IN THE SPOOKLIGHT: CLOVERFIELD (2008)

1

cloverfield poster

CLOVERFIELD (2008) is the best giant monster movie from the last twenty years.

The recent Godzilla movies, including GODZILLA (2014) and SHIN GODZILLA (2016), the King Kong flicks, both Peter Jackson’s KING KONG (2005) and KONG: SKULL ISLAND (2017), and the well-regarded MONSTERS (2010), none of these even come close to matching the thrills and chills found in CLOVERFIELD.

In fact, CLOVERFIELD is so good I’d argue it’s one of the best giant monster movies ever made. Period. It’s in the conversation with such classics as KING KONG (1933), GODZILLA, KING OF THE MONSTERS! (1956) and THE BEAST FROM 20,000 FATHOMS (1953).

I’m still amazed that a film this good hasn’t spawned a direct sequel.  There have been two recent movies that have shared the same Cloverfield “universe” but they haven’t been direct sequels. We’ve had 10 CLOVERFIELD LANE (2016), a decent movie, and THE CLOVERFIELD PARADOX (2018), a not-so-decent movie.

I suppose I shouldn’t be upset. I mean, most of the time, sequels don’t improve on the original, but for a movie that’s as good as CLOVERFIELD, it almost seems a shame that it may end up being a standalone one-and-done kinda deal.  Imagine if you will, if Christopher Lee had never played Dracula again? He almost didn’t. It took him eight years before he agreed to do a sequel to HORROR OF DRACULA (1958). It’s been ten years since CLOVERFIELD. Rumor has it that a direct sequel is in the works.  But I’ve heard that rumor before.

I hope it eventually happens, because sometimes you just need more.  On the other hand, just when you thought it was safe to go back in the water—- yeah, we didn’t need JAWS 2,3 and 4.  JAWS (1975) should have been a standalone movie.

Anyway, back to CLOVERFIELD. This movie received so much hype before its initial release because of its incredibly intriguing and cryptic teaser trailer showing the severed head of the Statue of Liberty crashing onto a New York City street.  It also didn’t hurt that J.J. Abrams’ name was attached to the project as its producer. Abrams, at the time, was riding high from the success of TV’s LOST (2004-2010).

CLOVERFIELD tells the story of a giant monster attack on New York City. It’s a “found footage” tale as it uses the gimmick of a videotape found by the government after the attack to tell its story. And the tape is of a farewell party for Rob (Michael Stahl-David) who’s leaving the next day for his new job in Japan. While all his friends are gathered at his apartment to wish him well, the attack happens outside, and suddenly everyone there is caught in the crossfire as the military moves in to contain the situation—or to try to contain the situation, anyway.

At the party, Rob had a fight with his girlfriend Beth (Odette Yustman), and so after the attack, when she calls him and tells him she is trapped in her apartment building, Rob decides to head back into the fray to save her, and his friends decide to go along with him.

The story in CLOVERFIELD is just okay, but it’s everything else that makes it such a superior movie.

First of all, it’s intense and flat-out scary. It’s one of the scariest giant monster movies ever made. It’s also one of the best “shaky cam” movies ever as well.  The credit here goes to director Matt Reeves, who’s one of my favorite horror movie directors working today. Reeves also directed LET ME IN (2010), a film that a lot of folks don’t like, as they prefer LET THE RIGHT ONE IN (2008) better, but I actually prefer Reeves’ film, as well as DAWN OF THE PLANET OF THE APES (2014) and WAR FOR THE PLANET OF THE APES (2017).

In CLOVERFIELD, Reeves creates some really intense scenes, from the aforementioned Statue of Liberty scene, to the sequence in the darkened subway, to the thrilling rescue of Beth. There are just so many edge-of-your-seat moments, which is not something one usually says about a giant monster movie.

Speaking of giant monsters, the “Cloverfield monster” itself is pretty cool looking.  It’s definitely an original, as it’s unlike most anything else that ever set foot in and trampled a large city. And to keep things consistent, it’s also pretty darn frightening!

CLOVERFIELD also has a phenomenal script by Drew Goddard. The dialogue is first-rate and it does a really good job developing its characters, which isn’t easy to do in a found footage movie.  These characters are so very real. He also gets the humor right, as there are lots of moments of welcomed comic relief. Goddard would go on to work on the scripts for THE CABIN IN THE WOODS (2012), WORLD WAR Z (2013), and THE MARTIAN (2015).

It also has a superb cast.

T.J. Miller steals the show as Hud, the man holding the camera and doing the filming. It’s amazing that he’s as good as he is in this movie, since most of the time he’s holding the camera and so we only hear his voice. He gets some of the best lines in the movie.

Lizzy Caplan is also memorable as Marlena, a friend who barely knows Rob, but who Hud is definitely interested in.  She has some key moments in the film. Likewise, Michael Stahl-David is very good as Rob, and Odette Yustman is equally as good as the frightened Beth.

The film is chock full of memorable lines, like when a military officer responds that they don’t know what’s out there, but that “whatever it is, it’s winning.”

