Author Archives: Keith Garlington

The Keith & the Movies Valhalla Induction

by

27

K&M VALHALLA

The Keith & the Movies Valhalla is a place of tribute for those movies that I hold in the highest regard. These are films that embody everything that is great about motion pictures. These are the best of the best – movies that I truly love and that stand above the rest. There are many great movies that won’t find their way into these sacred halls. But here you will find those films that I believe personify brilliance in filmmaking, storytelling, and entertainment. These glorious 5 star accomplishments are worthy of special recognition as the very best. Ok, enough of the high drama! In other words, these are my favorite movies of all time, ok?

______________________________________________________________________________

Rear WindowREAR WINDOW (1954) – Alfred Hitchcock remains one of the greatest filmmakers in cinema history. With so many incredible movies on his résumé, it would be a challenge to pick his best film. But for me the choice is simple. “Rear Window” is my favorite Alfred Hitchcock picture. There’s so many shining examples of greatness in this film. Hitchcock not only tells a great story but he draws us into the voyeuristic world of his lead character indicting us in the process. Jimmy Stewart gives a brilliant performance. He spends the entire film confined to a wheelchair in his apartment while observing his neighbors and what he believes to be a murder. Grace Kelly is simply stunning as Stewart’s skeptical girlfriend who soon finds herself in the middle of the potential crime. “Rear Window” featured what was at the time the biggest and most elaborate indoor set ever. It’s really incredible to behold and it plays a huge part in the movie’s success. “Rear Window” is an phenomenal film. Whether it’s Cornell Woolrich’s marvelous script, stand out direction from one of cinema’s best, or superb acting from its fabulous cast, “Rear Window” works on every level. It more than deserves its place among the very best.

Rear Window is the fourth inductee into the Keith & the Movies Valhalla. But there are more amazing movies to come in the near future so stay tuned. What are your thoughts on this Alfred Hitchcock classic? Is it worth the accolades it’s received or is it an overrated picture? You now know my opinion. I’d love to hear yours. Take time to share your comments below.

“Ruby Sparks” – 4 STARS

by

26

ruby sparks posterThere are some movies that you know you have no interest in seeing from the first moment you hear of them. Whether you’re repelled by the story, the director, or someone in the cast, certain films can instantly turn you off. That was my initial reaction to “Ruby Sparks”. Since I’m an official Paul Dano hater, “Ruby Sparks” was immediately thrown into my ‘do not watch’ bin. But you know there are also movies that completely catch you off guard. Despite your lack of interest or minuscule expectations, some movies come out of the blue and totally surprise you. That was my reaction after finally seeing “Ruby Sparks”.

I really hadn’t given this film much consideration at all. But after reading a few recent positive reviews and desperately needing a movie for my Netflix queue, I decided to give “Ruby Sparks” a look. I’m glad I did. This is a smart and fresh romantic comedy that looks at control issues, insecurities, and the failures of people to look inward when it comes to solving a relationship problem. The film takes its unique idea and makes it work thanks to a superb script, nice direction, and yes, even a good performance from Paul Dano.

Zoe Kazan wrote and stars in this film about a struggling writer named Calvin (played by Kazan’s real life boyfriend Dano). Calvin captured lightning in a bottle at age 19 with a best selling novel that took the country by storm. But since that time he’s been unable to latch onto a good idea for a follow up. Calvin also has a poor track record when it comes to relationships. He spends the majority of his time alone with his dog Scotty dwelling on a long past breakup with a girl named Lila. Calvin’s jerky but caring brother Harry (Chris Messina) tries to help him with his depression and his therapist Dr. Rosenthal (Elliott Gould) gives him various writing assignments to try and provide him with the emotional and career push he needs.

Ruby Sparks2

Then something miraculous happens. Calvin has a dream where he has a lovely encounter with a girl in a park. He wakes up and immediately feels inspired to write about her. Day and night he enthusiastically writes about Ruby Sparks and falls for her more with each word he types. Then one morning Calvin is astonished to find Ruby (Kazan) in his house – a living, breathing embodiment of all he’s written. This provides several obvious complications for Calvin but it also offers some interesting possibilities for him. Could this be the one chance for him to have the girl of his dreams (yes, I actually went there)?

