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Dan the Man's Movie Reviews

All my aimless thoughts, ideas, and ramblings, all packed into one site!

Tag Archives: Edwin Wright

King Kong (2005)

He must protect his house.

Carl Denham (Jack Black) is a filmmaker living in the 1930’s, meaning, he doesn’t have a lot of opportunities. And the ones that he does have, don’t tickle his fancy as much as they used to. That’s why, when he catches wind of a mysterious, huge and odd island out in the middle of nowhere, Denham soon gets the ambition and inspiration all over again. So, he assembles a team full of actors, actresses, crew, and handy-men, who know a thing or two about an adventure and are capable of solving issues, should any of them arise. Aboard the ship is leading-lady Ann Darrow (Naomi Watts), who also is in desperate need of a hit and will do anything for the spotlight, just one more time. Screenwriter Jack Driscoll (Adrien Brody) feels the same way, but also finds himself falling for Ann, leading him to make some pretty rash decisions along this adventure, all leading up to finally meeting, once and for all, King Kong – the giant gorilla who practically watches over Skull Island and kills any sort of threat that may come its way. In this case, it’s these humans and needless to say, not all of them are equipped to take him down.

Why would you want a human, when you could have a Kong?

After winning practically every Oscar that he could for Return of the King, it made sense that he would be allowed to make virtually any movie that he wanted. Cause it’s a known thing in Hollywood: Make a lot of money, win a lot of awards, earn respect, and guess what? You can make your dream projects a reality. And oddly enough, for Jackson, it was remaking the movie he grew up knowing and loving, King Kong. Oh, and by “remaking”, I mean making two hours longer and adding on more CGI, special-effects, and story than you could ever imagine.

But trust me, this isn’t a stab at Jackson.

If anything, King Kong is Jackson getting the opportunity to play in his sandbox, where the world is his oyster, sky is the limit, there are no rules, and even better, everyone’s watching. A lot of people may have complained about the fact that the movie is over three hours long, takes awhile to actually get to Skull Island, and yeah, features one too many monsters and creatures, aside from the titular Kong, but in a way, that sort of makes the movie more epic; it shows us that Jackson isn’t setting out to make a note-for-note remake, but bask in every single bit of this material and be as excessive as humanly possible.

Is it a little draining? Quite possibly, yes, but at the same time, watching Jackson having the time of his life is, in all honesty, a beauty to behold. There aren’t many directors out there in the world with the impressive and ambitious scope like Jackson’s, so when he’s given carte blanche to do all that he wants and not stop, it’s nothing if not entertaining. Also, when was the last time you saw a three-hour movie that goes by in a flash? King Kong should have been a slog, but it’s not and it’s a true testament to Jackson’s prowess that allows for him to make a three-hour movie about little humans and a big gorilla, feel a lot less than that.

Basically, what I’m trying to say is that Jackson directs the hell out of this thing and it makes sense why he wanted to bother with this story in the first place.

And even getting away from the technical side of the movie, and focusing more on the actual things that matter, like story, character development, etc., yeah, it still kind of works. The story isn’t all that different from before, but this time around, Jackson does up the emotion in a way that’s surprising, mostly because while we’re watching Kong up there on the screen, we’re watching something believable and impressively done – almost to the point where instead of being scared by him, we’re actually connected to him. The whole tale about this gorilla falling in love with a short little blonde thing is, of course, silly, but the movie doesn’t forget that sometimes, the seriousness of a tale like this can actually work, so long as you build enough tension and emotion behind it all.

That’s what Jackson does and it helps King Kong move along, even when it gets away from the gorilla beating the hell out of other monsters and dinosaurs. Cause even during those sequences, there’s a fun, crazy and almost hectic energy that’s a lot like the Lord of the Rings movies, but still its own kind of beast. Even when Jackson does dial it down for the characters, the movie’s still at least somewhat interesting, because we’ve spent so much time and energy with them, it’s hard not to understand them, at the very least.

Jack knows what I’m talking about.

Then again, the ensemble involved does help out with that as much as they can.

If there’s one thing that holds King Kong back from being a truly and absolutely great movie that it sometimes comes close to being, it’s that the performances can tend to be a bit bland, which may have more to do with the script and less to do with the actual actors themselves. Like, for instance, Naomi Watts and Adrien Brody are two perfectly good actors who can work well when given the material, but for some reason, they just feel underdeveloped; Watts gets some chances to be bright and shiny, whereas Brody is mostly just serious and not all that right for a movie that’s so concerned with everything else that’s going on around him. Others in the cast fare better, like Kyle Chandler, Jamie Bell, Thomas Kretschmann, and Colin Hanks, mostly because their characters aren’t made out to be the leads and can benefit from some goofiness, but with Watts and Brody, who are supposed to be our emotional anchors throughout this whole thing, it doesn’t fully work.

That said, the movie does benefit from having a very good, very surprising, and very dark performance from Jack Black. Of course, a lot of people will consider Black’s performance to be channeling Orson Welles, but if so, it’s still a good performance, because we see him lay down all of the usual trademarks and conventions that we’re so used to seeing, and hating with the sorts of characters he plays. What we get here, is a person we grow to love to hate and because of Black’s performance gets better, taking on more meaning as the movie develops and we start to see more sides to this twisted, sometimes sad little man.

Which is to say that I’m still waiting for that battle between Black and Kong.

Black Kong. What a name.

