movie ever made. Sure that’s a debatable claim, but for me it’s an easy case to make. “The Dark Knight” has everything you want from a superhero movie but it isn’t limited by its genre. It’s also a crime thriller and a neo-noir among other things. And of course there is Heath Ledger as the Joker, a truly unforgettable performance that sees him taking a well-known villain and giving a mesmerizing and fresh interpretation. It’s a key ingredient this visionary masterpiece.

#1 – “Inception” As much as I love the other films on this list, my favorite Christopher Nolan movie was never in question. “Inception” is firmly planted as one of my favorite movies of all-time. It’s essentially a heist film set within the subconscious, unfolding through a meticulously detailed narrative. It’s a film that highlights all of the things that make Nolan such a fascinating filmmaker. An incredible mix of visual and sound. A fascinating, mind-bending story. A cool genre blend anchored by a superb cast. For my money, it is his very best movie.

So now you have my rankings. What is your favorite Nolan movie? How would your list look? Let me know in the comments section below.

RETRO REVIEW: “Predator” (1987)

March 25, 2020 by Keith Garlington

I grew up in the heyday of the beefcake action genre and I’m not going to lie – I loved it. Throughout the 1980’s to the mid 1990’s names like Schwarzenegger, Stallone, Norris, Van Damme, and Seagal had a constant presence in movie houses across the country. Granted, when looked at through a more discerning eye, lots of their films were much of the same. But even some of the bad ones were undeniably entertaining.

And then you had the really good ones. These movies were not only fun during their day, but they have stood the critical and evaluative test of time. Tops on that list may be Arnold Schwarzenegger’s “Predator” from 1987. This energetic mix of military action and creature science-fiction still stands as a genre classic.

Schwarzenegger plays Dutch, the leader of an elite special forces rescue unit. He and his team are summoned to Central America after a helicopter carrying a cabinet minister crashes in the guerrilla-occupied jungle. Dutch is tasked with finding the wreckage and bringing back the survivors. He reluctantly allows CIA Agent and old military pal Dillon (Carl Weathers) to tag along.

The six-man unit plus Dillon find the wreckage and discover the bodies of its passengers skinned and hanging in a tree. The team’s tracker (Sonny Landham) picks up a trail that leads them to a guerrilla camp (and to one of my favorite pure action sequences of the decade). Dutch and his team takes out the camp, learn why they were really sent in, and then venture deeper into the hostile jungle towards an extraction point.

But then things take a turn. Since the beginning director John McTiernan drops hints that there is something else in the jungle; something perhaps not so human. When this otherworldly creature takes out a couple of Dutch’s men it becomes clear that the humans have now become the prey.

Brothers Jim and John Thomas wrote what would become their signature screenplay. Their cohesive blend of straight action, survival elements, and sci-fi thrills inject “Predator” with a cool and unique identity. It all leads to an unexpectedly primal final act that pits brawn versus beast. Is it silly? You betcha. But it’s also a ton of fun.

Obviously this is Schwarzenegger in his prime, but “Predator” is one of the first movies where he begins to show a better understanding of the acting process. Clearly he has a dominating physical screen presence, but this performance sees him as more human than robotic. A game supporting cast including Weathers, Jesse Ventura, Bill Duke and Sonny Landham brings even more muscle and personality.

There have been several attempts to recapture the magic formula of McTiernan’s original “Predator” but none have really come close. Sure, some may find it easy to dismiss the film as more 80’s meat-headed action. But “Predator” not only stands out in what was a crowded action genre, but it has held up extremely well for over thirty years. And I’ll confidently herald it as being among Schwarzenegger’s very best films.

VERDICT – 4.5 STARS

REVIEW: “Lost Girls” (2020)

March 24, 2020 by Keith Garlington

Director Liz Garbus is known for her documentaries. She makes her dramatic feature film debut on Netflix with “Lost Girls” and her transition is nearly seamless. Her film is based on a nonfiction book by Robert Kolker which highlighted five sex workers who were murdered by the yet unidentified Long Island serial killer. The film (written for the screen by Michael Werwie) focuses on one mother and her pursuit of the truth following the disappearance of her daughter.

