Kong: Skull Island -- Movie Review and Kong Flick Comparison, Part 3

Note: this entry is the last of 3 about Kong: Skull Island. Part 1 is here, two days ago. Part 2 is here, from yesterday.

Photo: Kong and Apocalypse Now Crossover Shot. (Don't ask where the natives got the hydraulics necessary to build this.) From this IMDb page.

The movie might not make you feel smarter, but you'll perhaps nod along with some cultural references and homages, unless you were born after, say, 2001.

First, as you see in the poster above, there's a nod to 1986's Platoon. Speaking of war movies, there are a few very obvious nods to Apocalypse Now and Heart of Darkness. We've got major characters named Conrad (after Heart of Darkness's author, Joseph Conrad) and Marlow (after the main character in both Conrad's book and Francis Ford Coppola's movie, which takes place in Viet Nam [another nod] and is based on Conrad's book).

And the movie's most famous line--"The horror...the horror..."--is lifted directly off the pages of Conrad's book, without credit. Ugh.

Photo: The famous Apocalypse Now poster, from its IMDb page

If that wasn't enough, John C. Reilly's character is obviously Dennis Hopper's zany (and drugged-up) photographer from Apocalypse Now--a direct comparison. Almost an exact copy. And both novel and film is mostly about a boat trip up a river to capture someone who's thought to be very dangerous--and is--but who also has a shocking truth to tell, and whose anger and possible insanity is distressingly easy to understand and relate to. He is not what he seems, or what you've been told he is. Or what you'd expect. That's Kong in this movie, which you'll definitely see.

And Kong is Kurtz from the book and movie. And Kong and Kurtz are both worshiped by the jungle's natives (Conrad's Kurtz, from the book, is in the Congo, while the movie Kurtz is in Viet Nam.) And the choppers in the movie's poster is a direct reference to the famous opening of Apocalypse Now, with its choppers, and all three works, the book and the two Kong movies, all have the same theme: Mankind has a heart of darkness to all living things, including mankind.

Samuel L. Jackson's character is a mad Ahab from Moby Dick, but is even more a direct copy of his man-loving, man-is-all-powerful character from Deep Blue Sea. This is such an exact duplicate of that role that I'm a bit surprised that he hasn't come into more critical panning. True, Christoph Waltz won two Oscars for essentially playing the same role in consecutive Quentin Tarantino movies (and his turn in Inglorious Basterds was much better), but, still...Maybe Jackson would've been criticized more if his name had been, say, Brie Larson.

But I'm over it.

So if you like creature movies, and if you remember the Creature Double Feature flicks with a little fondness, and if you know your war movies, literature, and cultural references, or if you just like a good popcorn flick that's very fast-paced, that looks great, that has a directorial flair of its own, and that looks like a franchise that promises more of the same, go see it. It's right up there with Spielberg's original Jurassic Park, and with the latest Jurassic World, and with Jackson's King Kong, though maybe it finishes just a notch below these in overall value. Still, well worth your time.

Kong: Skull Island -- Movie Review and Kong Flick Comparison, Part 2

Note: This blog is a second part of yesterday's blog entry.

Photo: Tom Hiddleston, Brie Larson, John C. Reilly, and the Skull of One of Kong's Parents, from this IMDb page.