I don’t want to go much further into the story at risk of giving too much away. Lets just say the movie makes Calvin face a number of relationship questions and moral quandaries. With a few punches on his typewriter he’s able to change or adjust Ruby in any way he sees fit. But is that love? Is that what relationships are all about? Are our fantasies good measuring sticks for companionship? You’ll find these types of questions cleverly nestled between some good subtle humor and a touch of romance. I really responded to it and that’s mainly due to Kazan’s slick, intelligent script. This was her screenwriting debut and she shows an amazing knack for telling a good story while bucking conventional methods. The directing team of Jonathan Dayton and Valerie Faris keep Kazan’s story moving with energy and fluidity. At least most of the time. The film does hit a lull at the midway point but the directors quickly change directions which gets things back on track, right up to the satisfying ending.

Ruby Sparks1

It would be unfair for me to finish the review without talking about Paul Dano. He gives a really good performance here. Now I still stand by my assertion that he’s only good in certain and very specific roles. In fact, Kazan wrote this part with him in mind. But this is perfect for him and he nails it. Kazan is also very good in a small but tricky role. There is also good work from Messina and Gould as well as Annette Benning as Calvin’s free-spirited mother and Antonio Banderas as her peculiar boyfriend.

Let me sum this all up by saying “Ruby Sparks” was a pleasant surprise. I never expected to enjoy this movie nearly as much as I did. It may sputter in a spot or two and some of the characters may not feel as genuine as they should. But the acting is strong and the writing is fantastic. That was more than enough to bring this unique story alive for me. While Paul Dano still isn’t an instant box office draw for me, I believe that with the right material he can be good. And “Ruby Sparks” has me really excited to see what Kazan writes next. For me, she’s the one who shines the brightest from this film.

K & M Commentary: The Death of Family Friendly Films

by

27

typewriter-banner 1

The Death of Family Friendly Films

This isn’t intended to be an iron-fisted judgment of modern cinema. Nor is this meant to be a rousing call to start a grass roots campaign against Hollywood. But I suppose you could call this a critique of a trend that has been going on for years now in motion pictures. It’s something that has been gnawing at me for years and it seems to be only getting worse. It’s the death of family friendly films.

Now I specifically use the words ‘family-friendly films’ for a reason. I’m not strictly speaking about cartoons or animated features that are intended mainly for kids. Hollywood puts out several of these “kids” movies every year. I’m talking about quality movies that your whole family can either watch or at least be in the same room as you watch them. Hollywood has firmly embraced the idea that “mature” content is a key ingredient to a good film. Even more, if you look at a good chunk of the stuff that comes out these days, you’ll see that adding “mature” content seems just as important as smart writing, good scripts, and sharp direction. In many instances no thought is ever given to the content’s necessity while other times “mature” content is used more as a crutch or a gimmick.

Now there’s certainly room to debate the merits of nudity, overloads of profanity, and over-the-top graphic violence. I think a good question could be asked concerning the effects if any that this content has on storytelling. But that’s not what this is about. I’m just asking Hollywood to consider that there are ways to make movies that are high in quality, not watered down, and extremely effective. Movies that may not appeal to every age group but at least there’s no fear of having kids (and movie buffs of the future) see or hear what you’re watching. I’m not closing any doors on movies that want to use “mature” content. But there is a broader audience out there that modern Hollywood seems to care little about.

The perplexing thing is that it can easily be done. For decades studios made movies that varied in suitability but without graphic or profane content. Don’t believe me? Just watch Turner Classic Movies, the only movie channel that I can leave on and not fear for my children walking in. Some of the greatest films of all time were able to focus more on good scripts and good storytelling and the results were fantastic films that weren’t kiddie pictures but true classics. Talk about an extreme rarity these days.

I have a young son who recognizes my love for movies so he wants to share that. It’s so sad that he doesn’t get to enjoy the vast majority of movies that hit the big screens today. The big question for me is why? Why has this trend taken such a hold on Hollywood? Does it say something about the moral compass of Hollywood? Does it say something about us, the audiences, who funnel our money to support some of these films while never demanding variety or anything different. Without hurling accusations I believe there is some sad commentary at the root of this. And whether or not things will get better in this regard I don’t know. But the fact that there is little outcry over this is a pretty telling tale in itself.

“Stoker” – 4 STARS

by

23

STOKER POSTERThere are two things that you’ll instantly notice when watching “Stoker”. First, it’s clear that director Park Chan-wook is a true visionary. Second, there is something seriously not right in the Stoker household. “Stoker” is a twisted psychological thriller oozing with Hitchcockian influence and mixed with traces of classic horror. There’s a good reason for that. The script was written by Wentworth Miller (yes, the guy from “Prison Break”) who stated that he used Hitchcock’s classic thriller “Shadow of a Doubt” to help frame his story. But this isn’t a mere carbon copy. He takes things in a much darker direction which helps this movie stand on its own two feet.

