By Ezra Stead
Kong: Skull Island, USA, 2017
Directed by Jordan Vogt-Roberts
Nothing can destroy one’s enjoyment of a new movie like anticipation, and this type of (sometimes) misplaced enthusiasm is never more likely to occur than when it is attached to a new version of a beloved property. As excited as audiences might have been about, say, Jurassic Park in 1993, the anticipation for its sequel a few years later was bound to be even higher, leaving open the road for diminishing returns down which that particular franchise has been barreling ever since. 60 years before that first Jurassic movie, there was a little black-and-white classic without which Spielberg’s masterpiece likely never would have come to exist; that, of course, was the original King Kong, and if you’re not a pretty huge fan of that one, I’m kind of surprised you’re even reading this.
Needless to say, going into Kong: Skull Island, I had mixed feelings of hope and despair, balancing out to a sort of cautious optimism. Kong’s last big-screen outing, at the hands of Peter Jackson and company in 2005, was certainly reverent of the source material and technically impressive overall, if perhaps over-ambitious, and certainly a bit bloated at over three hours. Luckily, Skull Island has all the technical prowess of its predecessor with none of the awkward self-seriousness. It is a wildly entertaining romp from start to finish, and without a doubt my second-favorite Kong movie yet (I’m pretty sure most fans of the 1976 version are really just fans of young Jessica Lange). Read More
By Ezra Stead
Well, here we are again, folks! Every year since 2001, I’ve made it my self-imposed obligation to see at least 100 new movies (104 in 2016) and then attempt to rank my ten (or more) favorite ones against one another. Notice I didn’t say these were the “best” movies of the year, but my favorite ones; the distinction is important, lest anyone mistakenly expect a shred of objectivity herein.
Anyway, this year, in the interest of championing underdogs and holding a light to some movies you might not have been constantly hearing about since November or so, I have decided to exclude any of the Academy’s Best Picture nominees from my top ten. If you want to know how I felt about those films, you can find my favorites, unranked, in the Honorable Mentions just below the main list, and if you want to know more than that, there’s always the annual MoviesIDidntGet.com Oscars Podcast, which you can listen to on this very site, very soon. Read More
By Ezra Stead
This is always a difficult thing to do, and this year, just like every other year, I left out plenty of movies I really like, even from the Honorable Mentions. This is a particularly interesting year in that I actually really like all the Oscar nominees that I’ve seen, which is relatively rare for me. Anyway, of the 107 new movies from 2015 I managed to see in time for this list, these are my (completely subjective) favorites.
1. MAD MAX: FURY ROAD – it’s always a treat to have really high expectations for a movie and then to see them exceeded. George Miller’s return to the wasteland of his career-defining trilogy is a perfect example of this phenomenon. The first time I saw it, though, Fury Road appeared to only meet my expectations, a rare enough feat in its own right. It was the second viewing that made me realize that this was not only my favorite movie of the year, but also my favorite Mad Max movie, and quite possibly my favorite movie of the last two decades. Then I saw it three more times in the space of about two weeks, and I noticed something new about it every single time. The rich, detailed world-building not only rewards but demands multiple viewings, and it’s a testament to Miller’s craft that the movie doesn’t rely on a lot of expository dialogue and other hand-holding devices to make sure the audience can keep up. Max Rockatansky’s world of “fire and blood” has its own language that is every bit as evocative and original as its eye-popping visuals: War Boys, Blood Bags, Bullet Farms, etc. This is a movie in the glorious pulp tradition of Robert E. Howard and Heavy Metal magazine, but it never feels derivative, even of its own source material (The Road Warrior being the original Mad Max movie it most closely resembles). What seems to be overlooked in all the talk about its incredible visual effects and stuntwork (which makes a better case than any movie I can think of for an Oscar category devoted to the people who risk their lives to make movies awesome) is the quality of the writing and performances. Charlize Theron and Nicholas Hoult are especially great, but there is also a surprising tenderness and depth to Tom Hardy’s performance as Max, a man of few words and great stoicism, and Melissa Jaffer managed to break my heart with just a few minutes of screen time as the Keeper of the Seeds. Critics and skeptics say this movie is just one long chase scene, which is reductive, but even if that were strictly true, complaining about that misses the point of how amazing it is that a movie this compelling could be made from a single long chase. Others might say it doesn’t belong in the Best Picture Oscar race because it’s not serious and important enough, but its themes of feminism and environmentalism are extremely relevant; they’re just not belabored to the point of didacticism. Fury Road’s vision of the destruction of the Old World, in which water was plentiful and “everyone had a show,” seems all too plausible, despite its over-the-top visual antics, and there’s a funny/scary comparison to be made between the film’s main villain, Immortan Joe, and a certain current Presidential candidate. I have no doubt this movie will ride eternal in Valhalla, shiny and chrome. It is perfect in every way. Read More
By Mike Shaeffer
Chappie, USA / Mexico, 2015
Directed by Neill Blomkamp
“People sleep peaceably in their beds at night only because rough men stand ready to do violence on their behalf.” ― George Orwell
In his 2009 feature-film debut, South African director Neill Blomkamp gave us the science fiction gem that is District 9, a stirring, gritty, and visually stunning allegory for how apartheid divided his home country. Blomkamp’s most recent foray into the science fiction genre, CHAPPiE, reflects one of society’s growing fears—the fear of a police force that has been granted greater technology, power, and room for corruption. With victims’ names like Michael Brown, Trayvon Martin, John Crawford, and Jordan Davis making the headlines this past year, movies like CHAPPiE provide not only some intense escapism, but also a chilling look at what the day after tomorrow could bring if technology and power is placed in the hands of a corrupt and desperate police force. Read More
By Mike Shaeffer
I was totin’ my pack along the icy frontier of Hoth, when along came a wild-eyed pistol waver a-ridin’ on his tauntaun. He said, “If you’ve heard of the Millennium Falcon, with me you can ride,” then he sliced open the tauntaun, and then I settled down inside.
He said he made the Kessel Run in less than twelve parsecs. I told him that a parsec is not a unit of speed but a unit of distance equal to approximately three and a quarter light years, and then I looked right into his frostbit face and said, “Han, ol’ buddy… I’ve been everywhere, man.
“I’ve been everywhere, man. I’ve crossed the deserts bare, man. I’ve breathed the mountain air, man. Of travel I’ve had my share, man. I’ve been everywhere. Read More
By Ezra Stead
I, Frankenstein, Australia / USA, 2014
Directed by Stuart Beattie
The longer you watch I, Frankenstein, the harder it is to believe that it is an actual theatrical feature and not just a bad TV movie made for the Syfy channel. Despite big-name, reliably good actors like Aaron Eckhart, Bill Nighy and Miranda Otto, and special effects that, at their best, at least look like a really good video game, the entire project is bogged down by the bizarre combination of extreme silliness and relentless self-seriousness. Somehow, in making a movie in which Frankenstein’s monster (Eckhart) is reimagined as a modern-day superhero fighting against a legion of demons that want the secret to his immortality, no one managed to have any fun. The audience (such as it has been) is certainly no exception. Read More