Author Archives: Keith Garlington

REVIEW: “A Quiet Place: Day One” (2024)

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John Krasinski created something pretty special in 2018 with his apocalyptic horror film “A Quiet Place” – a small budgeted but brilliantly executed project based on a story by the duo of Scott Beck and Bryan Woods. Two years later, Krasinski would return with a direct sequel, “A Quiet Place Part II”. Both films were successes with critics as well as at the box office.

Now the series is back with a third installment, “A Quiet Place: Day One”. Krasinski steps away from the director’s chair but stayed on as producer and helped conceive the story. Jeff Nichols was originally slated to write and direct, getting as far as submitting a finished script to the studio. But he left the film and was replaced by Michael Sarnoski. I’m still very interested in what a Jeff Nichols Quiet Place movie would be, but Sarnoski has made something of his own that fits well within this series.

Image Courtesy of Paramount Pictures

As its name suggests, “Day One” is a prequel as well as a spin-off. It takes place in New York City at the onset of the alien invasion that would ravage the planet and kill most of the human population (the first two films are set in the aftermath). The story mostly focuses on new characters but there are some welcomed connections to earlier players in this compelling universe.

One of several things that makes these movies resonate is the humanity at their core. It’s no different with “Day One”. Themes of fatherhood and motherhood (among others things) were central in the first two films. Here it’s something much different yet equally affecting. A perfectly cast Lupita Nyong’o plays Sam, an accomplished but terminally ill poet living in an upstate New York hospice facility with her beloved service cat, Frodo. From the very start, her character offers a new perspective to the genre.

Sam’s discouragement and self-isolation fuels much of the film’s emotional undercurrent. She is ever conscious of her own mortality and the cruel and lingering inevitability of her fate weighs heavily on her. She (mostly) keeps her emotions pent-up which worries her well-meaning nurse, Reuben (Alex Wolff). After much swaying, he convinces her to go with the group on a day trip into the city. But while in Manhattan, the sky is suddenly filled with meteor-like objects plunging to the earth. Soon after, hostile alien creatures begin attacking and killing people, plummeting the city into fear and chaos.

Sam is knocked unconscious and awakens inside a theater with a group of frightened survivors. She learns what we already know – that the deadly alien creatures are blind but have extremely heightened hearing. The movie follows her journey of survival which is impacted by the various people she encounters along the way. One such person is Eric (Joseph Quinn), a law school student from England who barely survives a flooded subway. While still in shock, he’s approached by Frodo who leads him to Sam. An unexpected friendship forms between Sam and Eric despite the two having very different aims and outlooks.

Image Courtesy of Paramount Pictures

While the film’s emotional beats hit their marks, “Day One” is also visually impressive. it begins with Sarnoski’s capturing of New York City. He keenly conveys the Big Apple’s sights, ambiance, and textures in rich detail both before and after the alien invasion. He also shows great judgment when shooting the action. The aliens are shown just enough and the camera makes them a truly terrifying threat. But they’re just as scary when not on screen thanks to Sarnoski’s shrewd use of sound and the performances.

“A Quiet Place: Day One” may be a prequel, but it still doesn’t answer the numerous lingering questions that hang over this series. Don’t expect much in terms of world-building as Sarnoski and Krasinski rely mostly on what we already know from the first two films (which isn’t a lot). But while “Day One” follows a somewhat similar blueprint as its predecessors, the human element really has an impact. Nyong’o is the essential piece, adding a very different dynamic to the horror movie protagonist. And for the record, I’m starting my campaign to give Frodo the cat all the Oscars. “A Quiet Place: Day One” is in theaters now.

VERDICT – 4 STARS

New on Home Video: “Twister” on 4K Ultra HD Blu-ray

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Warner Bros. Discovery Home Entertainment is bringing the 1996 box office hit “Twister” to 4K Ultra HD for the very first time. With its much anticipated sequel only a few weeks away, it’s a great time to revisit storm chasers Bill Paxton and Helen Hunt in this thoroughly entertaining disaster thriller. The film would go on to be the second highest grossing movie of 1996 and receive Academy Award nominations for visual effects and sound. Adding to the film’s noteworthy history, it is also known for being the first feature film released on the DVD format.

This 4K Ultra HD Blu-ray edition with Digital Copy of “Twister” will be available for purchase on July 9th. See below for a full synopsis and release information including special features.

