'Godzilla vs. Kong' Review

Synopsis: Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The epic clash between the two titans -instigated by unseen forces- is only the beginning of the mystery that lies deep within the Earth's core.

Runtime: 113 minutes

MPAA Rating: PG-13 (for intense sequences of creature violence/destruction and brief language)

Who should see it? Fans of Godzilla and King Kong.

After seven years, Warner Bros. and Legendary's MonsterVerse culminated in the greatly anticipated, super-sized showdown between King Kong and Godzilla. However, this isn't the first time these creatures have come face-to-face, as they previously duked it out in the 1962 King Kong vs. Godzilla. Regardless, the appeal of this updated confrontation is clear. It's purely a matter of witnessing this silly spectacle on the largest screen possible. Audiences expect a giant monkey and gargantuan gecko to fight one another with zero regard for their surroundings- however, with modern special effects this time around. Directed by Adam Wingard with a story and screenplay from Terry Rossio, Michael Dougherty, Zach Shields, Eric Pearson, and Max Borenstein, Godzilla vs. Kong delivers on that very promise.

Like prior MonsterVerse installments, Godzilla vs. Kong is especially disinterested in its human characters. There are also stupid contrivances that happen purely to move the plot along and ensure the titans fight one another. These observations aren't huge revelations, as it's become the norm for this franchise and is to be expected at this point. However, sheer spectacle compensates for the absurdity. This blockbuster extravaganza is best enjoyed on the largest screen you currently feel comfortable seeing it, with your brain turned off and a tub of popcorn in your lap. For all its shortcomings concerning story and character, the action and effects in Godzilla vs. Kong will keep your eyes occupied. Wingard knows precisely the kind of movie he's making, and entertainment value is rightfully his highest priority.     

One noticeable improvement from King of the Monsters is the clarity in kaiju fight sequences. The environmental effects enhance the atmosphere rather than obscure the action. And on that note, the two titular combatants look incredible thanks to the many talented visual effects artists' phenomenal work. This movie wouldn't be possible without them. And I'd be remiss to ignore the sound department and composer Thomas Holkenborg for their essential contributions. This movie is downright ridiculous, but the soundscape lends a sense of gravitas to the smackdown.

As I attested to earlier, meaningful human characterization is severely lacking here. An ensemble of A-listers imbues a series of stock characters with as much life and personality as they can, but the script offers very little substance. Kaylee Hottle and Rebecca Hall share a sweet maternal bond while Brian Tyree Henry and Julian Dennison flex their comedic chops. Strangely, Godzilla vs. Kong downplays recurring characters from King of the Monsters in favor of introducing many fresh faces. Millie Bobby Brown's Madison Russell has a subplot but feels tangential to the central conflict, with that thread existing to introduce a surprise third combatant. Her father, Mark Russell, portrayed by Kyle Chandler, has been promoted to director of Monarch, the government agency monitoring these monsters. However, the promotion comes with the caveat of reduced screen time and personality. Though I like these actors, Alexander Skarsgärd and Eiza González seemed the most inconsequential among the cast. And it was a pleasant surprise to see Demián Bichir play a mustache-twirling corporate executive, considering I like his role in The Hateful Eight.

That said, humans aren't the main attraction. Godzilla and King Kong are headlining this crossover blockbuster brawl, and audiences want to see these behemoths fight each other. The movie delivers on that front, and the spectacle is well worth the price of admission (or HBO Max subscription). For those curious, the filmmakers sympathize much more with Kong over his reptilian counterpart, practically begging viewers to root for the underdog. Godzilla's diehard fans probably won't be swayed, but there are convincing arguments that advocate for Kong as humanity's champion.  

At the end of the day, Godzilla vs. Kong is exactly what you expect. The plot dictates that a giant monkey and lizard should fight one another to accumulate ticket sales and HBO Max subscriptions. It's incredibly entertaining but equally as stupid. However, fun blockbusters are in short supply right now, so who am I to complain? Let them fight!

Film Assessment: B

'Fast & Furious Presents: Hobbs & Shaw' Review

Synopsis: Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.

Runtime: 135 minutes

MPAA Rating: PG-13 (for prolonged sequences of action and violence, suggestive material, and some strong language)

Who should see it? Fans of Dwayne "The Rock" Johnson, Jason Statham, and the Fast & Furious franchise.

