Author Archives: Keith Garlington

REVIEW: “John Wick: Chapter 2”

by

33

wick2-poster

“John Wick” was a fun, fresh 2014 action thriller that added its own little twist to the “boy and his dog” story. Okay, perhaps that’s a tad misleading. Instead let’s say it was a stylized shoot-em-up heavily influenced by Hong Kong cinema and the 1980s action genre. Personally speaking that is a tantalizing recipe and “John Wick” used it to violent bloody near perfection.

The surprising success of the film and eventual cult status lead to a sequel simply titled “John Wick: Chapter 2”. Former stuntman Chad Stahelski returns to direct and Derek Kolstad is back as screenwriter. Most importantly 52 year-old Keanu Reeves (yes, I said 52 years-old) reprises his role as the hard-boiled and well-dressed hitman John Wick. If you weren’t fully convinced of his tough guy status after the first film wait till you see him here.

wick2

“John Wick 2” ties up a few loose ends before launching into its own bullet-riddled story. Wick once again finds himself trying to get out of the hitman business, but an old blood oath comes back to haunt him. Weaselly crime boss Santino D’Antonio (Riccardo Scamarcio) violently rejects Wick’s unwillingness to honor their pact which catapults John right back into the life he desperately wants to leave.

One of the real treats of “John Wick 2” is how it expands on its wild global underworld network of assassins which lies just under the crust of the world’s biggest cities (in this case New York City, Rome, and then back to the Big Apple). It’s an interconnected outfit with its own rules and codes many of which are shared by the delightfully droll Ian McShane. He returns as Winston, the “manager” of the Continental Hotel which is actually the network’s New York City kill-free headquarters. Other fun characters return including Lance Reddick as the hotel’s concierge and John Leguizamo as Wick’s chop-shop buddy.

There are some lively new faces as well. Lawrence Fishbourne is introduced as an underground crime lord hilariously called The Bowery King. Common plays a quiet yet lethal fellow assassin who shares some fantastic scenes with Reeves. There is also Ruby Rose (“Orange is the New Black”) as D’Antonio’s cartoonish but perfectly fitting mute enforcer.

wick1

In addition to the cool mythology and world-building is the energetic gun-fu action which sports a hypnotic choreography as elegantly composed as some of the best musicals. Here killing takes the place of dance and you have Keanu Reeves with a Glock instead of Gene Kelly with an umbrella. As silly as that sounds it’s actually pretty accurate. Stahelski’s stunt coordinator muscle never subverts his storytelling, but it does give us some spectacular set pieces. He also know Reeves well, having served as his stunt double on the “Matrix” trilogy. To make the action as authentic as possible Stahelski put Reeves through an extensive boot camp featuring martial arts, gun training, and driving. The payoff is a hoot.

I’ll be the first to admit that the “John Wick” movies have surprised me. They could have easily been your standard throw-away dreck. Instead they are films that meld a fresh new style with and old-school action nostalgia. “Chapter 2” has a fun time expanding on the first movie and being completely comfortable in the world it has created. There is a beautiful rhythm to the violence and the film never loses its self-awareness or tongue-in-cheek wit. All of that said “John Wick: Chapter 2” isn’t some groundbreaking piece of cinema, but it’s remarkably unique and it operates by its own rules at every turn. I really like that about it.

VERDICT – 4 STARS

4-stars

Remember this trailer? #3 – “The Lost Boys” (1987)

by

17

Classic Trailer Flashback – “The Lost Boys” (1987)

I was a teenager during the 1980s and even then movies were a big part of my life. On July 31, 1987 a witty little horror picture from director Joel Schumacher hit theaters. It was “The Lost Boys”. It featured a fantastic blend of horror, humor, great songs and style. And then there was they cast featuring an assortment of young 80s talent. The trailer highlighted all of these elements and did its job of making this a must-see for me. Over the years I’ve come to appreciate it for a number of things it does well, but at the time I remember thinking “vampires, cool music, and Jamie Gertz”. That was enough for me.

