REVIEW: “Companion” (2025)

January 31, 2025 by Keith Garlington

The new horror film “Companion” is the latest entry into the ever-growing artificial intelligence genre. Much of what has come down the assembly line has been throwaway entertainment (“M3GAN”, “Subservience”, etc.). But occasionally we get something interesting and unexpected. “Companion” falls somewhere in between. It has just enough creative juice to stand out from the crowd. Yet it’s not as original or insightful as it clearly wants to be.

“Companion” is the feature film debut for writer-director Drew Hancock. His movie falls in line with several others from this current phase of modern horror that simply aren’t that interested in actual scares. “Companion” isn’t the slightest bit creepy, chilling, or unsettling. In fairness, Hancock doesn’t hide his intentions. He’s just as much interested in delivering a black comedy and a twisted revenge fantasy. So don’t go into it expecting to be on the edge of your seat.

**Image Courtesy of Warner Bros. Pictures**

Unfortunately as Hancock admirably attempts to corral all of his ambition, his film stumbles in areas that are hard to miss. For starters, “Companion” begins with what would have been quality table-setting if its first major reveal hadn’t been routinely spoiled during its promotion. Yet to the movie’s credit, it still manages to entertain while we wait for its story to catch up with what we already know.

But as the story progresses you begin to see its seemingly tight story slowly begin to unravel. By the end the movie struggles to stay on the rails, hampered by glaring plot holes and leaving us with obvious questions that never get unanswered. Meanwhile its overall message is a familiar one that hinges on a few popular well-worn themes without really expressing anything about them that we haven’t seen before.

The story centers around a group of friends who gather at a secluded lake house for a weekend getaway. They’re possibly some of the dumbest characters you’ll encounter on a screen this year. The lone exception is the sweet yet timid Iris (Sophie Thatcher) who arrives with her boobish boyfriend Josh (Jack Quaid). Waiting for them at the house are Josh’s friends Kat (Megan Suri) and her Russian sugar daddy Sergey, and Eli (Harvey Guillén) who brought along his significant other, Patrick (Lukas Gage).

It’s best that you know as little as possible going in. But since it was such a big part of the promotion I’ll go ahead and say it – we learn pretty early on that Iris is actually an AI-driven robot that Josh purchased from a tech company. He’s able to control her through an app on his phone that allows him to adjust everything from her intelligence to her affection to her aggression. Here’s the catch – she doesn’t know she’s a robot which means she doesn’t realize the emotions she feels is little more than programming.

But everything comes to light when an act of violence leaves one person dead. Soon after, a shocked Iris learns the truth about her existence. She also learns that Josh and his friends aren’t who she thought they were. Wacky plot turns and lukewarm reveals follow, sometimes making sense but not always. And as more twists are thrown at us, things only get sillier and bloodier. Of course that’s not always a bad thing. But here, none of it feels rooted in anything worthwhile.

There’s enough bonkers material in “Companion” to make for some breezy entertainment and Hancock smartly (and thankfully) moves us along at a fairly swift pace. But it’s hard to turn a blind eye to its shortcomings which only seem to mount the farther we go. And there’s not enough meat to its message or satirical bite to give the story the punch that it desperately needs. “Companion” is in theaters now.

VERDICT – 2.5 STARS

REVIEW: “Valiant One” (2025)

January 30, 2025 by Keith Garlington

Based on a harrowing true story of courage under fire, “Valiant One” is an action war thriller directed, produced, and co-written by Steve Barnett. This lean and modestly budgeted feature clocks in at just barely over 80 minutes. But it does some good things in its short running time, most notably telling a story about overcoming fears in the face of death and putting your life on the line for those under your command.

At Camp Humphreys in Pyeongtaek, South Korea, United States Army Sergeant Edward Brockman (Chase Stokes) is surprised when he is assigned to a field operation to repair a radar unit in the demilitarized zone near the North Korean border. But their routine in-and-out mission turns into a nightmare after wind shears from a storm causes their helicopter to violently crash outside of allied air space.