In the same way that Godzilla’s devastating attack on Tokyo in the original GODZILLA hearkened back to the dropping of the atom bombs in Hiroshima and Nagasaki, the monster’s pummeling of New York City in CLOVERFIELD hearkens back to the events of 9/11. As such, the chaotic scenes in the city really resonate.

CLOVERFIELD is also a very short movie, clocking in at only 85 minutes.  This short length only adds to the intensity.

There’s also no music score, which adds to the realism. However, there is music during the end credits, by Michael Giacchino, a piece entitled “Roar!” It’s a powerful piece of music and seems to have been inspired by the various Godzilla themes.

CLOVERFIELD is one of the best giant monster movies ever made. It’s also one of my favorite horror movies.

If you haven’t seen it, you definitely want to check it out. And if you have seen it, maybe it’s time for you to check it out again.

You’ll have a monstrously good time.

—END—

 

 

 

 

Advertisements

THE MEG (2018) – Giant Shark Tale Ridiculous But Fun

0

meg-poster

THE MEG (2018) is often ridiculous and about as scary as a Scooby-Doo cartoon, but this mega shark adventure is also something else: fun.

THE MEG opens with a deep-sea rescue mission gone wrong.  Rescuer Jonas Taylor (Jason Statham) is in the midst of leading a rescue team to save folks trapped in a damaged nuclear submarine, but when something seems to attack the sub, Jonas makes the executive decision to leave some of his team behind in order to rescue the few lives he has with him. It’s a decision that does not bode well with others on his team, as later no proof of a powerful sea creature which Jonas said was attacking the sub is ever found.

In terms of opening sequences, it’s not all that memorable and sounds more exciting than it actually is.

The action picks up five years later at a deep-sea station off the coast of China where a scientist named Zhang (Winston Chao) is leading an expedition to travel to the very depths of the ocean, and beyond.  See, Zhang believes that at the bottom of what is considered to be one of the deepest parts of the ocean floor, lies a gaseous barrier rather than a solid bottom, and he believes beneath that barrier is another world. And faster than you can say Jules Verne, a mini sub is launched from the station to prove just that.

The sub breaks through the barrier, but before anyone can celebrate, it’s attacked by a mysterious unseen creature. And of course, Zhang and company turn to the one man who has ever attempted a rescue that deep in the ocean, Jonas Taylor. Jonas, of course, says he’s done with all that, wants no part of it, and nothing they can say will change his mind. His resolve lasts all of two seconds before he learns that the woman commanding the sub and one of the people trapped inside is his ex-wife Lori (Jessica McNamee).

And so Jonas packs his bags and is off to the rescue, where of course he will come face to face with a massive prehistoric shark which may or may be the same creature which he encountered five years before. The film doesn’t really make that clear.

And this is only the beginning, because once the rescue is done, the mammoth shark decides he’s had enough of living so far below the ocean and comes up for a visit.

One of the main reasons THE MEG is so much fun is its story keeps evolving. It’s not just one long rescue mission tale.  Things continually change. As a result, the movie remains exciting throughout, and with some brisk pacing, there are very few slow parts here.

The screenplay by Dean Georgaris, Jon Hoeber, and Erich Hoeber, based on the novel Meg by Steve Alten, also contains lots of lively dialogue which is sure to be a crowd pleaser. It also does a really good job developing its characters, which for a movie like this, is a pleasant surprise. In fact, that was one of my favorite parts of this movie, that its characters were all so likable.

But the story is not without flaws. A lot of things aren’t explained all that well. For instance, once the giant shark makes its presence known, everyone who doubted Jonas apologizes to him. Yet, at one point in the story, Jonas says the creature outside the sub in his doomed mission was destroyed in the subsequent explosion, so, just how the appearance of this prehistoric shark acquits Jonas is unclear to me. Just because there’s a huge shark around now doesn’t mean there was one that day Jonas left those people behind to die.

For such a deep-sea expedition, it seems to take only seconds for everyone to get down to the ocean floor and then back up again. And some of the later shark scenes are flat-out ludicrous but somehow don’t deteriorate into laughable material.

And while the story scores high on the adventure meter, it scores less so when it comes to conflict.  Nearly every plan our heroes suggest works.

Director Jon Turteltaub plays things safe. THE MEG is rated PG-13, so there’s not a drop of blood to be found. Yet, somehow, the movie doesn’t suffer for it.

The shark itself is okay.  CGI sharks just don’t cut it for me.  This one works best when we see it only partially, like shots from above where we see its massive form swimming beneath the waves. Those scenes are ominous, but seen up close, it’s nothing more than a frightening cartoon.

One of the strongest parts of THE MEG is its cast. Pretty much everyone in the movie is very good, and so that goes a long way towards making this film as enjoyable as it is.

Director Jon  Turtelbaub deserves some credit here for getting so much out of his actors in this one.

We’ll start at the top with Jason Statham, who’s been one of my favorite action movie stars over the past ten years or so. As he almost always is, he’s excellent here. He’s extremely believable in the part, except of course when he dives into the water for a hand to hand combat session with the supersized shark. Perhaps he should apply to become a Marvel superhero?

