REVIEW: “Annabelle Comes Home”

July 3, 2019 by Keith Garlington

The very idea that a Conjuring universe exists makes me smile. Not because it’s some groundbreaking cinematic accomplishment. But because it’s a tightly focused, modestly budgeted, interconnected horror franchise built around two fantastic central movies. The spin-off films have been hit-or-miss but at least they have offered some interesting layers to the franchise as a whole.

“Annabelle Comes Home” is the third film in the Conjuring prequel series about the ugliest, creepiest porcelain doll ever put on screen. This installment begins on a high note with the franchise’s greatest assets, Patrick Wilson and Vera Farmiga reprising their roles as paranormal investigators Ed and Lorraine Warren. They don’t have big roles in the film but I absolutely love the chemistry between them.

It’s 1971 and the Warrens have taken possession of the Annabelle doll after identifying it as a conduit for malevolent spirits. Following a blessing ritual Annabelle is put in a glass case within their eerie room of evil artifacts. And surely a door with five locks and a big sign reading “DANGER!” is enough to keep the evil contained, right? Well, in a word…no.

Jump ahead one year as the Warrens prepare to head out for an overnight investigation into a new case. They leave their daughter Judy (Mckenna Grace) and the keys to their split-level home with their dependable babysitter Mary Ellen (Madison Iseman) who is keenly aware of the house rules.

The same can’t be said for Mary Ellen’s pushy best friend Daniela (Katie Sarife) who shows up to the Warren’s house uninvited and instantly begins snooping around where she shouldn’t. This provides the movie with its opening to introduce its horror elements. Horror movies have a track record of having really bad things happen thanks to really stupid actions. There is a bit of that with Daniela. But writer-director Gary Dauberman tosses in a story thread to give a meatier reason for what she is doing. It kinda works.

Motivations aside, Daniela finds a way into the Warrens’ no-no room and unleashes all sorts of terrifying apparitions. Most of the story unfolds over the course of that one night as the young ladies try to survive the usual stuff – convenient power outages, appliances mysteriously turning on, ghoulish spirits suddenly standing in the background, and an overactive fog machine.

Dauberman does a good job creating a spooky atmosphere which he leans on a bit too heavily. Most of the movie features all of the above mentioned horror gadgetry on repeat with practically nothing in the form of story progression. In many ways it reminds me of “The Nun” (which Dauberman also wrote). It was a movie rich with atmosphere but shallow when it comes to storytelling.

Much like “The Nun” this ends up being a spin-off film that never reaches the fullness of its potential. “Annabelle Comes Home” is a slight step up thanks to its better realized place within the franchise and closer connection to the two main Conjuring films. There is also some really good chemistry between the three young actresses which gives us good reasons to care for their characters. Unfortunately, despite offering moments of fun, the film doesn’t do much to push the franchise forward which leaves it feeling like a missed opportunity.

VERDICT – 3 STARS

First Glance: “Charlie’s Angels”

July 2, 2019 by Keith Garlington

Add this one to the ever-growing list of Hollywood reboots/remakes that no one asked for. I certainly never expected to see “Charlie’s Angels” back on the big screen following the two ridiculously bad movies from the early 2000s. Yet here we are with a new cast, new director, but (judging from the first trailer) much of the same cringy silliness as before.

The cast is a bit surprising but does seem to fit with the film’s obvious desire for diversity. Kristen Stewart, Naomi Scott, and Ella Balinska play the ‘Angels”. The biggest surprise is Elizabeth Banks. She directs, writes, co-produces, and co-stars so this truly is her project. It’s a surprising series for her to try and revive and our first look doesn’t leave the best impression.

“Charlie’s Angels” hits theaters November 15th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Fast Color” (2019)

July 1, 2019 by Keith Garlington

Each year there is a movie that comes out of nowhere and absolutely knocks my socks off. Most of the time it’s a smaller film worthy of more press and deserving of a much bigger audience. So far no 2019 movie fits that description better than “Fast Color”.

The film is directed by Julia Hart who also co-wrote the screenplay with her husband, producer Jordan Horowitz. “Fast Color” premiered at SXSW in 2018 and was met with strong reviews but no distribution deal. Even after it was eventually picked up by Lionsgate subsidiary Codeblack Films, a split between the companies left the film in limbo. Lack of marketing led to no exposure making it impossible for “Fast Color” to grab the attention it deserves.