**Image Courtesy of Briarcliff Entertainment**

With his superiors killed, a reluctant Brockman is next in the chain of command. The first thing he discovers is that he and the other survivors are inside North Korea meaning headquarters can’t send a chopper to pick them up. So Brockman is tasked with leading the team’s medic, Selby (Lana Condor), infantrymen Ross (Jonathan Whitesell) and Lee (Daniel Jun), and a civilian engineer, Josh Weaver (Desmin Borges) across the border to an extraction point where Delta Force is waiting.

“Valiant One” starts off a little shaky as it introduces its core characters through an early sequence hampered by unconvincing tough guy banter. But it gets on track as the soldiers begin making their way through enemy territory. Barnett effectively emphasizes the intense pressure that comes with making split-second decisions. And he’s not afraid to show fear and even panic. That’s because his soldiers aren’t sketched from action movies. They’re grounded in real life.

At the same time, not much is shared about the region’s tensions or the geopolitical interests of the United States. Pretty much all that’s conveyed is we are the good guys and the North Korean army are the bad guys. So don’t expect to learn anything about the conflict beyond that. It doesn’t kill the intensity of watching the soldiers navigate the dangers they repeatedly face. But it does leave the story feeling light on context.

Aside from that, there are a few other blemishes that you can’t help but notice. While most of the performances are serviceable, they aren’t always up to par. And there are a handful of scene-sabotaging music choices that stick out like a sore thumb. But Barnett and company pull it off where it matters most. They make the soldiers their focus, highlighting the in-the-moment courage a soldier must possess despite the emotional consequences that will eventually come with their actions.

VERDICT – 3 STARS

Retro Review: “Say Anything…” (1989)

January 29, 2025 by Keith Garlington

Mere weeks before I was set to graduate from high school in 1989 Cameron Crowe made his directorial debut with the teen dramedy “Say Anything…”. At the time teen flicks were a dime-a-dozen and they often fell into many of the same categories. You had the genuinely funny comedies, the schmaltzy fluff, the all-out raunchy ones, etc. Many of them relied on the same tropes, the same character types, the same jokes, and the same basic storylines.

But “Say Anything…” felt different. A big reason is because Crowe gave us authentic and relatable characters rather than annoyingly shallow caricatures. He clearly cared for them which carried over to his audience. Also, he didn’t rely solely on the popular teen movie or rom-com formulas of the time. There are a few familiar beats, but Crowe’s interests lie beyond them. It wasn’t enough to earn huge numbers at the box office, but the movie has stood the test of time.

**Image Courtesy of 20th Century Studios**

Crowe’s script is laced with good humor which is well delivered and almost always comes at just the right time. Yes, there’s a sweet romance and plenty of teen-oriented drama at the story’s center. But it’s the well developed and emotionally layered characters that keep us invested. Crowe makes them easy to connect with and even easier to root for.

The story begins on graduation day at a small Seattle, Washington high school. John Cusack plays Lloyd Dobler, an average everyday student with no clear vision for what he wants to do with his life. He’s a straightforward guy who has a thing for Diane Court (Ione Skye), the class valedictorian. On paper they’re far from a perfect match, which Lloyd’s best friend Corey (Lili Taylor) is happy to point out.

Both Lloyd and Diane have their own struggles which Crowe takes time to explore. Aside from his uncertainty about his future, Lloyd’s parents are overseas, leaving him to live with his sister and nephew. Their absence creates a void for the rudderless Lloyd. Meanwhile Diana is the smartest girl in school which has distanced her from her entire class. She doesn’t have any close friends and her lone confidant is her caring father Jim (John Mahoney).

As you can guess, Lloyd and Diane eventually connect. Their feelings towards each other are genuine yet their personal problems complicate things in a variety of ways. Interestingly, the story features a lot of talk about honesty. Lloyd is honest and sincere which plays a big part in his connection with Diane. Meanwhile her relationship with her father is built entirely on honesty and trust. And just like in real life, when trust is broken it can often carry heavy consequences.

