Tag: film review

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Parasite: Laughing in the face of adversity

Equal parts comedic and discomforting, Bong Joon-ho’s latest is a thought-provoking take on class struggles

In the few short weeks since its North American theatrical premiere, Bong Joon-ho’s Parasite has received extensive critical praise, winning numerous accolades and awards. A recent article from variety reports that Parasite now holds the box office record for highest per-screen average of any foreign language film. And, in addition to being awarded the prestigious Palme D’Or at this year’s Cannes Film Festival, Joon-ho’s latest is expected to sweep the Oscars come 2020.

So, what exactly is Parasite?

To put it plainly, it is a dark comedy about a family of con artists that conspire their way into jobs they are unqualified for. At the same time, it is a thriller about a heist gone awry, a horror film and a familial drama infused with thoughtful commentary on class and economic disparities.

To reduce Parasite to a single descriptor would be to do it a disservice, for it is many things all at once. Joon-ho is a veteran filmmaker and crafts a masterful, chameleon-esque melding of genres that seamlessly shifts from one tone to another, subverting audience expectations throughout the duration of its run time.

The film tells the story of the Kims, a poverty-stricken family living in a shabby basement apartment in Seoul. When the son, Ki-woo, is presented with a chance to tutor the daughter of the wealthy Park family, he poses as an English instructor to secure the position.

Seeing this as an opportunity to aid his family’s dire financial situation, Ki-woo devises a scheme to exploit the naïvete and benevolence of his employers. Soon, through deceitful tactics, Ki-woo begins acquiring jobs for the rest of his family, and the Kims begin infiltrating the lives of the Parks.

Where Parasite shines is in its poignant dissection of class, rooted in the juxtaposition of the film’s two families, the Parks and the Kims. The Parks, affluent and successful, represent the wealthy elite situated at the top of the social ladder; the father, an influential and accomplished businessman, and the children constantly touted as prodigious, destined for greatness. And yet, despite their privilege and prestige, the Parks are naïve, oblivious and disconnected from the world outside theirs. The patriarch’s constant reference to a “disgusting odor” that emits off of poor people emphasizes this disconnect and even suggests an internalized disdain for  the less fortunate.

Comparably, the Kim family are destitute and disadvantaged, struggling to survive in an economic system working against them. With the parents unemployed and the children without any foreseeable opportunities for advancements, the family resorts to scamming and manipulation in order to get ahead.

The disparity in their circumstances is highlighted when a heavy downpour envelops the area. Whereas the storm simply means a cancelled camping trip for the Parks, it results in a severe flood for the Kims, one that engulfs their entire apartment.

On a superficial level, the two families are completely different, but they are, in fact, united by a shared factor; their habitual exploitation of and reliance on others. Of course, the parasitic nature of the Kims is evident in their readiness to leech off of their oblivious benefactors. But just as the Kims comfortably take advantage of their hosts, the Parks too, are heavily dependent on their workers.

With the Kims working for the Parks as domestic help (preparing meals, cleaning, chauffeuring and tutoring), it seems as though the latter are totally incapable of performing simple tasks by themselves. They rely on the Kims to keep their household, and by extension, their personal lives afloat. Both families, while their methods differ, are simply trying to survive in a capitalist system, and with their cards so unevenly dealt, is one method truly more justifiable than the other?

Parasite raises questions of dependency and exploitation in a skewed economic system, while simultaneously examining the ways in which we respond to such a discrepancy. It is a subject that Joon-ho addresses in a frank and darkly comedic manner, seemingly laughing along at the absurdity and cruelty of it all.

Parasite is now playing in select theatres across Montreal. For showtimes, please visit cinemaduparc.com or cineplex.com for more details.

 

Graphic by @joeybruceart

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FILM REVIEW: Shit one carries

Caregiving roles are reversed in Shuchi Kothari’s film Shit One Carries

There is metaphorical shit we all carry – guilt, anxiety, regret, longing (insert your emotional baggage here) – and then there is actual shit.

As Avinash, the protagonist in Shuchi Kothari’s fictional directorial debut Shit One Carries, finds out in the most unpleasant circumstances, that shit needs to be dealt with too.

Avinash didn’t ask for this. He has a comfortable, if not demanding job as a Silicon Valley engineer, a whole life built oceans away from where he finds himself now: at his elderly father’s bedside in India, taking care of the man who once was his own caregiver.

