Author Archives: Keith Garlington

REVIEW: “Paddington 2”

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PADDPoster

I still remember January 2015 and the delightful little surprise that was “Paddington”. January is the time of year often known as a dumping ground for movies with little studio support. “Paddington” landed in the United States (after a successful 2014 launch overseas) and not only gave us something to watch early in the year, but a really good movie as well. Now its sequel continues that trend of bright January surprises.

Let me get this out of the way, “Paddington 2” is one of those rare sequels that’s better than its predecessor in nearly every way. That’s not a knock on the first film, “Paddington 2” is just that good. Paul King returns as director and co-writer of this adorable family movie telling the continued adventures of a friendly Peruvian bear and the Brown family of London who adopted him as one of their own.

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Things are wonderful for Paddington. His infectious kindness has endeared him to all of his Windsor Gardens neighbors. Well, with the exception of the delusional self-appointed neighborhood watchman (Peter Capaldi). Ben Whishaw is back lending his gentle and mellow voice to Paddington. Also returning is Sally Hawkins and Hugh Bonneville as Paddington’s congenial human parents Mary and Henry Brown.

Knowing his Aunt Lucy’s 100th birthday is just around the corner, the compassionate cub looks to get her the perfect gift. He finds it in a friend’s antique shop – a beautiful old pop-up book of London. One of my favorite sequences sees a wonderstruck Paddington flipping through the pages for the first time, his imagination pulling him into the book. Inside he walks from page to page showing Aunt Lucy the city she has dreamed of visiting. It’s gorgeous, charming and from then on the movie had me.

In order to purchase the book Paddington picks up some small jobs to earn money. As you would expect slapstick ensues, tempered and funny. But there’s a problem. A washed up actor named Phoenix Buchanan has his eyes on the book as well. Hugh Grant has a blast hamming it up as this narcissistic goofball who believes the book contains secrets that will help him recapture his formal glory. He devises a plan to swipe the book framing Paddington in the process.

It’s here the movie makes a hysterical shift. Paddington is arrested and eventually sent to prison. The entire prison sequence feels like something yanked straight out of a Wes Anderson picture. The dialogue, the quirky sense of humor, the visual composition all scream Andersonian influence. Soaking in Erik Wilson’s images is pure joy and as an Anderson superfan I found myself constantly amazed at how well King utilizes (or is he paying tribute to) such a unique style. But the film doesn’t depend on that influence. King makes this very much its own movie.

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It’s also laugh-out-loud funny. How can you not laugh at a mean, burly Brendan Gleason munching on a marmalade sandwich and discovering its savory magic. By the way his character’s name is Knuckles McGinty and he is the tough-as-nails prison chef. Watching the contagiously kind Paddington attempt to crack this hard nut is both undeniably sweet and genuinely hilarious.

Of the five ‘kids movie’ trailers we saw before our showing three of them contained variations of the tired but immensely popular fart joke. One of the great delights of “Paddington 2” is its trust in itself over lame gimmicky “humor”. Even as the movie picks up steam in the final act it never loses itself like many of these pictures do. And it always stays on message – you can never go wrong by being kind, caring, and compassionate. And the ripple effect of such a mindset can change the world. Now there is a message we all need to hear and “Paddington 2” makes sure we get to laugh along the way.

VERDICT – 4.5 STARS

4-5-stars

Blind Spot Review: “Stranger Than Paradise”

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STRANGER POSTER

Jim Jarmusch’s reputation as a master of minimalist storytelling and an independent cinema trailblazer found its genesis in his 1984 film “Stranger Than Paradise”. This medley of low-key drama and deadpan comedy was startling at the time but would soon uniquely define much of Jarmusch’s work that would follow.

Going back to Jarmusch’s cinematic roots has been a joy. I came to his work late, first seeing and loving “Only Lovers Left Alive” and then last year’s “Paterson” which I loved even more. “Stranger Than Paradise” wasn’t Jarmusch’s first film. That would be his 1980 New York University senior project “Permanent Vacation”. But “Paradise” was his first major project despite its tiny budget. It would win the Caméra d’Or for best first feature at the Cannes Film Festival and go on to earn widespread critical acclaim.

