Author Archives: Keith Garlington

REVIEW: “A Man Called Ove”

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While not exactly a genre in itself, movies about grumpy old men were once pretty common and came in all forms. Think about this variety for a second – Scrooge from “A Christmas Carol”, Clint Eastwood’s “Grand Torino”, the Pixar gem “Up”, and of course the two “Grumpy Old Men” movies. This is just a handful of examples yet none of these films are quite like the Swedish dramedy “A Man Called Ove”.

Rolf Lassgård stars and plays the title character Ove. He’s a crusty old curmudgeon who runs his neighborhood association with an iron fist even though he was deposed as its president a few years earlier. His zero-tolerance policies puts him at odds with some residents while others laugh him off as Ove being Ove. Things get even worse after he is squeezed into early retirement by his young supervisors.

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The cantankerous Ove meets his match when a young family moves in across the street. Things get off to a rocky start with Ove letting them have it for every little infraction. But the young mother Parvaneh (Bahar Pars) is impervious to Ove’s belligerence. In fact, she kind of gets a kick out of it. What follows is an unexpected friendship with potential life-changing effects for Parvaneh but especially Ove.

This odd relationship helps to crack open the Ove character and reveal the reasons for his misery. He slowly makes more sense to us. The frequent visits to his wife’s grave and a series of flashbacks paint a picture of a man stricken by heartbreak, sorrow, and loneliness. But don’t let that fool you. This is a black comedy at its core. There are some really good laughs some from unexpected places. Writer-director Hannes Holm juggles the wacky range of emotions and the periodic time hops fairly seamlessly which is no small task.

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Lassgård deserves a lot of credit as well. His stone-faced persona is helped by some really good makeup (for which it earned an Oscar nomination) but is mostly carried by the actor’s charisma. There’s also Lassgård’s snarling snark which is so finely in sync with Holm’s wickedly funny dialogue. And when he’s asked to tone down the crabbiness (ever so slightly) the actor pulls it off without coming across as manipulative.

“A Man Called Ove” was a huge hit in its native Sweden becoming the third highest-grossing domestic movie in the nation’s history. It’s easy to see why. Despite his prickly nature the film’s protagonist is easy to enjoy and eventually sympathize with. That’s mainly due to the surprising amount of tenderness packed into the story and a fabulous lead performance. And now two well-deserved Oscar nominations are icing on this surprise hit’s cake.

VERDICT – 4.5 STARS

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REVIEW: “The Founder”

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The true story of a 53 year-old milkshake machine salesman who builds a fast food franchise may not come across as compelling cinema. But when that franchise is none other than McDonald’s and the salesman is as fascinating as Ray Kroc, let’s just say there is plenty there to anchor your interest.

McDonald’s has come a long way since its humble beginning in 1940. What started as a barbecue restaurant in San Bernardino, California has become a global phenomenon. Currently McDonald’s employs nearly 450,000 people and sports over 36,500 locations worldwide. They are everywhere. My wife and I even came across one while strolling down Paris’ famous Champs-Elysees? Ray Kroc’s shrewd and ambitious vision turned McDonald’s into a multi-billion dollar franchise and he barreled over anyone who got in his way.

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Ray is played by Michael Keaton, a crafty actor with plenty of variation to bring out his character’s many layers. When we first see Ray it’s 1954 and he’s peddling milkshake machines to drive-in restaurants across the midwest. Despite numerous failing business ventures he still manages a modest comfortable living with his supportive but neglected wife Ethel (Laura Dern). But contentment isn’t in Ray’s vocabulary. He firmly believes he’s one deal away from his ship coming in.

After a small California diner named McDonald’s orders six of his five-spindle multimixers a surprised Ray heads out to San Bernardino to check out their restaurant. There he meets the owners, the sociable Mac (John Carroll Lynch) and his intuitive brother Dick (Nick Offerman). Their family-ran diner is built on the idea of good food and fast service (Dick defines it as a “symphony of efficiency”). Ray immediately sees the franchise potential and persuades the reluctant brothers to let him in as their partner.

The screenplay from Robert D. Siegel (who also wrote 2008’s “The Wrestler”) was inspired by Ray Kroc’s 1977 autobiography but also an unauthorized biography. This enabled Siegel to learn the good and bad sides of this complex man. He and director John Lee Hancock move through Kroc’s story with a clear-eyed rhythm, hitting most of the high points and avoiding any lulls. They portray the businessman as both sympathetic and repulsive. Siegel himself said that after seven viewings he still didn’t know whether he liked Ray Kroc or not.