About the Film:

Year: 1996

Runtime: 113 Minutes

Director: Jan de Bont

Screenwriter: Michael Crichton and Anne-Marie Martin

Cast: Helen Hunt, Bill Paxton, Jami Gertz, Philip Seymour Hoffman, Cary Elwes, Alan Ruck, Todd Field, Jeremy Davies, Lois Smith, Zach Grenier, Nicholas Sadler, Abraham Benrubi, Jake Busey, Scott Thomson

Rating: PG-13

Don’t breathe! Don’t look back! Just run for your life when a destructive force of nature comes howling straight toward you, destroying everything in its path – when you’re running from a Twister. Academy Award winner Helen Hunt stars as Dr. Jo Thornton-Harding, who as a small girl watched her father sucked to his death from her family’s storm cellar by a massive tornado. Now a storm chaser, a scientist who risks her life to study the dark side of nature by taking her data-transmitting instruments directly into the path of a deadly storm, Jo chases the largest tornado ever to strike Oklahoma as her marriage implodes and rival scientists will stop at nothing to steal her breakthrough.

Special Features:

The Twister 4K UHD Disc includes the following new and previously released special features:

  • The Legacy of Twister – Taken by the Wind (NEW)
  • Chasing the Storm: Twister Revisited
  • Anatomy of a Twister
  • The Making of Twister
  • Van Halen Music Video – Humans Being
  • Commentary 

REVIEW: “Kill” (2024)

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The blistering and brutal Hindi action-thriller “Kill” is an action movie that certainly stands out in this year’s crop. “Kill” earned a lot of attention following its premiere at last year’s Toronto International Film Festival. And some are already throwing out the label “cult classic”. India loves the action genre, but their movies don’t always make it to big screens here in the States. Thanks to Lionsgate, you’ll have your chance to see this one starting this weekend. And it’s a chance you should take advantage of.

Written and directed by Nikhil Nagesh Bhat, “Kill” certainly lives up to its name. The film is extremely violent and considerably more gruesome than the majority of Indian action cinema. It takes place in a mostly single setting and introduces the world to a bonafide action star in Lakshya who’s making his feature film debut. The 28-year-old actor can really ratchet up the intensity, and the physicality he brings to film will leave your jaw on the floor.

Image Courtesy of Roadside Attractions

Lakshya plays Captain Amrit Rathod, a National Security Guard commando who is madly in love with a young woman named Tulika (Tanya Maniktala). The two have big dreams of getting married, but those dreams are shattered after Tulika learns that her father (Harsh Chhaya), a powerful businessman, has arranged her engagement to another man. Wasting no time, Tulika’s family rushes her off by train to New Delhi where she is to be married. But Amrit is able to slip onboard, hoping to stop the wedding with the help of his close friend and fellow commando Viresh (Abhishek Chauhan).

But little do they know, also onboard is a large gang of knife-wielding bandits led by Fani (Raghav Juyal), a reckless and ruthless sociopath. The thugs begin moving from coach to coach, beating and robbing the passengers. Amrit and Viresh do their best to stop the bandits and protect the innocent. But when the violent wildcard Fani targets Tulika, Amrit turns from noble soldiering to pure rage-fueled savagery. That all unfolds in the first 45 minutes and then when get the title screen.

Image Courtesy of Roadside Attractions

Then remaining 45 minutes is a nearly non-stop barrage of close-quartered brutality as Amrit unleashes his fury on the seemingly endless parade of blade-swinging baddies. The fight sequences are blood-soaked and primal to their core. Bhat and DP Rafey Mehmood superbly capture the ferocity of the brawls, shooting predominantly in narrow, confined spaces. Lakshya does the rest, showing a physical and emotional commitment that drives his character and the combat.

While the constraints of the train setting add a compelling component to the action, it doesn’t offer much in terms of variety. As the fighting moves from one car to the next, you can’t help but notice how they all look the same. And I can see where some may be worn down by the near endless waves of violence. But those seem like such minor complaints considering “Kill” will easily end up being one of the very best action movies of the year. Don’t go into it expecting a new “John Wick”. But if something like “The Raid” on a train sounds good to you (as it should), get your ticket now.

