REVIEW: “Frantz”

August 3, 2017 by Keith Garlington

François Ozon’s quiet but stylish drama “Frantz” is an exquisitely made film that dares you to try and define it only to end in a place far more intimate and straightforward than I expected. It cracks open the doors to our imagination and invites us to peep in, get a glimpse and overthink. But ultimately it’s the film’s simplicity that makes it such a touching melodrama.

The story begins in Quedlinburg, Germany, 1919. World War I has just ended. The wounds are still fresh and the effects still reverberate through the town. A young woman named Anna (Paula Beer in a breakout performance) takes flowers to the grave of her fiancé Frantz, a German soldier killed in the war. At the cemetery she witnesses an unknown man leaving flowers on her husband’s grave. His name is Adrien (Pierre Niney) a Frenchman from Paris.

The next day Adrien shows up at the home where Anna lives with Frantz’s parents Hans and Magda Hoffmeister. A grief-stricken and bitter Hans (Ernst Stötzner) kicks him out upon hearing he is French. Anna convinces the Hoffmeister’s to invite Adrien back since he seems to have a connection with Frantz. When Adrien returns he tells them of his close friendship with Frantz. He talks about the time they spent together and the places they went. For Anna and the Hoffmeisters it’s therapeutic and they befriend Adrien much to the dismay of the townsfolk.

But it becomes clear that Adrien isn’t telling them everything. In fact he’s harboring a burdensome secret which is at the heart of why he came to Quedlinburg. Ozon gets in no hurry to reveal it which is one of the film’s strengths. It gives the director room to explore other ideas. Like its inspiration, Ernst Lubitsch’s “Broken Lullaby”, the story has a well handled anti-war subtext as seen in the anti-French sentiment that still permeated much of Town, some of it rooted in xenophobia and some in unbridled grief. But later Ozon holds the same mirror up to the French.

The film eloquently veers back-and-forth between being a suspenseful mystery and an aching love story. Themes of truth, grief, forgiveness, reconciliation, and independence are significant to the plot and given a lot of attention. But then you have Ozon’s subtle riddles and red herrings that would have brought a smile to Hitchcock’s face. It all gives “Frantz” some intriguing and unexpected layers.

Visually “Frantz” is a delight. The use of black-and-white and the occasional shift to color are more than gimmicks. They relay tone and mood from the director but more importantly perspective from the characters. It’s a tricky yet perfect fit for this moving period story. Some may be encouraged to offer more speculation than interpretation. The story opens itself up for that. But for me the best interpretation of “Frantz” is the simplest and most straightforward. It puts Anna in the spotlight which for me made the film more poignant and emotionally satisfying.

VERDICT – 4.5 STARS

REVIEW: “War for the Planet of the Apes”

August 2, 2017 by Keith Garlington

You would be tempted to call it the anti-blockbuster franchise if it wasn’t made up of three sure-fire blockbusters. Still it’s a label that seems to fit the newest “Planet of the Apes” prequel/reboot series. It has all the big budget bells and whistles yet there is clearly more going on underneath the blockbustery surface and it’s not hard to recognize its attempts at more provocative explorations.

Despite the rousing critical praise (for the most part) it has received, my relationship with the series is a weird one. Both of the previous films, 2011’s “Rise of the Planet of the Apes” and 2014’s “Dawn of the Planet of the Apes”, are really good movies that have their own nagging missteps. But despite their issues, each film had its hooks in me enough to leave me genuinely excited for its follow-up. So that brings me to the latest installment that continues the Caesar trilogy and the trend of awkward movie titles – “War for the Planet of the Apes”.

For some (unfortunately), how condemning or forgiving they are may depend on which political magnifying glass they choose to look through (yes, I’ve actually seen this ). Much like the previous two films, “War” has statements it wants to make. And much like the previous films, those statements are often thought-provoking and occasionally a tad heavy-handed. But messaging has never been the problem. Instead it was a handful of story angles that would sometimes trip them up. Nothing major, but they are there. For the most part “War” rights those issues.

“Dawn” ends with Caesar, the leader of the ape clan, acknowledging that war with the humans is all but inevitable. “War” begins with an explosive sequence revealing Caesar’s prophecy to be true. Troops from a military group calling themselves Alpha-Omega launch a sneak attack on an ape base in the forest. Returning director Matt Reeves’ staging of this sequence is exquisite. It’s beautifully shot and incredible to watch. There is also a lot of information we can glean concerning what’s to come.

