Author Archives: Keith Garlington

2017 Blind Spot Series Lineup

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Last year was my first 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. Now it’s a new year which means a new Blind Spot list. Here are the movies I’ll be seeing or seeing in full for the first time in 2017.

JANUARY – “Infernal Affairs” [REVIEW]

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FEBRUARY – “In the Mood for Love” [REVIEW]

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MARCH – “Diabolique” [REVIEW]

Film and Television

APRIL – “Umberto D” [REVIEW]

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MAY – “Days of Heaven” [REVIEW]

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 JUNE – “Ikiru”

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JULY – “L’Argent”

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AUGUST – “Grave of the Fireflies” [REVIEW]

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SEPTEMBER – “The King of Comedy”

Film Tribeca Closing Night

OCTOBER – “The Passion of Joan of Arc”

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NOVEMBER – “The Fly” (1958)

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DECEMBER – “The Producers” [REVIEW]

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So that’s this year’s Blind Spot list. What do you think? Are any of your favorites included or are there some you still need to see? What do I have in store for me? Please share you thoughts in the comments section below.

REVIEW: “Loving”

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“Loving”, the fifth film (and second of 2016) from writer/director Jeff Nichols, continues the Arkansas-born filmmaker’s impressive streak of well-received movies. Through his films Nichols has revealed a unique and refreshing cinematic voice and has emerged as a true rural America storyteller. The Mark Twain influences are undeniable.

“Loving” examines the 1967 U.S. Supreme Court case that abolished state laws prohibiting interracial marriage. But the film does so not by stressing the court room. Instead it focuses on the love between Richard and Mildred Loving. Nichols trusts the potency of their story enough to keep his approach admirably subdued. It’s sometimes a bit too low-key, but there is no denying the film’s subtle power.

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The performances from Joel Edgerton and Ruth Negga are superb. Edgerton’s Richard is a simple but devoted man who wants to love and take care of his wife. Negga portrays Mildred with a quiet grace and dignity. She’s both sweet and gentle, but she’s also Richard’s emotional anchor. The Lovings saw their lives turned upside down in the summer of 1958. In the dark of night the Caroline County sheriff (here played by Marton Csokas) and his deputies stormed their home and arrested the newlywed couple for breaking Virginia’s laws on interracial marriage.

What followed was a series of arrests and court appearances until their case finally reached the U.S. Supreme Court. Nichols doesn’t spend much time with the legal wranglings. He sets them up but mostly shows their effects. It’s a wise choice since they are when the film is at its weakest. Contributing to this is the odd casting of Nick Kroll as a young, green ACLU lawyer who takes the Lovings’ case. It’s a strangely stiff performance with Kroll routinely looking as if he’s holding in laughter. John Bass doesn’t fair much better as a constitutional law expert helping with the case.

There are some fantastic supporting turns though. Nichols favorite Michael Shannon has a small but fun role as a LIFE magazine photographer profiling the Lovings and their case. And I adored Sharon Blackwood’s performance as Richard’s straight-shooting midwife mother.

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Perhaps my favorite thing about “Loving” is this – Richard and Mildred aren’t activists. They aren’t vocal, aggressive crusaders for a cause. They don’t seek the attention. They don’t want the press. The Lovings just want to live their lives together. That simple innocent desire highlights the despicable nature of the Virginia law far more effectively than if this had been a more pointed activism film. Through this emotionally detailed couple we learn all we need to know about the true rights and wrongs of the story and it invests us on a much more intimate level.

While it can be a bit slow at times and the approach may not be abrasive enough for some people, “Loving” gracefully and truthfully tackles an issue by putting its focus on the human element. Nichols’ delicate portrayal is slyly potent and speaks volumes about its subject without leaning on layers of dialogue. Instead Nichols asks his audience to watch, observe, and feel a closeness with his two central characters. If you do that the power of the message will be unavoidable.

VERDICT – 4 STARS

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The 5 Worst Films of 2016

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Sometimes we need to take a break from all of the excitement and celebrations of awards season and come back down earth. What better way to do that than by reminding ourselves that not every 2016 movie was a good one. In fact there were some real stinkers. To prove it I’m sharing what I thought were the five worst films of the past year.

