Author Archives: Keith Garlington

5 Phenomenal Movie Mullets

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Who doesn’t love a good mullet? Okay, that’s probably not the best question since most of us can do without them. How about this: Who could forget the mullet? You remember, the hairstyle that is “short on top with a party in the back”. Well if you don’t know the mullet (consider yourself fortunate) thankfully movies have recorded them so that we may never forget. This prestigious Phenomenal 5 will look at the best mullets in cinema history. Why? Heck if I know. Just go with it.

#5 – Kurt Russell (“Big Trouble in Little China”)

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Why not start the list with a quintessential movie mullet. Kurt Russell let his locks flow in the wacky 1986 action-comedy romp “Big Trouble in Little China”. It’s really hard to imagine such an important and distinguished list such as this without it.

#4 – Mel Gibson (“Lethal Weapon”)

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Think of this one as an unorthodox mullet on steroids. Mel Gibson’s untamable hair in 1987’s “Lethal Weapon” was as crazy as his Martin Riggs character. Think of it as the mullet with a little 80’s ‘big hair’ tossed in. Let’s hope that style never comes back.

#3 – Nicolas Cage (“Con Air”)

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Leave it to good ‘ol Nic Cage to not only give us a slightly more traditional mullet but to take it all the way. I mean look at the length. In “Con Air” he takes the ludicrous phrase “party in the back” to absurd levels. Good job Mr. Cage.

#2 – Jean-Claude Van Damme (“Hard Target”)

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Throughout most of career Jean-Claude Van Damme kept his hair under control. You could say his hair was consistently normal with one enormous exception. In John Woo’s “Hard Target” JCVD sported a mullet for the ages. And he left no questions about it.

#1 – Kiefer Sutherland (“The Lost Boys”)

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Now lets talk about a perfect amalgamation of textbook and style. In “The Lost Boys” not only was Kiefer Sutherland a great bad guy, but he rocked a textbook mullet – short top and sides with a train in the back. But it peppered it with a little style. Look at that spiked top. Sure we laugh now but at least his mullet made him tops on this list.

So there you have it. Several other killer/terrible mullets came to mind but didn’t quite make the list. Tell me what I missed in the comments section below.

REVIEW: “Gun City” (2018)

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The social and political dynamics of 1921 Barcelona were volatile to say the least. As labor strikes and protests gave way to civil unrest, a number of groups pounced at the opportunity to exploit the boiling tensions between anarchists and authorities. Corrupt police, gangs, the bourgeoisie, and even Primo de Rivera’s military found ways to use the turmoil for their benefits.

“Gun City” (previously titled “The Shadow of the Law”) recreates the powder keg that was Barcelona while telling a story that pulls from a variety of movie genres. Director Dani de la Torre pays a lot of attention to the social issues (some of which feel quite relevant for today) yet also makes a movie that is highly cinematic in both structure and presentation.

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The film opens with a violent train robbery. We learn the mysterious robbers swiped a stockpile of war-bound rifles which if put in the wrong hands could turn Barcelona into a war zone. Officer Aníbal Uriarte (Luis Tosar) arrives into town to help with the police’s investigation. He is assigned to the Information Brigade – a four-man squad ran by the crooked Inspector Rediú (Vicente Romero) who has his hand in several nefarious side dealings.

Screenwriter Patxi Amezcua’s main story thread follows Uriarte through the investigation but from a unique perspective. He’s much of an observer who (like us) is soaking in Rediú’s process (both legal and shady). This opens the door for a handful of side-stories all of which eventually intersect. One follows a sleazy gangster/ nightclub owner (Manolo Solo) and his captive dancer and main attraction (Adriana Torrebejano). Another centers on the growing tensions within the revolutionaries ranks. Their labor leader Ortiz (Paco Taos) pushes for peaceful protests while young firebrand Leon (Jaime Lorente) believes it is time to take up arms. Caught in the middle is Ortiz’s dedicated but principled daughter Sara (Michelle Jenner).

Not only does “Gun City” juggle a handful of story angles but it also dips into several different movie genres – crime, action, romance, and even sociopolitical thriller. It’s quite the undertaking and de la Torre mostly gets it right in driving his characters and their narratives. The story remarkably stays on point, never feeling unfocused while always remaining entertaining.

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Cinematographer Josu Inchaustegui gives “Gun City” a fantastic look loaded with style and snappy visual flourishes. He often uses panning cameras as well as some interesting points of view. I particularly loved one specific close-quarter fight sequence inside the cab of a car. It’s shot in one continuous take with the camera slowly moving around the vehicle. It’s one of the many crafty uses of the camera peppered all through this movie.

