7.6/10
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About me
My name is Cal. I'm an independent filmmaker who runs the production company Expendable Films. You can check out my company's Vimeo page here: vimeo.com/expendablefilmI've also made a list which details the movies I've made. You can check out my first feature, Unleashing the Demons, on Amazon Prime.
People may wonder why I pump so much time and effort into reviewing movies when it's doubtful many people even read my full reviews. With IMDb, Rotten Tomatoes and other websites full of critics more knowledgeable and better read than me, why should you bother with my writing? Well, I leave you to answer that question for yourself. Perhaps my primitive sense of humour will factor into your enjoyment of my reviews. Or perhaps it's that I am merely a lover of movies and do not consider myself a critic. Critics trash fun movies but praise wildly overrated, boring movies. I just like having fun at the movies... And I assess a movie as a guy who loves movies and seeks a good time.
I do not receive any money or revenue for my writing, so I write this as a passion and as a hobby. I aim to simply provide a fair, balanced analysis and commentary of a movie I've seen.
Thus, people may think I at times go too easy on a movie. Well, that's because I look for the good in all movies, even bad ones. I want to recognise the effort that has gone into a movie, and be fair to the filmmaker's intentions. I want to break into the film industry and I wish to make movies, so all films deserve a fair trial in my mind. I'd hate it for people to give a film of mine a low rating for a few purely nitpicking reasons.
I now mostly use Letterboxd (letterboxd.com/CalRambo1991) where I post a variety of mini-reviews that don't get carried across to here. Listal will still house my long-form reviews but not my shorter ones.
My reviews cannot be copied or reposted in whole or part without my express permission!
I once came across someone hovering around the web who copied my reviews word for smegging word.
However, you can link my reviews on your lists and stuff. That's perfectly cool. As long as I get credit
That's all I have to say.
Oh, and I post my reviews on a few different websites, most notably MichaelDVD and Manly Movie. I did some writing for Digital Hippos briefly... But that site is run by a bunch of cunts, so I didn't remain as a staff member. I suggest you guys avoid that site, too.
You'll find my reviews scattered on other websites around the web, including The Critical Critics, Flixster, Letterboxd and Manly Movie.
And finally...
Twitter feed: twitter.com/StrayButler91
YouTube Channel: www.youtube.com/user/PvtCaboose91
Link to Manly Movie: www.manlymovie.net/
Facebook? Dream on, internet stalkers...
Occupation: Filmmaker
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Recent reviews
An entertaining, visually dazzling macho fantasy

