(Movie Review) Kong: Skull Island - Hail to the King, Baby!

Kong: Skull Island (2017)

Action, Adventure, Fantasy

Directed By: Jordan Vogt-Roberts

I'll admit when I first heard another King Kong movie was being made I groaned my fair share. It's not that I don't have immense love for the character, it was that his story had been told enough. After Peter Jackson's 2005 remake of the 1933 original classic, it felt like the door had been closed on that chapter of film history, and it would appear Legendary and Warner Brothers agree. Kong: Skull Island is a Kong movie like we've never seen before, falling more in line with classic Japanese kaiju films than its predecessors ever have. 

Once it became clear that this was not only straying away from the classic story but that it was playing into the world of giant monsters first introduced to us in 2014's Godzilla, I knew we were in for something special. Much like that film, Skull Island is setting up a larger narrative, so the plot is simple. MONARCH, a government agency tracking the possibilities of the existence of giant monsters, has discovered an uncharted island they believe may house some ancient secrets, so of course, they set sail for the unknown.

This small armies arrival on the island is not met with open arms however as they are quickly introduced to the King himself, who isn't fond of their methods of research. After he dismantles their team of helicopters the crew is stranded with only one shot at a rescue. If they can't make it in time they will be stuck on Skull Island with Kong and its many other dark secrets. It's as much plot as needed to get us from monster fight to monster fight and that's perfectly fine.

They waste no time getting into the action of this movie. Kong is introduced early and appears often, you don't have to sit around for long before you get to see him cut through his new visitors like tissue paper. The story moves quickly, never sitting on any plot beat for too long before getting into another high-intensity moment. It's non-stop insane giant monster fun that (seemingly) sets the tone for the future of the franchise.

Director Jordan Vogt-Roberts does solid work to create a version of the King that is all his own. This isn't the giant ape you are used to, and one of the most effective ways they establish this is by surrounding him with new kinds of monsters on the island. Rather than go with dinosaurs, like the original films, they create new creatures that fit more into this world of MUTO's and giant atomic-breathing beasts. 

The design of the "Skullcrawlers, as Hank (John C. Reilly) calls them is cool enough. Their look is nothing earth shattering but its a gnarly blend between a dinosaur-like lizard and total kaiju and the way they move makes for some excellent fighting moves. Kong himself looks fantastic, the design strays from the classic mold and takes on a new look that feels more natural for a 100+ foot tall ape. This is all a testament to the incredible VFX work in this movie, which the entire thing obviously hinges on.

Aside from the new monsters they easily separate themselves from the old lore by setting this film in the 1970's 'Nam era. We are used to only seeing Kong exist in the early decades of the 1900's and to see him go up against Vietnam grunts makes for a new kind of awesome. These guys came armed with a whole lot more than a few Tommy guns and some chloroform and they intend to drop every last bullet and bomb to get off of this island. 

Boasting a lot of action and a simple plot there isn't too much room for big, stand-out performances from this movies insane cast. Except for John C. Rielly, that is, who is totally bonkers (in the best way) through it all. By the end of the film, we care most about what happens to his character and he creates what is basically the only emotional bond we have with the cast outside of Kong himself. 

That doesn't mean the rest of the cast isn't doing good work, quite the opposite actually. Given what little they have to do, Brie Larson, Tom Hiddleston, Sam Jackson, John Goodman, and especially Shea Whigham are doing their best to sell their characters in this world. Though we don't get to know his character too well, Whigham gives a stand-out supporting performance that is sure to stick with you. I just wish they could have found an actual use for Tobey Kebbell, he deserves so much better.

Even though this is playing into a larger franchise they never really get bogged down by any of it. This movie knows what it wants to be and it has an absolute blast doing it. We get to see Kong in a new light and as a massive fan of Godzilla, I am quite excited about what they are showing us. The next time we see The King he will be facing off against the radioactive beast in what we can only hope is all of our monster loving dreams come true. P.S. Stay through the credits, there is a stinger scene you don't want to miss. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!

