Author Archives: Keith Garlington

REVIEW: “It Comes At Night”

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“It Comes At Night” has some intensely personal roots for its writer and director Trey Edward Shults. The film’s genesis can be found in Shults’s sorrow following the death of his father. After ten plus years of estrangement fueled by his father’s addictions, the two reconciled on his deathbed. Shults began writing “It Comes At Night” two months later as a way to cope with his grief.

Shults’s familial connection to his film is not unlike his previous movie, 2015’s “Krisha”. In it we witness a character’s relapse and ultimate breakdown – something inspired by a real-life family incident. In “It Comes At Night” the opening scene is the emotional release point for Shults. It shows a daughter giving words of comfort to her dying disease-stricken father. Shults has stated these are the words he shared with his dad.

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We quickly learn the infected man’s name is Bud (David Pendleton) and the consoling daughter is Sarah (Carmen Ejogo). The disease’s effects on Bud are obvious – nasty boils, milky eyes, pale skin, the works. Sarah’s husband Paul (Joel Edgerton) and their son Travis (Kelvin Harrison Jr.) take Bud outside, Paul shoots him and then burns the body. For the remainder of the film’s running time this disturbing mercy killing haunts this family, especially 17-year old Travis.

The film tells us very little about the epidemic, how it started, or even how its contracted. Frankly all that stuff is unimportant. Instead we are dropped into this already contaminated and chaotic world. And despite the impressions left by the trailers, the tension and suspense is drawn more from what lies within the characters than what may be lingering outside in the night.

Paul and his family live in a boarded up house deep in the forest. Their closed-off lives are shaped by survivalist protocols and justifiable paranoia. Their feelings of isolation and security are broken when their home is discovered by a man named Will (Christopher Abbott) who is seeking supplies for his family. A hesitant Paul agrees to take in Will, his wife Kim (Riley Keough), and their young son Andrew (Griffin Robert Faulkner). For a time a sense of social normalcy returns, but ultimately the human responses to fear and anxiety are too much to shake.

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It would be easy to see this as a conventional horror film – a deadly virus, a cabin in the woods, a spooky red door at the end of a hall, and the ominous title. But there is a surprising psychological depth that transcends any genre expectations. There are a handful of jump scares and the shadowy claustrophobic setting is indeed creepy. But the film’s true intensity comes from its cliché-free handling of the inner demons gnawing away at these characters.

“It Comes At Night” is many things. It’s an unconventional horror picture. It’s a deep emotional treatment of loss. It’s a troubling, unorthodox coming-of-age story. The cool thing is how well Trey Shults packages all these things together without an ounce of conflict. It is a meticulously paced and tightly focused story that does a good job utilizing its stellar cast. It is unshakably bleak – maybe too much so for some, but if you can get in tune with its unique rhythm and are willing to dig deeper under it’s surface, you’ll find more to this film than the trailers would have you believe.

VERDICT – 4 STARS

4-stars

REVIEW: “Paris Can Wait”

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Maybe a road trip filled with beautiful sites and great food is the only way to experience a country (as we are told). But the buoyant road drama “Paris Can Wait” proves that you need a little more than fancy dishes and lovely scenery to make an egaging movie. Don’t get me wrong, this is a film that has its moments. But it’s also a movie that leans way too heavily on its culinary and scenic fascinations.

“Paris Can Wait” is written, directed, and co-produced by 81-year old Eleanor Coppola. An accomplished documentarian and wife of Francis Ford Coppola, this is her first fictional drama and her first film of any kind since 2007. Here she creates a simple and lighthearted premise that should feature plenty of fun and charm. Sadly there isn’t enough of it.

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Diane Lane plays Anne, a woman living in the shadow of her pompous movie producer husband Michael (Alec Baldwin). The two were set to fly from Cannes to Paris until Michael is called away to a movie set and Budapest. He agrees to let his production partner, a charismatic Frenchman named Jacques (Arnaud Viard), drive Anne to Paris. Along the way Jacques takes one diversion after another introducing Anne to an assortment of French locales and cuisine.