7.6/10

A gripping, edge-of-your-seat period thriller

Optimism is high for Munich's 1972 Summer Olympic Games, with the West German government eagerly hosting the game to portray the country more favourably. The ABC Sports crew are in the country to cover the event, with channel president Roone Arledge (Peter Sarsgaard) and operational head Marvin Bader (Ben Chaplin) overseeing the complex technological task to televise the Olympic Games to the rest of the world. Stepping into the newsroom to continue orchestrating the live coverage is Geoffrey Mason (John Magaro), a rookie who is enthusiastic about becoming a director. When the team hears gunshots early in the night, they promptly investigate to find out what is happening, with local translator Marianne Gebhardt (Leonie Benesch) even listening to police radio broadcasts. Upon discovering that the Palestinian terrorist group Black September have taken the Israeli Olympic Team hostage, Mason scrambles to cover the event, facing broadcast cameras at the Olympic Village and covertly sending in a crewmember (Daniel Adeosun) to record 16mm footage from within athlete-only areas. With ransom demands coming out and a deadline approaching before the athletes lose their lives, the ABC Sports crew grapple with ethical considerations and limited satellite time as they try to maintain their coverage, with Mason desperately wanting to broadcast each scoop as it arrives.
Fehlbaum swiftly establishes the characters and their personalities before the crisis breaks out, ensuring viewers can easily discern who's who within the newsroom. An excellent cast tremendously aids the movie, and the lack of A-list superstars underscores that the performers were selected for their talent instead of their bankability. The likes of Sarsgaard and Chaplin make fantastic impressions, but Magaro (who was an extra in Spielberg's Munich) is arguably the star of the show, convincingly portraying confidence and nervousness throughout the ongoing situation. Since filming took place in Germany, the movie also features terrific European talent, with German actress Benesch making the most significant impression as a translator who is eventually assigned to help cover events on location.
The production's verisimilitude is overwhelming, with September 5 featuring extensive archival footage from the event. Editor Hansjörg Weißbrich (She Said) effectively intercuts footage of the actors with actual news reports (ABC's Jim McKay features prominently in archival footage) and media coverage, including 16mm material shot by ABC camera operators from inside the Olympic Village as the hostage crisis unfolded. Fehlbaum does recreate some material out of respect for the victims, as the crew understandably felt it was inappropriate to include footage of the real terrorists or hostages. However, it is genuinely difficult to discern the difference between the dramatisations and the archival material, with an astonishing sense of authenticity pervading virtually every frame. Additionally, with the production team going to great lengths to recreate ABC's newsroom in Munich, the resulting set bursts with authenticity, from the low-res monitors and the cameras to the vintage headphones and playback equipment. September 5 never leaves the newsroom, but the scope does not feel disappointingly restrictive as the movie creates a sense of the bigger picture through the media coverage at the Olympic Village and later at the nearby military airport.
Cinematographer Markus Förderer (who worked with Fehlbaum on The Colony) captures the action with Paul Greengrass-esque immediacy, opting for steady, engrossing handheld photography that further solidifies the "you are there" illusion. Although Förderer shot September 5 with digital cameras, the use of specific vintage lenses to soften the footage, combined with precise colour grading and thick film grain, creates an astonishing illusion, as the picture looks like genuine celluloid instead of a digital approximation of 16mm film. Förderer also uses the newsroom monitors to remarkable effect, as the screens provide a distinct but not overwhelming lighting source in the cramped space, and the imagery on the monitors is often reflected in characters' glasses. With the movie coming in at a reasonable 94 minutes, September 5 does not outstay its welcome, and interest seldom wanes as Fehlbaum stages tense exchanges as the characters feel the pressure and grapple with the gravity of the crisis, with human fallibility also inevitably creeping in. The director even mines fascinating material from the behind-the-scenes workings of news broadcasting in the 1970s, from sharing satellite time with other networks to the analog method for adding captions to news footage.
Understandably, the Israeli-Palestinian conflict makes the timing of September 5's release uncomfortable for some, particularly with the conflict causing much controversy and political unrest. However, Fehlbaum wisely avoids political grandstanding and condemnation, never using the material to make a statement on the ongoing Israel-Palestine conflict or draw clumsy parallels. Instead, September 5 is more about the ethical implications of broadcasting news that is shocking, violent and politically charged, with the crew emphasising the necessity for emotions over politics and discussing the possibility of on-air hostage executions and whether or not to broadcast unconfirmed reports, even with on-air caveats about the veracity of those rumours. Additional underlying themes relate to the Munich Olympic Games' significance, as the West German government hoped the event would provide catharsis after the Second World War by showing the country was eager to host other nations in a peaceful, democratic, uplifting setting. This material offers thought-provoking underpinnings to elevate the movie beyond a simple technical exercise. Instead of drab Oscar bait, September 5 is a sharp and thrilling feature brimming with anxious energy that recounts an important event from a compelling new perspective.
8.4/10

