Monthly Archives: April 2021

Godzilla vs. Kong

If nothing else, Legendary Entertainment and Warner Bros. Pictures have been surprisingly persistent in trying to make their MonsterVerse into a successful franchise. This is the fourth film they’ve released since 2014’s Godzilla reboot, and as the title boldly announces, this is the one where the new version of Godzilla meets the new version of King Kong. Of course, by “meets”, I mean “fights to the death in the middle of a bunch of skyscrapers”.

Like the previous films in the MonsterVerse, Godzilla vs. Kong is exactly as advertised. It is essentially plot-free, because that would get mean less time for the monsters to try to murder each other. And monster fights are why this film exists. In between fights there is a small amount of filler in the form of serious science-talk about the origins of these monsters and the “hollow earth”, but feel free to ignore it as I did. Because all the science-talk in the world won’t explain why these giant monsters are saving the environment through killing each other, or why the hollow earth is as bright as day when it is literally the centre of the earth. And the next monster fight is just around the corner anyway.

No one will ever mistake Godzilla vs. Kong for a good movie, but it is a movie that you have to respect if only for its self-confidence. This movie is just so damn sure of itself. So damn sure that you have paid to see monster fights and so damn sure that you do not care about plot or character development or anything else that a normal movie contains. And at least in my case, it was right. I did not miss that other stuff one bit. If you have read this far and still want to see this movie, it will not disappoint. Just pick your favourite monster, sit back, and enjoy the show!

Thunder Force

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Okay, I’ll say it: I liked it.

I don’t typically think Melissa McCarthy is at her best when her husband Ben Falcone writes for and directs her and this movie hasn’t exactly changed my mind about that, but it was just good enough to make me smile.

McCarthy’s charm is her saving grace; even when she’s not exercising the full spectrum of her talent, she’s still extremely watchable. Joined in Thunder Force by Octavia Spencer, these two ladies have fun chemistry and an even funner premise. A mutation has rendered a handful of lucky sociopaths into supervillains, but unfortunately for the world, no heroic counterparts exist. Thankfully Emily (Spencer) is a real brain, and she’s developed a special treatment that would grant the kind of powers so people could really fight back. It’s possibly that Emily and her childhood friend Lydia (McCarthy) are not the best choices to receive this treatment, but let’s not dwell. It’s happening. Lydia’s getting super strong and Emily’s going invisible and you better believe Lydia’s pretty pissed that Emily’s training is so much easier than hers. Of course, the training’s going to pale in comparison to fighting Chicago’s worst villain lineup, including The Crab (Jason Bateman), The King (Bobby Canavale), and Laser (Pom Klementieff).

Thunder Force is 100% stupid of course, but also like 55% funny. My laughter was often out of sheer confusion, but the kind of confusion that’s curious and maybe even a little awed. It’s still not a great equation but I’ll take it. I may even watch it twice.

SXSW 2021: Sound of Violence

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Alexis is a helpful, happy little girl at the age of 10, and although she’s lost her hearing in an accident, she still loves to listen to music. But when she not only witnesses the brutal murder of her mother, but intervenes, managing to kill the assailant with a meat tenderizer, something very strange happens. The experience awakens synesthetic abilities; spontaneously recovering her hearing, Alexis also discovers that she can “see” sound – the sound of violence in particular.

Cut to: Alexis (Jasmin Savoy Brown) is now a young woman, pursuing her passion through academia. Everything seems to be going well for her, despite having been orphaned and survived a tragedy at such a young age. But not even Alexis’ closest friend and roommate Marie (Lili Simmons) knows that Alexis’ hearing is once again in flux, and before she loses it again, she’s determined to complete her masterpiece. Of course, the addictive synesthesia that haunts and inspires her requires some increasingly gruesome sound design. The music she creates is accompanied by orgasmic cinematography, fueling her obsession with bloody, graphic violence and its beautiful sounds.

Sound of Violence is indeed a horror film; Alexis may be a composer, but the pursuit of her music sends her on a killing spree that will rank this film quite high in terms of gore. You’ll come to distinguish the sounds of hearts being perforated, skin being peeled from bone, bloody stumps still plucking at stringed instruments, blood pouring out of orifices from too much song. It’s a symphony unlike any other. It pushes past conventional boundaries, and I’ll admit, the movie lost me on more than one occasion, having asked of me just a little too much. But those inclined to horror will appreciate the marriage of savagery and sound – not music to my ears, perhaps, not exactly a pop tune meant for radio, but a rare orchestral piece whose movements will surely awaken something in you.

The Marksman

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Jim is an aging rancher and recent widower who still patrols his land along the Arizona border to protect his few remaining cattle even though he’s about to lose everything to the bank. Once in a while he spots IAs (illegal aliens) sneaking across his land, and he dutifully reports them to his stepdaughter Sarah, who works for border patrol. But one day Jim (Liam Neeson) comes across a young Mexican boy and his mother, who aren’t just smuggling themselves across the border, they’re fleeing the cartel. And the cartel is SUPER motivated to eliminate them! Which is how cowboy saviour Jim becomes the unlikely defender of a kid named Miguel (Jacob Perez) against the assassins whom will pursue them both across the United States.

The Marksman feels more like a Clint Eastwood movie than a Liam Neeson movie; a mildly racist old man, patriotic through and through, becomes marginally less racist through an unlikely friendship/ white saviour relationship with a person of colour.

Jim and Miguel, in an epic, odd couple road trip, are pursued by both border patrol, including Sarah (Katheryn Winnick), and a Mexican drug cartel led by the evil Mauricio (Juan Pablo Raba), who are super invested in murdering a ten year old kid who probably knows less than nothing. But this is the premise, and while you don’t have to believe in it whole-heartedly, you do have to at least accept it in order to enjoy this action-thriller spanning from Arizona to Chicago, which is quite a commitment.

There isn’t anything new or terribly exciting about this movie. You’ve seen it, you’ve been mildly amused by it. Liam Neeson is of course watchable as ever, though he’s getting pretty grizzled, and not a super believable southern cowboy. Director Robert Lorenz puts in the bare minimum effort. He’s not making a masterpiece here, he’s making a fairly disposable movie about an old, implausible guy taking the law into his own hands, with his own guns. Do you need The Marksman in your life? Absolutely not. But if you love old white dudes realizing that illegal aliens are people too, you could do worse than Liam Neeson.

SXSW 2021: WeWork Or The Making And Breaking Of A $47 Billion Unicorn

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Adam Neumann really, really wanted to be the next Mark Zuckerberg. Or Jesus Christ. I’m not sure which he thought was more attainable, but either way he founded a real estate company and ran it like a tech company, and he was its messianic leader.

Maybe you know about WeWork. Not long ago, it was the next big thing in terms of office space. Aimed at freelancers, entrepreneurs, and start-ups, it wasn’t just a flexible, communal place to work, it was a lifestyle choice. Adam Neumann claimed he wanted to change the world, but first, he’d change the way we work. Charismatic like a cult leader and with an inflated sense of self also like a cult leader, Neumann talked a big game, attracting clients, employees, followers, and crucially, investors. And office space was just the first stop on his quest to dominate the world; next came housing, and education. But as WeWork readied for an IPO, a company that was once valued at an astounding 47 billion dollars went from magical unicorn to bloated corpse in a brisk 6 week death spiral that shocked the heck out of everyone.

What happened? Hulu’s glad you asked, and they can’t wait to tell you all about it.