Shit One Carries premiered at the New Zealand International Film Festival before making its way around the international festival circuit to the 2019 South Asian Film Festival of Montreal. For Kothari, an Indian-Kiwi filmmaker and educator based in New Zealand, the film is deeply personal. “I wrote the script during a recent visit to India when my mother had a fall and was confined to bed,” said Kothari in a statement. “During this visit, I caught up with Director of Photography Mrinal Desai. To my rather innocuous question, ‘how’s your morning going?’ he replied, ‘Spent most of it trying to figure out who’s going to wipe my father’s ass.’ This statement gave birth to the story.”

Taking on a caregiver role can often be a thankless job. This isn’t a nurse-patient relationship, this is family. And these are not unfamiliar scenes; Avi’s father is disgruntled, impatient, maintaining his stubbornness in lieu of agency. Avi is distracted, he punctuates each strained interaction with a business call, a smokeless cigarette break. He’s there, but the distance between the two men is palpable.

“The struggle to ‘do the right thing’ manifests itself peculiarly in the Indian parent-child relationship where cultural norms and social pressures expect that all children, when grown-up, will return the gift of selfless caregiving,” said Kothari. This film, which screened as part of a selection of films from the diaspora, directly confronts the cultural and generational disconnection that can open up over place and time. In 14 short minutes, a father’s long-held expectations collide with his son’s reality.

Kothari revels in the moments where the discomfort rises to the surface and the avoidance is clear; uncomfortable pauses are hastily filled with small talk. The recognition of the other’s vulnerability is magnified under flickering fluorescent lights, and just as quickly dismissed as attendants and visitors shuffle in and out of the house. The question, ‘How are you?’ doesn’t warrant an honest response.

And then, well, shit happens. The attendant isn’t there, his father soils himself, and Avi is left to face something he never imagined having to do. He enters his father’s room cautiously, at once disgusted by the situation and overwhelmed by what it means to fully take on the responsibility of caring for someone you love. There is no more distance. Just a father and son, and a container of baby wipes.

Kothari’s film speaks to something bigger than a strained father-son relationship; at a time when baby boomers are approaching and settling into retirement, an uncomfortable new dynamic is emerging. Younger generations are grappling with the unspoken expectations of taking on the caregiving role, and in navigating these new responsibilities, a question is posed: What does how we treat our elders say about our societal values? When it comes to the unique context of diaspora communities, how do these North American values conflict with long-held cultural norms? What, as Kothari puts it, is the right thing to do?

Kothari doesn’t provide a simple answer, perhaps because there isn’t one. But in the final scene of the film, as Avi sits in solitude, wrestling with these questions himself, his father’s attendant offers a small piece of advice: “It takes a while.”

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Midsommar: A Nightmare Bathed in Sunlight

Midsommar, directed by Hereditary’s Ari Aster, is a truly disturbing film, but undeniably beautiful and expertly crafted. Both its beauty and disturbing nature lie in the same vein, a horror film which almost entirely takes place under the bright, white Swedish sunlight. The plot is filled with people who have committed terrible acts, have malicious intentions, and traumatic pasts.

Midsommar takes place in the aftershock of the death of Dani’s family, who were killed in a murder-suicide by her sister. Meanwhile, Dani’s boyfriend Christian doesn’t want to be with her but feels obligated to stay due to her trauma and grief. Out of pity, he invites her to join him and his friends on a trip to Sweden, where they plan to witness the Swedish midsummer tradition for their anthropology PhD theses. A series of events unfold and reveal not only the dark and gruesome traditions of the Swedish commune but also troubling issues within Dani and Christian’s toxic relationship.

There’s a certain type of film that feels completely motivated, as in you can tell the director and filmmakers put thought and effort into every frame. Everything is truly there for a reason. I was lucky enough to have seen Midsommar in its two forms: the theatrical release and the director’s cut. One thing I can say for sure is that Aster uses perfectly planned out and motivated camera movements to lure the viewer into the film. Aster takes advantage of a bright colour palette to lull you into a sense of safety for most of the movie’s runtime.

Plus, nothing can go wrong in the light of day, right? The setting is well-chosen to bring the characters and the audience into a location that feels simultaneously isolated and welcoming as the characters are surrounded by bright green grass and friendly people in bright garments. Along with the stunning cinematography, Aster directs this film with intent, purpose, and a slow but compelling pace. Although the film does feel slow in the middle, especially in the director’s cut version, every second of the footage feels important regardless of the pacing.

