REVIEW: “Blood on Her Name” (2020)

March 6, 2020 by Keith Garlington

The new indie crime thriller “Blood on Her Name” opens at the scene of a crime. The first shot is a closeup of a woman in distress, fresh cuts on her face and breathing heavily. Next to her is a dead man lying on the floor in a pool of blood. In what turns out to be the first of several bad choices, she decides not to call the police. It’s a decision that suggests something else is at play while setting in motion the taut 83 minutes that follow.

First-time feature film director Matthew Pope (who co-wrote the screenplay with Don M. Thompson) puts us in the position of reconstructing the crime, figuring out motive, and then watching how it all plays out. Pope uncoils the mystery through a slow drip of information that seeps naturally from his tense propulsive story. The concept is really simple, but it’s the proficient and confident execution that makes this slick southern noir sizzle.

PHOTO: Yellow Veil Pictures

The woman at the center is Leigh Tiller (Bethany Anne Lind) who runs a struggling auto garage owned by her incarcerated bad egg ex-husband. She desperately fights to keep her troubled son Ryan (Jared Ivers) from following in his father’s criminal footsteps. But a corpse with a cracked skull on the garage floor makes that difficult. To make matters worse, not only does she not call the cops, but her conscience won’t let her dump the body which leads to bad decision #2.

Lind gives a visceral portrayal of a woman wrestling with the consequences of her actions while trying to hold it together for the sake of her son. It’s a compelling lead performance rich with pathos that keenly projects Leigh’s inner-turmoil and frayed nerves. But there is more to the character than fear and anxiety. She is resolved to clean up her mess and hold together what is left of her family. We are instantly in her corner even without knowing all the facts. Her emotions are raw and genuine. Her trauma is real. But her judgments are suspect which ultimately brings an air of tragedy to the entire story.

A grizzled Will Patton is terrific playing Leigh’s father Richard. He’s a dirty cop with a violent side which has driven a wedge between him and his daughter (their past is unwrapped through some cleverly constructed flashbacks). He would love to get back in his daughter’s good graces, but she wants nothing to do with him. Elisabeth Röhm is also great playing the dead man’s girlfriend. They’re all caught up in a rural working class world where violence begets violence, actions lead to reactions, and bad choices can snowball in an instant.

PHOTO: Yellow Veil Pictures

Interestingly, no one fits the mold of the classic antagonist. Despite some truly terrible actions, everyone does what they do in the interest of protecting someone they love. Congruently, none of the characters want to be in this tangled, thorny mess. But from their individual perspectives there is no other way. It helps ground the movie by making everything about personal, real-world stakes.

The atmospheric cinematography, a tense minimalist score, crisp white-knuckled pacing. They each do their part to keep you in the movie’s grip. And of course there is the riveting, eye-opening lead performance from Bethany Anne Lind. It makes for an exciting debut from Matthew Pope whose sure-fire instincts and confident storytelling puts sets him firmly among the fresh new filmmakers to watch.

VERDICT – 4.5 STARS

REVIEW: “Terminator: Dark Fate”

March 5, 2020 by Keith Garlington

You might say the Terminator series is the definition of a tired franchise. I know it still has its fans and I’ve certainly squeezed out my share of enjoyment from the series. But there’s no denying that the name Terminator doesn’t stir up nearly the same excitement as it has in the past. I know I wasn’t exactly rushing to see yet another installment.

Here’s another reason I wasn’t chomping at the bit for a new Terminator – the last movie, 2015’s “Terminator: Genisys”. It wasn’t good and (for me) it easily sits as the weakest of the franchise. In an attempt to get things back on track as well as usher in the return of producer James Cameron, the new film “Terminator: Dark Fate” tosses out everything since the much beloved “Terminator 2: Judgement Day”. In other words, T3, Salvation, Genisys – none of it happened according to this new movie. It’s a lazy tactic I’ve never really liked and it was stuck in my head throughout the new film. Thankfully the movie is surprisingly good on its own merits which helps overlook at least some of the convolution.

