Kong: Skull Island

Release: Friday, March 10, 2017

[Theater]

Written by: Dan Gilroy; Max Borenstein; Derek Connolly

Directed by: Jordan Vogt-Roberts

Director Jordan Vogt-Roberts becomes the latest to cash in on the recent trend of indie directors gone Hollywood, going from The Kings of Summer to a blockbuster that reimagines the king of the apes in all its primal glory in Kong: Skull Island, a fun throwback to creature features of the 1960s and 70s.

In it, a group of intrepid explorers comprised of government agents, Vietnam vets and various other useful experts travel to a remote island in the Pacific on a surveying expedition. The mission runs into a bit of a snag when they encounter the 100-foot-tall hulking ape known as Kong, whose territory they have begun bombing in an attempt to “learn about the landscape.” His retaliatory action lays waste to a fleet of choppers, killing several of the hapless tourists in the process and scattering the rest across the prehistoric jungle.

Kong: Skull Island proves antithetical of its Monsterverse sister Godzilla in almost every way. The focus is on more beast, more noise, more general mayhem. Less on those little threads of humanity that made each encounter with the nuclear lizard back in 2014 that much more interesting. The characters here merely serve to get us closer to the action, which is appropriate considering what the artists over at Industrial Light & Magic have accomplished. Kong: Skull Island is a visual effects delight and it should be allowed to show off a little. Did you see the number of names listed in the Visual Effects column in the end credits?

The biggest mystery surrounding this movie involves budgetary allocations rather than Kong himself. This monster movie’s cast is monstrously huge and yet only a triumvirate seems required. John Goodman plays Monarch agent Bill Randa, a man just crazy enough to get Senator Richard Jenkins to help fund his monster-hunting habit. Goodman’s a pro and makes his part enjoyable. Then there’s Samuel L. Jackson as Lieutenant Colonel Packard who has been tapped with providing Randa and some of his friends aerial support to the island. Packard’s function is to be the overbearing alpha male who wants to drop Kong himself after that initial attack cost him some of his men. Turns out, Packard has left Vietnam but only in a physical sense.

John C. Reilly is the only other significant role player here. He’s arguably the only one that really matters. He plays a World War II pilot who has been stranded on the unforgiving island and has ingratiated himself with the native tribe that also happens to be hiding out there. Luckily, it’s John C. Reilly who is given a role that ends up carving out significant space within the narrative. In the manner that SLJ plays SLJ and Goodman does a great Goodman impression, Reilly is reliably himself. Collectively the three have enough acting chops to take on Kong themselves and make it a rollicking good time.

But then there are talents like Tom Hiddleston and Oscar-winner Brie Larson stuck in acting purgatory, filling supporting roles that could have gone to anyone. The former plays a British tracker and ex-military man here to say “You can’t bomb this island” and Larson’s pacifist photographer succeeds in annoying more than just the fiery Packard. Meanwhile, Toby Kebbell gets a slightly more robust part but the actors who played Dr. Dre and Easy-E in Straight Outta Compton are totally expendable. And apparently Thomas Mann had a part, too. Who else did I miss, Kevin Bacon?

Fantastical, formulaic and occasionally frustrating, Kong: Skull Island isn’t an adventure epic that’s built to withstand the test of time or particularly intense scrutiny but what it offers is good old-fashioned, smash-mouth entertainment. Buy the biggest bucket of popcorn you can — you’re going to need it.

Kong SMASH!!! +500 pts

Recommendation: Kong: Skull Island is a bonafide crowd pleaser with its big special effects, trumped-up 3D marketing campaign and a list of famous actors longer than your arm. It’s all a bit over-the-top but then again this IS a movie featuring a 100-foot-tall gorilla. And for those who lamented the way Gareth Edwards handled his monster movie, maybe Jordan Vogt-Roberts will be your new best friend.

Rated: PG-13

Running Time: 118 mins.

Quoted: “I’m going to stab you by the end of the night.” 

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited. 

Photo credits: http://www.posterspy.com; http://www.imdb.com 

Me & Earl & the Dying Girl

Release: Friday, June 12, 2015

[Theater]

Written by: Jesse Andrews

Directed by: Alfonso Gomez-Rejon

I’d like to dedicate this piece to my good friend Andy, a man of rare intelligence and passion for rock climbing that the Knoxville community and the world at large lost far too soon.

Me & Earl & the Dying Girl may be unafraid of confronting brutal realities but it has little interest in festering in sorrow and solemnity. In fact the blunt title is a strange acknowledgement that things are going to be okay. Much like Rachel’s frilly purple pillow it cushions us if even just slightly from the gut-punch we prepare ourselves for throughout this meditation on life’s transience.

Sure, there’s a sense of inevitability and dare I say it, predictability, that casts a pall over Greg (Thomas Mann), Earl (RJ Cyler) and Rachel, a.k.a. ‘the girl’ (Olivia Cooke) and the last few weeks of their high school lives but Alfonso Gomez-Rejon and his idiosyncratic crew would be damned if the weight of the material is going to get the better of them. In spite of its originality — first and foremost in the form of a knock-out performance from Mann, whose previous work didn’t exactly instill confidence in his acting prowess — I hesitate to say my relationship with Earl is one of complete, albeit beautiful, cliché. Rarely have I been so impressed with the value a movie places not only on youth but on life itself. To say I emerged from the theater with my outlook even remotely altered would be the cherry on top of that cliché sundae but hey, can I just say it anyway?

