King Kong (2005)

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Yesterday, I wandered off for a morning show on opening day, as has been my wont of late. The beauty of not having a job is thusly demonstrated, though I miss midnight shows a bit. Haven’t done anything event-like since Serenity. (Which, to my amusement, I’m going to see right now, so I’ll continue the actual review after I get back. Yay, dollar theater.) But, anyway. Opening day for King Kong, which is to say, Peter Jackson’s latest attempt to show the world that a horror movie director can in fact be a world-class director in the general sense.

There’s a lot going on here. First of all, it’s a remake. There’s always, then, an urge to compare the remake to the original. Usually, this comes out very, very poorly for the remake. Not here though. Of course the technology is so many orders of magnitude improved that it’s hardly worth discussing. Except for a couple of CGI people, there was nothing that did not look real. Kong and the other denizens of Skull Island looked real 100% of the time. In fact, Kong looked real enough that I feel comfortable claiming he could act better than most people in the kinds of movies I generally watch. The moment when you could not read his thoughts on his face was a rare one indeed.

And, okay, three hours seems like a lot (though for my money, the movie was never truly slow). But where the movie shines is that the story is intact, yet still improved. It takes a special eye to take a classic tragedy and make changes that are improvements instead of disasters. Jackson has already shown he has that eye, but now he’s shown that it wasn’t a fluke. Simply put (and please believe me when I say I’m trying very hard not to gush here), this is the best movie I’ve seen in years. It’s easily in my top five, and if I were being fair to the movie instead of my sense of nostalgia, I expect it would be top two or better.

I’m going to say something here, and it’s not going to make any sense, but it might if you let it percolate for a moment. King Kong is easily the best serious drama (i.e., not a movie with fantastic elements) I’ve ever seen. Now, okay, does it compare to The Godfather, say? I’m not trying to answer that, because deep down, apparently romances are more to my taste than mafia flicks, so it’s an unfair comparison. But the thing is, every note was right. It’s a tragedy because everyone is a good guy. Okay, Jack Black’s character has a few moments of not-so-good, but he’s far more sympathetic than he should be by rights, and he’s the only one who crosses any kind of line. So you’ve got all these characters doing the right thing as they see it, and the outcome is inevitable, and completely heartbreaking.

Maybe what this all says about me is that I’m a sucker for a simple, well-told story. Which I’m willing to admit to, though the complex ones certainly have their place. But if you have any of that in you, I dare you to find a movie you liked better this year. (And make no mistake, I adored Serenity, and I really liked Revenge of the Sith, out of more than obligation. So it was already a pretty big movie year for me, and I would not have expected to be hearing me say this, a couple of days ago.)

The Back Lot Murders

What can I say about The Back Lot Murders? Well, for one thing, it has Corey Haim’s finest performance since… uh…. Dream a Little Dream 2? Yup, that’s right, he lights up the screen as the blue-haired drummer of a band on the verge of making it big, now that they’ve cut loose their songwriter, who combined the band’s only source of talent with anger management issues the size of that stack of million CDs required to go golden. (I know I’m reaching. You would be too. This thing was awful.)

Well, okay, lights up the screen is an exaggeration, since I couldn’t even tell it was him, and once I did pick him out, it was obvious that he was slumming all the way. And why shouldn’t he? You’ve got a group of talentless hacks recording a music video on the Universal backlot, in order to tie in to the success cash cow that was (no lie, here) Jurassic Park 2: The Lost World. The only problem (other than that pesky lack of anything resembling talent; seriously, they could have dubbed *some* local LA band that’s good but starving. They exist.) is the mysterious masked killer wandering the lot slaughtering crew, topless groupies, and eventually the band.

Yeah, that’s pretty much all you need to know to make up your mind. Obviously, I bought it on first sight in the Fry’s horror section a few months ago, and with slightly less info. (Well, I couldn’t possibly have guessed just how bad the music would be, could I?)

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

Looking back, the review contains one spoiler for the movie. You have been warned, though I personally wouldn’t sweat it, I don’t think. It’s not that kind of movie, being based on a decades-old book and all.