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One of the funny things about “Stranger Than Paradise” is that it basically tosses out everything Jarmusch learned in graduate film school. From the very start it’s clear there is nothing traditional or conventional about the film. Take the decision to shoot it in beautiful and fitting black and white. Or the thinly plotted story with three rather aimless characters as the focus.

But perhaps the most profound departure from traditional cinema is the movie’s structure. Jarmusch shoots a collection of short scenes, each bookended by a fade-in and then a fade to black. Within every scene you’ll notice very little camera movement and not a single close-up for the entirety of the movie. They are individually staged segments which are then put together to tell the story. It’s an cool and crafty technique that helps give the film a unique personality.

The story is pretty simple and can be broken down in three acts that take place in three locations – New York, Cleveland, and Florida. Willie (John Lurie) immigrated from Hungary several years ago and has worked hard to perfect his vision of a bonafide New Yorker. That vision includes sleeping late in his tiny apartment, eating TV dinners, catching some movies, and earning some dough playing poker.

Willie’s routine is interrupted when he gets a call saying his cousin Eva (Eszter Balint) from Hungary is paying him a visit. She needs a place to stay for ten days then she’ll be off to Cleveland. At first she cramps Willie’s big city style and he lets her know about it. Even when his buddy Eddie (Richard Edson) takes a liking to her Willie is quick to shoot him down. But the longer she stays the more Willie likes having her around and when she heads off to Cleveland he misses her.

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Eventually Willie and Eddie decide to borrow a car and drive to Cleveland to visit Eva. Later the three of them take a road trip from Cleveland to Florida. Jarmusch plops us in the passenger seat and we ride along observing their laid-back adventure. There isn’t much to it really, yet it seems harmonious with the care-free aspirations of the characters. And the dry dead-pan humor feels perfectly in tune with the film’s style and tone.

Throughout “Stranger Than Paradise” I couldn’t help but feel a hip French New Wave vibe in the vein of early Godard, Truffaut, and Chabrol. The movie defines its own unique set of rules and then maneuvers them at its own pace. Jarmusch would go on to make several movies defined by their idiosyncratic flavor. They would often focus more on mood and character than plot. You see the roots for all of it in “Stranger Than Paradise” and even today it remains a fresh kick in the pants the film industry still needs.

VERDICT – 4.5 STARS

4-5-stars

2018 Blind Spot Series

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Last year was my second full year of doing this Blind Spot thing and it was a ton of fun. It compelled me to watch some films I should have already seen and to dive into classics that others have spoken so highly of. Unfortunately my cinematic journey was derailed during the Fall months. But now it’s a new year which means a new Blind Spot list. Here are the movies I’ll be seeing or seeing in their entirety for the first time in 2018

JANUARY – “Stranger Than Paradise” (REVIEW)

PARADISE1

FEBRUARY – “Love in the Afternoon” (REVIEW)

LOVE

MARCH – “My Night at Maud’s” (REVIEW)

MA NUIT CHEZ MAUD

APRIL – “Shane”

Shane

MAY – “The King of Comedy” (REVIEW)

KING

JUNE – “The Man Who Shot Liberty Valance”

MANWHOSHOT

JULY – “Tender Mercies”

TENDER

AUGUST – “Eraserhead”

Eraser

SEPTEMBER – “The Producers”

PRODUCERS

OCTOBER – “”Picnic at Hanging Rock”

PICNIC

NOVEMBER – “Harold and Maude”

Harold

DECEMBER – “Through a Glass Darkly”

GLASS

So what do you think of this year’s list?

The 6th Annual K&M Random Movie Awards

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RANDOM AWARDS

Today marks the sixth (you heard me right – sixth) year that I have put together this highly esteemed and hardly anticipated final look back at the previous year in movies. I simply call these the K&M Random Movie Awards. Even the name drips with prestige and significance. These aren’t your run-of-the-mill awards drivel. Oh no, these are completely random categories yanked out of the air and presented to you. Now, without further delay, the red carpet ceremony is over and the nominees are in their seats. Lets get to this year’s ‘winners’…

Best Directorial Debut – Kogonada (“Columbus”)

In a year rich with fine directorial debuts none grabbed me quite like Kogonada. Sadly seen by too few, “Columbus” was a superb start to a promising feature filmmaking career.

