Author Archives: Keith Garlington

REVIEW: “The Six Triple Eight” (2024)

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Seeing the Tyler Perry stamp on a movie tends to prompt certain expectations, many of which aren’t especially flattering. But say what you will, Perry has firmly established himself within the industry as an actor, writer, director, and producer. And I’ll give him credit, he certainly doesn’t let bad reviews or criticisms slow him down. He’s still pumping out entertainment and making a lot of money in the process.

His latest feature is “The Six Triple Eight”, a historical World War II drama about the all-black and all-female 6888th Central Postal Directory Battalion. Perry writes and directs the film which is interesting considering nothing in his filmography indicates he would be the person to tackle this kind of project. As it turns out, this feels like Perry’s best work to date though it’s not without its faults.

Image Courtesy of Netflix

“The Six Triple Eight” is based on an article in WWII History magazine called “Fighting a Two-Front War” by Kevin M. Hymel. Perry begins the story in 1943 as a small-town African-American girl named Lena Derriecott King (Ebony Obsidian) falls for a persistent Jewish boy named Abram (Gregg Sulkin). After some schmaltzy courting, Abram reveals he has joined the Army and is about to be deployed. He gives Lena a promise ring and asks her to wait for him to return. He promises to write her, but his letters never come.

Lena’s life forever changes when she gets word that Abram has been killed in action. Shattered, she decides to join the army herself, against the wishes of her concerned family. She’s sent to Fort Oglethorpe, Georgia where she immediately runs into the numerous barriers facing military women, even more for women of color. Before heading into active duty with the Women’s Army Corps, Lena and her unit are put through basic training under the tough but inspiring Major Charity Adams (Kerry Washington).

In addition to Lena, Perry adds several other characters to the unit. Most struggle to get any firm identity other than the outspoken and crass Johnny Mae (Shanice Shantay). The young women form a tight-knit bond which is strengthened by the adversity they face. That adversity is seen clearest in the skeptical and dismissive General Halt (Dean Morris) who refuses to give them a meaningful assignment. But things change after Franklin and Eleanor Roosevelt step in (Sam Waterston and Susan Sarandon in glorified cameos).

The 6888th finally get called to duty but not in the way they expect. They’re tasked with sorting through tens of thousands of letters that have been collecting in a warehouse for ten months. They’re letters written between soldiers and their loved ones back home that have yet to be delivered. At first the ladies see their task as meaningless, as do the men who assigned it to them. But they quickly start to see the importance, especially when they find a letter written from Abram to Lena.

Image Courtesy of Netflix

It takes some time for “The Six Triple Eight” to find its rhythm, but once it does Perry surprises by how effectively he captures the heart of the story. Meanwhile the performances do what’s needed with only Washington and Obsidian standing out despite some shaky dialogue. The movie also looks good with a lot of detail put into the period-accurate costumes and production design. It helps add a true-to-life texture the movie needs.

Yet “The Six Triple Eight” still feels like a small part of a much richer story. It’s as if Perry is merely scratching the surface of the inspirational true account. It’s even more true with the characters who we barely get to know beyond their immediate circumstances. These issues keep the movie from resonating as strongly as it could have. But Perry deserves credit for putting this moving real story to the screen even if it doesn’t get the full attention it deserves.

VERDICT – 3 STARS

REVIEW: “Babygirl” (2024)

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Writer-director Halina Reijn attempts to make a bold statement but quickly loses her voice in “Babygirl”, an erotic thriller that’s neither erotic or thrilling. This baffling misfire seeks to say something about sexual freedom and power dynamics. But rather than speak anything profound, it loses itself in what plays like a carnal romp that only occasionally considers such things as ramifications and consequences. And it squanders three really good performances in the process.

Nicole Kidman bares all and does everything she’s asked playing Romy Mathis, the successful CEO of a robotics company named Tensile. Romy has the same comfortable life as most one-percenters. She lives in a lavish home with her loyal and loving husband Jacob (Antonio Banderes) and their two daughters. But Romy is hiding something. She has a kinky side that manifests itself in ways that go from uncomfortable to downright bizarre as the story pushes forward.

