Author Archives: Keith Garlington

REVIEW: “Godzilla” (2014)

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Last year brought us “Pacific Rim”, an unashamed homage to the old creature features of the 1950s. By all right it should have been terrible but “Pacific Rim” was a decent film. It was far from perfect but it was a fun and entertaining romp. This year we get “Godzilla”, another monster movie that didn’t have me a bit excited at first and that could have been really awful. But it’s actually not. In fact not only is this new incarnation of the well known reptile better than last year’s “Pacific Rim”, it’s one of the better recent blockbusters and it was some of the most fun I’ve had at the theaters this year.

It doesn’t take long to notice several surprising differences in this film from what you might expect. The movie is built upon a very deliberate and methodical story. It certainly has its huge creature-feature action but we are never bombarded with it. The film is also set apart by its spectacular cast. “Godzilla” features a number of great performers that automatically enhance the experience. Ken Watanabe, Bryan Cranston, Elizabeth Olsen, Juliette Binoche, Sally Hawkins, and David Straithairn make up the film’s great supporting ensemble.

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Cranston plays a nuclear physicist who was present during a 1999 disaster at a nuclear plant in Japan. Fifteen years pass and he is still dealing with the consequences of the disaster while also determined to expose what he believes is a cover up of the true cause behind the event. Aaron Taylor-Johnson plays his son, a military man married to Olsen. Watanabe plays a scientist studying hidden findings at the disaster site along with his assistant Hawkins. Obviously towering monsters come into play as the story unfolds and revelations are made. The inevitable global threat takes center stage but not before an intense and very well conceived buildup takes place.

Almost every character is given their moments. At first I was wishing I had seen more of this person or that person, but each serve the plot very well. A couple of performers don’t get a lot of screen time but I’m okay with that mainly because they work really well within the story being told. Better yet, everyone is really good. Taylor-Johnson is probably the weakest of the talented cast but he is certainly adequate for what he is asked to do despite his moments of blandness. Cranston is fabulous and Watanabe is rock-solid as always. Hawkins is always good although she is reserved to an almost background character. Olsen continues to impress and Straithairn is a really nice fit as a Navy Admiral in charge of stopping this massive scaly threat.

But perhaps what I like the most is how the movie doesn’t cater to preconceived notions. As I mentioned, it very slowly develops its story but I found it to be incredibly intriguing and always tense. This may not impress those looking for a constant barrage of big creature effects, but I found it to be a wonderful approach which made those big creature moments all the more satisfying once they come. Director Gareth Edwards constructs his film well which hearkens back to the fun sci-fi monster movies of the 1950s. He uses their formulas of build up, buildup, slight reveal, buildup, big finale. I loved that.

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Now an argument could be made that the “big finale” is a bit too big. There is some merit to that. But even during those moments the story is moving in different directions which kept things interesting. Better yet, we had only seen passing glances of Godzilla up to that point so watching him duke it out in the finale was pretty exciting. It also helps that the movie looks great. There is a touch of the disaster genre here so we get several wide shots of massive destruction. They are always in context and they look fabulous. I also loved the look of Godzilla. Clearly there is CGI used, but yet he maintains an undeniable familiarity with the old classic Godzilla models. I got a real kick out of that. There is also a brilliant use of sound through the picture from big earth-shattering roars to perfect moments of ominous silence.

I think it’s safe to say that “Godzilla” is one of the biggest surprises for me this year. I had such a good time with the film and I was surprised at how well made and well written it is. The cast is committed and there’s no winking at the camera at any point. It literally had me glued to the screen for the entire running time and more than once I was smiling as it reminded me of those old monster movies that I still adore. Maybe there is a bit of nostalgia talking but I’m fine with that. I had a great time with “Godzilla” and I can’t wait to see it again!

VERDICT – 4.5 STARS

Cinema Snapshot

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CINEMA SNAPSHOT

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“Dazed and Confused” (1993)

Those not familiar with the teen culture of the time may not appreciate the magic of a place like Emporium in Richard Linklater’s teen comedy “Dazed and Confused”. Long gone are the days of small town teen hangouts but at the time cruising and hanging out on a Friday and Saturday night were a key part of a teenagers social experience. Often times a place like Emporium served as the central hub that brought everyone together.

