WAR FOR THE PLANET OF THE APES (2017) – The Best of The New APES Movies

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The new PLANET OF THE APES series keeps getting better and better.

RISE OF THE PLANET OF THE APES (2011) was an okay reboot, solid yet uninspiring. Its sequel DAWN OF THE PLANET OF THE APES (2014) was better. I liked it but I didn’t love it.

Now comes WAR FOR THE PLANET OF THE APES (2017) a thoroughly engrossing tale that is equal parts futuristic science fiction, epic adventure, and prisoner of war drama. All three parts work well to comprise a story that is captivating from start to finish, so much so, that this third film is clearly the best entry of the series thus far.

Of course, it helps to have a talented director at the helm.  Matt Reeves, who also directed DAWN OF THE PLANET OF THE APES, is one of the more talented directors working today. He’s directed some of my favorite horror movies in recent years, films like CLOVERFIELD (2008) and LET ME IN (2010), and now WAR FOR THE PLANET OF THE APES. I only wish he’d make more movies.

When WAR FOR THE PLANET OF THE APES opens, we find Caesar (Andy Serkis) and his band of apes still hiding in the woods, still trying to avoid the humans who are out to conquer them.  This time around, the advancing human military is led by a charismatic officer known as The Colonel (Woody Harrelson).

A small military unit locates the apes and attack, but they are defeated.  Caesar spares the lives of a couple of prisoners and sends them back as a peace-offering, but this doesn’t stop the Colonel, who returns and raids the apes’ camp, killing Caesar’s wife and son.

Found out, the apes have to move, but Caesar announces that he’s not accompanying them, as he is intent on finding and killing the Colonel.   Eventually, all the apes, Caesar included, are captured by the Colonel’s forces, setting the stage for the second half of the movie, which plays out as a riveting prisoner of war tale, where the apes attempt to plan a daring escape, even as another military contingent moves in, one that is at odds with the Colonel and plans on wiping out all the occupants at the base, including the apes.

There is so much to like about WAR FOR THE PLANET OF THE APES.  I liked how Caesar evolved here.  In the first film, he barely spoke, saying one word here, one word there. In the second film, he spoke more, but not entirely fluently.  Here, he speaks effortlessly, which makes him an even stronger character.

The storyline of the disease which wiped out humans and gave intelligence to apes continues to evolve in this movie and remains compelling.  This time around, we learn that the disease is changing, that the remaining humans are gradually losing the ability to speak, and are slowly becoming more beast-like, while the apes are becoming more intelligent.  This plot point hearkens back to the original series, where apes were intelligent, and humans were mute animals.

We first get a hint of this change when Caesar and friends find a young girl (Amiah Miller) who cannot speak.  Orangutan Maurice (Karin Konoval) eventually names her Nova, in a nod to the Linda Harrison character from the 1968 original film PLANET OF THE APES.

And more apes than just the ones with Caesar were affected, as they meet another chimpanzee who goes by the name Bad Ape (Steve Zahn) and who tells them his story.

There are a lot of nods to the original series here.  The soldiers wear the symbols for Alpha and Omega on their helmets, which is a nod to the Alpha/Omega bomb which destroyed the Earth in BENEATH THE PLANET OF THE APES (1970).  The line is used, “the only good ape is a dead ape,” which is a reference to General Ursus’ line “The only good human is a dead human,” also from BENEATH THE PLANET OF THE APES.

Again, there’s the character of Nova, and I liked how they came up with the name, as she finds a grille from a Chevy Nova.  Also, when Maurice says her name, “Nova,” he says it the same way and with the same cadence as Charlton Heston said it in BENEATH THE PLANET OF THE APES, so much so that I wonder if they dubbed in Heston’s voice here.

Speaking of Maurice, his name is a nod to the actor Maurice Evans who played the orangutan Dr. Zaius in the original films.  And Caesar’s little son is named Cornelius, who was the character played by Roddy McDowall in the original films, and in those films Cornelius was Caesar’s father.

There are also just some funny monkey references. The back of one of the soldier’s helmets reads BEDTIME FOR BONZO, a reference to the Ronald Reagan movie, a comedy which featured a chimpanzee. Also, the apes who work for the Colonel are called “donkeys,” a reference to Donkey Kong.

The special effects are amazing. The apes look phenomenal. They’re so good it’s easy to forget that nearly every character in this movie is a CGI creation.  The only main human character is Woody Harrelson’s Colonel, and the rest of the humans are nameless soldiers, and yet the film doesn’t suffer for it at all. You don’t watch this movie and feel like you’re watching an animated cartoon.  These characters seem genuine and real, more so than some of the human characters we see in other movies.  And their story is compelling.  You really do feel for the apes and want them to escape from the prison.

Andy Serkis, who’s become the king of motion capture performances, is excellent once again here as Caesar. I don’t think they give Oscars yet for this category, but if they did, he should get one.  And he’s not alone here.

Both Karin Konoval as Maurice and Terry Notary as Caesar’s other loyal friend Rocket have also been in all three APES movies, and they’ve been excellent each time as well.  Also of interest, both Serkis and Notary have played King Kong.  Serkis played Kong in the Peter Jackson remake KING KONG (2005), and Notary played Kong in KONG: SKULL ISLAND (2017).

