Kong: Skull Island

        In all honesty, I did not think that there was an overwhelming outcry to do another Kong movie.  It has been remade over the years and while it is part of the American cultural  filmscape, it is hardly what I would call a revered box office property nor a fan favorite..The whole purpose of this film was that studios are scrambling to launch franchises that mirrors Marvel’s shared universe success (see also Tom Cruise’s reboot of the Mummy coming soon).  Add to that an ensemble  list of A-list actors (who all coincidentally? star in the Marvel movies) and I smelled artistic and box office poison.  If I am going to be completely honest, I have to confess that, try as I wanted to not like this film, I actually enjoyed myself.  ‘Kong: Skull Island’ doesn’t take itself too seriously, yet still gives us an action adventure joy ride that is a fresh re-imagining of the iconic character.

The key to  the success of these mega-monster movies is the supporting human cast.  The monsters are just too big and too removed to create an engaging story, so the storyline usually falls on the cast of characters encountering and reacting to the giant beasts.  The movie’s prelude opens during WWII as a Japanese and American pilot who have crash landed on an island battle each other for survival.  The appearance of Kong is revealed and stops the soldier’s death battle.  Flash-forward to the early 70’s where the film does an adept job of using time period music and exotic locales to capture the feel of Vietnam War coming to a close.  Marginalized scientists Randa and Brookes (John Goodman and Corey Hawkins) view the ending of the Vietnam War as their last chance for respect and scramble to find government funding to support a mission to explore a mysterious Bermuda Triangle style island in the South Pacific.  This has been Randa’s lifelong obsession and he finally finds funding approval in addition to a Ranger team on its’ way home from Vietnam to escort them on their mission.  Randa goes to Vietnam to rendezvous with the military team and also recruits the  local ex-pat tracker, James Conrad (a newly buff Tom Hiddleston) and an anti-war photographer, Mason Weaver (Brie Larson) to document the trip.  The leader of the military team is Col Preston Packard (played intensely by Samuel L Jackson).  We sense the seeds of trouble in the beginning as Col Preston is overly eager to volunteer his men for this assignment as the military is what gives his life purpose and he is mourning the end of the war.

The disparate team sets flight for the island and immediately and catastrophically encounter Kong.  The special effects are impressive and made all the more horrifying by how the battle is filmed.  Hats off to Director Jordan Vogt-Roberts for his unique style of shooting these scenes.  The rest of the movie is what remains of the expedition frantically tying to make it to the extraction point while battling through the islands natural horrors.  Along the way they encounter the American WWII pilot Lt Hank Marlow (played comedically by John C Riley) from the opening scene who acts as their guide through the dangerous wilderness.  From a story point of view, Marlow provides explanation and context for Kong's existence and how he came to be.  Just as dangerous as the Islands natural horrors is Col Packard’s obsession to avenge the death of members of his squad by killing Kong.  Samuel L Jackson channels both ‘Apocalypse Now’ and ‘Moby Dick’ in exploring Col Packard’s almost suicidal obsession with bringing the beast down. 

The highlight of this film for me was just the uniqueness at approaching the tired subject matter.  Clever dialogue, fantastic special effects, and a unique filming vision elevates this film to a very enjoyable popcorn movie and we feel as if it isn’t something we’ve seen before.  There are no “cannon-fodder” deaths.  By that I mean we get to know each of these men on the team as individuals which it makes all the more impactful when they meet their demises. Again, hats off to the Director for great story telling.  I highly recommend and this film for old and new fans alike.  It also demonstrates Tom Hiddleston’s ability to be the lead in a film.  I hope we see much more of him outside his Loki role in years to come.   In grand Marvel tradition (which this film is not), stay until after the credits to see what is coming next for the shared universe concept of Kong.

