Kong: Skull Island

The iconic chest-thumping beast is back, and bigger than ever. Warner Bros. has been retelling the King Kong legend for decades, and in what is rumored to be the setup for the Godzilla/King Kong showdown, we have a 100 feet tall, sometimes disproportionately represented gorilla, ready for his close-up.

Set in the Vietnam War era, the change in approach to telling the tale is both appropriate and refreshing. We’re given a brief backstory, leading to a logical venture into the last uncharted place on Earth. A team of scientists and their military escort brazenly (and foolishly) hazard into the majestic and treacherous island. An encounter with the massive mammal leaves our heroes stranded on the island, where they must make their way to the rendezvous through untold peril and danger.

Tom Hiddleston leads an outstanding cast that includes Samuel L. Jackson, Brie Larson, John Goodman, John C. Reilly, and Corey Hawkins. The real stars however, are the variety of creatures who inhabit the mysterious Skull Island. Reminiscent of the magic of “Jurassic Park,” there are docile critters, and violent creepy crawlers traversing the hostile terrain. Our heroes are sweat-stained and vastly outmatched. It’s a race to beat the clock and the odds, which adds to the constant sense of doom.

Director Jordan Vogt-Roberts (“The Kings of Summer”) presents a blend of stunning visual effects, perfectly popcorn action, and quick pacing, which ultimately ends in a really enjoyable film. One thing I especially appreciated was that there was no hiding the beast. He pops up early and often, unlike so many monster movies where the film maker lets your imagination tell the story. Not here. Everything is out on full display from the get-go, and this will go down as a modern classic creature feature as a result.

The prodigious primate steals the show as both hero and villain, and the only gripe I truly have is Samuel L. Jackson. His character departs very little from what I imagine is his everyday persona. He’s the battle-hardened Army Colonel Packard who loses his hold on rationality and becomes obsessed with besting the beast. It’s a bit too close to Jackson’s typical wheelhouse, and I thought a more dramatic actor could have added stronger depth to the role. Maybe a Woody Harrelson, or a Forrest Whitaker? It’s a minor complaint, but one that could have improved the outcome.

John C. Reilly stands out among the cast as the wild card, Marlow. He serves as comic relief as well as a tour guide of sorts during their fantastic journey, and continues to show why he is one of the most underappreciated and talented actors around. Hiddleston is a bit too cool for the group, maybe loosely auditioning for the next James Bond. Larson is too cute, smiley, and unafraid for her own good, and the Army grunts are a rag-tag bunch of good old boys who don’t really intimidate anyone or anything. I’m not complaining, they gel through their mutual desire for survival in spite of frighteningly overwhelming odds.

The tone of the film is decidedly more violent and mature than you might expect going in, but they maintain a pretty light mood. I imagine it pushed the limits of its PG-13 rating, but it works nicely for a monster wreaking havoc on some hapless humans encroaching on its territory. I really enjoyed “Kong: Skull Island” as the first fully entertaining blockbuster of the year. Maybe don’t bring the kids though. 8/10.

Logan

At well over two hours, “Logan” is a deliberate and painfully slow burn; a grim and gritty swan song for the Wolverine. It’s a fitting farewell for one of the most beloved and complex superheroes in the Marvel lineup.

Right from the get-go, the bleak, desert wasteland of the American Southwest paints a dreary picture of what has become of the once-fearsome warrior. The year is 2029, and Logan/Wolverine (Hugh Jackman) is old, weathered, gray-bearded, and just plain tired. The mutants who once protected the world from evil are now hunted to near-extinction, with Logan protecting his lone ally, the rapidly ailing Charles Xavier (Patrick Stewart). Their existence has been stripped away to pure survival, a squalid life without the glamour and comfort of the past. Logan is a limo driver, ferrying the border for contraband medicine to keep his friends alive while accepting the inevitable atonement for his lifetime of violence and self-preservation. Pretty much the picture of destitution.

Leading the persistent mutant hunters is a new breed of super soldier, Pierce (Boyd Holbrook), whose drawl and bravado don’t quite fit on his frame. It wouldn’t be much of a superhero film without a villain, but there isn’t really any epic showdown or earth-shattering battle. It’s more of a character study and a punctuation mark on the career of an actor who has donned the claws an unprecedented nine times over the course of seventeen years. It’s an attempt to tie up loose ends, those ends being Logan and Professor X.