Two newcomers also really stand out.  Steve Zahn as Bad Ape nearly steals the movie with his humorous and touching performance as the ape who had survived on his own all these years before meeting Caesar and his band of apes.  The best part about Bad Ape is that he’s funny without being annoying, and he’s scared without being a coward.  He steps up when needed.

Likewise, young Amiah Miller is superb as Nova, in a role that is even more impressive considering she doesn’t speak any lines as Nova cannot talk.  Her scenes with Caesar are especially moving.  Once Nova and then Bad Ape enter the storyline, the film really takes off.  Miller reminded me somewhat of a very young Amanda Seyfried.

And Woody Harrelson does what he has to do as the evil Colonel.  The role isn’t as fleshed out as the apes’ characters, but it doesn’t really need to be.  He’s the villain, and Harrelson gives the guy real presence, so much so that things always feel disturbing when he’s on-screen. And we do get some background on him, as we learn what happened to his son.

The script by Mark Bomback and director Reeves is excellent.  I loved the story it tells, and the ape characters are all fleshed out to the point where you forget you’re watching CGI creations.  I especially liked the story, which is essentially divided into three parts. The first part picks up where DAWN left off, and features apes and humans battling in the jungle.  The second part becomes an epic adventure, where the apes migrate from the jungle, and where Caesar and his small band of friends go off on their own across beaches and eventually into a wintry mountain terrain as they seek out the Colonel.  It’s this sequence where they find Nova and meet Bad Ape.

And then there’s the third part, the gripping grueling prisoner of war tale, where Caesar must lead the apes on a daring escape.  This part plays like the classic war movies of yesteryear, films like STALAG 17 (1953) and THE GREAT ESCAPE (1963).  With each chapter of the story, the film gets stronger, as each story is better than the previous one.

I’m a huge Matt Reeves fan, and he does a phenomenal job here.  His films CLOVERFIELD and LET ME IN are among my favorite horror movies period.  WAR FOR THE PLANET OF THE APES now joins that list.  Of course, the true test for Reeves is his next movie, as he’s writing and directing the upcoming THE BATMAN, the standalone Batman film starring Ben Affleck. Good luck, Matt!

And WAR FOR THE PLANET OF THE APES features yet another powerful music score by Michael Giacchino, who we just talked about last week as he scored SPIDER-MAN: HOMECOMING (2017).  I liked his score for APES here even better than his SPIDER-MAN score.  It reminded me a lot of the score he wrote for LET ME IN.  It’s potent, militaristic, and haunting.

I really liked WAR FOR THE PLANET OF THE APES. Everything about it works.

It’s easily the best of the rebooted APES series.

—END—

 

 

THE JUNGLE BOOK (2016) Remake Is A Rousing Adventure

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Look for the bare necessities, the simple bare necessities, forget about your worries and your strife—.

Eh hem.  Excuse me.  I got carried away.

“The Bare Necessities” is one of my favorite songs from the 1967 animated Disney THE JUNGLE BOOK— one of my favorite movies of all time— and I’m happy to say it makes it into the 2016 remake by director Jon Favreau.

Because I’m a huge fan of the 1967 film, I was certainly looking forward to this new version of THE JUNGLE BOOK.  At the same time, I was wary that it wouldn’t be able to live up to the classic animated film.  While I probably still prefer the 1967 movie— it’s been a favorite for so long— this new remake comes pretty darn close to satisfying on all levels. In short, it’s a pretty darn good movie.

Now, there’s also a 1994 live action version of THE JUNGLE BOOK, also produced by Disney, that I have not seen, a version that was not well received upon its initial release, although there are some folks who swear by it.  Not to mention the 1942 version starring Sabu.  But for me, the 1967 animated film has always been the most endearing.  Now comes the 2016 THE JUNGLE BOOK. All of these films are based on the collection of stories by Rudyard Kipling.

THE JUNGLE BOOK (2016) opens with an homage to the 1967 film, using the same music and the very same opening shot.  But this is no shot-by-shot remake, as there are plenty of differences between the two films.

THE JUNGLE BOOK is the story of Mowgli (Neel Sethi) a young boy who had been abandoned in the jungle only to be rescued by the panther Bagheera (Ben Kingsley) who turned him over to a wolf pack, where he was raised as a wolf.  Mowgli enjoyed a happy life with the pack, with his adopted parents Akela (Giancarlo Esposito) and Raksha (Lupita Nyon’go), and wolf cub brothers and sisters.

All is well until the tiger Shere Khan (Idris Elba) who hates and fears humans decides that Mowgli must die.  The pack realizes that even with their combined strength, they are no match for Shere Khan, and so they arrange for Bagheera to bring Mowgli back to the man-village, to live safely with his own kind.

But Shere Khan is wise to their plan and attempts to kill Mowgli while he is still with Bagheera, who fights off the tiger while telling Mowgli to run, which the youth does.  On his own in the jungle, things look bleak for Mowgli until he is rescued by the laid-back Baloo the Bear (Bill Murray).