Tired of the heavy casualties, Caesar (magically played by a returning Andy Serkis) moves from revolutionary to Moses figure and agrees to lead the apes out of the forest and to an isolated spot across the desert. Before they can leave they are hit by Apha-Omega and Caesar has a face-to-face with their leader Colonel McCullough (Woody Harrelson). The attack is repelled, but for Caesar the results are intensely personal. He commands his clan to head for the desert while he seeks revenge, accompanied only by three of his most loyal (and insistent) friends.

It’s here that “War” really hits its stride. The group’s effort to track down McCullough leads them north where they encounter several characters both human and simian. None are better than Steve Zahn who plays Bad Ape, a chimpanzee who lived in the Sierra Zoo prior to the Simian Flu outbreak. Zahn does a lot of interesting things both comically and dramatically. It’s a well-balanced character and performance that never pushes the ‘comic relief’ role too far.

Staying with performances, it has taken time for many people to warm up to Andy Serkis’ style of acting, but by now his unique skills as an actor should be beyond doubt. There is simply no one better at what he does. This is evident by his work in “War” which is the pinnacle of everthing he has done in the Caesar role. It’s Oscar caliber stuff. If only the Academy will take notice.

The story pulls its influences from a wild assortment of films. Early resemblances to old school westerns like “The Outlaw Josey Wales” give way to shades of “The Great Escape” once the film shifts to what is essentially a prison movie. This is also where it loses a bit of its momentum and stretches out about fifteen minutes too long. Allusions to the Holocaust and concentration camps are effective yet it’s a fairly dramatic shift that takes too much time to develop and play out. And back to influences, it doesn’t take much of an eye to notice the similarities between Harrelsen’s McCullough and Brando’s Kurtz from “Apocalypse Now”.

“War” finally gets back on its feet and the pulse-pounding finale feels just right. The film ends with the story and franchise in strong place. Of course it won’t stay there. Another film is already said to be in the works. As for this installment, I feel it’s the best of this new series and despite its lag in the middle it avoids the narrative hiccups from the past film. More importantly it does justice to this central character who we’ve spent so much time with and genuinely care about.

VERDICT – 4 STARS

Remembering Sam Shepard…

August 1, 2017 by Keith Garlington

Yesterday was a tough day for lovers of cinema. First there was the passing of the wonderful Jeanne Moreau. Later we heard the news that the great playwright and actor Sam Shepard had died. Shepard penned over forty plays and appeared in over fifty films. He received the Pulitzer Prize for Drama and has been nominated for an Academy Award. There was a gritty authenticity to most of Shepard’s roles and he made acting appear effortless. He was still working until recently when his health prohibited it. He passed away July 31 due to complications from Lou Gehrig’s disease. He was 73.

“Days of Heaven”

The Right Stuff”

“Safe House”

“Thunderheart”

“Mud”

“The Assassination of Jessie James by the Coward Robert Ford”

“Country”

“Blackthorn”

“Black Hawk Down”

“Midnight Special”

REVIEW: “Alien: Covenant”

July 31, 2017 by Keith Garlington

2012’s “Prometheus” provoked an interesting range of responses. The “Alien” prequel riled up a segment of the franchise faithfuls who were anxious for Ridley Scott’s return to the terrifying acid-for-blood xenomorphs he created. Many lukewarm fans found themselves drawn to Scott’s slow-moving meditative philosophizing. Others were caught in the middle, unable to come down on either side.

For the sequel it’s clear the producers were hungry for the Ridley Scott from 1979 who gave us the smothering, frightening sci-fi/horror original. New writers Josh Logan and Dante Harper make sure we get that. But Scott doesn’t hand over the entire vision. He’s still interested in thematic exploration and mythologizing. “Alien: Covenant” ends up being a peculiar and semi-fascinating hybrid of both.

As mentioned “Covenant” is the second film in the prequel series. It begins with a short prologue featuring Guy Pearce’s business mogul with a god complex Peter Weyland and a newly activated android who takes the name David (Michael Fassbender reprising his role). It’s a gorgeous flashback sequence that introduces creation, an idea that plays prominently into the rest of the film.

Roughly ten years after the events of “Prometheus” we hop aboard the Covenant, a ship on a colonization mission to a distant earth-like planet on the far side of the galaxy. It’s precious cargo – 1,000 human embryos and 2,000 colonists all in stasis. The ship is hit by a (science junkies help me out here) neutrino burst which forces the the android Walter (Fassbender in a dual role) to wake the crew early. The vessel takes damage and there are several casualties including the ship’s captain.