So, do you remember the trailer for “The Lost Boys”? What do you think?

 

REVIEW: “The Edge of Seventeen”

by

31

edge-poster

I can’t help but have a cautious approach to any movie described as “a high school coming-of-age story”. Just think of the stale, uninspired sludge Hollywood has churned out that fits that billing. “The Edge of Seventeen” from first time writer-director Kelly Fremon Craig is a welcomed antithesis to the conventional norm. It’s a clear-eyed movie that looks at teen anxiety without an ounce of glamour and with a refreshing bite to it.

The film stars Hailee Steinfeld, a young talent I’ve admired since her Oscar-nominated debut in the Coen brothers western remake “True Grit”. The story opens with her character, a frantic 17 year-old Nadine, bursting into her history teacher Mr. Bruner’s classroom and proclaiming she is going to kill herself. It’s a startling statement met with an even more startling response from her teacher (played by a snarky deadpan Woody Harrelson).

edge1

The film takes a few steps back to show what brought Nadine to this point. You have her contentious relationship with her disconnected mother (Kyra Sedgwick). Then you have her animosity towards her brother Darian (Blake Jenner), a super popular jock at school and a mama’s boy at home. But at least she has her one true friend Krista (Haley Lu Richardson), a fellow outsider and her emotional outlet. But even that sacred relationship runs into its own bit of trouble.

At first glance Nadine’s situation seems obvious – she’s surrounded by uncaring people who are consumed with their own perfect lives. But Craig’s screenplay isn’t that transparent. Through a handful of clever and subtle changes of perspective we begin to see some things differently. Nadine’s self-loathing comes more into focus and its effects on her relationships becomes more profound.

Through all of this Craig shows off a biting sense of humor. Some of the very best scenes are the empty classroom sessions between Steinfeld and Harrelson. They are often uncomfortably funny and I say that as a compliment. Mr. Bruner comes across as dismissive and insulting, at one point calling her the worst dressed student in the school and sometimes worse. Nadine keeps engaging him because he legitimizes her low opinions of herself. Their darkly funny back-and-forths highlight a keen acidic wit that fits wonderfully with their chemistry.

edge1

There are a couple of other performances I need to mention. Blake Jenner (who also starred in 2016’s “Everybody Wants Some”) is very good playing different shades of the Darian character. And I really liked Hayden Szeto who plays Nadine’s equally awkward love-struck classmate Erwin. This is Szeto’s film debut and he has a fairly small part, but he is such a fresh and funny presence.

There are a handful of moments where it’s too easy for us to get ahead of the story. These few predictable scenes are some of the biggest turning points in the story. But they are small blemishes on an otherwise refreshing take on teen life. “The Edge of Seventeen” isn’t some cliched nostalgic trip down memory lane. Instead it reminds us that for some kids high school wasn’t parties and pageantry. It’s also a great showcase for Hailee Steinfeld and a wonderful introduction to Kelly Fremon Craig, an exciting young cinematic voice.

VERDICT – 4.5 STARS

4-5-stars

REVIEW: “Florence Foster Jenkins”

by

12

florenceposter

When it comes to Meryl Streep one thing is for sure – you can expect her to put out a new movie each year. And if you’re a betting man or woman you can consider it a sure thing that she will get some type of awards attention. Her 2016 effort, “Florence Foster Jenkins” has once again led her to a Best Actress Oscar nomination despite it feeling like an incredibly familiar Meryl Streep performance. 