There are plenty of beautiful locations to catch your eye and the food looks delish. The story playful hints at Jacques’ intentions as the two share one conversation after another in the car or around the table. But it doesn’t take long to realize the film has little to offer past that. It’s repetitive formula goes something like this: they visit a cool site, find an expensive place to eat, and then Jacques lectures Anne on enjoying life the French way. It remains stuck in this one gear for the entire trip.

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That wouldn’t be such a bad thing if the characters and their conversations were appealing. Viard doesn’t project the irresistible French charm the movie needs him to portray. But the bigger frustration revolves around Diane Lane. There’s nothing glaringly wrong with her performance. It’s just that Anne is such a shallow, naive character who spends the bulk of the film doing whatever she is told. Unquestionably Coppola wants to speak to empowerment, but she doesn’t pull it off. The movie’s last shot all but solidifies that idea.

I really wanted to fall for “Paris Can Wait”. I have a soft spot for these types of movies and I’m a Diane Lane fan. But the majority of the picture leaves Lane in the passenger seat and the scrumptious photography can only carry it so far. If only Coppola would have let her star take the wheel and given her a meatier role to work with. Instead I grew tired of their monotonous conversations and the utter lack of dramatic tension. I found myself annoyed at Jacques’ cloying banter and Anne’s wistful obedience. And I kept wondering who would ever fall for this guy? If that’s your main question you can expect to have some issues with this film.

VERDICT – 2 STARS

2-stars

5 Phenomenal Bicycle Scenes

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Isn’t it amazing how something as simple as a bicycle can leave such a mark when it comes to movies. Okay, so maybe I’m stretching things a bit but you get where I’m going. It’s actually good filmmakers who make these things stick with us. Today we are looking at five instances where filmmakers have used bicycles in ways movie fans should appreciate. With so many bicycle scenes I wouldn’t call this the definitive list. But there’s no denying that these five bicycle scenes are certainly phenomenal.

#5 – “Napoleon Dynamite”

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Some of you may be tempted to immediately discredit this list as hogwash after seeing this choice. Well, it probably is, but I still stand by the hilarious bicycle scene in the 2004 comedy “Napoleon Dynamite”. You know the one. Pedro shows off his Sledgehammer (complete with pegs and shocks) by taking it off a “sweet jump”. Of course Napoleon has to try. For those who haven’t seen it, let’s just say it’s not the most graceful thing. But it sure is funny.

#4 – “Butch Cassidy and the Sundance Kid”

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Here’s a scene that should instantly come to many minds. Paul Newman riding around with Katharine Ross sitting on the front of his bike while B.J. Thomas sings “Raindrops Keep Fallin’ on My Head”. It’s really quite lovely despite being whimsical and a little corny. But that’s really Newman riding through an apple orchard, weaving through cows, and doing bike tricks around a barn (well, not the final trick). It’s such an odd but charming sequence.

#3 – “A Thousand Clowns”

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This bicycle scene comes from a seemingly forgotten 1965 Oscar-nominated movie starring Jason Robards. “A Thousand Clowns” and its story of a purposeless nonconformist isn’t the most cuddly film but there is a wonderful bicycle scene featuring Robards and Barbara Harris. The two bike through different New York City locations while the music strangely shifts between “The Stars and Stripes Forever” and “Yes Sir, That’s My Baby”. It’s a beautifully shot sequence.

#2 – “E.T. the Extra-Terrestrial”

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Let’s be serious, how can it not be on the list, right? The bicycle getaway is one of my favorite scenes from “E.T.” and easily one of the best bike scenes ever shot. With E.T. in his basket, Elliott and friends head for the forest with police and federal agents hot on the heels. They race through a housing development and just as they’re about to be nabbed, off they fly into the sunset. It features one of the most iconic movie shots from the 80s.  The effects may not hold up that well but it’s still just as thrilling as when I first saw it in 1982.

#1 – “Bicycle Thieves”

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This pick isn’t as flashy. It isn’t action-packed. It’s effect is based completely on the genuine emotional punch it delivers. In De Sica’s classic a man struggling to provide for his family has his bicycle stolen (a requirement for his new job). He sets out with his young son to find it. No bike, no job. SPOILER! The film ends with a heart-crushing scene. After failing to find his bicycle and with little hope, the father and son stand outside a crowded sports arena – bicycles everywhere. I’ll just say the internal conflict is excruciating and the decision he eventually makes cuts deep.