Cusack shines as Lloyd, relaying ample amounts of teen enthusiasm and nervous energy while bringing an innocence and vulnerability to his character. Skye gives an overall good performance despite going a little too big at times which can make her stand out for the wrong reasons. Mahoney is especially good as Diane’s father, dodging many of the conventional ‘movie dad’ traps and playing a bigger role in the film’s second half.

“Say Anything…” is now 36-years-old but it still maintains a freshness within a genre that has often felt tired and stale. It’s a film that examines teens through a fair-minded lens, seeing them as regular people with real-world feelings and their own complexities. Cameron Crowe’s screenplay still hits its marks and his direction is sharp. And while it still feels very much like a 1980’s movie, it has a grounded human quality that never ages out.

VERDICT – 4 STARS

First Glance: “Sinners” Trailer #2

January 28, 2025 by Keith Garlington

A film steadily inching its way up my ‘Most Anticipated’ list is Ryan Coogler’s “Sinners”. Following his franchise successes with “Black Panther” and “Creed”, Coogler gets back to an original project with a period-rich vampire movie starring his frequent collaborator Michael B. Jordan. The film sees Jordan in a dual role alongside a killer supporting cast that includes Hailee Steinfeld, Jack O’Connell, Miles Caton, Delroy Lindo, Wunmi Mosaku, Omar Miller, and more. The first trailer was intense. This newest one is even more exciting.

Jordan plays twin brothers, Elijah and Elias, who return to their home town in hopes of putting their troubled lives behind them. But as the trailers have shown, escaping one’s past isn’t always easy. And to make matters worse, there’s something far more sinister and evil awaiting them back home. Coogler looks to go out of his way to immerse us in the 1930s Jim Crow era South, really leaning into the production design, costumes, and music. But it also looks utterly terrifying in the best way possible. I’m all onboard.

“Sinners” hits theaters April 18th. Check out the trailer below and let me know if you’ll be seeing it or taking a pass.

REVIEW: “Green and Gold” (2025)

January 28, 2025 by Keith Garlington

Craig T. Nelson gets a meaty big screen role in “Green and Gold”, an inspirational drama from director Anders Lindwall. Inspired by true events, the film takes an honest and heartfelt look at the plight of family farms in America. It’s told through the story of one Wisconsin family who find themselves on the verge of not only losing everything they’ve worked for, but also losing something central to their very identity.

Though not overtly religious, “Green and Gold” thoughtfully melds together faith, football and farming into a textured and grounded drama that’s firmly rooted in rural life. Nelson plays a grizzled farmer named Buck. Full of grit and pride, Buck inherited his sprawling Wisconsin farmland from his late father. And about the only thing he loves as much as his farm are the Green Bay Packers. Case in point – he even named his cattle after the players from their 1967 championship team

**Image Courtesy of Fathom Entertainment**

With his beloved wife Margaret (Annabel Armour) and their hardworking granddaughter Jenny (Madison Lawlor), Buck sticks to the old ways of farming which means respecting the land, the animals, and the way of life. But in the changing world, the old ways have led to some substantial debt along with the threat of foreclosure from a local banker named Jerry (Tim Frank).

After some unfriendly jostling, Jerry makes Buck an outrageous deal. If the Packers win the Super Bowl he’ll give Buck an interest-free year to catch up on his payments. If they lose, Buck either pays in full or signs everything over to the bank. At first Buck declines. “We aren’t betting people”, he tells Jenny. But later, as desperation sets in, he takes the wager and puts his farm in the hands of fate.

That’s one part of the story. Another focuses on Jenny, a young woman who was raised on the farm but has dreams of getting away. She knows farming and does everything from work the fields to tend the livestock. But she’s also a talented singer-songwriter who often slips off to Milwaukee to play her music at area bars. When a hunky up and coming singer (Brandon Sklenar) offers her a chance to record her music, she’s faced with a difficult yet potentially life-changing decision.