Even so, Statham does a good job making the ludicrous situations he finds himself in believable. His scenes with the little girl at the station, Meiying (Shuya Sophia Cal) are precious, and Shuya Sophia Cal is adorable and entertaining in the role.

Li Bingbing plays Suyin, Zhang’s daughter and Meiying’s mother.  She’s pretty much the lead scientist on the expedition, and she is definitely not a heroine in need of saving. She pretty much goes toe to toe with Statham’s Jonas Taylor, and the two of them lead the charge against the shark. She’s also very sexy.

Rainn Wilson, who played Dwight on THE OFFICE (2005-2013) plays the wealthy businessman who finances the expedition. He’s the guy you love to hate.

Cliff Curtis, who played Travis on FEAR THE WALKING DEAD (2015-17), is very good here as Jonas’ friend Mac. Likewise, Winston Chao is convincing as Zhang, as is Ruby Rose as the sexy engineer Jaxx who designed the deep-sea station.

Robert Taylor stands out as Heller, the doctor at the station who was there that fateful day when Jonas failed to rescue everyone from the nuclear sub, and for the past five years he had blamed Jonas for their deaths, claiming he had become unhinged. When the mega shark appears, Heller is quick to apologize to Jonas. Taylor, who plays Sheriff Walt Longmire on the TV show LONGMIRE (2012-2017), probably gives the best performance in the movie.

Olafur Darri Olafsson and Masi Oka are also very good as a couple of scientists, and likewise Jessica McNamee is memorable as Jonas’ ex-wife Lori.

Only Page Kennedy doesn’t  fare as well, as scientist DJ. He’s the one black character on the crew, and he’s also supposed to be the film’s comic relief, but a lot of the jokes I thought were cliché, and I think the one person of color in the movie deserved a better written role.

As shark movies go, THE MEG is one of the better ones. It’s a much stronger film than the recent 47 METERS DOWN (2017), and more fun than  THE SHALLOWS (2016).

That being said, it still pales in comparison to the Holy Grail of shark movies, JAWS (1975). It’s not intense like JAWS, and it’s certainly not realistic like JAWS. However, during the film’s third act, there are several nods to the 1975 Steven Spielberg classic.

THE MEG is a lot of fun, and as such, for a summer time popcorn movie, it comes highly recommended.

—END—

 

 

 

 

 

 

 

 

RAMPAGE (2018) – Giant Monster Tale Keeps Things Light

1

rampage

I am not a fan of movies based on video games.

However, I do enjoy movies about giant monsters, and in general I find Dwayne Johnson to be an amiable screen presence.  So, while I expected very little from RAMPAGE (2018), a giant monster adventure loosely based on the classic arcade video game, I certainly wasn’t dreading it.

RAMPAGE opens in space with an experiment gone wrong. A scientist attempts to return to Earth but her ship burns up upon re-entering the atmosphere.  However, capsules containing an experimental genetic pathogen which causes its subjects to grow and mutate into unstoppable aggressors survive the flight and crash to the ground where they are ingested by a gorilla, a wolf, and a crocodile.

The albino gorilla, named George, lives in a zoo and is cared for by a zoologist named Davis (Dwayne Johnson).  When George suddenly grows and becomes aggressive, Davis tries to protect his prize gorilla, who also happens to be his friend. Have I said yet that this one is silly at times?  Well, there. I said it.

Enter Dr. Kate Caldwell (Naomie Harris) who used to work for the company that created the rogue DNA.  Yep, once more, the bad guy in the film is yet another— repeat after me– evil company!— this time led by the ice-cold Claire Wyden (Malin Akerman) and her goofy brother Brett (Jake Lacy). Kate tried to expose the evil company for what it was, but was jailed for her efforts.  Worse yet, she blames the death of her brother on Wyden’s faulty research. As a result, Kate wants to take Wyden down, and she and Davis join forces because she tells him that if he wants to save George, Wyden has the answers.

But not so fast! Enter shadowy government agent Harvey Russell (Jeffrey Dean Morgan) who wants to stop the monsters, Davis’ and Kate’s rogue efforts, and the Wydens. He sure has his hands full.

And all three giant monsters are stomping towards Chicago, drawn there by a signal set up by Claire Wyden to bring them there so she can reclaim her research and save her company. What. A. Stupid. Plan.

Yes, everyone’s heading to Chicago, for one big climactic— rampage!

But don’t expect a horrific monstrous finale because RAMPAGE keeps things light. The best thing I can say about RAMPAGE is that it tries to have fun throughout, and for the most part, it is a fun movie.  It’s also a rather silly movie and as such doesn’t do its giant monster tale many favors.

Director Brad Peyton, who also directed Dwayne Johnson in the earthquake melodrama SAN ANDREAS (2015), keeps the action safe and tame. The best action sequence is the final one, when all three monsters converge in Chicago. Before that, there are a few okay scenes, like the hunt for the wolf, and the sequence where George wakes up on the plane, but really nothing all that spectacular.  That being said, I enjoyed RAMPAGE more than SAN ANDREAS.