While making repairs the crew picks up a mysteriously familiar radio signal tracked to a nearby uncharted but seemingly habitable planet. Captain Oram (Billy Crudup), the insecure acting leader, decides to investigate against the objections of Daniels (Katherine Waterston), the original captain’s widow and Oram’s second in command. To this point you could call “Covenant” a methodical slow-burn which I loved. After a beautifully shot dropship landing, the expedition team of scientists and military make their way to the planet’s surface. This sets up the film’s shift from patient and ponderous to an all-out “Alien” movie.

To no one’s surprise the team encounters the xenomorphs and even a new form of terror called neomorphs. They are a spore-born and more feral version of their counterparts. And of course that leads to a series of gory and obligatory facehugs, chest bursts, tail slashes – the usual alien carnage. I’ll happily admit I found parts of it intense and exciting. Problem is none of the victims are fleshed out enough for us to care. I think back to Scott’s original “Alien” and even James Cameron’s “Aliens”. I can tell you the names of most of those characters and even put a face to them. Aside from Walter, Daniels, Oram, and Danny McBride’s Tennessee (he’s the one with the cowboy hat) none of the crew offer anything other than potential alien fodder. Such a missed opportunity.

From there the movie doesn’t completely settle for a traditional final act. There is one story thread that runs throughout the crew culling that feeds Scott’s hunger for mythology and origin. It’s a great angle that introduces the story’s true antagonist. It also gives Fassbender the room to shrewdly expand his characters. Waterston is good but Fassbender steals the show. It’s a tricky duel performance that brings subtle, unique nuances to both David and the updated model Walter.

Other story angles offer promise but are completely dropped. Take the ship full of husbands and wives and the 1,000 human embryos in cold storage. A lot of fun ideas there begging to be explored. And then there are these out-of-the-blue mentions of Oram’s faith. Again they tease an interesting deeper story but there isn’t much to take away from what little we get. “I saw the devil once as a child.” – the most random of Oram’s quotes that we never get back to.

“Covenant” maneuvers through its ups and downs to land an ending that leaves me genuinely excited for the next chapter. And despite missing some opportunities there is still plenty that Scott and company get right. Perhaps “Prometheus” was too big of a departure for some die-hard fans. “Covenant” tries to lure them back with good action and effects while still giving time to Scott’s philosophical ruminations and mythology building. A lot of that works. It’s the in-between stuff that misses the mark.

VERDICT – 3.5 STARS

5 Phenomenal Movie Beach Scenes

July 28, 2017 by Keith Garlington

Fresh off a week-long vacation on the Atlantic Ocean what better time to do a Phenomenal 5 based on movie beach scenes? I’ve been a bit lax with this long-running feature but here’s to getting back on track. There are a ton of beach scenes to consider and some are just too obvious to include. For instance who wouldn’t have “From Here to Eternity” on their list? I’m also shooting for a bit of variety. Therefore (as always) I wouldn’t call this a definitive list, but there is no denying that these five movie beach scenes are nothing short of phenomenal.

#5 – “Chariots of Fire”

This may have been the first movie I ever saw in the theater as a kid that truly felt outside of the blockbuster box. And while much of the film went over my 9 year-old head, I’ve always remembered that brilliant tone-setting opening. The team running along the beach to the iconic electronic theme music from Oscar-winning composer Vangelis. It’s truly magical and has remained one of cinema’s most memorable title sequences.

#4 – “The Shawshank Redemption”

Spoilers for those who haven’t seen it, but I’ve always found the final scene in “Shawshank” to contain a most beautiful emotional release. After everything Tim Robbins’ Andy and Morgan Freeman’s Red go through, to finally reconnect on a remote Mexican beach in what is a brief but pitch-perfect final shot ends the film in the best possible way. I love the narration’s buildup and I love the camera decisions. It’s a great scene.

#3 – “The 400 Blows”

“The 400 Blows” is one of my favorite films, not only from the French New Wave, but of all-time and it is one of cinema’s greatest directorial debuts. It’s a piercing, unorthodox coming-of-age story that doesn’t follow any blueprint particularly with its ending. SPOILER – In the final shot Truffaut’s semi-autobiographical lead character escapes a juvenile home. The young boy’s long run takes him to the ocean, a place he’s dreamt of seeing. As his feet hit the beach and he jogs towards the water it almost feels triumphant. But his feet meet the water, he turns around, and Truffaut ends with an audacious freeze-frame shot of the boy’s face. I’ll let you determine the meaning for yourself but it is bold filmmaking at its finest.