So those are my choices for the best bicycle scenes. Agree or disagree with my picks? What would have made your list? Please let me know in the comments section below.

REVIEW: “Solo: A Star Wars Story”

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Star Wars fans can be a surly, cynical, and often overly protective bunch. Trust me, I’m not saying that as some outside observer with his nose in the air. I myself am a proud, passionate, card-carrying member of that bunch. I adore Star Wars and it is indelibly etched into my entire life story. I have vested interests and sharp opinions on “Han shot first”, the midi-chlorian controversy, and the merits of the prequels. In other words I am a bonafide Star Wars geek.

Having defined myself, let me say I was one who had a handful of questions upon hearing of Disney’s “Solo: A Star Wars Story”. Is this a film we really need? Is it simply a cash grab or is there truly a great story to be told? Could they actually pull it off considering the iconic role wouldn’t be played by the man who made it – Harrison Ford?

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“Solo: A Star Wars Story” answers most of the questions lobbed it’s way, yet I still found myself having to make some fairly big mental adjustments. That mainly comes from the casting of Alden Ehrenreich in the title role. The film’s Herculean task of selling us a new Han Solo is absolutely essential. If we can’t buy into Ehrenreich the entire movie fails. That’s a brutal responsibility that I would never have the guts to take on. But Ehrenreich does take it on and does an impressive job of respecting the character while also making it his own. And while I didn’t always see him as the lovable scoundrel from my childhood, it’s a solid portrayal that doesn’t undermine what the movie is going for.

The film is written by franchise vet Lawrence Kasdan along with his son Jonathan and I wouldn’t say their story adds a ton to the vast Star Wars universe. But fans of the character will find more than enough to connect this movie to the Han Solo mythos. It answers a lot of questions you probably never had but has a lot of fun doing it. An unbridled fanboy like me had a blast seeing how Han acquired his iconic (that word again) blaster, learning about the Kessel run, and seeing him first lay eyes on the Millennium Falcon. Cool nuggets like those are spread throughout. Only the final act reveals things that shake up the universe in a very cool way.

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Ron Howard took the directing reigns from Phil Lord and Christopher Miller who were let go due to “creative differences”. Figuring out where Howard’s influence comes in is pretty difficult as the movie maintains a fairly consistent flow. It’s a bit slow out of the gate as it deals with Han’s life on the criminally-ran planet of Corellia. He and his love Qi’ra (Emilia Clarke) make a vow to leave the oppressive planet together. Of course it’s never that easy. The two are separated during a failed escape and Han finds himself off-world with the smuggling crew of Tobias Beckett (Woody Harrelson). For Han it’s about making some quick money and going back for Qi’ra. Did I mention it’s never that easy?

The film picks up steam and uncurls into an exciting action-packed adventure. Throughout Han’s quest characters are brought in which give the story more weight. None are more welcome than Chewbacca who for the first time is treated as more than a Wookiee sidekick. For Chewie there are stakes to consider and meaningful decisions to be made. Then there is Donald Glover’s Lando who slickly captures Billy Dee Williams’ suave but slimy charisma. He’s a hoot. Both of these characters not only bring an entertaining nostalgic flavor to the overall movie, but both serve to give Han more depth and zest. Observing their growing relationships and camaraderie left my inner fanboy pleased.

As far as the new characters, Harrelson’s Beckett and Clarke’s Qi’ra, while dramatically different, both offer some interesting twists to the story. The film’s new droid (because they always seem to have one) is Lando’s navigator and companion L3-37 (Phoebe Waller-Bridge) – an amusing character sure to tickle the political fancies of some while being downright bizarre to others. Also Paul Bettany shows up as Dryden Vos, a ruthless crime boss who has a history with Beckett and a connection with Qi’ra.