The screenplay by four writers, Ryan Engle, Carlton Cuse, Ryan J. Condal, and Adam Sztykiel is a mixed bag. In general, it does a good job telling its monster story and moves it along nicely towards it climactic showdown in Chicago. But a lot of the dialogue is pretty bad. Most of Dwayne Johnson’s lines don’t work.  His one liners come off as “Arnold Schwarzenegger-lite.”

And the friendship story between Davis and George made me want to gag. It’s sappier than a maple tree. As such, the rampaging George is more akin to Mighty Joe Young than King Kong.

The monsters are also a mixed bag. The close-ups of George look pretty good, but the giant Wolf and Crocodile didn’t really impress me. Yet another example of underwhelming CGI effects.

Dwayne Johnson does his thing, and per usual, he’s entertaining throughout. He makes Davis a likable character who’s easy to root for. And seriously, there aren’t too many actors on the planet who could share a scene with three gigantic CGI monsters, take part in their physical rampage, and look believable doing it.

Naomie Harris, so memorable as Moneypenny in the new James Bond movies, as well as having notable roles in a bunch of other films, including MOONLIGHT (2016) and OUR KIND OF TRAITOR (2016), to name just a couple, doesn’t fare as well here in RAMPAGE. Her character, Dr. Kate Caldwell, in spite of her dramatic desire for revenge against the Wyden company, is reduced to being Dwayne Johnson’s sidekick and eventual love interest.

Jeffrey Dean Morgan as government agent Harvey Russell does his best Negan shtick, the character he plays on THE WALKING DEAD, only this time he’s one of the good guys rather than the villain. Morgan gives the liveliest performance in the movie.

Malin Akerman, who co-starred with Jeffrey Dean Morgan in the dark superhero flick WATCHMEN (2009), is sufficiently ruthless as Claire Wyden, but in a strictly cartoonish way. Likewise, Jake Lacy seems to be having fun as her bumbling brother Brett. Lacy enjoyed a memorable brief bit in THEIR FINEST (2016) as the American war hero with no acting experience thrust into a lead movie role.

RAMPAGE isn’t bad. It has giant monsters, Dwayne Johnson, and some decent giant monster action sequences, but its silly script keeps things a bit too light throughout and never becomes all that engrossing. Instead, it plays out like a Saturday morning cartoon of yesteryear.

—END—

 

Memorable Movie Quotes: THEM! (1954)

0

them-movie-poster-1954

Welcome back to another edition of MEMORABLE MOVIE QUOTES, that column where we look at cool quotes from cool movies, especially horror movies.  Up today, it’s THEM! (1954), the classic science fiction horror movie about giant ants on the prowl first in the deserts of New Mexico and then in the sewers of Los Angeles.  THEM! is arguably the best of the 1950s giant monster movies.  It also one of the finest horror movies ever made.

One of its strengths is its well-written and very smart screenplay by Ted Sherdeman.  It tells a compelling story, the first half of which plays like a hard-hitting crime drama and mystery, as people are disappearing, and the New Mexico State Police and the FBI work together to find out why.  The second half, when the giant ants are revealed, becomes a classic 1950s horror fest.  The entire film is chilling throughout.

The script also includes many memorable lines.  And on that note, let’s have a look at some of these lines from THEM!, screenplay by Ted Sherdeman.

Early on, the dialogue drives the suspense and sets the tone.  Like in this early scene where the coroner details the cause of death of one of the victims:

CORONER:  Well, Old Man Johnson could’ve died in any one of five ways.  His neck and back were broken, his chest was crushed, his skull was fractured… and here’s one for Sherlock Holmes – there was enough formic acid in him to kill twenty men.

Later, when FBI agent Robert Graham (James Arness) and police sergeant Ben Peterson (James Whitmore) are in search of clues, they investigate a large sugar theft from a railway yard, a theft that has gotten the night watchman arrested, since he claimed he didn’t see a thing.  Of course, Graham and Peterson know sugar is just the thing on the giant ants’ menu, and so they are intrigued and question the night watchman.

GRAHAM:  Is this the only job you ever had?

NIGHT WATCHMAN:  Yes, sir. I’ve been with the railroad thirty years and never a blot against my record.

GRAHAM:  Well, the yard cop seems to think you made a deal not to see that car broken into.

NIGHT WATCHMAN:  What kind of sense does that make? Is sugar a rare cargo? Is there a black market for it? Did you ever hear of a fence for hot sugar? If I was gonna make a deal with crooks to steal something, it wouldn’t be for forty tons of sugar. And I’ll swear I didn’t hear a thing Friday night.

Smart, realistic, writing.  And there’s also plenty of humor, too.  Like when the railroad yard cop asks Sergeant Peterson why the FBI is so interested in a sugar theft.  Peterson’s reply?

PETERSON:  He’s got a sweet tooth.

In fact, there’s a lot of humorous lines in THEM!  And they’re necessary.  For a film as tense as THEM!, moments of comic relief are very welcome.

Let’s have a look.

When they are preparing to saturate the massive ant nest with cyanide, a nervous Graham quips:

GRAHAM:  If I can still raise an arm when we get out of this place, I’m gonna show you just how saturated I can get.