So, way back on opening day, we trekked across town to the Rave theater in northwest Fort Worth, because the guy who sold my dad his TV had claimed that that chain had the best equipment in town. It was fine and all, don’t get me wrong, but nothing like worth that kind of drive. If we hadn’t also had other things to do quite near there indeed, it would have been pretty much a terrible waste of gas. It occurs to me, in retrospect, that when he claimed the Lion, the Witch and the Wardrobe had beat out the Lord of the Rings movies for both story and technological advancements, that should have been a sign that he was a loon on other fronts as well. (In fact, I’ve just talked myself into being a bit worried about the TV, which hasn’t been delivered yet.)

The thing is, it was a pretty good movie, and suffered only by that comparison. True to the source material without carrying along Lewis’ overbearing tone, pretty as all get out, and with excellent sense of wonder quotient. Sure, it was a kid’s movie, and there were elements that were not just fantastic but downright nonsensical. (It’s not just that Santa Claus showed up to give them presents. It’s not just that this was a sign that the evil winter was coming to a close, even though 12/25 seems to fall at the beginning of winter in the majority of farmer’s almanacs that I personally have perused. It’s that he chased them halfway across a frozen lake without using a few hos to identify himself, just to create tension with the other ensleighed character of the film. Cheap, is what.)

So. Good movie? Yeah, despite being unapologetically for kids. It didn’t have those ‘for adults too’ winks and nudges, which sometimes work and often don’t. But it was still really good, in that you could put yourself in a kid’s position and still remember caring and fantasizing about things like this. The two family-friendly movies out for the season that involve multiple ‘parents with way too many kids‘ scenarios? No adult wants to remember wishing for that as a kid; I’d like to think that no self-respecting kid wishes to experience it now.

Christian movie? It’s very visible, yes. If you wanted to use it to talk to your kids (or your pagan friends, though that might be dangerous, considering the history underlying resurrection myths around the world) about what happened with Jesus and why, the parallels are there to be drawn. If you’re in a minority that’s as allergic to Jesus as a minority of vocal Christians are allergic to anything non-Christian, then, well, the parallel will almost certainly set you off in hives. If you’re most people, it falls somewhere safely in between, to be ignored if you want it and savored if you do.

Speaking of minorities, if you’re in the one that’s allergic to Furries, well, Narnia is one of the early examples of the genre, so that’s going to be unavoidable. And if you’re in the one that really gets off on that, well, try to go to a theater late in the run where nobody else will have to listen to your heavy breathing, okay, pal?

Effects? Yeah, they were fine, but don’t expect any awards.

Aeon Flux

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And then on Friday, I saw Aeon Flux, which just goes to show you that it was a big week for movies. In the relatively distant future, all but a percent of the human race has died out, and what is left is kept within a single city by the armies of an evil scientist. Life is perfect, except for when people are disappeared or if you live the life of one of the ultra-violent revolutionaries who want to put a stop to those disappearances. Or if you live the life of one of the ultra-violent enforcer guard types who keep the status quo. I’m not sure which group got ultra-violent first, but they have made a science of stylishly shooting and/or breaking the necks of their respective enemies.

The premise tells most though not all of the story. Our heroine, Aeon Flux, is one of the revolutionaries, and the time has come to stop the evil regime forever. Or it would be, but instead of that, she goes about peeling back layer after layer of the onion, to find out what’s really going on in our idyllic-yet-bloodbathed utopia, who the bad guys really are (perennial tagline: Not Who You Think!), and what happened centuries ago to get us to here.

I never watched the MTV series it was based on, and so I have no idea if that helped or hindered my enjoyment. But it did its key jobs of looking pretty, delivering explosions and mayhem, and containing a reasonable enough sci-fi mystery. It probably should have picked a sparser sci-fi year if it wanted to stand out, though. And since the series debuted ten years ago, one is forced to wonder what made this week so attractive. (Also, if the MTV series was based on a comic first, well, a) that would explain the why now part, but mainly b) I don’t read enough comics. It is known. It need not be pointed out extensively after the fact. (Research is for people who are getting paid, so that it can be used as a tax dedution.))

The Fog (2005)

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A long time ago, I was going to see The Fog at the semi-local drive-in, which would have been pretty awesome, especially if it had been a foggy night. But mainly that this is exactly the kind of movie one should see at the drive-in, and the chances to do so nowadays are limited. There was a scheduling mishap, but these things happen. In any case, rest assured that I will be going at some point. I think the movie where Captain Reynolds battles the evil slugs has a high likelihood of that venue, for instance. Maybe Snakes on a Plane, too.

