I saw Kong Reborn...

Ever since I was a little boy, I’ve admired the towering fury and primal sensitivity of the mighty, mammoth King Kong.

The Merian C. Cooper/Ernest B. Schoedsack original is the be-all/end-all when it comes to this mythic beast, and I’m the first to acknowledge it. “Kong ‘33” has it all: action, adventure, ballsy characters, implied sensuality and above all, wondrous, stop-motion monsters galore. Hands down, it's the greatest, giant-monster movie ever made, let alone the most exotic and action-packed film ever produced. Nothing, on any cinematic level, will ever match it.

With that said, one might assume I wouldn’t fancy any other incarnation of the great ape, but “Son of Kong” and the original “Mighty Joe Young” (Kong’s unofficial cousin, in my opinion), and later down the line, "Konga", taught me that other versions could also be a ton of fun. Therefore, I came to enjoy Toho's submissions, "King Kong vs Godzilla" and "King Kong Escapes"; the Rankin Bass cartoon show (that inspired the latter); the "Mighty Kong" animated musical; and yes, even the oft-maligned Dino Kong and its equally discredited sequel, plus Peter Jackson’s ambitious remake and all the offshoots that fell between and/or came thereafter, including Kong's appearance in the recent "Lego Batman Movie": alas, a sour misconception, but that's just the way the ball sometimes bounces. 

With all these incarnations brimming my brain and furthering my support of the majestic Goliath, I’ve grown most anxious to view director Jordan Vogt-Robert's “Kong: Skull Island”, anticipating another hardy spurt of escapism, and as should come as no surprise, I was pretty well satisfied. 

For the record, the new Kong isn’t entirely based on the Joe Devito/Brad Strickland book of the roundabout same name, as some had hoped, or for that matter, Russell Blackford's underrated novel, "Kong Reborn", which surfaced around the same time, to coincide with the Jackson retelling. As rendered by scriptwriter Derek "Jurassic World" Connolly; Max "Godzilla '14" Borenstein; and Dan "Freejack" Gilroy, this Kong adventure is an unmistakable reboot in its inflated, B-movie construction: a Nixon-era lead-in for a possible, new Kong/Godzilla crossover. (I suppose the team-up's prospects will ride on “Skull Island’”s box-office draw and that of Legendary Films' planned “Godzilla 2".) The film's intent is solely to reintroduce Kong’s mythology, with the promise that it'll avoid an Empire State/Twin Towers' fall. To do this, it flows rather like "King Kong Lives" (though sans the artificial-heart transplant), introduces new monsters and as in Jackson's re-imagining, includes a Joseph Conrad "Heart of Darkness" allegorical undertone: pretentious, yes, but it clicks.

The film's primary protagonist (beyond Kong, that is) is Tom Hiddleston's British Special Forces Captain James Conrad (get it?), who's accompanied by a pretty photojournalist named Mason Weaver, played by Brie Larson. (She's the would-be Ann Darrow, but in this instance, "love" doesn't figure in, though there's a moment of fleeting tenderness.) Overseeing the duo is John Goodman as the Carl Denham-ish/Monarch Company creature-chasing head, Bill Randa. There's also Samuel L. Jackson's Ahab-angled Lieutenant Colonel Preston Packard and John C. Reilly's stranded, WWII pilot Hank Marlow (the surname being another Conrad nod), who's a Dennis Hopper-ish "Apocalypse Now" host to those who might happen upon the island. 

By the way, Toby Kebbel, who won praise for his portrayal of Koba in the new "Planet of the Apes" franchise (and who's played Dr. Doom in "Fantastic Four '15" and Durotan in "Warcraft") is the motion-captured man-to-ape in this version. He's basically done what Andy Serkis did in the '05 film (or for that matter, what Serkis did as Caesar in "Apes"), but giving it his own spin: a combo of the original, stop-motion, animated Kong and Rick Baker's suited version in the '76 Guillermin remake. On the whole, Kebbel does a smashing job in giving Kong the essential depth and ferocity to guarantee his predominate presence, even when he's not on screen. (Incidentally, one might find Kebbel in another role, as well: that of a sensitive soldier named Chapman. Yep, Conrad referenced again.)

Early in the tale, we realize that Randa's monster obsession will lead to a dangerous confrontation with the pugnacious king, and Packard eagerly seizes this task, though the simian's defensive assault on his soldiers (and their napalm-dropping helicopters) makes the military man insanely vindictive. This leaves Conrad, Weaver and Marlow to side with Kong, as they pave their way (with anyone else sensible enough to follow) off Skull Island. 