Best Child Performance – Millicent Simmonds (“Wonderstruck”)

Another category full of potential winners, but for me it’s Millicent Simmonds. Hands down one of the most gentle, lovely and expressive child performances I’ve seen.

wonderstruck

Worst Movie of the Year – “Valerian and the City of a Thousand Planets”

Sure, there is a lot of dreck I have happily avoided, but “Valerian” was by far the most boring and laborious movie I sat through last year. At least some of the images were pretty.

Best Superhero Movie – “Wonder Woman”

Calling it ‘Best Superhero Movie’ is almost a disservice. I think it’s one of the best films from 2017 of any genre. Patty Jenkins and Gal Gadot struck pure gold.

Worst Use of a Great Cast – “Three Billboards Outside Ebbing, Missouri”

Just looking at this cast is impressive – McDormand, Rockwell, Harrelson, Hawkes, Hedges just for starters. Unfortunately Martin McDonagh’s mess of a movie wastes it all.

Best Surprise Ending – “Split”

I won’t spoil a thing, but who on planet earth saw that coming? I’m talking about the end of M. Night Shyamalan’s “Split”. The VERY end. You who have seen it know what I mean!

Most Nefarious Food Item – Mushrooms

What the heck was up with mushrooms in 2017. I won’t even mention the movies where mushrooms play a key role in fear of spoiling things but good grief.

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Best Movie Released in 2017 but Called a 2016 Movie Due To Dopey Release Schedules – “Silence”

Oh how I dislike release schedules. Every year a movie that would have made my Top 10 doesn’t open for most of us until the next year. Scorsese’s brilliant “Silence” was that film in 2017.

Best Screenplay – “Molly’s Game”

Aaron Sorkin can write dialogue. No one can question that. But if you do “Molly’s Game” is more proof of the man’s immense talent with words.

Most Overly Praised Movie – “Get Out”

Yes, I know it’s a beloved movie heralded as greatness. Quite honestly it blows my mind. It has some big ideas but even more gaping holes in logic and execution. I just can’t get aboard the hype train.

Most Unfairly Maligned Movie – “Justice League”

“Justice League” definitely has flaws but critics came out guns blazing picking it apart for the smallest things (unlike the aforementioned film). Again, it has issues but the stoning it took was undeserved.

Best Car Chase – “John Wick: Chapter 2”

John Wick has good taste in cars. His quest to rescue his gorgeous black 1969 Ford Mustang in JW2’s opening sequence is met with some pretty heated resistance. It also results in one killer car chase.

WICK

Best Fight Scene – Kylo and Rey vs. Snoke’s Guards

So many scenes could win this but nothing excited me more than seeing Kylo and Rey back-to-back with Snoke’s guards surrounding them. Their brief but incredibly cool team-up had our theater roaring.

Worst Movie Title – “Happy Death Day”

Let me start off by saying “Happy Death Day” is an unexpectedly fun and entertaining little horror-thriller. But let’s be honest….that title….

Best Comedy – “Logan Lucky”

I may be wrong but I seems that Steven Soderbergh’s “Logan Lucky” came and went with little attention. I found this deep-south riff on the Ocean’s movies to be a hilarious romp.

Most Overlooked Performance – Rob Morgan (“Mudbound”)

There was some great supporting work in 2017 but the most criminally overlooked has to be Rob Morgan. He’s an anchor of “Mudbound” yet practically no one is talking about him. That’s a shame.

Best Documentary – “Finding Oscar”

I’ll admit I didn’t see as many documentaries as I hoped to, but “Finding Oscar” has left its mark on me. Informative, important, shocking and heartbreaking. It’s a film that needs to be seen.

PLUMMER

Best Villain – J. Paul Getty (“All the Money in the World”)

The story behind Christopher Plummer replacing Kevin Spacey is enough to make this character legendary. Turns out no crutch is needed. Plummer’s J. Paul Getty is just that vile and the movie is better for it.