In “Dazed and Confused” Emporium is bustling with life. Loud music fills the building and only the laughter of the young patrons is louder. It’s also where the cooler older kids hang out, something the underclassmen know all too well. Pool tables, fuzzball, and jukeboxes keep the kid’s attention but it’s the social interaction that makes a place like Emporium so special. Linklater perfectly captures this lost period pleasure that many from the 1950s all the way to my generation in the 1980s remember well. Who wouldn’t love to hang out at Emporium?

5 Surprising Yet Phenomenal Movie Bromances

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Everyone likes a good bromance, right? Some call them guy flicks and others call them buddy movies, but let’s be honest. We can call them bromances and it fits just fine. Now I’m not talking about romantic relationships. These are guys whose close friendships are well-defined. But I’m not talking about the obvious ones. Today’s list looks at some of the more surprising and unexpected movie bromances. Now with so many out there I wouldn’t call this the definitive list. But there’s no denying that these five movie bromances are not only surprising but phenomenal.

#5 – Joker & Noah (“The Defiant Ones”)

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There are a number of reasons why the bromance between Joker and Noah in Stanley Kramer’s “The Defiant Ones” is surprising. First, it didn’t start that way. In fact the two men despised each other. The escaped convicts were shackled together by a prison warden with “a sense of humor” and for most of the film we wonder who is going to kill who first. There was also racial tensions between the two, one man white and one man black, which boils over into several scenes. But over time an amazing thing happens. The two men begin to gain a respect for each other and their unusual circumstances forge one of the most unlikely bromances.

#4 – Jules & Jim (“Jules et Jim”)

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Jules is an Austrian writer and Jim is a reclusive Frenchman. The two meet in Paris and become inseparable friends. That doesn’t sound like a surprising bromance, does it? The surprise isn’t that they became friends. The surprise is that they maintained their friendship. First came World War I which saw Jules and Jim fighting on opposite sides. But the biggest obstacle to their bromance comes in the form of Catherine. She’s a beautiful and free-spirited woman that captivates the two friends. As you can expect, both fall in love with her yet maintain a friendship that we usually don’t see in movies. The movie branches into some strange directions which makes their sustained bromance all the more surprising.

#3 – Bodhi & Johnny (“Point Break”)

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If you look at their personalities, desires, and overall approaches to life the bromance between Bodhi and Johnny in Kathryn Bigelow’s “Point Break” makes perfect sense. There’s only one problem (and trust me, it’s a big one) – Bodhi is wanted by the law and Johnny is the FBI agent assigned to take him down. But Johnny’s undercover work brings him into Bodhi’s world and the two develop a strong bond which makes Johnny’s dedication to his assignment even tougher. He never wavers in his pursuit even as their bromance grows stronger. It leads to a number of great encounters between the two surprisingly good friends.

#2 – King George & Lionel (“The King’s Speech”)

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Now this could easily be the most surprising bromance on this list. Two men who couldn’t be more opposite in terms of their social status and place of power come together in a moment of desperation. The newly crowned King George VI is the right man to take over the crown, but he has one significant problem. He uncontrollably stammers which makes public speaking and communication (an absolute necessity at that time) frustrating and impossible. That’s when he reluctantly employs the help of Lionel, an Australian speech therapist. Their lifestyles clash. Their living conditions clash. Their personalities clash. Yet through all of that they develop an incredibly touching friendship that is most certainly surprising.

#1 – Driss & Philippe (“The Intouchables”)

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One of my favorite films from the last few years is “The Intouchables” and it just so happens to feature one of the most surprising bromances. Philippe is a wealthy quadriplegic who lives in Paris. His condition requires a permanent live-in caregiver an that’s where the cocky streetwise Driss comes in. The problem is Driss only applies in order to get a check from the government for job searching. But Philippe likes Driss’ brash approach to things while Driss likes the idea of living it up in Philippe’s mansion. Several obvious conflicts arise between these two polar opposites but a fascinating bromance develops between these two men who desperately need new directions in their lives. It’s a fantastic movie.

So there are my five surprising movie bromances that stand out above the rest. Agree or disagree? I would to hear your thoughts in the comments section below!

