Throwback Thursday Review: 'King Kong' (2005)

This week I'm reviewing the 2005 Peter Jackson rendition of King Kong to coincide with the release of Kong: Skull Island this weekend, I've already seen and reviewed it so click on the blue hyperlink if you're interested in checking that out. Next week I'll be reviewing Disney's 1991 animated Beauty and the Beast to tie in with the release of the live-action incarnation. Reviews you can expect throughout the remainder of March include Throwback Thursday Reviews over Beauty and the Beast (1991), Pirates of the Caribbean: Dead Man's Chest, and Spider-Man 2 and new releases Kong: Skull Island, Beauty and the Beast (2017), The Belko Experiment, Power Rangers, Life, The Boss Baby, The Zookeeper's Wife, and Ghost in the Shell (2017).

'King Kong' (2005) Review

Nominated For: Best Art Direction, Best Visual Effects, Best Sound Editing, and Best Sound Mixing. 
Won: Best Visual Effects, Best Sound Editing, and Best Sound Mixing. 

King Kong tells the story of a film crew venturing to the mysterious Skull Island to shoot a picture, only to have their lead actress apprehended by the natives to be sacrificed a 25 foot gorilla. The primate chooses to take Ann Darrow himself and a bond is formed between the two before the crew capture Kong to showcase as "The Eighth Wonder of the World" back in New York. If you know anything about King Kong then you know how that turns out... He escapes, finds the lady, and scales the Empire State Building. Yes, this is the typical Kong story we've grown accustomed to hearing set in 1930s New York.

Peter Jackson had a hand in writing and directing this 2005 remake, hot off his successful adaptation of The Lord of the Rings trilogy, spanning the 1933 story about the great ape into a (longer than necessary) feature-length epic. The one thing that makes this version quite difficult to sit through is its three hour and seven minute running time. In my mind anything that lasts longer than three hours overstays its welcome unless it's one of The Lord of the Rings and King Kong unfortunately suffers from symptoms of a bloated running time.

Fortunately, the technical aspects of King Kong hold up remarkably well. Jackson captures the spirit of Depression-era New York rather quickly in the film's opening thanks to accentuated '30s costume & production design and James Newton Howard's gorgeous musical accompaniment. Howard's score is all-encompassing of what you would want for a Kong feature; he's got the epic themes for the action, resonant character compositions for the more emotionally-moving sequences, and eery accompaniment for the mysterious moments.

I would be remised to forget the visual effects though, which are awe-inpiring. Kong remains the ever fascinating CG-creation, largely thanks to the animators and Andy Serkis' motion capture performance. Serkis nailed the monkey mannerisms and subtle expressions exhibiting the creature's emotional spectrum, which only added further credence to the beast's authenticity. It's no wonder he's still playing the lead mo-cap primate in The Planet of the Apes franchise and stands as one of the motion capture kings today.

One slight complaint/nitpick that stuck out to me was Jackson's tendency to encourage blurred camera movement from long time collaborators cinematographer Andrew Lesnie and editor Jamie Selkrik in some of the more exhilarating moments. I feel this went in direct opposition to the momentum built up in some action sequences and came across a bit too often for my taste. In the writing department, Jackson reunites the writing braintrust behind adapting The Lord of the Rings trilogy including Fran Walsh, Philippa Boyens, and himself.

It's apt that screenwriter character Jack Driscoll is the hero of the story but by the time the credits are rolling the character doesn't receive his due for his heroics. That's just the nature of filmmaking, general audiences respond to a film and will praise/scorn the director and cast but typically the screenwriter's left in the dust. Thankfully that's not an issue for this version of King Kong. The script does a remarkable job fleshing out its characters (a little too excessively in some cases) but I can't say that I finished the film without any concerns over certain logistics. I wondered such things as how the crew possibly got King Kong on their boat once he was captured, where they put him considering the cages on the boat were all intended for smaller creatures, how the boat made it off Skull Island with Kong onboard. Wouldn't he have significantly weighed the vessel down? These are relatively remote plot-holes to say the least but questions I genuinely pondered over, unable to conjure up any explanations behind any of them.

Anyways, the cast amassed for King Kong are quite something. Naomi Watts' Ann Darrow exemplifies beauty in addition to making a sufficient damsel. Watts is in-distress but showcases enough emotional range to more than compensate for her classic role. Adrien Brody's playwright Jack Driscoll makes for a likable protagonist while Jack Black plays the stubborn yet exuberant director Carl Denham that you can't help but feel conflicted over liking. Meanwhile, Kyle Chandler, Thomas Kretschamen, Collin Hanks, Jamie Bell, Andy Serkis (who has a role as the boat's chef along with his Kong duties) each have brief supporting roles worth acknowledging.