Dafne Keen is Laura, the young mutant who instantly bonds with Logan through their mutual origins and plight. This naturally relegates Logan to take on the reluctant father-figure role, which is the crux of his redemption and ultimately, purpose. It is a bit off-putting seeing some young girl tear men apart with her claws, but the battle between humans and mutants has always been an allegory for xenophobia at its core, and violence is a natural byproduct, so it is fitting.

Writer-director James Mangold (“Walk the Line,” “The Wolverine,” the under-appreciated “Cop Land”) bravely enters the R-rated superhero realm, a taboo until last year’s massively successful “Deadpool” proved that there is a market for the ultra-violence that naturally comes from a man with knives protruding from his knuckles. The blood is certainly gratuitous, but it’s also on par with what we’ve been expecting. Where Mangold shines is in establishing the setting. Part of what frustrated me is also what was probably most beautiful. Austerity at its core; dusty roads, distant hills, and dilapidated small towns moving into scenic visages of nature’s beauty. Probably somewhat intentional, the scant cinematography allows for the characters to drive the story.

I have mixed feelings about “Logan”. It might even require a second viewing, but it was certainly too long. There were too many rushed introductions of new characters, including the interesting, but unexplained Caliban (Stephen Merchant) and the immediate bond between Logan and Laura wasn’t exploited as deeply as it could have been. That said, it was charmingly violent, a ballet of blood and dismemberment, perhaps as natural as a predatory animal such as a wolverine might be.

There’s no doubt that if you are a fan of Jackman’s Wolverine, you will be pleased by this film and the ultimate resolution, and there will be a continuation to the X-Men universe, no doubt. The melancholy of saying goodbye to Wolverine might leave you feeling a bit wistful, but it is perfect timing. 7/10.

Get Out

Jordan Peele, of “Key and Peele” fame, throws his hat in the ring as writer/director of a new breed of horror, and it’s fantastic. Imagine if “Guess Who’s Coming to Dinner” was thrown in the ring with “Cabin in the Woods” and “The Stepford Wives” and they had a tussle. What emerges is a delightful film that reiterates some of the darkest thoughts and fears that Americans hold inside for fear that those around us will think we are, gasp, racist.

The benign racial tension that surrounds all of us in today’s American climate is the foundation for this freshly entertaining film. Black and white photographer (no pun intended) Chris Washington (Daniel Kaluuya) is living a remarkably normal city life. He has a dog, a girlfriend, and a head on his shoulders that sets his character apart from most reluctant players in the horror genre. When he’s set to spend the weekend in the country with his white girlfriend, the tension begins to simmer. When he meets them and notices some peculiar behavior, it boils, and then when the final act finally arrives, the pot is absolutely steaming.

Jordan Peele approaches this story from a different angle, bringing the racial tension to the forefront, as uncomfortable as it may be (and it is). Chris isn’t your stereotypical black man however, and that’s what makes this experience unique. From an early interaction with police, to meeting the (presumably) New England socialites, there is a constant anticipation of injustice and preconceived notions are simply dismantled on screen. It’s not that it doesn’t go in the direction you’re expecting, quite the opposite in fact. It’s that you are guiltily ashamed that you are thinking things will go a certain way, because that would be racist, right? Peele plays this angle delicately and beautifully.

Alison Williams, Catherine Keener, and Bradley Whitford play the wholesome Armitage family. I would have liked Alison’s character to be a bit sweeter and more innocent, played by someone a bit less sultry, but she does a fine job anyhow. Bradley Whitford, as Dean, the patriarch of the family, is spectacular. I love his work, and always have; he has a certain edge to his acting that is genuine and engaging. His attempts to bond with Chris using extremely subtle, yet noticeable nuanced tones and mannerisms is captivating and uncomfortable. Perfect.

Lil Rel Howery plays the comic relief, Rodney, in what was obviously a tip of the hat from Jordan Peele as the role was clearly written specifically, ripe and perfect, for himself. It was a good move to put a different actor in the film however, and Ben Affleck should take note that it’s a smart move sometimes. Rodney breaks the film’s tension periodically with spot on humor that brings us back to reality.

The acting overall is very well-done. Crying on command remains one of the more impressive feats to me, and there is an ample amount of tears shed in “Get Out”. It is a character study at heart, and unapologetically exploits our own ethnocentrism and perceptions of race and race relations.

I love a fresh story. I also love a good thriller, and much like last year’s “The Visit,” I was impressed by how the story was able to suck me in and thoroughly entertain me, in spite of the unrealistic premise. With a reported budget of just $5 million, I would expect “Get Out” to be one of the more successful films of 2017 when all is said and done. It is definitely worth the price of admission. 8/10.