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“Solo” certainly delivers on the action. From its speeder chases to its gun fights to its space battles, it all has a very ‘space western’ feel. There’s plenty of CGI, most of it very good, but the film also seemed to incorporate a surprising amount of practical effects. That’s always good to see. And while the movie looks good as a whole, I was a bit concerned early on. For the first quarter of the movie the muted dark color palette became an issue. I think it was intended to show an ugliness of the world it was depicting, but I found it be too dim and dreary for its own good. Thankfully it’s a problem solved once we begin seeing other locations.

“Solo” is making news for not coming out strong at the box office the way Star Wars films have in the past. While it’s still making good money, many are already trying to figure out why it is underperforming. There are a number of potential factors, but I do hope it finds a bigger audience. Howard, Ehrenreich and company craft a fun and compelling romp that carefully walks the line between Star Wars fan service and old-school action/adventure. It doesn’t hit every note the way it wants, but it certainly came out far better that I expected. I appreciated its more narrow focus, I loved Chewie and Lando, and was excited by a final act that’s sure to confuse some and exhilarate others. Count me among the exhilarated ones.

VERDICT – 4 STARS

4-stars

Blind Spot Review: “The King of Comedy”

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In the entirety of director Martin Scorsese’s diverse filmography few of his pictures stand out quite like “The King of Comedy”. It’s a tough movie to grasp with its peculiar tone and unbridled cynicism. It’s a movie filled with undesirable characters and we are left with practically no emotional connection to any of them. Yet, despite all of these apparent issues and conflicts, I found myself glued to this offbeat bit of satire.

So I said ‘undesirable’ but for the film’s main character Rupert Pupkin that may be a tad harsh. Despite being delusional, obsessive, and a bit creepy there is a sympathetic quality to Pupkin. Similar to Scorsese’s Travis Bickle from “Taxi Driver”, Rupert is an outsider desperately wanting on the inside. Both are sad and pathetic eccentrics who refuse to be creatures of circumstance. They have pride and aspirations – misguided but genuine. Slowly both men mentally unravel and the question becomes how far will they go?

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Both characters are played by Robert De Niro (at the time this was his fifth collaboration with Scorsese). Yet while similar in some areas, Rupert Pupkin has a uniqueness all his own. He doesn’t want power or to win the heart of a special lady. He simply wants to be a famous standup comic. He dupes his way into seeing late night talk show host and comedian Jerry Langford (played by Jerry Lewis) in hopes that it will lead to his big break. Rupert is given the old ‘contact my office’ brush off which he optimistically buys. Of course we know better.

A big chunk of the movie focuses on Rupert’s attempts to meet with Jerry. Some of the film’s best scenes take place in the lobby of Jerry’s office. Scorsese brings us back there several times as a persistent (and delusional) Rupert is repeatedly turned away by the receptionist and by Jerry’s secretary Cathy (played by a very good Shelley Hack). Each visit is a little kookier and slightly more uncomfortable than the previous one.

With each rejection Rupert becomes more unhinged and even more impulsive. Desperate, he seeks the help of fellow deranged stalker Masha (Sandra Bernhard). The two hatch an idiotic but well thought-out plan to satisfy both of their unique Jerry Langford obsessions. It’s here that the movie goes into some pretty weird directions but Scorsese keeps it all under control and unpredictable.

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One thing that struck me is how the film keeps Rupert’s act hidden for most of its running time. His passion is unquestioned and his determination is limitless. But is he funny? Can he make people laugh? Scorsese eventually gets around to answering that question in a really fun way and it’s a perfect wrap up to this zany concoction.

When people talk about Martin Scorsese movies “The King of Comedy” often falls through the cracks. That’s a shame. It may not belong among the director’s best, but it certainly stands out for its uniqueness. It’s quirky, a bit bizarre actually, and that’s a big positive. DeNiro is a blast and offers up another example of why he and Scorsese are such a good team.

VERDICT – 4 STARS

4-stars

REVIEW: “Avengers: Infinity War”

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There was never any doubt that Disney’s superhero goldmine “Avengers: Infinity War” would make a lot of money. The only suspense was in seeing how much. Turns out more than any other movie ever for an opening weekend and it should easily top $1 billion by its second weekend. That’s a lot of money.