REVIEW: “Broken City”

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Lost in the corpulent backlot of 2013 movies is “Broken City”, a political/crime thriller that features a fine cast and a common but still interesting idea. The film marks the solo directorial debut of Allen Hughes who is known for his past works with his brother including “The Book of Eli” and “Menace II Society”. An underperformer at the box office and generally panned by critics, “Broken City” is looked at as a movie that squanders its potential. But is that a fair criticism? In a nutshell, yes it is.

For me, the biggest problem with “Broken City” reveals itself early and persists through the entire picture. There is practically no fire or energy shown in any facet of movie. In a story that should generate plenty of emotional spark, all we get are dry characters, dry scenarios, and a dry ending. There is rarely a charge of life anywhere to be found and the movie seems to wallow in lethargy. It’s hard to pinpoint the exact blame. Is it the direction from Hughes? Is it Brian Tucker’s script? Could it be the actors who seemingly have no interest in what they’re doing?

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Mark Wahlberg stars as a former New York police detective named Billy Taggert. Seven years after being forced to leave the department following a controversy and PR nightmare, he works as a struggling private detective. Things get complicated when the New York City Mayor Nicholas Hostetler (Russell Crowe) hires him to find out who his wife (played by Catherine Zeta-Jones) is having an affair with. Little does Billy know that by taking the case he would be catapulted into a complex political web involving the mayor, his opponent for the upcoming elections (Barry Pepper), and the police commissioner (Jeffrey Wright).

There is a pretty familiar formula that the movie uses while still trying to do a few things of its own. Unfortunately a lot of time is wasted on superfluous side stories that are never fleshed out to the point of being interesting. The best example of that involves Billy’s aspiring actress girlfriend (played by Natalie Martinez). Her character and their struggling relationship seems shoehorned in to try and add some humanity to Billy. She is present for a short time and then completely drops off the map. It’s also one of those movies littered with lucky timing and all sorts of conveniences. Whether Billy is pulling up just as someone throws out a suspicious bag of garbage or whether he is never spotted while supposedly hiding in plain site.

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While the characters are mostly flat and dormant, there are moments where that approach really works. Crowe and Wright have some great back-and-forths generated from the internal rivalry of their characters. Their verbal jabs are stinging and these two great actors have a lot of fun with the animosity. Wahlberg doesn’t get those types of moments. He spends the entire movie stone-faced and rarely shows one ounce of emotion. I’m not sure if it is how he is written or how he was directed, but his character could have been so much better with just an ounce of charisma or personality. That toned down approach turns out to be a problem for every character.

“Broken City” does featuring some great cinematography that captures a variety of New York City flavors. And again, there are a few moments of good crisp dialogue particularly between Crowe and Wright. Unfortunately the lack of zest and the wasted time spent on half-cooked characters doesn’t elevate the film past its already formulaic structure. It’s really a shame because a movie with this strong of a cast could have been better. Instead it’s a forgettable, below-average thriller that deserves its spot in the backlot of the 2013 movies.

VERDICT – 2 STARS

REVIEW: “Getaway”

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I have to start by addressing Ethan Hawke (because I’m so sure he reads this site). What were you thinking? I mean you’ve made some strange and questionable movie choices recently but none as mind-boggling as this. You’re a talented actor Mr. Hawke. Your work in movies like “Training Day” and the “Before” trilogy proves it. But if I may be blunt, your film “Getaway” absolutely sucked. And let me add a quick bit of advice. If anyone on your “staff”, whether it be an advisor or agent, recommended that you take this role, fire them immediately. Trust me, it’s for the good of your career.

Now with that out of the way, “Getaway” is one of these movies that has an obvious ambition but it fails to realize it in practically every regard. It’s poorly written, poorly acted, poorly directed, and poorly edited. Even the likable Ethan Hawke can’t save the film from its sleep-inducing monotony and overall lack of intelligence. It’s no surprise the film wasn’t able to come close to reaching its $18 million budget.