In summary, King Kong has almost everything going for it but a tight running time. Had Jackson trimmed the film down, he may have had a masterpiece on his hands.

Film Assessment: B

'Kong: Skull Island' Review

Nominated For: Best Visual Effects.

In Kong: Skull Island secretive government organization Monarch sets off to explore the uncharted Skull Island, dropping bombs to map the island's terrain, only to have their expedition brought to a screeching halt when a 100 foot ape trashes their helicopter convoy. That ape is Kong of course, who happens to be the largest incarnation of the raging gorilla yet.

Kong: Skull Island is the second entry in Warner Bros. and Legendary's MonsterVerse which kicked off with 2014's Godzilla and is headed towards a monster showdown between these two versions of Kong and Godzilla (the reasoning behind Kong's size-up), and there are plenty of breadcrumbs sprinkled throughout the film hinting towards that confrontation including a post credits scene I highly advise you wait for afterwards. Kong: Skull Island is unique when contrasted to the other Kong flicks, its set in 1973 and takes place almost entirely on Skull Island once the crew arrives (Don't be hopeful for an Empire State Building standoff because you'll be severely disappointed).

Director Jordan Vogt-Roberts and cinematographer Larry Fong soak Kong's cinematic resurgence in 'Nam napalm to evoke Apocalypse Now's vibrant color palette, leaving Kong: Skull Island's stylistic aesthetic to be one of the film's highlights. On that note, Kong: Skull Island's quite impressive from a technical standpoint. It's got superb sound design and a rousing rock soundtrack but I found the score to be lacking. None of the arrangements from Henry Jackman were particularly memorable, something I found disappointing since I hold Jackman in high regard for his scoring of X-Men: First Class, Big Hero 6, Captain America: The Winter Soldier, and Captain America: Civil War.

The various creatures brought to life by the team of visual effects artists assembled for the feature are absolutely incredible though, with the great ape standing chief among them all as the film's crowning achievement. Kong manages to simultaneously exhibit inspiration from cutting edge motion capture animation work showcased in recent Planet of the Apes films while paying homage to the look of the model utilized in the 1933 King Kong production composed of rabbit fur, rubber/foam for muscle structure, and a metal mesh skeleton. It obviously looks much better than that original model but I noticed a few similarities when looking at Kong from a distance that I'm sure were intentional. One thing that annoyed me to no end about 2014's Godzilla was how long it took for director Garth Edwards to show the King of Monsters in his full reptilian glory, I understand the visual effects required to render the beast are expensive but consistently playing with your audiences expectations by teasing the beast's emergence only to cut away was downright cruel.

Thankfully, Kong: Skull Island doesn't suffer from this issue as it doesn't take long for Kong to trample onto the scene and Vogt-Roberts lets you back in his glory once he shows up. Kong's fight sequences against the other monsters are magnificent to say the least. My screening was in IMAX 3D and I can say in these moments the experience payed off, largely due to the larger screen and fuller sound, but overall I'm not quite sure it would be worth the uncharge. However, Kong: Skull Island does have story and character vulnerabilities that somewhat drag it down. Admittedly, that's not exactly what one would come to a monster movie like Kong: Skull Island to see but it doesn't hurt to have characters the audience will actually care about. I legitimately can't remember a single character's name and couldn't tell you any character traits beyond their corresponding skill set, appearance, and occupation for a vast majority of the characters.

This largely derives from the screenplay penned by Dan Gilroy, Max Borenstein, and Derek Connolly featuring a story from John Gatins. The script just has too many characters to juggle so the result is that virtually all the characters are underserved. On the flip-side, I was pleasantly surprised how the screenwriters toyed with genre conventions and cliché moments leading to some fantastic situational humor (I'm not even sure I was supposed to laugh at these moments but I relished in the irony). Otherwise, the plot of Kong: Skull Island is fairly paint-by-numbers so don't expect anything too abrupt.

Kong: Skull Island's cast is stacked with plenty of prestigious talent as well as names you may recognize from a genre film or two. Tom Hiddleston, Brie Larson, John Goodman, Corey Hawkins, Jason Mitchell, and Shea Whigham all do the most with what's provided to them but but it's Samuel L. Jackson and John C. Reilly who were able to flip things around and make the most of meager caricatures. Oh and Tian Jing shows up out of nowhere and literally adds nothing of significance to the story just so Warner Bros. and Legendary could shoehorn in an Asian actress and cover all demographics I guess?