A unique and compelling ghost story

While searching for a new place to live, Rebekah (Lucy Liu) and Chris (Chris Sullivan) pounce on a sizeable home in a good neighbourhood, moving into the residence with their two children, Chloe (Callina Liang) and swim champion Tyler (Eddy Maday). However, an invisible apparition already inhabits the house and silently observes everything, soon making itself known to Chloe, who believes the spirit is benevolent instead of evil. Chloe mostly withdraws from the family after losing her best friend to a drug overdose, while her parents encounter marriage trouble as Rebekah is committing financial fraud at work. Tyler also makes a friend in Ryan (West Mulholland), who soon connects with Chloe, a notion that the Presence seemingly disapproves of.
Avoiding the banal monotony of In a Violent Nature (a slasher film from the killer's perspective), Koepp and Soderbergh have an interesting story to tell for those with the patience to stick with the deliberately paced narrative. More than a simplistic horror movie about a poltergeist randomly appearing and terrorising a family, Presence has a few surprises and twists up its sleeve, with the apparition serving a legitimate purpose in the narrative beyond wreaking havoc. Plus, as the spirit silently observes the characters and their conversations, the movie provides crucial information about the family and their domestic situation without forced, unnatural dialogue. Koepp's script even has an answer for the usual "Why don't they move out?" crowd, even after the apparition reveals itself to the family. Although Rebekah broaches the topic of leaving, Chloe refuses to move because she believes the Presence is friendly, and Chris chooses to stand by his daughter by staying in the house. Admittedly, however, Presence incorporates a few well-worn genre staples, including a psychic medium who comes to help and investigate during the picture's weakest scene. Additionally, there is insufficient payoff for an intriguing subplot about Rebekah engaging in illegal activities at work, but these are the only real shortcomings.
Captured with smooth long shots by Soderbergh, who served as cinematographer and editor (under his usual pseudonyms, Peter Andrews and Mary Ann Bernard), Presence establishes a thick sense of atmosphere, while the photography deliberately makes the titular Presence feel like an unwelcome voyeur with unclear motivations. The house feels authentic and lived-in, with realistic lighting instead of obvious, over-the-top soundstage lighting, underscoring the feeling that Soderbergh's camera is observing a real family in their home. Equally worthy of praise are the special effects, as Soderbergh convincingly shows the unseen Presence interacting with objects around the house, from moving books to pulling down shelves and toppling dozens of trophies. The seams are invisible, making it unclear whether the director achieved these moments using CGI or shrewd practical effects with digital assistance to remove wires and crew. The impressive sound design further assists the production, and Zack Ryan provides an effective score that does not lean into jump scares.
With recent movies like Unsane, No Sudden Move, Kimi and now Presence, Soderbergh continues to prove himself as a reliable purveyor of fascinating and innovative features, making it all the more fortunate that the filmmaker did not stay in self-imposed retirement. Instead of another by-the-numbers ghost tale, Presence is a compelling, visually unique psychological thriller with terrific performances from a cast of recognisable performers and newcomers. The only well-known star here is Lucy Liu, who submits a nuanced, realistic performance and comes across as a highly believable suburban mother who dotes on her high-achieving son. Presence feels like an auteur movie all round, with Soderbergh ensuring viewers will not mistake it for a Paranormal Activity sequel.
7.9/10

