Author Archives: Keith Garlington

REVIEW: “The Look of Silence”

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LOOK POSTER

In 2012 Joshua Oppenheimer made a stunning and often grotesquely surreal documentary focused on the perpetrators behind the Indonesian mass killings of 1965-1966. The slaughter spawned from a military overthrow of the government. Death squads made up of community leaders but protected by the military killed nearly one million supposed ‘communists’ – men and women. In “The Act of Killing” Oppenheimer allowed the killers to stage their recollections of the state-sanctioned atrocities without an ounce of remorse.

Now Oppenheimer gives us “The Look of Silence”, a companion piece for his previous picture which offers a subtler but equally terrifying perspective. Where the first film put a spotlight on (and strategically set up) the killers, this one lends its voice to a 44 year-old man whose brother was brutally murdered in 1965 during the ‘communist’ purge. For his and his family’s protection, his identity is hidden even in the end credits since many of the killers are neighbors, local community leaders, and considered heroes by the government.

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We only know him as Adi, man deeply moved by Oppenheimer’s previous exposé. Born two years after his brother’s barbaric murder, Adi feels the pains through his elderly parents. His father is blind, feeble, and unable to remember his son’s death. But the 50 year-old wounds are still fresh for his mother who laments her dead son through her vivid memories. The moments between Adi as his family serve to show the genocide’s deeper lasting personal effects.

Perhaps the film’s most harrowing scenes are interviews Adi has with the perpetrators themselves while under the guise of a traveling optometrist. He strikes up conversations getting these men to speak openly of their atrocities all while fitting them for new glasses. These visceral exchanges burn with Oppenheimer’s piercing metaphor of blindness verses sight. These men are perversely blind to their crimes, their guilt, and their responsibility. Adi wants them to see.

“The Look of Silence” is rich with shocking, uncomfortable moments and memorable scenes that will stick with you. As when Adi asks his mother “How do you feel surrounded by your son’s killers? You see them every day…”. Or a school teacher indoctrinating a class of small children on the heroism of the death squads. Or scenes of Adi watching footage from “The Act of Killing” that deal specifically with how his brother was butchered. Oppenheimer moves through all of this  emotionally heavy material with the sophistication of a master storyteller but also as someone deeply connected to his subject matter.

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Oppenheimer has developed another important piece of cinema that is as illuminating as it is shocking. I can’t tell you how many times I sat, mouth open and covered by my hand, in utter silence overwhelmed by what I was seeing. This film is far more focused and personal than “Killing” but no less potent or disturbing. It’s told with such strength and clarity whether through sympathy for powerless and helpless victims hoping for justice be dealt in the afterlife or appalling disgust at the unrepentant attitudes of the killers.

The ominous cloud of danger loomed over this entire picture. Adi, Oppenheimer, and his small film crew operated under a perpetual threat which often times showed itself in the interviews. They were constantly told that “the past is the past” and people were content to leave it there. But they would also be warned that what happened in 1965 and 1966 could easily happen again. That chilling reality kept coming to mind as I made my way through the film and it has lingered with me well after. That’s a testament to the power of the storytelling and the bravery of those willing to tell it.

VERDICT – 4.5 STARS

4.5 STARS

2016 Blind Spot Lineup

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BLINDSPOT LINEUP

After seeing so many people participate in these Blind Spot things I decided to give it a try for the first time last year. I’m so glad I did. It was a load of fun so naturally I’m ready to give it another go. Today I’m sharing the lineup of movies I’ll be watching throughout the coming year. These are films that are glaring omissions from my personal movie watching history and are generally held in high regard either by film critics or audiences. Some of these are films that I’ve seen bits of but have never watched them through. Others will be completely new experiences. So here they are…

JANUARY – “The Killing” [REVIEW]

1956, THE KILLING

FEBRUARY – “Paths of Glory” [REVIEW]

PATHS

MARCH – “Ace in the Hole” [REVIEW]

ACE

APRIL – “Red River” [REVIEW]

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MAY – “LA STRADA” [REVIEW]

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JUNE – “A Man Escaped” [REVIEW]

MAN ESCAPED

JULY – “Rio Bravo” [REVIEW]

RIO

AUGUST – “Touch of Evil” [REVIEW]

TOUCH

SEPTEMBER – “Cléo from 5 to 7” [REVIEW]

CLEO

OCTOBER – “Who’s Afraid of Virginia Woolf” [REVIEW]

WOLF

NOVEMBER – “The Candidate”

CANDIDATE

DECEMBER – “The Last Picture Show”

LAST PICTURE

What are you thoughts on this year’s lineup? Any particular movies catch your eye?