Keep in mind I was fortunate enough not to see all of the cinematic dreck that funneled through theaters so you may notice a few missing. I consider that a blessing. Still these five movies more than hold their own against any others.

#5 – “The Purge: Election Year”

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I find something oddly intriguing about the Purge franchise’s concept despite its absolute absurdity. This third installment teases its potential but completely loses it in a mire of silliness and heavy-handed sermonizing. There wasn’t must subtlety in the political messaging of the first two films, but this installment is so laughably direct and it smothers out any hint of a decent story.

#4 – “Suicide Squad”

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This epic blunder was the last thing DC Entertainment and Warner Brothers needed. It certainly doesn’t help them gain ground on Marvel’s cash cow. There is an interesting concept hidden somewhere within “Suicide Squad” but we never see it. Instead we get a pasted together mess filled with flat characters, dull action, and a bland, forgettable antagonist. In fact, that actually describes the movie perfectly – flat, dull, bland, and forgettable.

#3 – “Independence Day: Resurgence”

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You would think if someone was going to make a sequel some 20 years after the original film that they must have something good in mind. Nope. “ID: Resurgence” is basically a rehash minus any of the charm from the original. This film is a joyless slog featuring cheap, paper-thin characters and some of the worst performances of the year. And it doesn’t help to have a truly awful script at the center. I didn’t think this would be good, but I also didn’t think it would be this bad.

#2 – “Gods of Egypt”

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I have an incredibly high tolerance for cheesy fantasy, but even I couldn’t get over the myriad of problems with “Gods of Egypt”. This thing is filled to the brim with lame plot contrivances, mind-numbing action sequences, uninspired creatures, and some truly terrible performances. Even the effects (supposedly the film’s bread-and-butter) can be shockingly gaudy. Sadly we have come to expect this from a Gerard Butler movie, but talk about a crazy way for a studio to waste $140 million.

#1 – “The Do-Over”

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Expecting a decent movie from Adam Sandler has become an exercise in futility. He is content with churning out garbage and cashing his checks for it. This is one of his worst and that’s saying something. “The Do-Over” is yet another excuse for Sandler to take vacation with his buddies on Netflix’s dime. It’s stupid, juvenile, disgusting, and offensive yet it masquerades as comedy. I happily checked out before the end simply because there was nothing redeemable about this slop. Yet another new low for Sandler.

So there are my worst films of 2016. See one I miss? Have any thoughts on these? Please let me hear them.

REVIEW: “La La Land”

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With 2014’s “Whiplash” Damien Chazelle cemented his place among the most promising up-and-coming filmmakers. After its release few could question the 31 year-old’s deep and sincere affection for music. His affection is made even clearer with his latest film, the bold, audacious, and utterly delightful “La La Land”. It kind of makes sense he is jazz drummer himself.

Hype can be a tricky thing. It certainly spawned a ton of enthusiasm for “La La Land” which is interesting since it was destined to resonate with some while disappointing others. I was somewhere in the middle straddling the fence between nostalgic curiosity and skepticism. But regardless of where you stand, no one can deny this was an ambitious and gutsy undertaking especially in today’s movie culture.

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“La La Land” is Chazelle’s tribute to the classic MGM musicals and the profound cinematic voices they once shared. At the same time I was surprised to find an oddly bewildering modern flavor making this much more than a simple nostalgia piece. It’s just as much an ode to those who leave their comforts in pursuit of their artistic dreams. In one of the film’s key songs, Emma Stone’s character Mia describes it like this “Here’s to the ones who dream. Foolish, as they may seem.”

Here’s the funny thing – the scene I’ve heard praised the loudest is the one I’m the most mixed on. It’s the opening sequence, a spontaneous musical number on a clogged Los Angeles freeway ramp. I actually like the spontaneity. It’s as if Chazelle is setting the parameters for the audience and wiping the table of any uncertainty. It’s a bold and confident opening choice which I appreciate. I do love the the song “Another Day of Sun” and we get variations of it throughout the film. I didn’t quite go for the messy mish-mash of dance styles. The true highlight of the scene is how it’s shot – in a long flowing take that weaves in and out of stalled traffic and energetic dancers. It’s something to behold.