When Graham and Peterson first meet the attractive daughter of Dr. Harold Medford (Edmund Gwenn), Dr. Patricia Medford (Joan Weldon), they have this exchange:

GRAHAM:  I shoulda had this suit pressed.

PETERSON: She’s quite a doctor, eh?

GRAHAM: Yeah. If she’s the kind that takes care of sick people, I think I’ll get a fever real quick.

One of the funnier bits in the film occurs when Peterson and Dr. Medford ride together in a helicopter and Dr. Medford attempts to talk to his daughter via the radio.  Of course, Edmund Gwenn, who played Dr. Medford, was no stranger to comedic roles during his career. Gwenn is probably most famous today for playing Kris Kringle in the original MIRACLE ON 34TH STREET (1947).

DR. MEDFORD:  Search Able to Search Baker.

PETERSON: Say “Over.”

DR. MEDFORD: Huh?

PETERSON: Then say “Over.”

DR. MEDFORD:  “Over?”

PATRICIA MEDFORD:  Medford in Baker to Medford in Able: Go ahead, Dad. Over.

DR. MEDFORD: Have you found anything yet?

PETERSON: Say “Over.”

DR. MEDFORD: I just said it.

PETERSON: I know. Say it again.

DR. MEDFORD: Oh. “Over!”

PATRICIA MEDFORD: Baker to Able: Not yet. We’re about three-quarters of the way across our sector. We’re now at coordinates Charlie-Six. Over.

DR. MEDFORD: Well, don’t pass up any possibilities. Let me know the moment you find anything.

PETERSON: If you’re finished, say “Over and out.”

DR. MEDFORD: But she knows I’m through talking with her.

PETERSON: I know she does, Doctor. It’s a rule, though. You gotta say it.

DR. MEDFORD: Ah…

PETERSON: Isn’t that right, General?

GENERAL O’BRIEN: Right, Sergeant.

DR. MEDFORD: This is ridiculous! A lot of good your rules are gonna do us if we don’t locate the…

PETERSON (over the headset): Over and out.

DR. MEDFORD: Oh, now you’re happy!

them!-whitmore-gwen-helicopter

And when they’re examining the wall of the ant nest:

DR. PATRICIA MEDFORD: Look! Held together with saliva!

PETERSON: Yeah! Spit’s all that’s holding me together right now, too.

One of the most famous lines from the film, and if you’ve seen it, you no doubt remember it, is when Peterson and Graham travel to a local hospital to interview a drunk who may or may not have seen the giant ants.  It turns out, the drunk, Jensen, has seen the ants and gives them some valuable information which leads them to the ants’ whereabouts, but not before he has this lively and memorable exchange:

JENSEN:  General, I’ll make a deal with you. You make me a sergeant in charge of the booze and I’ll enlist. Make me a sergeant in charge of the booze! Make me a sergeant in charge of the booze!

And of course, the film gets its title from the screams of the little girl who Sgt. Peterson finds roaming the desert in the film’s opening moments.  She’s in a catatonic state of shock, but later, when Professor Medford revives her, she screams out:

LITTLE GIRL:  Them!  Them! Them!!!

them!-little_girl

In spite of his comedic background, Edmund Gwenn as Dr. Medford also has some of the more somber and poignant lines from the movie.  Like here, when FBI Agent Graham reacts to the news the ant they just killed was only one of many.

GRAHAM:  And I thought today was the end of them.

MEDFORD: No. We haven’t seen the end of them. We’ve only had a close view of the beginning of what may be the end of us.

And as Dr. Medford, Edmund Gwenn also gets to have the final say at the end of the movie:

GRAHAM: Pat, if these monsters got started as a result of the first atomic bomb in 1945, what about all the others that have been exploded since then?

PATRICIA MEDFORD: I don’t know.

DR. MEDFORD: Nobody knows, Robert. When Man entered the atomic age, he opened a door into a new world. What we’ll eventually find in that new world, nobody can predict.

Cue end credits.

THEM! is a superior horror movie, taut, well-acted, well-written, with decent special effects.  It succeeds because the ants aren’t the main focus of the movie.  It’s the characters in the film and their reactions to the events around them that make THEM! a classic of 1950s giant monster cinema.

I hope you enjoyed these quotes from THEM! and join me again next time on the next MEMORABLE MOVIE QUOTES when we look at memorable quotes from another memorable movie.

Thanks for reading!

—Michael

KING ARTHUR: LEGEND OF THE SWORD (2017) – Energetic Adventure by Guy Ritchie Tries to Reinvent King Arthur Legend

0

king_arthur_legend_of_the_sword_poster

KING ARTHUR:  LEGEND OF THE SWORD (2017) is director Guy Ritchie’s attempt to do for King Arthur what he did for Sherlock Holmes, namely reinvent the character as an action movie hero.

He almost succeeds.

KING ARTHUR:  LEGEND OF THE SWORD opens with an exciting pre-credit battle sequence featuring giant mastodons and ear-splitting explosions as we witness young Arthur’s father King Uther (Eric Bana) defend his kingdom from attack, only to see it fall when he is betrayed by his brother Vortigern (Jude Law).  Young Arthur is whisked away to safety, and in an energetic montage, we watch as the boy is raised in a brothel, receives martial arts training, and earns his street-smarts as he becomes a man.

