Movie Review: Kong: Skull Island


Kong is still king in the latest entry in the MonsterVerse. (Source: IMDb)

It’s been over eighty years since “The Eighth Wonder of the World” made his first appearance. In 1933, during the height of the Great Depression, no one had ever seen a movie as ambitious as King Kong. Created through stop-motion effects (by special effects pioneer Willis O’Brien) and giant models, this giant ape became one of the first memorable movie monsters. The classic is still loved by generations of film buffs and filmmakers.

Kong travelled to Japan to fight monsters including Godzilla until settling in America to prove he’s the king. This aspired two remakes featuring Kong. The silly yet decent 1976 Dino De Laurentiis production saw him fall for our female protagonist on the island, but the big difference is he fights on top of the World Trade Center rather than the Empire State Building in both the original and the 2005 remake. The overlong yet marvelous 2005 version, directed by Peter Jackson, became a dream come true for the filmmaker. The 1933 original is what inspired him to make movies in the first place. If the world didn’t have Peter Jackson, we wouldn’t have another movie featuring King Kong.

Director Jordan Vogt-Roberts marks the return for the monster in Kong: Skull Island. This reboots screams the 1970s. The Vietnam War. The Nixon administration. The Peace Corps. Creedence Clearwater Revival. And, most importantly, it pays tribute to Apocalypse Now.

The year is 1973. Bill Randa (John Goodman) hires a diverse team of experts including British Special Forces Captain James Conrad (Tom Hiddleston), photojournalist Mason Weaver (Brie Larson), and Lieutenant Colonel Preston Packard (Samuel L. Jackson) to map out Skull Island. Once they arrive, they encounter various creatures as well as Hank Marlow (John C. Reilly), who has been stranded on the island since the end of World War II. He is the perfect guy to ask about the island as a whole. As the team help each other off the island, they encounter the king himself.

As someone who enjoys monster movies, I couldn’t imagine if there would ever be a franchise featuring two of the most memorable monsters in cinema: King Kong and Godzilla. After seeing the 2014 version of Godzilla, I got the feeling of anxiety about the fact of another movie universe. With the MonsterVerse being a thing, it’s an awesome feeling to see a wonderful monster grace the silver screen once again in this day and age. The creatures in Kong: Skull Island easily overshadow the human characters. It’s not to say they are all forgettable.

The movie proves Hiddleston needs to be the next James Bond; he’s got the charisma and the badass fight choreography to pull it all off. Fresh from winning an Oscar for her performance in Room, Brie Larson is becoming one of the best actresses of this generation. She provides the bravery in her role as the photojournalist pushing the gender boundaries of the time. John C. Reilly steals every scene he’s in providing just enough laughs to even out the visually stunning and heart-pumping action.

The 2014 version of Godzilla and the 2005 version of King Kong both follow the roots of Jaws, where it takes an awfully long time to know the main characters before seeing the monster that the audience has been anticipating to see. With Kong: Skull Island, it doesn’t take long at all. The audience is introduced to the team and they are put on a wild ride. Once Kong makes him introduction, he is the biggest ape of them all—ranging about 100 feet tall. He’s aggressive yet defensive about his territory.

While the first act can be a bit rushed and some of the dialogue can be cheesy, there is enough visual beauty to feast the eyes. I can’t wait for Kong and Godzilla go at it in 2020.


2016 Summer Movie Review: The Lobster


David (Colin Farrell) tries to find love within 45 days in The Lobster

One of the biggest hits from last year’s Cannes Film Festival, The Lobster is as bizarre as it sounds. Greek director Yorgos Lanthimos crafts something unlike your typical 21st century love story. It is a satire about the restrictions of falling in love in a modernized society.

Set in a dystopian near future, it is against the law to be single. David (Colin Farrell) checks into a gorgeous resort where he is asked a series of questions regards to his sexual preferences. While staying there with his brother (who is, in fact, a dog), he must find a mate in 45 days. What happens if he doesn’t make it? He turns into an animal of his choosing. He chooses to be a lobster because, as he puts it, “they live for over a hundred years, are blue-blooded like aristocrats, and stay fertile all their lives.”

He meets some colorful, off-beat characters including John (Ben Whishaw), who limps, and Robert (John C. Reilly), who has a lisp. It’s not long until David escapes into the woods where he comes across some Loners and their leader (Léa Seydoux). And eventually having an affection for a Short Sighted Woman (Rachel Weisz).

I have never seen anything like The Lobster. Lanthimos allows the audience to think twice about whether love is worth it or not. Through its beautiful and unpleasant scenery, classical music ranging from Beethoven to Benjamin Britten, and character development, it’s almost damn near impossible not to appreciate it. Even though I have no idea how to feel about the film’s final moments, but The Lobster is a film to truly behold. It’s so funny it’s disturbing.