I give this film *** stars

Kong: Skull Island Trailer

Logan

       It’s been a long journey, over 17 years, since Hugh Jackman helped redefine superheroes’s place in the movie world.  Prior to the X-Men, the superhero genre was considered B-level at best (who remembers Dolph Lungren as The Punisher?).  Hugh Jackman brought one of the most popular comic book characters in history (although oddly unknown to the general public prior to the movies) to the big screen and made it his own.  Interestingly enough, Hugh Jackman wasn’t even director Brian Singer’s first choice for the role (or even desired for it), yet few people can imagine anyone else playing the iconic Wolverine.  However, all good things must come to an end and Director James Mangold and Hugh Jackman create a fitting swan song for one of the most iconic film superheroes ever put on the big screen.

I applaud the courage of both James Mangold and Hugh Jackman (who took a pay cut in order to produce an ‘R’ rated film).  Prior to the success of last year’s ‘Deadpool’, movie studios shied away from, if not outright refused, making an ‘R’ rated superhero movie for fears of alienating the family demographic.  Mangold and the Studios not only took a chance with the ‘R’ rated film, but also made a film that had a decidingly “un-superhero” feel to it.  Even using the name “Logan” instead of his superhero code name “Wolverine”, shows their commitment of not going down the typical superhero genre route.  Again, a big gamble as the superhero genre has proven its’ box office success consistently in the past.  ‘Logan’ is a gritty noir film that pays more homage to Westerns than to its’ source superhero material.  Don’t get me wrong, there are plenty of super heroics to be had, but this was an exploration of character over super powers and it is a welcome direction given the amount of times The Wolverine has graced the big screen.

The film is set 15 years in the future where mutants have mysteriously disappeared and an aging Logan (Hugh Jackman) is caring for a deteriorating Professor Xavier (Patrick Stewart)  at a hiding place near the Mexican border.  Logan is making ends meet as a limo driver in the hopes of saving enough money to buy a boat, so he and the Professor can live out their remaining years in peace.  Another reason for seeking a life at sea, although never implicitly stated, is that the Professor’s deteriorating health has caused him to begin to lose control over his powerful mutant mind and his seizures have begun to become catastrophic for those around him.  Helping Logan and the Professor is the albino Caliban, whose mutant ability helps warn them of danger, even as he tends to the Professor’s needs.  All seems going according to plan until the mysterious appearance of a woman begging for Logan’s help followed in close pursuit by the semi-cybernetic mercenary Donald Pierce (Boyd Holbrook) intrudes on Logan’s life.  For once, Logan isn’t the center of the story as Pierce is in pursuit of a child code named X-23 (Dafne Keen) or Laura as the Professor discovers.

Logan tries not to care, but as events draw him into the conflict, his long dormant hero instincts are revived (albeit with nudging from the Professor) and soon they are all on the run from Donald Pierce and his Reavers.  You don’t have to be a comic book fan to enjoy this movie, but if you are there are layers upon layers of meanings to each scene as well as some well planted Easter eggs for the über nerds (or recovering ones like myself). One particular cool one is when Logan finds X-Men comic books in Laura’s pack and the issue he leaves through is issue #132 which is the issue in the comics where Wolverine first encounters Donald Pierce.  Now that’s attention to detail and shows true affection for the comic book fans.  Despite all of these reverential references, the film strives to be accessible to everyone, telling a universal story of redemption in a backdrop reminiscent of an old Western.

This is the final outing for Hugh Jackman and Patrick Stewart, but the beauty of having the story take place 15 years in the future is that the studios can still do anything they want with the characters going forward.  I doubt this is the last we will see of The Wolverine or Professor Xavier.  I recommend this film even if you aren't a fan of the genre. You need only the most rudimentary knowledge of the characters to understand what is going on and you might be surprised by how engaged you become with the characters on their last journey.  My hats off and much respect to James Mangold and Hugh Jackman on not taking the easy and safe way out on their last outing.