The 5 Worst Movies of 2015

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BAD MOVIE
Well, it’s an imperfect world so I guess it makes sense that not all movies are perfect. Some are merely very good, fair, or downright crap. Today we’re looking at the dregs of the 2015 movie year, the bottom feeders, the lowest of the low. Overall it was a good year for movies particularly in the last quarter, but that didn’t stop these abominations from staining the year that was.

#5 – “The Gunman”

GUNMAN

There was something off about “The Gunman” going all the way back to its first trailer. I think it was the idea of Sean Penn playing a gun-toting action hero. Well whatever it was I call it prophetic. The entire movie is ‘off’ and that’s being kind. Penn is never convincing. He seems more interested in showing off his freshly carved physique than telling a good story. And he never looks interested in what he’s doing. Instead he has an ever-present sour facial expression that looks like he ate some bad sushi. Penn is boring. The action is boring. The so called political message is boring. “The Gunman” is boring.

#4 – “The Boy Next Door”

BOY NEXT

Another year and another crappy J-Lo movie. I’ve always thought Jennifer Lopez was a better actress that her movies suggest, but I’m honestly starting to second guess myself. “The Boy Next Door” does her no favors. This ‘thriller’ starts off with a tingle of promise but it squanders it within minutes becoming a predictable and dumb exercise in tedium. It’s too absurd to be taken seriously and too serious to be good campy fun. The ending is the cake topper – a completely idiotic finale that leaves more gaping plot holes than answers. A total waste of time.

#3 – “The Ridiculous 6”

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What would a ‘Worst of’ list be without an Adam Sandler movie? This serving of Sandler’s annualized cinematic slop ventures into the Old West, but aside from that there’s no difference between this and the normal garbage he churns out. Sandler and his usual cronies follow the same formula of dopey characters, overused juvenile gags, and general lazy humor. The sad thing is “The Ridiculous 6” will have a following. It will make a profit. Some people will think it’s funny. And ultimately that will be enough to encourage another movie of this type for next year. Ugh!

#2 – “Fantastic Four”

FANTASTIC FOUR

Talk about a trainwreck from its inception. The Fantastic Four aren’t exactly box office gold to begin with, but this was a film riddled with odd decision-making from the start. The casting intrigued some but felt terribly off to me. I also wasn’t big on Josh Trank who I feel gets too much credit for his overpraised “Chronicle”. Both concerns proved to be valid. None of the cast feel comfortable or even engaged and Trank’s direction is all over the map. And then there is the story itself, a clumsy and painfully dull slog. Hardly anything works in this series death knell.

#1 – “Mortdecai”

Leave it to Johnny Depp to give us something worse than any of the above disasters. You would think his career would be bruised by the number of painfully bad film choices he has made, but I’m not sure that’s the case. “Mortdecai” is probably the worst of the bunch. From start to finish “Mortdecai” feels like some kind of weird disjointed in-joke and the audience are never let in on it. The gags are appallingly unfunny, the dialogue is  lifeless, and Depp’s attempt at quirky humor is inane and frankly quite embarrassing. There are some talented people in its cast, but when the material is this dreadful it just doesn’t matter.

2015 Blind Spot Series: “Sweet Smell of Success”

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SWEET POSTER

Lying at the cold calloused heart of “Sweet Smell of Success” is an acidic but thoroughly intriguing relationship. There are a number of things that set this film apart and distinguish it as something special. I’m talking in front of and behind the camera. But the driving force and its lasting aftertaste comes from the pungent and destructive relationship between a powerful New York newspaper columnist and a smarmy press agent.

The film is based on a story by Ernest Lehman that first appeared in Cosmopolitan magazine. Film rights were acquired by Burt Lancaster’s production company and Alexander Mackendrick was brought in to direct. By that time Lancaster had a lot of pull in the film industry and was considered an intimidating presence. Lehman had turned down an offer to direct the picture because of Lancaster. Even Mackendrick found filming to be stressful.

Lancaster plays J.J. Hunsecker. The character is said to be inspired by renowned syndicated columnist Walter Winchell. The film came out while Winchell still held considerable persuasive power. His daily columns were read by over 50 million people and were carried by over 2,000 newspapers. But Lancaster also had clout and wasn’t afraid to push the project. The film unquestionably stresses the bad side of Winchell by giving us a character so intensely self-centered and morally repugnant. 

