REVIEW: “Night Call” (2025)

January 15, 2025 by Keith Garlington

Director Michiel Blanchart’s “Night Call” is a French and Belgian action thriller that manages to endure its own broad-brush messaging to deliver a tense and taut 97-minute experience that will have you glued to your screen. The bulk of the film happens over the course of one fateful night in Brussels and takes a young man on a personal journey that will undoubtedly change his life forever.

Jonathan Feltre plays Mady Bala, a 24/7 locksmith and part-time college student who travels around the city at night taking calls from anyone in need of his services. One such call comes from a young lady named Claire (Natacha Krief) who has locked herself out of her apartment. Mady arrives at the address and is greeted by Claire who ushers him into her building. From there Mady trustingly makes two ill-advised concessions that have serious repercussions.

Mady’s policy is cash up front along with a form of identification. But he’s quick to toss it aside after Claire informs him that her purse is locked inside her apartment. Somehow swept by her charm, our easily duped protagonist agrees to help, only to find himself alone in the apartment while she runs downstairs to the ATM.

Of course Claire doesn’t come back and after a few minutes Mady finally realizes he’s been hoodwinked. But it gets worse with the arrival of the apartment’s real tenant – a neo-Nazi who flies into a rage after seeing a young minority in his place. The man immediately and brutally attacks, and following a violent scrum Mady kills the man in self-defense.

The story is set to the backdrop of escalating protests across the city following the death of a young black man at the hands of the police. That’s certainly rich ground to explore. But here it feels like a convenience that provides Mady with a reason to not call the cops. I don’t doubt that Blanchart and co-writer Gilles Marchand have good intentions. But for much of the movie this racial tension is more of a plot device than something being examined.

Despite that Blanchart deserves credit for keeping his high-energy story moving forward. Things really kick into gear with the introduction of a gangster named Yannick (Romain Duris). We learn the man Mady killed was keeping a stash of cash that belonged to Yannick. All Yannick knows is that the money is gone, the man is dead, and Mady is somehow connected. So he has his henchman pick up Mady and makes him a deal – find the girl and return his money by morning or he’ll be the one to pay.

From there the intensity steadily builds in large part thanks to the film’s crisp pacing, bursts of gritty action, and Feltre’s committed performance. Yet so much of the story demands at least some suspension of disbelief. There are simply too many coincidences and conveniences. And while the journey has enough zest to keep us entertained, it limps across the finish line with an on-the-nose ending that lazily reveals the movie’s biggest villain. It’s one of several missteps that holds this otherwise propulsive movie back. “Night Call” releases in select theaters January 17th.

VERDICT – 2.5 STARS

REVIEW: “The Prosecutor” (2025)

January 14, 2025 by Keith Garlington

The renowned Donnie Yen directs, co-produces, and stars in “The Prosecutor” – the 80th film from the 61-year-old legend of Hong Kong action cinema. Of course fans know that Yen has frequently crossed over to the United States, starring in such movies as “Blade II”, “Rogue One: A Star Wars Story”, and most recently “John Wick: Chapter 4”. Yet in many ways “The Prosecutor” sees Yen at home in his comfort zone, adding another sturdy action-thriller to his impressive résumé.

“The Prosecutor” sprinkles in ingredients from an assortment of genres. It’s as much a legal thriller as it is a crime thriller. It has a healthy amount of courtroom drama while also featuring the signature action scenes that have been highlights of Yen’s remarkable 40-plus year career. At the same time, the movie takes a critical look at such weighty subjects as class, corruption, and the justice system to go along with its impressive visual panache.

Reteaming with screenwriter Edmond Wong from the “IP Man” quadrilogy, “The Prosecutor” takes its inspiration from a true case. Yen plays Fok Chi-ho, a police officer transferred from the force after a case goes bad. He’s assigned to the Department of Justice where he’s to serve as a prosecutor under the leadership of the seasoned Bao Ding (Kent Cheng).

Fok’s first case involves a young man named Ma Ka-Kit (Fung Ho Yeung Mason) who is accused of drug trafficking after unknowingly lending his address to a local syndicate that uses parcels to import cocaine and contraband. Fok suspects the young man was manipulated and doesn’t deserve to be prosecuted. But Kit’s defense attorneys, Au Pak Man (Julian Cheung Chi Yu) and Lee Sze-Man (Shirley Chan) convince their client to plead guilty, assuring him it will result in a reduced sentence and barely any jail time.

But it quickly becomes evident that Kit’s attorneys aren’t giving him a fair shake. That prompts Fok to begin his own investigation which puts him at odds with both the defense and his own team of prosecutors. Even more, after the syndicate’s involvement becomes clear, Fok has to fall back on his old police training after both he and Kit become the gang’s chief targets.

While the story employs a few common courtroom tropes, the script is smart enough to keep us engaged. And it’s helped by the performances from Yen and the really strong supporting cast. We get lots of legal wrangling and verbal jostling both in the courtroom and behind the scenes as Fok’s colleagues push for him to forget his righteous crusade and fall in line with the system. It all adds several nice layers to the drama.