Image Courtesy of A24

That’s clearly not the interpretation Reijn is looking for, and a more insightful movie might be able to challenge conventional thinking on such things. But “Babygirl” offers such a shallow examination that it’s hard to see beyond its clunky messaging and unintentional contradictions. It tries to avoid any sleazy tags by pointing accusatory fingers in a number of directions. And those efforts lead to an ending that couldn’t feel more undeserved.

Romy’s sordid fantasies begin blending with reality after she meets Samuel (Harris Dickinson), an aggressively flirty new intern at her company. It doesn’t take long for the Yale educated, business savvy executive to begin making a series of boneheaded decisions to satiate her lust. From there Reijn chronicles Romy and Samuel’s illicit affair which starts as a psychosexual cat-and-mouse game of seduction before abruptly giving way to a number of prurient trysts.

As they attempt (sometimes rather loosely) to keep their affair under wraps, Romy shows passing concerns over consequences, mostly regarding her job and occasionally her family. But Reijn works hard to exonerate Romy of any wrongdoing. Instead, her movie’s sentiment is best encapsulated in what Samuel smugly deems to be “an outdated idea about sexuality”. In “Babygirl”, the fault lies with society. It’s the stigmas; the moral codes; even Jacob subtly gets some of the blame.

Image Courtesy of A24

With such talent as Nicole Kidman, Harris Dickinson, and Antonio Banderes, “Babygirl” had the ingredients to be an incisive and thought-provoking erotic thriller. Instead, it takes an unoriginal premise and offers up a one-dimensional examination of sexual liberation. There is some undeniable simmer between Kidman and Dickinson. But their chemistry fizzles once the steaminess turns to schlock. Again, it’s a shame considering the quality of talent on screen.

Yet the movie’s biggest problem lies in how woefully underdeveloped everything is. The characters, the relationships, the motivations, even the themes – it all feels so flimsy. And from a movie that borderlines on haughty in its convictions and its indictments. A more shrewd and well-rounded treatment could have made us think. “Babygirl” wants to be that movie. But it’s more like those $.99 rentals that once sat on the back shelf at your local video store.

VERDICT – 1.5 STARS

REVIEW: “Nosferatu” (2024)

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Period horror maestro Robert Eggers conducts a new Symphony of Horror with “Nosferatu”, a brilliantly assured remake of F.W. Murnau’s 1922 German classic of the same name. Written and directed by Eggers, this devilish dive into Gothic horror features most of the filmmaker’s well established trademarks along with a perfectly tuned cast who fully submerge themselves in the grim and macabre world Eggers painstakingly recreates.

While this modern adaptation distinguishes itself from the over century-old original, Eggers goes to great lengths to stay true to its predecessor. He embraces the same time period, setting, and characters although he adds a lot more depth and detail to his story. The majority of his additions and extensions work exceptionally well while some (such as his vaguely explained sexualization of certain plot points) are a little harder to sort out. But Eggers has such a good grasp of the material which is evident in every stunning frame.

When it comes to developing atmosphere, tone management, and period immersion, few do it better than Robert Eggers. He nails all three in “Nosferatu”. Set in 1838, the film introduces us to newlyweds Ellen (Lily-Rose Depp) and Thomas (Nicholas Hoult) who live in the bustling port town of Wisborg, Germany. Years earlier a younger Ellen had a terrifying encounter with a mysterious force. Afterwards she suffered with troubling dreams and bouts of melancholy. But those things went away when Thomas came into her life.

Image Courtesy of Focus Features

Hoping to build a good life for his wife, Thomas takes a job at a local real estate firm. Its owner, Herr Knock (Simon McBurney) tasks Thomas with meeting a prospective new client who wants to buy a retirement home in Wisborg. The sickly client is adamant that an agent come visit him in person. The problem is he lives far away in an isolated castle in the Carpathian Alps. Knock throws in some extra incentive – if Thomas secures the account he will secure his position in the firm. And the client’s name – Count Orlock (Bill Skarsgård).

Despite Ellen’s pleas for him to stay, Thomas is determined to go. So he leaves his wife with their close friends Frederick (Aaron Taylor-Johnson) and Anna Harding (Emma Corrin) and sets off on his arduous six-week trek. After an overnight stop at an eerie gypsy village, Thomas makes the final leg of his journey to the ominous castle perched high in the craggy mountains. What follows is Eggers at his very best.

