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.

2017 Oscar Preview

RIP, Bill Paxton. One of my personal favorites.




The big night for film celebration is finally here, and it's time to see who will actually take home the coveted gold statues for their innovative and passionate work. This year marked a drama-free nomination process as most deserved candidates were recognized; no whitewashing or out-of-left-field nominees. Besides the political animosity, and the impending mean tweets we will no doubt hear about from our Commander-in-Chief, and some Meryl Streep jokes, it should be La La Land's night to celebrate. Without further ado, here are my projected winners for the big categories, and who I think did the best job in cinema in 2016.

Original Screenplay - Although I really liked Hell or High Water, I don't think there is a snowball's chance in hell that La La Land loses. It's as close as a sure thing as there will be for the evening, and if I'm wrong, I will be shocked.

Adapted Screenplay - Moonlight will pick up the win here. A beautiful film that made my top 5, and although I am not familiar with the source material, the overall critical response has put it in the upper echelon, therefore it deserves the award.

Supporting Actress - Viola Davis should and will win. I was a bit surprised she ended up in the supporting actress category, but the screen-time requirements must have just met the criteria. I would venture that this might have been the strongest female performance of the year as her tense scenes with Denzel Washington were some of the sharpest and emotional.

Supporting Actor - This is often my favorite category (Okay, it's my favorite every year) and always packed with scene-stealing performances. Some of the greatest characters of cinema have been supporting actors and actresses, and this year I have no gripe with any of the nominations. I find it off that Aaron Taylor-Johnson won the Golden Globe and missed out on the nomination to his co-star Michael Shannon (who deserves it), but as strong as the category is, Mahershala Ali will walk away with the win for his role in Moonlight. Who should win? Michael Shannon. His acting is hit or miss, but when he hits, he hits hard. If you haven't seen his brief appearance in Revolutionary Road (2008), check it out. He is a titan when the role is right, but his role selection is often questionable (Man of Steel, Premium Rush).

Actress - I would have liked to see Taraji P. Henson nominated for Hidden Figures, but I suppose there's no stopping Emma Stone on this one. She's swept pretty much every award along the way, and to lose out on the big one just seems too unlikely. Her performance was great, but the category was a bit weak as a whole, even if the overrated Meryl Streep is nominated.

Actor - This is a great category this year, but is really a 3 person race. Garfield and Gosling aren't legitimate threats. There is some trending in the direction of Denzel Washington for his performance in Fences, and I must say, it is warranted. Exceptional acting in a slightly too long and boring film. As outstanding as it was, and although I think he will snag the trophy for the third time in his impressive career, the more deserved actor in my opinion is Casey Affleck. He played the role with a sorrow on his face that you could feel in your soul. His performance is the things careers are remembered for.

Director - Damien Chezelle will win for La La Land. It was impressive, and I can't find fault with this choice. He's struck gold with the feel-good film of the year; a whimsical, musical romance in Hollywood. Can't really go wrong with this one.

Picture - La La Land will win. In my mind, it was a top 5 film, but not the best of the year. The most complete, emotional, and well-done film of the year was by far Manchester by the Sea. Blown away by the story, the acting, and the tone. Kenneth Lonergan shouldn't be disappointed at all for losing to La La Land, but I am.

There you have it. Is it too early to look to next year? Perhaps, but I'll still lock in one bold prediction. Daniel Day-Lewis wins his 4th Best Actor Oscar for his role in the as-yet untitled Paul Thomas Anderson period piece set in 1950's London. Last time they worked together? There Will Be Blood, which was one of the strongest acting performances of the twenty-first century. Period.

John Wick: Chapter 2

Legendary film characters just happen; they can’t be forced. In 2014, we were introduced to John Wick, the boogeyman of hitmen at the twilight of his career, his reputation preceding him wherever he goes, inspiring trepidation in all he encounters. The Continental, a quirky underground fraternal order of assassins, resources, and even their own economy, exist in plain sight. Much like other films of this nature, we are given a glimpse at the glamour of the profession without so much as an intimation at the emotional toil, law enforcement interaction, or health consequences.

Realism aside, the twelve-year-old boy in me loved the film. It’s the typical macho fantasy of the most dangerous type of man, feared even among the most dangerous and ruthless killers in the criminal underworld. A true alpha male with the fighting skills spanning all disciplines: hands, feet, knives, guns, cars. He’s an aged, grizzled slow-moving man with a blood-thirst, but he has a moral code, and apparently a soft spot for dogs and American muscle cars. You can’t write this any better, folks.

Keanu Reeves is in his element. A man of few words (the fewer the better), he delivers one-liners with focus that would make Arnold Schwarzenegger proud, but there’s something about his acting that is still laughable. It’s something we’ve come to not only expect, but that we hold endearing, and the fact that he continues to take on action roles well into his fifties is testament to the physical training he endures. He does look smooth with the gun, and accomplishes some impressive judo that was no doubt intended to channel “The Matrix” and the Kung-Fu fury of Neo.

Director Chad Stahelski was elevated to his position after a long and distinguished career of stunt work, coordination, and eventually, 2nd unit direction. The action is clearly the draw, as is Reeves pseudo-iconic character. He puts a good deal of attention toward the confrontations, but the bloodshed gets old after a while. There’s only so many head shot squibs a person can handle. It’s hard to tell if the intent is to be an ultra-violent action film, or if it’s simply a byproduct of the narrative. Either way, the sheer number of deaths actually gets old, as waves and waves of nameless henchmen keep running head-first into the boogeyman and all of the deadly tricks of his trade.