With a budget of nearly $400 million, “Infinity War” is easily one of the most expensive films ever made. Marvel Studios swings for the fences in framing this as a through-and-through event picture – a culmination of their decade-long and nineteen movie strong Marvel Cinematic Universe. It’s a gargantuan production with as many moving parts as big special effects (and that’s a lot) and a massive cast that will require a scorecard and pencil for those not well versed in Marvel’s vast movie landscape.

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Anthony and Joe Russo are tasked with directing this juggernaut of a story based on the screenplay by Christopher Markus and Stephen McFeely. The Russo brothers are a good fit as they helmed two of Marvel’s best films: “Captain America: Winter Soldier” and “Captain America: Civil War”. Markus and McFeely penned all three Captain America movies in addition to the not so hot “Thor: Dark World”. Thankfully “Infinity War” is much more in line with the Cap movies than their Thor misfire.

You could say all of the recent MCU movies have been setting up for this intergalactic crisis. Through various passing dialogues and end credits scenes we have been introduced to Thanos (Josh Brolin), a despot of unshakable conviction scouring the universe for the six magical Infinity Stones. The one who wields all six stones will gain unlimited power to bend reality with a snap of their finger. You could say this is Thanos’ movie and it seems that Brolin has more screen time than any other character.

“Infinity War” has a lot on its plate and a ton of narrative threads to bring together. That means characters crossing paths often for the first time. This can be pretty satisfying and a lot of fun for followers of the MCU. The aftermath of “Thor: Ragnarok”, decisions made in Wakanda, lingering tensions from “Civil War” are just a few of the past storylines that influence Markus and McFeely’s script. On top of that the film does a pretty incredible juggling act in giving each character their moments. Only a handful of characters are missing and the movie doesn’t do the best job of explaining their absence.

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The ‘Phase One’ big hitters are all here. Robert Downey, Jr’s Iron Man, Chris Hemsworth’s Thor, and Chris Evans’ Captain America are major players (although Cap seems back-burnered a bit). Surprisingly the Guardians of the Galaxy have just as much screen time and play equally significant roles. Overall it’s cool to see characters like Vision (Paul Bettany), Scarlet Witch (Elizabeth Olsen), Gamora (Zoe Saldana), and Dr. Strange (Benedict Cumberbatch) all given meaningful story angles. But again, the true centerpiece is indeed Thanos and we are fed morsels of information which give form to his motivations and mindsets. Brolin is quite good presenting a villain with more on his mind than the generic quest to rule the universe despite what it may look like on the surface.

While “Infinity War” is plump with plot, the Russos offer just as much CGI-fueled PG-13 action. The scenes shift between feverish hand-held camerawork and bigger digitally enhanced polish. I can already anticipate complaints from those tired of the superhero genre and it’s big action formula. This film certainly doesn’t stray from that. But I go back to this being an ‘event movie’ and I would be dishonest if I didn’t admit to being thrilled by some of the large-scaled battles and big character moments.

Another big piece is the humor which has become a signature of the overall MCU. “Infinity War” definitely has some big laughs and the audience I sat with really went with it. It does clash just a tad later in the film as things begin to get dire. Still this is where some of the characters really shine (Dave Bautista’s Drax is nothing short of hysterical).

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All of this is worthy of conversation, but what most people will be talking about is the ending. It’s truly a gutsy move by the Russo brothers and company but I’m a bit mixed on its effect. Don’t worry, I won’t spoil a thing, but let’s just say it felt unquestionably inevitable especially for a film clearly framed as the first of a two-parter. For me that has definitely effected the impact since first seeing it. Nevertheless, in those moments I was captivated and glued to the big screen.

The fact that “Infinity War” managed to pull off such a feat especially in the face of earth-shattering expectations deserves praise in itself. This is a mammoth-sized movie in every possible way and simply making it all coherent is impressive. “Infinity War” does much more than that. It’s a thrilling, funny, emotional, rip-roaring crowd-pleaser that serves as a fitting culmination of their decade-long buildup. Now let’s see if they can pull it all together in a satisfying way. We will know next May.

VERDICT – 4 STARS

4-stars