An entertaining blockbuster despite its flaws

6.7/10

A fun, throwback action-horror flick

One year before the story takes place, a unique supermoon event awakens a dormant gene in humans, causing them to turn into werewolves if the moonlight hits them, leading to worldwide chaos. With another supermoon event about to occur, the CDC hopes to control the situation and prevent another werewolf outbreak, with Dr. Aranda (Lou Diamond Philips) leading a team searching for a cure. The team includes Dr. Wesley Marshall (Frank Grillo) and Dr. Amy Chen (Katrina Law), who are testing a new spray-on "moon screen" treatment that shields participants from the moonlight, preventing them from turning into werewolves. The experiment goes awry, with the treatment only proving effective for an hour. After werewolves kill their colleagues, Marshall and Chen head out to cross the werewolf-infested city, hoping to reach Marshall's late brother's wife, Lucy (Ilfenesh Hadera), and daughter, Emma (Kamdynn Gary), to protect them from the hordes of attacking lycanthropes.
Mileage may vary depending on expectations, as Werewolves is the antithesis of plodding, critic-pandering horrors like Robert Eggers's Nosferatu or anything Ari Aster has directed. Without any pretensions, arthouse sensibilities or core messages, Werewolves is all about visceral thrills, and it is extremely silly, but Miller delivers the mayhem with tongue firmly planted in cheek. It is preposterous that Grillo is both a badass special forces operative and a scientist, and the "moon screen" serum preventing Marshall and Chen from turning in the moonlight for an hour at a time is a convenient plot contrivance so the actors can show their faces throughout the action scenes. Plus, the characters use a fun and varied arsenal of firearms, including a massive Gatling gun mounted to a vehicle in one memorable scene. Luckily, the actors are in tune with the material, with the superb Grillo showing once again that he deserves to lead more action movies, and it is fun to see Lou Diamond Phillips in a minor role as a respected doctor.
Although a budget figure is not available at the time of writing, Werewolves does not look cheap or nasty. Despite the bizarre insistence on lens flares, the movie looks slick and expensive, with robust production values, and Miller never uses slipshod CGI in an egregious attempt to enhance the scope. The movie's scale is small, but Miller makes the most of the resources at his disposal, and he nails the most important thing: the werewolves look amazing. They were designed by special effects maestros Alec Gillis and Tom Woodruff Jr., who also worked on several Alien films, as well as the AvP movies and 2018's The Predator. Not since Neil Marshall's Dog Soldiers have we seen practical lycanthropes look this convincing, while the impactful sound design gives them unnerving growls and roars, making these creatures seem wholly real instead of cartoonish digital creations or performers covered in obvious prosthetics. Miller also uses practical blood squibs, and the sparing use of digital effects for the transformations is practically seamless, resulting in some of the most satisfying transformation scenes since An American Werewolf in London. The attack scenes are enormously satisfying, with the lycanthropes biting and ripping hapless victims to pieces, and the terrific, gory prosthetics give a strong visceral edge to these scenes. Miller even delivers a memorable werewolf-on-werewolf fight scene for the climax, which left this review grinning like the Cheshire Cat.
Werewolves is a B movie through and through, standing in stark contrast to something like Leigh Whannell's Wolf Man, which was more about characters and allegory than pure werewolf action. Even though Werewolves is primarily an action movie, there is legitimate mood and atmosphere throughout the flick, with tense moments (an unseen werewolf growling in the dark) and ominous images (a character peers out a window to see a werewolf standing silhouetted against the night sky). Admittedly, though, the movie is not perfect, as the editing is too restrictive during certain action scenes, leading to a few awkward-feeling beats, and the muzzle flashes are obviously digital whenever a character discharges a firearm (a strange misstep considering the production's otherwise excellent special effects). Additionally, even though there is some badass dialogue at times, a lot of the dialogue is cheesy and standard-order, with characters feeling the need to vocalise the obvious. Matthew Kennedy's screenplay does not do enough with the intriguing premise; like The Purge, it feels like the budget-restrictive introduction of an excellent idea ripe for further exploration in sequels. But there is still plenty to enjoy here, with Miller creating an all-in-good-fun action romp that seldom slows down and feels like a return to classic, old-school horror fun.
6.8/10

One of the best superhero movies of all time

Unlike the first picture, an extended edition of Spider-Man 2, Spider-Man 2.1, was released on home video in 2007 to coincide with the release of Spider-Man 3. However, the extended edition is unnecessary, as it adds superfluous deleted and alternate scenes to an already terrific movie. Stick to the theatrical version.
Although Spider-Man 2 is a fantasy action-adventure, the central characters inhabiting the story feel like real people with problems and dreams, as the screenplay gives them agency to ensure they do not feel like mere plot pawns. For example, Aunt May is dealing with an eviction, and Mary Jane is planning her upcoming wedding instead of continuing to pine for Peter. The script introduces themes relating to self-identity, sacrifice, guilt, regret, and love - as a result, Spider-Man 2 could work as a pure character drama without any colourful action sequences. Indeed, Spider-Man 2 transcends its comic-book roots and takes on a life of its own, but the movie also works as a grandly entertaining superhero blockbuster with remarkable visual effects. Over two decades later, it is difficult to imagine another Spider-Man movie managing to top it.
9.5/10