Consensus: Ambitious in scope, epic in its look, feel, and overall mood, King Kong is the movie Peter Jackson deserved to make and absolutely revels in the opportunity to do so, for the benefit of us all.

8.5 / 10

See what I mean?

Photos Courtesy of: Fernby Films

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Slow West (2015)

Slow and steady doesn’t always win ya races, people.

16-year-old Jay (Kodi Smit-McPhee) is currently stranded 19th Century frontier America. For some odd, inexplicable reasons, the woman that he grew up to know, learn from, and love (Caren Pistorius), has vanished. Because of this heartbreak, Silas figures that the only way to fix it all would to actually set out on a journey to find her, once and for all. Little does Jay know, the West can be a pretty rough and ragged place to travel through, and if you’re not careful, you could find yourself in some very tense, life-or-death situations. That’s why when Jay runs into the company of Silas (Michael Fassbender), a charming and smart outlaw that seems to collect bounties anywhere he goes, he wants to stick with him in hopes that his life will be protected. The only problem know is that Jay eventually finds out that his old love is know wanted dead or alive for a murder she may not have even committed in the first place, and now, nearly every dirty, mean cowboy in the West is gunning after her. It’s up to Jay to make sure that he finds her before it’s too late, whereas it’s up to Silas to make sure that the boy does, but that he also gets his money, as well.

Slow is exactly right. With a movie like Slow West, it’s hard to be mad at it for what it is: A slow, melancholic Western that doesn’t over-stay its welcome too long, nor does it ever really seem to find its own footing. With first-time writer and director John M. Maclean, it’s clear that there’s a certain look and feel to this film that’s supposed to matter to the story, to these characters, and especially to our own general feeling to the film as a whole. While it’s easy for me to say that Maclean clearly has an eye for visuals, it doesn’t translate as well to the rest of the flick.

Even if he hasn't taken a shower for what seems like a couple of weeks, M-Fass still rules the land.

Even if he hasn’t taken a shower for what seems like a couple of weeks, M-Fass still charms socks off.

But, then again, it’s hard to get on a movie that features not only Michael Fassbender, but Ben Mendelsohn as well.

Two for the price of one, people!

With Fassbender’s Silas character, we get the sort of soft-spoken, but charming-as-all-hell outlaw character that we so often see in these kinds of Westerns, however, they mostly feel like parodies of themselves. While they’re supposed to be taken seriously, these kinds of characters have been practically done to death by now, that no matter how cool, calm and collected you are, the character you’re playing may still come off as corny. However, this is not a problem that gets in the way of Fassbender, one of today’s most talented actors.

As Silas, Fassbender proves that it’s sometimes best to say two words, rather than to say 15 or so, and yet, still get your point across. Sure, it’s safe to say that this Silas character seems like he knows it all, been there, done that, and has seen whatever the world threw in front of his eyes, but Fassbender plays it in such a manner, that it almost didn’t matter to making this character work; Fassbender just finds his own ways in doing so. He could either be shooting people, calming gunslingers down, or smokin’ a stogie in the middle of a gun-battle and no matter what, Silas would still be cool, without ever seeming like he’s trying too hard.

And of course, having Ben Mendelsohn just show up and do his thing is great, and that’s how he is here. Not much different from before, except to say that there’s still an unsettling feel surrounding him where you don’t know whether or not he’s actually a cold-hearted killer, or just a guy looking for a quick money-grab. Either way, there’s something interesting to his menace, and that never seemed to go away here for him.

Problem is, Maclean doesn’t really find a way to make sure that the plot services both of these guys’ talents, as well as Smit-McPhee’s.

The fur just adds more creepiness, surprisingly.

The fur just adds more creepiness, surprisingly.

For one, the plot is simple at best, meandering at its worst. Whereas some will be pleased to see that Maclean sort of just lets his movie move along at its own pace, find its own direction, and even figure out what story it wants to work with, to me, it didn’t quite gel well. Constantly, it felt like Maclean didn’t know where he wanted to go with this story and didn’t have much of anything mapped-out to work with. So, instead of writing something down in concrete, he just let the movie go on and on, without much of a rhyme, reason, or direction.

Sometimes, this works if the movie itself seems to be a fun piece of random, but Slow West isn’t that kind of movie. Sure, it has some moments that are tense, including a gun-packed finale that’s surely the highlight of the whole movie, but overall, it’d be hard to make sense of just what’s going on and why. I’ve seen some people refer to this movie as “a dream”, and while I agree with some of those statements, I still don’t think it works in the movie’s favor; it never seemed like it deserved to be seen as a dream, no matter how many random characters popped in and out.

Then again, it all comes back to the fact that this is a Western that ends on a high note, with guns a blazin’, bullets a flyin’, and people a droppin’. To me, that’s always a fine time to watch, whether it’s a Western, a regular, old action movie, or a family drama. And if that shows anything, it’s that Maclean, while not fully ready for more and more pictures, definitely has a future in just filming action sequences, no matter where they’re taking place.

Because lord knows I’ll watch them. With or without a lame story.

Consensus: Slow West takes its good old time to get where it needs to get going, and because of that, feels meandering and random, but still doesn’t take away from solid performances and bits of action.

7 / 10

 

Trust the barber, kid. For your own sake.

Trust the barber, kid. You’ll never regret it.

Photo’s Credit to: IMDB, AceShowbiz