Once inside the shadowy cavernous castle, Thomas meets the mysterious Count Orlock. Bill Skarsgård completely vanishes into the character, whose long jagged fingers, deep-set eyes, and bushy mustache go right along with his long enunciations, gravelly tone, and the death rattle in his breathing. Eggers doesn’t linger on the hideous Orlock, instead smartly keeping him at a distance, only giving us strategically staged glimpses which adds to the sinister nature of his presence.

Image Courtesy of Focus Features

I won’t spoil the details, but Thomas’ meeting with the Count doesn’t go as planned. He learns firsthand of Orlock’s craving for human blood and manages to escapes the castle. Orlock begins making his way to Wisborg with his evil sights set on Ellen. In the meantime, Ellen’s nightmares return and intensify, causing Frederick to summon Dr. Wilhelm Siever (Ralph Ineson). Fearing there is something beyond science causing Ellen’s problems, Siever reaches out to the disgraced Professor Von Franz (Willem Dafoe) who specializes in the occult.

With all his players in place, Eggers begins methodically moving us through his grim phantasmagoric tale. Plague-carrying rats, unexplained madness, and shocking deaths all help pave the way towards a looming supernatural showdown. It’s all visualized through the breathtaking cinematography of Jarin Blaschke, easily among the year’s best, and accompanied by composer Robin Carolan’s bone-chilling chords. From pacing to presentation, “Nosferatu” keeps us glued to the screen and squirming in our seats.

“Nosferatu” is a movie with a deep reverence for Murnau’s seminal classic. But it’s also undeniably a Robert Eggers film as seen in the technical craft, brooding atmosphere, and fascinating worldbuilding. As always, he directs with an assured hand, trusting his wonderfully morbid vision over lazy jump scares or tired gimmicks. And as he’s unnerving us, subtle but effective themes of obsession and repression seep through to the surface. It’s yet another stroke of genius that places Eggers into a creative category all his own.

VERDICT – 4.5 STARS

REVIEW: “A Complete Unknown” (2024)

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Upon first hearing that Timothée Chalamet was set the play Bob Dylan in an upcoming biopic, I admit to thinking they could have found someone better. But after seeing him in the role of the legendary American singer-songwriter, I wondered who could have played Dylan better. Chalamet delivers a knock-out performance in James Mangold’s “A Complete Unknown”, a beguiling biography based on Elijah Wald’s 2015 book “Dylan Goes Electric! Newport, Seeger, Dylan, and the Night That Split the Sixties.”

Chalamet tirelessly prepared for the role, learning how to play guitar and the harmonica while immersing himself into Dylan’s iconic lyrics and singing style. Mangold certainly put the actor’s training to good use. It’s said that Chalamet performed an astonishing 40 songs for the film. But here’s the best part – he surprisingly nails them which not only enhances his performance but strips away any hint of artifice. For 141 minutes Timothée Chalamet is Bob Dylan and we never doubt it for a second.

Among the many good choices that make “A Complete Unknown” work is Mangold’s decision to hone in on one segment of Dylan’s fascinating life. This is no cradle-to-grave biopic. Rather it’s an ensemble movie that traces Dylan’s musical journey from his arrival in New York City to his unforgettable 1965 performance at the Newport Folk Festival which sparked controversy after he took the stage with an electric guitar much to the dismay of his devoted folk music fans. 

Image Courtesy of Searchlight Pictures

The film opens in 1961 with a 19-year-old Bob arriving in New York City after hitching a ride from Minnesota. He has made the trek in order to visit his idol, Woody Guthrie (Scoot McNairy) who was committed to Greystone Park Psychiatric Hospital. While visiting Woody, Bob meets the beloved folk singer Pete Seeger (Edward Norton) who immediately takes a liking to the young aspiring singer. Pete is even more smitten with Bob’s songwriting and begins introducing him around the New York City folk scene.

From there Mangold and his co-writer Jay Cocks chronicle Bob’s rise to fame mostly through the relationships that helped pave his path. One of his earliest is with Sylvie Russo (Elle Fanning), a character based on Suze Rotolo. Sylvie is more than just a love interest. She’s key in opening Bob’s eyes up to the troubled real world which would inspire so many of his hit songs. And more than anyone else, she encouraged him to sing his own songs after his manager Albert Grossman (Dan Fogler) gets him a record deal with Capitol Records.