Most Eye-Opening Performance – Haley Lu Richardson (“Columbus”)

There were a lot of eye-opening performances in 2017, but none grabbed me quite like Haley Lu Richardson in “Columbus”. It’s an expressive soulful performance full of heart and longing.

Biggest Letdown – “Thor: Ragnarok”

First off this is far from a bad movie. But as someone who is a fan of both Thor and director Taika Waititi I wanted more. Waititi’s portrayals feel way out of sync with the greater MCU and the absurdity eventually grew old for me.

Best Keanu Reeves Impersonation in a Movie – Dane DeHaan (“Valerian and the City of a Thousand Planets”)

I still haven’t figured out what Dane DeHaan was going for in “Valerian”. His voice had me thinking Keanu Reeves from “Point Break”. I kept wanting him to yell “Bodie, I’m an F..B..I agent!”

Coolest Action Sequence – Kong vs. Helicopters (“Kong: Skull Island”)

Keep in mind this isn’t the “Best” action sequence but the “Coolest”. Kong introducing himself to a group of trespassing military helicopters certainly qualifies. What a way the start their Skull Island adventure!

Best Football Scene – “The Disaster Artist”

You truly have to see it to believe it. James Franco in full Tommy Wiseau character tossing a football in an almost inhuman fashion. It’s both bazaar and laugh-out-loud funny.

The Most Exciting Theater Experience – “Dunkirk”

No other 2017 theater experience came close to matching what Christopher Nolan offered with “Dunkirk”. An exhilarating rush of visuals and sound presented on the big screen as only Nolan can.

BEGUILED

Best Dinner Table Scene – “The Beguiled”

This category almost went to “Phantom Thread” but ultimately Sofia Coppola’s “The Beguiled” won out. I won’t dare spoil it, but suffice it to say it’s a scene that has remained stuck in my head. I love it.

Best Original Score – “Phantom Thread” (Jonny Greenwood)

Speaking of “Phantom Thread”, in a strong year for memorable music nothing could quite beat Jonny Greenwood’s exquisite classical score. It is both elegant and haunting. More importantly it fits perfectly in ever scene it touches.

Most Annoying Best Friend – Rod (“Get Out”)

Most people I’ve talked to seemed to really like Chris’ TSA buddy Rod in “Get Out”. Aside from the fact that his very existance opens up some of film’s biggest plot holes, he’s also extremely annoying. He’s almost always in stand-up comic relief mode and the TSA gag was funny the first couple of times. After that…nope.

Best Daddy/Daughter Moment – “Logan”

Several 2017 movies had these moments that got to me – “Molly’s Game”, “Lady Bird”, even “Logan Lucky”. But the moment that wins comes from “Logan”. No spoilers, but if you’ve seen it you know it. Now enough talk. I’m getting misty thinking about it.

Best Special Effects – “Blade Runner 2049”

Denis Villeneuve made a critical decision when making his “Blade Runner” sequel – maintain the look and tone of the original. Oh, and bringing along Roger Deakins is never a bad idea. The results are absolutely wonderful. Scene after scene features some amazing effect which fuel this dark dystopia that feels right at home with its predecessor.

And that wraps up 2017. On to 2018…

REVIEW: “Wonder Wheel”

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WONDER POSTER

Calling the results of Woody Allen’s annualized blueprint to filmmaking ‘wildly hit-or-miss’ is a colossal understatement. Each year the 82 year-old Allen pops out another quirky postmodern exercise in human reflection. When they stick their landing they can be nothing short of delightful. But when they don’t they can be tedious, uninspired and generally unpleasant to watch.

Unfortunately Allen’s latest film “Wonder Wheel” falls in the latter category. It’s set in 1950s Coney Island and puts us in with a mostly flawed and disagreeable lot of characters. The story’s centerpiece is Ginny (Kate Winslet), a clam shack waitress married to carousel operator Humpty (Jim Belushi) and with a pyromaniac son from a previous marriage. Their household is misery personified. The fragilely sober Humpty is occasionally sensitive but mostly loud and abusive. Ginny (one time an aspiring actress) hates her job, wants out of her marriage, and doesn’t mind sharing her unhappiness.