Florence Pugh plays the main character, Dani. Her incredible performance is genuine and heartbreaking. Pugh constantly keeps Dani’s grief directly under the surface and you can see it pour out or slowly seep through in every shot. Her strained relationship with Christian, played by Jack Reynor, is also effectively portrayed to show that trust and love have been long gone. The supporting cast, William Jackson Harper, Will Poulter and Vilhelm Blomgren also stand up to the challenge. Harper plays a convincingly stressed and defensive PhD student while Poulter acts as the selfish, inconsiderate but funny friend who’s only coming to gawk at Swedish women. Meanwhile, Blomgren remains a kind and mysterious figure who possibly has ulterior intentions for his friends’ trip. However, Reynor’s performance doesn’t match up to Pugh’s in terms of emotional believability and depth. Out of the cast, he feels like the weakest link.

Some have expressed discontent for the film, due to its disturbing, confusing and uncomfortable nature. However, I would argue that these things are what make Midsommar so fascinating. Aster was able to manipulate the audience to feel these emotions in such small but impressive ways. Something as simple as not cutting away from a shot changes a movie from being simply frightening to distressing.

What I have learned from watching Midsommar is this: just because something makes you uncomfortable doesn’t mean it’s bad. It means that the filmmakers did a good job of using the medium to make you feel a certain way. It also means that this could be a good time for you as a viewer to reflect on what you saw, think about what made you uncomfortable, and why. Are you distressed by the graphic violence? Or are you distressed by Christian’s treatment of Dani? And why are these different?

Midsommar allows us to examine a relationship from the inside out while also dealing with the disconcerting series of events occurring outside of them. Overall, this film is well-crafted, full of artistic motivation, great performances and sickening feelings. Since both the objective and subjective aspects of Midsommar were of great quality and because of how deeply it fascinates me, I give this film 5/5 stars.

 

Graphic by @sundaeghost, feature photo A24 films

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White Boy Rick is no stranger to crime

New release falls short, despite stellar performances by Matthew McConaughey and Richie Merritt

White Boy Rick, a riveting film set in 1980s Detroit, is stylized and well-acted, but was dampened by its uneven pacing and convoluted storyline.

White Boy Rick tells the true story of Richard “Rick” Wershe Jr., a 14-year-old FBI informant-turned-drug dealer. Rick, played by newcomer Richie Merritt, lives in a completely dysfunctional family. His father, Richard Wershe Sr. (played by Matthew McConaughey), is an arms dealer who dreams of opening a video store; his sister (played by Bel Powley) wrestles with drug addiction. Rick is no stranger to crime, so the FBI decides to use him as an informant in their war on drugs. With such a premise, things can only go wrong—and boy do they.

What really makes the film is its colourful main characters. For one, Rick’s father is completely erratic. Less than five minutes into the movie, he chases his daughter’s boyfriend at gunpoint while fighting with his parents who live across the street. However, there is nuance to his character. Yes, he sells guns out of the trunk of his car, but Wershe Sr. isn’t just another lowly outlaw. He does what he does so his children can have a better life than he did. He is a father first, a hustler second. McConaughey is perfect for the role. Rocking a mullet, he impeccably juggles the comical dialogue and emotional scenes.

Wershe Sr.’s son and the titular character is just as interesting. Rick tackles everything that life throws at him head-on and with the nonchalant confidence—or stupidity, depending on who you ask—of a teenager who’s on top of his world. Merritt delivers a compelling first performance. He matches McConaughey in some hilarious back-and-forth dialogue which is no easy feat.

Max Richter’s soundtrack is also worth mentioning. The music—or lack thereof in some dramatic scenes—really helps set the atmosphere and compliments whatever is on screen.

Where the movie ultimately falls short is in its screenplay. The film is dense, too dense. There are so many things happening that the story becomes too convoluted for its own good. The audience doesn’t have time to truly appreciate an event before it’s on to the next act. This problem may stem from the fact that the story is about true events, limiting the director’s choice.

Regardless, the movie ends up seeming more like a succession of events rather than a testament to the intricate storyline. Everything happens too quickly; the audience doesn’t have the chance to get invested in the story. Overall, the movie is entertaining, but it fails to really connect with the viewer.