Branching off from the central Fast & Furious series, Fast & Furious Presents: Hobbs & Shaw is the franchise's first spin-off. As each Fast & Furious entry drove further away from the series' starting point of street racing and small-time heists, real-world physics were chucked out the window. To no-one's surprise, Hobbs & Shaw continues that trend of escalated absurdity. If you bother scrutinizing the logic of Hobbs & Shaw, you will be miserable for two hours and fifteen minutes. To best enjoy this ride, you should suspend disbelief and mindlessly munch on popcorn.

Considering I haven't been impressed by recent projects involving "The Rock" and Statham, I approached Hobbs & Shaw with appropriate skepticism. The only Fast & Furious films I've really appreciated are the fifth, sixth, and seventh installments. I felt the franchise finally found its stride with Fast Five but grew concerned the franchise ran out of fuel when I didn't take to The Fate of the Furious. Directed by David Leitch and featuring a screenplay from Chris Morgan and Drew Pearce, Hobbs & Shaw rides the thin line between overbearing and entertaining. Surprisingly, this bombastic summer blockbuster won me over with the charm of its cast, technical merits, and outlandish high octane action.

Leitch's extensive background as a stunt coordinator and experience helming Atomic Blonde, Deadpool 2, and John Wick serves him well here. Leitch embraces the lunacy of the franchise's physics-defying spectacle, pairing it with the visceral intensity and visual flair frequently found in his filmography. I was occasionally disoriented by the use of quick cuts and shaky cam, but the action sequences are easy to interpret and impressively absurd for the most part. Carrying over from Leitch's previous projects, cinematographer Jonathan Sela lends an attractive aesthetic to the affair with stylish lighting and quality camerawork. I expected the entire movie to look like concrete, so I was delighted to see some stunning shots amidst the ludicrous action. Unfortunately, the film failed to really surprise me otherwise.

Regarding plot, Hobbs & Shaw is about as predictable as it gets. The buddy spy action-comedy plays out like most other flicks of its ilk, and the dialogue is equally ridiculous as the action. In Fast & Furious tradition, Hobbs & Shaw even champions the franchise's principle focus on family. Does it get any deeper than hearing that word spoken out loud from time-to-time? Not particularly, but when has it ever? Hobbs & Shaw is exactly as advertised, an over-the-top action movie with heart and plenty of cheesy one-liners. Exactly what you'd expect from a summer blockbuster.

Dwayne Johnson and Jason Statham reprise their respective roles of Luke Hobbs and Deckard Shaw to headline the first Fast & Furious off-shoot. The baseline charisma and star power associated with Johnson and Statham are probably enough to garner most viewer's interest, and the duo measures up to that presumption. The two actors possess the macho physicality as well as an engaging rapport since their back-and-forth banter is undoubtedly a highlight. They bicker endlessly, and while not every joke lands, those which do are hysterical. The insults, which felt primarily improvised, effectively critique the other's general Hollywood persona without seeming too self-aware.

However, it's Vanessa Kirby, the breakout star of Mission: Impossible - Fallout, who emerges as a scene-stealer. Kirby's Hattie Shaw rounds out the grouping of Johnson and Statham as an intriguing third-party and capable femme fatale. Her fight scenes were particularly impressive, as they were in Fallout, so Kirby is definitely cut out for action. She's reportedly up for the role of Catwoman in Matt Reeve's The Batman, which I'd LOVE to see pan out. 

Elsewhere, Eiza González is prominently featured in the marketing material but merely relegated to a single scene. She's serviceable in the capacity used but didn't really have much opportunity to leave a lasting impression. Other high-profile actors appear in a series of uncredited surprise cameos that are funny, but somewhat distracting. It's also worth noting that there are three comedic post-credit scenes and you may be fortunate enough to see a teaser for Christopher Nolan's next film Tenet beforehand. Don't expect teases towards a sequel or you may be disappointed.

Last but not least, Idris Elba's cybernetic terrorist Brixton was a formidable foe. Elba's screen presence coupled with the character's resilience compensated for the script's shortcoming characterization while providing a worthwhile villain.

Fast & Furious Presents: Hobbs & Shaw puts the pedal to the mettle as a prime example of an entertaining, over-the-top action-comedy. It won't be in contention for any awards, and you'll likely forget what happens soon afterward, but it's an ideal movie to close out the summer moviegoing season. Maybe this series still has gas in the tank after all.

Film Assessment: B-

'Baby Driver' Review

Nominated For: Best Film Editing, Best Sound Editing, and Best Sound Mixing.