Amy Ryan plays Mari Gilbert, a coarse and world-weary single mother who works multiple jobs to make ends meet. Life is hard for Mari who struggles to afford medication for her schizophrenic youngest daughter Sarra (Oona Laurence) while mending her strained relationship with her oldest Shannon. Her middle daughter Sherre (delicately and tenderly played by Thomasin McKenzie) often finds herself lost in the shuffle but she still stands by her mom regardless of how rough things may get.

Photo Courtesy of Netflix

The true story of Mari Gilbert was sad and tragic. The movie conveys much of that but does minimize its focus on a specific time window. Shannon disappears while working as an escort in the Oak Beach area of Long Island but not before making a harrowing 911 call. Having her fill of the local police department’s apathy and incompetence, a rightfully angry and determined Mari fiercely pushes back, forcing the guilt-ridden commissioner (Gabriel Byrne) to reevaluate the case.

Ryan’s performance is raw and ferocious, authentically portraying a woman fueled by pain and indignation. But her Mari is also full of complexities. She loves her girls but we learn several ugly secrets yanked from her true story. It makes her an uncomfortable protagonist but still very much a sympathetic one. It’s easy to have empathy for her and her daughters especially when looking at them through the lens of class and social hardships. But Garbus and Werwie add dimensions that firmly root her in reality.

Photo Courtesy of Netflix

And I can’t say enough about Thomasin McKenzie. She has already left strong impressions in “Leave No Trace” and “Jojo Rabbit”. Here she’s given a much different role but brings the same earnest, softhearted sentiment. In many ways her character is the film’s emotional anchor, offering a more centered perspective on the stressed family dynamic. McKenzie has shown to be a steady, understated actress and she continues to make smart choices when it comes to picking roles.

“Lost Girls” is a gritty, clear-eyed look at a mother’s pain, regret, fury, and persistence. It’s about a family on the ropes well before the disappearance takes place. It’s about listening to women and taking their claims seriously. It doesn’t sell as well when it shifts to detective/police procedural mode. These scenes are a little more uneven and not given enough attention to be effective. But it’s when Garbus gets back to the family (which is the meat of the story) that the film is its most heartbreaking.

VERDICT – 3.5 STARS

REVIEW: “Swallow” (2020)

March 23, 2020 by Keith Garlington

“Swallow” is a frustrating movie that by the end will be seen as a battle cry for some and completely off-putting to others. It’s listed as a psychological thriller but I’m not sure the movie does enough to earn that title. It certainly has some of those elements, but it could just as easily be called a domestic drama, body horror, a twisted black comedy, or an on-the-nose political allegory. This identity crisis ends up making the film as a whole a little too hard to (wait for it…) swallow.

“Swallow” is most effective when it focuses on the main character’s Stepford existence and its…unhealthy consequences. Haley Bennett plays Hunter, a young woman who seems to be living the good life. She’s married to Richie (Austin Stowell), the hunky son of a gazillionaire and heir to his father’s fortune. They live in a posh modernist home in upstate New York. To top it off, she finds out the two are having a baby. It’s a far cry from the working class world she grew up in.

“I’m so lucky” she says to an inattentive Richie, trying harder to convince herself than her husband. Hunter is a testament to the idea that money can’t buy happiness, especially when the cost is your independence and agency. Her facade of bliss begins to breakdown and her loneliness becomes more pronounced. It becomes clear that she’s trapped in a world dictated by others, ensnared by their expectations and serving their needs.

The downside is that Richie is more of a one-note caricature than a flesh-and-blood human being. First-time director Carlo Mirabella-Davis (who also wrote the screenplay) isn’t much for subtlety or nuance. There is never an ounce of suspense when it comes to the paper-thin Richie or his motivations. His dastardly parents (David Rasche and Elizabeth Marvel) are even more glaringly villainous, checking off every predictable box. It would be fine if this were a straightforward satirical black comedy. But that’s not the movie’s aim so we are left with characters bordering on cartoonish.