But the danger is far from over.  Threats lurk behind every tree, as Mowgli and his friends must contend with Kaa the snake (Scarlett Johansson), King Louie (Christopher Walken) and his army of apes, and of course Shere Khan.

There is a lot to like about this new version of THE JUNGLE BOOK.  Probably my favorite part is the serious tone this movie takes. While director Jon Favreau keeps this one family friendly, it is not overly silly or nonstop funny as a lot of the “family” animated films are these days.  While there are certainly humorous moments in the film, for the most part, this JUNGLE BOOK is a serious adventure.  It even contains some rather dark moments.

When Bagheera tangles with Shere Khan to protect Mowgli it’s an exciting and rather vicious sequence.  For those of us who grew up with the 1967 version and wondered what it would be like if Bagheera actually fought Shere Khan, this film provides the answer.

bagheera vs. shere khan

To protect Mowgli, Bagheera the Panther prepares to tangle with Shere Khan the Tiger.

The flashback sequence where we learn what happened to Mowgli’s real father is intense and disturbing.  Likewise, the fate of Mowgli’s wolf father Akela is just as jarring.

Christopher Walken’s King Louie is larger than life and powerfully aggressive.  There’s more King Kong in this interpretation than Louie.  Similarly, Scarlett Johansson’s Kaa the Snake is mesmerizing and frightening.

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Christopher Walken’s King Louie.

The cast is fantastic.  Young Neel Sethi is perfect as Mowgli, and all the voice actors here do a terrific job.

Ben Kingsley makes for a majestic Bagheera, matching Sebastian Cabot’s effort in the original.  Even better is Idris Elba as Shere Khan.  He turns the tiger into an absolute villain in this one, making Shere Khan lethal and scary.  George Sanders voiced the tiger in the 1967 film, and he gave the character an elegant gentlemanly villainy.  Anything remotely sophisticated is gone here.  Elba’s Shere Khan is less a proper Bond villain and more like someone you’d meet on THE WALKING DEAD.  He’s not a nice guy.

shere khan

Shere Khan.

Lupita Nyong’o is phenomenal as Mowgli’s wolf mother Raksha, while Giancarlo Esposito made me forget his icy portrayal of drug kingpin Gus Fring on TV’s BREAKING BAD and provides a dignified voice for Mowgli’s wolf father Akela.  Scarlett Johansson is spot-on as the menacing and mesmerizing snake Kaa, and Christopher Walken, in what is probably my favorite performance in the movie, makes King Louie a scene-stealing simian who seems like he walked off the set of the recent PLANET OF THE APES reboots with Andy Serkis.  Walken’s Louie is much more monstrous than the Louie from the animated version.

Emjay Anthony, who played Jon Favreau’s son in Favreau’s CHEF (2014),  and who I also enjoyed in the surprisingly good horror movie KRAMPUS (2015), is very effective as one of Mowgli’s wolf cub brothers.  And Garry Shandling, who passed away last month, provides the voice for Ikki the porcupine.

Of course, Bill Murray probably has the biggest shoes to fill, playing the most iconic character from the animated movie, Baloo the Bear, voiced with impeccable perfection by country singer Phil Harris back in 1967.  While Murray certainly didn’t make me forget Harris, he more than holds his own and all in all does a decent job with the character. It helps that Baloo seems to be a natural fit for Murray.  He even gets to sing “The Bare Necessities.”

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Baloo the Bear

This being a more serious rendition of the story, most of the memorable songs from the animated version by Richard M. Sherman and Robert B. Sherman do not make it into this film, but a few do.

As I said, Bill Murray’s Baloo does perform “The Bare Necessities,” and some of the other familiar themes do make it into the film as background music, as in the Kaa the snake sequence.  Christopher Walken’s rendition of “I Wanna Be Like You” is the only song that is somewhat awkward.  Walken’s King Louie is just a bit too frightening to accept his breaking into song, and yet there is just something creepy enough about his Kong-like character singing that makes the scene work.

The CGI animation here is top-notch.  The animals all look amazing, especially Shere Khan, who is absolutely frightening.  While the film is available in 3D, I saw it in 2D and it looked just fine.

Jon Favreau does a terrific job here all around, from creating exciting suspenseful scenes to the superb CGI animation.  He also crafts some poignant moments as well, like the tender scenes between Mowgli and Raksha, and the sequence involving Mowgli and the elephants.

Rounding out this solid production is the screenplay by Justin Marks.  It keeps things serious throughout without sacrificing the “family” feel of the tale. So many of today’s CGI animated children’s movies are steeped in adult humor, and while this can be a lot of fun, the adventurous tone in THE JUNGLE BOOK is satisfying and refreshing.

If you’re in the mood for a rousing adventure, a film fit for the entire family, then look no further than Jon Favreau’s exceptional remake of THE JUNGLE BOOK.

The bare necessities of life will come to you
They’ll come to you!

—END—

 

 

 

 

STAR WARS: THE FORCE AWAKENS (2015) Brings Home The Memories

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STAR WARS:  THE FORCE AWAKENS (2015)

Movie Review

By Michael Arruda

If there’s one thing that STAR WARS:  THE FORCE AWAKENS does well, it’s that it hearkens back to the original trilogy and if you liked those movies, you’re sure to enjoy this one as well.  Of course, it does a few other things well, too.

