REVIEW: “Zombieland: Double Tap”

February 14, 2020 by Keith Garlington

Maybe I was out of the loop, but a “Zombieland” sequel was something I never saw coming. The first film came out on 2009 and supposedly everyone was keen on immediately doing a sequel. But the idea ended up in the proverbial development hell for several years before popping up out of the blue. It would finally hit theaters in late 2019 with its original cast still intact and few new faces thrown in for good measure.

Admittedly, I wasn’t a huge fan of “Zombieland” and nothing much in the 10 years since has really changed my mind. Don’t get me wrong, it wasn’t a bad movie and I get why it has its fans. But I wasn’t one who was clamoring for sequel or who ever expected one at this point. Yet here we are with “Zombieland: Double Tap”, a second helping that feels like the first film warmed over.

“Double Tap” doesn’t have much new to offer aside from a handful of side characters. The story is pretty bare-bones while the humor misses its mark as much as sticks its landing. Returning director Ruben Fleischer works hard to recapture the overall vibe of the original and the four returning stars are certainly game. But in the end the character arcs go nowhere and the sequel struggles to maintain the energy and charm that made its predecessor a surprise hit.

The film opens with a quick reintroduction to the four original survivors: the hyper-macho but warm-hearted redneck Tallahassee (Woody Harrelson), the nerdy rule-bound Columbus (Jesse Eisenberg), the tough outspoken fireball Wichita (Emma Stone), and the rebellious teen-spirited Little Rock (Abigail Breslin). Columbus is still our narrator and he explains their new categories of zombies (Homers are my favorite) while offering a refresher on how his goofy rules system works.

The four-pack have made their way to Washington DC and now live in the abandoned White House. Columbus and Wichita are still an item, Tallahassee still loves Elvis, and Little Rock is tired of hanging out with the ‘old’ folks on Pennsylvania Avenue. Things are going good until Columbus proposes to Wichita, she freaks out and sneaks off taking Little Rock with her.

A month passes and Columbus still laments Wichita leaving while Tallahassee pushes him to get over it. During that time they run into the first (and by far the best) of several new characters, a ditzy Valley Girl named Madison (Zoey Deutch). She’s essentially a one-note character but she’s such a hoot in the most air-headed way imaginable. Wichita show’s back up informing her old friends that Little Rock has ran off with a hippie pacifist named Berkeley. Not the best idea during a zombie apocalypse.

Woody Harrelson (Finalized);Jesse Eisenberg (Finalized);Emma Stone (Finalized);Luke Wilson (Finalized)

This basically sets the story in motion as the three (plus one blonde) set out on another road trip this time to find one of their own. Along the way they bump into a mixed bag of new characters, some work and are a lot of fun (Rosario Dawson), others not so much (Luke Wilson, Thomas Middleditch). And by the time we get to the big all-too-familair finale the story is running on fumes.

“Zombieland” helped pave the way towards further successes for most everyone involved. Fleischer would go on to direct the $860 million smash hit “Venom”. Co-writers Reese and Wernick wrote the two “Deadpool” movies that earned nearly $1.6 billion combined. Stone won an Oscar for “La La Land” while Eisenberg and Harrelson have each since received nominations. Hats off to all of them for approaching this sequel seriously and giving it their all. For me the novelty is gone. But to be fair, it wasn’t really there to begin with.

VERDICT – 2.5 STARS

First Glance: “Resistance”

February 13, 2020 by Keith Garlington

Long time readers of mine probably know that I have a real soft spot for movies that tell the more personal stories surrounding World War 2. They can take place on the battlefield, deal with the horrors of the Holocaust, or share one of the many great efforts of resistance. There are so many inspiring stories that came out of such a profoundly dark and deadly conflict.

There should be no doubt about the subject of writer-director Jonathan Jakubowicz’s biographical wartime drama “Resistance”. In it Jessie Eisenberg plays the famous mime Marcel Marceau who has a young man saved the lives of many children as a member of the French Resistance. The first trailer shows off a convincing period style and the story itself is naturally compelling. Eisenberg’s accent is a bit iffy, but not enough to quell my enthusiasm. I’m really anxious to give this a shot.

“Resistance” is slated for a March 27th release. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Waiting for Anya” (2020)

February 13, 2020 by Keith Garlington

The World War 2 drama “Waiting for Anya” comes from a 1990 British children’s novel written by Michael Morpurgo (who also penned “War Horse”). It follows a happy young shepherd boy who is forced to grow up too soon after the ripple effect of the war makes its way to his quiet village. Directed and co-written by Ben Cookson, this film adaptation has young people in mind, so those expecting an visceral and detailed study on the horrors of the Holocaust could be disappointed.

The story is set in the mountain village of Lescun in the southern most region of France. It’s 1942 and as the Nazis occupy Paris and began rounding up Jews throughout the north, the more isolated south go about their daily routines, unaffected by the war or its atrocities. Cookson’s camera relishes in the beauty of the Pyrenees, painting an idyllic portrait of country living. But as many of the villagers carry on life-as-usual, little do they know the war has already touched their community.

