The Bigger They Come Part 4 (Pacific Rim, 2013)

Guermillo Del Toro is a man of unique vision. He always has his own take on traditional monsters. In Cronos, he tackled vampires in a heartbreaking tale of a grandfather who finds a mysterious device. Both Crimson Peak and the Devils Backbone are period pieces focusing ghost stories where humans are the truly frightening characters. And so we find that del Toro’s love letter to Japanese giant Monster movies and Anime mech cartoons and brought together with his own vision.

In a near future, the earth finds itself under attack by giant monsters nicknamed Kaiju. At first, the giant creatures are able to be taken down with conventional weapons…but as newer Kaiju emerge, a new approach is needed. The nations of the world build giant robots, called Jaegers, controlled by two pilots who are psychically linked. Raleigh and Yancy Becket are celebrity pilots, but when a fight with a Kaiju ends in tragedy, Raleigh walks away.

He is called back into action by Stacker Pentacost and paired with young pilot Mako Mori. Raleigh, Mako and several other pilots are about to take on a special mission. They need to close the interdimensional portal in the Pacific Ocean.

As expected, Del Toro created a visual feast. The Kaiju are immense and impressive. The Jaegers have weapons and are exciting to watch. The characters are not especially unique but are used effectively. Charlie Day and Burn Gorman are entertaining as eccentric scientists specializing in Kaiju sciences. And the always enjoyable Ron Perlman is a stylish black market dealer who traffics in Kaiju parts. And Idris Elba is always reliable for a gruff but heroic role.

Fun and bombastic, Del Toro has given us a fun film. It is not a deep film, but it is a ride.

March 14, 2017 0

The Bigger They Come Part 3 (King Kong, 2005)

Following the smashing success of the Lord of the Rings films, Jackson had the cred to get a pet project off the ground. A remake of 1933’s classic King Kong. He wanted to make an epic, and it is far from the cheesey camp of the 1976 film starring Jessica Lang, Jeff Bridges and Charles Grodin.

Instead of updating the location to modern times, Jackson meticulously recreates 1930s New York. He introduces us to Carl Denham, a director who dreams very big and is trying to secure financing to go to a mysterious island shown on a map he has acquired. He hires down on his luck playwright Jack Driscoll to write a script for a grand adventure. He finds a beautiful leading lady in struggling actress Ann Darrow. His male lead is the egotistical Bruce Baxter.

They get on a boat, go to Skull Island, explore, find monsters, the Natives kidnap Ann who is sacrificed to a mysterious monster. The monster is the giant ape Kong who takes a liking to Darrow. Jack and Carl lead the crew to rescue Ann. Denham, of course, has an ulterior motive of getting film of the monsters on the island. They save Ann, capture Kong and Kong is brought to New York. Kong Breaks free and runs amok in the city.

Jackson hits all the beats, and it all sounds exciting. He is very faithful to the original story. Except…well, in typical Peter Jackson fashion, he overdoes it. The film takes an hour to set things up. A full hour before they get to Skull Island. All in a misguided attempt to set up character motivation and romance. Once on Skull Island, the film picks up and gets very exciting. But an hour of setup and added time for the reveal of King Kong…makes for a dull and slow film. The whole cruel savages approach to Skull Island’s natives is embarrassingly dated.

The performance by Andy Serkis as Kong is really impressive looking. The digital Kong is still impressive looking. But the film clocks in at three hours (and that is before Jackson’s expanded cut) and that results ina ridiculous amount of bloated storytelling.

March 13, 2017 1

The Bigger They Come Part 2 (Godzilla, 2014)

Godzilla has always seemed to have some trouble when Hollywood takes the reins. 1998’s misguided spectacle is the pinnacle of this. Gareth Edwards and his team opted to take a step back. They did not, of course, go with the “Man in Rubber Suit” approach…but their digital Godzilla is far more in line with the traditional Godzilla.

Starting in 1999, there is a mysterious and horrifying event at a nuclear power plant in Janjira, Japan. American employee Joe Brody (Bryan Cranston) loses his wife (Juliette Binoche) in the event, while his relationship with his son Ford becomes estranged as the years pass and Cranston’s obsession with the accident grows. In 2014, Ford is in the military and returning home to his wife and son. He gets a call that his father (still in Japan) has been arrested. The location of the event is off limits to the public, due to claims of radiation. Joe convinces Ford to explore Janjira one more time…and they discover a a secret research facility and some large monster referred to as a Muto that appears to be in hibernation. Of course, it wakes up and starts seeking it’s other half.