Brie Larson (who infamously stood, without applauding, as Casey Affleck won his Oscar for Best Actor just last month. This was the other thing that telecast was known for, besides the texting Price/Waterhouse fool screwing up the last Best Picture award) has come into a lot of criticism for accepting this role after she won the Oscar last year for Best Actress (for Room; and she's soon to appear as Jeannette Walls in the movie of Walls's excellent memoir, The Glass Castle) in a much more serious and important film, but what the hell is that about? Oscar or not, if you're a woman in Hollywood and you're given a role that may become a shot at a franchise and a chance to make big bucks in three or four movies, don't you take that? With the length of women's careers in Hollywood, and the lack of roles that don't involve some sort of nudity or inadvertent (or purposeful) sexism, don't you take a role that might lead to a few more movies and big paychecks in which you at least get to do your own running around, and no guy grabs your hand and makes you run with him? Yup, I sure do. She did. Plenty of guys have in such film franchises, right?And who says she had a ton of other better offers at the time? Ridiculous and sexist criticism against her here. She's an actor making a living. No more, no less. Why does it have to be anything else? Drives me nuts, our society's and culture's attitude towards women. Nobody criticizes guys who always take such roles, but who are capable of better, right? Tom Cruise, Mel Gibson, Bruce Willis and more have gone that route. Willis especially could've done great supporting work in films as good as his Nobody's Fool, for example, and Tom Cruise's best work have been in films like Jerry Maguire, Rain Man, and Born on the Fourth of July. But these guys, and many others, have made the action flicks and the big bucks, and nobody criticizes them. You would think movie critics, who get paid to know movies more than I do, would realize this and not say such crap about women--in this case, Brie Larson. I say, it has made me mad. ::takes a breath:: ::gets over it::

Photo: Brie Larson, from Kong: Skull Island, ready to shoot a flare at her next sexist critic. Or at Casey Affleck. (Sorry.) From IMDb.

Well, a little off track here...Let's reel it back in.

After a brief foreward of sorts, the set-up for the rest of this movie is pretty standard: the characters are told they'll be dropped off at the southern tip of the island, and picked up three days later at the northern part. At this point, even a three-year old can see that they'll get trapped on the island, and have to fight their way through it for three days before they're rescued. That's the set-up, in typical action-flick fashion. When they drop bombs to see if the island is hollow and safe (???), you would expect problems, and you get them, and unless you have a heart of stone, you probably feel the characters deserve what they get. I mean, they were dropping bombs on an island where they knew living beings existed, and if you don't get the Viet Nam political message there, then I can't help you at all with this review. (The movie takes place during the Viet Nam War and involves Viet Nam soldiers. Did I mention that?) So the crap hits the fan, and you know there's going to be a lot of mayhem and running around, which there is. In truth, there's probably nothing in this movie you haven't seen before, but it does it so incredibly fast and well, with some shots that will really impress you, especially when creatures stand in front of an apocalyptic firebomb, etc. to express menace and danger...Well, you've seen it before, yes, but probably not this well. And fast. And fun.

Plus, there's a little more...tomorrow.

Kong: Skull Island -- Movie Review and Kong Flick Comparison

Photo: from the film's Wikipedia page

Very, very entertaining monster pic that wasn't on my radar at all, but which caught my eye during its previews during other films, like Get Out (review to come soon). Quick warning: Wait until the end of the credits before you go, or you'll miss an entertaining segment that promises much for the future. 

It ends with a bang that really defines what works with this movie: It's simple, loud, visually eye-popping, and it has a sense of its own style that is similar to other monster (and other classic) movies, but which defines itself as well. You'll want to see this one, and probably to buy it for a rainy day when you're in the mood for a good monster flick. I'm thinking of watching it, back-to-back, with Gareth Edwards' recent Godzilla, and Peter Jackson's King Kong. 

Photo: 1976's King Kong, from its Wikipedia page. [For Christmas?]

Because the comparison is gonna happen, I'll get it out of the way here: this movie, and Jackson's film, are really apples and oranges. (And 1933's King Kong is a different food group entirely, by comparison to this one. This movie actually is closer to the so-so 1976 King Kong, but without Jeff Bridges's caveman look and Jessica Lange's unintentionally hilarious "Eat me! Eat me!" dialogue to an understandably perplexed King Kong. Lange gave it her best, but by God what a thankless role. Still, it made her a star. Naomi Watts's turn was an Oscar-worthy effort by comparison, but she had a much better script to work with. And the '76 film showed what not to do, which helps.) Anyway, this movie and Jackson's film don't try to do the same thing, as this is a reboot prequel with an eye to a franchise, and Jackson's was a straight-up remake that didn't want to go anyplace else. (But without it, Gareth Edwards's Godzilla doesn't get the go-ahead.) 