#2 – “Saving Private Ryan”

While this would probably qualify as an obvious choice, it’s one I simply couldn’t leave off this list. Steven Spielberg’s brutal and intense re-creation of the Allied invasion of Normandy has been heralded as the most authentic depiction of the horrors of war. So many young men died before setting a foot on the sands of Omaha beach, but the scene doesn’t stop there. With unflinching visceral detail Spielberg marches us up that bloody beach right alongside the soldiers, never allowing us to miss the horrible cost. It is incredible filmmaking and a scene you’ll never forget seeing.

#1 – “Jaws”

Apparently Steven Spielberg really knows how to do beach scenes. There are a couple that could have easily owned a spot on this list but for me there is one true standout. It’s a bright and beautiful sunny day. The Amity beach is full of vacationers and townsfolk. Sunbathers bask on the beach while children play in the ocean. No one has a care in the world except for a tense and concerned Sheriff Brody. That’s when the shark attacks and chaos ensues. Spielberg’s scene boils with tension from the nerve-racking early teases to the heart-wrenching final shot of a mother desperately looking for her child. It’s pure cinematic brilliance.

There you have five of the best movie beach scenes. There are so many others that could’ve made this list. Please share your choices in the comments section below.

REVIEW: “Valerian and the City of a Thousand Planets”

July 25, 2017 by Keith Garlington

If you have even an ounce of sympathy in your bones you have to feel for Luc Beeson. Without question “Valerian and the City of a Thousand Planets” was a passion project. The film’s $200 million-ish budget was crowd-sourced and personally footed by Beeson making it not only the most expensive European film, but the most expensive independent movie ever made. That’s one reason the early box office results seem so catastrophic.

But it goes beyond that. Beeson writes, directs, and co-produces with his wife Virginie Besson-Silla. That only adds to the sting because there are no two ways around it – “Valerian” is a really bad movie.

Let’s be honest, there were warning signs everywhere yet I was hoping for a “John Carter” experience. You remember it – terrible trailers, shredded by critics, but much better than the bad press it received. That’s not the case with “Valerian”. Instead we get a nearly 140 minutes slog through poor storytelling, boring characters, laughably bad dialogue, and CGI overload.

The story is based on the French comic book series “Valérian and Laureline”. I’ve never heard of it but apparently Beeson’s interest in adapting it dates all the way back to the filming of “The Fifth Element”. But despite the enthusiasm and ambition, “Valerian” stumbles all the way through its grueling run time and no amount of money thrown at it can save it from its glaring problems.

Let’s start with the performances. Dane DeHaan is a peculiar choice for the lead character Valerian. We are tasked with buying into him as a major(!) in the human police force on Alpha (aka the City of a Thousand Planets). The story desperately wants him to be a Han Solo-like bad boy. Look no further than an early scene where his dialogue all but pleads with the audience to believe it. And as much as he and the script tries to manufacture charisma, we never get it. I’m not certain what he’s going for, but his line delivery constantly reminded me Keanu Reeves from “Point Break”. It’s not like he gets much helps. A steady flow of mind-numbing one-liners should earn plenty of unavoidable face-palms.

His partner on the force is Laureline played by Cara Delevingne. Her stiffness is meant to be toughness but is only believable in small spurts. Her relationship with Valerian is weighted by a stale and uninspired sexual tension that is far more silly than romantic. And much like her counterpart, Delevingne is given some truly horrible dialogue. It’s astonishing that many of these lines actually made the page much less left it!

Commander Filitt (Clive Owen) orders Valerian and Laureline to investigate a alien force gathered at Alpha’s core. The beings are potentially linked to the film’s quirky yet interesting prologue. Unfortunately it all plays out with practically no suspense and with one of the most glaringly obvious reveals I’ve seen in a while. Along the way we are inundated with corny banter, heavy-handed social/political metaphors, and an assortment of weird encounters including a pearl-pooping miniature anteater, a shapeshifting exotic dancer, and Ethan Hawke playing someone named (and this is no joke) Jolly the Pimp. Okay, so that last one was good campy fun.

That brings us to the special effects which “Valerian” leans heavily on. It’s essentially a sugar rush for the eyes that ranges from spectacular to downright gaudy. Ultimately it’s not enough to cover the abounding messiness. “Valerian” seems to be shooting for an Avatar-like experience. It’s story is worse (and Avatar’s wasn’t good) while the visuals (Avatar’s saving grace) only occasionally ‘wow’. Once again it’s a real shame. When you put up a $200 million target you certainly don’t want to miss it this badly.