Amid its plethora of thick mustaches and stony gazes lies an absorbing piece of Spanish cinema that comes across as a genre stew with a social conscience. But don’t let that description fool you. “Gun City” hits its target. It delves into several strong themes, is never boring, and features fine performances throughout. Will the genre bouncing appeal to all audiences? That’s hard to tell, but it definitely worked for me.

VERDICT – 4.5 STARS

4-5-stars

REVIEW: “Uncle Drew”

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If I were to be completely honest I would have to admit to dismissing “Uncle Drew” from the very first glance. The movie (from director Charles Stone III) had all the markings of a shallow, cameo-clogged sports comedy much like others we’ve seen before. Even worse was the idea of putting tons of makeup and prosthetics on NBA basketball players and casting them over professional actors.

But here’s the funny thing – “Uncle Drew” isn’t half bad. It’s miles from being a great movie, but with so many things working against it right out the gate, it’s genuinely surprising to see it turn out to be as entertaining as it is. A lot of it can be traced to the undeniable fun the cast and crew are having. It’s an enthusiasm that bleeds over into the movie and the audience. It can’t hide every blemish, but it does make for a pretty enjoyable watch.

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Lil Rel Howery plays Dax Winslow, an ambitious streetball coach with his eyes on winning the Rucker 50 Championship. In case you didn’t know, the Rucker 50 is an annual tournament held at Rucker Park in Brooklyn. Rucker is called “the epicenter of the streetball universe” and the tournament has a prestigious and celebrated history.

For Dax winning the tourney is paramount. First, the $10,000 grand prize will keep him in the good graces of his loud, obnoxious, money-grubbing girlfriend Jess (fittingly played by Tiffany Haddish). Second, it gives him another shot at beating his arch rival and 7-time tournament champ Mookie (Nick Kroll). This year Dax has the team to do it thanks to a young streetball superstar (Aaron Gordon). That is until Mookie sweeps in and steals the team out from under him.

A reluctant but desperate Dax seeks out Uncle Drew (played by NBA star Kyrie Irving), an old man but still a heckuva basketball player and a Rucker legend. Dax convinces Uncle Drew to play but under the condition that it’s with his old team. The two set out on a road trip to ‘get the gang back together’ for one more run at the Rucker. The elderly gang includes Preacher (Chris Webber), Lights (Reggie Miller), Boots (Nate Robinson), and Big Fella (Shaquille O’Neal).

It doesn’t take much imagination to figure out where the movie goes from there. It’s laughably predictable and often uninspired. Look no further than the barbershop and African-American church scenes both of which seem copied and pasted from other movies. But looking for narrative depth and nuance in a film like this is unrealistic. It’s more of a ‘Who’s Who’ of NBA stars and ESPN personalities with a playful sense of humor.

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So what makes “Uncle Drew” work aside from the aforementioned infectious fun the cast is having? For starters the film is unashamedly good-natured which feels right for this kind of movie. Also, I found the performances of players Irving, Webber, Shaq, Miller, and Robinson to be surprisingly charming. And I admit to laughing at some of the NBA inside jokes – Shaq’s character saying “pass it Kobe” or Chris Webber’s character being told “We got no more timeouts”.

It all makes for a fun little escape with a pretty big heart. Corny, formulaic and unoriginal for sure, but not a terrible way to spend 100 minutes. Not bad for movie inspired by a prankish series of Pepsi commercials.

VERDICT – 3 STARS

3-stars

REVIEW: “The Meg”

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One of the good things about seeing “The Meg” is that you pretty much know exactly what you’re going to get. I give the filmmakers credit for not even attempting to hide what they are going for – goofy, preposterous and a whole lot of Jason Statham. It all comes down to whether it has enough fun, humor and self-awareness to keep us onboard.

Statham plays Jonas Taylor, the former head of a deep sea rescue team now ostracized after a mission goes terribly bad. Now, instead of saving people, he spends his days off the grid boozing in Thailand.

Meanwhile a billion dollar research station 200 miles off the coast of China discovers a new ecosystem below the floor of the Mariana Trench. A team descends to explore the discovery but are attacked by something really, really big leaving them stranded and with limited life support. That’s enough to bring back the blackballed Jonas to attempt a daring rescue.