STAR WARS: THE FORCE AWAKENS takes place 30 years after the events in RETURN OF THE JEDI (1983).  As the familiar golden words on the screen at the beginning of the movie explain, Luke Skywalker has disappeared, and both the evil First Order and the feisty Rebels are looking for him.  A map exists which shows the hiding place of Luke.  Whoever finds the map will find Luke, and so the race is on.  That in a nutshell is the plot of STAR WARS: THE FORCE AWAKENS.

When the movie opens, a rebel pilot Poe Dameron (Oscar Isaac) possesses the map, but he’s captured by the First Order, the baddies in this one who look and act exactly like the Evil Empire in the first trilogy.  Before he’s captured, Poe slips the map to his droid BB-8 and tells it to run.  [Sound familiar?  Princess Leia did the same thing with R2D2 in the original STAR WARS (1977).  There are lot of homage moments like this in the THE FORCE AWAKENS.  For the most part, I enjoyed them.  However, this ploy also works against the film’s originality.  More on this later.]

Poe is captured and interrogated by one of the leaders of the First Order, a Darth Vader wannabe, Kylo Ren (Adam Driver), but with the help of a former Storm trooper Finn (John Boyega) Poe escapes.

Meanwhile, a young woman Rey (Daisy Ridley) crosses paths with BB-8 and befriends the droid.  When the First Order arrives in search of BB-8 and the map, Rey and the droid are helped by Finn.  They receive further assistance when old friends Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew) arrive, and they bring the three back to the Rebels, now led by former Princess and now General Leia (Carrie Fisher).

The battle lines are drawn.  Both sides are searching for Luke Skywalker, while at the same time the Rebels are forced to defend the galaxy against another powerful planet-destroying weapon possessed by the First Order, a weapon that makes the Death Star in the original STAR WARS seem puny in comparison.  Of course.

STAR WARS: THE FORCE AWAKENS is clearly an homage to the original trilogy, especially to the first film in the series, STAR WARS. I had a love/hate relationship with this.

For the most part, the homage style works.  I absolutely loved how director J.J. Abrams re-introduced all the original characters.  Everyone- Han Solo, Princess Leia, Luke Skywalker, Chewbacca, C3PO, R2D2- receives a dramatic entrance.  Heck, even the Millennium Falcon gets a heroes-welcome first scene.  This all works for me and provides the fans with plenty of loud ovation moments.  It reminded me a lot of when I saw STAR TREK: THE MOTION PICTURE (1979) years ago at the movies, the way that film gave each main character a dramatic entrance, as that was the first time those folks were appearing on the large screen.

However, where this style faltered was in the construct of the story’s plot. In STAR WARS: THE FORCE AWAKENS, once again the First Order is in possession of a planet destroying weapon, and once more the Rebels detect a weakness in its construction, and so they come up with a plan to sneak in and destroy it.  This plot point is right out of both STAR WARS and RETURN OF THE JEDI.  You would think that at this point the bad guys would have come up with a different weapon or would have eliminated these weaknesses.  They haven’t won yet.

While this may sound like nitpicking, a different plot point in these movies would be most welcome.  It’s like when Lex Luthor shows up as the villain in all the SUPERMAN movies.  Nothing against Lex, but can we have a different villain once in a while?

Likewise, I realize that it’s the STAR WARS universe and the expectation is that things are somewhat similar.  I have no problem with the style and the looks being similar, but in terms of plot they need to shake things up a bit.  Not all film series have to do this.  Take the ROCKY series for example.  You expect those films to end with a climactic boxing match.  That makes sense.  Rocky is a boxer.  But the STAR WARS films take place in outer space and have entire galaxies as their canvas.  The plot points should be endless.

I really enjoyed the cast in STAR WARS: THE FORCE AWAKENS, and the film combines both the old and the new seamlessly.

Of the original cast members, Han Solo (Harrison Ford) gets the most screen time, and since Han has always been one of the most interesting and compelling characters in the STAR WARS universe, this is a good thing.  Harrison Ford is once again excellent as Han Solo, and he shows that at 73 he hasn’t lost much in terms of his charisma and acting chops.

Carrie Fisher as General Leia is in the film less, and based on her few scenes, this is also a good thing.  Of course, we don’t see a lot of Luke, since a key plot point of the film is that he’s disappeared, but since his name is in the credits, it’s a good bet he will show up at some point.

That being said, this was another plot point of STAR WARS: THE FORCE AWAKENS that I did not enjoy.  Luke Skywalker is the single most important character from the original series, and now we have a new STAR WARS movie which hearkens back to the original, and as a key plot point, the film chooses to have it so that Skywalker has vanished?  I don’t know about that.  To borrow a title from that other science fiction series, I would have preferred that this movie not played out like STAR WARS:  THE SEARCH FOR LUKE, which is a roundabout way of saying I wanted more Luke in this movie.

