Kong: Skull Island

GONCUks

2017

Legendary Pictures/Tencent Pictures/Warner Bros.

Directed by Jordan Vogt-Roberts

Produced by Thomas Tull/Jon Jashni/Mary Parent/Alex Garcia

Screenplay by Dan Gilroy/Max Borenstein/Derek Connolly

Story by John Gatins

Based on “King Kong” by Merian C. Cooper and Edgar Wallace

I’ll say this for KONG: SKULL ISLAND: It wastes no time in getting down to business. The movie knows good and damn well we’ve come to see King Kong and we do see him in all his towering glory in the first few minutes. But that’s only because we won’t see him again for a while because we’ve got to get the introductions of the human characters and necessary plot exposition out of the way. But that’s okay because thanks to the talented cast and energetic direction, you won’t be bored, trust me.

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Although KONG: SKULL ISLAND is designated as being a sequel to the 2014 “Godzilla” it starts off with newsreel footage that reminded me more of the beginning of the infamous 1998 “Godzilla.” And that’s not the only thing it’ll remind you of as you watch it. Pay attention and you’ll see numerous shout-outs, call-backs and homages to the 1933, 1976 and 2005 versions of “King Kong” because this is a reboot of the character and you need to take it on that basis because there’s no explanation of how Kong survived falling off the Empire State Building or how he got back to Skull Island. To steal from Marvel Comics, consider this to be Ultimate King Kong, combining elements from all the previous versions of Kong to create something new and surprisingly fresh.

It’s 1973. Bill Randa (John Goodman) and Houston Brooks (Corey Hawkins) work for a secret government organization named Monarch that investigates monstrous creatures that used to roam the Earth and Randa believes they still exist but hide in remote places like Skull Island. He secures a military escort to take him and a scientific expedition to Skull Island to prove his theory. The military escort is a wildass helicopter squadron known as the Sky Devils commanded by Lieutenant Colonel Preston Packard (Samuel L. Jackson). Packard jumps at the chance for the mission to snap him out of his depression about America pulling out of the Vietnam War.

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Also along for the trip is former British Special Air Service Captain James Conrad (Tom Hiddleston) and award winning photojournalist Mason Weaver (Brie Larsen) who has suspicions that the so-called scientific expedition is merely a cover for some sort of illegal and unethical secret military operation and she intends to uncover it. She uncovers something but it sure as hell wasn’t she thought it would be.

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Skull Island makes The Land That Time Forgot look like Coney Island. In the words of Seth McFarlane ; “everything that is not you wants to kill you.” Although not as totally and utterly frightening as Peter Jackson’s Skull Island (which gave me bad dreams for two or three nights after I saw his “King Kong”) there’s still enough beasties on this Skull Island to make our desperate band of heroes realize that they have absolutely no business being here. After a devastating battle with Kong that is apocalyptic in it’s savage carnage, our heroes are separated into two groups. They have to make their way to the north end of the island in two days where they hope to be picked up by pre-arranged transport. Of, course, the trick is to stay alive until then.

Did I say apocalyptic? I did. And I did not use that word by accident because much of KONG: SKULL ISLAND is going to remind you of “Apocalypse Now” believe it or not. John C. Reilly shows up as a character that owes much to Dennis Hopper’s crazed photographer from that movie and like Hopper, Reilly’s character lives with a tribe that worships Kong much in the same way that Hopper’s tribe worshipped Colonel Kurtz.

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The cast is first rate with John C. Reilly easily walking off with the movie’s MVP award. I wouldn’t dream of telling you the background of his character as it’s one of the most fun elements of the movie, which has all the excitement, feel, style and downright snap, crackle and pop of classic 1930’s and 1940s adventure movies. Samuel L. Jackson surprised me in this one and for an actor whose career I’ve been following as long as I’ve been following his, that’s not easy to do. Jackson manages to get in some social commentary about the military view of The Vietnam War without being heavy-handed or slowing down the plot the least little bit. John Goodman looks and sounds better here than he has in quite a while and appears to be having a ball. His first line in his very first scene got a big laugh from the audience I saw the movie with as he obviously means for it to have a double meaning as he looks directly at us and does everything except wink to make sure we get the joke.