Chan-wook is best known for his “Vengeance” trilogy and for “Oldboy” which is currently being remade by Spike Lee. “Stoker” marks his English-language debut and his fingerprints are all over this film. He takes Miller’s script and instantly incorporates his signature style which works to create a specific mood and tone throughout the picture. And if you’re familiar with his other work you know his films often incorporate uneasiness and brutality. Both are present here as well.

The story centers around young India Stoker (Mia Wasikowska). Her life is dealt a terrible blow when her father Richard is killed in a tragic car accident on her 18th birthday. India was very close with her father, something that can’t be said about her relationship with her mother Evelyn (Nicole Kidman). The two have a strained relationship resulting from Evelyn’s emotional instability and her jealousy of India’s affection for her father. After the funeral, both meet Richard’s brother Charlie (Matthew Goode) who has been traveling abroad for years. Evelyn takes to him instantly but India doesn’t trust him. He has the charm and good looks but there’s something unnerving about this guy.

stoker1

Uncle Charlie volunteers to move in to help the family out. Evelyn is thrilled which does more to strain her relationship with India. The story unfolds and we quickly sense Charlie is up to no good. But there’s a lot more going on than anyone realizes. Most of the film deals with the tension between India and her Uncle. Her suspicions of Charlie are valid but neither she or the audience can figure the guy out. But it’s not as if she’s completely stable. She’s a very dark and brooding recluse. She lives in her own little world which is made clear by a couple of scenes that take place at her high school. The contrast between home and away is profound. Her nature and Charlie’s creepiness make for some good, eerie conversations between the two. But there’s also an undeniable psychosexual tension that permeates each scene. It’s a key part of the movie’s overall weirdness that sometimes has you squirming in your seat.

Wasikowska is an young actress that I’ve always been impressed with. She gives another solid performance here although the material doesn’t require much in terms of range. Throughout the entire film she maintains the same blank expression regardless of what’s happening. It’s nothing that allows her to flex her acting muscle yet it’s strikingly appropriate for this story. I also thought Kidman was really good. She takes on a smaller role, but her strong performance brings more to her character than you might expect. But for me Matthew Goode is the real standout. From his first appearance in the cemetery overlooking his brother’s funeral service, Goode maintains an eerie presence. He slithers around the Stoker’s secluded two-story estate channeling his best Joseph Cotton from “Shadow of a Doubt”. I loved what Goode did with the role and for me he helped give the movie the creepy intensity it was shooting for.

Stoker2

But I think my favorite thing about “Stoker” was the undeniable style of Park Chan-wook. I loved what he was doing with his camera and I never grew tired of his perspectives. There’s such artistry at work as he uses strategic close ups, moving cameras, and specific framings of shots. Chan-Wook also left indelible images carved into my mind. He gives the film a real horror movie feel with chilling shots of things like a crawling spider, a hair on a bar of soap, or a pencil sharpener. He also gives the movie heightened senses particularly in the area of sound. It may be voices, buzzing house flies, or even the crumbling of a boiled egg’s shell. All of this contributes to letting us know everything’s wrong in their world. I mean even the end credits are backwards and scroll down instead of up.

All of the amazing visuals and strong acting really worked for me. But some will assuredly be turned off by the movie’s bloody and violent final act. In a way I can understand why but not necessary due to the blood. I’m just not sure that the ending works that well storywise. That aside, “Stoker” is a strong film, dark and unsettling but still wickedly entertaining. It’s most certainly not a film for everyone. But it should be seen even if only for Goode’s devilishly good performance and the stylistic visionary direction. Lucky for me, I found there to be more to like than just that.

5 Phenomenal Movie Phone Calls

by

28

I originally did this particular Phenomenal 5 over a year ago. Honestly, it was one of the most fun lists to put together, but hardly anyone saw it. Thankfully to you all, my blog has grown some since then and I’ve been waiting to share it again for those who have missed it. So why wait any longer? There have been so many great movie moments involving phone calls and almost every single genre has their share. Putting this list together was a lot tougher that I expected and there are some great scenes I had to leave off. But such is the nature with the Phenomenal 5, right? So as always, I wouldn’t call this the definitive list, but there’s no denying that these movie phone calls are absolutely phenomenal.