Photo: King Kong (and Naomi Watts), directed by Peter Jackson, from its Wikipedia page

Having said that, my better half liked Jackson's film better, and I'd have to agree, but only if you follow the difference I've just said. Jackson's film has better acting, and maybe better directing (though Jordan Vogt-Roberts does an excellent job here, which I'll get to; it may be a tie), but it also is much more depressing (remember the sucking creatures scene?!?) and it has the all-time sad ending that we know is coming. Naomi Watts does a better job with her character than Brie Larson (who I like) does here, but Watts's character had a lot more depth, and she had a lot more to do. Larson never gets that chance with her script, and does the best she can with the words she got. Essentially, she runs around and looks horrified, and then pleased, and then horrified, and then she runs around a lot again. But she does it all well, with spunk and grit. Her character has a point to make, though I'm not sure anyone knows what it is, including the moviemakers, us, and Brie Larson. (Actually, she's the audience's aghast stand-in figure.) Again, she does what she can with a one-note role. In truth, all the characters are one-note roles, without much else to say or stand for.
I mean, it's an action film, with creatures and such. Did Jurassic Park have great acting, outside maybe Jeff Goldblum? Nope.

This review of Kong: Skull Island continues tomorrow...

Godzilla (2014)

Photo: Godzilla's movie poster, from its Wikipedia page.

Some quick bullets about Godzilla 2014.  Bottom line: if you like action movies, monster movies, or war movies (yes; see first bullet, below), you should go see this.

--The real star of this movie (even more than Godzilla and his pals) is the director, Gareth Edwards.  The direction for this movie is truly unbelievably good, much more so than is necessary for a movie like this.  Even critics who didn't love the movie said Edwards did a great job.  The best thing I liked about the direction was that it purposely shied away from shots of the monsters fighting, and instead focused on the people below in a you-are-there kind of way.  It was like combining a Godzilla movie with The Hurt Locker.  If two giant moth monsters were to suddenly awake, and try to get together to mate, and were intercepted by Godzilla, it would look exactly like this to the people on the ground, caught in the middle of it all.

--There are so many nods to other movies in this movie, I lost track.  The ones I remember: Jurassic Park (many scenes; one in particular: the one where Jurassic Park's Dr. Alan Grant and Ian Malcolm sat in the stopped car in the pouring rain, and wiped away the mist from the window to worriedly see outside; this is enacted exactly the same in Godzilla); 2001: A Space Odyssey (many scenes; especially when the guys in Godzilla parachute into the battlezone to the same exact insane singing as in the ending of 2001, when David passed Jupiter and entered the psychedelic light); countless 50s and 60s Godzilla movies, especially the ones where the dino costume seemed way too big (and Godzilla's roar is the same as it was in the 50s, amped up for 2014; oh, and don't miss the Mothra sign); Jaws (the main family's last name is Brody, and someone says, "Are you Brody?" just like in Jaws).  There's a motion-detector that looks exactly like the one in James Cameron's Aliens.  Sounds just like it, too.  That's all just off the top of my head.  There are many more.  This became one of the joys of the film for me--finding all the homages.  This sounds distracting, but it wasn't.

--Not too much acting is expected out of the actors.  When Elizabeth Olson headlines your cast, this is a good thing.  But this isn't a Merchant / Ivory film anyway, if you know what I mean.

--The film has no pretense to be anything more than what it is: A wonderfully directed, at times breathtakingly beautiful action movie that has three monsters.  (I see this as more of an action movie than as a monster movie.)

--The action scenes do not last too long, as a few of Man of Steel's did.

--David S. Goyer and Frank Darabont assisted with the screenplay.  Those are Dark Knight and Walking Dead names.

--There are no subplots involving a dumb romance, or a boring father / son conflict, or a cardboard villain.  Just monsters and mayhem.  The main character / hero saves a little boy or two, but that's okay.  He's supposed to do that, right?  And it's not drawn out or sappy when he does.  This was the problem with 1998's Godzilla, which had very good special effects and action scenes, but aspirations of personal conflict and relationship issues that nobody cared about.

--It's not too long.  Just over two hours.

What else do you need?  Go see it.