Corey Hawkins I know from “Straight Outta Compton” and “24: Legacy” and he shows a definite gift for disappearing into different characters as there’s nothing of his other roles in this one. As for Tom Hiddleston…if the guy ever decides to go for being a straight-up action hero I would say that based on this movie, he can pull it off with no problem. If some smart studio ever gets their act together and makes a decent Modesty Blaise movie he’d be a perfect Willie Garvin.

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As for the star of the show himself, Kong is portrayed as what he should be, frighteningly majestic with a air of savage, yet sad nobility. I always like it when Kong is hinted at being more than just an animal and we get that here. Although this Kong doesn’t have a fight here that I would say tops the one in Peter Jackson’s where his Kong took on three T-Rexs, his final showdown with the gruesome Alpha Skullcrawler is deliriously satisfying in it’s sheer destructive spectacle.

I saw KONG: SKULL ISLAND on a day where it was cold and snowing like mad but for 118 minutes inside the theater I felt like it was summertime. Because that’s exactly what KONG: SKULL ISLAND is: a fun, goofy, pulp-inspired summer blockbuster that’s not afraid to be what it is; an adventure ride designed to do nothing but thrill and entertain and it does that the full 100%. Go see and enjoy.

KONG: SKULL ISLAND

PG-13

118

And P.S…DO NOT LEAVE WHILE THE END CREDITS ARE ROLLING. Just like the Marvel movies there’s a scene after the credits are done that promises more to come.

 

 

Carnage

2012

Sony Film Classics

Directed by Roman Polanski

Produced by Said Ben Said

Screenplay by Roman Polanski and Yasmina Reza

Based on the play “God of Carnage” by Yasmina Reza 

When the end credits of CARNAGE scrolled on the screen I was reminded of one of my favorite quotes from the animated movie “The Point” which is the lesson learned by the main character Oblio who is the only round-headed person in a land where everything and everyone has a point.  The lesson: You don’t have to have a point to have a point.

What has this got to do with CARNAGE?  Well, I just threw it out there so that if and when you decide to watch it you won’t be taken by surprise by the movie’s conclusion which isn’t really a conclusion.

Alan and Nancy Cowan (Christoph Waltz and Kate Winslet) visit the Brooklyn condo of Michael and Penelope Longstreet (John C. Reilly and Jodie Foster) to discuss a recent incident involving their sons.  During a playground dispute, the Cowan boy hit the Longstreet boy with a stick, knocking out two of his teeth.  The parents have decided to meet to avoid legal foofaraw and resolve the matter themselves.  Penelope insists they they can work this out in a civilized manner.  Turns out that she’s wrong.  As the discussion gets more involved as the two couples discuss marriage, parenthood, their jobs and their lives, civilized behavior begins to deteriorate.  And once the apple cobbler, 12 year old Scotch and cigars come out, things really begin to heat up.

Penelope is insistent that societal responsibility must be adhered to and blame assigned.  Michael strives to remain the genial and affable host, struggling to contain his short temper and naturally abrasive manner.  Nancy resents being in competition with Alan’s Blackberry which he seems to prefer talking to during the meeting rather than the Longstreets.  What starts out as a simple meeting soon turns into the four people dissecting each other verbally, cutting away the false faces they wear to get along in the world and getting at who they really are underneath.

Now, don’t worry that we’re getting into “Who’s Afraid of Virginia Woolf?” territory here.  Although the movie could have easily gone that way, it doesn’t.  Instead, it’s surprisingly light and funny.  The characters don’t really go for each other’s jugular, instead we get them throwing solid jabs at each other but never going for a knockout punch.

What we have here are four really fine actors just…well, acting.  99% of the movie takes place inside of the Longstreet apartment with just the four actors.  And it is fun to watch them at work.  Especially John C. Reilly who stole the movie every chance he got, as far as I was concerned.  But everybody gets a chance to shine and they do.  For some, this movie may be too much like a filmed play but I didn’t have a problem with it.  Matter of fact, I prefer to watch my plays this way, especially when they are this well-acted.

Well, maybe just two problems.  It does get a little tiresome to have the Cowans continually attempt to leave the apartment only to have to return.  And I can’t see four people getting that drunk on one bottle of Scotch.  But at one point, Alan does say; “That’s some Scotch,” so maybe it is possible.

So should you see CARNAGE?  You should if you like the actors involved and want to see them throwing witty, sharp dialog at each other.  There’s really no plot here, no story, no stirring resolution or life-changing  epiphany.  Just four great actors doing what they do best.

80 minutes

Rated R for language as there is no violence or sex at all.