Of course, what truly helps this movie is that the new cast members are for the most part excellent.  Daisy Ridley nearly steals the movie as Rey, the new heroine who promises to be the next big character as this series progresses.  She’s that good.  Other than Harrison Ford’s return as Han Solo, Ridley was my favorite part of this movie.

John Boyega is nearly as good as Finn, the former Storm trooper now turned rebel hero.  He’s likeable, humorous, and gutsy, and he fits in perfectly in the STAR WARS universe.

I didn’t think Oscar Isaac fared as well as super duper pilot Poe Dameron.  He’s likable enough, but he’s more one-dimensional than the other two characters.  Perhaps he will be developed more later.  We saw Isaac earlier this year in the science fiction film EX MACHINA (2015).  His co-star in that film, Domhnall Gleeson, also stars here in STAR WARS: THE FORCE AWAKENS as one of the villains, General Hux.

And this is another place where I thought STAR WARS: THE FORCE AWAKENS had some problems.  I just wasn’t all that impressed with the villains in this one.  The main villain, Kylo Ren (Adam Driver) just didn’t do anything for me.  I found him whiny and wishy-washy, about as effective a villain as Loki in the Marvel superhero movies.

With his mask, he’s supposed to be a younger Darth Vader type, and in fact he is related to the character— another thing that strains disbelief in this film- everyone seems to be related to each other.  Is the universe really that small?— and some have cited his inner struggle— he’s not yet completely sold on the Dark side—as a compelling character trait.  I just found it weak and juvenile.  Choose a side and get on with it.  Hamlet, he wasn’t.

Plus, he takes off his mask at will.  What’s up with that?  What is the mask’s purpose, then?  A fashion statement?  To make him look scary?  Darth Vader wore his mask because without it he would die.  Kylo Ren wears his mask because he’s afraid to be evil without it, I guess.  I have to admit, whenever he took off his mask, I thought of Rick Moranis as Dark Helmet  in Mel Brooks’ SPACEBALLS (1987) and wanted to laugh.

The other villain in the film, Supreme Leader Snoke (Andy Serkis)— how’s that for a presumptuous name?  He’s the Supreme Leader because name says so, not because of anything he does in the movie!— is reduced to appearing as a holographic image a la the Emperor in the original series.  He gets to say ominous lines to Kylo Ren, but that’s about it.

Snoke is played by Andy Serkis, who is the top guy in the movies when it comes to motion capture performances, as he has hit homeruns with his performances as Gollum in THE LORD OF THE RINGS series, as Caesar in the new PLANET OF THE APES series, and he even made for a decent King Kong in Peter Jackson’s 2005 remake of KING KONG.  But here he’s reduced to a stationary holographic image.

Nuff said.

Chewbacca, C3PO, and R2D2 all enjoy fine moments, and the new droid BB8 is also very enjoyable.  One more new cast member who makes an impression is Max Kanata (Lupita Nyong’o).  Kanata is a CGI created creature with wide eyes who enjoys some key scenes, and Nyong’o makes the most of her brief screen time.

For the most part, I enjoyed the directorial work of J.J. Abrams here.  He has made a crowd pleaser, and STAR WARS fans should walk away from the theater satisfied.  It’s clearly a homage and it works.  It brought me back to the time when I watched the original three films at the theater, and this was a lot of fun.  STAR WARS: THE FORCE AWAKENS is a much more satisfying STAR WARS vehicle than the previous three films, the prequel trilogy of the 90s and early 200s.

And the film looks great.  Again, it hearkens back to the original series, and really captures the original look of the first STAR WARS.  And while there were some cool scenes, I can’t say that they blew me away, since nearly everything that happens in this movie was very familiar.

The screenplay by director Abrams, Lawrence Kasdan who also wrote both THE EMPIRE STRIKES BACK and RETURN OF THE JEDI, and Michael Arndt successfully creates nostalgia but falters somewhat when it comes to original storytelling.  At times, STAR WARS: THE FORCE AWAKENS almost plays like a straight re-boot of the original STAR WARS.  I would have preferred it had this new film taken a far more original route.  Is it asking too much that the evil First Order develop a new way of doing things rather than creating yet another planet destroying weapon with a glaring weakness?  Is it asking too much that the good guys face some other conflict instead of trying to destroy another Death Star?  There are far too many exciting plot points for a STAR WARS movie not to seek them out.

John Williams once again wrote the music score, and once more it’s a phenomenal soundtrack.

STAR WARS: THE FORCE AWAKENS is a rousing tour de force, full of STAR WARS nostalgia and a genuine crowd-pleaser, but it lacks originality and as such offers nothing new, other than new younger characters who face the same adversities our original characters faced in the original trilogy.  So, yes, STAR WARS: THE FORCE AWAKENS  also plays like STAR WARS:  THE NEXT GENERATION.

While it’s all unabashedly fun, it’s also completely predictable.

May the Force Be With You.  Again.

—END—

 

 

 

 

 

SHOCK SCENES: KING KONG APPEARS!

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SHOCK SCENES:  KING KONG APPEARS! king kong 1933 poster

By Michael Arruda

Welcome back to SHOCK SCENES, the column where we look at memorable scenes in horror movie history.