The film's human characters, though knock-offs of others who've visited such lost worlds, are interesting enough to pad the adventure: not that it needs much once the monster brawls get going. And boy, do those damn Skullcrawlers ever liven things up, as does a giant spider and squid: the latter a homage to the meddling octopus in "Kong vs Godzilla"!

The film's only drawback is its negative military slant. Gareth Edwards' "Godzilla" at least avoided this cliche, but the new Kong leans on the tedious tactic, sometimes depicting our Armed Forces as bumbling imperialists. (Okay, in this instance, they're more a mercenary tangent, one could argue, but still...). It may have been a more interesting approach to have had the military abet the great ape; instead, we get the anti-Vietnam, no-man-should-be-left-behind concept shoved upon us, which in its own right isn't necessarily bad on all fronts, but again, a tad predictable and therefore, it blunts a portion of the picture's glory.

“Skull Island” isn’t, after all, a complicated tale and a few innovations here and there couldn't have hurt. Then again, Kong’s original tale was never envisioned as a blatant, message movie. What prompted discussions on Kong's circumstance were based purely on viewers' personal perceptions. A Kong adventure, therefore, only needs to be large and uninhibited to inspire meaningful reference. 

“Skull Island” does its job well enough to reunite us with a film favorite who, though a trifle redesigned in his skyscraping stretch, is still the wondrous creature he was from the start and still quite capable of igniting our thoughts. The film made me want to see more of him, and I think we will, along with another gigantic favorite or two or three or four, but you'll have to wait until after the end credits to catch their identities. (Anyone have a hankerin' for a famous, Japanese quartet? Hint, hint.)

Collection Recommendation #8: Batman '66 Meets John Steed and Mrs. Peel--the Avengers

In November '16, I reviewed the hardback compilation of "Batman '66 Meets the Man From U.N.C.L.E." (see "Collection Recommendation #6). Now, DC/BOOM! Studios has released another compiled, '60s crossover: "Batman '66 Meets John Steed and Mrs. Peel--the Avengers"!!!

The British Avengers were wildly popular in the day (and if the truth be known, still are), with Patrick MacNee as the suave John Steed and Diana Rigg as the lovely Emma Peel: his second, sensational, female companion in the series, after Honor Blackman's Cathy Gale. Whether in black-and-white or color, the Avengers' adventures were quirky, smart and always thrilling. A team-up with Adam West's Batman and Burt Ward's Robin would have been a historic sight to see, arguably even more so than one with U.N.C.L.E.'s Napoleon Solo and Illya Kuryakin. Well, our hopes and dreams have at long last come true...well, at least in comic-book form. 

In the crossover, penned by the witty Ian Edginton with remarkable renderings by Matthew Dow Smith, we're offered an intriguing scenario with Bruce Wayne and a pretty, British business associate being held up at a Gotham gemstone exhibition by Julie Newmar's Catwoman. It seems the feline fiend intends to steal the coveted White Star Diamond, but she's not the only one out to stir trouble, for an attack on Gotham is soon underway by none other than the Dynamic Duo's sophisticated, Londinium foe, Lord Marmaduke Ffogg (played by Rudy Vallee on the Batman series, and in this case, conjured with a nifty resemblance to the famed crooner). And guess what?! Ffog's invasion is enforced by none other than the Avengers' ol' robotic adversaries, the Cybernauts!!! Holy mechanical hi jinks!!!

To see how all the pieces fit, you'll have to read the story, but I'll say this much: It leads to a super-duper finale, with plenty of clever banter throughout, thanks to our adoring Avengers and charming Caped Crusaders. Also, Ffogg and the Cybernauts click with impressive precision: a teaming that feels ever-so-fated. There's also a cool guest shot by George Sanders' Mr. Freeze, and it's so neat to see Catwoman and Peel mingling in the early phases: the ideal, adolescent fantasy made real. (Gosh, if only Batgirl had kicked her way into the action, but alas...)

This exciting hardback edition is a bargain at $20 and contains 144 pages (i.e., all six issues) of raucous, swingin' fun.  

Next up: "Batman '66 Meets Wonder Woman '77", which has already surfaced via separate issues, but will inevitably converge in a hardback volume of its own. Oh, yeah!!! Keep those dreams come true a-comin'!!!

I saw Logan...

In the X-Men movie universe, there's no longer a linear track. “Days of Future Past” changed all that. Varying offshoots like “Deadpool” and “Apocalypse” now characterize the franchise. “Logan” is the latest in this offbeat, parallel-chapter trend.