But, then I found it still showing in the dollar theater (dollar hot dogs too, which sounds good on paper until you realize what a hot dog that you pay a dollar for at a theater actually looks like), and got myself out there yesterday afternoon. And, wow. What a very, very entertaining movie. Mind you, the plot made barely a lick of sense, and the less said about the closing scenes, the better. For example, what kind of island can get every single window in a truck repaired in less than 24 hours, but you still can’t get off the island if there’s an evil fog rolling in against the wind nightly? We’ve got not one, but three crazy elderly doomsayers for the characters to ignore! We’ve got an evil, fully decked-out dining room table sitting in the pounding surf, for no apparent reason. (Well, obviously, but also for no apparent plot-related reason. My point here is, I want a painting of that scene because it was too awesome for words, and I completely understand why they had to leave it in.(Also, I guess it might not have been evil. But I bet!)) Unfortunately, we’ve got a miserable editing job, such that even the scene cuts that should make sense don’t. We’ve got plenty of pretty people dancing around in their underwear. Do we have flesh-eating zombies coming ashore to punish the living? We do, but not in the way you think!

Was it a good movie? Well, clearly not. I expect to discover that every single deviation from John Carpenter’s original will be the primary cause of its failure on the quality measure. But entertaining? Oh, my, yes.

Derailed (2005)

Jennifer Aniston was always basically the hottest Friend, and now she has a psychological thriller movie. So, hey, that’s for me! Off went I to Derailed on Wednesday, and that was worth the effort of going to. This guy meets a hot chick on a train, they start down infidelity highway, and then things go suddenly awry; but not in the Glenn Close hide-your-bunnies manner.

As always, one moment of truth could have re-railed the whole situation, but the tragedy of psychological thriller lead actors is that they’re flawed with dishonesty. And so instead of admitting to his wife what happened the very first night, our hero is drawn ever further along the road to hell, with no offramp in sight. And that’s what the movie is really about: how you react to the gradual, inevitable dissolution of your life. Except, given the genre, you know someone is going to get shot by the end.

A Game of Thrones

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thrones22To my very great surprise, my most recent book has been the opening entry in Martin’s A Song of Ice and Fire, A Game of Thrones. What with my dad so much out of it via his time in the hospital, we needed something to do while visiting. I eventually started reading the series to him, figuring that he’d like it and also that it would give me a chance to catch up in time (well, okay, not exactly, but sort of) for the most recent volume.

But, the unexpected part is where I finished it so quickly. In fact, it read fast, and the politicking is sufficiently pleasant that I didn’t very much mind the relative lack of frozen zombies. (They are, after all, both the point and the pay-off.) But I get ahead of myself. What we’ve got here is a story about the end of the world, not by fire but by ice. Specifically, the undead Others from the polar north are on the verge of emerging for the first time in 8000 years to destroy the world of men. Only, nobody in the world of men is particularly aware or concerned; after all, there is power to be won, and money, and most importantly, a crown.

Westeros is a brutal land, but also an honest one. All too rarely do people get what they deserve; instead, they get what they can grasp and hold onto with their own two hands, and the penalty for a reach which exceeds that grasp can be dire indeed. And so the question becomes, can the honorable old Stark family of the North, the gold- and power-hungry Lannisters, the last daughter of a usurped throne, and all the men of Westeros settle vast gulfs of difference before Winter has come?

Thematically, it shares a lot with Jordan’s series. The goal appears to be to demonstrate exactly how divided man can be from man, and still manage to pull together in time to save the world. He outpaces Jordan in that mistakes have real consequences to actual characters in the storyline, not merely to the faceless masses. Prosewise, his errors are less glaring but nearly as annoying as Jordan’s can be. Or maybe it’s my own peeve, but quite frequently I’ll see the same word twice in a sentence or consecutive ones. Repetitive word choice drives me crazy. On the whole, though, excellent start to a series that appears to be over halfway through right now, and that continues to show a great deal of promise.

Saw

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Having seen Saw II, I decided that it was time to… watch… Saw. And I have to say I liked it. I claimed a few weeks ago that a scene in the sequel ruined the original. As it happens, that was not true. So, I still got even to enjoy the ongoing plot as it unfolded, although it turned out there was a whole different issue where the reveal of the bad guy was a major plot element, and I already knew that part. Still, not so bad on the whole.