Up today is the big guy himself, King Kong.  With apologies to Godzilla, King Kong is the baddest monster on the planet.  Sure, Godzilla is known as the King of the Monsters, and he’s been in more movies than Kong, but Kong is King as well, and the one time they squared off in a movie, KING KONG VS. GODZILLA (1962), it was Kong who emerged victorious.

Today we’ll be focusing on King Kong’s entrance scenes, the scenes in his movies where he first makes his dramatic appearance.  We will concentrate mostly on the original KING KONG (1933) and its two remakes, but we will also look at the Japanese films and the awful KING KONG LIVES (1986).

KING KONG (1933) is the classic giant monster movie, one of the most exciting and well-made monster movies of all time.  It has aged remarkably well and still appeals to modern audiences.  The film is chock full of classic scenes, and Kong’s first entrance is no exception.

It starts when the Natives on Skull Island abduct Ann Darrow (Fay Wray) and bring her back to the island where they plan to offer her as a bride for Kong.  With Max Steiner’s memorable music blaring, the Natives lead Ann beyond the great wall where they tie her up so she can await the arrival of Kong.

With the beats of a gong, the Natives summon their king, and moments later, he arrives.  First we hear his roar— the special effects department used a lion’s roar played backwards and at a lower speed for this effect— and then as he knocks a tree over, Kong makes his appearance, and we see Willis O’Brien’s remarkable stop-motion animation effects as Kong breaks through the trees and descends upon Ann.

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

King Kong discovers Ann Darrow (Fay Wray) in KING KONG (1933)

We then see a close-up of his monstrous face, which was in reality a huge model of his head built by O’Brien’s special effects team.

As first entrances go, it’s a classic.  It’s fun to imagine what it must have been like for movie audiences back in 1933 seeing Kong for the first time.  It must have been awesome and frightening.

The special effects here work so well.  To see Kong standing there, with Ann Darrow, with the great wall behind her and the Natives standing on top of the wall, and it all looking so real, is truly astonishing.

KING KONG VS. GODZILLA (1962) is a silly movie that is only notable for pitting these two legendary monsters together in one film.  Since Kong died at the end of the original KING KONG (1933) falling from the Empire State Building in probably the movie’s most enduring image, there really couldn’t be any sequels.  There was SON OF KONG (1933) which featured a younger cute and cuddly Kong Jr., but that was it.  There were plans for a Kong prequel of sorts, a story which would have taken place in the middle of the action in KING KONG, which would have been built around a storyline of the adventures of Carl Denham and the crew of the Venture on their way back to New York City with King Kong in tow on a raft, an adventure that would have seen Denham and company and Kong face off against a new threat, but that project never got off the ground.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

Perhaps the worst looking Kong in KING KONG VS. GODZILLA.

So decades passed before Toho, the Japanese movie studio which brought Godzilla to the world, secured the rights for the Kong character and made KING KONG VS. GODZILLA.

Kong’s first entrance in KING KONG VS. GODZILLA isn’t memorable at all.  We hear his roar first, and then suddenly he’s there, showing up at the Natives’ village to fight off a giant octopus.  Toho always used the man-in-suit method to create their giant monsters, and their Kong suit in this movie has to be the worst looking King Kong of all time.

KING KONG ESCAPES (1967) is yet another silly Toho movie, supposedly made to tie-in with the 1960s animated TV series KING KONG.  It certainly plays like a Saturday morning cartoon, which is the complete opposite of the original KING KONG which was much more akin to the relentless ferocity of JAWS (1975).  That being said, I have to confess, I like both Toho King Kong movies.

Kong to the rescue in KING KONG ESCAPES.

Kong to the rescue in KING KONG ESCAPES.

Still, KING KONG ESCAPES has nothing to offer in terms of Kong’s first appearance.  On Kong’s island a dinosaur shows up and scares young Susan (Linda Miller).  When she screams, the camera cuts away to a close-up of Kong’s face.  His eyes are closed.  He opens them to reveal eyes that look like they belong on a Sesame Street Muppet.  We then see him sitting in a cave.  He quickly gets up and races to the scene to protect the young woman from the dinosaur.  What a gentleman!

KING KONG (1976) the incredibly hyped remake by producer Dino De Laurentiis was a box office bomb and panned by both fans and critics alike.  It’s a pretty bad movie, but in spite of this, surprisingly, it does enjoy a few fine moments.  Kong’s initial entrance is one of them.  In fact, it’s so good that I’d argue that of all Kong’s entrances, it might be the best!  It’s certainly the only part of this 1976 film that even comes close to equaling anything done in the 1933 original.

This time, it’s Jessica Lange who’s captured and tied up as the Natives summon Kong.  I actually love the way director John Guillermin conceived this sequence.  We see trees being knocked over from Kong’s point of view, and we first see Kong through close-ups of his face, and it’s the best most authentic looking face to date, thanks to the incredible make-up of Rick Baker.  We see Kong’s eyes as he marches through the trees towards Jessica Lange.  Close-up, Kong looks as menacing as he’s ever looked on film.  It’s a thrilling sequence, probably the most original and thrilling part of this 1976 flick.