(Movie Review) Get Out - A Thrilling Ride Through Our Terrifying Reality

Get Out (2017)

Horror, Thriller

Directed By: Jordan Peele

When news first got to me that Jordan Peele, of Key & Peele fame, was going to write and direct a horror movie as his filmmaking debut, I couldn't have been more excited. For starters, anyone who follows Mr. Peele close enough knows that this guy is a die-hard fan of the genre and anything he does within it is going to be handled with absolute care and love. Secondly, if you are familiar with the work he and Keegan Michael-Key did on their show, you are aware that he has a cinematic eye. Their show was far better staged than it had any right to be so the transition for him from TV to film only feels natural.

Coming out of the gate hot as hell, Peele uses his first film to tell a story as old as time and as relevant as it has ever been in 2017. It's the story of a young, black man going with his white girlfriend to meet her suburban bound parents. A situation we have seen played out in countless sitcoms and bad comedies (and that I'm sure some of you have lived yourselves) is used as the perfect tool to tell a tight, stress inducing thriller that just so happens to be a bitter reflection of our own reality. 

Chris (Daniel Kaluuya) and his girlfriend Rose (Allison Williams) have finally hit the point in their relationship where Chris gets to meet her parents. Though Allison assures him that they are as liberal and as welcoming as can be, Chris knows better than to take her word for it. From the moment they arrive in her parent's small suburban town he knows something isn't quite right. It's not the lack of other black people in the community, it's that the few others around him are acting peculiar, to say the least. What he comes to find by the end of his weekend trip is more twisted and terrifying than anything he could have imagined. 

The less knowledge about the plot of this film you know beforehand, the more rewarded you will be by its outcome. The film winds its way down a road full of twists and turns, each one more fulfilling than the last, but not every twist is monumental, and some are even a bit predictable. It's the way they all come together that makes for a truly original piece of horror cinema. 

Jordan Peele's script for Get Out is one of the most impressive I have seen, not just in the genre but in all of film, in some time. He didn't only craft a thrilling horror flick, he also used the story to bring to light a lot of issues we are currently facing as a society. The way he depicts casual, almost unconscious racism in Allison's parents and their friends is so incredibly real it is sure to make you squirm. It is clear beyond a doubt that Mr. Peele has himself been in situations like these numerous times in his life. 

You can see this even in the way he shoots the film, how he switches between wide shots and close-ups to convey the energy being passed between the two parties. For example, when they show the first meeting between Chris and the parents, he chooses to show it from a wide angle showing off the suburban facade these people have created around them. It also plays up the meaninglessness of how her parents would present themselves in that first encounter. Suburban racism doesn't show itself right away, in fact, they will hide it and play up their "liberalism" as long as possible, which is something we see clearly in this shot as Dean, played brilliantly by Bradley Whitford, gives Chris a giant man hug the minute he walks up to the door, playing up their facade that much more.  

The social satire described above would make a highly interesting film in its own right, so for it to be just a part of a masterfully crafted horror-thriller like this is something truly special. The uncomfortable paranoia caused by this casual racism sets the perfect backdrop for a heart-pounding thrill ride. With every interaction he has with the neighbors, the more anxious we as an audience grow. We all know something terrible is going to happen from the start, it's just a matter of when and what will happen, and trust me, you won't see the final twist coming. 

What took me most about this film was how real everything felt, from his relationship with Allison in the beginning of the film to each and every one of the interactions he has with the white folk over that weekend. This script comes from a place of experience, it's obvious Peele has had almost these exact conversations with self-proclaimed "woke" white people and the way he crafts them into his narrative is a thing of beauty. 

If you are doubting this movie, or have pre-conceived notions due to Peel's background in comedy throw all of that crap out of the door. Anyone who knows anything about horror and comedy knows that the two are far more similar than most would think. Both are almost entirely predicated on timing, to pull off a good joke or a good scare it's all about timing. A second too long or too short and the moment is lost and we all know Peele has incredible comedic timing, Get Out proves he can translate it over to horror without even batting an eye. 