I give this film *** 1/2 stars

Logan Trailer

88th Annual Oscar predictions

88th annual Oscar Predictions 

 Full disclosure for this year, in that I considered this a rather lackluster year for Oscar level movies.  This is probably the first year I haven’t seen them all and given the hysterical levels of hype given ‘La La land’ (a good movie, but hardly deserving all the nominations), I had a hard time motivating myself to see all the others.  Don’t get me wrong, I thought there were many good performances, but few stood out to me this year.  That being said, most of my picks will be based on buzz and politics.  We’ll see how I do:

Actor in a Leading Role: This is a challenging one.  I think the early favorite was Casey Affleck, but I’m sensing a third Oscar for Denzel

Casey Affleck in "Manchester by the Sea"

Andrew Garfield in "Hacksaw Ridge"

Ryan Gosling in "La La Land"

Viggo Mortensen in "Captain Fantastic"

Denzel Washington in “Fences”  The Projected Winner

Actress in a Leading Role: The early money was on Natalie Portman, but ‘Jackie’ was so lackluster and I don’t think Portman’s turn in that role was that impressive.

Isabelle Huppert in "Elle"

Ruth Negga in "Loving"

Natalie Portman in "Jackie"

Emma Stone in "La La Land”  The Projected Winner

Meryl Streep in "Florence Foster Jenkins”

Actor in a Supporting role: This is one of the few categories where I think each person nominated deserved the award… but it can only go to one. Mahershala Ali is the up and coming ‘it’ guy and this was his best performance to date. I love this guy. Also, they have to find a way to honor ‘Moonlight’ somehow.

Mahershala Ali in “Moonlight" The Projected Winner

Jeff Bridges in "Hell or High Water"

Lucas Hedges in "Manchester by the Sea"

Dev Patel in "Lion"

Michael Shannon in "Nocturnal Animals”

Actress in a Supporting Role: This is the category I am most ambivalent about.  My first instinct is to go with Octavia Spencer as she has one of those cool first names, but no one does drama better that Viola Davis.  However, I would like to see Naomie Harris win. 

Viola Davis in “Fences" The Projected Winner

Naomie Harris in "Moonlight"

Nicole Kidman in "Lion"

Octavia Spencer in "Hidden Figures"

Michelle Williams in "Manchester by the Sea”

Best Picture:  This one is a slam dunk, which makes me a little sad.  Hollywood never gets tired of honoring itself and this musical is a throwback to Hollywood glory days.  Way overhyped movie, but it has all the mojo.

"Arrival"

"Fences"

"Hacksaw Ridge"

"Hell or High Water"

"Hidden Figures"

"La La Land” The Projected Winner

"Lion"

"Manchester by the Sea"

“Moonlight"

Best Director: And everyone is raving about Damien Chazelle, the 31 yr old wünderkind.  My personal favorite would be Denis Villeneuve, just because he rocks, but Mel Gibson probably deserved it.  However, because of his being on the ‘outs’ with the Hollywood community, I doubt he has a chance (I’m amazed he was even nominated)

"Arrival" - Denis Villeneuve

"Hacksaw Ridge" - Mel Gibson

"La La Land" - Damien Chazelle  The Projected Winner

"Manchester by the Sea" - Kenneth Lonergan

"Moonlight" - Barry Jenkins

So, let’s see how I do…

John Wick: Chapter 2

       Before the first ‘John Wick’ came out, the buzz was that it was a generic B-action film that marked how far Keanu Reeves had fallen from his prime years as a movie star.  It turned out to be everything the critics expected, but one thing the critics didn’t expect was that it was so well done for its’ genre and delivered such unapologetic non-stop visceral action, that it became the sleeper hit of the season. At its’ core, it was the simplest and most basic shoot-em-up revenge film one could imagine, but the talented choreography and a grey and somber filming palette was mesmerizing to behold.  Of course, with such success, the studios demand a sequel and instead of running from its’ B-movie origins, ‘John Wick: Chapter 2’ raises the stakes even higher by fiercely embracing it.