This results in the awakening of something else that comes in to fight these giants. You know…Godzilla. Godzilla is setup in this film as the hero, with no questions by the end of how people see him.

Edwards takes a very slow reveal approach. This serves the film well, making it very satisfying when the audience gets to see Godzilla in full monster lizard glory. At the same time, the film’s primary focus is on Ford and nurse (and wife) Elle. And honestly? They are tremendously boring characters. So, when the film does not have Cranston or Ken Watanabe or Godzilla on screen, things get dull fast.

The opening credits are really nicely done, giving the audience old news reels indicating the existence of monsters…we get brief hints of Godzilla (mostly his back-plates) and evidence the military attempted to kill him.

Overall, the story is pretty simple, giant monsters appear and fight and cause destruction. It is a fairly strong attempt to capture the feel of older Godzilla films, and in some ways does it smashingly well. It is the centering of Ford and Elle that lacks any emotional punch that is needed in a film like this. What makes it a bit more disappointing is Cranston and Binoche do have chemistry that makes them compelling…and they pull it off in about ten minutes of screen time.

March 12, 2017 1

The Bigger They Come

So, starting with the Kong Skull Island review, I am going to be looking back at other Giant Monster films. There may be some breaks as I catch up on some older films. But I am going to see how comprehensive a set of reviews I can assemble for this theme.

March 11, 2017 0

The Bigger They Come (Kong: Skull Island, 2017)

King Kong and variations on the Giant Ape concept are older than even Godzilla. Kong: Skull Island has opted to not re-tell the story of King Kong. Instead, this is a new story. Not new in the sense of it completely new territory. You have the mismatched band of explorers arriving on Skull Island, encountering monsters and natives.

The film opens in 1944 where an American and Japanese pilot crash land on Skull Island. They fight until they stumble on a frightening sight that changes everything for them. The film jumps to 1973, with soldiers about to leave Vietnam. They are brought in by the mysterious Monarch company as a military escort on a top secret mission to visit and explore a newly discovered island. The company has also brought along an award winning anti-war photojournalist and a tracker to help then go through the wilderness.

Of course, the mission goes very wrong. Hope that does not spoil anything.

Really, the film sets everything up at a fast pace. They give you what you need to know without giving the film a chance to get boring. And unlike previous Kong film outings, the filmmakers introduce us to Kong very quickly. No hiding him, just Kong smashing helicopters.

The characters are engaging to various degrees, though John C. Reilly is the strongest and most memorable. Samuel L. Jackson is…well, Samuel L. Jackson. I found myself liking Hiddleston’s James Conrad and Brie Larson’s Mason Weaver…but I must admit, most of what separates the characters is who is performing them. You also know which soldiers are “important” because they get a lot of set up, while most of the soldiers are just “people to die”. Of course, they also give Jackson his motive for wanting to destroy King Kong.

But the truth is, I found Kong Skull Island a lot of fun. Yes, the post credit scene confirms that Legendary has plans of a “Giant Monster-verse”…and Kong Skull Island serves the purpose, in part, to set it all up (It is supposedly connected to 2014’s Godzilla film as well, with the tie being the Monarch organization). But I did a far better job of still telling it’s own story than some other attempts to create a shared universe franchise.

Really, Kong Skull Island is no game changer, but it is a lot of fun. Visually, it is good, and the digital monsters look great. The cast is great and make for an overall very entertaining film.

March 11, 2017 0

Force Adjacent (Rogue One, 2016)

Taking it’s plot from about two sentences of Star Wars: A New Hopes Opening Scrawl, this Star Wars Story focuses on the Rebels who got the Death Star plans carried by R2-D2. Focusing on Jyn Erso, daughter of a brilliant engineer, Rogue One follows her forced recruitment by the Rebel Alliance in an attempt to get the information. Along with her father, Erso has another connection the Alliance wants to take advantage of. After escaping the clutches of the Empire, Jyn was raised for a time by Saw Gerrera. The Alliance parted ways with him over his extremism, but feel they now need his help.

What follows is an exciting espionage and war film, different from what we have seen in the past…and yet familiar. While there are brief glimpses of some recognizable faces, our central cast is pretty much new. The film is a bit darker than other entries, showing a side of the Rebel Alliance not often addressed. Some have expressed problems with this. While I had not given much thought to some of the darker implications of the alliance, I cannot say this take is unreasonable. The idea that people are sometimes doing things they struggle to justify as being in the greater good makes absolute sense. Certainly, it may seem out of place if you are used to thinking of the Alliance as morally pure.

