REVIEW: “Carry-On” (2024)

December 26, 2024 by Keith Garlington

This is not your ordinary Christmas movie. “Carry-On” is a surprise end-of-the-year action thriller from Netflix that’s sure to add some spice to your holiday season viewing. The film is directed by Jaume Collet-Serra who is probably known best for his past collaborations with Liam Neeson and Dwayne Johnson. With “Carry-On” he and screenwriter T.J. Fixman put together a no-nonsense throwback genre movie with clear “Die-Hard” inspiration.

“Carry-On” kicks off on Christmas Eve as a shadowy man meets with two members of the Russian mafia at a Christmas tree lot. The man, whose name is never revealed, quickly offs the two mobsters and leaves with a mysterious suitcase. The man (who I’ll refer to as the Antagonist) is played by Jason Bateman who is marvelously working against his usual comic type. It’s a rock-solid performance.

Elsewhere we’re introduced to a young couple, Ethan (Taron Egerton) and Nora (Sofia Carson). Both work at Los Angeles International Airport – he as a TSA agent and she as an airlines operations manager. They’ve also found out Nora is pregnant with their first child which has Ethan a little antsy. He’s been frustrated since being rejected by the police academy. Since then he has spent three years in an entry level position with the TSA and showing no incentive to move up.

With reality setting in, Ethan convinces his supervisor (Dean Morris) to give him a chance to earn a promotion. He’s tasked with monitoring one of the baggage scanners where someone leaves an earbud in one of his trays. Through it he’s contacted by the Antagonist who orders Ethan to allow a certain piece of carry-on luggage to pass through the scanner otherwise Nora will be killed. Ethan tries to outsmart the Antagonist but quickly leans he is always one step behind.

Meanwhile, LAPD detective Elena Cole (the always welcomed Danielle Deadwyler) traces the murder of the two Russian mobsters to a potent nerve agent. Her investigation eventually leads her to LAX where she becomes yet another player in Collet-Serra’s high-stakes game of cat-and-mouse. From there it’s all about moving his players from point to point while keeping the audience guessing about how things are going to play out. “Carry-On” certainly succeeds in doing that.

It’s hard to make the case that “Carry-On” breaks new ground in the action-thriller genre. But as I’ve preached before, not every movie needs to. There’s always room for well-written, well-directed, and well-acted features that know exactly what kind of movie they want to be. That’s precisely what “Carry-On” is. And cheers to Jaume Collet-Serra for knowing what he wanted to make and sticking by those convictions. His movie benefits from it and so do we. “Carry-On” is now streaming on Netflix.

VERDICT – 4 STARS

REVIEW: “Nutcrackers” (2024)

December 25, 2024 by Keith Garlington

Christmas in small town Ohio is the backdrop to “Nutcrackers”, yet another ‘fish out of water’ feel-good story, this time from director David Gordon Green. Following some lukewarm swings at franchise horror with three Halloween movies and one Exorcist sequel, Green attempts to lighten things up with “Nutcrackers”. Unfortunately he ends up with pretty mixed results.

Ben Stiller takes on his first lead role in seven years playing Michael, a development manager at a prominent real estate firm in Chicago. We meet him as he’s on his way to Ohio to take care of some family business. We learn that his sister and her husband were tragically killed in a car accident leaving behind their four young sons. As the only living relative, Michael has to sign papers before the children can be placed with their new foster family.

Michael’s plans are for a quick trip as he’s due back in Chicago for an important sales pitch for his firm. But his plans derail after he arrives and is greeted by Gretchen Rice (Linda Cardellini) with the Department of Family Services. She informs him that the potential foster family backed out and he must assume custody until another family can be found. Clearly unequipped and unprepared, city boy Michael finds himself out of his element on his late sister’s farm with four rambunctious kids to wrangle.

A huge chunk of the movie is spent on Michael’s culture clash with his four nephews, Justice, Junior, Samuel, and Simon (played by real-life brothers, 12-year-old Homer, 10-year-old Ulysses, and 8-year-old twins Arlo and Atlas Janson). It’s the centerpiece of what is a cliché-riddled story that’s full of cheap humor and country-fried rural stereotypes. Amid the stream of fart jokes, farm animal cracks, and one painful and neverending sex-ed gag, Green and screenwriter Leland Douglas try to develop something resembling an emotional center but it never feels authentic.

To Stiller’s credit, he does bring a little warmth, and he manages to make Michael’s eventual internal conflict somewhat believable. But he’s trapped within a terribly predictable character arc that hits every single beat you expect. Absolutely nothing will surprise you about what his character does and where he ends up. And while Cardellini is every bit as good as she always is, she’s given very little to do which seems like such a waste.

By the final act, Green shelves the attempts at comedy and goes for the tear ducts with a sentimental finish that might have tugged at our heartstrings if not for the lackluster hour that preceded it. You can sense what the movie is shooting for and you can imagine ways that it might have worked. But the lack of originality, the overreliance on a tired formula, and the uninspired humor keeps the movie from ever earning our investment.

VERDICT – 2 STARS

MERRY CHRISTMAS !!!

December 25, 2024 by Keith Garlington

It’s hard to believe another year has come and gone. I just wanted to take a moment out of the hustle and bustle of Christmas Day to wish all of you a very Merry Christmas. Thanks for all of the visits to this site, the time you’ve put into reading my reviews and/or features, and the great comments and conversations we have had. You all are a big part of what makes this film critic gig so much fun.

I hope each of you have a wonderful and blessed Christmas. Enjoy your time with family and friends and here’s wishing you all the very best in the upcoming year.

REVIEW: “The Six Triple Eight” (2024)

December 24, 2024 by Keith Garlington

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.

“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.

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)

December 23, 2024 by Keith Garlington

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.

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.

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)

December 20, 2024 by Keith Garlington

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.

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.

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.