REVIEW: “Flight Risk” (2025)

January 24, 2025 by Keith Garlington

January might be the weirdest month on the movie calendar. It’s the time of the year where we get no major studio releases. And much of what we do get are movies that the studios don’t have a lot of faith in. Yet January isn’t a total loss. It’s when a lot of the big awards movies finally make their way into theaters. And there are usually one or two unexpected surprises that we never see coming.

I thought “Flight Risk” might qualify as one of those January surprises. A big reason is because it’s directed by Mel Gibson – his first venture behind the camera since 2016’s Oscar-nominated “Hacksaw Ridge”. While he’s mostly known for directing sweeping period films, this time around he has made a straightforward no-nonsense suspense thriller that is very open about its ambitions. From the very start start you should know exactly what you’re in for.

Unfortunately “Flight Risk” doesn’t quite deliver the silly yet entertaining thrill-ride it hopes to. It’s light and easily digestible with the kind of wacky premise that you almost expect to have fun with. But the film struggles to get off the ground (glaringly bad pun intended). And once in the air it remains stuck on auto-pilot, unable to generate anything resembling the kind of white-knuckled excitement it desperately needs.

The film is written by Jared Rosenberg whose screenplay spent several years on the Hollywood Black List. His story revolves around three characters caught in a bonkers scenario. Michelle Dockery plays Madelyn Harris, a Deputy U.S. Marshal who tracks down and arrests a man named Winston (Topher Grace) at an off-the-grid motel in rural Alaska. We learn he’s a wanted mob accountant who quickly becomes a high-value government witness after agreeing to testify against a powerful kingpin.

In order to get Winston to New York for the trial, Madelyn first has to get him to Anchorage. So she charters a beat-up Cessna piloted by Daryl Booth (Mark Wahlberg) to make the 90-minute flight. But while cruising at 3,000 feet high over a range of snow-covered mountains, we get a not-so-shocking reveal – Daryl is not who he says he is. In fact, he’s a psychotic contract killer hired by the mob to kill Winston. Daryl finally makes his move, but after an intense fight Madelyn is able to subdue him.

Most of the film takes place inside the cramped plane with Daryl tied up but attempting to free himself; Madelyn (who’s not a pilot) trying to figure out how to fly the plane; and Winston bouncing back-and-forth between being annoying and providing comic relief. The drama between the three fluctuates between nearly reaching its potential and languishing in long stretches of dullness. And the film’s finish is even worse – serving up a frustrating non-ending that makes us wonder if a chunk of the story is missing.

On paper, “Flight Risk” seems like a movie ready-made for people looking for a diverting escape. But its laundry list of problems prove to be insurmountable. It’s a movie hampered by a lack of imagination, clashing performances, half-baked plotting, and an overall absence of any real excitement. Over the years Gibson has proven himself to be an exceptional filmmaker. But it’s hard to see “Flight Risk” as anything other than a misfire.

VERDICT – 2 STARS

REVIEW: “Into the Deep” (2025)

January 23, 2025 by Keith Garlington

As icy temperatures have most of my area in a deep freeze, I was certainly open to a relaxing summer movie set on the warm seas. Enter “Into the Deep”, the latest in the ever-growing shark thriller sub-genre. This particular one comes with a fun addition that longtime film fans will certainly enjoy. The cast features Richard Dreyfuss who (of course) also starred in the most well-known shark movie of all time, “Jaws”.

While that makes for a fun connection, it goes without saying that “Into the Deep” is no “Jaws”. In fairness it’s no “Jaws the Revenge” either. To the credit of director Christian Sesma and screenwriters Chad Law and Josh Ridgway, this deep-water thriller has some interesting ideas. Yet the film turns into a mostly forgettable shark movie that’s hampered by shaky execution and some noticeable budget constraints.

Cassidy (Scout Taylor-Compton) is an oceanographer who has been haunted by nightmares since losing her father to a horrific shark encounter when she was a little girl. Her husband Gregg (Callum McGowan) comes up with the not-so-good idea of returning the the scene of his wife’s trauma to dive for gold believed to be in an old shipwreck. Easily convinced to face her lifelong fears, Cassidy agrees to accompany her husband which (of course) proves to be a terrible idea.