Once again, John Wick (Keanu Reeves)is trying to find a way to stay in retirement from his assassin past.  Unfortunately, in the shadowy underworld of assassins, there are rules and obligations that must be honored.  When the mysterious Santino shows up one day and lays down a blood marker to John Wick which basically is calling in a past debt where the possessor can demand any favor he requires from the recipient, John Wick tries to say ‘No’, but the consequences in the society of assassins for not honoring a blood marker is catastrophic.  After realizing that he cannot escape his ‘obligations’, John Wick comes out of retirement with the intent of this being his last foray into the secret underworld.

The plot points of the movie in both the original and the sequel are not as interesting as the secret underworld that Director Chad Stahelski creates and explores.  It’s a secret world right under our noses that seems eerily familiar, yet gothic and cultish at the same time.  A world where assassins can escape their violent world for momentary respite in ‘hallowed’ spaces.  They are obliged to obey rigid laws of civility with dire repercussions should they violate even the smallest norm or charter.  Presiding over this assassin’s member’s only club is Winston (Ian McShane), a king like hotelier who runs his Barony with civility and culture, with the underlying sense of dread should he be crossed.  In a world of short life spans, Winston has a long history with John Wick.  Even though we feel that Winston is secretly on John’s side, we know that his first priority is neutrality and maintaining the sanctity of the underworld society he has helped create.

Much of the charm of the movie is seeing how this movie adepts what would normally be the rules and regulations of a Mason’s Society to this violent underworld of killers, but let’s face it, people are coming to see the non-stop mayhem and John Wick delivers.  I thought it couldn’t get more violent than the first but I was wrong.  The violence is video game style violence that makes one wince, but never crosses the threshold of believability.  Keanu is still believable as an action hero and his box office reputation remains intact.  If you go expecting no more than just a well choreographed action film, then you will have a great time.   Don’t try to seek out more than that.  

I give this film ** 1/2 stars

John Wick 2 Trailer

Split

           M Night Shyamalan has had a tumultuous ride in his Hollywood career.  The prolific and stylized Director shot out of the gate with the now classic ‘Sixth Sense’.  While he has made several worthy films since (most notably ‘Unbreakable’), his star power has fallen considerably with each box office disappointment.  In the last several years, he has taken on Hollywood big budget projects, such as ‘The Last Airbender’ and ‘After Earth’, whose disappointing critical and box office returns have made him all but unemployable at the major studios.  Like it or not, M Night was meant to be an Indie film maker and ‘Split’ marks his return to his passion for writing and directing his own projects.  I won’t say this is his greatest work, but it marks his return to form and provides a fantastic Film Noir experience so lacking in today’s cookie cutter cinema.  I have an issue with the marketing of this film as trailers and advertising seems to be going for the teenage slasher film market.  I would put this in the “psychological thriller” genre, with a performance by James McAvoy that was so good that I’m offended he wasn’t nominated for an Oscar.

The film starts with three teenage girls being kidnapped by a stranger named Dennis (James McAvoy).  Two of the girls are part of the popular crowd, but the third is a quiet outsider named Casey  played by Anya Taylor-Joy.  After being drugged, the three wake up in a dungeon like room confronted by their kidnapper, whom they soon discover suffers from multiple personality disorder.  “Dennis” has 23 distinct personalities and McAvoy gives what should have been recognized has an Oscar winning performance as he cycles seamless between his personalities.  The ability of a Scotsman like McAvoy to perfectly capture regional American accents is impressive which only leads to the horror of the  unpredictability of his character. The focus is on Casey, who reacts atypically to the kidnapping and she becomes the character the story explores the most through flashbacks that increasingly make more sense as the film unfolds.  Her strategy, if thats what it can be called, is acceptance of the kidnapping rather than the resistance demonstrated by the other two.  

On the other side of the film is the exploration of Dennis’ relationship with his psychiatrist  Dr Fletcher (played innocently and sympathetically by Betty Buckley).  She receives constant cries for help in her e-mail box, which Dennis always denies when they actually meet.  He plays it off as just feeling low and overwhelmed at the time.  Dennis has been Dr Fletcher’s case study of Multiple Personality Disorder and, while she is sympathetic, she definitely has a vested interest as she sees her patient as making or breaking her career.  She understands, despite Dennis’ protestations, that there is a war going on among Dennis’ personalities for who will become the dominant personality.