That has to be frustrating for Hart and everyone involved especially since their film is genuinely something special. It’s part dystopian science-fiction, part moving family drama. Most surprisingly, it could be defined as a superhero origin story, but one not directed by source material or restricted by franchise obligations. Instead it’s a highly original work with its own unique pulse and more things on its mind than caped crusading and cosmic threats.

First the setting: in the American Midwest we learn it has been eight years since the last drop of rain. People can’t grow food and the prices of water have skyrocketed. A fabulous Gugu Mbatha-Raw plays Ruth. When we first meet her she’s clearly on the run from something. Soon we learn she suffers from uncontrollable tremors, so violent that they trigger small earthquakes. Of course superpowers like that would draw the attention of the government who are desperate to find and study anything they can to end the planet’s slow demise.

Frightened and with nowhere else to go, Ruth flees to the one place she can potentially feel safe – home. Once there she has a tense reunion with her mother Bo (Lorraine Toussaint) who has been raising Ruth’s daughter Lila (Saniyya Sidney) for ten years on a remote country farmhouse. Hart begins to shrewdly unpack the complicated family history surrounding three generations of women. The less you know the better, but I’ll say this much: All three have special powers that have been passed down through the women of their family. But Ruth struggles, even portrayed as “broken” due to her inability to tap into her abilities.

While you could call “Fast Color” a superhero movie, it doesn’t draw its strength from spectacle but from the mysterious wonders of ordinary life and the relationships that help shape us. Many small details both physical and emotional bring weight to the story and resonate through Hart’s canvas. And they help to explore the wealth of stimulating themes: the power of maternal bonds, embracing individuality, family legacies, addiction, and that just scratches the surface.

So many elements add to the rich and engaging storytelling. Hart and her cinematographer Michael Fimognari do a variety of interesting things with the camera from elegant tracking movements to well-framed stationary shots. Rob Simonsen’s score is most often quietly effective but other times emotionally stirring without being manipulative. There’s the strong supporting work from Toussaint (I hope Oscar is paying attention), Sidney, and the always reliable David Strathairn playing a small town sheriff. And of course Mbatha-Raw who is convincing, committed, and utterly compelling. How is she not considered among our best working actresses?

It’s a real tragedy that “Fast Color” has been all but lost among the waves of 2019 movie releases both large and small. But it’s not too late. After a botched marketing campaign and minuscule theater release, “Fast Color” is now available on several streaming platforms (Vudu, Microsoft Movies, Amazon Prime, iTunes). There simply aren’t enough of these experiences out there – movies willing to infuse familiar genres with fresh, creative, and thought-provoking ideas. Beautifully conceived both narratively and visually; thematically rich and full of inspiration. This is a film truly worth championing, and I’m happy to do so. It also happens to one of the year’s very best.

VERDICT – 4.5 STARS

REVIEW: “Murder Mystery”

June 28, 2019 by Keith Garlington

One of the greatest compliments I can give “Murder Mystery” is that it is considerably more tolerable than most of the dreck Adam Sandler churns out. That may not sound flattering (and to be honest it isn’t), but when you’ve grown accustomed to Sandler films being insufferable slogs, ‘tolerable’ is a pretty big step in the right direction.

Just to be clear, that doesn’t mean “Murder Mystery” is a good movie. It features many of the same problems that plague most of Sandler’s stuff. It just happens to be slightly less offensive to your intelligence and ever so slightly amusing (on occasions) – just enough to keep you with it until the end.

Sandler plays Nick Spitz, a New York police officer who can’t pass his detective exam. Jennifer Aniston plays his wife Audrey, a hairdresser who after 15 years is still waiting on her husband to fulfill his promise of a honeymoon in Europe. On their anniversary Nick surprises Audrey (not by choice) by telling her he has booked their long-awaited trip.

You have to be impressed with Sandler’s ability to get together with a bunch of friends, travel to beautiful locations, and have production companies pay for the whole thing all under the guise of making a movie. Here Italy is the vacation spot…errr shooting location of choice. On their flight Nick and Audrey meet Charles Cavendish (Luke Evans), a suave and debonair aristocrat who invites them to join him on his family’s yacht to celebrate his billionaire uncle’s upcoming wedding.

But what starts as hobnobbing with the rich and famous turns into a Eurotrip filled with (you guessed it) murder, betrayal, and an assortment of the prime suspects – the fiance, a jealous son, a scorned lover, a movie star, a Maharajah, a race car driver, a military Colonel and his Russian bodyguard. Shenanigans ensue and in classic whodunnit style the possible killers are mysteriously killed off one-by-one. And wouldn’t you know it, it’s the Spitzes who find themselves being framed for the murders.