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Underneath its biopic epidermis is a surprisingly rich character study that can be as shrewd as Kroc himself and that doesn’t shy away from looking at him with a skeptical eye. It also gives Michael Keaton good material to work with. He is magnetic and endlessly charismatic, so much so that we remain glued to him even as our impression of his character sours. Offerman is also very good as is Dern. Unfortunately she gets left behind (as does a lot of the of Kroc’s personal details) in favor of the business end of the story. But you could say that’s an authentic portrayal – business before everything else.

Over the years McDonald’s has certainly changed. The food you now get is a far cry from the delicious all-beef patties we see on the McDonald brothers’ grill. And it’s funny, the same can be said for the Ray Kroc character. He’s a much different person by the end of the movie. That’s what makes “The Founder” such a fascinating watch. Sadly it hasn’t gotten much traction in theaters, but hopefully people will give it a look. It’s a great way to start the 2017 movie year.

VERDICT – 4.5 STARS

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The 5th Annual K&M Random Movie Awards

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Today marks the fifth (yes fifth) year that I have put together this highly esteemed and barely 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. They are completely random categories yanked out of the air and presented to you. Now, without further delay, the red carpet ceremony is over. Lets get to this year’s ‘winners’…

Best Ensemble Cast – “Hail Caesar!”

The Coen brothers do a lot of things right in their films. One of them is assembling a cast. Just look at these names from “Hail Caesar!” – Josh Brolin, George Clooney, Ray Fiennes, Tilda Swinton, Channing Tatum, Scarlett Johansson. And that’s not even including the young star Alden Ehrenreich. What a cast.

Worst Movie Title – “Jack Reacher: Never Go Back”

I mean come on. Just say it to yourself a couple of times? Every time I say it I compulsively add an 80’s movie trailer voice-over to it. It’s so corny I can’t help myself.

Best Animated Film- “Kubo and the Two Strings”

I was late coming to this movie but I’m so glad I did. What a visual and emotional delight. The animation is gorgeous and strikingly unique. The same could be said for the story which was a fresh escape from the normal stuff we get.

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Funniest Scene – “Church-Hill” (“Love & Friendship”)

When Tom Bennett gives us a proper introduction to his character in “Love & Friendship” the result is comic gold. In this particular scene his lovable buffoon is hysterically awkward trying to explain his unannounced arrival to Churchill. I will leave it at that so you can enjoy the rest on your own.

Best Soundtrack  “La La Land”

What can I say, I love the music of  “La La Land”. It ranges from romantic to heartbreaking, aching to exhilarating. It’s a joyous mix of big orchestration and old-school jazz with some incredibly catchy riffs that I’m still humming today.

Best Fight Scene – “The Lobster”

Who says a fight scene has to be full of great choreography and visual effects? That certainly isn’t true for the brief and utterly absurd fight in “The Lobster”. A conversation about animals turns into a fight between John C. Reilly and Ben Whishaw. It’s just as hysterical as it sounds.

Best Shootout – “Anthropoid”

Out of all of the cinematic gunplay of 2016 nothing matched the climactic firefight at the end of “Athropoid”. Since it does come at the end I won’t spoil anything, but it is intense and incredibly well shot. It also plays heavily into the the story which makes it all the more enthralling.

Creepiest Movie Animal – Black Phillip (“The Witch”)

Of the many creepy things about “The Witch”, who can forget the film’s horned villain Black Phillip? This menacing billy goat terrorized a New England family in the 1630s. How can a goat be so chilling?

Biggest Surprise Movie – “The Jungle Book”

I had zero expectations for this film. None whatsoever. What an incredible surprise. Not only does the film look amazing, but its story was far more satisfying than I ever anticipated.

Best Child Performance – Sunny Pawal (“Lion”)

For the first half of “Lion” Sunny Pawal is the focus. It’s a difficult role but the expressive young boy is marvelous. In scene after scene he breaks our heart and all at the tender age of six.

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Weirdest Casting – Morgan Freeman (“Ben-Hur”)

While “Ben-Hur” wasn’t quite as bad as some people said, it still made some odd choices. Perhaps the biggest was casting Morgan Freeman as a Nubian sheik. Here’s the thing, he never gets out of Morgan Freeman mode which makes it impossible to see him as anyone else.

Best Directorial Debut – Garth Davis (“Lion”)

Directing feature films can’t be easy which is why Garth Davis’ debut is so impressive. “Lion” is a wonderful that balances two timelines. Davis handles it brilliantly. On top of that his film has received six Oscar nominations. How’s that for a first movie?