And of course there’s the action. While maybe not as plentiful as in many other films from Yen’s catalog, “The Prosecutor” still treats us to the some lights-out action scenes, from the blistering warehouse shootout to open the film to a ferocious subway fight sequence near the end. All are thrillingly choreographed and sharp reminders that even in his sixties Donnie Yen remains a star of the genre. And it’s that star-power that drives “The Prosecutor”, even when it tries to juggle a little too much.

VERDICT – 3.5 STARS

REVIEW: “Den of Thieves 2: Pantera” (2025)

January 13, 2025 by Keith Garlington

Writer-director Christian Gudegast made his directorial debut back in 2018 with “Den of Thieves”, a crime thriller and heist film that sat in various stages of development for nearly 15 years. It was a suspenseful and action-packed feature that was far better than the reception it received from critics and even at the box office. Now seven years later, Gudegast is finally back for his sophomore effort, “Den of Thieves 2: Pantera”.

The first “Den of Thieves” left its story in an interesting spot and it certainly opened the door for a sequel. “Pantera” brings back the previous film’s two central characters and once again makes them the centerpiece. Gerard Butler reprises his role as the gritty and worn LAPD detective Nicholas “Big Nick” O’Brien. And O’Shea Jackson Jr. returns as Donnie Wilson, a once small-time criminal turned big-time thief after escaping to Europe with $30 million.

“Pantera” kicks off with the two characters in much different places. Donnie is living large in Europe but he hasn’t left behind the thrill of the heist. The film opens with him and his crew pulling off a daring job in Antwerp, Belgium, swiping diamonds for a broker named Jovanna (Evin Ahmad). Back in Los Angeles, Nick is fresh off a painful divorce and is still licking his wounds after being duped by Donnie. Nick is determined to track him down but the embarrassed police department would rather put it all behind them.

But Nick’s luck changes after he gets a tip that Donnie’s money is being moved to and from a bank in Panama. The cash trail leads him to Nice, France where Donnie and Jovanna have their sights set on an $850 million score in the highly secured World Diamond Center. The pair put together a crack team of fellow thieves and begin constructing a plan to infiltrate the heavily guarded diamond exchange and break into its impenetrable state-of-the-art vault.

Now here comes the swerve. After landing in Nice and paying a visit to the local police station for some intel, Nick tracks down Donnie and surprises him with a visit. But rather than arrest him, the disheveled and frustrated Nick tells Donnie he wants in on the job. And just like that Donnie finds himself right back in the middle of the game. But this time the stakes are even higher, especially after Donnie learns the diamonds he stole belonged to the Sicilian mafia.

From there Gudegast patiently yet meticulously maneuvers us through the surprisingly rich story. This time there are several more players besides our team of thieves. The cops, the mafia, even some angry ex-crew members, all have roles to play. Interestingly, the action takes a backseat this time around, with more time put into the various character dynamics especially between Nick and Donnie. Butler and Jackson Jr. play off each other well and they’re more equals this time around.

But of course everything is ultimately building towards the big heist which Gudegast lets play out at a tense real-time pace. He not only builds suspense but he’s able to sustain it through most of his film’s nail-biting final act. It’s capped off with an action-fueled payoff along with a couple of unexpected twists that leave the door cracked for a third film if this one does good numbers. And hopefully we won’t have to wait another seven years for it to come.

“Den of Thieves 2” comes across as more polished than its predecessor, yet it maintains some of the same grit that was a big part of the first film. This time we’re treated to a number of beautiful European vistas and it has a slightly lighter tone. There are a few times where we can feel its length. And it’s not always easy to understand what our thieves are doing, especially amid the big heist. But “Pantera” still makes for a worthwhile sequel and a solid expansion in what has become a genuinely exciting film series.

VERDICT – 3.5 STARS

REVIEW: “Laws of Man” (2025)

January 10, 2025 by Keith Garlington

Writer-director Phil Blattenberger’s “Laws of Man” is a pulpy throwback genre feature – the kind that’s sure to scratch the nostalgic itch of anyone (like me) who has an affection for movies of its kind. It has a colorful company of characters, deliciously heightened drama, a terrific period-rich setting, and one gloriously gonzo ending that I never saw coming (but probably should have).

Set in 1963 at the Dawn of the Cold War, “Laws of Man” follows two U.S. Marshals stationed out of Carson City who are sent to rural Nevada to serve two warrants. Frank Fenton (Jacob Keohane) is strait-laced and uptight, fully operating by-the-book while concealing his lingering PTSD from World War II. Tommy Morton (Jackson Rathbone) is young and cocky, more prone to bending the rules and not afraid to go into any scenario guns blazing. Together in their black suits, black ties, and black Cadillac, they fit the lawman look to the letter.

Their first warrant is for a backwoods gang leader named Crash Mooncalf (played by the always great Richard Brake). It goes quickly and violently. But it’s their second warrant that proves to be more complicated. They are to arrest Benjamin Bonney (Dermot Mulroney), a psychopathic rancher who along with his three halfwit sons are accused of murdering local landowners whose property Bonney believes is rightfully his.