Like him or not, M Night is a master at cinematography.  While his dialogue is smart, he definitely takes his time with the story.  I find it an effective way to build tension, but I can see where some would be impatient with his pace.  The beauty of his ability to frame a scene is sometimes breath taking if one is into that sort of thing.  His strategic use of color to influence the mood of a scene and even in some cases to propel the story forward is a pleasure to observe. He utilizes the entire frame shot to make a statement that is sometimes more important than even the dialogue to move the story forward.  It’s as powerful as I’ve seen from him since ‘Unbreakable’

For those of you who like stories grounded in realism, M Night takes a departure in the third act to the fantastical as the tensions between the personalities build towards the culmination of a consolidation of all the personalities cryptically referred to as ‘The Beast’.  The race to discovery and escape against the arrival of ‘The Beast’ is excruciating.  This is where M Night shines as he doesn’t rely on action or CGI to build suspense.  

This film won’t make a lot of money at the box office, but it is a welcome return to form for M Night.  I can see smaller budget, targeted films being an effective niche for him. I welcome this type of film making as not every film has to knock the box office out of the park to be worthwhile.  Actually, I find the opposite as true art happens more often without Corporate interference than not.  M Night is gifted and I think his long term contribution to the cinematic art form is better suited in this format.  I will repeat my caution to Corporate marketing teams that I often have:  Do not market a film as a different genre than it really is.  You will disappoint audiences who come expecting something else.  ‘Split’ is several steps above the horror flick it is promoted as.  I feel the teen crowd would find this boring where as cinemaphiles, who would pass this over due to the trailers, would truly enjoy this.  As always, M Night gives us a trademark twist ending that will delight longtime fans of his.  I recommend this film to those who are nostalgic foe M Night’s return to his former mojo.

I give this film *** stars

Split trailer

Moonlight

I have many thoughts yet no easy way to review ‘Moonlight’.  It is a small underdog of a film that has been getting over the top reviews and a lot of Oscar buzz, which sometimes sets off red flags with me.  While I think that many of my fears were well founded in that this film, due to its’ story line, was being pushed and heralded too much to be great, I will say that it has stuck with me for days and I find myself examining it more and more.  

The film is divided into three parts in profiling the life of a young African American child named Chiron living in the Miami projects.  Pre-adolescence, mid-teen, and young adult periods are the time periods chosen as we follow this small, shy child struggling to make it in the world. He lives with his single crack addicted mother in slum housing. She loves him, but cannot get past her personal demons to be the parent he needs.  His only partial parental-like guidance is from the local drug dealer Juan (played by my rapidly-becoming-favorite Mahershala Ali).  Juan senses Chiron’s neglect and vulnerability and seeks to take him under his wing with the help of his girlfriend Teresa (played by a surprisingly low key, yet still beautiful Janelle Monáe).  Rarely being able to spend nights at home, given his mother’s promiscuity and addictions, Chiron finds sanctuary and guidance  in Teresa’s home from the bullies who sense that he is ‘different’.  Juan is anything but an angel, but Chiron’s innocence sparks his paternal instinct and Juan does the best he can in providing guidance given the circumstances. Chiron’s sole friend is his Cuban American classmate Kevin (Shariff Earp). Chiron struggles to fit in and is grateful for Kevin’s friendship and sometimes protection.  He struggles equally with trying to understand their closeness and his constant desire to be a part of his life.

With this backdrop, it seems that Chiron’s life is predetermined for failure.  He has no real guidance or role models as he begins to slowly understand his feelings of homosexuality.  In fact, he withdraws even more into himself as who he is would never be accepted in the world he lives in.  Writer/Director Barry Jenkins uses a minimalist approach with the story and dialogue and the three actors who play Chiron throughout his development hardly speak.  Jenkins uses lingering camera shots on Chiron’s face as he encounters his challenges in life.  While the actors are wonderfully expressive, Jenkins leaves it up to us to draw out whatever empathy or meaning we can.  There is little judgement or blatant advocacy, rather merely a portrait of personal awaking in an environment that does not welcome it.