Photo: Paramount Pictures

“Dark Fate” begins with a flashback meant to serve one lone purpose – to sever ties with everything after T2. Set three years after “Judgement Day”, younger Sarah Connor and her son John (both CGI rendered) have thwarted the machine-led apocalypse and now live on the beach in Guatemala. They are suddenly attacked by a T-800 Terminator who kills John before disappearing. Just like that “Terminator 3: Rise of the Machines” and everything that followed was gone.

Jump ahead twenty-two years later. A clothing impaired augmented human appears in present day Mexico City. She goes by Grace (Mackenzie Davis) and has been sent from the future to protect an auto factory worker named Dani (Natalia Reyes). From what/who you ask? A new advanced shape-shifting Terminator called Rev-9 (Gabriel Luna). Ruthless and relentless, the Rev-9 has been sent to kill Dani by any means necessary. Grace intercepts and the chase begins.

Tim Miller of “Deadpool” fame directs from a screenplay written by the team of David S. Goyer, Justin Rhodes and Billy Ray. It’s filled with all of the big action flourishes you would expect glued together by scenes intended to humanize the whole crazy concept. There’s also a healthy dose of nostalgia mainly in the return of Linda Hamilton as Sarah Connor and Arnold Schwarzenegger as a domesticated T-800. Hamilton’s Sarah is in hardened ‘been-there-done-that’ mode, snarling verbal jabs and packing an assortment of high-powered weaponry. Arnie brings levity and (of course) a handful of crowd-pleasing action moments that are sure to tickle fans.

Photo: Paramount Pictures

The new female driven story does a surprisingly good job mixing the old with the new. Miller goes big with several action scenes, none better than a chase sequence in the first 30 minutes. After that the action gets more digitally enhanced and less engaging. It’s not bad, just noticeably CGI heavy. And the story, while starting off strong, basically becomes you standard Terminator tale with slightly different dressing.

But “Dark Fate” still packs enough to make this enjoyable especially for franchise fans. The characters are the biggest treat, the fresh faces and the series vets. And despite the ever lingering scent of familiarity, Tim Miller and company breathe a little life into a franchise that was on its last leg. Does this film warrant yet another sequel? I don’t really know. But one thing is for sure, Terminator movies are as persistent as the futuristic killer machines themselves so I wouldn’t rule one out.

VERDICT – 3.5 STARS

REVIEW: “All the Bright Places” (2020)

March 4, 2020 by Keith Garlington

Teen dramas are a dime a dozen and finding a fresh one out of the enormous batch isn’t always an easy thing. Too often they mimic other movies or follow all-too-familiar formulas. The new Netflix original “All the Bright Places” does a little of both. But at its heart lies a thoughtful story about the teen experience that deals with weighty issues and has the guts to stick with its convictions.

The movie is an adaptation of Jennifer Niven’s 2015 young adult novel. It’s directed by Brett Haley from a screenplay written by Niven and Liz Hannah. The story takes a delicate and earnest look at teen mental health, grief, and suicide through the unlikely friendship/romance of two young people in very difficult places. The movie is sympathetic and well-meaning but also honest. So anyone sensitive to these issues should be cautious.

Elle Fanning plays Violet, once a social butterfly but now withdrawn from her friends and family following the death of her older sister from a car accident. By sealing herself off Violet has no release for her grief which leads her to the ledge of a bridge where she considers ending her life. But then she has a chance encounter with classmate Theodore who goes by Finch (Justice Smith). Out for an early morning jog, Finch sees the silhouette of Violet (Elle Fanning) standing high on the ledge. He talks her down setting their complex relationship in motion.

PHOTO: Netflix

Finch works hard to get Violet to open up but in the process we see he has his own troubles. He’s an outsider at school and known as “the freak” due to his bursts of erratic, disruptive behavior. His “dark moods” leave him feeling isolated and out of control. During these times even the best efforts of his guidance counselor (Keegan-Michael Key) and sister (Alexandra Shipp) can’t seem to break through. And much like Violet, he keeps his feelings bottled up leading to him often being misunderstood by those around him.

Thankfully, the movie doesn’t get into diagnosing illnesses and disorders. It’s much more interested in the emotional toil and looking almost exclusively at the human side of the struggle. It’s can be ugly and messy. Often there is no quick fix. Thankfully the movie does have its moments of light. Violet and Finch partner up for a class project highlighting hidden landmarks across their home state of Indiana. As the two “wander” together it brings them closer and a romance sparks. Not the sappy sentimental kind. It’s more cathartic and entirely earned. At the same time a cloud of uncertainty hovers overhead.