Jyn is an interesting character who despises the Empire for a pretty simple and personal reason. They took her dad and killed her mom. She seems to have soured on the rebellion though (feeling betrayed by Saw) and given way to cynicism. Meanwhile, Cassian Andor is a dedicated Rebel spy who plays out his role without question. At least until he is given a side mission that makes him question his moral compass.

A real standout character is the reprogrammed Imperial Droid K2-S0. He is mouthy, sarcastic and also the brawn. Whereas C-3PO up-tightly delivers in depth information about the odds, K2 casually tosses out comments along the lines of “The odds are bad” and just leaving it at that. Then there is the blind monk Chirrut Îmwe. He fights like a Jedi Master, but is not a Jedi. He also fights with a staff, rather than a lightsaber. His sighted companion Baze prefers blaster rifles and does not buy into the Force at all.

The film does suffer a bit from the problem of many prequels. The obsessive desire with filling in every blank results in a way that it can start to interfere the film it is “setting up”. This leads to the film dying to pull right up to the beginning of a New Hope.

Admittedly, it feels a little odd having no potential Jedi (Chirrut does not use force moves beyond a certain Daredevil styled super hearing) or lightsaber duels. The Force is spoken of, but not really seen in action beyond Darth Vader.

In the end, however, the film more than overcomes these things. It is exciting and fun, while having an edge more in the vein of Empire. I found Rogue One immensely satisfying.

December 21, 2016 0

Ghosts With Tattoos (the Ghosts of Mars, 2001)

In the future, the terraforming of Mars has begun There are colonies all over Mars. The world is now a Matriarchy. A police force is sent to Mars to transfer prisoner Desolation Williams. They arrive to find the town empty except for some folks in lock up, including Desolation. He and the others have no real answer for what is happening.

They soon discover that there may be more to it than a murder spree. The ghosts of Mars indigenous population are taking over the bodies of earthlings. Melanie Ballard is a tough space cop and finds herself aligned with Williams, who proclaims his innocence in the murders of countless colonists. While she believes he is not a killer, she believes in following her orders and bringing him in, but survival requires them to wait on that and work together. The spirits or organisms (whatever they are) take over people…in stage one they stare intensely at their hands. Then they start mutilating themselves. Then they get violent.

The exploration of the mystery gets slow at times, and there is a lot of running around that feels like padding for the story. The film is bloody and violent when not being slow and expository.

The story is basically told in flashback with Ballard giving testimony about what happened. Then there are the flashbacks in flashbacks. This gets tiring fast as characters show up to tell Ballard what she missed.

In addition, the acting is fairly weak in most cases and nothing is to compelling. The reveal of the cause it a twist that neither surprises nor adds to the situation.

It is interesting to note that the film started as Escape From Mars, a Snake Plissken tale. The studio got a bit uncomfortable with a third Escape film and opted to have Carpenter change up the story.

There is no telling if Escape From Mars would have been a better film than Ghosts of Mars, but this is easily the worst of Carpenter’s work.

October 21, 2016 0

Be as Little Children (Village of the Damned, 1995)

Village of the Damned is Carpenter’s second remake. This one is not quite as inventive as the Thing. Here, Carpenter sticks much closer to the source material. The film begins in an idyllic small California town where there is a community barbecue. In the midst of the festivities, the entire town falls unconscious. The government enters the scene very quickly to assess the situation. They find there is a line that can be crossed, where a person will pass out. Almost as quickly as it hit, the town wakes up.

Soon, six women discover they are pregnant. The babies are all born at the same time (but one is stillborn), and the government leaves behind researches to keep an eye on the newborns. As the years progress the five children are becoming quite peculiar and are surrounded by mysterious tragedies. The children all have silvery hair (the actors are quite annoyed that people think they wore wigs. They did not) and are immensely smart. They are eventually kept away from other children and taught by Christopher Reeve (in his last role before being paralyzed). Reeve’s Alan Chaffee knows there is a problem brewing and starts trying to find ways to block the children’s psychic powers. He also starts to connect with the young David, who seems to have more empathy than the other children. This is, in part, due to the stillborn having been meant to be his partner.

Really, the visuals of the film are striking. The five children with shocking silver hair and the subtle visual effects (primarily in their eyes and faces, the more intensely they focus, the more their alien physiology becomes dominant).