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Tony Curtis plays Sidney Falco, a small-time struggling press agent who basically lives on whatever scraps Hunsecker feeds him. In Hunsecker eyes Falco is an expendable source for information; a desperate and disposable puppet. Hunsecker knows that Falco isn’t above shady deals or unethical practices and he uses that to his advantage. Falco looks at Hunsecker as his meal ticket. At times he shows what looks like puppy dog admiration, but in reality Falco is just as devious, just as opportunistic, and just as unlikable.

As the film starts Falco is upset because Hunsecker has left him out in the cold and refuses to take his calls. We learn that Hunsecker’s sister Susan (Susan Harrison) has fallen in love with a local jazz guitarist Steve Dallas (played by Martin Milner). Falco has been tasked with breaking up the relationship but so far has failed. Hunsecker has refused to promote Falco’s clients in his column until Dallas is out of the picture. This simple thread of plot makes up the main story, but the true focus is on the relationship between two repugnant individuals.

Lehman and Clifford Odets wrote the screenplay which is as brilliant as it is toxic. The dialogue is rich with razor-sharp discourse and verbal jousting. The characters talk with a twisted poetic flow especially Hunsecker. He constantly speaks as he writes – in cruel and piercing metaphors. Lancaster gives us so many memorable lines my favorite being “I’d hate to take a bite outta you. You’re a cookie full of arsenic.”

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This was a big film for both Curtis and Lancaster. Up to that point Curtis had made his way as a Hollywood pretty-boy. He fought hard for the role of Falco in hopes that it would earn him respect as a dramatic actor. That’s exactly what happened. Lancaster’s films had given him the reputation of a true all-American boy. “Sweet Smell of Success” was a striking departure much like Henry Fonda’s vile, villainous turn in “Once Upon a Time in the West”. It left audiences shocked.

Watching the film you notice so many impressive touches and striking details. It was shot by James Wong Howe who utilizes the city in a variety of ways. Howe incorporates strategic lighting, clever camera tricks, and an amazing visualization hectic New York City life. Much was shot on location during extremely busy times and also at night which adds to tone the story is shooting for.

There is nothing pretty or uplifting about the story “Sweet Smell of Success” is telling. There is nothing redeeming and respectable about its cruel and shameless lead characters. But in terms of wickedly smart and thoroughly compelling filmmaking “Sweet Smell” is top of the line. Even more impressive, the film is nearing 60 years-old yet it’s still as potent today as it was then. The performances, the direction, the cinematography, the script – they all still sparkle which is a testament to the film’s greatness.

VERDICT – 4.5 STARS 

4.5 STARS

The Top 10 Films of 2015

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Can you believe we have reached the end of another movie year? That means it’s time for film critics, bloggers, and movie lovers to put together their Best of 2015 list. Some people roll their eyes at these lists and dismiss them as frivolous obligations. I’ve always loved doing them because they give us a chance to reflect on and debate the movie year that was. So let’s get to it. Below you will find my favorite films from 2015. It’s always tough leaving some movies out of my Top 10 so to remedy that I like listing my 11-20 picks as well. Here they are:

(Click on the movie title to read my full review)

#20 – “The Martian“
#19 – “Meru“
#18 – “Z for Zachariah“
#17 – “Everest“
#16 – “The Gift“
#15 – “The Connection“
#14 – “Slow West“
#13 – “What We Do in the Shadows“
#12 – “The Look of Silence“
#11 – “Creed“

Now let me share my Top 10 movies of 2015:

MISSION POSTER#10 – “Mission: Impossible Rogue Nation” – There are those who find it easy to dismiss the Mission Impossible franchise. Personally I’ve enjoyed them and the last two films have launched the series into a wildly entertaining direction. Just look at this year’s installment “Rogue Nation”, the best of franchise so far. Christopher McQuarrie helms this action-packed entry, but he does several interesting (and frankly unexpected) things. McQuarrie knows Tom Cruise is his star, but this time around Cruise steps back a bit and we see his character constantly dependent on those around him. McQuarrie also gives us a tough and independent female character superbly played by Rebecca Ferguson. The film hurdles all of the normal romantic and action tropes helping to make this a fun and entertaining ride.