The adult Arthur (Charlie Hunnam) is the good guy on the block, hanging out with his friends and protecting local innocents from the occasional bullies.  Doesn’t sound much like the Arthur of legend, does it?  That’s because it’s not.  Eventually, Arthur makes his way to the infamous sword in stone, and when he alone can remove it, everyone and his grandmother, including Vortigern, knows who he is.

Arthur seeks vengeance against Vortigern for the death of his parents, while Vortigern sees Arthur as a threat to his kingdom and seeks to annihilate him.   The battle lines are drawn.  May the best man win.  Of course, there’s little doubt here as to who will emerge the victor.

One of the reasons that Guy Ritchie’s SHERLOCK HOLMES movies were so successful was that he had Robert Downey Jr. in the lead role as Sherlock Holmes.  Here, as Arthur, he has Charlie Hunnam.  Now, I’m a big fan of Hunnam from his SONS OF ANARCHY (2008-2014) days, but he plays Arthur as if he’s still playing motorcycle gang member Jax Teller from SONS.  The script doesn’t help his cause as it includes lots of modern-day language and dialogue.  In fact, at times this movie seemed like SONS OF THE ROUND TABLE, and when Arthur was with his buddies, I half expected Hunnam to turn and say “Hey, Ope.  Where’s Clay?”

So, the fact that the Arthur character doesn’t really take hold here isn’t just Hunnam’s fault.  The writers don’t help him.  I like Hunnam, and he gives an energetic performance, but it just never really won me over.  I felt like I was watching a movie about Jax Teller sent back in a time machine to England in the days of King Arthur.

There were parts of KING ARTHUR:  LEGEND OF THE SWORD that I liked, and there were just as many things about it that I didn’t like.

Usually, in a movie like this, it’s the action scenes that I like the least, as generally they are long, lifeless, and dull, but that wasn’t the case here.  I really liked the action sequences in this one, and the credit for that belongs to director Guy Ritchie. The opening battle sequence with the monstrous mastodons hooked me in immediately and made me take notice that perhaps this film was going to be better than expected.

Later battle scenes are just as lively.  Ritchie’s camera gets right in on the action, and there’s lot of innovative camerawork during these scenes.  The fight sequences here are much more energetic than what I usually see in movies like this.

I really enjoyed both of Ritchie’s SHERLOCK HOLMES movies, as well as his previous movie, THE MAN FROM U.N.C.L.E. (2015) which was panned by critics.  I liked all three of these movies better than KING ARTHUR, mostly because those films had better scripts.  Ritchie’s work as a director is just as good here as those films, if not better.  Visually and in terms of this being a rousing action movie, the film works.

It also features some pretty cool creatures.  I’ve already mentioned the impressive looking mastodons, but there’s also this creepy sexually charged octopus creature which is a mixture of slimy octopus tentacles and naked women that make it one of the more intriguing beasts I’ve seen in a movie since the days of Ray Harryhausen.  There’s also a giant snake, which of the three, is probably the least impressive but still makes for a very cinematic monster sequence.  There were a couple of times where I thought I was watching a Sinbad movie instead of a King Arthur movie.

The film also has a loud, in-your-face music score by Daniel Pemberton that I liked a lot.  It reminded me of the way James Bernard used to score Hammer Films.  You definitely notice the music. Pemberton also scored Ritchie’s THE MAN FROM U.N.C.L.E, another soundtrack that I really liked.

The screenplay, however, is another matter.  Written by director Ritchie, Joby Harold, and Lionel Wigram, it tries very hard to re-invent both the character and the legend, giving both modern-day dialogue and motivations. Arthur seems more interested in protecting his friends than inheriting a kingdom.

The snappy dialogue didn’t really work for me here, as it just seemed out-of-place. When Robert Downey Jr. spoke with updated dialogue as Sherlock Holmes, he still sounded like Holmes.  Charlie Hunnam doesn’t sound like Arthur at all.  Neither does anyone else in the cast sound like they belong in the age of Camelot.

Jude Law plays the villainous Vortigern as a cold-hearted mean-spirited devil and delivers a performance that works up to a point.  He is too one-dimensional to be all that memorable a villain.  Still, he’s a better villain than we get in all those Marvel superhero movies, and a film like GUARDIANS OF THE GALAXY, VOL. 2 (2017) would have benefitted from a character like Vortigern, who at least has an agenda.

Astrid Beges-Frisbey plays one of the more intriguing characters in the film, The Mage, a woman who can communicate with animals.  I enjoyed her performance a lot and wish she had been in the film even more.

Djimon Hounsou does a nice job as Bedivere, the man who helps Arthur get his kingdom back, but it’s a rather small role and never takes full advantage of Hounsou’s talents.  Eric Bana briefly adds some class to the proceedings in the opening sequence as the ill-fated King Uther, Arthur’s father.