In the end, White Boy Rick is perhaps a bit too ambitious in terms of what it can cram into its runtime, but the performances and aesthetics make it worth the asking price. It balances humour and drama, and it makes for a good time at the theatre.

White Boy Rick is currently screening at the Cineplex Odeon Forum and other select theatres.

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Permaculture: Becoming part of the whole

Inhabit tackles permaculture from several perspectives through expert commentary.

Cinema Politica film offers alternative to unsustainable, destructive agriculture model

Conventional agriculture is about extracting from the land to produce as much food as possible. It’s taking without giving back. The current model of industrial agriculture is unsustainable, inefficient, polluting and unnatural.

Finding a viable alternative that will feed the world’s population, while also decreasing greenhouse gas emissions, is one of the complicated and thorny issues of our times.

And yet, the solution might be embarrassingly simple: permanent agriculture, or permaculture.

Inhabit: A Permaculture Perspective explores the principles of this new vision of agriculture by showing the viewer different farms that abide by the principles of permaculture.

Directed by Costa Boutsikaris and produced by Emmett Brennan, the film is both beautiful and poignant. The subject in and of itself is fascinating, but the cinematography and beautiful score, composed by Aled Roberts, carries the narrative. The film has an optimistic feel through its uplifting score—a nice change from the typical doom-and-gloom outlook on the future.

Permaculture is about designing a living, breathing ecosystem—one in which plants and animals coexist symbiotically with one another and the land. It is a step further than sustainability. Permaculture is about making things better through intelligent design and structural adjustments, while sustainability is simply about making sure the environment doesn’t worsen. It is the complete opposite of conventional industrialized agriculture, which is the attempt by humans to control nature.

In theory, spaces that adhere to the principles of permaculture would continue to function if the human element was removed. Fruit trees coexist with vegetables, perennials, flowers, insects and even grazing animals—all working together to form an ecosystem.

The film’s central argument is that no space is too large or too small to abide by the principles of permaculture. It is divided into different points of focus, and rounds out its argument by looking at how different scholars, artists, farmers and ordinary citizens have transformed their spaces to create ecosystems. It looks at suburbs, cities and farms, exploring how each space can be transformed through intelligent design.

There are 40 million acres of lawn in the United States that could be producing food, while also bringing people together through communal gardens. In cities such as New York, there has been a surge in rooftop green spaces. Not only is this a more efficient use of space, but it also diminishes the burden on sewage systems during intense rains. These are just some of the examples highlighted in the film.

Inhabit: A Permaculture Perspective was one of the last films to screen at Cinema Politica this semester. The final screening, on Monday, April 18, will feature a selection of feminist short films from the 2016 Fantasia Film Festival. A total of nine shorts will be featured, focusing on intersectionality in feminism. Screenings take place in H-110. Admission is by donation.

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Ghost in the Shell: A visually stunning adaptation

Rupert Sanders’ take on the cult anime is both faithful and entertaining

Taking place in a futuristic dystopia where the line between biology and technology has all but vanished, Ghost in the Shell brings big-time thrills and stunning cinematography to the big screen.

The film, directed by Rupert Sanders, is an ode to the 90s Japanese anime of the same name, and stars Scarlett Johansson, Pilou Asbaek and Takeshi Kitano.

The movie revolves around Major Mira Killian (Johansson), a robot with the brain of a human saved from a terrorist attack. Though the robotic enhancement of human limbs and organs has existed in this world for several years, Major is the first complete cyborg—a weaponized human enhanced to be the perfect soldier. Her existence is the result of the cooperation between the Japanese government and Hanka Robotics, the world’s leading developer of augmentative technology.

Major’s purpose is to serve as the government’s special law enforcement agent in the hopes of overcoming terrorist plots. When someone starts killing Hanka’s executives, Major is instructed to find the perpetrator.

As she starts working on the case, Major uncovers compromising information about Hanka, as well as the truth of what happened to her human body. The film dwells on the moral complexities of fusing technology and human bodies.

The more she uncovers about her past, the more Major battles with existential questions and her place in society. She is neither fully human—shown by her inability to feel physical pain—nor fully robot.

When the creation of an American adaptation of Ghost in the Shell was first announced, both fans and critics were worried about the project, especially considering how white actors were cast for the leading roles, bringing on accusations of whitewashing. However, Sanders’ take on the beloved franchise has succeeded against all odds to be a faithful and entertaining adaptation of the original cult classic.