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The scene leads to the first meeting between two struggling artists, Mia (Stone) and Sebastian (Ryan Gosling). Mia dreams of being an actress but working in a studio lot’s coffee shop is as close as she has come. Sebastian is stuck playing piano in dingy bars but dreams of opening his own traditional jazz club in LA. Their first meeting is…less than cordial, but they keep crossing paths almost as if fate has something in store for them. Some snappy dance numbers and one spark of romance later and Chazelle has all of his pieces in place.

The further “La La Land” goes the more it resembles the classic musicals it draws from. The vibrant colors, dazzling spectacle, catchy tunes, Mandy Moore’s snappy, choreography – it all hearkens back to MGM’s heyday. At the same time I can’t overstate how fresh and original this feels. Chazelle quite literally revitalizes a forgotten genre and injects it with new energy. And if that weren’t enough he also tells a charming love story that’s maintains a plausibility within this dreamy world. It’s also unexpectedly bittersweet and laced with the perfect dosage of melancholy.

And then there is Chazelle’s Fred and Ginger. This is Emma Stone and Ryan Gosling’s third film together. Performance-wise Stone is the standout. It’s a performance rich with feeling and sincerity. It also doesn’t hurt that song and dance have been a part of her life since childhood. You can tell. But she also adds a surprising amount of weight to the dramatic moments which is key to them working so well. It’s a lovely well-rounded performance.

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Gosling is another story. Let me be clear, he’s not “bad” here, but it is yet another performance plagued by the same Gosling problem. Pulling emotion from him is like getting the last bit of juice from an orange. You squeeze as hard as you can but you only get drops. Gosling gives merely drops of feeling even during his dance numbers. It seems as if the character is written with Gosling’s limitations in mind which saves him a bit, but just a touch more charisma would have been nice. To be fair Gosling has his moments especially when he flashes his dry sense of humor.

Chazelle has a lot to juggle which makes his achievement with “La La Land” that much more impressive. I hate to incorporate such an overused adjective but ‘magical’ is a perfectly fitting description. As it started I felt oddly out of place, but soon I was swept away by the the dazzling, joyous, smile-inducing production. My skepticism quickly gave way to exhilaration. Now I’m not naive enough to say everyone will share my reaction. It won’t be everyone’s cup of tea. But I left the theater in an unusually happy state and “La La Land” has been dancing in the back of my mind ever since.

VERDICT – 4.5 STARS4.5 STARS

Top 10 Movies of 2016

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It’s already that time again. The time of the year where critics and bloggers throw together lists of the movies they felt shined the brightest during the past year. Sure, some turn their noses at these things, but I’ve always enjoyed them. Why not take time to promote the movies you feel were the real treats of the past 365 days. So here I go, reflecting back on 2016 and sharing my picks from what the year had to offer (At least out of what I’ve seen. Sadly, frustrating release schedules means anticipated films such as “The Salesman”, “Lion” and “Silence” have yet to open near me).

As usual I’ll begin by showing some love to the movies that just missed my top 10. Here are my #11 – 20 picks:

  • #20 – “The Confirmation” [REVIEW]
  • #19 – “Captain America: Civil War” [REVIEW]
  • #18 – “The Conjuring 2” [REVIEW]
  • #17 – “Francofonia” [REVIEW]
  • #16 – “Sully” [REVIEW]
  • #15 – “Hail, Caesar!” [REVIEW]
  • #14 – “L’attesa” [REVIEW]
  • #13 – “Captain Fantastic” [REVIEW]
  • #12 – “Hunt for the Wilderpeople” [REVIEW]
  • #11 – “Rogue One: A Star Wars Story” [REVIEW]

And now my Top 10 movies of 2016

lovefriend#10 – “Love & Friendship” I admit, I was a little caught off guard by this wonderful Jane Austen period romp from Whit Stillman. I didn’t quite know what to expect going in. After seeing it I still find it to hard to fully describe. It feels every bit at home in an Austen world, yet there is such a striking uniqueness about it. There is hardly any semblance of stiff, sudsy drama. In its place is a biting sense of humor that will require a finely tuned ear and multiple viewings to fully appreciate. Add to it a remarkable eye-opening performance from Kate Beckinsale and hysterical supporting work from Tom Bennett. Don’t miss this one. [FULL REVIEW]