The performances are all dependable for the needs of the film. Reeve makes good use of his decent guy reputation and Kirstie Alley is good in the role of cold and calculating government liaison Dr. Susan Verner. But really? the standouts are Thomas Dekker as David and Lindsey Haun as Mara. Haun is chilling and full of menace, while Dekker’s growing humanity makes him truly sympathetic in his loneliness.

While not as unique as his previous remake, the Village of the Damned is a nicely done horror film that pays homage to more classic horror.

October 18, 2016 0

Unseen and Not Heard (Memoirs of an Invisible Man, 1992)

I think if there is a forgotten John Carpenter film…this is it. Did you know that John Carpenter directed a movie with Chevy Chase and Daryl Hannah? Did you??

He almost didn’t, the film was being developed by Chase and he wanted Ivan Reitman…but he and Reitman were unable to agree on how things should go and Reitman left. One of those rare “cannot get along with Chevy Chase” stories. In fairness, Reitman wanted to make it a standard Chevy Chase vehicle, but Chase saw it as a chance to explore more serious roles.

Carpenter was brought in to provide that. Of course, this was still meant to be a studio film, which in the end means the film takes no risks.

The story focuses on self absorbed Stock Analyst Nick Hollaway (Chase) who is present in a building where there is an experiment that goes awry. In case you cannot see it coming *cough* he is left invisible. (Sorry for that) He soon finds himself on the run with new girlfriend Alice from shady CIA agent David Jenkins (Sam Neil…and not Carpenter’s last work with him).

The story is pretty standard fair with little of Carpenter’s originality. Hollaway is on the run from the CIA who want to use him for spy stuff.

There are a lot of scenes where we see Chase onscreen when he is supposed to be invisible…and it gets almost confusing in the beginning…but later, while we can see Chase on screen, he casts no reflections. The effects are remarkably good, and the most notable thing about the film. They clearly put a lot of thought about how his invisibility works. Nick and everything he was wearing are invisible…so he runs into the problem of not being able to see his hands or know exactly where they are when trying to eat. He can see his food digesting when he looks in the mirror. When he smokes, you see the smoke in his lungs. Then there is a really neat scene where rain drops temporarily illuminate Nick in front of Alice. In fact, the effects in this film hold up quite well almost twenty five years later.

You can see that Chase is trying for a darker type of role. Chevy avoids his standard mugging for the camera. And the film does not have a lot of jokes. In fact, most of the jokes come from other characters. But none of it is compelling. The film just has no unique identity.

You can even see that Carpenter did not really see himself as more than a studio employee…it is one of the few films he has directed to not bear the “John Carpenter’s” as part of the title. This is the forgotten film because it feels neither like a Carpenter film nor a Chevy Chase Film. It never really pulls you in, and Nick really lacks personality.

October 16, 2016 0

The Advertising Scam (They Live, 1988)

I have only one thing to say. Fifteen minute fight between Rowdy Roddy Piper and Keith David. ‘Nuff said.

Oh, you expect me so say a bit more? Fine.

Beloved Wrestler Roddy Piper is Nada, a wandering Construction worker looking for work. When he discovers a group of resistance fighters hiding among the city’s homeless, he finds himself stuck in a battle against humanity and aliens bent on human enslavement.

When Nada discovers a pair of sunglasses that allow him to see the aliens, he tries to figure out what to do. He enlists help from fellow construction worker Frank and TV Executive Holly. What follows is an insane ride.

The film is packed with action and humor. One of the most memorable moments is Roddy walking into a bank wearing the magic sunglasses and holding a shotgun declares, “I have come here to chew bubblegum and kick ass. And I am all out of bubblegum.”

The other big moment is a nearly fifteen minute fist fight between Roddy Piper and Keith David. It is amazing. Asked recently if he ever considered shortening the fight, Carpenter indignantly declared “F**k no!”

This is a good cast who make a rather ham-fisted film work. Keith David is always good and Meg Foster is mysterious and uncertain in her motives. And those eyes.

I mentioned ham-fisted…the plot is a huge screed against the 80’s consumerism and Reaganomics. When Piper puts on the glasses, he sees in black and white…

But he does not just see the aliens.

He also sees how they are taking over….advertising.

It is hard to ignore, and while it may be a valid criticism, it is done in a way that feels almost comedic. The aliens reward people willing to cash in. A guy goes from being a bum to a member of the 1%. In a way I am surprised nobody has remade this one yet since 2008.

In spite of this, the film is effectively fun and has some real twists. It is a well loved Carpenter film for a reason, and it is not for the politics. It is a goofy action film, a cross between the grim and serious Escape From New York and the boisterous Big Trouble in Little China.

October 15, 2016 1