“Murder Mystery” doesn’t have a lot to offer but at least the cast is having a good time. The row of suspects featuring Evans, Gemma Arterton, Luis Gerardo Méndez, Adeel Akhtar, Shiori Kutsuna, John Kani, and Ólafur Darri Ólafsson seem to be enjoying themselves. And something can be said for the natural and seemingly effortless chemistry between Sandler and Aniston.

Unfortunately the fun they’re having doesn’t exactly carry over to us. The screenplay was written by James Vanderbilt, the same guy who wrote 2007’s fantastic “Zodiac”. He and director Kyle Newacheck wisely keep things moving at a quick and snappy pace. It’s a good idea because if you slow down and give the story too much thought, it’s pretty easy to check out of it.

While “Murder Mystery” is a decent step up from what Adam Sandler has become known for, it still falls short of being what could be called a genuinely funny movie. It’s not fresh enough to be called original and not smart enough to be called a parody. It’s the kind of movie that you don’t necessarily have to labor through, but it will be completely forgotten by the end of the day.

VERDICT – 2 STARS

First Glance: “The Peanut Butter Falcon”

June 27, 2019 by Keith Garlington

I’ll be surprised if there is another 2019 movie with a more unique title than “The Peanut Butter Falcon”. This road-trip drama from co-directors and co-writers Tyler Nilson and Michael Schwartz premiered at South By Southwest and was picked up by Roadside Attractions.

The film follows a young man with Down Syndrome (played by newcomer Zachary Gottsagen) who dreams of becoming a professional wrestler. His troubled home life pushes him to run away to pursue his dream. He crosses paths with a hapless crab fisherman (a surprisingly compelling Shia LaBeouf) who finds fulfillment in leading Gottsagen’s character to a small North Carolina wrestling school.

The supporting cast is really strong – Dakota Johnson, Bruce Dern, John Hawkes, Jon Bernthal, Thomas Haden Church, and wrestlers Mick Foley and Jake Roberts. The film hits theaters August 9th. Check out the trailer below and let me know if you’ll be seeing it or giving it a pass.

REVIEW: “The Kid” (2019)

June 26, 2019 by Keith Garlington

Vincent D’Onofrio’s “The Kid” is a fresh venture across some well-traveled cinematic territory. Over the years we’ve seen the legend of Billy the Kid explored through numerous movies and television shows. D’Onofrio doesn’t so much retell William H. Bonney’s story as he does intersect with it.

“The Kid” puts its main focus on a young boy named Rio (Jake Schur). In the opening scene we see him and his older sister Sara (Leila George) fleeing their home. Rio has shot and killed his abusive father and his equally violent uncle (a rather menacing Chris Pratt) wants revenge for his brother’s death.

The siblings cross paths with the notorious Billy the Kid (Dane DeHaan) who sees shades of himself in Rio and promises to keep the two safe. But in no time the dogged Sheriff Pat Garrett (Ethan Hawke) sweeps in and takes them all into custody. Pat and his men intend to get Billy to Lincoln, New Mexico to pay for his crimes. The opportunistic Billy keeps his eyes open for any chance to escape.

While their game of cat-and-mouse plays out, the film’s centerpiece (Rio) is forced to decide what kind of man he’s going to be. So amid a slew of western violence and oneupmanship, an unexpected coming-of-age story springs up. Does Rio follow the path of the charismatic outlaw or the principled lawman?

The story was conceived by D’Onofrio and screenwriter Andrew Lanham. The bulk of it is told through Rio’s eyes as his innocence is steadily being chiseled away. The two influences in front of him couldn’t be more different and watching him wrestle with both adds an interesting and unexpected twist. It keeps the whole thing from being yet another telling of Billy the Kid’s story.

But I don’t want to shortchange the Billy vs. Pat angle. It will certainly be familiar for many and D’Onofrio doesn’t bring much new too it. But it’s still fun to watch mainly due to the performances given by DeHaan and Hawke. I’ve long struggled to fully embrace DeHaan as an actor but this is definitely a step in the right direction. He has always had a hard-to-define screen presence and it actually works really well here. Hawke on the other hand gives another rock solid showing, continuing a streak of great performances that have become his norm.

D’Onofrio frames all of this through a nicely realized western backdrop. He shows off a good eye for setting and a nice sense of the genre he’s working in. His pacing is a bit uneven at times and many won’t be able to shake the feelings that they’ve seen some of this before. But “The Kid” offers enough of a mixture of fresh and familiar to not only warrant its existence, but to provide an unorthodox and entertaining Old West experience.