Hawke plays a former race car driver named Brent Magna (gotta love that name). One day he comes home from work to find his wife has been abducted. A mysterious man calls him to take responsibility and to give him a wild assortment of tasks to carry out in order to get her back. The first task leads him to a fully customized Shelby Mustang. It has all the normal accessories: AM/FM radio, power windows, automatic transmission, armored plating, bulletproof glass, and a number of cameras so that the kidnapper can keep up with Brent’s whereabouts. He takes the car and is told to follow the man’s instructions implicitly and if he gets caught by the cops his wife dies.

This way my reaction too after seeing "Getaway"

This way my reaction too after seeing “Getaway”

From there the movie collapses into eye-rolling stupidity. Some of these tasks that Brent is asked to do make no sense whatsoever. They are mainly just reasons to drive the car really fast. That’s really all this film is – an endless parade of high speed chases many of which are some of the worst ever filmed. They are extremely repetitious with little variation at all. At one point I honestly wondered if I was watching the same chase sequence from earlier in the film just from a different camera angle. There is very little creativity to them and practically no thrills. Just a mind-numbing assembly line of wrecked cars and engine roars.

“Getaway” does try to expand its tissue paper-thin plot by throwing in a girl known only as ‘The Kid’ (Selena Gomez). She ends up in the car and her role mainly consists of having a bad attitude and spitting out expletives. She is a terrible character shoehorned in by the dumbest contrivance. In fact, that’s a great way to summarize this movie. It’s one of the (unintentionally) dumbest movies of last year built around one of the worst scripts of the year. And the car chases (which should be the film’s saving grace) are the blandest and most repetitive scenes to endure. This is an awful movie and again I ask “Ethan Hawke, what were you thinking?”

VERDICT – 1 STAR

REVIEW: “Le Week-End”

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Le_week-end Poster“Le Week-End” was one of my more eagerly anticipated films of the 2014 Spring movie season. My absolute adoration for the city of Paris combined with the intriguing story of a conflicted older couple was enough to get me onboard. This British drama marks the fourth collaboration between director Roger Michell and writer Hanif Kureishi. While I’m not familiar with their other collaborative works, there are undeniable signs of quality and brilliance in “Le Week-End” even though the final product isn’t as captivating as I had hoped.

Jim Broadbent and Lindsay Duncan play Nick and Meg Burrows. In light of their 30th wedding anniversary, the couple takes off to Paris, France – the place of their honeymoon. It doesn’t take long for us to see that their marriage is on life support and Nick especially hopes this trip will resuscitate it. Years of pent-up emotion and complex feelings boil to the surface and Nick and Meg try to navigate the waves the best way they know how.

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“Le Week-End” isn’t a formulaic run-of-the-mill couples drama. It has a very grounded sensibility and its approach to storytelling is unique. Much like the struggling relationship it depicts, “Le Week-End” features a number of mood shifts and knotty emotional moments. There is a stinging realism to Nick and Meg’s relationship that separates the film from most other movies of this type. The movie also moves at a fairly slow pace and there are moments where nothing much happens. That’s not always a problem but there are times where it works against the picture.

I can certainly appreciate the deliberate pace and the occasional idling that we get throughout the film. On the other hand, there were times when I really wanted the movie to kick into another gear. The very thing that sets it apart from other movies of this type is the same thing that kept me from truly loving the film. I also left with a number of questions that the ending never answered or hinted at. It’s not that it is a terrible ending, but I can’t say it was all that satisfying.

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I can say that Broadbent and Duncan were extraordinary. Both are seasoned performers and their chemistry is spot-on. The way they develop their characters and expose their flaws and frustrations is nearly flawless. Even when the script shortchanges them (and there are a small handful of weird moments), Broadbent and Duncan rise above the material. I also really liked seeing Jeff Goldblum appear as an old acquaintance of Nick’s. He is a fine actor who I believe always adds good moments to a film.

While “Le Week-End” may not be the brilliant film I was hoping for, it’s still an easy movie to recommend. It makes pretty good use of one of the most beautiful cities in the world and the story of Nick and Meg is certainly an interesting one. But I really hoped that Michell would pull more from this magical setting and that Kureishi would give his performers more fluid material. But even these issues can be overlooked to a degree. “Le Week-End” strives to give us a movie that bucks convention and it puts two truly strong performances in front of us. Those are things I can certainly appreciate.

VERDICT – 3.5 STARS