A robust, old-fashioned action-thriller

Will Spann (Gerard Butler) is a well-off real estate developer going through a rough patch with his wife, Lisa (the beautiful Jaimie Alexander), who committed an act of infidelity and needs a break from their marriage. The two are travelling interstate to Lisa's hometown for her to stay with her parents while she works things out, but after a somewhat tense exchange, she mysteriously vanishes during a pitstop at a gas station. Will immediately springs into action to find her and alerts the local authorities to assist, contacting Detective Paterson (Russell Hornsby), who begins coordinating the investigation. However, the struggling husband cannot sit idly by while the police conduct their official enquiries in the crucial hours after her disappearance. Determined to do whatever it takes to retrieve his wife safely, Will pursues his own leads, leading him to uncover the town's seedy criminal underbelly.
Written by long-time movie producer Marc Frydman (his second screenplay credit after Black Butterfly), Last Seen Alive is relentless and no-nonsense from the word "go"; in fact, Lisa's abduction occurs within the first ten minutes. The feverish pace and the lack of narrative flab are reminiscent of the classic Kurt Russell/Jonathan Mostow movie Breakdown, though the scope is more modest in comparison, and there are no expensive, large-scale set pieces here. Indeed, Goodman derives satisfying thrills from smaller moments, such as a tense scene involving Will creeping into a suspect's trailer and getting into a brutal brawl or another sequence during which Will sneaks around a drug camp trying his hardest to remain undetected. The lack of scope does not mean that the movie feels cheap or nasty, however, as it feels expensive and skilful outside of a few moments (there's a shonky-looking digital explosion in the third act that will not impress anybody). Nevertheless, the screenplay feels overly clichéd at times, and the dialogue is relatively standard-order – there is not much wit or humour. Then again, I doubt anybody expected sharp dialogue.
Last Seen Alive is, thankfully, an R-rated action-thriller. Any viewers fearing another sanitised action offering will have their fears quelled within the first ten seconds, as the word "motherfucker" is said in the first line of dialogue before the movie's freaking title card. Do not expect non-stop profanity or excessive bloodshed, but Goodman does not shy away from bloody bullet wounds or swearing, nor does it feel like the director is pulling any punches. Action is sparse but brutal and effective; easy to follow, with solid choreography despite some set pieces taking place in dim locations. The picture also benefits from the inclusion of Butler, who expectedly shines in the leading role. Although the Scottish actor is not on the same level as Stallone or Schwarzenegger (nobody is, really), he is a reliable action star who looks believable when wielding a firearm. Plus, it is fun to hear Butler embrace his natural Scottish brogue here. Viewers who enjoyed Butler's turn as Mike Banning in the Fallen movies (not to mention his roles in Copshop and Den of Thieves) will have a good time with Last Seen Alive.
Goodman sometimes struggles to maintain a strong pace, especially with the picture delving into flashbacks to examine Will and Lisa's marriage before the abduction. Additionally, since the picture opens with a flash-forward that reveals who the real criminals are at the beginning, it makes all the red herrings and growing suspicion feel somewhat moot. Nevertheless, these points are not a deal-breaker. Mid-budget, R-rated action-thrillers like Last Seen Alive are becoming rarer in 2022, as direct-to-video rubbish mostly dominates the genre and studios are more concerned with superhero movies or blockbusters as they seek to generate another profitable franchise, which makes the film all the more refreshing. The screenplay often feels like a relic from the 1990s, as the narrative is gloriously old-fashioned in all the best ways, evoking pictures like Frantic and the aforementioned Breakdown. If this sounds appealing, Last Seen Alive is a worthwhile, enjoyable time-waster.
6.7/10