#5 – “TAKEN” – “a very particular set of skills”

I liked “Taken” even though it kind of flew off the rails closer to the end. But it also provided one of the most memorable movie phone conversations you’ll find. Liam Neeson’s daughter and her friend are abducted while on a trip to Paris. Neeson’s character is a CIA field agent who we quickly find out has “a particular set of skills”. In a brief but incredibly intense phone chat with the abductors, Neeson presents them an offer (if they let his daughter go free) and then a stern warning (if they don’t). It’s a scene that became the signature moment in the film and one that I can’t help but love.

#4 – “DIAL M FOR MURDER” – “Hello?…Hello?…Hello?”

I still struggle with why ANYONE with an ounce of sanity would want to kill the beautiful Grace Kelly, yet that was Ray Milland’s plan in this Hitchcock classic. As his accomplice hides behind the drapes, Milland lures Kelly out of bed with a phone call from the party he’s attending. He then listens on the phone as his hired hand strangles his wife. Foolproof plan right? Of course not, this is Hitchcock, remember? This key scene turns Milland’s devious plans upside down and launches one of cinema’s best thrillers.

#3 – “NO COUNTRY FOR OLD MEN” – “You know how this is going to turn out, don’t you?”

One of the very best scenes in the Coen brothers’ brilliant “No Country for Old Men” is the phone conversation between Anton Chigurh and Llewelyn Moss. It marks the first time the two have had any communication and the intensity is simmering. The scene’s slick dialogue and clever tone is vintage Coen brothers but it also works thanks to great deliveries from Bardem and Brolin. From the startling first ring of the phone to the slamming down of the receiver at the conversation’s end, this movie phone call nails it.

#2 – “DR. STRANGELOVE” – “I agree with you, it’s great to be fine”

How can you have a list of top movie phone calls without including the hilarious conversation between United States President Merkin Muffley and Soviet Premier Dimitri Kisov from “Dr. Strangelove”. In this classic Cold War spoof, a base commander goes “a little silly in head” and orders his planes to attack the U.S.S.R. President Muffley, wonderfully played by Peter Sellers, makes a courtesy call to Premier Kisov to let him know the base commander “went and did a silly thing”. The entire scene is just Sellers and he not only plays his character but also brilliantly sells us Dimitri, who we never hear. It’s a laugh out loud funny sequence and one of several great moments from the movie.

#1 – “SILENCE OF THE LAMBS” – “I’m having an old friend for dinner.”

Who can forget the phone call at the end of this Oscar-winning crime thriller? After finishing a gruesome and intense serial killer case, the film ends with Clarice enjoying herself at her FBI graduation party. While receiving several commendations and pats on the back, she’s told she has a phone call. At the other end of the line is Hannibal Lecter. He congratulates Clarice on her success then drops the classic yet still disturbing line “I’m having an old friend for dinner”. Anthony Hopkins, decked in a blonde wig and tilted hat, then walks off after Chilton. The film ends with Clarice simply repeating “Dr. Lecter….Dr. Lecter….Dr. Lecter…”. It’s one of those endings that leaves you uncomfortable but it’s also an ending you won’t forget.

What are your thoughts of my 5 Phenomenal Movie Phone Calls? See something I overlooked? Disagree with my choices. Please take time to share you picks or opinions.

“Olympus Has Fallen” – 4 STARS

by

22

Olympus posterLet me preface this review by saying I grew up on the action movies of the late 1980s and early 90s. In some ways I cut my movie watching teeth on the films of Schwarzenegger, Stallone, Willis, and company – the same movies that Antoine Fuqua’s “Olympus Has Fallen” undeniably and unashamedly pays homage to. From the bullets and body count to the plot holes and conveniences, “Olympus Has Fallen” mirrors those old-school action pictures. But there is another much more important thing that it has in common with the older films. It’s one heck of a fun and entertaining time. “Olympus Has Fallen” knows exactly what it wants to be. It sets its target, aims for it, and hits it dead center. I’ve always appreciated when a movie does that.

Throughout the reviews I’ve read, there seems to be two main criticisms hurled at this film. The first is that it’s nothing more than a “Die Hard” knockoff. Others blast the film for its blatant flag-waving American patriotism. I find it funny that people have gotten hung up on these two things the most. “Olympus Has Fallen” has its share of problems both structurally and narratively. But these two stumbling blocks for some didn’t hurt my experience in the least. As a matter of fact in some instances they actually helped it.