As the drama plays out at the farm, the Packers overcome a rough start and begin winning, eventually squeezing into the playoffs for the first time in years. I won’t say how everything plays out, but it doesn’t quite follow the formula you might expect. That’s because “Green and Gold” is more interested in the humanity at the core of its story. The script does occasionally veer into the melodramatic and certain side characters desperately need more depth. But it never loses its grip on the human element.

“Green and Gold” captures the heart of its moving true account through assured direction, richly authentic performances, and a terrific sense of place. It can be tender, inspiring, heartbreaking, and even dark on occasions. We’re even blessed with the always wonderful M. Emmet Walsh in his last movie role. It all makes for a welcomed January release that has the chance to surprise a lot of people. “Green and Gold” opens in theaters on January 31st.

VERDICT – 3.5 ATARS

REVIEW: “Presence” (2025)

January 27, 2025 by Keith Garlington

Steven Soderbergh dips his toes into the horror genre (at least on paper) with his latest film “Presence”. The always intriguing Soderbergh directs, shoots, and edits this visually striking and atmospheric supernatural feature that had its premiere a year ago at Sundance. It took a while, but after some cryptic and creepy teases, Neon has finally brought it to theaters. And like so many others, it’s a movie that should be viewed on the big screen.

But despite those chilling teases, scares in “Presence” are hard to come by. That’s because from its fascinating opening to its abrupt finish, the movie is much more akin to a sad dysfunctional family drama than a creepy supernatural chiller. In fact, it’s hard to even categorize it as ‘horror’. It just all happens to play out from the point-of-view of a ghost who is sharing a house with its new owners.

Screenwriter David Koepp’s story is built upon a really compelling premise. Unfortunately it never blossoms into something bigger than its concept. Visually it’s a stunner, sharpened by Soderbergh’s keen instincts and firm control. And several of its thematic through-lines strike a heartbreaking chord as we watch this family crumble through a set of fresh eyes. Things click more into place when approaching the film from this angle. But its advertising doesn’t do it any favors. And in this case it’s best to ignore the trailers altogether.

The entirety of “Presence” consists of brief scenes filmed from the ghost’s first-person perspective. They mostly consist of static shots and tracking shots, each ending with a quick cut to black. On the surface it may seem like a showy technique. But as we get in tune with the movie’s disconsolate rhythm, Soderbergh’s methods make more and more sense.

After a hypnotic tracking shot gives us a tour of the suburban house, were introduced to the Payne family – parents, Rebecca (Lucy Liu) and Chris (Chris Sullivan) and their teenage kids, Tyler (Eddy Maday) and Chloe (Callina Liang). At first the four seem to make up a strong and fully functioning family. But through the ghost’s eavesdropping and spying we quickly learn that each member has their own issues, some of which threaten to tear them apart.

For example, Rebecca is an aggressively take-charge woman who does a poor job hiding her favoritism towards her son. Chris is overly reticent and passive to the point that his frustration is eating him up inside. Tyler is spoiled and self-centered with a hateful side that comes out more as the movie progresses. Chloe is quiet and withdrawn, still emotionally reeling from the recent death of her best friend. Together their burdens build domestic tensions which slowly take their toll on the household.

As for the ghost, it’s little more than a lens, only occasionally showing emotion and letting its presence be known. Where did it come from? Why is it there? Does it have a connection to this family? Minus a couple of speculations, these questions largely go unanswered. This leaves you wondering if the ghost exists solely to give Soderbergh a reason to play around with his camera.

But again, “Presence” is far more interested in the family. Soderbergh’s near experimental filmmaking leaves too many gaps in their story and the characters never get the room they need to fully form. The final ‘twist’ gets even less time to play out which ends the movie on a fairly awkward note. Yet there’s something alluring in Soderbergh’s heady yet delicate approach. At times he draws us so far in so deep that we nearly forget the ghost conceit. The film is at its best in those moments. It’s only when you think about the film that its flaws become most evident.