 

PHOENIX#9 – “Phoenix“ – Despite several other contenders, Christian Petzold’s “Phoenix” may be the most haunting film I saw in 2015. This simmering post-World War 2 German period drama is a prime example of how slow-boiling storytelling can sometimes be the most riveting and potent. The superb performances, especially the lead work from Nina Hoss, portray broken characters, hulls of their former selves, each bearing their own heavy burden. The story deals with the after effects of the Holocaust, intimate betrayal, loss of identity, and more. It pushes its implausibility to its limits yet it feels perfectly suited for the parable being told. “Phoenix” is intriguing and subtly suspenseful from those quiet personal early moments to the satisfying final exhale. This is an enthralling tale from a confident filmmaker.

 

BEASTS poster#8 – “Beasts of No Nation” – One of the more interesting stories of 2015 was “Beasts of No Nation” and not strictly the film itself. In October it released in theaters and on Netflix at the same time. The Netflix release riled up the four biggest American theater chains who refused to show the film. While this had to have hurt it to a degree, positive word of mouth quickly spread. I’m glad it did. “Beasts” is a stinging and visceral spotlight on child soldiering told through the eyes of a young war orphan. Writer and director Cary Fukunaga stays away from regional politicking and keeps his story more personal (something a few critics have found disappointing). It’s a great move that keeps the film in a better place. Throw in an eye-opening debut performance from Abraham Attah and Idris Elba in top form and you have one of the year’s best.

 

Brooklyn POSTER#7 – “Brooklyn” – There is something to be said for simplicity in both filmmaking and storytelling. “Brooklyn” encapsulates that idea by telling a simple, straightforward story with a classical approach. But don’t let my words fool you. Director John Crowley and writer Nick Hornby inject the film with several subtle but creative strokes that make this more than just a simple old-fashioned love story. “Brooklyn” is sweet and sincere. It dances close to convention and cliche but it never goes that far. Its focus stays grounded and personal. And then there is Saoirse Ronan. This is her best work in a career defined by good performances. And she does this at 21 years-old. It’s hard to grasp the level of maturity shown in this performance from such a young actress. What a travesty if Ronan doesn’t get an Oscar nomination for her work.

 

ELLY POSTER#6 – “About Elly” – Some may call this a cheat and I can see why. “About Elly” actually premiered overseas in 2009 but ridiculous distribution tussles kept it from coming to the United States. That changed on April 8th when “About Elly” finally nabbed a limited US release. That’s one bit of reasoning I used to have it on this list. The other being that this is a spectacular film that deserves to be talked about. It’s written, produced, and directed by Asghar Farhadi who is easily one of the best filmmakers working today. This immersive drama is a sharp and intelligent examination of relationships under stress from a writer who is one of the best at penning thoughtful, introspective dialogue. “About Elly” is right up there with Farhadi’s Oscar-winning “The Separation” and this film again defines him as one of the best pure cinematic storytellers on the planet.

 

SICARIO poster#5 – “Sicario” – Emily Blunt, Josh Brolin, Benicio Del Toro, cinematography by Roger Deakins, direction by Denis Villeneuve. When you read that list of incredible talent involved in making a movie it has to grab your attention. “Sicario” certainly shines as a result of the contributions from each of these components. Blunt, a long time favorite actress of mine, stars in this action thriller centered around drug trafficking along the US/Mexico border. She is fantastic. Brolin plays a role right in his comfort zone. Del Toro steals the show with a tough, cryptic supporting performance. Deakins’ cinematography is strikingly diverse and features some of the best shot sequences of the year. And Villeneuve is a director that has developed his own unique vision and style. And despite an impressive resume, “Sicario” is his best work to date.

 

ROOM POSTER#4 – “Room” – Great things often come in small packages. Okay, so that is a pretty corny thing to say, but it certainly fits when talking about Lenny Abrahamson’s “Room”. This potent and often heart-shattering film is one-half mesmerizing thriller and one-half intense relationship drama. The story’s centerpiece is the love between a mother and her 5 year-old son despite their immensely harrowing circumstances. The film shows us a love that endures, sustains, and saves. The script by Emma Donoghue (based on her own best selling novel) is superb, but it’s the two lead performances that make the film so absorbing. Young Jacob Tremblay is stunningly authentic in what I believe is the best child performance in decades, and Brie Larson does career-defining work that should earn her the recognition she deserves.