Directed by James Mangold from a script he coauthored with Scott Frank, “Logan” is, in a sense, “Wolverine 3”, but only in that it’s another solo-leading film for the franchise’s most popular mutant. This movie, however, is more or less its own thing: not succinctly connected to any of the cinematic chapters that came before it, nor linked directly to the X-Men comic-book series or its Marvel spin-offs. It is, on the other hand, loosely based on Mark Millar and Steven McNivan's "Old Man Logan": a post-apocalyptic mini-series, where our hero has (of all unexpected things) aged and mutant supremacy is waning. 

In the film adaptation, we're given a somber, ominous vision of Hugh Jackman's iconic portrayal, with Logan now on the run from his once noble past, with a seizure-prone Professor Xavier (Patrick Stewart) at his side in the possible year of 2029, where they encounter another of their kind: a little girl named Laura (Dafne Keen). Like Wolverine, she possesses an Adamantium constitution and the lethal claws that accompany it. Sinister men converge to capture the remarkable, little girl, but she doesn't intend to be caught, her sights steadfastly set on a mutant playground called Eden (how Mad Maxian, or perhaps even Trekian). With Wolverine and Professor X along for the trip (even if they're not at their energetic best), one could presume Laura has a damn good chance of achieving her dream. 

The bad guys in this instance are representative of any entitled, bullying group that sees society's slippage as its means for control. Led by scientist Zander Rice (Richard E. Grant), his security henchman Donald Pierce (Boyd Holbrook) and the rapacious Reavers, the villains won't rest until the doctor's little, super soldier is seized. Nonetheless, these baddies appear to chase her more for sport than any viable cause: not that hunting a little girl, regardless of how captivating her abilities, should be perceived as honorable.

Hope at least prevails in Logan's staunch, though downcast presence, which comes with an implied blessing of fate. Professor X and the once mutant-seeker Caliban (Stephen Merchant) aid him in her welfare, with the latter's "home" giving the fugitives temporary refuge. Logan, in the meantime, must consider how he might fix Laura's dilemma, finally invoking the basic mettle to fight the antagonists head-on and maybe, just maybe, deliver the lass to her fabled haven. Alas, he hasn't been in good-deed practice for a spell, but through Laura's inspiring innocence, he manages to break that slump, thus culminating the film's burgeoning bond.

There’s a rich, slow sadness in the story's arc, which allows us to reacquaint ourselves with old friends and when need be, embrace new ones, even if they're disagreeable. Above all, we care about the protagonists and feel bad that they've entered such harshness: symbolic, in a way, of those tough times we all face in life. These mutants, however, must regain their dignity against staggering odds. Seeing how such may be accomplished makes the story, beyond its extrapolated circumstances, as engrossing as any standard melodrama kissed by Oscar's pretentious grace. "Logan", though, deserves its accolades and then some. 

Though the film holds Mangold's intended "Watchmen" flair, I liken “Logan” more to the Arnold Schwarzenegger vehicle, “Maggie”: another character study that presents an adult's perspective toward a child's predicament. Additionally, "Logan'"s tone is similar to Mickey Rourke's in "The Wrestler": another tale of a tired man seeking a second chance, or at least some sign that life can be as rewarding as it once was. Whether Logan and his friends attain their goal is left for the audience to discover, but the path that leads there is fascinating and when it touches its tenderest parts, uplifting, particularly for anyone who might feel downtrodden, uninspired or overwhelmed. 

"Logan", contrary to what publicity implies, could act as an initial chapter in a new, progressing series, no matter what the ending seems to finalize. Because of the film's unique temperament, Wolverine, Professor X, Caliban and little Laura, have a decent chance to return, though it's probable they'd be reinvented on yet another parallel plane. Regardless, it matters little how they resurface (either on the printed page or the big screen), as long as they teach us how to cope, whether in the future, the past or as will likely be the case, in whatever fictional present we find ourselves at such moment.

Collectible Time #82: Gary Shipman Michael Keaton/Batman Prints

Before becoming the main villain in "RoboCop '14" and the upcoming "Spider-man: Homecoming", as well as scrutinizing himself in the Oscar-winning "Birdman", Michael Keaton began a new phase of Batmania in Tim Burton's 1989 Caped Crusader blockbuster and further cemented it in the 1991 sequel.

Acclaimed artist, Gary Shipman, has fashioned two, terrific 11" x 17" tributes to Keaton's incarnation, which I've added to my collection.