Writer Derek Kolstad is the weak link of the trio (it’s a stretch to say the others are strong). “John Wick: Chapter 2” would be just as good as a silent film, as every conversation is a bit too cool for school, and leads with the unspoken glance, and ends with Keanu completely butchering his delivery. The dialogue is awful, and doesn’t contribute anything significant to the plot, which is absurd in its own right. Even the attempt to imply that there are hundreds of assassins hidden among us dilutes the novelty of the genre and makes the film more Roger Corman and less, I don’t know, John Woo.

Supporting players Ruby Rose and Ian McShane headline a cast of dozens of hitmen and henchmen of all shapes and sizes. I have to say, I was disappointed in Ruby Rose’s Ares. She’s the mysterious attractive female assassin, but, spoiler alert, she doesn’t deliver the final showdown payoff that her presence advertises. McShane overacts as the manager of the establishment that apparently runs the New York hitman union, but he has one of those gravelly voices that can put you in a trance, so he is forgiven.

“John Wick: Chapter 2” isn’t all bad. I mostly enjoyed the action, when it wasn’t redundant. The opening scene and the shootout ballets are exceptionally choreographed, and it looks like the whole experience might have been a tad painful for Reeves (and his double). You go to certain movies for specific reasons, and this one provides the violence desired. I was thrown off by the blatant attempt to make this a viable franchise, when in fact it’s more of a one-hit wonder. The original is worth checking out, this one not so much unless you’re a big fan of the genre. Or a 12-year-old boy. 5/10.

2017 Year-in-Preview

2017 holds some promise, but also will devour the movie-going audience’s money by putting out sequels, reboots, and recycled material galore. I’ll break some of the more anticipated films down into four distinct categories, and hopefully it will help you navigate the convoluted path of how to spend your hard earned money on movie night.

The Tent Poles. Called so because they literally allow movie studios to stay afloat financially, these will almost certainly make billions of dollars worldwide. Each. Superhero films will again reign supreme with “Logan“, Guardians of the Galaxy: Vol. 2”, “Wonder Woman”, “Spider-Man: Homecoming”, “Thor: Ragnarok”, “Justice League”, and of course, the tent pole of the entire industry, Disney’s “Star Wars: The Last Jedi” all slated for 2017 releases. Marvel and Disney are much more bankable these days than Warner Bros. and their DC brand, but keep an eye on “Wonder Woman”. It isn’t written or directed by Zack Snyder (a writing credit, but not screenplay), so I have hope that the DCEU just might come to rival Marvel yet. These films will be the best bang for your buck, and if you’re a casual fan, you can’t do wrong planning to see any of them.

The Kids’ Movies. Once upon a time, kids’ movies weren’t behemoth blockbusters, but then Pixar came along and amped up the game. The success of “The Lego Movie” in 2014 has spawned two follow-ups; “Lego Batman” and “Ninjago Lego”, and we are also going to be treated to “Cars 3”, “Despicable Me 2”, “Smurfs 2”, and “The Nut Job 2”. Don’t expect any of the original films on the release calendar to gain any traction, there won’t be a “Frozen” in the bunch. But there will be plenty to choose from.

The Reboots and Sequels. As if we haven’t just finally forgotten about David Hasselhoff, “Baywatch” is coming this summer. We’ll also be treated to a new “Jumanji”, “Flatliners”, “Six Billion Dollar Man”, “Beauty and the Beast”, “Murder on the Orient Express”, “King Arthur”, “It”, and yes, “Kong: Skull Island”. There are some promising sequels however, particularly “Alien: Covenant” which is my personally most anticipated film of 2017. Ridley Scott is back and it looks to retain the grittiness and fear from his 1979 original. “Blade Runner: 2049” is another that is bringing Ryan Gosling in to pick up where Harrison Ford left off in 1982, and with Dennis Villaneuve (“Arrival”) at the helm, I’m quite optimistic. Not so much about the new “Pirates of the Caribbean: Dead Men Tell No Tales”, “Fast and the Furious 8”, “War for the Planet of the Apes”, or “Transformers: The Last Knight”. Some that may hold interested depending on your feelings toward the originals are “Kingsmen: The Golden Circle”, “John Wick 2”, “World War Z 2”, and “Trainspotting 2”.

The Original Films. There are a few movies on my radar that are fresh, original, and intriguing. The first is “Wind River”. Written and directed by the red hot Taylor Sheridan and starring Elizabeth Olson and Jeremy Renner, it should give you the action and complex story satisfaction you desire. Chris Nolan brings us “Dunkirk” trying his hand at a World War 2 narrative, and one of the more interesting films in my opinion is based on a book from a few years back, “The Circle”. Tom Hanks is the lead as we are taken into a near future where social media takes over our lives almost entirely. “Granite Mountain” might be the most heartbreaking action film of the year, about the Prescott, Arizona firefighters who died fighting a wildfire in 2013. Comedian Jordan Peele brings us “Get Out”, a horror film about an interracial relationship, and it just might be the guilty pleasure surprise of the year. Also noteworthy are “Life” about astronauts who discover something beyond our planet, “Red Sparrow” about Jennifer Lawrence as a Soviet double agent, and “American Made” which reunites Tom Cruise with Doug Liman in a 1980’s drug cartel drama.

So, what are Adam’s must-see films? I’m glad you asked. “Alien: Covenant”, “Blade Runner: 2049”, “Star Wars: The Last Jedi”, “Wind River”, “Granite Mountain”, and “Dunkirk”. But let’s be honest, I’ll probably see most (all) of the aforementioned films. Email me your thoughts as we enter another year of big budget entertainment.