I can’t recommend this film to everyone.  I especially don’t recommend it to people planning on waiting for it to come to video as the slow and deliberate pace does not lend itself to home viewing.  If you enjoy independent film making from promising young Writer/Directors, then this is your type of film. Don’t expect to leave with an earth shattering message or anything other than an appreciation of the effort it took to put this story on film.  I’m grateful to Barry Jenkins for giving us this portrait of a person’s life because, as I said, I can’t say I loved the film, but it has lingered with me for days afterwards and, to me, that is a sign of successful art.

I give this film ** 1/2 stars

Moonlight Trailer

Rogue One: A Star Wars Story

‘Rogue One: A Star Wars Story’ is aptly named.  This is not a sequel or a prequel to the current Star Wars storyline, rather a supplement. It’s a film smaller in scale which, in some ways, gives it greater impact.  It tries to set itself apart from the main Star Wars universe by not adopting things such as the credits story line scroll or even the iconic Star Wars music by John Williams.  In all honesty, I did miss those iconic touches, but it in no way takes away from the integrity of the film.  In further honesty, I have to confess I was never the biggest Star Wars fan, even though I am well versed in the mythos and characters in the Star Wars universe.  While I find the movies fun, to me it was always special effects and fight scenes at the expense of story.  What spartan and basic story it does possess is powerful, but usually, the endless fight scenes failed to impress me.  Rogue One is no different in terms of action over story, but where this film did impress me is the quantum jump in the quality and beauty of the film.  The second trilogy never really impressed me in terms of their level of special effects over the original trilogy.  Rogue One is a visually rich film and the beauty of many of the planets and locales are breathtaking.

Most people remember the plot of the first Star Wars where the Evil Empire have developed a moon sized Deathstar to wipe out the Rebellion and completely conquer the galaxy.  Princess Lea of the Rebellion loads the plans to defeat the Deathstar into R2D2 and tasks the droid to transport the plans to the Rebellion after she is captured.  A comment was made in the film that many good men died to acquire these plans.  This is the basis of ‘Rogue One: A Star Wars Story’:  How a group of brave men and woman infiltrate the Empire and steal the plans to save the universe.  The central character revolves around Jyn Erso (Felicity Jones), the exiled daughter of the man most responsible for the creation of the Deathstar, Galen Erso (played by favorite Mad Milkkelson). After being traumatically separated from her parents, she is taken under the wing of extreme dissident Saw Gerrera (another favorite Forrest Whitaker).  When her true identity is discovered she is rescued by the Rebellion and she is teamed up with Cassian Andor (Diego Luna), this film's swashbuckling version of Hans Solo. She is assigned to a Rebel ship, code named Rogue One with the mission to retrieve the plans that contain the key to destroying the Deathstar.  Joining them is the delightful droid K-250, who is continually exacerbated with his human companions and a variety of other rag tag assemblings. Most notably is the blind Jedi Chirrut Îmwe (Donnie Yen) who has some of the coolest scenes in the film

Director Gareth Edwards is able to find his own voice in the Star Wars universe while at the same time keeping the magic that Star Wars fans will love.   By focusing on a smaller story, we feel that we get a perspective of the Star Wars Universe that we never had before.  Of course, by the third act, non-stop blaster and saber fights commence.  Monotony and tedium would have set in for me, but the sheer beauty of the film and breathtaking scenery kept me engaged and enjoying the film.  I have to say this film deepens my appreciation for the universe created in Star Wars even if does not increase my love for it. This film is a worthy interlude to the Star Wars universe even as I look forward to getting back to the story line. Hats off with respect.

I give this film ** 1/2 stars

Rogue One Trailer