Our point-of-view comes through the tender observations of Jo (played by Noah Schnapp of “Stranger Things”). He has been given the responsibility of tending his family’s sheep after his father (Gilles Marini), a French soldier, is captured by the Germans and thrown into a POW camp. After a scary brush with a black bear, Jo runs into a kind but mysterious stranger named Benjamin (Frederick Schmidt).

Jo learns that Benjamin is a Jew who escaped from a train bound for a concentration camp with his young daughter Anya. The two were separated and Benjamin now hides out on a remote farm helping his widowed mother-in-law Horcada (Anjelica Huston) smuggle Jewish children across the border into Spain. His hopes are that one day his daughter will be among the children sent their way.

Photo Courtesy of Vertical Entertainment

As Germany gets wind of Jews being moved across the border, they dispatch a small platoon of soldiers who occupy the village and begin patrolling the nearby mountain paths. Obviously this threatens Benjamin and the children he is tasked with leading to safety. It also brings the realities of war to Jo’s front door in a way that changes his life forever.

In addition to Oscar-winner Huston several other familiar faces show up adding to the collection of good performances. The always reliable Jean Reno plays Jo’s percipient and seasoned grandfather while Thomas Kretschmann plays a German officer with some semblance of a conscience following his own personal family tragedy. But it comes down to Schnapp and his ability to sell us on his character. While there are times where he could inject more emotion, as a whole he provides us a solid anchor.

Photo Courtesy of Vertical Entertainment

On its surface “Waiting for Anya” is an heartfelt and well-meaning wartime drama. At its core it is a study of humanity as seen through a pair of young eyes. It’s about growing up, finding courage, and doing the right thing in the face of unspeakable evil. The story begins with a terrified shepherd boy running from a bear and leaving his helpless sheep behind. It’s a rather obvious but earnest metaphor for what he becomes – a courageous young man who risks his life to help the helpless.

When it comes to the Holocaust there have been few age-appropriate film examinations for young viewers. “Waiting for Anya” helps fill that void. Some are sure to see the film as too sanitized and not harsh enough in its depictions. But Cookson tells a very specific story that doesn’t need to visually emphasize the horrors. Instead their effects are felt through a story which may sag a little in the middle but ultimately pays off.

VERDICT – 3.5 STARS

First Glance: “The French Dispatch”

February 12, 2020 by Keith Garlington

Any (and I do mean ANY) time a Wes Anderson movie is announced I’m instantly onboard; curious, enthused, and anxious for any glimpse into what the brilliantly idiosyncratic filmmaker is up to. The unique style, the daffy humor, the feast of striking eye candy is all guaranteed. And while I know Anderson isn’t everyone’s cup of tea, I find his movies to be delightful.

Which brings us to the long awaited first look at “The French Dispatch”, Anderson’s tenth film and yet another another star-studded affair. As with his others, Anderson writes and directs this story of an American journalist based in a fictional French city who creates a magazine called The French Dispatch. It seems as if the film focuses on the three short stories published in the Dispatch‘s final issue.

The trailer reveals what looks like a Wes Anderson movie on steroids. It’s all but impossible to discern what all is shown and it’s main emphasis seems to be on the peculiar filmmaking style Anderson has become known for. I do wish the trailer wasn’t quite so hyperactive. On the other hand, I absolutely love it.

“The French Dispatch” is set to release July 24th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Harriet” (2019)

February 12, 2020 by Keith Garlington

It was in 1849 that Harriet Tubman escaped slavery in Maryland, fleeing 100 miles to the relatively safe city of Philadelphia. She was just 27 years-old. But instead of staying put Tubman returned thirteen times, rescuing approximately 70 slaves including members of her own family. And that’s just a part of her inspiring life story. So how is it she’s just now getting the big screen treatment?

“Harriet” is the long overdue biopic of the slave turned abolitionist who became the most well known conductor on the Underground Railroad. The film comes from director Kasi Lemmons who co-wrote the screenplay with Gregory Allen Howard. The powerful and resonant historical truths behind Tubman’s life energizes the film both dramatically and emotionally even though the movie often travels down more conventional paths.

The film opens in Maryland where young newly married Harriet (then going by her real name Araminta “Minty” Ross) is living as a slave with her parents and siblings. The movie chronicles her eventual break for freedom and 100-mile trek to Philadelphia where she meets abolitionist William Still (Leslie Odom, Jr.). Soon she makes the first of several trips back to lead other slaves, including her family, to freedom.

Some have called “Harriet” a star-making vehicle for Cynthia Erivo and they’re not wrong. The British actress, singer, songwriter broke out in 2019 in “Bad Times at the El Royale” and she was the best thing in “Widows”. Here she is given her meatiest role yet and once again proves herself to be among the most exciting new actresses on the big screen. In “Harriet” her role demands a certainly physicality which she nails. But it’s her emotional range that stands out even when the material spins its wheels.