A fun, energetic action-comedy

CIA spies Emily (Cameron Diaz) and Matt (Jamie Foxx) retrieve an Industrial Control Systems Key in Eastern Europe to ensure that America's enemies cannot use the device to disrupt crucial infrastructure. Although they successfully steal the Key from terrorist Balthazar Gor (Robert Besta), their getaway goes awry, with the two narrowly escaping a plane crash. With Emily finding out she is pregnant with Matt's child, they decide to use the crash as an opportunity to disappear, starting new lives away from the agency and letting everyone believe they are dead. Fifteen years later, Emily and Matt have two children together, Alice (McKenna Roberts) and Leo (Rylan Jackson), and they maintain a pleasant, unremarkable suburban existence. However, when a viral video exposes Emily and Matt's location, their former handler, Chuck (Kyle Chandler), quickly finds them and explains that Gor's men are coming after the couple to retrieve the ICS Key. Grabbing the kids and fleeing, the former spies plan to travel to England to visit Emily's mother, Ginny (Glenn Close), while Gor's men relentlessly pursue them. Also on their tale are MI6 agents led by Baron (Andrew Scott), who knew the pair during their CIA days and similarly wants to retrieve the Key.
Although Back in Action is largely predictable and relies on well-worn genre tropes (including a resentful teenage daughter, Hollywoodised high-tech computers, and a powerful MacGuffin), there are a few surprises along the way, and the picture deploys red herrings to nice effect. Fortunately, the dialogue does not merely amount to tone-deaf action-movie speak, as there is a genuine spark of wit to many of the character interactions, and the movie consistently scores easygoing laughs. (However, the scenes with Baron and his MI6 agents are extremely bog-standard). Perhaps Back in Action could have been improved with an R-rated spark to the dialogue, especially since Gordon and O'Brien specialise in adult-oriented comedies, but the flick thankfully never feels unnaturally neutered by the restrictions of its PG-13 rating.
Back in Action is silly and stretches credulity at times, but knowingly so, never asking viewers to accept the proceedings with a straight face. The goofiness even extends to using the combination of Mentos and Diet Coke as a weapon during a vehicular chase. With Gordon eschewing a dark or gritty tone, the flick sometimes feels like an old-fashioned action-comedy from the 1990s or early 2000s, recalling pictures like True Lies, Mr. & Mrs. Smith, and the two underrated Charlie's Angels films starring Diaz. Gordon also makes great use of music during the action set pieces to enhance the energy, selecting classic tracks like At Last, Ain't That a Kick in the Head and James Brown's Papa's Got a Brand New Bag while the characters engage in butt-kicking. Admittedly, the picture's prologue features imperfect special effects, including obvious blue-screening and videogame-level CGI, which made this reviewer miss the days of location shooting and practical models. Thankfully, however, most of the action throughout the rest of the picture is more grounded, with competent fight choreography that is actually comprehensible thanks to smooth camerawork and editing.
Returning to acting for the first time since 2014 (when she starred in The Other Woman, Sex Tape, and Annie), Diaz lights up the screen with genuine charm, and she shares terrific chemistry with the equally energetic Foxx, who was determined to convince the actress to take the role. Glenn Close also makes a delightful impression as the smart, savvy, resourceful Ginny, a fun reprieve from the usual mother archetype. Meanwhile, Jamie Demetriou is the film's comedic secret weapon as Ginny's lover, Nigel, who aspires to be an MI6 agent by putting himself through self-devised training regimens. The Stath Lets Flats actor brings immense energy to the picture with his lovable goofiness, scoring belly laughs whenever he appears and never overdoing the schtick. Back in Action gives all the characters a time to shine, with Nigel even getting in on the action during the climax. Other recognisable performers here include Andrew Scott and Kyle Chandler, who are perfectly sufficient, while newcomers McKenna Roberts and Rylan Jackson make a positive impression as Emily and Matt's kids.
A throwback spy caper, Back in Action succeeds because it's an action-comedy that delivers actual humour and fun action. Despite the unoriginal narrative, the movie does not fall victim to the usual flaws associated with such productions - indeed, it is far funnier and more engaging than similar streaming likes like The Family Man and Ghosted. Back in Action ends with a blatant sequel tease, and the prospect of another light-hearted adventure with these characters is surprisingly enticing.
7.2/10