Really just about every cast member but Jackson and Reilly are wasted space, something I'm disappointed to say considering their show of talent elsewhere. Something interesting to note though is that Tobey Kebbell has a small live action role and provided the motion capture performance for Kong, along with Terry Notary, similarly to how previous Dawn of the Planet of the Apes costar Andy Serkis was utilized in King Kong (2005). It's funny how the two were rival characters in the Dawn of the Planet of the Apes and have become the pillars of motion capture acting today. I rarely see motion capture performance driven films today that don't take advantage of all Serkis and Kebbell have to offer.

If you're looking to take a trip to the theater this weekend, I'd prioritize seeing Logan over Kong: Skull Island. However, if you're looking for a dumb popcorn blockbuster then Kong: Skull Island should suit your mindless monster movie needs. Sadly, the vague strokes of characterization hold Kong: Skull Island back from its true potential but the impressive effects work, adrenaline-fueled action sequences, and stylish visuals help position it to be an entertaining monster flick.

Film Assessment: C B-

'Logan' Review

I've held off this review because I wanted to be sure I fully expressed my thoughts and did justice to Hugh Jackman's last ride as Wolverine. Below you may now read my in-depth spoiler-free thoughts on Logan. Some areas of my review may seem a bit vague but that's merely to avoid spoiling the film.

'Logan' Review

Nominated For: Best Adapted Screenplay.

The year is 2029 and mutants are all but extinct. A weary Logan now drives limousines for a living and cares for a senile Charles Xavier near the U.S./Mexican border. When Logan's approached by a mysterious woman to transport a young girl named Laura up north to the U.S./Canadian border and shady government forces close in; Xavier, Logan, and Laura must embark on a riveting road trip in search of safe haven. Logan loosely adapts the acclaimed Old Man Logan storyline and stands as ninth X-feature Jackman's appeared in. To put it simply, Logan is the end of an era. 

Hugh Jackman has held the role of Wolverine for seventeen years now, appearing in just about every X-Men film released since 2000, but Logan marks his final appearance as Wolverine. Returning director James Mangold and star Hugh Jackman aim to finally deliver the great standalone R-rated Wolverine story fans have eagerly hoped to see. Perhaps the greatest thing about Logan is that there's literally nothing holding it back, which can be attributed to Deadpool's shocking box office success last year. There are no restrictions being placed on the action to meet the MPAA's standards for a more commercially viable PG-13 blockbuster and Logan isn't functioning as a launching pad for more stories to follow up on this bookend (with maybe one exception?). 

The action is unabashedly brutal but violence never occurs for the sake of including an awesome action sequence, it's driven by the story and characters. Sure, Wolverine's claws may dismember a few limbs or go straight through a guy's face but the fact Logan doesn't shy away from showing this only lends further credence to the weight brutality like that carries on one's soul. Scott Frank, Michael Green, and director James Mangold tell a personal story first and foremost that doesn't seek to stun viewers with spectacle but rather one that best services the character. 

Logan is the final chapter in Wolverine's longstanding journey and one that intently and appropriately puts all its focus on him. The trio found an ideal tone for Logan, allowing it to be gritty and gruesome but maintain hopeful and heartfelt moments. Logan isn't dark and gritty in some attempt to be cool, rather because the story calls for it. This is the end of the line, not a fresh start or new beginning. The tone Mangold sets is a perfect match for the desolate surroundings he places our heroes in. 

Mangold effectively balances character drama and edge of your seat action as one never outweighs the other, in fact the action is fueled by the narrative and in turn the character's predicaments are more resonant thanks to the ferocious fighting. Logan doesn't short change the camera and stunt work with quick cuts as Mangold seeks to showcase the aggressive action in play with long takes, and I have to give props for the absolute best excuse and use of shaky-cam I've seen used in an action sequence in years! Mangold and cinematographer John Mathieson frame surreal shots lit by earthy hues while editors Michael McCusker and Dirk Westervelt weave it all together to grant the ambiance of Neo-Western. 

I would be remised if I forgot to mention the superb showing from the hair and makeup team for aging up both Hugh Jackman and Patrick Stewart to look absolutely decrepit (I mean that in the best way possible) and the transformation of Stephen Merchant into the albino mutant Caliban. All the while, Marco Beltrami composes a score full of somber, morose character themes in addition to invigorating, frantic orchestrations that are reflective of Logan's inner conflict and sorrow. 