VERDICT – 4 STARS

REVIEW: “Beverly Hills Cop: Axel F” (2024)

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So this was the big question for me – was Netflix’s new Beverly Hills Cop installment going to be more like the entertaining first two movies (yes, I have a soft spot for “Beverly Hills Cop II”) or closer to the abysmal third film? Well call me a fence-straddler, but the oddly titled “Beverly Hills Cop: Axel F” falls somewhere in between. It’s certainly not as high-energy or whip-smart as the beloved original. At the same time, it does scratch that nostalgic itch for fans and unleashes Eddie Murphy to deliver the kind of comedic chaos that made him famous.

It has been 30 years since the last Beverly Hills Cop movie, and it’s kinda strange that we’re getting one after all this time. It’s even more unusual that it’s premiering on a streaming service rather than the big screen (welcome to movie watching in the year 2024). But that doesn’t mean they took shortcuts. Produced by Murphy and Jerry Bruckheimer, “Axel F” has a budget of around $150 million. And a lot of that money and effort has gone into recapturing the spirit and tone of the original.

Image Courtesy of Netflix

Murphy slips back into the Aididas sneakers and Detroit Lions letterman jacket of Axel Foley, a wise-cracking, street-smart police officer from Detroit. This time around his return to Beverly Hills is more personal – it’s to see his estranged daughter, Jane Saunders (Taylour Paige). She’s a successful criminal defense attorney working for a big Beverly Hills law firm. Her current case has her defending an accused cop killer which hasn’t sat well with the local police department.

After Axel learns Jane’s life may be in danger, he sets out on his own investigation. It leads to numerous discoveries as well as run-ins with the local law. Axel does have a strong ally in his old friend John Taggart (John Ashton) who is now the cranky Chief of Police. As for Taggart’s former partner, Billy Rosewood (Judge Reinhold), Axel learns he has disappeared while investigating a lead potentially linked to Jane’s case. So is an Axel, Billy, and Taggart reunion inevitable? I’ll let you figure that one out.

Adding some new blood to the franchise is Joseph Gordon-Levitt who plays Bobby Abbott. He’s a detective with the Beverly Hills Police Department who happens to be Jane’s ex-boyfriend. We also get the always welcomed Kevin Bacon as Cade Grant, an officer who runs the department’s narcotics task force. But it’s Paige who makes the biggest impression out of the newcomers. She and Murphy have good father-daughter chemistry and her snarkiness nearly matches his scene-for-scene.

Image Courtesy of Netflix

The Beverly Hills Cop films have always been equal parts action and comedy and this one is no different. The gags are frequent and aplenty, with many coming from Murphy’s often hilarious improvisations. Others come from the writing trio of Will Beall, Tom Gormican, and Kevin Etten who deliver several good zingers (a favorite of mine is a subtle yet funny shot at the notoriously bad third film). As for the action, it’s obvious that Murphy has lost a step (haven’t we all). But he brings such a madcap energy to the scenes. And while director Mark Molloy shoots them well, it’s the infusion of Murphy’s humor that makes them fun.

As far as any mystery or suspense, there’s nothing in the story that will surprise you. Pretty much everything is laid out in the first 30 minutes or so and it’s easy to predict where things are going. But truth be told, most people will go into “Axel F” to watch Eddie Murphy doing the act which made him a household name. And while his latest doesn’t hold a candle to his best, there is still enough vintage Murphy to bring this long dormant franchise back to life. “Beverly Hills Cop: Axel F” premieres July 3rd on Netflix.

VERDICT – 3.5 STARS

REVIEW: “Trigger Warning” (2024)

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It’s really good to see Jessica Alba back doing a movie, even if it is something as underwhelming and forgettable as “Trigger Warning”. This pulpy action thriller from Netflix is her first film since 2019’s barely seen “Killers Anonymous”. I’ve always felt Alba was an underrated actress although making that case can be challenging considering the shaky material in some of her past roles. Sadly “Trigger Warning” doesn’t make it any easier.

Alba plays Parker, a special forces operator serving in Syria who returns to her hometown of Creation, New Mexico after learning her father was killed in a mining accident. Parker’s former boyfriend and current county sheriff, Jesse Swann (Mark Webber) tells her that it may have been a suicide, but she refuses to believe it. Determined to discover the truth, Parker sets out on her own investigation, recruiting a pot-growing old friend named Mike (Gabriel Basso) to give her a hand.