Half-hearted leftovers, but sometimes fun

A month after Kong fell to his death from the Empire State Building following his destructive rampage through the city, Carl Denham (Robert Armstrong) faces numerous lawsuits and is on the verge of indictment by a grand jury. Escaping prosecution, Denham leaves New York City aboard the Venture, which is still under the command of Captain Englehorn (Frank Reicher), who also fears legal action against him if he stays. After failing to make much money moving cargo around Asia, Denham and Englehorn arrive at the port of Dakang, where they encounter Nils Helstrom (John Marston), the Norwegian captain who initially sold Denham the map to Skull Island. Helstrom convinces Denham and Englehorn that there is a treasure on Skull Island they can retrieve together, but this is only a ploy to dupe the men to take him away from Dakang to prevent his prosecution for the death of Mr. Petersen (Clarence Wilson). The voyage soon gains a stowaway in Petersen's daughter, Hilda (Helen Mack), who winds up accompanying Denham, Englehorn, Helstrom and the ship's cook (Victor Wong) when the crew of the Venture stage a mutiny. The group soon arrive on the shores of Skull Island, where they encounter a large albino gorilla who, presumably, is Kong's son.
Screenwriter Ruth Rose (who co-wrote King Kong and was married to Ernest B. Schoedsack) knew the sequel had no chance of equalling the first film, let alone surpassing it, and instead concentrated on making it funnier. The Son of Kong is knowingly goofy and tongue-in-cheek, with the characters even finding Kong's son within minutes of landing on the island, a laughable notion after the ape was nowhere to be seen in the original picture. Beyond Denham landing his boat a bit further up the island, the script offers no explanation about where Little Kong was hiding during the first film's events. Indeed, Rose's script knowingly leans into the goofiness, never even trying to recapture the emotional core or heart of King Kong. In one scene, Little Kong scratches his head and shrugs at the camera, seemingly breaking the fourth wall, which reflects the non-serious tone. Little Kong also acts embarrassed when he sees Denham and Hilda kissing, and the scene of the pair bandaging the ape's finger is more amusing than touching. Furthermore, the storytelling is less assured than the first picture, with The Son of Kong struggling to maintain interest in the lead-up to the return to Skull Island. However, the screenplay does contain some fascinating ideas, including the Skull Island natives blaming Denham for Kong destroying their village and making it clear that he is not welcome.
Willis H. O'Brien returned to oversee the stop-motion animation for this sequel, though traumatic personal circumstances and frustrations with Cooper and Schoedsack reduced his involvement, as the animator seldom showed up for work. In his stead, Buzz Gibson (O'Brien's assistant on King Kong) finished the animation. Especially due to the time constraints, The Son of Kong features significantly fewer special effects sequences than its predecessor, with the characters arriving on Skull Island at the 40-minute mark of the 70-minute picture. Planned sequences were abandoned, including a dinosaur stampede during the climactic cyclone/earthquake on Skull Island that never made it past the scripting stage. Schoedsack was the sole director for The Son of Kong, as Cooper lost interest in the project after finding out about the reduced budget (less than half of King Kong's budget) and fast turnaround time, instead serving as an executive producer.
Despite the accelerated production schedule, the special effects throughout The Son of Kong remain impressive for the most part, with the crew once again using matte paintings, miniatures and rear-screen projection to portray Skull Island and integrate the live-action actors with the animated creatures. Notable set pieces include a large Styracosaurus chasing a group of characters into a cave and a prehistoric cave bear fighting Little Kong. Although these scenes display an unnerving edge with the ferocious roars of the creatures, the picture's goofiness also shines through, with Steiner's intense music turning to something more playful as Little Kong bumps his head on some rocks during the scuttle. To distinguish Little Kong (or "Kiko") from his father, the ape is albino with white fur and is understandably smaller than King Kong. Little Kong's armature is actually a repurposed Kong puppet from the original film.
Despite RKO's desperate attempt to recapture King Kong's commercial success by striking while the iron was hot, The Son of Kong was only a moderate success, grossing a bit over twice its budget and not coming close to replicating the box office earnings of its predecessor. One supposes that the comparatively underwhelming commercial performance dissuaded RKO from pursuing any further sequels, with the King Kong franchise subsequently lying dormant until Toho used the character in the 1960s and Dino De Laurentiis produced a King Kong remake in 1976. Without ever coming close to the heights of its predecessor, The Son of Kong is a watchable epilogue that remains a competent showcase for the era's groundbreaking stop-motion special effects. Just skip past the first 40 minutes and start watching when the characters reach Skull Island. It feels like half-hearted leftovers, but at least it's sometimes fun. Interestingly, Robert Armstrong reportedly preferred The Son of Kong over the original film because the sequel focuses more on Denham, with the film director becoming the story's protagonist and receiving a happy ending in which he gets the girl. It is doubtful any viewers will share his opinion.
6.1/10