Hugh Jackman's last portrayal of Logan is easily his best turn yet with Jackman evoking a weary and broken man at the end of his line, all while defining the character's legacy. Jackman has always been perfect for the role but the way he wraps it all up and provides a more multi-faceted, layered performance is truly Oscar worthy. I have rarely spoken of an actor in comic book franchise deserving awards consideration but truly believe Jackman should be in the running for Best Actor in the coming awards season. 

Who knows if 20th Century Fox will choose to pursue that route but I'd love to see them launch an awards campaign for Logan. For those who scoff at that idea, remember Deadpool randomly emerged as a late contender this past awards season picking up plenty of Guild nominations and Best Picture/Best Actor nominations at the Golden Globes. Had Fox been prepared for that outcome, I believe there would have been a stronger awards push and hopefully they see Logan deserves the push. 

Patrick Stewart also gets to push the boundaries of his typical straight-faced Professor X as he puts forth one last spin in his automated wheelchair, characterizing Xavier quite differently than the wise kindred mentor we've grown accustomed to seeing. Stewart gets to be funny, compromised, and more emotionally resonant thanks to Logan's screenplay. Seeing Stewart and Jackman together one last time was rewarding in and of itself but even with a shifting dynamic, they still stand well opposite one another. 

I didn't think it was possible for anyone to match Jackman's spite and ferocity as Wolverine but Dafoe Keen captures all that and much more as Laura, or X-23 as comic fans may be more familiar with. The bond she and Jackman share is truly the emotional core of Logan and their scenes together made me smile, laugh hysterically, and cry a stream of tears. Stephen Merchant is a nice inclusion as Caliban, bringing humor and levity in some cases while stepping up to the tasks set out for him by the screenplay. 

Boyd Holbrook's Donald Pierce matches Jackman as an unsavory foe but takes a back seat to Richard Grant's evil scientist Tim Rice in the film's second half. The two are servicable antagonists but their lacking malevolence actually doesn't stand out as one of Logan's weaknesses, purely because this film is concentrated on Logan not what he's up against. 

While I can't quite condone bringing a child to see Logan due to graphic violence and lots of swearing, for ages 17 and up I highly recommend a trip to the multiplex. If you're a fan of Wolverine and Hugh Jackman's take on the character in particular, then Logan is a must see. Logan is the ultimate swan song for Hugh Jackman's seventeen year stint as the berserker rage filled mutant, a gruesome yet sentimental send-off that I'd say is one of the best comic book films I've ever seen. 

Film Assessment: A+

Throwback Thursday Review: 'The Wolverine'

Sorry for the delay on this review as this past week had been quite eventful for me. I wasn't able to find time to rewatch The Wolverine this week as I was watching the Academy Awards Sunday evening, saw Get Out on Monday, went to an early screening of Table 19 Tuesday, went to a Kong: Skull Island screening Wednesday, watched Logan Thursday, and then had to balance work and school on top of that all week. Anyways, I'm reviewing The Wolverine to coincide with Logan's release since Logan will be Hugh Jackman's final outing as Wolverine and The Wolverine is the only solo Wolverine movie I've yet to review. Reviews you can expect throughout the remainder of March include Throwback Thursday Reviews over King Kong (2005), Beauty and the Beast (1991), Pirates of the Caribbean: Dead Man's Chest, and Spider-Man 2 and new releases Logan, Kong: Skull Island, Beauty and the Beast (2017), The Belko Experiment, Power Rangers, Life, The Boss Baby, The Zookeeper's Wife, and Ghost in the Shell (2017).

'The Wolverine' Review

The Wolverine picks up relatively soon after X-Men: The Last Stand with grizzled Logan living in the woods to keep himself distanced from humanity and prevent himself from harming others. Logan is soon invited to Tokyo, Japan by a dying Yashida, a man he saved back during the second World War, keen on repaying his life debt by granting Logan mortality. Logan isn't quite interested but soon discovers something has inhibited his healing factor when he's shot and doesn't recover. He then must protect Yashida's granddaughter from the yakuza, a Japanese mafia of sorts.

The Wolverine is directed by James Mangold, whose filmography consists of actual Westerns like his 3:10 to Yuma remake or films that evoke Western themes like Walk The Line. Mangold brings that mentality to The Wolverine, deciding to mesh a Japanese setting with an intrinsically Western character. An interesting notion that nearly succeeds till everything falls apart in the film's third act.