 

thinktwice#9 – “Don’t Think Twice” This smart and witty comedy-drama from writer/director Mike Birbiglia is a movie more people need to seek out. Centered around a tight-knit Brooklyn based improv troupe, “Don’t Think Twice” delicately examines the fine line between collaborative loyalties and personal career ambition all within the difficult profession of making people laugh. Its great cast of characters are fleshed out through some strong performances and Birbiglia’s thoughtful yet cutting script. There is such an honest and passionate approach from all involved and you see it throughout the entire film. [FULL REVIEW]

 

 

midnight#8 – “Midnight Special” Jeff Nichols’ unique foray into science fiction earned a spot on this list the moment I left the theater back in April. “Midnight Special” dabbles in several other genres making it impossible to pigeonhole and so many of its moving parts click perfectly. Michael Shannon is superb and the weight he brings to the central father/son relationship is undeniable. And that’s where this film hit home for me. It portrays a father’s love and self-sacrificing devotion to his son. It just happens to be in a clever sci-fi setting. Yet another winner from Jeff Nichols. [FULL REVIEW]

 

 

train#7 – “Train to Busan” Think about this – a zombie outbreak on a speeding train. Doesn’t sound like your normal ‘Best of the Year’ type of movie, does it? As it turns out, this South Korean horror-thriller from director Sang-ho Yeon may have been the most exciting, hair-raising experience I had with any 2016 movie. The film’s pitch-perfect pacing keeps the stakes high and the tension even higher. But it’s more than a conventional zombie flick. There are several deeper running themes that the film handles deftly and intelligently. That’s one of many reasons it stands out so distinctly within its cluttered genre. [FULL REVIEW]

 

 

innocents#6 – “The Innocents” I haven’t seen many conversations about the best foreign films of 2016 that has included “The Innocents”. Such a shame. This penetrating French-Polish drama from director Anne Fontaine tells a World War 2 story that has largely remained untold. The film is written, directed, shot, edited and mostly performed by women giving this devastating story a powerful female perspective. Adding to that is the superb lead performance from Lou de Laâge, one of my favorites of the year. Navigating its troubling subject matter can be uncomfortable, but the payoff is well worth it. [FULL REVIEW]

 

 

anthro#5 – “Anthropoid” It’s a movie that came and went with little fanfare but deserved a lot more attention than it got. “Anthropoid” is a patient historical thriller that bucks popular formulas in its telling of the World War 2 assassination attempt on Reinhard Heydrich in Nazi occupied Prague. Sean Ellis worked as director, co-writer, and cinematographer and consistently keeps his film rooted in reality. There’s no gloss, melodrama, or embellishment. Just a powerful story that is immaculately shot and brimming with slow-boiling tension. It also features what is easily the best shootout of the year. This is a gem. [FULL REVIEW]

 

 

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#4 – “La La Land” After 2014’s “Whiplash” it was obvious writer-director Damien Chazelle had a deep, sincere affection for music. That love was cemented with this year’s bold, audacious and utterly delightful “La La Land”. I was never caught up in the pre-release hype like many, but Chazelle shattered my expectations by creating a sensory production soaked in color, style and energy. It calls back to the time when music and song had a much more profound cinematic voice yet this is more than a simple nostalgia trip. It’s fresh, ambitious entertainment with a sweet romantic center and far more great moments than shortcomings. [FULL REVIEW]

 

fences#3 – “Fences” As a movie fan nothing is better than watching great actors and actresses work especially when they are given meaty, robust material. “Fences”, the film adaptation of August Wilson’s Pulitzer Prize winning play, features two of the year’s most electrifying performances (Denzel Washington and Viola Davis) and an absorbing story grounded in real-life, kitchen table drama. Washington (who also directs) doesn’t shy away from the story’s stage roots. His film embraces it by trusting the richness of the material and the talents of its stars.  The result is a powerful experience that will gnaw at you for days. [FULL REVIEW]