Kong's looking mighty ferocious in the 1976 KING KONG.

Kong’s looking mighty ferocious in the 1976 KING KONG.

It’s also helped along by John Barry’s music score, which as a whole, I don’t like at all.  But in this scene, it’s probably Barry’s best moment.

At this moment in the movie, the film truly captures the awe of King Kong.  The build-up—audiences hadn’t seen a serious Kong since the 1933 original, the anticipation, is wonderfully captured in this sequence.  And when the camera pulls back, and we see Kong’s entire body for the first time, Rick Baker in his ape suit, he’s awesome to behold, and when he roars, the film nails King Kong at this moment perhaps more effectively than any other moment in any other King Kong movie.

And then— it’s all downhill from there.

It’s amazing how quickly and how far this movie falls after this scene, which is the story for another article.   A lot of it is the silly script, but most of it is the special effects which to me has always been the main reason this 1976 film failed.  Rick Baker’s ape suit looks fine, and in terms of how he looks, he blows the Toho Kongs out of the water, but at the end of the day, it’s still a man-in-a-suit which has never ever been a completely satisfying way to make a giant monster.  The hype for the 1976 KING KONG was all about the giant mechanical robot of Kong that was built and was supposed to be the main special effect in this film, but a not-so-funny thing happened:  it never worked. It appears in two brief scenes in this film for a mere few seconds.

But Kong’s first entrance in this 1976 film— priceless.

 

 

 

KING KONG LIVES! (1986) is the horrible sequel to KING KONG (1976) that is believe it or not even worse than the 1976 film.  In this one, scientists bring Kong back to life after his fall from the World Trade Center so the first time we see Kong in this one he’s a patient in a laboratory.  Not very exciting.  Neither is this movie.

Kong the patient in KING KONG LIVES.

Kong the patient in KING KONG LIVES.

KING KONG (2005) is Peter Jackson’s homage to the 1933 original.  Jackson’s obviously a fan of the original Kong, and this was clearly a labor of love, but strangely, it’s a very uneven movie.  The scenes on Skull Island are exceptional and make this one worth watching for these scenes alone, but surrounding these scenes is a dull opening in New York City, and the climax which also takes place in New York also doesn’t really work.  Kong and Ann share a romantic moment in Central Park?  Seriously?

Now while I love the Skull Island scenes, I’m not so hot on Kong’s first entrance.  Why?  Because it’s oddly all very undramatic!  It’s Naomi Watts who’s abducted for Kong this time, and when Kong appears, he just sort of shows up, coming out of the jungle swinging his arms and roaring.  It’s nothing we haven’t seen before, and it plays much closer to the mundane first appearances in the Toho movies than the well-crafted and dramatic entrances in the 1933 and 1976 versions, making it yet another contribution to the reasons why the 2005 version is an uneven movie.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

Kong looks impressive in the 2005 Peter Jackson KING KONG, but film is uneven.

You can’t really argue that any other Kong movie is actually better than the 1933 original KING KONG.  It simply hasn’t been surpassed yet.

However, I can and will argue that in terms of first appearances, if any other film challenges Kong’s first entrance, surprisingly, it’s the 1976 version of KING KONG that does this.  Director John Guillermin pulls out all stops and creates an impressive and thrilling first Kong scene, combined with John Barry’s effective music—the only moment in the film where his music works—, as well as Rick Baker’s amazing make-up, makes this moment as good as Kong’s opening moment in the 1933 film, and way better than similar scenes in any of the other Kong movies, which is saying something, since the rest of the 1976 film is so bad.

So there you have it.  A look at King Kong’s first entrances in the KING KONG movies.

Hope you enjoyed today’s SHOCK SCENES.  I’ll see you again next time when I look at more classic scenes from other classic horror movies.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.  

THE HORROR JAR: PLANET OF THE APES movies

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Roddy McDowall as Caesar in BATTLE FOR THE PLANET OF THE APES (1973)

Roddy McDowall as Caesar in BATTLE FOR THE PLANET OF THE APES (1973)

THE HORROR JAR: PLANET OF THE APES Movies By Michael Arruda

Welcome back to THE HORROR JAR, that column where we feature various lists of odds and ends pertaining to horror movies, or in today’s case, science fiction movies. Yep, we’re stretching the boundaries a bit today, venturing off into the world of science fiction as we look at the PLANET OF THE APES series.

The latest APES movie, DAWN OF THE PLANET OF THE APES (2014), the second in the re-booted series, opens in theaters this weekend, June 11, 2014. Here’s a look at all the APES films so far:

PLANET OF THE APES (1968)

Directed by Franklin J. Schaffner

Screenplay by Michael Wilson and Rod Serling, based on the novel by Pierre Boulle.

Music by Jerry Goldsmith

Make-up by John Chambers

Taylor: Charlton Heston

Cornelius: Roddy McDowall

Zira: Kim Hunter

Dr. Zaius: Maurice Evans

Nova: Linda Harrison

Academy Award Winner for John Chambers for Outstanding Make-up Achievement

Running Time: 112 minutes

Classic science fiction movie, one of the best science fiction films of all time. Superior script by Michael Wilson and Rod Serling, with many memorable lines. Oscar-winning ape make-up by John Chambers. Famous twist ending is not in the novel by Pierre Boulle, which actually makes this film a rarity in that it’s better than its source material.