That being said, his comedic touch is not lost on this film as it hits some big laughs at the right moments. Chris' best friend Rod (Lil Rey Howery), who he has selective contact with throughout the movie, provides the film with some wonderful comedic relief. Rod calls in to check up at all the right moments and is often saying exactly what we as an audience are thinking. What makes him a great addition to the movie though is that he isn't just there for laughs, his character of an overconfident TSA agent works his way into the story in some really fun ways and becomes an integral part of the overall arc.  

Rod is one of many incredible side performances highlighting just one more thing Peele nailed in his first go-around behind the camera. He managed to pull stunning performances from everyone in the cast. Kaluuya and Williams are fantastic in the leads and Bradley Whitford and Catherine Keener bring their best as they always do as Allison's mysterious parents. Betty Gabriel, Lakeith Stanfield, Lil Rey Howery, and Caleb Landry Jones round out a stellar supporting cast, all giving knock-out performances. Especially Betty Gabriel as the housemaid, she delivers most of the films creepiest, and downright unnerving moments. 

This isn't only impressive as a debut film, this is a damn good movie by any standards and we should look forward to many more flicks from the wonderfully twisted mind of Jordan Peele in the near future. I'm looking for a bad thing to say about Get Out and I simply cannot find it. I was never bored, I was most certainly always engaged, and the hook totally took me by surprise. Fans are always crying for fresh, original takes on the genre and you couldn't ask for a better example of that than this. Get out to the theater this weekend and let's make this movie a bonafide hit. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on Twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: Miss Peregrine's Home for Peculiar Children

Miss Peregrine's Home for Peculiar Children (2016)

Adventure, Drama, Fantasy

Directed By: Tim Burton 

Since the turn of the century, Tim Burton's work has been pretty much hit or miss. He has made fantastic films like Sweeney Todd but also churned out soulless stinkers like Charlie and the Chocolate Factory. Every time you thought he had lost his touch though he would release another brilliant movie like Frankenweenie, proving he still has stories that are more than worth telling. So when I first heard of him adapting Miss Peregrine's Home For Peculiar Children, a story that lends itself perfectly to his visual and structural style, I was totally sold that he was the guy to bring this all to life. 

Based on the book of the same name written by Ranson Riggs, the movie focuses on a teenage boy named Jake (Asa Butterfield) who has just witnessed the horrific death of his beloved grandfather Abe (Terence Stamp). His grandfather's last wish was that Jake goes to a secluded island in Wales to try and find the children's home Abe grew up in, run by the auspicious Miss Peregrine (Eva Green). When Jake finds the home and the people living within it, he comes to realize all of the crazy stories his grandpa told him as a child were all true and that these people with peculiar abilities are as real as he. It doesn't take Jake long to find that he is special as well, and when a malicious group of people threatens their existence it is his duty to help keep them safe. 

Though the film has its flaws, this is easily the best live-action Burton film since Sweeney Todd and a welcome return to form for the master visual storyteller. Within this story, he is able to show off his visual skills in a variety of ways, many of wich are much more conservative than his previous efforts. It may have something to do with the fact that Johnny Depp in ten pounds of make-up is nowhere to be found, but for the first time in the better part of a decade, Burton balances visuals and plot with an even hand.  

Yes, the story allows for his style to run wild, but it also constrains him from taking it too far and sacrificing the characters and plot in the name of pretty images. He was sure to stay true to the source material and keep the character arcs and plot points intact. By the end of the movie, I am actually able to care about Jake and Emma's (Ella Purnell) relationship and what the future has in store for them. Also, Eva Green is a force of nature on screen and from the moment she first appears in the movie she completely owns every scene she is in. Seriously, get this woman in more things now.   

That isn't to say he nails it all, with a huge group of unique characters to introduce some get left to the wayside. By the end of the movie we understand the special abilities of every kid in the home but that's about it. We don't get much more than surface level stuff outside of the main three or four characters, and that's fine. This is technically another YA adaptation and the main relationship is what matters the most, and he manages to get that right. 

The film also lacks a true and menacing villain to further the story along. Samuel L. Jackson plays the big baddie Barron and although he's fun in his moments, there isn't much to his character at all. Barron and his band of cronies basically serve as a simple force to move Jake's story along and push him closer to his fate. At least these guys are accompanied by some pretty terrifying monsters that are the catalyst for the big final action sequence. 