Fanning and Smith are good-looking leads with a nice chemistry. They keep their characters grounded, navigating their complexities with empathy and intelligence. At times you can see Smith working a little too hard, but he’s charismatic enough to win us over. His cool, charming side shows a kid who listens to vinyl, quotes Virginia Woolf, and has a therapeutic affection for Post-it notes (not the off brand mind you). But Smith really digs into Finch’s darker side showing the weight of the character’s emotional burdens.

PHOTO: Netflix

Fanning has great instincts, showing off a dynamic range but with enough subtlety to keep Violet firmly planted in reality. It’s a role that could turn schmaltzy in a flash, but neither Fanning nor the material allows for that. Sure, there’s a little sap here and there, but not enough to gripe about. Depicting any type of mental illness is touchy territory, but the sincere and measured approach (starting with the young actors) leads to an authenticity that’s crucial to our investment.

While the story itself is a roller-coaster of feelings, Haley does a good job keeping things at the right temperature. Meanwhile composer Keegan DeWitt’s soothing mixture of gentle piano chords and elegant strings moves gracefully between enchanting and melancholy. And while the movie carries some of the lightweight genre appeal you would expect, “All the Bright Places” deserves credit for not just having serious intentions, but actually showing them on the screen.

VERDICT – 3.5 STARS

REVIEW: “The Call of the Wild” (2020)

March 3, 2020 by Keith Garlington

When prepping to watch “The Call of the Wild” I couldn’t help but wonder which is the greater American classic: Jack London’s timeless 1903 novel or Harrison Ford? If I was honest I’d have to admit that I find Ford to be the bigger draw. But personal bias aside, London’s beloved novel is a significant blind spot for me so I was anxious to see what it was all about.

This latest adaption had its share of pluses and minuses. I’ve already mentioned Ford and the source material as strengths. Add to it a really good supporting cast. On the negative side, a movie with a $150 million budget getting a February release usually isn’t a good sign. And you never know what you’re going to get when there’s such a hefty dependence animal CGI.

Long-time animator, screenwriter, and director Chris Sanders makes his live-action directorial debut, working from a script written by Michael Green (“Logan”, “Blade Runner 2049”). Their lead character is a congenial and rambunctious St. Bernard-Scotch Collie dog named Buck. Here’s the catch, he isn’t played by a real dog at all. He’s an elaborate coat of CGI on top of a fine motion capture performance from the talented Terry Notary. The problem is you never fully forget he is a digital creation despite how impressive he looks.

Photo: 20th Century Studios

In fairness I’m not sure London’s story could have been told any other way. Buck’s harrowing adventure across the Yukon is filled will action and peril and I simply can’t see a real pup pulling it off. The good thing is there is enough personality in Buck to make him feel like a full-on character. He works best when he is simply being a dog and doing doggie things. It’s when the filmmakers add human expressions that Buck suddenly comes across as fake.

Buck’s overall story is heart-tugging but it’s the human actors who sell it best. Set in the 1890’s during the Gold Rush, the story begins in Santa Clara, California where the clumsy but lovable Buck lives happily with a well-to-do local judge (Bradley Whitford). Gold Fever has driven people to pay top dollar for able dogs to pull sleds in the Yukon where “there’s gold in them thar hills“. Buck is snatched by scoundrels, sold to an abusive trader, and stuck on a freighter bound for the Klondike.

Buck is purchased by Perrault, a kind man who delivers mail across the frozen Yukon. He’s played by the delightful French actor Omar Sy who brings a lot of warmth to the screen. Perrault needs an extra sled dog for his arduous route and sees something special in Buck. But once again not everyone Buck encounters represents the best side of humanity. Dan Stevens is a hoot playing a dastardly business man who only cares about the glittering fortune hidden in the mountains. Stevens’ scene-chewing is fun to watch even though his cruelty towards Buck isn’t.