The film also explores Dylan’s connection with fellow folk singer Joan Baez who is wonderfully played by rising star Monica Barbaro. Baez was already established when she first met Bob Dylan and she was one of the first to record some of his original songs which helped to put him on the map. Barbaro and Chalamet are terrific together, capturing the creative magic conjured whenever Baez and Dylan sang together while touching on the pair’s more tumultuous personal relationship.

Image Courtesy of Searchlight Pictures

The most fun of the supporting cast is Boyd Holbrook playing the great Johnny Cash. He doesn’t get many scenes but he steals every one he’s in through a performance that’s bursting with charisma. Holbrook gloriously channels Cash’s energy and swagger while adding a little flavor of his own to the character. Now I want another Johnny Cash movie with Boyd Holbrook playing ‘The Man in Black’.

While Mangold spends plenty of time delving into the personal life of Bob Dylan, he also takes us on a tour of American music history. Not only does “A Complete Unknown” honor traditional folk music and its impact on American culture, but it also shows how music was changing alongside that very same culture. That culminates in the film’s kinetic recreation of the 1965 Newport Folk Festival where Dylan shocked fans and angered festival heads by playing electric rather than acoustic. His brief set has been called a watershed moment for both folk and rock music.

While “A Complete Unknown” sweeps you away with its focused storytelling, timeless music, and phenomenal performances, it’s also strengthened by its period-perfect production design and costumes as well as rich cinematography from Phedon Papamichael. But it’s James Mangold’s clear passion that brings it all together. It seeps from every pore of his movie. And while fans of the music may find more to enjoy, there’s so much else to love that transcends mere musical tastes. It’s a transporting musical journey and one of the year’s best movies.

VERDICT – 4.5 STARS

First Glance: “Superman” (2025) Teaser Trailer

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There has been a lot of buzz, both good and bad, about James Gunn’s ascension to the head of DC Studios. Without question Gunn has his fans and they aren’t afraid to share their support. But there just as many who are skeptical and for good reason. I remain a huge fan of the Zack Snyder cinematic universe that existed prior to the studio tearing it apart. And I’ve been lukewarm on Gunn’s superhero projects which often follow the same blueprint. But I’m very open to seeing his vision for DC starting with “Superman”.

The first teaser trailer for Gunn’s “Superman” has dropped and it gives us a first glance at the film that will kick off his DC universe. The trailer doesn’t reveal much but it allows us to see David Corenswet in action as both Superman and Clark Kent. We see Rachel Brosnahan as the new Lois Lane. We see Nicholas Hoult as the universe’s Lex Luthor. We even see a caped Krypto which brought an ear-to-ear smile to my face.

But the trailer is littered with other heroes and villains which speaks to one of my biggest concerns – is Gunn cramming too much into his first film. We’ll see. And while the trailer offers a number of captivating images, I still don’t have a good feel of the movie or of Gunn’s vision for the character. Will he capture the essence of Superman? Can he make Superman resonate with a new audience? Can he win over those who preferred a “Man of Steel” sequel? Who knows. But I’ll be there on opening day to see.

“Superman” flies into theaters on July 11, 2025. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

First Glance: “Black Bag”

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Steven Soderbergh has quite a first quarter lining up in 2025. He already has a creepy psychological (or is it supernatural) thriller releasing in late January called “Presence”. Yesterday Focus Features dropped the first trailer for “Black Bag”, a star-studded spy thriller directed by Soderbergh and starring the magnetic duo of Cate Blanchett and Michael Fassbender. This first glance looks to be a hearty feast for fans of the genre and those who love its two stars.

Presented as a more serious “Mr. and Mrs. Smith” or “True Lies”, Soderbergh’s “Black Bag” follows esteemed intelligence agents George Woodhouse (Fassbender) and his loving wife Kathryn (Blanchett). When suspicions arise that Kathryn is a double-agent, George is put on the case to find out the truth. He ends up caught between his loyalties to his wife and to his country. The trailer looks fantastic and Soderbergh certainly knows how to ratchet up tension.

“Black Bag” releases exclusively in theaters on March 14th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.