Mangold and cinematographer Ross Emery do a wonderful job highlighting the serenity of Japan in contrast to the raving action as Wolverine fights dirty through shoji screens and on top of a bullet train. It's really a shame the berserker mutant was constrained to a PG-13 rating though as you never quite feel like the envelope is being pushed in terms of what Wolverine does, supposedly the extended R-rated director's cut is a better version of the film but I've yet to see it.

The screenplay penned by Mark Bomback and Scott Frank has some interesting predicaments for the Wolverine but none of them quite pay off the way you'd like them to. The idea of making Wolverine vulnerable is fascinating and I feel it was well explored but the explanation behind it verges to be a little too cartoonish in contrast to the realistic portrayal of the character. The third act also leans too far on the comic side of things with a CG showdown and some lackluster reveals. I must admit the first two acts of The Wolverine are engaging though and really intricately laid-out but the reliance on exposition and setup keep it from holding up to how I remembered seeing it back in 2013. Meanwhile in the music department, Marco Beltrami's compositions honor the both film's oriental environment and the action on display.

Hugh Jackman's excellent as always in the role of Wolverine (no surprises there) while Rila Fukushima's a capable sidekick in Yukio and Tao Okamoto is left to play the standard damsel in distress trope as Mariko, who admittedly has more spunk than the typical damsel. I just watched The Wolverine yesterday and honestly can't remember much of what Brian Tee, Hiroyuki Sanada, and Will Yun Lee contributed aside from being morally ambiguous henchmen, their characters are relatively two-dimensional but I've got to commend the filmmakers for casting Asian talent in the roles. Svetlana Khodchenkova though is in an entirely different film altogether though as Viper, a vile temptress reminiscent to Batman & Robin's Poison Ivy.

In summary, The Wolverine had potential to be a great Wolverine movie, but settles for just being a good one thanks to a cartoonish third act contrast to the grounded beginning and middle portions.

Film Assessment: B-

'Table 19' Review

Have you ever been to a wedding only to be grouped with a bunch of strangers in the table assignments? Well, that's the predicament the oddballs find themselves in at Table 19. The table's composed of the ex-maid of honor who was recently dumped over text by the bride's brother, a bickering couple, an ex-con, the bride's former nanny, and an ambitious yet awkward youngster intent on finding love. Of course the group bonds and learns a thing or two from each other over the evening. 

Table 19 is directed by Jeffrey Blitz, who does a fine job spotlighting the comedic talent at his disposal. Blitz direction's fairly reserved alongside just about all the other technical elements of the film, something somewhat expected from a comedy. The screenplay penned by Jay and Mark Duplass has plenty of zingers and comedic beats that are only enhanced by the adept ensemble. While the dialogue is tongue-in-cheek, the story is rather generic leading you to predict the outcome of the entire film rather quickly so you almost feel as though you've seen the film when it's all said and done. 

I was quite impressed by the comedic talents assembled for this flick with actors you'll be familiar with from a few television series like The Office and Friends. Anna Kendrick's plucky charm doesn't go amiss, June Squibb plays the adorable elderly woman with more spunk than you'd expect, Tony Revolori continues to excel in the dorky outcast role, even if his character's purely there for comedic purposes, while Craig Robinson and Lisa Kudrow's squabbling couple are likable and have some great comedic timing but feel tacked on to add some drama to the proceedings. Stephen Merchant is the one who perhaps stole the show in my eyes, his deadpan dialogue delivery and scatterbrained approach to the character made Walter Thimble a constant source of delight. There's not really any other shining stars among the cast, especially considering the focus on this core group of individuals. 

Table 19's a cute wedding comedy that would be just as enjoyable on home media or to be caught on cable but it's not worth rushing out to your local cinema. Table 19 has it's moments and I can admit to laughing hysterically in a few instances but for the most part is exactly what you expect, a quirky comedy you'll probably never feel compelled to watch again. 

Film Assessment: C

'Get Out' Review

Nominated For: Best Picture, Best Director; Jordan Peele, Best Actor; Daniel Kaluuya, and Best Original Screenplay.

Won: Best Original Screenplay.

In Get Out a young African American photographer Chris is invited by his white girlfriend Rose Armitage to visit her family over the weekend. Chris questions the invitation because he's unsure how Rose's parents will react to the revelation their daughter's involved in an interracial romantic relationship. Once the couple arrives, Chris notices plenty of suspicious behavior from Rose's family and while seeking the truth only gets further drawn into the bizarre ongoings.