Goofiest Scene – Geoffrey Rush vs Giant shadowy space demon (“Gods of Egypt”)

Doesn’t the above description say at all? I don’t really know how to put the absurdity into words. A shorn, flaming Geoffrey Rush duking it out in space with a big smoky mass of evil. Seriously, what else needs to be said?

Best Chase Sequence – “Assassin’s Creed”

It’s far from your traditional chase sequence, but the rooftop chase in “Assassin’s Creed” was nothing short of exhilarating. It’s fast-paced, intense and beautifully shot.

Worst Sequel – “Independence Day: Resurgence”

Twenty years since the first film and this is all they can come up with? “Resurgence” is such a bland and lifeless sequel not to mention full of some of the year’s worst performances. I feel for whoever green-lit this mess of a movie.

Best Performance in a Horrible Movie – Margot Robbie (“Suicide Squad”)

“Suicide Squad” wasn’t good in any regard except one – Margot Robbie. Her version of Harley Quinn was the one true highlight. She gives it 110% and ends up capturing what makes that character such fun. Too bad no one else involved could do the same.

Best Ending – “Arrival”

I was already sold on “Arrival” before it reached its finale, but those final 10 minutes cemented it as a truly great film and my favorite of 2016. It’s not only  cerebral, it also packs an unexpected emotional punch.

Best Movie No One Saw – “The Innocents”

I pains me how few people have seen “The Innocents”. Whether its moviegoers or film critics, hardly anyone talked about it by the year’s end. What a shame. “The Innocents” is such a powerful story told with great vision.

Best Villain – The Shark (“The Shallows”)

Forget the routine super-villains, terrorists, or psychopaths. The shark in the surprising thriller “The Shallows” was a terror. This giant predatory menace made Blake Lively beach visit an absolute nightmare.

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Best Horror Movie – “Train to Busan”

Zombies on a train. Sounds silly, right? Actually “Train to Busan” is fantastic. This South Korean horror film is a master class in pacing and tension-building. I couldn’t turn away.

Most Eye-Opening Performance – Kate Beckinsale (“Love & Friendship”)

I’ve always liked Kate Beckinsale but never considered her among the top actresses in the business. That was until “Love & Friendship”. Beckinsale shows acting chops that rivaled any performance from 2016.

Best Voice Acting – Idris Elba (“The Jungle Book”)

I could listen to Idris Elba read a telephone book. He has that type of hypnotic voice. In “The Jungle Book” he gives us one of the year’s best villains. Elba is so entrancing that it doesn’t matter he is a scar-faced tiger. You completely buy it.

Most Overly Praised Film – “Zootopia”

Messages are good. Bludgeoning your audience to death with them is not. “Zootopia” starts off good, but the second half becomes a heavy-handed drumming at the expense of its story. Yet it still has a huge following and will probably win the Animated Feature Oscar.

Most Unfairly Maligned Film – “Batman vs Superman: Dawn of Justice”

Before it even hit theaters “BvS” became a fashionable punching bag for many. It has let up a little, but it’s still showered with overblown criticisms and now Razzies in every category. Good grief.

Best Non-La La Land Dance Sequence – “Hunt for the Wilderpeople”

Happy Birthday Ricky Baker! There are several things in “Wilderpeople” that come completely out of the blue. One is the forest dance scene where Ricky busts some serious moves. Sam Neil’s expression makes it even better.

Worst Comedy – “The Do-Over”

Adam Sandler. Do I have to say anything else. I probably could but I would rather not.

Best Superhero Film – “Captain America: Civil War”

The Captain America movies have been some of the very best from the Marvel Cinematic Universe. That continued with “Civil War”, a film that could just as easily be called “Avengers 2.5”.

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Best Movie Mustache – Colin Farrell (“The Lobster”)

I could come up with all sorts of oddball categories for “The Lobster” – Best Use of a Toaster, Best Cameo by a Peacock, and so on. Instead I’ll stick with Best Mustache, an award that Colin Farrell wins with ease (depending on how you define “best”).

Best Visual Effects – “Rogue One: A Star Wars Story”

Okay, a couple of CGI characters may have been a bit a little jarring, but aside from that “Rogue One” looks absolutely stunning. From the space battles to the new worlds, it’s hard not to be wow’d by the incredible effects.

Best Western – “In a Valley of Violence”

Ethan Hawke verses John Travolta in the wild west? That’s an automatically selling point. Actual the film is a lean, fresh take on the western genre from writer/director Ti West.