The movie is visually stunning, and every shot is framed with calculated expertise. The visuals are reminiscent of the anime’s futuristic style. The robotic components humans use to enhance their bodies look unsettling, resembling torture devices more than limbs.

There is a creepy tone maintained throughout the film, which leaves the viewer at the edge of their seat. The film explores themes of individuality, humanity and privacy through Major’s quest to find herself as well as the killer on the loose. Ghost in the Shell is a beautifully complex and haunting movie worth watching.

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Power Rangers: A nostalgic film without the original’s charm

The first Power Rangers film in 20 years takes itself too seriously

Over the past few years, nostalgia has taken over the film industry. The TV shows and movies millennials grew up with in the 90s and late 80s have been adapted and revamped for a new generation of moviegoers, as well as the original fans who never sold their VHS cassettes.

This new trend in cinema has led to inconsistent results, from hits such as the much-loved live-action adaptation of The Jungle Book, to misses such as the hardly watchable Jem and the Holograms, both released last year.

This wave of adaptations and reboots shows no signs of stopping, as Beauty and the Beast had great box-office results during its release last week. This film was quickly followed by Power Rangers, another film riding the wave of 90s nostalgia.

The last Power Rangers movie dates back 20 years, and therefore, this latest installment devotes its first half to explaining the origin story of the main characters to benefit the general public who is not familiar with the storyline. The Power Rangers are a group of rowdy teenagers who come together to form an unlikely team. They have to learn to work together and embrace their differences to fight a supernatural villain. During their quest to become great fighters, they learn to overcome the obstacles they face in their lives. The characters have a good sense of humour, and the actors have great chemistry as a unit.  Moreover, Elizabeth Banks’ performance as Rita Repulsa is extremely enjoyable as she completely loses herself in the character to become a campy supervillain.

The set of teenage characters resembles The Breakfast Club formula of having a character who encompasses a different stereotype. There is a cheerleader, a football star and even the “new girl.” This dates the film terribly, as screenwriters have not used this writing trope seriously in a while. What is surprising about this movie is the lack of action scenes, as the first two thirds are character-driven. The main issue with the lack of action sequences is that a Power Rangers movie shouldn’t take itself seriously.

The directors missed an opportunity by not embracing how ridiculous the original TV series was. By taking itself too seriously, the film loses its flavour. Even if there are a few fight scenes, they are poorly executed and the visuals are not aesthetically pleasing. There is a problem with the film’s tone, as its serious approach does not mesh with its cartoon-inspired fight scenes.

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The Netflix Original film you should see

I Don’t Feel at Home In This World Anymore will keep you laughing while on the edge of your seat

While Netflix has a dedicated “originals” section, it can be hard to differentiate between what is actually good and what is just completely unwatchable (ahem, The Ridiculous 6).

Despite the previously mentioned Adam Sandler flop, Netflix Originals has delivered mostly solid content, and this is best showcased in their original television series. Shows like Orange is the New Black and Stranger Things have been among some of the most-watched television series in the last couple of years. Since 2015, Netflix has begun to develop and release their own original films, and the recent I Don’t Feel at Home in this World Anymore, Macon Blair’s feature film debut, is one to watch.

I Don’t Feel at Home in this World Anymore is so much more than just a mouthful of a title. Starring Melanie Lynskey—arguably the queen of weird indie films like Happy Christmas and The Perks of Being a Wallflower—it tells the story of Ruth, a depressed alcoholic who, after her home is burglarized, teams up with her troubled neighbour (played by Elijah Wood) to track down the thieves.

The dark comedy had its world premiere at the Sundance Film Festival back in January and won the festival’s Grand Jury Prize for the U.S. Dramatic competition. It also received tons of critical acclaim before premiering on Netflix on Feb. 24, with Collider describing it as a “satisfying story of two people who have decided the only way to behave in a mad world is to be a little mad.”

Lynskey easily gives one of the best performances of her career as Ruth, a pushover with no direction in life. However, Ruth is given new purpose when her home is invaded and her laptop and late grandmother’s china collection are stolen. But she doesn’t care so much about the stolen goods. She describes the robbery as a “violation.” She can’t get past the fact that a stranger was in her home. She doesn’t feel safe anymore.

We see Ruth overcome her people-pleasing ways as the story progresses—whether it’s cutting in line at the grocery store or angrily questioning a potential suspect, the traumatizing experience of having her house broken into forces Ruth to take charge of her life.