Gregg gets them a ride on a tub captained by his old friend Benz (Stuart Townsend) who is accompanied by his two paper-thin and underdeveloped chums, Itsara (Lorena Sarria) and Ed (David Gray). Once out to sea, the group gears up for their first dive. But to no surprise, its interrupted by a shiver of hungry great white sharks who immediately attack our hapless divers. They manage to make it back to the boat but not before one of them is seriously injured.

As the terrified friends try to figure out what to do, they’re surprised by a boat of heavily armed pirates led by a cold-blooded and borderline cartoonish American named Jordan (Jon Seda). He and his menacing entourage are in the area to retrieve 80 kilos of heroin from the ocean floor, and the last thing they need are some pesky divers finding it before they do.

Surprisingly, the story’s main tension shifts to be between Cassidy’s bunch and the drug-running pirates. But the sharks are never too far out of the picture and soon make their presence known again in a ferocious yet unintentionally comical way. Where does Richard Dreyfus fit in you ask? He plays Cassidy’s grandfather, Seamus who is mostly relegated to a series of ham-fisted flashbacks that do more to slow the movie down than add anything impactful.

I’m guessing most people will come to “Into the Deep” for the wild shark action. Unfortunately it mostly underwhelms. You hate to be too hard on a movie with such obvious budget limitations. But it’s impossible to look past the shoddy visual effects which are highlighted by some of the worse (and admittedly hilarious) digital blood you’ll see. Sadly once you take away what should have been one of the movie’s biggest strengths, you’re left with nothing to help you overlook its other blemishes.

VERDICT – 2 STARS

REVIEW: “The Twin” (2024)

January 22, 2025 by Keith Garlington

A husband and father squares off against his inner demons following a devastating tragedy in the tense and bracing “The Twin”. Directed by J.C. Doler, this psychological horror thriller is as clever as it is unsettling, using well established tenets from the horror genre in its smart, incisive, and terrifying examination of mental health, childhood trauma, grief, and forgiveness. And that only scratches the surface of the film’s thematic richness.

Getting “The Twin” made had its share of hurdles. Its genesis can be traced back to a short film Doler made with his wife, Taylor Bracewell. After being approached about turning it into a feature film, Doler spent the next several years hammering out the script through nearly thirty drafts. He finally found the root of his story in an old Irish legend. But then came the challenges of funding, and after that the COVID-19 pandemic. But his diligence paid off and the film finally came together.

Following a heart-wrenching prelude, the story (co-written by Doler and Paul Peterson) follows Nicholas Schultz (Logan Donovan) whose life crumbles after he and his wife Charlie (Aleska Palladino) lose their young son Jacob (Tripp Toupal) in a tragic accident. While both struggle to cope, Nicholas takes it especially hard, going as far as attempting suicide. Charlie is able to save his life and eventually has him placed in a state institution.

A month passes and Nicholas returns to their home – an old farmhouse that has been in his family for years. Returning to the scene of the accident is difficult enough, but Nicholas’ problems only seem to compound after Charlie declares she’s leaving him. It’s a jarring revelation and we’re tempted to judge her actions as insensitive and self-serving. But we learn Charlie has been crumbling under her own suppressed grief and she desperately needs time away for her own mental wellbeing.

That leaves Nicholas alone with his guilt, sorrow, and trauma in a house where painful memories linger in every corner. But to help, and as a condition of his release, he’s required to receive routine home visits from a psychiatrist, Dr. Andrew Beaumont (Robert Longstreet) whose services include therapy, making sure Nicholas takes his meds, and “light” hypnosis. The two don’t instantly hit it off. But Andrew is both patient and sympathetic, having gone through some trauma of his own.

But the unease sets in as we witness Nicholas being haunted by disturbing nightmares. Then he begins hearing malicious voices that later evolve into terrifying visions. It eventually leads to him coming face to face with his fetch which is defined in the opening script as “a supernatural double or apparition of a living person.” His fetch (or twin) is a chilling and gruesome manifestation of his inner dark side which blurs the lines between his crippling mental anguish and reality.

Doler’s direction impresses in a number of ways. Take how he employs a variety of well-used devices from the horror genre and imbues them with a sharp psychological edge. Not only does it play with Nicholas’ ability to discern what’s real from what’s in his head, but for a time it challenges our perception as well. Through it we’re treated to some grisly imagery that includes gnarled bodies, milky eyes, and necrotic fingers – all fun reminders that we’re watching a horror movie. Yet it’s one with a piercing allegorical bite.