The rest of the cast all do a pretty good job in various small roles, mostly of Arthur’s friends.  Among these folks, I thought Neil Maskell stood out as a character named Back Lack.  He’s in one of the best scenes in the movie, where Vortigern  holds a knife to his throat to get information from Back Lack’s young son who has to watch his dad get mutilated.

The title, KING ARTHUR:  LEGEND OF THE SWORD, also did little for me.  It’s a mouthful, and it’s not particularly memorable.

The same can be said of the movie as a whole.  Strangely, I was most won over by the action scenes and the monsters in this one.  The story and the characters left me wanting more, so much so that I wish director Guy Ritchie was working with a different script entirely.

Still, I wasn’t expecting much, and it was better than I expected.

It reminded me of an old Ray Harryhausen SINBAD movie, re-imagined as a Netflix TV series, only not quite as good.

 

—END—

 

 

 

IN THE SPOOKLIGHT: THE BEAST FROM 20,000 FATHOMS (1953)

1

beast from 20,000 fathoms poster

Return with me now to 1953, when the giant monster movie genre was still in its infancy, the year that saw the release of THE BEAST FROM 20,000 FATHOMS (1953).

Prior to THE BEAST FROM 20,000 FATHOMS,  the world had seen KING KONG (1933), filled with eye-popping special effects by Willis O’Brien, who would go on to make Kong’s quickie (and inferior) sequel SON OF KONG (1933) and later MIGHTY JOE YOUNG (1949), the latter being significant because it introduced O’Brien’s young protegé, Ray Harryhausen, to the world.

Soon after MIGHTY JOE YOUNG, Harryhausen was ready to strike out on his own, and he would provide the special effects for today’s movie, THE BEAST FROM 20,000 FATHOMS, released a full twenty years after KING KONG, and so for two decades, the giant monster movie lay dormant.  That would change with THE BEAST FROM 20,000 FATHOMS, which pre-dated perhaps the most famous giant monster, Godzilla, by one year.  Of course, once GODZILLA (1954) stomped onto the world, and Toho Studios opened up the door to their Kaiju universe, giant monsters would never look back.

But it’s quite possible that Toho’s incredible world of monsters may not have happened without the success and influence of Ray Harryhausen’s THE BEAST FROM 20,000 FATHOMS. And when I put Harryhausen’s name in front of the title, I realize he didn’t direct the movie— that job was handled by Eugene Lourie, who actually would go on to direct two other very significant giant monster movies, THE GIANT BEHEMOTH (1959), which featured special effects by Willis O’Brien, and GORGO (1961)— but when you watch a movie with special effects by Ray Harryhausen, it’s his work that you remember, work that is always top-notch and phenomenal; in short, his name belongs in front of the movies he worked on.

THE BEAST FROM 20,000 FATHOMS is based on the short story “The Fog Horn” by Ray Bradbury, who was good friends with Harryhausen.

The movie opens with atomic bomb tests being conducted in the Arctic.  When two scientists visit the scene after the blast to conduct tests, they are shocked to see a giant prehistoric beast roaming through the snow, causing an avalanche which kills one of the scientists.  This plot point, an atomic blast awaking a giant monster, which would become commonplace in the 1950s, was first introduced here in this movie, making THE BEAST FROM 20,000 FATHOMS the first movie about a giant creature awakened by an atomic blast.

The surviving scientist, Professor Tom Nesbitt (Paul Christian) tries in vain to convince people that he saw a live dinosaur.  Nesbitt eventually makes his way to Professor Thurgood Elson (Cecil Kellaway), a prominent paleontologist, and his assistant Lee Hunter (Paula Raymond) and tries to convince them as well, eventually producing enough evidence to get them on board.  However, his contact in the military, Colonel Jack Evans (Kenneth Tobey)  isn’t so easily convinced.

But when the beast— identified by Professor Elson as a rhedosaurus—  attacks a lighthouse and eventually surfaces in the waters outside New York City, there’s no ignoring the situation.  The beast is very real.

THE BEAST FROM 20,000 FATHOMS is not only historically significant in that it’s the first of the 1950s giant monster movies, but it’s also an outstanding movie, one of the best giant monster movies ever made.

And the conversation about BEAST begins and ends with the work of Ray Harryhausen. Harryhausen brought his “A” game to every movie that he worked on.  His stop-motion special effects are always top-notch.  A movie with inferior special effects by Ray Harryhausen does not exist.  The major reason for this of course is Harryhausen’s talent, but another reason is the time he spent on each movie.  Harryhausen never rushed his work, which is why, sadly, there weren’t more movies made with his stop-motion effects.  It often took him years to work on one movie.

THE BEAST FROM 20,000 FATHOMS is no exception.  It features superior special effects by Ray Harryhausen.  It also features one of the scariest and most memorable scenes from any giant monster movie period— the lighthouse scene.  Which comes as no surprise since this is the scene directly connected to Ray Bradbury’s short story, which was about a dinosaur attacking a lighthouse.