The film keeps you hooked as you watch Ruth and Tony (Wood) on their vigilante endeavours, and also features a killer soundtrack. With an array of eccentric characters dressed in flannel shirts and 70s-inspired mobster garb, and a bloody ending you won’t see coming, I Don’t Feel at Home in this World Anymore gives new meaning to the term “weird little indie film.”

Most of all, I Don’t Feel at Home in this World Anymore has a certainty in its uniqueness that makes it truly enjoyable to watch. If this is what Netflix’s original films have to offer, I’m looking forward to seeing what’s to come.

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T2 Trainspotting: a return to a dark path

RENTON (Ewan McGregor), SPUD (Ewen Bremner), SICK BOY (Jonny Lee Miller) BEGBIE (Robert Carlyle)

Sequel to 1996 hit plays it safe, falls short of its predecessor

A lot of care went into T2 Trainspotting. What holds it back is a strong sense of sentimentality, which prevents it from going as far down a dark path as it could have. The gritty reality of drug addiction takes a backseat to slapstick comedy, coupled with elements usually found in romantic comedies.

T2 Trainspotting, directed by Danny Boyle, and starring Ewan McGregor, Ewen Bremner and Jonny Lee Miller, is the sequel to the 1996 hit Trainspotting. The original cast returns to Edinburgh to pick up where they left off—living fast, getting in trouble and going straight down to rock bottom.

Although a genuinely funny film, some audience members might not enjoy how some serious subject matters are addressed. The tone of the film is reminiscent of Trailer Park Boys in that it brings dark humor to serious issues. It could have been a dreary experience given the presence of drug use, relapse, depression and death. However, it ops for a good time, and viewers should expect a comedy.

T2 is a self-aware film, with many references to the original source material, sometimes so much so that it seems preoccupied with its predecessor’s success.

Under all the jokes, pop music and surprising amount of slapstick humor, T2 could be seen as a decent film about relapse into addiction. When things are going good for the characters, the film is a fun time. It’s a night out with your best friends, it’s choosing life and loving it. When things aren’t going so well, the film takes an emotional dip, as all hope seems to be lost. Whereas the first film was timeless because of how it handled the seriousness of heroin addiction—the sequel does not delve deep enough into the topic. T2 plays it safe.

The original film dealt with addiction in a way that hadn’t been done before, and so comparing T2 to Trainspotting is unfair. But T2 is so rooted in the last film that viewing the first is practically mandatory. Yet, this film does not match up to the 1996 classic.

However, despite the shortcomings that keep T2 from being a classic itself, there are some moments which are truly great, such as when Simon reminisces with Mark about the first time they got high—a beautifully heart-breaking moment when two young men effectively destroy their lives for good.

Once the film finally comes to an end, it is clear this is a story about redemption more than relapse— but while T2 accurately depicts relapse, it does not fully delve into the subject.

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Kong: Skull Island is a new take on an old tale

The latest entry in King Kong’s filmography is full of beautiful and gory entertainment

King Kong is one of the most iconic movie monsters, appearing in eight films since his introduction to the silver screen in 1933’s King Kong. His impact is still felt in film—the scene when Kong climbs the Empire State Building has been remade and parodied countless times.

Nevertheless, Kong has come crashing back into theatres with director Jordan Vogt-Roberts’ Kong: Skull Island, an oddball in a monster-saturated market. There appeared to be no real demand for a new Kong film, especially since there has been no appearance of the character since 2005’s King Kong. But the film may well have revived the old sense of wonder at this true king of the jungle.

The film stars Tom Hiddleston, Brie Larson and Samuel L. Jackson, and is set during the Vietnam War. Lieutenant Colonel Preston Packard (Jackson) and his troops are called upon to escort an expedition to the newly-discovered Skull Island, a primeval Eden where anything seems possible.

As the war is reaching its peak, there is a race to control this new, untapped island between the Americans and the Russians, both after the valuable resources that might be present. Except, unbeknownst to either party, something big is defending the island. As Packard’s troops enter the island’s airspace, their helicopters are attacked by a 100-foot-tall gorilla in a memorizing action sequence. King Kong grabs helicopters and smashes them against each other, killing half of the crew. The survivors are now scattered around the island without any means to escape.