Perhaps more than with any other genre, good horror movies come in numerous forms. Some of the best are able to unsettle us while finding compelling ways to speak to the human condition. “The Twin” certainly does that through its smart script, sharp direction, and gripping performances from Donovan and Palladino. The film may not fully develop all of its ideas, but it tackles weighty subject matter while still entertaining us like good old-fashioned chiller.

VERDICT – 4 STARS

REVIEW: “Ad Vitam” (2025)

January 21, 2025 by Keith Garlington

Netflix has kicked off its 2025 movie year with “Ad Vitam”, a French action thriller from director Rodolphe Lauga. As with so many movies of its kind, the pieces are there for a fun early year reprieve from the end of the year awards seasons crunch. If you look at it that way I suppose “Ad Vitam” fits the bill. At the same time it’s easy to see where it could have been so much better.

“Ad Vitam” (translated “for life”) is both perplexing and frustrating. Within its lean 98 minutes is a potentially exciting movie that unfortunately bookends an overly long and energy-zapping extended flashback. The movie’s fast start quickly grinds to a halt as Lauga, along with his co-writer and star Guillaume Canet, attempt to build some kind of backstory. But it falls short both in substance and in execution.

Canet plays Franck, a former gendarme who was recently dismissed from duty following a tragedy under his command. When we first meet him he’s working as a building inspector, scaling the bell tour at the Sacre-Cœur Basilica in Paris. One afternoon he and his very pregnant wife Leo (Stéphane Caillard) return home to find their apartment broken into and ransacked – the second time in two weeks. Franck is hesitant to take any action which raises Leo’s suspicions.

The story takes a dramatic turn when a group of heavily armed assailants bust into their apartment and take Leo hostage. It turns out that Franck has been hiding incriminating evidence that implicates powerful people in a grand conspiracy. After taking a pretty bad beating, Franck is told by the lead henchman (Johan Heldenbergh) that he has four hours to retrieve and deliver the evidence if he ever wants to see his wife again.

But then the movie takes an abrupt turn as Lauga jumps back ten years into a lengthy flashback. It shows Franck’s acceptance into the gendarmerie where he meets and eventually falls for Leo. It also introduces his best friends and partners, Ben (Nassim Lyes) and Nico (Alexis Manenti). All of their relationships feel real enough, but they aren’t that compelling. At least not until we finally see the tragedy that led to Franck’s dismissal.

After a good 30-40 minutes the movie finally switches back to the present day as Franck races against the clock before ending with a fun yet admittedly absurd action set piece. It’s not the most satisfying ending and it does little to punctuate what unfortunately is a threadbare story. There are glimmers of chemistry and Canet, Caillard, and Lyes certainly have the needed physicality. If only they had more interesting material to work with.

VERDICT – 2 STARS

REVIEW: “Brave the Dark” (2025)

January 20, 2025 by Keith Garlington

It’s a family affair in “Brave the Dark”, an inspirational new drama featuring the impressive talents of three British brothers – the sons of screen legend Richard Harris. The movie is directed and co-written by Damian Harris. It stars Jared Harris who’s well known from film, television, and theater. And it co-stars Jamie Harris who has worked with the likes of Terrence Malick, Christopher Nolan, and Steven Spielberg.

“Brave the Dark” originally screened in 2023 at the Heartland International Film Festival in Indianapolis, Indiana. But it’s just now making its way to theaters courtesy of Angel Studios. The film’s true story is based on the real-life relationship between a troubled student and a teacher who refused to let him slip through the cracks. Along the way Harris delves into weighty themes such as childhood trauma, mentorship, and second chances among others.

Set in 1986, Nicholas Hamilton plays Nate Williams, a senior at Garden Spot High School in Lancaster County, Pennsylvania. Nate is a bright student who runs track, has an affection for photography, and is crazy about his girlfriend Tina (Sasha Bhasin). But Nate also has several secrets. Most of them stem from his traumatic childhood which the film slowly unwraps as it moves forward. He keeps hidden that he spent eight years in an orphanage and that he’s been living out of his car for two years.