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“The Meg” opens a bit slowly with the rescue mission which introduces the cast of characters and reveals the not-so-surprising threat. It’s a Megalodon, the mother of all sharks and thought to be extinct for 2 million years. The rescue attempt inadvertently unleashes the beast (gulp) and its up to the team to find a way to stop it. But as Jonas proclaims in one of my favorite cheesy lines “Man versus meg isn’t a fight. It’s a slaughter”. Truer (and cornier) words have never been said.

The second half features director Jon Turteltaub fully embracing the 1950’s monster B-movie blueprint. Things get more absurd, the special effects get a lot bigger, and the story gets even more predictable. That’s not to say it isn’t fun. There are plenty of big popcorn movie moments and silly over-the-top action. And just when you think it’s taking itself too seriously, in drops a timely cheesy line of dialogue or a particularly goofy sequence.

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A pretty good supporting cast helps navigate the film’s megalodon infested waters. Li Bingbing plays headstrong oceanographer Suyin who runs the research station with her father played by Winston Chao. Rainn “The Office” Wilson pops as the station’s billionaire financier and hit-or-miss comic relief. Cliff Curtis, Ruby Rose and a handful of others fill out the cadre of potential shark food.

While “The Meg” doesn’t exactly burst out of the gate and its balance between serious and self-aware is sometimes off, it still manages to do what it intends. Within its ocean of cliches, one-liners, and ridiculous man vs. sea monster set pieces is a fun and often hilarious bit of throwaway entertainment. Pay no attention to its attempts at feeling and romance. Just stay for the shark and the goofiness that ensues. That was enough for me.

VERDICT – 3 STARS

3-stars

REVIEW: “Night of the Living Dead”

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In a 2017 discussion of George Romero’s “Night of the Living Dead”, Chicago based film critic Josh Larsen offered some food for thought: can a young modern film fan watch this horror classic for the first time and have the same reaction as moviegoers did during its original 1968 release? Could it possibly have the same impact today as it did then? This has been such an intriguing question to me.

As contemporary viewers we have had the zombie sub-genre clearly defined for us. We know what they are, how to kill them, and we certainly know not to get bitten. The very concept of a zombie no longer carries any shock value. But imagine in 1968. Sure, the idea of the reanimated dead had been around, but the concept of a zombie as explored by horror legend George Romero in “Night of the Living Dead” was both shocking and terrifying.

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While I may not be old enough to have seen it during its original release, my own first experience with “Night of the Living Dead” left a similar mark. It was in the early 1980’s during the first wave of VCR rentals. I’m guessing I was no more than 13-years-old. At that time there was no zombie sub-genre. Zombies had not become the staple of pop culture that they are today. For me they were a new experience – an utterly frightening first encounter that I still remember to this day. Perhaps that is why Romero’s classic is still my favorite horror movie ever made.

Romero’s chilling vision is made even more spectacular when considering his miniscule budget. Made for around $114,000, the money restraints not only shaped the production but also the story itself. Romero and company knew they couldn’t spread their shoot to multiple locations. Instead his story brought the horror to one place – a remote Pennsylvania farmhouse. This serves as the central hub for the conflicts to come from both inside and outside the walls; from the flesh-eating dead and the ___ human characters.

The group of people barricaded inside the farmhouse have no idea what is happening. Much like his characters, Romero leaves the audience in the dark, only feeding us tiny morsels of information as the story progresses. Imagine it through the eyes of a 1968 moviegoer who has no preconceived notions of zombies or their mythology. They can only guess along with the characters who testify to what they have seen with their own eyes and take guesses as to the cause.

One of the most effective means of information (for both us and the characters) comes from a television found upstairs. The group of six watch attentively as emergency newscasts sift through reports and interview ‘experts’ in an attempt at relaying information to the audience. There is also an eerie effectiveness to how the television plays in the background.

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While the zombie threat gathers outside of the house the dynamic inside grows equally tense. Romero’s assortment of compelling characters add an extra layer of drama to the story. It starts with the star Duane Jones who plays Ben. He serves as the backbone, the brains, and in many ways the moral compass of the film. But what is most significant is Romero’s casting of Jones, an African-American, for such a heroic and assertive role. It’s significance may not resonate as much today, but in 1968 it most certainly left a mark.

Film historians and critics have found all sorts of ways to interpret “Night of the Living Dead”. They’ve seen it as representing the Vietnam War, the Civil Rights movement, even a critique of capitalism. All of those are compelling readings, but for me it works best as ground-breaking horror movie that laid a foundation for a sub-genre that is still being built upon today. And each glorious 35mm black-and-white frame represented a bold new step for independent filmmaking and for horror movies in general. Most remarkably, it still holds up as a horror flick and a groundbreaking cinema classic.