After driving all day, Frank and Tommy check in to the appropriately named Last Chance Motel to get a night’s rest before approaching the Bonney’s. While there, they meet a number of interesting locals including a friendly barmaid (Kelly Lynn Reiter), the cantankerous sheriff (Graham Greene), and a traveling preacher (Harvey Keitel). But none of these lively characters can prepare the lawmen for what lies ahead.

Frank and Tommy’s bullet-riddled first encounter with the Bonneys evolves into a complicated chess match littered with surprise visits from the FBI, missing evidence, and other unexpected revelations that take the story in a wonderfully bonkers direction. As it plays out Blattenberger has a blast dipping his toes into a number of genres, wrangling them all together into one entertaining and self-aware mash-up. The performances are mostly solid with everyone seemingly in tune with the kind of movie they’re making. And there are loads of great period details from Frank’s love for 7-Up to the government’s Communist anxieties.

While the story is a blast from start to finish, it has some holes that will have you scratching your head if you think about them long enough. And certain characters seem to vanish without a trace whenever the script is done with them. But those feel like quibbles considering how much fun I had with “Laws of Man”. The sure-handed Blattenberger has put together an energetic and flavorful 98 minutes that flew by and left a ridiculous smile plastered across my face. “Laws of Man” releases January 10th in select theaters and on VOD.

VERDICT – 4 STARS

First Glance: “Companion”

January 9, 2025 by Keith Garlington

Following its wildly intriguing teaser released several weeks ago, the first full trailer for “Companion” just dropped and it adds even more reasons to be interested. Written and directed by Drew Hancock, “Companion” is yet another A.I./robot thriller that joins the numerous others put out over the last several years. But the trailer leaves the impression that this one may have a unique flavor all its own.

Part sci-fi thriller and part breakup comedy, “Companion” sees Sophie Thatcher playing Iris, the android girlfriend to Jack Quaid’s Josh. Problems start when Josh decides to jail-break his companion like an iPhone. Iris suddenly starts malfunctioning and things quickly turn violent. There’s a lot to like about the trailer including the wild premise and some gnarly kills. But there’s also some curious character bits which are a little questionable.

“Companion” hits theaters January 31st. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Survive” (2025)

January 9, 2025 by Keith Garlington

The title says it all in “Survive”, a fun and fittingly propulsive French feature that mixes disaster and survival thriller elements into one entertaining cocktail. Directed by Frédéric Jardin and written by Matt Alexander, “Survive” follows a stranded family of four fighting for their lives following a cataclysmic global disaster. It’s nothing you would consider strikingly original, but it remains enjoyable throughout.

“Survive” opens with some table-setting script that reads “Since its formation, the Earth has experienced five mass extinctions. The sixth is just beginning.” And just like that we get a good idea of the experience we’re in for. Jardin and Alexander don’t waste time digging into the hows and whys of the catastrophe that’s set to unfold. Instead they take a straightforward genre approach – setting the stakes, building tension, and ratcheting up the peril for a taut and fast-paced 85 minutes.

**Image Courtesy of Samuel Goldwyn Films**

Somewhere off the coast of Puerto Rico, Cassie (Lisa Delamar), her husband Tom (Andreas Pietschmann), and their two kids Julia (Émilie Dequenne) and Ben (Lucas Ebel) are spending a few days on their mini yacht in the Caribbean Sea. After a fun evening celebrating Ben’s 13th birthday, their trip takes a terrible turn when the Earth’s poles suddenly reverse. Burning satellites begin falling from the sky and the changing currents below sends the ocean waters rushing inland.

As the winds and waves violently ravage their boat, the family is knocked out. They wake up to find what’s left of their boat grounded on a ridge of what was once the ocean floor but is now a vast desert wasteland. Obvious questions immediately come to mind that the movie never attempts to answer. Just know that the ocean now covers the mainlands presumably wiping out huge numbers of the planet’s population.

Stunned and stranded, the family now must figure out how to survive. The first thing Tom does is get the radio working. He makes contact with a fellow oceanographer named Nao (Olivier Ho Hio Hen) who was deep sea diving when the waters retreated. Nao informs them that his instruments indicate the water will come rushing back within a week’s time. Left with no other options, the family sets out on the long and arduous trek to Nao’s submersible vessel that sits miles away.

If racing against the clock wasn’t enough, their journey grows even more perilous with the sudden appearance of a creepy stranger (Arben Bajraktaraj). And then there are the thousands upon thousands of flesh-eating crabs from the deep, starving and driven mad by the oxygen. They make for an admittedly goofy yet wildly entertaining addition that speaks to the movie’s genre affections.

Jardin deserves a lot of credit for what he accomplishes with a reportedly meager budget. Shot on location in Morocco, Jardin creates vast and desolate landscapes that provide a fittingly forbidding setting which he uses to great effect. And the digital effects we get are used strategically and help ramp up the excitement. Sure, it’s all pretty silly and the character choices don’t always make sense. But the family dynamic adds some emotional stakes while the crisp pacing never lets our eyes wander from the screen.