Saw is the tale of two men chained on opposite sides of the room, how they got there, and what they have to do to get out. (If you think a saw will be involved, you just might be surprised! But probably not.) As good as it was (and I’m willing to proclaim any future sequels must-see for horror fans; finally, some good footage is getting put in film cans instead of direct-to videos), it could have been an order of magnitude better if they’d managed to tell the same basic story and keep all of the action in that room. Tension, cat-and-mouseness, substantial gore, it was all there. Luckily, the outside scenes mostly involved Danny Glover, who seemed to know even if he didn’t admit it that he is definitely getting too old for this shit, so the remainder of the movie was pretty well saved too.

Harry Potter and the Goblet of Fire

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Big movie of the weekend, I hear, and yet mostly unpopular with the literary set of which I am aware. Yep, it’s November, which means it’s time for Harry Potter to go back to school. (Except for that time he went back to school in July. British people are weird; I think it’s because of all the fog.)

Note: Expect spoilers for the books below, as well as for previous movies. Well, and maybe for this movie, depending upon your perspective.

As the books get longer, the movies get longer; nevertheless, more and more of the books is disappearing. Harry faces the dangers of a magical tournament between Hogwarts and other wizarding schools around Europe while plagued by dreams of Voldemort’s return to power. Also: adolescence! Anyhow, it was pretty good for what it was. It kept the core plot elements, sacrificed a number of unnecessary elements (freedom for house elves, Percy is a prat, some guy is in hock to the goblins), and then sacrificed several wholly relevant plot elements (the second half of the Rita Skeeter plotline where the wizarding community loses its crush on the Boy Who Lived, Harry’s growing relationship with his uncle Sirius, a reasonable explanation of what happened in the climactic moment). But that’s okay in a way; as long as those elements are established solidly in the fifth movie when they would be coming to fruition, then it could still work out. Of course, that book is longer still than the current one, so it hardly seems fair to try to cram in info from an earlier book too. Luckily, this is not my problem.

In short? Decent movie, pretty to watch, and the edits are all the more painful for coming so near to being masterful and then falling short of it. I’m missing all the actual wizard-learning as well, but that is disappearing from the books too, so, y’know. Below the cut, my one big (and unmistakably spoilerish) complaint with the film adaptation.
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Saw II

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Having a father in the hospital makes for a dramatic slowdown in consumption. Only one movie in the past few weeks, and I do have at least a couple I wanna see right now. Only one book lately too, but part of that is my choice to read a doorstop novel so as not to have to do any other reviews for a little while. (Is it cheating to acknowledge stuff like that? Well, whatever.) But, lots of Harry Potter to while away my dad’s time, and let me tell you: that lady uses really a freaking lot of adverbs. Which is pleasant, as they’re very much like script directions, and I can be sure I’m getting the voices down solid. But still, I’d never noticed just how frequent it was, reading them quietly to myself. Just saying.

However, I was actually talking about movies, this time. I saw II…. um, no, that’s not right. Let’s try it again. Um. I went to see Saw II. But I didn’t see Saw, so how can you claim you did too? Look. Seriously. Shut up.

It makes me want to see Saw (I mean it. Shut up.) even more than I already wanted, even though through a probably inevitable turn of events, I know how Saw ends already from this current film. Leaving that aside… yeah, it’s pretty good. There are twists, as all good horror movies should have. Also, violence and brutality. The conceit (I think of both movies) is pretty simple. A homicidal sociopath (or possibly an ethically unfettered clinical psychologist) puts people in deadly situations but with all of the tools necessary to escape from them, and then watches to see what they’ll do. This one has two subplots, seven people (or eight? who can remember?) in a trapped house from the mold above, and meanwhile a cop whose son is in the first subplot has captured and is interrogating the maniac, in the hopes of rescuing everyone.

The main thing I took away from this is what a great RPG subplot #1 would be. You set the house, and the clues, and assign the characters to people, and then see if they’re able to save themselves before the deadly gas kills them all. Far better RPG than movie, and it was much better than the average slasher movie, which had very nearly fallen by the wayside anyhow. So, thanks for the cool idea which I may use someday, unnamed Hollywood scriptwriter(s), and also thanks for revitalizing stuff that was just lame direct-to-video anymore. I now have a new most anticipated movie to look forward to (well, not counting if Snakes on a Plane materializes), 2006’s Slither, starring Sheriff Mal Reynolds.