Biggest Letdown – “Jason Bourne”

“Jason Bourne” isn’t a bad movie. It’s just incredibly flat and utterly forgettable. Not at all what I expected from the returning Matt Damon and Paul Greengrass. Maybe I need to give it another chance. The first viewing left no impression.

REVIEW: “Jackie”

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There are a number of traps and obstacles filmmakers face when making a biopic. It grows even more challenging when the film’s focus is a beloved historical and cultural figure. “Jackie”, director Pablo Larraín’s portrait of Jackie Kennedy, would seem to be a prime example. But this film avoids many of these routine complications by setting itself up as something strikingly unique right out of the gate.

Writer Noah Oppenheim first conceived “Jackie” as an HBO miniseries but the project evolved into a compact, tightly-wound 98 minute feature. It tells the story of Jackie Kennedy but not in the traditional sense. Instead it restricts its focus to the four days between the assassination of her husband President John F. Kennedy on November 22, 1963 to the state funeral on November 25th. It’s told almost entirely from her perspective yet it’s much more than a detailed historical account. The film’s interest is in exploring Jackie’s state of mind during those impossibly traumatic few days. It does so with equal amounts of fact and speculation.

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The narrative framework comes in the form of an interview. Billy Crudup, credited as simply The Journalist (but based on Life magazine journalist Theodore White), arrives at the Kennedy’s Hyannis Port compound to interview the former First Lady. He’s met by a pale, drained Jackie (played with uncanny ferocity by Natalie Portman). Throughout their mercurial and sometimes contentious interview it becomes clear Jackie is the one dictating the terms of what will be written. When she lights a cigarette she emphatically tells the journalist “I don’t smoke.” – a clear signal to him that she controls the message.

Through the interview we revisit those agonizing four days the way Jackie recalls them. All of the iconic imagery is there – the ’61 Lincoln convertible, the pink bloodstained Chanel dress, Jackie and Caroline kneeling at JFK’s casket. Larraín presents these scenes through well detailed recreations and archived historical footage. But this movie is more interested in the time between those well-documented moments. What did Jackie do? Better yet what was she feeling?

Because of this focus “Jackie” maintains a keen psychological edge to it. You see it as she maneuvers through an emotional haze of grief and anxiety. Larraín and Oppenheim want us inside of Jackie’s head as they themselves ponder her internal reactions to such painful and uncertain events. Portman runs with it, diving so deeply into the psyche of her character that we completely forget the two look nothing alike. You buy into her personal struggles and her wranglings with others including her compassionate brother-in-law Bobby (played by Peter Sarsgaard who is so good here) and Lyndon B. Johnson (John Carroll Lynch).

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Surprisingly this isn’t a puff piece aimed at reinforcing Jackie’s venerated cultural image. It doesn’t shy away from her weaknesses or blemishes. At the same time it doesn’t shortchange her strength and fortitude. At no point does the film question her resilience or integrity. If anything it humanizes her and makes her a more sympathetic and relatable person especially considering the overwhelming pressures she faced.

This movie’s unusual approach to the biopic is sure to catch a lot of people off guard. In some of its deeper internal moments it’s almost hallucinogenic, maybe too much so on occasion. Mica Levi’s moody score is a big contributor. It plays prominently from start to finish and blankets the entire film with a steady sense of unease. And then we get back to Portman and her sublime performance. It’s peculiar and off-kilter, perfectly so. That makes it a wonderful fit for this unusual but thoroughly satisfying portrait.

VERDICT – 4 STARS

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REVIEW: “Infernal Affairs”

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Back in 2006 Martin Scorsese’s “The Departed” grabbed a lot of attention. It received universal acclaim and would go on to win four Oscars including Best Picture. For many it also brought attention to the 2002 Hong Kong crime drama “Infernal Affairs” – the direct inspiration for Scorsese’s “The Departed”. Scorsese would later say “Infernal Affairs” was an example of why he loved Hong Kong cinema.

“Infernal Affairs” was a critical and box office hit when first released winning seven of its sixteen Hong Kong Film Awards nominations. Over time it has gained a global appreciation and has influenced a number of prominent filmmakers. Much of its impact is due to a riveting script featuring two rich, intersecting storylines and a near flawless pacing. Once it starts it keeps you locked in for the duration.

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Following the same timeline a young police cadet is sent to infiltrate a local triad while a young gang member is sent to infiltrate the Hong Kong police department. Ten years pass and both men climb the ranks to higher and more trusted positions. Chen (Tony Leung) is a top dog to triad boss Sam (Eric Tsang) but has grown tired of undercover cop life. Lau (Andy Lau) has become Sam’s top insider within the police department. As both feed more information to their bosses it becomes evident to each they have a mole that needs exterminated.