Image Courtesy of Netflix

What she uncovers is quite the operation for the small one-horse town. She learns that Jesse’s shady and obnoxious brother Elvis (Jake Weary) has secretly been smuggling military grade weapons and selling them on the dark web. Some of his latest clients are domestic terrorists who Elvis is happy to supply for the right price. Adding to the complexity is Ezekiel Swann (Anthony Michael Hall), a powerful Senator up for re-election and the father of both Jesse and Elvis.

Ultimately the movie comes down to Parker linking the Swann family to her father’s death and finally confronting them. Are they all involved? How far does there illegal operation go? That’s about as close to suspense as we get. Unfortunately the screenwriting trio of John Brancato, Josh Olson, and Halley Gross skim over too many details to make things interesting and barely gesture at anything deeper or even marginally provocative. It leaves us with paper-thin villains who play more like caricatures from a page than people in real life.

Director Mouly Surya does piece together a couple of decent fight sequences that tap into Alba’s physicality in ways slightly reminiscent of her “Dark Angel” days. But most of the action is as bland as the plot itself, especially during the film’s final 15 minutes. That’s where the action takes an unintentionally comical turn before ending with a whimper. And despite Alba carrying it the best she can, narrative shortcuts, generic characters, and hokey dialogue only make things worse for this limp and lifeless attempt at an action thriller. “Trigger Warning” is streaming now on Netflix.

VERDICT – 1.5 STARS

REVIEW: “Daddio” (2024)

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Written and directed by Christy Hall, the terribly titled “Daddio” is built upon the simplest of concepts – two people in a car talking. That’s the movie from start to finish. It’s a self-imposed limitation that keeps things intimate and focused while allowing the two stars (Dakota Johnson and Sean Penn) to be the centerpieces. At the same time, it’s a limitation that demands a sharp and engaging script that keeps the audience locked in and involved. And that’s where “Daddio” sometimes struggles.

Johnson plays a young woman who arrives at JFK International Airport after a late-night flight home from Oklahoma. She hops in a cab with a driver named Clark (Penn) who sets out for her apartment in Midtown. As they travel through the New York City night, the shamelessly chatty Clark opens up a series of conversations that go from paltry and crass to intimate and personal. And that’s “Daddio” in a nutshell.

Image Courtesy of Sony Pictures Classics

As you would expect, we learn a lot about the young woman and the cabbie over the course of their drive. We learn the crude and oblivious Clark has no filter and doesn’t mind saying or asking anything that comes to mind. We learn he has driven a cab for 20 years which apparently has turned him into some kind of gritty, tough-minded sage. Over that time he has formed a variety of pessimistic (and frankly warped) views on life, love, and being a man. And he’s not afraid to share them (as we quickly discover).

As for the young woman, she’s a computer programmer returning from a trip to see her half-sister. A lot of pent-up pain comes to light that’s directly related to her family history. Much of her story comes out through her boyfriend who we mostly get to know through a series of lewd and perverted texts that she receives throughout the cab ride home. And the more she and Clark open up to each other, the heavier her revelations get.

“Daddio” isn’t built upon the most original idea. But strong, lived-in performances from Johnson and Penn make this a mostly competent two-hander. Still, they can only do so much, and the film’s ultimate undoing is the script. Aside from essentially going nowhere, there’s a level of implausibility with it that’s hard to get past.

Image Courtesy of Sony Pictures Classics

For example, call me skeptical, but would a broad probing conversation like this ever really happen in a taxi? Who knows – maybe there are professional cabbies who also moonlight as deep-thinking psychologists and philosophers. Even more out there, I find it hard to imagine that any woman would willingly stay in the car with a man this bawdy and invasive. Perhaps I’m too skeptical, but these things are dubious enough to make us question what we’re seeing.

“Daddio” may be worth seeing for the performances alone. Johnson only gets better with each new role (we will pretend “Madame Webb” never happened), and Penn has long shown a confidence and sturdiness when given the right material. But Hall has a hard time maintaining a steady sense of drama and she stretches her story out for a little too long. She smartly leans on her two more than capable stars, but doesn’t always give them what the need to make her movie click. “Daddio” is now playing in select theaters.

VERDICT – 2 STARS