Get Out is written and directed by Jordan Peele, marking his directorial debut and second feature length screenplay credit following last year's Keanu. Peele is most well-known for being part of the Keye and Peele comedy sketches and up to this point his career really specialized in comedy, but Get Out verges into the horror/thriller genre and stands well apart from Peele's previous work. Peele demonstrates social awareness with his direction and screenplay, not only creating suspenseful surroundings, but also effectively incorporating social commentary on current race relations. He doesn't skew it entirely on one side of the spectrum with racist generalizations or stereotypes and the way Peele is able to amplify the anxiety of real world situations to genuinely thrilling sequences is downright brilliant. 

Peele incorporates nice doses of comedic relief in Get Out you probably won't see coming and does a great job fleshing out his characters with his script. My only nitpicks are that certain twists don't hold up under scrutiny and that on occasion it's slightly predictable when it abides too closely to the formulaic design of most horror films. On the flip side, I need to give props to editor Gregory Plot, cinematographer Toby Oliver, the sound design team, and the score composed by Michael Abels for taking the tension to another level with precise execution in all areas. 

In the casting department, Daniel Kaluuya makes for an exceptional lead as Chris, providing a performance that's both subtle and well-defined. Kaluuya makes the suspense more believable with fantastic facial expressions extenuating his situation and authentically communicating awkward social environments. Elsewhere, Allison Williams puts forth a surprisingly complex characterization as Rose and the facets of Rose's family each get an opportunity to send a chill down your spine as respectively portrayed by Catherine Keener, Bradley Whitford, and Caleb Landry Jones. Marcus Henderson, Betty Gabriel, and LaKeith Stanfield are also unnerving in their respective roles and LilRel Howery stands out as Chris' friend Rod Williams with some great comedic delivery. 

Peele really outdid himself with his directorial debut and the talent at his disposal really worked wonders with the meager $5 Million budget. To sum it all up; stop what you're doing, Get Out and go see this!

Film Assessment: A-

'Jackie' Review

Nominated For: Best Actress; Natalie Portman, Best Costume Design, and Best Original Score.

Jackie is a traditional bio-pic offering a glimpse into a window of former First Lady Jacqueline Kennedy's life as she must struggle to raise children, stay strong in the faith, and define the legacy of husband and President John F. Kennedy immediately following his assassination. Chilean filmmaker Pablo Larraín directs the biographical drama, providing the entire feature with the look of the '60s period it's set. Larraín and cinematographer Stéphane Fontaine shot the picture with old-school Super 16 cameras to authenticate the look of vintage camerawork and capture the aesthetic of actual archival footage. 

In the technical stockade, Mica Levi's moving musical compositions work wonders paired with editor Sebastián Sepúlveda's well-woven sequences and Fontaine's distinguished images of the exceptional performances, timely costumes, and picturesque production design. Perhaps the most undervalued asset put forth by Jackie is its screenplay, penned by Noah Oppenheim. Oppenheim sets Jackie apart from her husband, establishing that she was her own entity by focusing on her time after his death. Jackie's shown both at her highest and lowest emotionally, and the range required to display that is simply remarkable.

However, I think one of the most interesting facets of information provided by Oppenheim's script was Jackie's value of public perception. She doesn't just want to be looked upon kindly herself, she wants her husband's legacy to stand apart among the presidential portraits. The way she plans the subtle details of his funeral procession to mirror Lincoln's is undeniably intriguing.

As for Jackie herself, Natalie Portman dives head-first into delivering an outstanding performance that both respects Jackie Kennedy in addition to ensuring an accurate portrayal. Portman not only musters an excellent accent but also convincingly captures the psychological and emotional anguish Jackie Kennedy suffered resulting from JFK's assassination. The supporting cast includes renowned actors Peter Sarsgaard, Greta Gerwig, John Carroll Lynch, Beth Grant, John Hurt, Billy Crudup, and Caspar Phillison in crucial bit roles, but your focus remains affixed upon Portman, who consistently commands your attention.

In summary, Jackie functions as a fascinating character study and a powerful performance piece for Natalie Portman in addition to being a generally well-constructed period piece bio-pic that highlights capable direction and plenty of noteworthy technical elements ranging from illustrious scenery to the beautiful underlying musical accompaniment.

Film Assessment: B