Photo: Focus Features

Sadly too much of “Harriet” seems rooted out of Hollywood and built upon a more modern day sensibility. Often the historical account is tossed aside for a more contemporary crowd moment. Take a scene where Harriet takes a bite out of a room full of fellow abolitionists. Included in the group is none other than Frederick Douglass who is given the third degree for being out of touch with the plight of slaves down south. The entire scene feels false.

Even Harriet’s visions, which are historically accurate, are not presented in a convincing way. These scenes make her more like an empowered biblical prophet than the Harriet Tubman from history books. Throw in a dab of fairly generic chase scenes and a bland, one-dimensional slave owner antagonist (Joe Alwyn) and you have your conventional Hollywood stew.

Yet shining through the haze of studio formula is Erivo who puts the entire movie on her back. Her performance captures the spirit of Harriet Tubman which has shamefully been missing from the big screen. This may not be the definitive Tubman biopic she deserves but the movie honors this important historical figure and hopefully will inspire people to look deeper into her true life story and incredible accomplishments.

VERDICT – 3 STARS

REVIEW: “Dolittle” (2020)

February 11, 2020 by Keith Garlington

On one hand “Dolittle” seemed like the kind of family movie primed for success. It was based on a once beloved children’s book series. It featured talking animals, a grand adventure, an enormous and talented cast, along with a popular lead actor known for his charisma and wit. On the other hand there were causes for concern – numerous delays and development woes, a so-so first trailer, and of course the dreaded January release date.

It turns out the box office wasn’t kind to “Dolittle”. It fell well short of its break-even estimates. Critic reactions haven’t been much better (it currently sits at an abysmal 15% on Rotten Tomatoes). So the movie along with its $175 million budget sank fast as did its obvious franchise aspirations.

It’s a shame because the very idea of Dr. Dolittle is the kind of childlike fantasy that almost any youngster can latch onto. History proves it. Creator Hugh Lofting wrote over twenty books and short stories based on the animal loving eccentric. There have been stage musicals, a radio series, television shows, and movie adaptations. But this latest effort from director Stephen Gaghan never seems sure-footed in its vision or execution.

Photo: Universal Pictures

Robert Downey, Jr. stars and it’s hard to tell just how engaged he really is. He soaks his dialogue in a funky Welsh/Scottish accent that you eventually get used to despite it never sounding quite right. Set in the mid-19th century, the movie starts with the good doctor in full recluse mode: shaggy, unkept, and brokenhearted following the death of the love his life Lily. Unable to cope, he has shut himself off from humanity, choosing to stay confined in his walled-in estate/animal sanctuary. Fluent in every form of animal-speak, Dolittle chooses to spend his time with his furry, feathered and four-legged friends rather than those pesky humans.

His closed-off existence is rattled when two young teens seek his help for much different reasons. A tenderhearted local boy Stubbins (Harry Collett) brings a squirrel in desperate need of medical attention. The cause – Stubbins accidentally shot it himself. Lady Rose (Carmel Laniado), an emissary from the gravely ill Queen Victoria (Jessie Buckley), brings a message summoning Dolittle to the dying royal’s bedside. The Doctor reluctantly agrees and after examining his Majesty surmises that the only cure comes from the fruit of the mysterious far-away Eden Tree. But finding it will be no easy task.

So Dolittle sets sail to find the tree but first he rounds up his amazing zoo crew voiced by a star-studded group of Academy Award winners, comedians, wrestlers, and singers. Emma Thompson plays a Macaw, Rami Malek a gorilla, Kumail Nanjiani an ostrich (my favorite), Octavia Spenser a duck, Tom Holland a studious dog, John Cena a polar bear, Marion Cotillard a fox, Selena Gomez a giraffe, and so on. And tagging along against the Doc’s wishes, young Stubbins who is determined do be Dolittle’s new apprentice.

Photo: Universal Pictures

Hot on their heels is Dr. Blair Müdfly, an old rival of Dolittle with a vested interest in the Queen’s condition. He’s played by a wildly over-the-top Michael Sheen who does provide a much needed laugh or two. He’s rarely funny as a result of the material. It’s comes mostly from simply watching Sheen and his wacky, neurotic delivery. It certainly provides more laughs than the animal banter (which we get a TON of). Outside of Nanjiani, whose laidback pessimism lands well, none of chatter leaves much of an impression. The voice work is good, the dialogue – not so much.

“Dolittle” isn’t a total disaster. Downey, Jr. has an infectious manic energy and the actor’s inherent likability is an asset. The CGI is generally well done including the many animals and the locations. And later we get Antonio Banderas as an evil Jack Sparrow-like king along with his ferocious tiger played by Ralph Fiennes. How could that be bad? But none of it can make up for for the movie’s biggest issue – its lack of any emotional resonance. You can count on one hand (and have fingers to spare) how many times the movie actually shows some form of feeling.

The similarities between “Dolittle” and the original 1967 movie adaption are striking. That film starred Rex Harrison in what was (as with Downey, Jr.) a peculiar choice for him. Its plethora of production issues have been well-documented plus it too ended up taking a beating at the box office. While “Dolittle” might be a slightly better movie than Harrison’s mess, it’s still hard not to see this as a sad case of history repeating itself.