Tom Hiddleston

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Kong: Skull Island Brings Monster Mayhem!

Published March 13, 2017 by rmpixie

Kong: Skull Island (2017, 1 hr., 58 mins)

If you know me, you know this pixie loves her monsters. Big, small, ugly, or cute, I need a weekly dose of monsters and creepy crawlies to keep me going. The promise of that plus the iconic King Kong being revived for 2017 in Kong: Skull Island made me perk up in the hopes of some great monster action, and I definitely got my fill.

Set in the same universe as the 2014 version of Godzilla, government agent Bill Randa (John Goodman) and seismologist Houston Brooks (Corey Hawkins) go to Washington in 1973 to beg for funding and a military escort to a remote island. It’s their hope to be the first to discover a whole new eco-system. The Viet Nam War has also ended, and their military detail is led by Lieutenant Col. Packard (Samuel L. Jackson) who, after the war, feels a sense of loss and displacement after the sacrifices he made for his country. Randa adds the surly and ruggedly handsome ex-soldier and tracker James Conrad (Tom Hiddleston) and the weathered but plucky photojournalist Mason Weaver (Brie Larson) to be a part of their quest. They must all overcome personal agendas and fight for their lives as the island holds way more than they bargained for.

Kong: Skull Island is more fun than a barrel of monkeys (sorry!) because we get one gigantic primate and his prehistoric friends (and foes). It’s a clever blend of traditional war movie, adventure and fantasy quest at its best with some not-so-subtle nods to Apocalypse Now, Joseph Conrad’s Heart of Darkness (see various character names for proof), and even Platoon. These nods would normally distract me, but aside from some clichéd music choices, the writers somehow got the right balance without regurgitating the same old war stories. They also made the right choice with splitting up characters into teams with different agendas. It made for great adventure a la Jules Verne, and gave us a snapshot of who they were and what they wanted out of the expedition with the right amount of exposition; in fact, I thought the story and pacing made the almost 2-hour film seem a lot shorter.

Some interesting choices were made for the cast. Most of the supporting talent I could take or leave, but it was nice to see Corey Hawkins from Straight Outta Compton and The Walking Dead don his nerd hat, Boardwalk Empire’s Shea Whigham as the all-or-nothing Captain Cole and a woman of colour with Tian Jing as the biologist San Lin (Hey Hollywood, we need more, please!). I was thrilled to see John C. Riley in the trailers (he, aside from the monsters, was a huge draw for me) and he didn’t disappoint as the hilariously loopy fighter pilot Lieutenant Marlow who had been stranded on Skull Island since World War II.  He was necessary for the plot, but at times I felt he was put into the story with a neon “comic relief” sign over his head. This is in part to the uneven treatment of tracker Conrad and photographer Weaver. They were so perfectly coiffed after each perilous moment, with glowing skin and shimmering lip gloss, that there wasn’t any room for their characters to be developed. The one actor that did surprise me was Jackson. In a rare moment he actually showed some range outside of his potty-mouthed villain shtick, showing us a conflicted, revenge obsessed man portrayed with a lot of passion.

And the monsters? Oh, the monsters!! Kong was a thing of beauty, with all the detail and emotion from a CGI character you could want. Terry Notary did the ape acting for Kong and is another simian movement expert alongside his colleague Andy Serkis. The horrifying “Skullcrawlers” made me jump for joy with their reptilian bodies and huge gaping mouths. Kong’s sensational fight scenes made me want to see more fantastic animals, but there was only so much time! Hats off to the long, long list of the incredible concept team and digital artists for a job well done. I also want to point out the “Iwi” people, the indigenous tribe of Skull Island that took Marlow in after he was stranded. The concept for them was really beautiful, although their silent society spoke volumes thematically. There are actually a lot of themes in this film, with Kong representing nature or the rage against war, and the indigenous people silenced against or perhaps because of the march of progress, but upon further reflection, this film just doesn’t have the legs for heady discussions.

Yes, I enjoyed Kong: Skull Island despite the handful of issues I had with it.  Director Jordan Vogt-Roberts’ first big budget movie offers an intro for the newly imagined Kong and his world, and I can only hope for meatier stories in the future. The film should definitely be seen on the biggest screen possible (I saw it in IMAX 3D thanks to the horror boyfriend), and stay for the end of credit scenes that made me squeal and clap. Godzilla and Kong met in 1962, and with this new “Monsterverse” where there’s a franchise afoot with all my favourite monsters, there’s a juicy re-match on its way!

Check out this cool website for Monarch, the research company in the Godzilla/Kong Monsterverse here.

 

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Longing and Only Lovers Left Alive

Published September 14, 2014 by rmpixie

only lovers

Only Lovers Left Alive (2013, 2 hrs 3 mins)

As a Torontonian to the end, I will go on the record when I state that I have a love-hate relationship with TIFF, aka The Toronto International Film Festival.  I loved it when it was a smaller affair, attracting eccentric movie buffs that had interesting opinions on interesting films. While I think the attention my fair city gets these days is great, I do take issue with all the star chasing, gala hopping hoopla that is now covered by Instyle and Vanity Fair, but it seems it is here to stay.  As a result, I rarely go to any movies at the festival.  I can’t take the posturing from rabid fans and wannabe industry hangers-on, the line-ups or the general nonsense that is part and parcel with TIFF, rather waiting to watch most of the buzz-worthy titles in the comfort of my own home.  The one film I wanted to venture out to see during last year’s festival was Only Lovers Left Alive, but I never actually made it to the theatre, so here is my review, one year later, ironically on the last day of the 2014 season of TIFF.