When it comes down to it this film is purely entertainment and not much more. The story clearly has some undertones and social issues to speak on but they are mostly lost in the big budget, big studio model. A lot of subtexts are sacrificed in the name of gorgeous visuals and bonkers action scenes, which in the end work because the scenes are so much fun to watch. If they want to make another two or three movies in this world then I am more than happy to watch them. This is a must-see for Burton fans and to anyone else just looking for two hours of good fun at the theater, this will serve you quite well. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: I Am Not a Serial Killer

I Am Not a Serial Killer (2016)

Horror, Thriller, Sci-Fi

Directed By: Billy O'Brien

With horror currently owning the box office, the age old debate has once again been brought to the surface of whether or not horror is still thriving. Spoiler: it is, and it has been for years now- you just have to know where to look. While Don't Breathe is sitting at number one at the box office it feels like a good time to remind fans that great horror can be found at anytime streaming on VOD outlets. For example, you can currently go and stream the new horror thriller I Am Not a Serial Killer while it is still playing in a limited theatrical run. I did so and in turn was treated to a weird, original new story told from a point of view we don't get to experience too often. 

John Wayne Cleaver (Max Records) has been recently diagnosed as a sociopath by his therapist, and despite the titles negative connotations, he has owned his new identity. He knows he has issues and that if the perfect sequence of events were to happen he would probably end up killing someone. He doesn't want to hurt anybody, though, in fact, the idea couldn't be less appealing to John, but he knows the potential is there. He follows a strict set of rules to keep himself from getting to that point but when a serial killer pops up in his remote little town his entire world is turned upside down. It's made even worse when he makes a strange discovery about the person performing these heinous acts and he now feels an obligation to do something about it. 

Seeing this story unfold from the point of view of John, a diagnosed sociopath, is what makes this movie so enjoyable to watch. We are seeing an original take on a classic small town murder mystery, told through eyes we rarely get to view anything from. Watching John handle his condition is fascinating enough to carry its own movie and learning how he has crafted his own set of rules, and how each of those rules keeps his bad habits at bay is a just one of many clever angles this movie operates on. 

Take that premise and use it as a baseline to tell a murder mystery and it gives us a take with are unfamiliar with. John's vast knowledge of serial killers and how they work allow him to catch onto the trail of his town's new infamous celebrity fairly easily and what he finds is totally unexpected. You may think you have the movie figured out in the first act but when the twists start coming and the film takes a slight sci-fi turn the outcome of the movie becomes rather unpredictable. 

Despite its cool and original premise, I Am Not a Serial Killer is not without its flaws. Watching John navigate his mental state is fascinating at times and pretty much everything dealing with the killer itself is totally engaging, but the filler in between can be quite clunky. There were a handful of moments where I began to lose interest in what was happening in the scene, or what I was watching didn't play directly into the story and slightly lost my interest. They do their best to create the strange relationship between John and his mother, who is aware of his diagnosis, but it often times comes off as a passing thought. 

The film succeeds with a clever premise and great performances from its leads. Max Records owns his role as the sociopathic John Wayne Cleaver, his unsettling demeanor and way of carrying himself creates the eerie atmosphere that most of the story operates on. The real treat though is Christopher Lloyd, who plays John's creepy old neighbor Crowley. Lloyd turns in one of the best performances we have seen from him ages and it adds a gravitas you wouldn't expect from a flick like this.

This is exactly the type of movie that totally justifies the changing landscape of releasing horror films. Though this is a clever new horror thriller it isn't a movie you necessarily need to see on a big screen. Yes, every movie is enhanced by being seen in a theater but this is also the perfect kind of horror movie to just pop on a Sunday afternoon and be surprised by. It offers us a new point of view in which to view a horror story from, and for that alone, it is worth the price of a rental. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!