What follows is a tense game of cat-and-mouse as one tries to root out the other. The Alan Mak and Felix Chong screenplay impressively weaves together its two narrative threads while steadily building towards its inevitable explosive conclusion. And while action is a component of their story, Mak and Chong are much more interested in moral dilemmas and inner conflicts. They deal personally with themes of identity, loyalty, and suffering – specifically a continued state of suffering.

You could say suffering is the main theme. The film begins and ends with two Buddhist verses which speak of a “continuous hell” and the actual Chinese movie title is translated “The Unceasing Path”. Chen and Lau are trapped in their own unending personal hells with no discernible escapes. It’s a concept the movie explores to great effect and all within a riveting, tightly-wound crime thriller.

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The casting of charismatic leads Tony Leung and Andy Lau energizes the movie even more. Both give focused, understated performances that earned them critical acclaim. But that’s no surprise. By that time both actors were immensely popular and have since been established as two of Hong Kong’s most successful and bankable movie stars. They have very little screentime together but the scenes they do eventually share serves as a most satisfying payoff.

“Infernal Affairs” is recognized by many as one of the signature Hong Kong movies of its era. It’s easy to see why. It features a highly original crime/police story brimming with drama and tension. The small bursts of action we get are thrilling and the film is shot with an impeccable attention to tone. But the characters are the story’s lifeblood and everything the movie puts around them reveals more of the struggle within them. It’s an unexpected ingredient that separates the movie from the bulk of action movie fodder.

VERDICT 4.5 STARS

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REVIEW: “Lion”

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“Lion” may best be described as a true account of two extraordinary, life-changing journeys experienced by young Saroo Brierley. That description gets to the  meat-and-potatoes of this moving, inspirational drama from first time feature director Garth Davis. And regardless of how hard you try, you’ll have a tough time leaving the theater dry-eyed.

“Lion” is adapted from Brierley’s memoir titled “A Long Way Home” which chronicles his separation from home as a young boy and his intense emotional struggle to reconnect as a young man. Australian poet and novelist Luke Davies wrote the screenplay which provided a series of unique challenges. From handling cultural shifts to avoiding the common trappings of highly emotional material, he and Davis masterfully present this complex tale.

Sunny Pawar stars in LION Photo: Mark Rogers

The film divides Saroo’s life into two parts. The first features him as a 5 year-old boy living in a poor remote village outside of Khandwa, India. He’s portrayed through an astonishing performance by newcomer Sunny Pawar. Saroo’s mother (Priyanka Bose) collects rocks to provide food for her children while Saroo helps his older brother Guddu (Abhishek Bharate) doing menial jobs for change.

While in Khandwa for a week-long job Saroo is separated from his brother at a train station. After waiting for Guddu to come for him, Saroo mistakenly boards a train which takes him 1000 miles away to Calcutta. Once there the film confronts a number of issues through young Saroo’s eyes – the plight of street children, child trafficking, poverty, and even adoption which we see when Saroo is taken in by John and Sue Brierley, an Australian couple played by David Wenham and Nicole Kidman.

20 years later Saroo (now played by Dev Patel) is leaving home to study hotel management in Melbourne. There he meets and falls for a fellow student named Lucy (Rooney Mara). As they dine with a group of Indian friends Saroo is hit by a rush of memories and emotions. With his friends encouragement he begins to track down his birthplace through flashes of memories and Google Earth. But every dead-end compounds his pain and intensifies his longings to know who he truly is. Perhaps Saroo describes himself best when he simply states “I’m lost”.

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Watching “Lion” is like taking in two dramatically different movies yet there is a powerful human connection that links them. Young Pawar’s segment is both harrowing and heart-breaking. Davis’ camera often has us seeing things from Saroo’s perspective which adds an extra layer of distress and concern. He doesn’t overplay it nor does he feel the need to manipulate his audience by embellishing the peril. When Patel arrives the film becomes much more internal, at times even meditative as older Saroo not only wrestles with his identity crisis but also helplessly watches the effects it has on his relationships.

The final act wrings out every ounce of emotion left, but it feels honest and earned considering the journey we’ve taken. Aside from one slightly underserved relationship and the film drifting a tad in the second half, “Lion” eloquently handles this incredible multi-layered story. Patel’s leading man star has never shown brighter. Pawar is a delightful discovery. A quiet, understated Kidman melts into her character. It’s also a beautifully shot first feature from a director worth keeping an eye on.

VERDICT – 4.5 STARS

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