I was moved, yes. Yes I was.

That’s him and Earl . . .

The Part Where I Tell You About The Plot.

Greg’s informed by his overbearing mother (Connie Britton) that a school friend — Greg insists she’s just an acquaintance — has been diagnosed with leukemia. His father (a very hippie Nick Offerman), reiterating that the situation “sucks quite a bit,” shares mom’s concern that Greg ought to befriend Rachel during this difficult time. Greg knows Rachel would see through the idea, but goes anyway. And lo and behold she sees right through the idea; she doesn’t need anyone’s pity. Over time, however, Rachel becomes drawn to Greg’s peculiar sense of humor and aggressively self-effacing nature, though he hesitates to place the ‘friendship’ label on any relationships he shares with his peers. Especially with Earl, a longtime “co-worker” with whom he eats lunch daily in Mr. McCarthy (Jon Bernthal)’s office . . . because of air conditioning and fears of getting caught up in any sort of clique constituting the chaos that defines Schenley High’s cafeteria.

Aside from social awkwardness, the pair share a passion for spoofing canonical films. One day class hottie Madison (Katherine C. Hughes) gets wind of this and asks them if they would make a film dedicated to Rachel. Given that their previous efforts are of a rather immature and bizarre nature — avant garde wouldn’t be the worst way to describe them — Greg is primarily concerned with coming up with something that would feel appropriate. When Earl tells Rachel about the idea to make this film, we witness the fall-out: Greg’s self-conscientiousness and Earl’s open honesty clashing with brutal force, with little thought given to how shallow and pointless the conflict really is.

Unfortunately it gives way to a larger rift between Greg and Rachel, the latter who is trying her hardest to deal with the reality of not knowing what the next day brings. All those weeks giving way to months of shared time in her bedroom, a room occupied by a diverse collection of pillows only an indie film could get away with drawing attention to on more than one occasion. Has all this time meant nothing? Was it just Greg’s parents ordering him to be there the reason he kept returning? Greg describes the friendship as doomed, but we’re not exactly sure how serious he is about that sentiment.

And this is the girl.

The Part Where I Act Like I Know How to Critique a Film.

Pervading Earl is a refreshing directness — from the performances to the tight framing of this hectic school environment and the surrounding neighborhood; from physical execution to the various thematic threads, nearly every aspect of the production lives and dies by its willingness to be casually confronting. It’s a film that allows a conversation about death and the fleetingness of existence to come about organically, although there are of course meanderings into subplots involving popsicles, “accidental” drug-taking, and peculiar food only Nick Offerman would be into for real.

As Rachel, Olivia Cooke exudes braveness and it’s a quality that clearly rubs off on her young co-stars. The distinction of most memorable performance may go to Mann but Cooke is damn good. Parenting as a function of the way we grow and experience is wisely given a substantive role as well. Molly Shannon as Rachel’s mother is unhinged but empathetic. She may be a little off her rocker and too often a poor role model for these kids but she’s a single parent desperately trying to deal with her daughter’s illness. Similarly, Greg’s parents are borderline obnoxious but they explain a great deal about Greg’s off-kilter personality. Matured and young adult alike aren’t alienated by unrealistic writing; they’re imperfect, sometimes off-putting but more often than not relatable.

Based on Jesse Andrews’ debut novel of the same name, Earl shares more in common with the ‘me’ in its title: like Greg, the narrative is equal parts profound and humble. Drama doesn’t draw attention to itself until a final tear-jerking sequence of events that simultaneously surprise and confirm early suspicions. The narrative is straightforward but as anyone who has navigated the halls of high school will attest, that journey is anything but. When you factor in a life-altering experience such as the one facing Rachel and those that she’s involuntarily surrounded by, all bets are off on how anyone is going to fare come the end of the storm. Speaking for myself, this isn’t life-changing stuff but it is life-affirming. This is surprisingly uplifting for a film with ‘dying’ as part of the title.

Recommendation: Gomez-Rejon’s sophomore effort proves an emotional experience, a beautiful representation of a difficult high school experience. It’s a great companion piece to 2012’s The Perks of Being a Wallflower. Simmering with brutal honesty and endearing personalities, Earl isn’t always fun and games but as a big fan of films that refuse to sugarcoat its themes, I find it’s an easy one to embrace. And anyone who can appreciate really off-beat characters are sure to find plenty to sink their teeth into here.  

Rated: PG-13

Running Time: 105 mins.

Quoted: “So if this was a touching romantic story, this is where our eyes would meet and we would be furiously making out with the fire of a thousand suns, but this isn’t a touching romantic story.”

All content originally published and the reproduction elsewhere without the expressed written consent of the blog owner is prohibited.

Photo credits: http://www.impawards.com; http://www.imdb.com