 

STAR WARS POSTER#3 – “Star Wars: The Force Awakens” – The sheer audacity required to make this movie is mind-boggling. Being able to do it as well as J.J. Abrams has is amazing. But despite the pressures and expectations, “The Force Awakens” is a really good film. More importantly it is a Star Wars movie through and through. That may sound like nonsense but fans know exactly what I mean. Abrams and company have managed to capture the essence of what makes these films the most cherished franchise in entertainment. This is a dual purpose movie. It serves to connect the old with the new and it injects a fresh energy for this and future installments. It’s nostalgic, funny, exciting, and unapologetically Star Wars. For that Abrams deserves a ton of praise.

 

MAD MAX POSTER#2 – “Mad Max: Fury Road” – The very moment I left the theater back in May I knew that “Mad Max: Fury Road” would be one of my very favorite films of the year. I was really excited for a new Mad Max picture, but all I expected was a wild post-apocalyptic action romp. It is definitely that, but to say it is nothing more would be such a disservice. George Miller embraces and bucks so many action movie trends all at the same time and he does it with gloriously violent artistry. The action is non-stop and shown via the most dazzling visual presentation I have ever seen. But there is more to it than that.  The subtleties of the story combine to create something far more meatier than you may think, and Tom Hardy and Charlize Theron are lights out. This is arguably the best action film of the last 10 years.

 

SPOTLIGHT POSTER#1 – “Spotlight” – I don’t think any other movie from 2015 captivated me by the sheer brilliance of its storytelling quite like Tom McCarthy’s “Spotlight”. Pulling inspiration from a number of classic filmmaking approaches, McCarthy centers his movie around an important and compelling story. By that I mean everything he does is in service of the story he is telling. His direction never outshines it. Same with the stellar cast. This is an ensemble film in the truest sense and the entire cast is more interested in the greater story than big character moments. I would also call this the greatest newsroom procedural ever made. Big words for sure but they fit. Great performances, impeccable pacing, and a script so fluid and rich that I hung on every spoken word. I knew this would be my favorite film the moment I left the theater.

REVIEW: “Phoenix”

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PHOENIX poster

It seems that any movie that deals with the Holocaust, either directly or indirectly, automatically assumes a special level of scrutiny. Undoubtedly the solemnity of the subject matter comes into play. There is also a caution towards anything that may be deemed exploitative or irreverent. I respect that although I do think the defensive stance can sometimes be a bit too harsh in judging a creative vision. That being said, I like that filmmakers are still exploring the Holocaust in unique ways.

Christian Petzold does just that. He directs and co-writes “Phoenix”, a simmering drama set in post-World War 2 Germany. Petzold favorite Nina Hoss plays a Holocaust survivor named Nelly who sustains a gunshot wound to her face while at Auschwitz. Once the concentration camp is liberated Nelly is cared for by her friend Lene (played with a calculated quietness by Nina Kunzendorf). Lene arranges for Nelly to have reconstructive surgery in hopes that she will look exactly as she did before. Unfortunately the trauma is too extensive and the surgeon can’t quite recreate her past appearance.

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The two return to Berlin where Lene finds them an apartment. Lene tells Nelly that she is due a substantial inheritance and recommends using it to go to Palestine where as Jews they can feel safe. But all Nelly can think about is her husband Johnny (cryptically played by Ronald Zehrfeld). Against Lene’s wishes, Nelly seeks out Johnny who is working at a night club called Phoenix. What follows is a twisty, melancholic story that plays with the ideas of identity, betrayal, loss, and discovery.

One of my favorite things about “Phoenix” is the ever-present cloud of uncertainty and mystery. I wouldn’t call this a thriller, yet it has this potent, understated suspense that exudes an almost Hitchcockian vibe. We even get this from the characters particularly Johnny. The film lures us in to make judgements about him only to later cast doubt on our perceptions.

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And then there are the performances, a collection of some of the year’s best. Hoss’ tempered, haunting portrait conveys a woman who is a shell of her former self but who desperately grasps to reclaim her former life. Hoss visualizes her mental trauma without an ounce of flashiness or mendacity. Kunzendorf is equally good in her handling of a character hurt and hardened by the atrocities and frustrated by the quick willingness to forgive. And then there is Zehrfeld who flawlessly works with the material to give us a character so fully hard to read.

These three performances keep the story moving at a hypnotizing slow boil right up to what is the most subtly devastating final scene of the year. The story sometimes pushes the bounds of implausibility yet it is never a problem within the film’s parable-like framework. “Phoenix” deals with the aftereffects of the Holocaust without digging too deeply into the particulars. Instead it stays focused on Nelly, a character every single one of us will have no trouble sympathizing with.

VERDICT – 4.5 STARS

4.5 STARS