Look, the “Die Hard” gripe has some merit. In fact you could call this “Die Hard in the White House”. A mysterious terrorist group with North Korean ties attacks Washington DC in broad daylight. It starts with an air assault from a modified C130 followed by a violent ground attack which leaves many civilians dead and the city in chaos. But their prime target is the White House which they manage to take control of in 13 minutes. So much for our impenetrable national security, right? The terrorists seem to have the upper hand except for one small kink – U.S. Treasury desk jockey Mike Banning (Gerard Butler).

Now you know how this works, Banning is much more than a pencil pusher. He was at one time President Asher’s (Aaron Eckhart) Secret Service head honcho and close friend to the First Family, but an uncontrollable tragedy cost him his job. But you can’t be a one-man army just by doing Secret Service work. Just like Arnie, Sly, and Chuck in so many of their films, Banning is also a former Special Forces Ranger. Like John McClane in Nakatomi Plaza, Banning is the lone eyes, ears, and muscle inside the enemy-occupied White House. The “Die Hard” comparisons are unavoidable but is that really a bad thing? “Olympus Has Fallen” is a much better “Die Hard” film than either of the last two “Die Hard” movies. And while this doesn’t do much in terms of originality, it nicely uses several of the key ingredients that made that franchise so great.

olymp1

Then there’s the patriotism criticism. I guess I missed the announcement. When did patriotism become a liability or a weakness in a film. I can understand it becoming a problem when a movie beats you over the head with it, but that’s not the case here. There isn’t an ounce of subtlety in this movie’s pro-American spirit presentation but I don’t see why there has to be. As long as it doesn’t drown us in it. At one time there was an overload of ham-fisted patriotism in movies but that was a while ago. This was one area where the movie did feel surprisingly fresh. In other words the patriotic angle worked.

“Olympus Has Fallen” is helped by its nice supporting cast. Morgan Freeman is rock solid as always. He plays the Speaker of the House who is elevated to Commander in Chief after the President’s abduction. Melissa Leo was good as the Secretary of Defense even though she’s given a few pretty corny lines to wrestle with. I also loved seeing Robert Forster as a grumbling Army General and Angela Bassett as the head of the Secret Service.

But this is an action movie and the action is the film’s bread and butter. After a rather slow moving beginning which serves more as table setting, the action kicks in gear when the terrorists attack DC. Now I’ve heard a lot of criticism over the special effects but I don’t see it. With the exception of a few small hiccups, I thought the visuals were quite good. Maybe I got lucky but the DLP digital screen at my theater was ablaze with furious gunfire and massive explosions. The C130 attack, while preposterous, looked great and sucked me right in. There’s also a fantastic shootout on the front lawn of the White House that’s nothing more than old-school, bullet-riddled fun. Shootouts and hand-to-hand throwdowns continue throughout the rooms and halls of the White House with the percussion-heavy score amping up the macho intensity. Once the action starts you rarely have time to catch your breath.

OLYP2

In an action movie like this one has to know it’s violent. But it should be said it’s really violent. Bodies drop at an alarming rate per minute and there’s no shortage of the red stuff. A lot of blood splatters through a huge variety of violent deaths. Be prepared for the numerous neck snaps, knife stabs, and head shots. Explosions are everywhere from jets and helicopters to buses and garbage trucks. Everything is fair game for Fuqua’s explosive experts.

As I hinted at earlier, this type of movie mandatorily requires some suspension of disbelief. You also must be prepared to deal with certain gaps in logic, tons of action movie cliches, and a few gaping plot holes. These things didn’t take away from the fun I had with “Olympus Has Fallen” but they are the kinds of things that keep it from being a truly magnificent film. There are several head-scratching moments that will pull you out of the film if you allow yourself to dwell on them. Why would the entire White House security code system remain the same even though people with access to them have been fired for a year and a half? Why do these and most other action movie villains insist on dragging out their missions instead of quickly carrying them out before the heroes have time to get in their way? I could go on. There are several in this film but if you can put it aside you’ll have a good time.

For me “Olympus Has Fallen” was a trip back in time through both the film’s high-octane action as well as with its predictable shortcomings. This was the real key to my enjoyment. There was a genuine nostalgic satisfaction as well as an appreciation for a film that sets out to be a specific kind of movie and never deviates from that goal. Now those who find testosterone-driven action flicks with fast moving kill counters to be relics from an outdated genre will have a hard time digesting this film. I can understand that. But this movie really surprised me, certainly not for its perfection, but for its rousing fun factor. There are tons of bullets, loads of explosions, and pride in the American spirit. For me, that’s not necessarily a bad thing and at the end of the movie I left with a smile on my face. Mission accomplished Mr. Fuqua!