VERDICT – 5 STARS

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5star

REVIEW: “Halloween” (2018)

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David Gordon Green’s “Halloween” is yet another entry into the four-decade-long slasher franchise sure to drive continuity hounds insane. If you’re into chronology finding a link through every Halloween movie is all but impossible.

Case in point: If you’re loyal to the original order you have “Halloween” 1-6. Maybe you choose the two “H2O” movies which followed the original “Halloween” and “Halloween 2” but nothing after. Then you had Rob Zombie’s completely unconnected reboots simply titled “Halloween” and “Halloween 2”. Now we have a new line that embraces the 1978 original but dismisses everything else. So with it you have “Halloween” followed by “Halloween”. Confused yet?

For many people none of that stuff matters much. It’s weird and messy but ultimately it all comes back to the masked butcher-knife wielding antagonist Michael Myers. Green’s “Halloween” aims to bring back the original conflict between Michael and Jamie Lee Curtis’ Laurie Strode. And what better time to do it than the 40 year anniversary of the ’78 John Carpenter classic.

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Green was an unusual choice for a “Halloween” movie especially considering some of his raunchy swing-and-misses (“Pineapple Express”, “Your Highness” and “The Sitter”). But since those films he has shown a more intriguing side to his filmmaking (“Prince Avalanche”, “Joe”, and “Stronger”). So having him head a big slasher-horror franchise was intriguing.

In Green’s telling, Michael Myers was captured shortly after the murderous events of the first film (seems like something the audience should get to see but be that as it may). For 40 years since, Michael has been in an institution for the criminally insane under the care of Dr. Sartain (Haluk Bilginer), a former student of Donald Pleasance’s Dr. Loomis with the fascination for Michael’s psychology.

During this same time, Laurie Strode has closed herself off both literally and figuratively. She is a self-described basket case with two failed marriages and a strained relationship with her daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak). The mental trauma and understandable paranoia has driven Laurie into seclusion on the outskirts of Haddonfield, barricaded in a fortified farmhouse full of booby-traps and firearms.

The institution schedules to transfer Michael, along with a busload of other patients, to a new facility on Halloween night. How’s that for timing? A crashed bus, a few dead bodies, and guess who is heading back to Haddonfield? And don’t worry slasher fans, Green gives his audience more than enough disposable characters to serve as Michael’s blood-soaked fodder. In fact, practically none of these characters are meaningful other than to raise Michael’s gory kill count and take screen-time away from Curtis who is very good here.

It’s impossible to deny the nostalgia for someone who loved the 1978 film. Green and co-writers Danny McBride and Jeff Fradley are routinely calling back to the original and in many instances borrowing from the very sequels they disavow. So aside from Laurie Strode’s journey and a particularly bizarre middle act twist, much of this movie will feel familiar to franchise aficionados and for slasher fans in general. It does little to differentiate itself.

What’s worse is that the movie just isn’t that scary. It throws in a smattering of jump scares but it’s never able to maintain the tension that John Carpenter nailed so well. I only recall one scene that had me antsy. Even the big finale had all the ingredients for a tense sequence but is drawn out too long before FINALLY giving us the overdue payoff (and it is a very satisfying payoff).

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It’s also hurt by the fact that Michael Myers is simply not that interesting. A lot was made of Green’s decision to wipe out Michael and Laurie’s family connection. Here Michael seems aimless, often killing for no reason other than to allow the special effects team to one-up their last kill. And the movie’s weird jabs at humor tend to disrupt the tone (I’m sorry, but potty-mouthed little kids ran their course with me long ago).

Some have called this a horror film for the #MeToo and #TimesUp era. I think that is giving the movie way too much credit. It does aim to put Laurie Strode in the Ellen Ripley and Sarah Connor class. That’s a good thing and the film needed more of her. But that’s as far as the movie goes. It’s still a very basic slasher flick which is good for genre fans but it’s hardly one with a profound social conscience. Still there is definitely fun to be had.

It may sound like I’m down on “Halloween” when actually it works well enough within this 11-movie franchise. Jamie Lee Curtis is excellent and the film excels when she is highlighted. But when you have framed yourself as a direct sequel to an all-time horror classic and you’ve wiped out a lot of the series history it’s easy for us to expect a little more than a standard slasher film. Especially one that is so similar to several of the sequels it set out to replace.

VERDICT – 3 STARS

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