Photo: 20th Century Studios

As Buck moves from master to master, he keeps crossing paths with John Thornton (Ford), a tortured lost soul trying to cope with a family tragedy. He also serves as the movie’s narrator. From their first meeting the two seem destined to come together. Both are far from home and both are looking for something more valuable than gold. The grizzled Ford gives an earnest and understated performance, quietly lending pathos to Thornton while doing all he can to help us believe in Buck.

The story plays out through picturesque locations set across the gorgeous Canadian wilderness. Surprisingly, the bulk of it was shot in and around Los Angeles. Most of the stunning backdrops are CGI but so well done that you would never know it otherwise. That makes it easy to get lost in the beautiful, lush scenery.

In “The Call of the Wild” we get a story of a dog who witnesses the best and worst of humanity. Think of it as a Disney-fied “Au Hasard Balthazar” which is still giving it way too much credit. I hear it has been tamed down from the novel which might not sit well with purists, but that’s why I never pit movie against book. When taken on its own merits, it’s a satisfying crowdpleaser. A quick note: be careful with its PG rating. If you have young children go in thinking PG-13 instead.

VERDICT – 3.5 STARS

REVIEW: “The Invisible Man” (2020)

March 2, 2020 by Keith Garlington

My how plans can change. Need an example? Look no further than “The Invisible Man”. The film was originally set to star Johnny Depp and be part of Universal’s Dark Universe. The idea was to have an interconnected cinematic universe (ala the MCU) reviving many of the classic Universal monsters. The first film of the series was “The Mummy” which opened to bad reviews and less than stellar box office numbers. As a result The Dark Universe was canned and replaced with a stand-alone movie model.

The new vision for “The Invisible Man” saw Depp out, a new writer in, and horror producer Jason Blum putting it all together. It follows Blum’s successful formula of taking a micro-budget and putting out a movie that is guaranteed to make money. Not all of his films land and rarely do they turn out to be great. But the vast majority turn profit and always seem to find an audience.

Well surprise, “The Invisible Man” is pretty great, not because of Blum’s formula or even H.G. Wells’ fantastic source material. Instead it’s writer-director Leigh Whannell’s slow methodical pacing. It’s the stellar lead performance from Elisabeth Moss. It’s the film’s strikingly effective metaphor for domestic abuse, women not being believed, and having the courage to fight back. It all makes for a surprisingly potent concoction.

Photo: Universal Pictures

Whannell takes elements of the horror genre and mixes it with a dash of science-fiction, all while maintaining a cutting modern-day resonance. The movie starts with quite the kick and instantly lays the groundwork for its central conceit. Cecilia (Moss) flees from her controlling, abusive husband/boyfriend Adrian (Oliver Jackson-Cohen). He’s an uber-wealthy tech entrepreneur known as a genius in the field of “optics” (whatever that is). Remember that last bit, it’ll come back into play later.

Cecilia hides out at the home of her police officer friend James (Aldis Hodge) and his college-bound daughter Sydney (Storm Reid). But she still lives in terror, fearing that the narcissistic sociopath Adrian will find her. That is until her sister Emily (Harriet Dyer) informs her that Adrian has committed suicide. Cecilia also learns that Adrian left her $5 million which his estate will pay in hefty monthly installments. She’s finally free…right?

Well, remember the movie’s title? Cecilia begins noticing strange happenings, small things at first that soon turn more terrifying and violent. She’s convinced Adrian has found a way to make himself invisible and has come back to torture her physically and emotionally. But even those closest to her aren’t buying it and they begin questioning Cecilia’s state of mind. It’s a sinister twist on gaslighting and stalking, but this time the victim fights back.

Photo: Universal Pictures

The pacing is vital to the overall effect. Whannell doesn’t stuff his film with “boo” moments. Instead he clearly enjoys creating atmosphere and building tension. Much of it comes through his camera, whether its settled into a static shot or oscillating around a room. Whannell’s clever use of negative space has us eyeing every corner of the frame looking for any visual evidence that someone is there. It adds to the simmering but steadily growing sense of dread which runs side-by-side with Cecilia’s unraveling psyche until the lid finally blows off in the final act. That’s not to say there aren’t a handful of bigger scares along the way. They’re mostly shocking jolts that legitimately catch you off-guard but are actually meaningful and revealing.