But his already fragile life takes another hit after his ill-advised decision to rob an appliance shop. He is arrested while on campus which gets the attention of the school’s beloved English and drama teacher, Mr. Stan Deen (Jared Harris). While most of the faculty are quick to write off Nate, the goodhearted Mr. Deen is determined to help. The well-respected teacher uses his many connections around town to get Nate out of prison and back in school.

It all sounds like a fairly conventional setup. But Nate’s story has its fair share of obstacles including his damaged relationship with his estranged grandparents and his inability to trust anyone including Mr. Deen who goes as far as letting Nate move in with him while he finishes high school. But his biggest hurdle is dealing with the pent-up trauma that has haunted him since he was a child. And it may take the help of his fellow lost soul Mr. Deen to finally move forward.

There are several personal touches that help ground the movie in real life including Nathaniel Williams Deen himself serving as a co-writer. Adding to it, Harris chose to shoot at several true-to-life locations such as the actual Garden Spot High School in Lancaster County as well as Stan Deen’s house where he and Nate lived together. They may be insignificant on the surface, but they’re choices that testify to the movie’s sincerity and heart.

“Brave the Dark” doesn’t break the inspirational movie mold. More specifically, it sticks pretty close to the by-the-book storytelling we usually get with these kinds of movies. And while it may hit a few dramatic speed bumps, this poignant and powerful drama remains authentic, driven by a heartfelt true account that’s honest but never heavy-handed and patient enough to let the relationships grow organically. Even when exploring the darker elements of the story, nothing ever feels overstated or sensationalized. It’s that kind of control, both from Harris and his cast, that makes “Brave the Dark” resonate.

VERDICT – 3.5 STARS

REVIEW: “Alarum” (2025)

January 17, 2025 by Keith Garlington

Michael Polish directs “Alarum”, a modestly budgeted action thriller that borrows so much from other movies that it has a tough time finding its own identity. But it’s helped out by Alexander Vesha’s script which features more pieces than a chess set. Not all of them fit together as they should or move the story forward as intended. But they keep things interesting and diverts our attention away from the film’s flaws.

Joe (Scott Eastwood) and Laura (Willa Fitzgerald) were high-value spies for their respected countries who met after she was assigned to kill him. But rather than carry out her mission, she fell in love with him. The two went off the grid, got married, and started a new secret life together. But as anyone who has watched a spy movie knows, you can’t just walk away from such a profession.

While vacationing at a mountain resort in Gdansk, Poland, Joe learns that Laura is working again. To make things even more complicated, a small plane crashes in the forest. While examining the wreckage, Joe discovers that the two pilots were both shot in the head. He also discovers a well hidden flash-drive which he secures before being interrupted by a mercenary named Orlin (Mike Colter). Orlin and his well-armed army are after the drive and immediately show they’ll do anything to retrieve it.

Elsewhere at a makeshift secret headquarters, the United States’ National Clandestine Service led by Director Robert Burbridge (D.W. Moffett) are alerted of the plane crash and surmise that the flash-drive is onboard. They also discover that Joe is in the area potentially working for a mysterious anti-intelligence organization called Alarum. It leads Burbridge to call on Chester (Sylvester Stallone), the agency’s lethal but messy assassin, to retrieve the drive and take out Joe.

Those are a lot of moving parts and Vesha’s script keeps the gears of his story turning at a fairly breakneck pace. Of course all of the players are destined to come together at some point. But before we do, Vesha treats us to some surprising alliances, just as many double-crosses, and a few reveals that are somewhat fun but not overall unexpected. It all culminates in a predictably violent climax topped with a tease for a sequel I’m not sure anyone will be in a hurry for.

While its story has enough kick to keep us moderately entertained, “Alarum” isn’t without its shortcomings, the biggest being with the action. There’s plenty of it, but too many of the scenes look cheap and inauthentic. And they aren’t helped by some hard-to-miss silliness along with a score that feels plucked from a 20-year-old video game (which admittedly has its charms but not for a movie like this). Meanwhile some of the dialogue will have you laughing for all the wrong reasons.

“Alarum” sports a notable cast, most of whom do their best to flesh out their fairly thin characters. The story leans on a number of familiar spy and action movie tropes, yet it twists and turns enough to keep us interested. But it hardly makes for anything memorable, especially when put alongside its room-temperature action which should be the backbone of a movie like this. Sadly it isn’t which is a key reason “Alarum” doesn’t quite hit its mark.