Wednesday, 19 April 2017
Thursday, 6 April 2017
Monday, 3 April 2017
Wednesday, 15 March 2017
A team of scientists are chaperoned by a war veteran to an uncharted island in the Pacific, however, things go awry and they must fight to escape the primal island.
The effects are impressive and director Jordan Vogt-Roberts skilfully creates a great sense of scale. What's refreshing is that the handful of writers don't rehash the King Kong story of a screaming female, the giant ape falling in love and being taken to civilisation only to die. This take on the 1933 landmark film is reminiscent of Conan Doyle's The Lost World (1960), Jurassic Park: The Lost World (1997) and the 'monster verses' moments of Kong films to name a few.
The period Platoon-like (1986) soundtrack sells the 70's setting along with Henry Jackman's score complimenting the action setups. The cast are adequate including the likes of Tom Hiddleston and John C. Reilly. Samuel L. Jackson looks really infuriated throughout, and rightly so as Kong wipes out the majorly of his team. But to be honest it's a good thing as I'd pay good money to see Jackson's badassery (is that a word?) over CGI monsters any day. Hiddleston is surprising as tracker Conrad especially in his fight driven introduction. Brie Larson as photographer Weaver is sadly given very little to do. There's a little confrontation dynamic between the parties when they find out that Kong is essential in keeping the equilibrium of the Island. Along with Conrad's followers, Hank Marlow (Reilly) who has been stranded on the island since 1944, go against Jackson's hardened vet' Preston Packard who wants Kong dead.
Notable are underused John Goodman and Toby Kebbell as solider Jack. Kebbell no stranger to motion capture (Koba, Planet of the Apes) advises Terry Notary who is excellent as Kong. Regardless of how much is actually Notary's performance, the completed monster design is impressive especially when Kong battles giant ancient creatures. The humour is largely hit and miss due to the dark tone and post Vietnam War backdrop. With hints of Apocalypse Now (1979) it's more visually striking than Godzilla (2014), but it's not as tonally consistent. Skull Island feels one-dimensional in comparison. Vogt-Roberts offers some stage interesting napalm moments, reflecting on sunglasses and exploding silhouette giant beasts. Stay for the after the credits as it teases a showdown with another aforementioned giant monster.
Stripped of effects it's B movie stuff with a A list cast and budget. Most teenagers will no doubt love it, but Kong:Skull Island's mishmash tone may leave others feeling underwhelmed.
Wednesday, 1 March 2017
Saturday, 18 February 2017
Tuesday, 14 February 2017
Monday, 13 February 2017
Friday, 3 February 2017
Humanity is on its last legs and Alice after being betrayed by Wesker has one last chance to end the Umbrella Corporation's plan of world domination.
With writer/director Paul W. S. Anderson again helming the chair, the alleged sixth and final chapter never manages to recreate the pace, horror hi-jinx or atmosphere of 2002's Resident Evil, yet, tonally The Final Chapter comes closer than any of the meandering stylised sequels.
Anderson (arguably wisely) sidesteps the teased epic fantasy war setting of its predecessor with this instalment set in the aftermath of Retribution. The full-blown war is dropped in favour to feature on a few remaining monsters and focus on the impending infected zombie horde. Anderson borrows George Romero's Dead Reckoning-like vehicle under Dr Isaac's (Iain Glen) control and Alice (Milla Jovovich) must get back to The Hive to release an antivirus and stop the outbreak with help from The Red Queen played notably by Milla/Anderson's very own daughter Ever.
The Final Chapter will appease fans who loved the action orientated sequels but it also goes some way satisfying those who enjoyed the first film. Anderson offers littered Event Horizon and the original Resident Evil's jump scares in the ominous moments. In amongst the edited (faster than the Bourne Identity series put together) imaginative action there's a little character development. Paul Haslinger's pumping synth score is fitting and enhances the action as well as the few and far between quieter moments.
While it's a pity actors Colin Salmon, Michelle Rodriguez and others couldn't return given the stories clone themed story line, Albert Wesker (Shawn Roberts) and Ali Larter's Claire Redfield return from previous entries. Both Roberts and Larter both look more at ease here in the mostly darkly lit well crafted sets.
With usual strong screen presence Jovovich is on fine form and the fights are fantastic if a little too frantically paced. Although some aged makeup is below par and the CGI is ropey at times Anderson offers a genuinely surprising twist which delivers a fitting close to the Alice character.
That said, the maker leaves enough room for another horror orientated follow up or overblown 3D actioner - hopefully the latter. Either way it ends the series on a high more rounded note.