“Take your stinking paws off me, you damned dirty ape!”

 

BENEATH THE PLANET OF THE APES (1970)

Directed by Ted Post

Screenplay by Paul Dehn

Music by Leonard Rosenman

Make-up by John Chambers

Brent: James Franciscus

Zira: Kim Hunter

Dr. Zaius: Maurice Evans

Nova: Linda Harrison

Ursus: James Gregory

Taylor: Charlton Heston

Running Time: 95 minutes

First APES sequel is not as good as the original, but still makes for a highly entertaining movie. The only film in the original five film series not to star Roddy McDowall.

 

ESCAPE FROM THE PLANET OF THE APES (1971)

Directed by Don Taylor

Screenplay by Paul Dehn

Music by Jerry Goldsmith

Make-up by John Chambers

Cornelius: Roddy McDowall

Zira: Kim Hunter

Dr. Lewis Dixon: Bradford Dillman

Dr. Stephanie Branton: Natalie Trundy

Dr. Otto Hasslein: Eric Braeden

Armando: Ricardo Montalban

Running Time: 98 minutes

Apes escape from the future using Charlton Heston’s spaceship from the original movie and travel back in time to 1973 and find themselves in the United States, where they’re treated like celebrities at first until they’re deemed a threat to humankind.

 

CONQUEST OF THE PLANET OF THE APES (1972)

Directed by J. Lee Thompson

Screenplay by Paul Dehn

Music by Tom Scott

Make-up by John Chambers

Caesar: Roddy McDowall

Breck: Don Murray

Lisa: Natalie Trundy

MacDonald: Hari Rhodes

Kolp: Severn Darden

Armando: Ricardo Montalban

Running Time: 88 minutes

Baby Caesar is all grown up and leads the apes in a revolution against the slave-driving humans in the 1990s.

 

BATTLE FOR THE PLANET OF THE APES (1973)

Directed by J. Lee Thompson

Screenplay by John William Corrington and Joyce Hooper Corrington

Music by Leonard Rosenman

Make-up by John Chambers

Caesar: Roddy McDowall

General Aldo: Claude Akins

Lisa: Natalie Trundy

Governor Kolp: Severn Darden

Virgil: Paul Williams

MacDonald: Austin Stoker

Running Time: 93 minutes

Final film in the original APES series finds Caesar leading both apes and humans on a path towards peaceful co-existence, which is easier said than done because both militant gorillas and vengeful humans have other plans.

 

PLANET OF THE APES (2001)

Directed by Tim Burton

Screenplay by William Broyles Jr., Lawrence Konner, and Mark Rosenthal

Music by Danny Elfman

Make-up by Rick Baker

Captain Leo Davidson: Mark Wahlberg

Thade: Tim Roth

Ari: Helena Bonham Carter

Running Time: 119 minutes

Awful, awful remake. Nuff said.

 

RISE OF THE PLANET OF THE APES (2011)

Directed by Rupert Wyatt

Screenplay by Rick Jaffa and Amanda Silver

Music by Patrick Doyle

Caesar: Andy Serkis

Will Rodman: James Franco

Charles Rodman: John Lithgow

John Landon: Brian Cox

Running Time: 105 minutes

Much better than the dreadful 2001 Tim Burton remake, but not as good as the original series. This film is more a remake of CONQUEST OF THE PLANET OF THE APES as it follows the story of Caesar as he leads the apes in a rebellion against humans. Andy Serkis, fresh off his turns as Gollum in the LORD OF THE RINGS series and as King Kong in Peter Jackson’s KING KONG (2005), makes for a memorable Caesar. Well done, but lacks the imaginative spirit of the original movies.

 

DAWN OF THE PLANET OF THE APES (2014)

Directed by Matt Reeves

Screenplay by Rick Jaffa, Amanda Silver and Mark Bomback

Music by Michael Giacchino

Caesar: Andy Serkis

Malcolm: Jason Clarke

Dreyfus: Gary Oldman

Running Time: 130 minutes

Directed by one of the most talented genre directors working today, Matt Reeves, the man who directed CLOVERFIELD (2008) and LET ME IN (2010). Andy Serkis returns as Caesar in another remarkable performance. Another exquisitely made poignant genre film by director Reeves. Excellent movie.

Thanks for reading!

—Michael

Books by Michael Arruda:

TIME FRAME,  science fiction novel by Michael Arruda.  

Ebook version:  $2.99. Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

IN THE SPOOKLIGHT, movie review collection by Michael Arruda.

InTheSpooklight_NewText

 Ebook version:  $4.99.  Available at http://www.neconebooks.com.  Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.

FOR THE LOVE OF HORROR, short story collection by Michael Arruda.  

For The Love Of Horror cover

Ebook version:  $4.99.  Available at http://www.neconebooks.com. Print version:  $18.00.  Email your order request to mjarruda33@gmail.com. Also available at Amazon.com.