 

hacksaw#2 – “Hacksaw Ridge” In 2016 Mel Gibson returned to directing in grand style. The true story of Desmond Doss is a profoundly moving tale of heroism and conviction. Gibson’s approach to it is both beautiful and abrasive. The first half’s simple, idyllic perspective crashes against the second half’s brutal reality of war. Many have struggled with the shifting tones and graphic violence, but this is a film of contrasts and Gibson doesn’t shy away from it. A fine performance from Andrew Garfield and Oscar-worthy work from Hugo Weaving are just icing on the cake. [FULL REVIEW]

 

 

arrival#1 – “Arrival” The biggest and brightest surprise of my movie year came in the form of Denis Villeneuve’s cerebral take on the ‘Alien Invasion’ angle. “Arrival” is a beautiful film, but it’s a far cry from the ‘blow your hair back’ sci-fi many were expecting. In fact you could call it the anti-blockbuster. Packing a truly piercing performance from Amy Adams and a blindsiding emotional punch, “Arrival” subverts numerous genre conventions. It turned out to be one of those special experiences that has stayed with me to this day. It’s also another affirmation of Villeneuve’s position as one of our very best filmmakers. [FULL REVIEW]

REVIEW: “Fences”

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I love many things about movies, but perhaps nothing more than watching great actors and actresses ply their trade. And when top-tier performers are given meaty, robust material to work with, the results are often spellbinding. A prime example – Denzel Washington and Viola Davis in the riveting family drama “Fences”.

The film is based on the 1983 Pulitzer Prize winning play by August Wilson. The play was revived on Broadway in 2010 starring both Washington and Davis. Both would win Tony Awards for their performances. Although Wilson had penned a screenplay, his insistence on an African-American director left a film adaptation in limbo. Washington’s stage experience with the story inspired him to star in and direct the film version (his third time in the director’s chair).

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“Fences” begins in 1957 Pittsburgh and tells the story of the Maxson family. Troy (Washington) works on a garbage truck with his life-long friend Bono (played by Stephen Henderson who, along with many other cast members, also starred in the Broadway revival). Troy is a particularly prickly character. He’s a man bruised by his past and bitter from racial inequalities both realistic and imagined. His wife Rose (Davis) is the anchor of their relationship. She’s a soothing presence, a voice of reason, and often times a peacemaker between Troy and their teenage son Corey (Jovan Adepo).

Washington doesn’t shy away from the story’s stage roots. The film feels very much like a play. It’s thick with dialogue and the vast majority of it takes place at the Maxson’s home. That may push away those hungry for something more traditional, but Washington knows the richness of his material. He doesn’t force any kind of cinematic gimmickry. Instead the performers (Washington included) take the ball and run which is the only way this story should be told.

We the audience get most of our information by listening in on the many lengthy conversations between characters – conversations filled with feelings, observations, or reflection. It’s here we see the many complex sides of Troy. Whether he’s playfully spinning a wild tale about wrestling with the Grim Reaper or reminiscing about his days playing baseball in the Negro Leagues. Other times it’s Troy, the strict, tough-minded father more interested in “doing right” by his children than loving them. As wordy as they sometimes are, every conversation is rich with meaning and substance. They are always shedding another layer to these characters.

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The further the story goes the more darker and painful it becomes. In one particularly tragic scene, Troy’s consuming bitterness and stubbornness drive him to exclaim “I can’t give nothing else.” At the same time there is a level of sympathy as Troy is a scarred product of his past. At one point he laments to his wife “You’re the only decent thing that’s ever happened to me.” And the story subtly looks at the cyclical nature of life. The question is will Troy be the one to finally break the cycle?

“Fences” is lively and vibrant yet aching and tragic. The cast’s rapport carries over beautifully from stage to screen and their handling of August Wilson’s characters comes from an understanding far deeper that simple familiarity. Washington and Davis let it rip and should be getting a call from Oscar, but the supporting cast is just as vital. Henderson, Adepo, Russell Hornsby, Mykelti Williamson – all essential pieces to the telling of Wilson’s story. In the end, it’s this rhythmic force of dialogue and performance that makes “Fences” such a powerful and soul-piercing experience.

VERDICT – 4.5 STARS

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