Jim Jarmusch is an interesting man.  I don’t claim to be an expert on him by any means, but  films like Stranger Than Paradise and The Limits of Control left me loving the feel and scope of his vision, getting an almost artistic buzz after watching them.  My favourite Jarmusch film hands down is Ghost Dog:  The Way of the Samurai.  This quiet film brings a sense of beauty and zen to the assassin, and he does the same for the vampire in Only Lovers Left Alive.

Adam (Tom Hiddleston) is an innovative musician who is also a reclusive vampire.  He lives in a secluded, tear-down of a house in the tear-down city of Detroit, and with the help of a human Ian (Anton Yelchin) for music supplies, and a jumpy hospital lab tech (Jeffery Wright) for his blood supply, he is able to exist with little disturbance.  Melancholy seems to rule his life of late, making him contemplate his existence and his disdain for humans, or “zombies” that are destroying the world.  Eve (Tilda Swinton) is his wife and at the moment, she lives in Tangiers.  She is a sensual being, soaking up books and atmosphere, and seems to be content with getting “the good stuff”, or choice blood, from non other than the 16th century poet and playwright Christopher Marlowe himself (John Hurt), who has survived the ages as a vampire.  They are all satisfied with sipping their blood from tiny sherry glasses because they are far too civilized to hunt their human meals.  After a disturbing video chat with Adam, Eve comes to Detroit to check in on him. Adam and Eve appear to the outsider as the coolest junkie couple you will ever meet, wearing shades at night to shroud themselves from the everyman.  They are the ones that if you engage, you just may be in a heap of trouble, but their seduction is irresistible.   They proceed to chill out in true vamp style and live an introvert’s dream; reading, debating philosophy, playing music, getting their blood fix and sleeping in a heap like sophisticated feral junkie children, until Eve’s bratty sister Ava (Mia Wasikowska) shows up, throwing a wrench in their well oiled machine of solitude.

Sound boring?  Perhaps a tad Anne Rice-y and formulaic?  Well it’s not.  Jarmusch is known for making films of a slower, more contemplative pace and what he creates here is a sweeping and moody anti-horror movie.  With a beautiful colour palette and the comfort of cluttered sets, he wraps you in a cocoon of an introverted, isolated world that only the characters and the viewers understand. But make no mistake.  There are plenty of intellectual inside jokes and lots of dry humour that still makes this a classic Jarmusch film.

His “casting” of Detroit as a backdrop was genius for this particular story.  It mirrors the life the vampire couple used to have, a life of innovation and progress that becomes antiquated as the world forgets and moves on.  Adam has fans that seem to personify the hipster fueled gentrification, a tainted blood that tries to pump life into an ancient body.  It’s a world where the “zombies” defile artifacts of a glorious past.  Pay attention to the scoring too, but not only because Jarmusch wants you to.  The director and musician creates Adam’s spacey compositions with his band SQURL, and the action is accented by the beautifully enchanting and dreamy sounds of the lute from composer Jozef van Wissem, who won best score for the film at Cannes in 2013.

And I must talk about Tilda Swinton.  I think you all know how much I love her.  She is like a gorgeous alien who can morph into any character.  From her style to her attitude, she is truly mesmerizing.  Her waifishly sleek Eve was calm and calculating; glowing on the screen like an alabaster phantom.  Tom Hiddleston was lazily lethal and brooded with a Jim Morrison-esque intensity, and I loved the reference to Christopher Marlowe, whom John Hurt played so well.  Honourable mention goes to Anton Yelchin as Ian, who exuded a sweet naivety and obedience that amplified Wasikowska’s predatory and petulant Ava.  The costuming and sets were beautifully done, from the rock star vampire tousled hair to the retro-modern wardrobe; from Eve’s walk-up in Tangiers to Adam’s old school recording studio complete with beautiful vintage guitars and a faded red velvet divan fit for any aging rock star, and all of this captured by D.O.P. Yorick Le Saux who meticulously frames each scene to give us precise shots that are pleasing to the eye.  This is a thinker’s vampire film, with nary a CGI effect, save for some fangs and fast hands.  If you want to step outside of the horror box, I’d suggest Ganja and HessKiss of the Damned, and Only Lovers Left Alive for an interesting triple feature to experience indie vampirism at it’s best.

As a pixie who has often been called a vampire because I don’t look my age (yet…) and as someone who has had to examine her own mortality more than once due to very unfortunate circumstances, Only Lovers Left Alive was very poignant for me.  Their desire to stay under the radar and not bring any attention to themselves as life marches on is betrayed by an ultimate longing, bringing them together to steel against an impending doom.  When faced with the question “Is this all there is?”, Adam and Eve give us solace in knowing that yes, maybe “this” is it, but enjoying the moment before it becomes a memory is our mortal goal.

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