WHHEL1

To make things even more unsavory, Ginny begins having an affair with a younger man named Mickey (Justin Timberlake). He’s a Coney Island lifeguard and wannabe dramatist who also happens to be the movie’s narrator. It’s hard to figure out how the the film wants us to feel about Mickey. You could say Allen treats him as his protagonist and in some ways he’s the one character who comes out of this mess unscathed. Could it reasonably be taken as an indictment on Allen’s perspective? Me, I thought Mickey was a slime.

The one small twinkle of light is in Juno Temple’s character Carolina. She is Humpty’s estranged daughter from his first marriage who shows up after being gone for five years. Turns out her family disowned her after she ran off with a known gangster. Now she is ‘marked’ by the mob after talking to the feds and she seeks help from her father. It’s an absurd angle but Carolina is a nice break from the constant toxicity we get elsewhere. She’s actually sensible, pleasant and ambitious.

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You can’t help but notice Allen once again drawing from Tennessee Williams, but at times I saw it as cheaply ripping from Edward Albee’s “Who’s Afraid of Virginia Woolf”. It’s in Allen’s dialogue and in how he squeezes some of his characters. Take Belushi who has some impressive moments, but his dial is almost always cranked up to 10. Same for Winslet who gives it her all, but is rarely given any softer moments. As her character steadily unravels she’s hardly given room to breathe. It’s a suffocating task for a really good actress.

I have no problems with movies that focus on deeply flawed people or that put us in the company of an unlikable cast of characters. In fact I enjoy those explorations. “Wonder Wheel” has its moments where you begin to see what makes its characters tick. The problem is it doesn’t have an ounce of temperance. And despite its teases of intrigue and some good images from new Allen collaborator Vittorio Storaro, the movie never keeps its footing and becomes little more than an aimless endurance test. But there’s always next year, right? Or is there?

VERDICT – 2 STARS

2-stars

Random Thoughts – 2018 Oscar Nominations

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OSCAR

Can you believe it is that time of year again? Oscar season is upon us and this morning the Academy threw out their list of this year’s nominees. As is always the case, there were a handful of big surprises, several frustrations, and some things that simply didn’t make sense. As I tend to do here are a few random thoughts about this year’s Oscar nominations.

  • Maybe Tiffany Haddish wasn’t the best choice to announce this year. Or at least give her the courtesy of a rehearsal. She mispronounced more names that she got right and seemed to have fun doing it.
  • And did you catch Andy Serkis whispering pronunciations to help her out? Ouch!
  • It’s pretty obvious the Academy is smitten with “The Shape of Water”. It earned a whopping 13 nominations. It’s far from a great movie, but it is right up the Academy’s alley.
  • “Logan” is nominated for Adapted Screenplay! I would be lying if I said I saw that coming. It’s a nice addition but the win should go to Sorkin. Whether that will happen….
  • The Original Screenplay category is ridiculous. Seeing films like “Get Out” and “Three Billboards” nominated while “Phantom Thread” is left out is nuts. Good to see Gerwig though.
  • What a strong group of contenders for Best Original Score (although I would swap “Three Billboards” with “A Ghost Story” in a heartbeat). Such a great variety: fantastical (“The Shape of Water”), pulse-pounding (“Dunkirk”), exquisite (“Phantom Thread”), and epic (“Star Wars”). I’ll be rooting for Jonny Greenwood.
  • Speaking of “Three Billboards”, the ‘snub’ that has many people talking is Martin McDonagh’s omission from the Best Director category. Personally I wouldn’t call it a snub. His film is a mess and (at least in this category) the Academy got it right.
  • Sticking with Best Director, Peele’s inclusion blows my mind. I get that the hype train for “Get Out” can’t be slowed, but for a movie with so many glaring flaws in logic (screenplay) and execution (direction) I just can’t get onboard.
  • “Lady Bird” also broke into the Best Director group. It was nice to see. I do wish Dee Rees could have joined her for “Mudbound”.
  • And with the inclusion of Gerwig and Peele that meant someone had to miss the cut. Steven Spielberg was an obvious choice and McDonagh was the surprise (for some). But that also left the door open for Paul Thomas Anderson. Bravo Academy! It would be a flawed category without him.