“Florence Foster Jenkins” is a weird one – a bit off-balance yet entertaining. It’s an offbeat biopic about a New York City socialite and music lover and I bet you can guess her name. It’s 1944 and Florence (a quirky character custom-made for Streep) spends her time and fortune promoting opera and who aspires to be a singer. The problem is she hasn’t an ounce of talent. Her husband St. Clair (Hugh Grant in his best role in years), a failed Shakespearean actor, knows she can’t sing but he doesn’t dare reveal that truth to her.

florence1

That becomes a bit tricky after Florence decides to invest more time into her singing ‘career’. St. Clair goes out of his way to protect her from the truth including paying off her voice coach and secretly screening those who attend her small performances. At first it seems a bit nutty, but we quickly learn Florence has a terrible disease. So is St. Clair looking out for her or is he looking out for himself? It’s never that clear thanks to another layer of the story regarding St. Clair’s secret mistress Kathleen (Rebecca Ferguson).

As this stranger-than-fiction story unfolds it’s hard to gauge exactly how we are to approach it. Much of Florence’s flamboyance and caterwauling is framed as comedy and effectively so. But later the film wants to scold us for laughing even though it basically does the same thing. It’s a strange and confusing moral high ground to take.

florence2

Something the film nails is the casting. Streep excels with these eccentric characters that she constantly falls back on at this stage of her career. Hugh Grant is very good as is Rebecca Ferguson in a much smaller role. But it’s Simon Helberg who steals the show. He is a hoot playing the skittish yet ambitious pianist Cosmé McMoon. He’s hired to be Florence’s personal piano player but is dumbfounded by her horrible singing. Helberg can be wildly expressive which adds to the humor.

“Florence Foster Jenkins” is an impossible movie to nail down. It’s a veritable stew of comedy, drama, and commentary. Yet despite being uneven and a bit stodgy, it’s hard not to be sucked in by its quirkiness. It can be laugh-out-loud hilarious but also tender and heart-breaking. At the same time it does little to stand out and its uneven story is a problem despite being entertaining.

VERDICT – 3 STARS

REVIEW: “Blue Jay”

by

6

blue-poster

Mark Duplass has found himself in an enviable position. He’s making the films he wants to make with complete creative control. And he’s doing so not by making it big in Hollywood. Instead he signed a four-picture deal with Netflix that offers him artistic freedom while also ensuring the financial backing that many independent filmmakers struggle with.

For the most part Duplass has steered clear of Hollywood’s courting, instead making small intimate films with miniscule budgets. His first movie for Netflix certainly fits that description. “Blue Jay” is Duplass completely in his element and it gives us a good idea of the creative leeway he has been given. It’s shot in black-and-white, it stars essentially a two-person cast, it took only seven days to film, and it was green-lit by Netflix without seeing a script. That’s a trusting partnership.

jay1

Duplass not only writes the screenplay but stars in “Blue Jay”. He plays Jim, a 40-ish bachelor who returns to his small California hometown to renovate the house left behind by his late mother. While in the grocery store Jim bumps into his old high school sweetheart Amanda (Sarah Paulson) who happens to be back in town to visit her sister. Their meeting is bit awkward but a cup of coffee at the town’s diner loosens things up and before long they are reminiscing about the good old days.

We learn all we need to know about these two characters through their conversations and recollections. As we slowly piece together their deep connection it becomes clear that their entire lives have been effected by the past they shared. There’s also this neat bit of early 90s nostalgia that shows itself in the scenes where Jim and Amanda cast aside their present-day cares and playfully immerse themselves in their history together. But their memories aren’t wound-free which becomes evident the more time we spend with them.

blue2

Director Alex Lehmann wisely keeps himself in the background and allows his two actors to carry the load. Duplass and Paulson have a convincing chemistry and there is an organic flowing rhythm to their dialogue. Much of it is due to a considerable amount of improvisation in place of a conventional script. While Duplass is a natural fit for his character, Paulson is the true highlight. Watching her navigate her character’s many emotional layers left me wondering why she doesn’t get more of these roles.

“Blue Jay” manages to be funny and playful while also taking an honest look at the insecurity and fragility of its characters. Later on it does get a touch melodramatic but it always remains truthful and feels plucked from real life experiences. The wonderful choice to soak the film in black and white adds a wonderful layer of nostalgia and melancholy. It’s a bold choice for a 2016 character drama, but again it demonstrates the audacity filmmakers can show when given creative liberties. That’s why I’m excited for what else this Duplass/Netflix partnership will deliver.