Each signed print is imposing, with the first depicting a stationary pose: the background exuding an earth-toned texture, which enriches the character's contemplative stance.

The second has a more flowing feel, thanks to an aimed arm and angled cape. The backdrop creates a starry, soothing sensation, which also conveys an underlying, dark determination. 

I'm not sure yet which of the two images I favor more, so I'll cop-out and say it's a tie.

Shipman has a real knack for capturing Batman's essence, in any number of his manifestations, so if you're a Caped Crusader fan (or fancy superheroes in general), you're destined to appreciate the artist's expansive gallery at...
https://www.etsy.com/search?q=gary+shipman&order=most_relevant&view_type=gallery&ship_to=US.

ANSON MOUNT IS BLACK BOLT!!!

As a huge Anson Mount fan (and as such, a long follower of AMC’s “Hell on Wheels”), I’m pleased as punch that the actor is headlining ABC’s upcoming “Inhumans” series. Incidentally, word has it that Mount was once considered for Bruce Wayne in "Batman v Superman"; perhaps, therefore, it was only a matter of time that the star officially enter the comic-book adaptation realm. 

Mount will portray Black Bolt, the Inhumans leader. Bolt, in case one is unaware, was spawned from two loving Inhumans and is the amazing result of the incredible Terrigen Mist. Bolt has the extraordinary ability of rocking situations with his supersonic scream. (Somehow I can’t imagine Mount in a screaming capacity, even if it’s supersonic, but I’m sure it’ll all pan out for the series.)

I must confess, I was wary that an "Inhumans" series would manifest, considering that "Agent Carter" met an untimely demise and “Marvel's Agents of S.H.I.E.L.D.” is currently on real shaky ground, but hey, this spin-off appears confirmed, so I guess something of substance is, indeed, developing.  

“Inhumans” is slated for ABC’s fall schedule, with the initial two episodes intended to premiere in advance via select IMAX theaters. 

SO LONG, NEIL FINGELTON...

You were a giant man of giant talent, supporting the likes of "Doctor Who"; "Game of Thrones"; "Jupiter Ascending"; "X-Men: First Class"; and the avenging "Age of Ultron". Too bad your presence was so fleeting, but for those who looked up to you (and in more ways than one), your colorful contributions to the fantasy genre will be long cherished. May your adventures into the Great Beyond be as bold and exciting as those seized during your terrestrial lifetime.

Time After Time Travels to TV!!!

"Time After Time", the '79 time-travel film favorite (see "Time Travel Time #16: Feb '16) has entered the ABC series route, courtesy of Kevin "Scream" Williamson, beginning March 5. This will allow viewers to experience the ongoing adventures of H.G. Wells (Freddie Stroma) as he pursues John Stevenson/Jack the Ripper (Josh Bowman) on a 2017 (or thereabout) trial.

I suspect the series will adapt a predominately "Fugitive" format, as opposed to the frequent time-leaping antics of "Timeless", "12 Monkeys" and "Legends of Tomorrow", though Williamson promises that a quartet of time trips will nonetheless season the flavor. References to "War of the Worlds", "The Invisible Man" and "Island of Dr. Moreau" will also be planted throughout. 

In keeping with Nicholas Meyer's film version of Karl Alexander's novel, romance will likely intervene along the fish-out-of-water way between Wells and Genesis Rodriguez's Jane Walker, a curator at the American Museum of Natural History, but the cat-and-mouse escapades should remain (fingers crossed) front and center.

The show's time machine should please fans, conveying the expected Victorian, steampunk charm, though it looks more chamber-like than what we've encountered in previous "Time Machine" adaptations, or for that matter, the original "Time After Time". It also appears that the main characters' Victorian behavioral traits will fade as the saga progresses, making them hip and cool, if only in the present sense of such terms. 

Comprising the rest of the main cast is Jennifer Ferrin; Nicole Ari Parker; Jordin Sparks; and Will Chase, who surprised his fan base by exiting the popular "Nashville" for this science-fiction, action/adventure endeavor. 

Meyer actually wrote the initial half of the two-part opener, which gives this offshoot an immediate air of worth. However, "Time After Time'"s two-hour premiere will compete with AMC's "Walking Dead": not a promising start, but considering that folks these days seem to record everything under the sun, the series could still find its audience. In addition, the Meyer movie has gained a legion of fans over the decades, and with the acclaimed writer/director attached to the series, there's a good chance that many such folks will at least give this extension an honest try.