An involving blockbuster with heart and spectacle

8.8/10

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An entertaining, visually dazzling macho fantasy
“Zack Snyder's second feature film after his 2004 Dawn of the Dead remake, 2007's 300 establishes the director's distinctive visual style, replicating a graphic novel aesthetic for the big screen with a heavy reliance on digital effects. Instead of a factual retelling of the historical Battle of Ther” read more
First Viewing Viewing Date: February 9th Via: Cinema Plot: A weekend getaway with friends at a remote cabin turns into chaos after it's revealed that one of the guests is a robot companion, and it commits a murder. Rating: 6.7/10 Why Did I Watch It? The reviews and promising IMDb rating had me intrigued.
A gripping, edge-of-your-seat period thriller
“September 5 is another dramatisation of the 1972 Munich Olympics massacre, but it offers a different and compelling viewpoint. Whereas Steven Spielberg's Munich was about the aftermath of the attack as Mossad agents assassinated the terrorists responsible, September 5 is an account of the events at ” read more
A unique and compelling ghost story
“How can a filmmaker make another "ghostly presence in a haunted house" horror movie feel original and fresh? For Presence, writer David Koepp and director Steven Soderbergh (reteaming after 2022's Kimi) achieve precisely that by telling the whole story from the perspective of the spirit through a se” read more
First Viewing Viewing Date: February 8th Via: Blu-ray Plot: During World War II, several oddly assorted military experts are teamed for a mission to raid and destroy a bridge vital to enemy strategy. Rating: 7.2/10 Why Did I Watch It? I was always interested in this sequel, particularly with Harrison Ford and Carl Weathers in the cast. A double feature seemed like a great idea.
First Viewing Viewing Date: February 8th Via: 4K Blu-ray Plot: A team of Allied saboteurs is assigned an impossible mission: infiltrate an impregnable Nazi-held Greek island and destroy the two enormous long-range field guns that prevent the rescue of 2,000 trapped British soldiers. Rating: 8.2/10 Why Did I Watch It? I've been meaning to see this film for a long time for pretty much every reason imaginable: the great reviews, the premise, the action, the cast, the special effects, everything. It is pretty much tailor-made for me. But somehow, even though I bought it on DVD and then Blu-ray, I still haven't watched it until now. With me recently catching up on some classics, this was a top priority.
First Viewing Viewing Date: February 7th Via: Apple TV Plot: In the 19th century, a drunken applejack salesman must go from zero to hero and become North America's greatest fur trapper by defeating hundreds of beavers. Rating: 7.2/10 Why Did I Watch It? I was curious about it considering the great reviews and reputation.
First Viewing Viewing Date: February 3rd Via: Disney+ Plot: In 1890, a down-and-out cowboy and his horse travel to Arabia to compete in a deadly cross-desert horse race. Rating: 7.0/10 Why Did I Watch It? I've been meaning to watch this one for a long time, mainly because of Viggo Mortensen and Joe Johnson. Tonight, it was a random watchlist pick.
First Viewing Viewing Date: January 31st Via: Apple TV Plot: Kraven's complex relationship with his ruthless father, Nikolai Kravinoff, starts him down a path of vengeance with brutal consequences, motivating him to become not only the greatest hunter in the world, but also one of its most feared. Rating: 6.2/10 Why Did I Watch It? I was interested in seeing it before it was released due to the R rating and the presence of Aaron Taylor-Johnson, but the reviews made me skip it during its cinema run. But I was still curious about watching it.
First Viewing Viewing Date: January 30th Via: Apple TV Plot: Set up and wrongfully accused, two best friends are sent to prison for a crime they didn't commit. However, no prison cell can keep them locked in a cage. Rating: 7.1/10 Why Did I Watch It? I wanted to check out more Richard Pryor/Gene Wilder comedies.
How's your foot?
All right, I better eat dinner. Keep taking care of yourself.
As for the site, well, sure I'll miss your reviews & thoughts on movies but no worries. Change & growth are good things, so kudos and best wishes on moving onward & upward.
Keep me posted on how you're doing. Talk to you soon....
www.listal.com/list/listals-100-films-you-must-filmbuilder#comments
Off to bed with me...up later than I'd intended. Funny how time flies by when you're online. Hope you have a good weekend! :)
Good to know about the new Muppets soundtrack. I bought the last one as much for my daughter as for myself & still like most of the songs on it. And while I've always had mixed feelings about the soundtrack for The Muppet Movie, I may be picking that up on vinyl next month when it's re-released for Record Store Day. Evidently it's been out of print for 35 years, so clearly their renewed popularity is a very very good thing if they're finally making new ones. The trick will be to get my hands on a copy before they're all gone.
www.listal.com/list/listals-100-films-you-must-filmbuilder
Yeah, Muppets Take Manhattan is my least favorite of the Henson ones too. I liked it better when I was a kid (back before I consciously noticed things like whether plots made sense), but the older I get the less I enjoy it.
And again on the interesting timing I saw today that Drafthouse is screening The Great Muppet Caper this Saturday (also in 35mm). It's FREE, so maybe I'll hit it up if the timing works out to do so. Only downside there is I can't take the kiddo due to their no kids under 6 years old rule (which they only lift for pre-2pm screenings on Tuesdays, AKA "Baby Day").
Speaking of movies I think I'll watch a couple before I crash for the night. Cheers!