It’s well shot, well paced and features an ominous, dread-soaked score by Benjamin Wallfisch. But it all sinks without Elisabeth Moss who is an absolute force. She is intensely committed both physically and psychologically, nimbly bouncing back-and-forth between defeated and determined, vulnerable and vehement depending on what the scene needs. Interestingly, the movie never details the abuse Cecilia has endured in the past. It’s not necessary. Moss deftly conveys all the information we need to believe and understand her character. She’s terrific.

Whether it’s being an edge-of-your-seat horror thriller or a stinging allegory of domestic violence and the quest of women to be heard, “The Invisible Man” hits all of its targets. It’s a remake that actually brings something new to the table and has something rather timely to say. And much like Lupita N’yongo in last year’s “Us”, Moss shouldn’t be overlooked simply because of genre. She gives a top-notch performance full of conviction and (along with Whannell) propels what could have been an easy to overlook film. Instead “The Invisible Man” is the best of the young movie year so far.

VERDICT – 4.5 STARS

REVIEW: “The Last Full Measure” (2020)

February 28, 2020 by Keith Garlington

It was November 19, 1863 that Abraham Lincoln delivered his Gettysburg Address which contained the words “from these honored dead we take increased devotion to that cause which they gave the last full measure of devotion – that we here highly resolve that these dead shall not have died in vain.” Lincoln’s mention of the ultimate sacrifice inspired the title for Todd Robinson’s war drama/conspiracy thriller “The Last Full Measure”.

The movie tells the story of United States Air Force Pararescueman William H. Pitsenbarger. During the Vietnam War, Pitsenbarger (nicknamed Pits) completed over 250 rescue missions. On April 11, 1966 the 21-year-old Pits lowered himself down from his medical chopper to treat wounded in the middle of an intense ambush. Instead of returning to the helicopter he stayed behind, rescuing as many as sixty soldiers before dying by a sniper bullet. Despite his incredible heroics, it shamefully took three decades for him to get the much-deserved Medal of Honor.

Robinson tells this moving story by focusing on the quest to get Pits a posthumous Medal of Honor while weaving in flashbacks to the battle in Vietnam that ultimately cost him his life. The movie’s convictions are clear, maybe too clear for some. At the same time, it all comes together to provide a healthy reminder of how often we forget the heroes who sacrificed and their families still trying to pick up the pieces. Add a thick layer of bureaucracy and it only gets worse.

The bulk of the story takes place in 1999 where a fast-rising Pentagon hotshot named Scott Huffman (Sebastian Stan) is given Pitsenbarger’s case after the soldier’s parents (a stellar Christopher Plummer and Diane Ladd) once again petition for their son to receive the Medal of Honor. Scott couldn’t care less and is already looking towards his next job opportunity. But as he begins interviewing those who witnessed Pits’ bravery firsthand (William Hurt, Samuel L. Jackson, Peter Fonda, Ed Harris) he begins seeing things in a different light.

The movie has quite a lot going on. The most potent moments come during the interviews where the scars of the war veterans are laid bare. Feelings of guilt, depression, nightmares and even worse symptoms of PTSD are examined. And with names like Hurt, Jackson, Fonda, and Harris you know the performances are there. The flashback battle scenes are told from their individual perspectives. They’re intense, effective and generally well shot.

The government conspiracy stuff doesn’t work quite as well. As Scott cuts his way through the cover-up and bureaucratic red tape, none of that side of the story is all that convincing. These scenes have some interesting things to say, but they don’t feel thoroughly ironed out and could have used more attention.

Still, the movie’s main concern is Pitsenbarger and those affected by his heroism and these scenes offer up watch-worthy acting at every turn. One of my early ‘scene of the year’ candidates takes place in Pits’ bedroom where Christopher Plummer shares with Stan the little things he misses most about his son. It’s a powerfully moving sequence bursting with authentic emotion. Just another reminder that Plummer is effortlessly great.

Pickier viewers who demand nuance and ambiguity may not go for the movie’s openness and straightforward approach. And the film is full of big emotional moments that aim right for the heart. Can you see the gears turning during these scenes? Sure. But I can’t deny their effect and Robinson is clearly sharing something he cares about. It’s something that resonates throughout the entire film, even when things seem a little on-the-nose.