MOVIE REVIEW: The Mind's Eye

The Mind's Eye (2016)

Horror, Sci-Fi

Directed By: Joe Begos

If you are the horror fan who believes the genre is dead or dying because you've only seen the latest studio flick doing its best to mimic the latest trend then I suggest diving into the world of indie horror. Rather than mimic what's popular many of these filmmakers are taking influence from the masters of the genre and finding ways to create their own unique stories. Take, for example, the latest film from writer/director Joe Begos The Mind's Eye which plays as a giant love letter to the Scanners franchise and other films and filmmakers of its time. This could have easily been a cheap knock-off of movies people love but Begos took the influence and injected it right into the heart of a story that stands entirely on its own.

The film focuses on two people with extraordinary abilities, Zack Connors (Graham Skipper) and Rachel Meadows (Lauren Ashley Carter). Unbeknownst to most of the world, these two belong to a small portion of the population with telekinetic capabilities. When a sadistic doctor by the name of Michael Slovak (John Speredakos) finds out about their special talents he abducts them in hopes of harvesting their abilities for himself. The two manage to escape his facilities and now the crazed doctor will do whatever it takes to get them back. What he doesn't know is that the powers he has been suppressing in them are slowly coming back, and a man with a gun may not be able to do much when the person they are pointing it at can control their brain.

We are hardly seeing an acting clinic on display here but we still gets solid performances from both of the leads Graham Skipper and Lauren Ashley Carter. Doctor Slovak however, played by John Speredakos, literally descends into madness by the end of the film and the performance by Speredakos is so much damn fun. Watching him and Skipper go back in forth in the finale is real treat. I also have to mention horror community favorite Larry Fessenden also has a small role in the movie and we all know anytime he pops up it usually means you're watching a pretty good flick.

When it comes to sci-fi horror one of the keys to success is making sure the sci-fi aspect of the film isn't buried. Nothing is more disappointing than going into a film with promise of something like aliens or telekinesis and have them be an afterthought. Begos gets this, his low budgets haven't stopped him from interjecting tons of interesting science fiction elements into his horror movies. He also doesn't beat you over the head with exposition to make sure the audience is picking up on it either, he stages these moments in a way where we are able to pick up and understand exactly what's going on. We easily understand these characters powers and the extents to which they can use them without having to be told directly why. 

This isn't to say the film shies away from being a full on horror movie, telekinesis can be used in some pretty terrifying ways and we see more than a few of them on display throughout. Unlike Scanners though, a film this one is drawing huge influence from, they aren't just exploding heads all willy nilly the entire time, it's not so easy for this world's telekinetics. The Mind's Eye builds off of what that movie introduced and rather than try to imitate it turns it into something new. Instead of just exploding brains (which I'm not saying isn't in the movie) they can use their powers in a multitude of different ways, like wielding weapons or tossing bodies across a room in a ultra-violent fashion. If you are the fan that goes for unique kills and buckets of blood this movie is entirely for you. 

The story draws influence from all over the board, not just horror. the opening scene of film is it's own version of The First Blood intro. A drifter wanders down an empty road only to be stopped by police and thrown into the hellish situation that is to follow. You can tell Begos just wanted to make a movie with the feel of all of his favorites from the late seventies and eighties while shaping it into his own vision with some modern tendencies. He's not trying to pull on nostalgia as much as create a familiar atmosphere in which he can show us something new, and he succeeds at doing so. 

At the beginning of the movie a title card pops up that prompts the viewer to "watch this movie as loud as possible" and though they may seem like a cheap gimmick to some it's actually a perfect piece of advice. The sound design and score are incredible and it is only enhanced when you crank the volume to eleven. The film boasts a wonderful, old school synth dominant score that plays a key role in creating that familiar atmosphere for the viewer. Add that to the impressive and creepy sound design surrounding the telekinetics and violence, and you have a truly unique experience.

The Mind's Eye isn't the type of film that plays gangbusters to any type of crowd, but for the right audience (which I am a part of) this movie plays as a totally insane rollercoaster ride through hell that we never want to get off of. Begos is making the kinds of films we love and cherish as "cult classics" from the past, only in modern times. I have a good feeling with time each of his films will have a growing audience of dedicated fans. This is easily one of my favorite horror films of the year and I cannot wait to see what he has in store for us horror geeks next. 

As always, thanks for reading and I am Zach Who Watches Movies. You can find me anytime on twitter @ZachWWMovies, smell ya later!