I first saw THE BEAST FROM 20,000 FATHOMS on TV when I was probably eight years old or so, and the lighthouse scene gave me nightmares and stayed with me long afterwards. In this scene, there are two men in the closed-in confines of the lighthouse, and outside the protective walls, the beast emerges from the ocean, drawn by the light perhaps.  The men inside hear a noise, and look up to see the enormous face of the creature peering through the glass.  The beast then destroys the lighthouse before the men can escape, and as we learn later, eats them.  It’s a terrifying scene.

beast lighthouse

It’s also perfectly shot by director Lourie and Harryhausen.  The matting effect is near perfect, and without a DVD/Blu-ray to freeze fame, it would be very difficult for the naked eye in real-time to see where the real shots of the ocean and the matte shots of Harryhausen’s animation meet.  The chilling black and white photography helps here, and the whole scene is so well done it’s nearly seamless.  The lighthouse itself is also animated, as is the immediate island onto which the rhedosaurus climbs, but the surrounding ocean is not, as it’s the real thing.

There are a lot of other memorable scenes as well.  The rhedosaurus’ first appearance in the snowy Arctic is also quite chilling, and the ending of the film, which takes place by the rollercoaster on Coney Island is also noteworthy.

Beast - snow

THE BEAST FROM 20,000 FATHOMS also has an interesting cast.  I could take or leave Paul Christian, whose real name was Paul Hubschmid, as lead hero Tom Nesbitt.  Likewise, Paula Raymond  is just OK as lead love interest Lee Hunter.

It’s the supporting cast that stands out in this one.  Cecil Kellaway does a fine job as the amiable Professor Elson.  Kellaway was a famous character actor with a ton of credits in a career that spanned from the 1930s through the 1970s, appearing in such movies as Disney’s THE SHAGGY DOG (1959) and GUESS WHO’S COMING TO DINNER (1967).  Kellaway also appeared in two Universal monster movies and was memorable in both of them.  He played Inspector Sampson in the first Invisible Man sequel, THE INVISIBLE MAN RETURNS (1940) in which he doggedly pursues Vincent Price’s Invisible Man, and he played the flamboyant magician Solvani in THE MUMMY’S HAND (1940).

Kenneth Tobey plays Colonel Jack Evans.  Tobey of course played the lead hero Captain Patrick Hendry in THE THING FROM ANOTHER WORLD (1951) and he would play the lead again in Ray Harryhausen’s IT CAME FROM BENEATH THE SEA (1955), which tells the tale of a giant monstrous octopus.  Tobey is excellent here in THE BEAST FROM 20,000 FATHOMS in a supporting role.

And yes, that’s Lee Van Cleef as Corporal Stone, the marksman given the daunting task of shooting the fatal radioactive isotope into the wound of the rhedosaurus.

Lou Morheim and Fred Freiberger wrote the screenplay, based on the Bradbury short story.  It’s a decent screenplay as it tells a solid story, contains realistic dialogue, and creates sympathetic characters.

THE BEAST FROM 20,000 FATHOMS also features a compelling music score by David Buttolph.

So, the next time you’re enjoying a giant monster movie, especially one in the Godzilla/Toho/Kaiju universe, remember it might not have happened without the success of Ray Harryhausen’s rhedosaurus, aka THE BEAST FROM 20,000 FATHOMS.

—END—

 

 

 

 

 

SHOCK SCENES: KING KONG APPEARS! (2017)

1

I wrote the following column in 2015, in which we looked at King Kong’s entrance scenes in the various King Kong movies.  Well, here in 2017, we’ve just had another Kong movie, KONG:  SKULL ISLAND (2017).  And so, here’s an updated version of this column to include KONG:  SKULL ISLAND.

—Michael

 

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.

 

 

 

 

 

 

 

 

KONG:  SKULL ISLAND (2017) was just released a week ago, and while many fans are instantly calling this the best Kong flm since the 1933 original, I was only lukewarm on it.  I found the script rather stupid, the characters dull and not developed to any degree of satisfaction, and Kong himself, while looking fine, rather boring.

Kong in this movie is probably the least satisfying Kong in any of the movies for the simple reason he has zero personality.  In the other movies, Kong showed a wide range of emotions, from anger to rage to ferocity to even tenderness, but here, he’s just a slow moving enormous creature who fights monsters and humans.  Blah.

There are actually two entrance scenes here for Kong.  The first is a teaser, in the opening moments of the film, which takes place during World War II.  Both an American and Japanese pilot crash land on Skull Island, and they quickly become involved in hand to hand combat, when suddenly King Kong appears.  We see his giant hand, and they see him.

Kong’s official first appearance comes later in the movie, which now takes place in 1973, as military helicopters carrying the scientific expedition to Skull Island suddenly encounter Kong who introduces himself to the copters by hurling trees at them.

Kong-Skull-Island-Kong

Kong battles helicopters in KONG:  SKULL ISLAND (2017)

This scene had the potential to be awesome, but the full effect of this first entrance is never as cinematic as it should have been.  Director Jordan Vogt-Roberts seemed satisfied to film this as a routine war scene as opposed to a larger-than-life Kong-makes-his-first-appearance scene.  Too bad.

Like the entire movie, Kong’s first entrance in KONG: SKULL ISLAND falls short of expectations and never rises above standard giant monster fare.

 

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.