VERDICT – 4 STARS

4-stars

REVIEW: “Split” (2016)

by

44

It’s probably a bit of an understatement to call M. Night Shyamalan’s career one big roller coaster ride. I’m actually far more fascinating by the mass reactions from moviegoers who treat him like a true auteur who has fallen from cinematic grace. I think that’s giving Shyamalan a tad too much credit. “The Sixth Sense” is really good. “Unbreakable” is superb. I’m a big fan of “Signs”. These are three solid movies with a certain cultural standing, but they are hardly great enough to make his subsequent decline so fiercely noteworthy.

Still there is no denying that the quality of Shyamalan’s movies fell like a ton of bricks. And I will freely admit that getting the taste of “Lady in the Water”, “The Last Airbender” and “After Earth” out of your mouth is next to impossible. For many people hope returned with 2015’s “The Visit”, a movie I had a lot of fun with. But for those unwilling to entertain the idea that Shyamalan’s career was back on the upswing, let’s just say “Split”  just might change your mind.

split1

For the most part the trailer sets up the entire premise. Three teenaged girls are kidnapped while leaving a birthday party. There abductor is Kevin Crumb (James McAvoy), a man suffering from Dissociative Identity Disorder. We learn through his sessions with his psychologist Dr. Karen Fletcher (played by Betty Buckley) that Kevin possesses 23 unique personalities. Collectively they refer to themselves as The Horde.

While held captive the three girls encounter several of Kevin’s identities including the creepy  “Dennis” and the creepier “Patricia”. But they also meet gentler personalities from within Kevin’s mind, a sign of the intense internal conflict going on inside of him. McAvoy dives into his role head-first and shows off how crafty he can be when let off his leash. He is one of the film’s biggest strengths and it’s mind-boggling watching him bring out personality in each of the identities. It may be through accents, mannerisms, or even the slightest facial expression. Incredibly he makes each of them easily recognizable without any blatantly obvious markers.

split2

Of the three girls, Casey proves to be the more resilient. She’s cool-headed and observant – qualities learned from her deeply troubled past which Shyamalan feeds to us through a smattering of flashbacks. Casey is wonderfully played by Anya Taylor-Joy who gave an equally strong performance in last year’s “The Witch”. Performance-wise her fellow captives don’t fair as well. In their defense Shyamalan hands them some of the movie’s worst dialogue before leaving them locked up and in their underwear for the entire second half of the movie. Aren’t we tired of that yet?

Shyamalan leans heavily on scenes between Dr. Fletcher and one of Kevin’s more amiable personalities “Barry”. There is a psychological cat-and-mouse element to their sessions which is compelling. Shyamalan may lean on them a tad too much, but that’s not to say the scenes are without meaning. Also they allow for some of McAvoy’s best work. Through these scenes (and for that matter the entire film) Shyamalan maintains his sharp instincts for suspense and his skills with the camera are as good as ever.

split3

Then you have the finale. You’ll find no spoilers here and do yourself a favor – avoid them at all costs. Shyamalan has an impressive knack for causing you to immediately reevaluate his film after seeing its ending. It has never been more true than with “Split”. Shyamalan twists are a signature of his movies but prior to “The Visit” you could say he had become a parody of himself. “Split” proves he can still completely broadside any audience.

Shyamalan once again shows he is still a filmmaker worth paying attention to. “Split” is a movie with a few problems, some of which were easily avoidable. At the same time James McAvoy gives a stand-out performance and Anya Taylor-Joy continues to show she is the real deal. But most importantly Shyamalan sticks his ending with an insanely clever twist I never saw coming and that immediately compelled me to see the film again. Rarely has a conclusion surprised or impressed me quite like this. See it for yourself.

VERDICT – 4 STARS