NOLAN

  • FINALLY! As absurd as it sounds Christopher Nolan’s directing nomination was his very first….EVER. Talk about long overdue.
  • Are Armie Hammer, Tom Hanks, and Michelle Williams really snubs? I mean really?
  • Am I the only one who still thinks of “Dick Poop” whenever these announcements are made?
  • Cheers to Netflix for making significant strides for a streaming service. “Mudbound” earned four well deserved Oscar nominations. It’s a shame one of them wasn’t for Best Picture.
  • Speaking of “Mudbound”, Rachel Morrison is the first woman in the 90-year history of the Oscars to be nominated for Best Cinematography. Let that bewildering fact sink in for a moment.
  • Meryl Streep…blah blah… Lead Actress …blah blah…. 21st nomination …blah blah. The Academy’s Streep infatuation is getting old.
  • I will say this about Streep’s ridiculous nomination for a very Streepish role, it knocks out many far more deserving actresses. Jessica Chastain (“Molly’s Game”) instantly comes to mind. Sigh.
  • Frances McDormand’s nomination for Best Actress was as predictable as her inevitable win. I’ll be rooting for Ronan.
  • James Franco gets left out of the Best Actor pack after getting nominations at the Globes and SAGs. Personally I think the field is too strong for him, but could this have more to do with the recent sexual misconduct allegations?
  • Staying with Best Actor, I hate to keep piling on “Get Out” but much like the movie Daniel Kayuula’s performance is such a mixed bag. Best Actor? No way.

MANVILLE

  • I LOVE what the Academy did with the Supporting Actress category! Allison Janney is winning everything and she’s very good in “I, Tonya”, but I would take the other four nominees ahead of her. Octavia Spencer? Yes, please. And I let out an enthusiastic roar when Manville’s name was announced! It’s about time.
  • Costume Design – It has to be “Phantom Thread”. I can’t imagine anything better. I do wish “Wonderstruck” would have snuck in but that’s the longest of longshots.
  • I enjoyed the little video introductions to the categories. Quick, interesting and a little something different.
  • Speaking of those, apparently that’s as close as “Wonder Woman” will get to an Oscar nomination. I wasn’t really expecting much, but at least one nod would have been nice. It deserved some type of recognition.
  • Good news – we will get plenty of Willem DaFoe gifs and images following his Supporting Actor nomination. Thank you Academy.
  • While on the Supporting Actor subject, I can’t help but giggle at Christopher Plummer’s inclusion. Totally worthy of a nomination, but the story behind his casting and performance is fascinating.
  • But no Idris Elba or Rob Morgan? C’mon Academy!
  • “Boss Baby”? Is it really that good or was it a bad year for animation?
  • It’s hard for me to make any kind of argument in the Foreign Language category. I’ve seen so few of them. But I do wish “First They Killed My Father” had been nominated. And “In the Fade” had been getting a lot of attention (and some big wins) yet it was left out completely. Interesting.
  • The cinematography group is really strong, but “Darkest Hour”? It was unquestionably good but among the five best of the year?
  • And Roger Deakins…his 14th nomination and he has yet to win. He deserves the consideration but I’m afraid the Academy is locked in on “The Shape of Water”.
  • So does this mean Tommy Wiseau doesn’t get an Oscar night invite?
  • Did you hear the applause for Serkis when “War for the Planet of the Apes” was announced for Visual Effects? It made me smile.
  • Almost every year a quirky narrative pops up right around nomination time. This year’s seems to be about Denzel Washington. I’ve seen several people annoyed with Denzel being nominated for his “worst performance”. That blows my mind. “Roman J. Israel, Esq” was an underseen film, but I’m behind his Best Actor nomination. Worst performance? No way.
  • Did you guys notice that Michael Stuhlbarg was in three Oscar nominated movies from last year? That’s impressive.
  • So it all seems to come down to “Three Billboards” versus “The Shape of Water”. Two films that have their own sets of problems. I would love for a dark horse to rise up and make some noise. Neither of the frontrunners seem worthy of the heralded ‘Best Picture’ title.
  • “Dunkirk” for Best Picture. It won’t win. It should win. And that’s about it.

So what did I miss? Share your thoughts on this year’s nominations below. I’d love to hear from you.