Baby Driver follows the antics of Baby, a gifted getaway driver, as he meets a lovely diner waitress and seeks a way out of the criminal world upon falling in love. Once he's payed off his debt, Baby's brought in for one last job that puts his love, livelihood, and freedom on the line.

Edgar Wright is one of my favorite filmmakers working today because he consistently puts out unique quality content and I can confidently say Baby Driver doesn't disappoint. Baby Driver is the first film to be written and directed by Wright following his departure from Ant-Man, so it's understandable that quite a bit of pressure surrounded Wright on this project. Thankfully, Wright proves he's not out of gas though as he rampantly revs his creative engine and shifts gears to bring audiences a heist film unlike no other.

Baby Driver differentiates itself from the rest of its genre by becoming a jukebox musical straight from the get-go thanks to a kickin' soundtrack. From beginning to end, Baby Driver is driven by music with marvelous meticulously staged set pieces and mere movements choreographed to near perfection. When the action accelerates, the music crescendoes with an encroaching accelerando that will have your heart racing. Wright's song choices not only suit the stunts but often times fit the circumstances of the story as well. The soundtrack featuring the likes of Queen and The Beach Boys enhances the events in a way I'm unsure an orchestrated score possibly could, even though Steven Price composes high caliber pieces for the transitional sequences. 

Every single frame of Baby Driver was conscientiously constructed with the intention of not only matching music but popping with a visual flair you'll be hard pressed to find anywhere else this summer. The editing's exceptional, the cinematography captures the pristine and grungy look of Atlanta perfectly, the color palette's as rich as La La Land, and the practical car chases have more hustle and bustle than any Fast and Furious entry. Also don't discount the auditory arena as I'm assured the sound design showcased won't be topped this year.

To top all of this off, Wright's script is roaring with heart, humor, and unpredictability. You'll think you know exactly how things are gonna play out but Wright will boldly blindside you time and time again till the story seems like it's spiraling out of control. Wright keeps a steady hand on the wheel though, taking audiences on a wild ride they won't soon forget. One element I was rather impressed by was how Wright naturally incorporated the rockin' tunes into his high flying narrative. I always admire when music is not only integrated in a film to sound cool but to serve a story purpose and Baby's funky playlist helps drown out the hum of Baby's tinnitus. But Baby doesn't just listen to these tracks to help him function. He has a clear appreciation for every ditty on his infinite iPods and they fully form Baby as a compelling character. There's a lot more under the surface of Baby than meets the eye and Elgort communicates it all with a poignant balance. 

Ansel Elgort portrays Baby with a cool-headed charm and straight-faced silence. Those may sound contradictory but Elgort makes it work. I believe Elgort is stepping into the leading man phase of his career and I can't wait to see what he has in store. Opposite Elgort, Lily James's Debora exhibits the attitude of the southern sweetheart and will delight the audience the second she strides in the background humming "B-A-B-Y." As for their chemistry, Elgort and James set off a spark the moment they step into frame together with their congenial connection.

The tactical team amassed to pull off the heist changes from job to job but the faces you'll see a majority of the time are Jon Hamm and Eiza González's lovesick Buddy and Darling alongside Jamie Fox's deranged killer Bats. Hamm demonstrates the most range of the bunch as he snaps from a calm, collected criminal to an unhinged psychopath in a matter of seconds. In the back seat, González disdainfully files her nails with troublesome thoughts crossing her mind and Fox is dripping from head-to-toe with shameless swagger.

Kevin Spacey delivers deadpanned dialogue like no-one else as the ringleader Doc, imbuing a cold, calculating demeanor while incorporating a sardonic wit when possible. You're never sure where his loyalties lie so he's a fascinating character in this crazy car chase movie. Filling out the ensemble, Jon Bernthal ensures Griff comes across as a gruff gangster and Brogan Hall cleverly quips his way into a memorable role as Doc's snide nephew Samm.

It's not too often I finish a film eager to watch it again right then and there, but I just knew I had to back up and see Baby Driver again after my first viewing a month ago so I naturally sped into the theater again premiere night. After seeing Baby Driver twice, I'd compare the experience to cruising down an unfamiliar street. You go in search of something fresh and exciting and are pleasantly surprised to discover everything you hoped for, never missing a beat along the way. That's why Baby Driver's now my favorite film from Edgar Wright in addition to being my favorite film released this year.

Film Assessment: A+