As the patronizing and neglect start to take its toll, Hunter finds inspiration in these lines from a book: “Every day, try to do something unexpected. Push yourself to try new things.” She does. She begins swallowing things around the house starting with a marble and then a thumbtack. It gets worse from there. She may be mentally coming apart, but for the first time in her life she feels in control.

At times it’s hard to know how Mirabella-Davis wants us to feel. One minute he’s treating Hunter’s troubling new addiction as macabre and unsettling. Then we’ll get a scene or two where he plays it for laughs. Conversely it’s very clear how he wants us to feel about the pregnancy which is always portrayed negatively or forgotten altogether. It becomes more of a shameful plot device than a meaningful story thread.

It all culminates in a rushed final act where Hunter faces her current situation and past traumas. It leads to an iffy final shot that leaves a lot of questions but gives the movie an easy out. No spoilers here, but depending on where you land on certain things I can see the ending being interpreted as hopeful, tragic, or even repulsive. If you’re in with Mirabella-Davis’ convictions you’ll probably find it bold and liberating. If not you may see it as callous and appalling.

Almost lost in the film’s wobbly focus and dubious virtue is Katelin Arizmendi’s fabulous pastel-soaked cinematography and Haley Bennett’s quiet but forceful lead performance. “I just want to make sure I’m not doing anything wrong.” It may be the saddest line in the entire film and Bennett delivers it with such heartbreaking sincerity. It comes from a young woman so attuned to meeting the needs of others that she can’t even notice her own. If only “Swallow” had stuck with more of that.

VERDICT – 2 STARS

REVIEW: “Men in Black International”

March 20, 2020 by Keith Garlington

I can say with absolute certainty that there was no part of me yearning for another “Men in Black” sequel. I was never a big fan of the original 1997 film with Will Smith and Tommy Lee Jones. Even less enthused about the next two sequels. So could a spin-off movie eight years later with fresh new faces invigorate the franchise for a new audience? If comparing box office numbers, the answer is a resounding ‘No’.

Here’s the surprising thing – “Men in Black: International” isn’t terrible. In fact it can be surprisingly fun at times. Predictable, unimaginative, and unnecessary? For sure. But the charisma and chemistry between its two stars Chris Hemsworth and Tessa Thompson at least makes the globetrotting goofiness bearable.

The story (penned by Art Marcum and Matt Holloway) begins with two flashbacks. One back to 2016 where Agent H (Hemsworth) and High T (Liam Neeson) fight off an alien invasion on top of the Eiffel Tower. The second is 20 years earlier in Brooklyn where a young girl named Molly helps a friendly alien escape as Men in Black agents wipe the memories of her parents.

Photo Courtesy Sony Pictures

Twenty-three years later the bookish Molly (Thompson) sneaks her way into the MiB New York City headquarters aspiring to join their ranks. She makes a strong impression which prompts the head of the US division (Emma Thompson) to give her probationary status as Agent M. She is assigned to the London branch of the MiB which is ran by High T. and is partnered with the disaffected Agent H to stop two twins empowered with alien energy and so on.

Along the way we meet Kumail Nanjiani voicing a tiny alien chess piece creature named (of course) Pawny and Rebecca Ferguson as one of H’s old flames. Both are good performers and they have their moments but neither add much to the story. It all comes back to how much of the load Hemsworth and Thompson can carry. The pair definitely do their part but the movie needs more than just two likable leads.

“Men in Black: International” disappointed at the box office and numbers show it didn’t quite break even. You have to think this will mark the end of a franchise that (if we’re honest) probably shouldn’t have been resurrected to begin with. But it was, it came, it went, and (for many) I’m sure it has already been forgotten. I can understand why. It’s pretty middling entertainment with nothing particularly memorable or exciting to offer.