The film is visually stunning and shot on 70-millimetre film, a practice which is gaining popularity, as it allows filmmakers to create highly-contrasted images. There are a lot of vibrant colours, and the movie seems to be stylistically influenced by 2015’s Mad Max: Fury Road’s  action sequences. The directors make the most of the film’s 1970s setting by choosing a musical score of classic rock songs which set a humorous tone.

The film creates a real sense of danger, as some of the main characters are killed off in an unexpected and often gut-wrenching ways. The movie opted for a realistic, more horror-oriented approach to King Kong.

Kong: Skull Island is a film for monster movie fanatics who have been disappointed by the family-friendly approach of movies like Jurassic World and Pacific Rim.

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Bill Nye fights ignorance with reason in new doc

Bill Nye documentary takes a look at the scientist behind the TV persona

Bill Nye the Science Guy inspired a generation of children to pursue science and think critically about the world around them. He made topics that often appear dense and unappealing interesting to a general audience.

But who is Bill Nye? Who is this man who made topics like friction, gravity, chemistry and electricity palatable to elementary school students? Bill Nye: Science Guy, directed by David Alvarado and Jason Sussberg, takes a closer look at the man who made science fun.

Nye noticed in the 1990s that America had a bad relationship with science, and he wished to do something about it. Through his educational science show, he wanted to raise a generation of critical thinkers.

But the end of the show in 1998 left Nye in flux. He was struggling to find where he fit in the scientific community. Anti-scientific sentiment was still strong in America, with climate-change deniers disputing the established scientific consensus. Nye has made it his personal mission to counter the voices that are shaping a generation of scientifically illiterate children.

The film looks at how Nye challenges the core beliefs of science deniers by engaging in debates with them. He does this to try to bring awareness to the general community of climate-change deniers, and hopefully change their minds so they in turn can use their platforms to change the minds of others.

Nye struggled with his image as he attempted to transition from kid’s show host to reputable scientist. The documentary tackles who Nye really is, separating Bill Nye the character from Bill Nye the person.

For audiences familiar with Nye and his science show, Bill Nye: Science Guy is a documentary that allows a peek behind the curtain to see the real person behind the character, and explores where Nye ends and the Science Guy begins. It looks at how pained Nye is at the rising scientific illiteracy in America, and how he has made it his personal mission to turn it around and bring science back to the masses by eliminating one dissenting voice at a time through logic and the scientific method.

Bill Nye: Science Guy premiered at the SXSW Festival in Austin, Texas on Mar. 12.

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Colossal: The real monsters are inside

Premiering at the SXSW film festival in Austin, Colossal is an original take on the monster genre

Colossal is, at its core, a monster movie. But it doesn’t take long for the film to break away from the conventional monster shtick and veer off in a totally unpredictable direction. It is directed by Nacho Vigalondo and stars Anne Hathaway and Jason Sudeikis.

When a gigantic monster appears out of thin air in the heart of downtown Seoul, the world watches helplessly as it destroys everything in its path. The United Nations calls for an international ceasefire of global conflict while the world’s brightest minds convene to decipher what it is they are facing.

With the world watching and holding their collective breaths waiting for the monster’s next attack, washed-up party girl Gloria (Hathaway) notices something odd: she can somehow control the monster on its inadvertent destructive path. Gloria’s shock is quickly overtaken by guilt at the loss of life that she is somehow, inexplicably, responsible for.

When she finally realizes she is at the helm of all this havoc, she tells her childhood friend Oscar (Sudeikis). Together, they have fun making the monster dance and fool around, confusing the millions glued to their televisions watching.

The tone during the first part of the film is light-hearted, in line with your run-of-the-mill romantic comedy. But it quickly takes on an unexpected dark tone for the second half.

The film’s strongest assets are its characters, their development and their relationship with one another. While Gloria slowly lifts herself out of the darkness of her old habits and alcoholic tendencies, Oscar embraces his vices, slowly allowing them to take over.

Colossal opens in theaters this April.

Colossal can’t be classified in any one genre. It flows between comedy, science-fiction, action and drama in a fluid manner that leaves audiences on their toes and unsure of what to expect. It is this unpredictability that makes the story so gripping. At times, it is extremely funny while, at others, immeasurably dark.

The monster might be the obvious villain, but in reality, it is a projection of smaller, internal conflicts that have snowballed into bigger issues. Opening in theaters in April, Colossal is an original movie with stellar performances by Hathaway and Sudeikis.

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