john goodman – Podcasting Them Softly

Kong: Skull Island

February 10, 2021 by natewatchescoolmovies, posted in Film Review

What’s everyone’s beef with Kong: Skull Island? Not tophat n’ coattails, high-tea cinema enough? I’m joking but I’ve waded through so much negativity surrounding this film over the years that I avoided it, and when I finally came round to watching it I found a perfectly thrilling, super entertaining monster flick that I have little to no issues with. The 70’s Viet Nam CCR aesthetic is an interesting choice for the Kong myth and I think it works, as John Goodman’s half insane journalist leads Samuel L. Jackson’s all the way insane military commander and his platoon on a voyage to fabled Skull Island, joined by Tom Hiddleston essentially playing a cross between Indiana Jones/James Bond and badass Brie Larson? How could that not be fun? Throw in and all the way insane and then some John C. Reilly as a downed WWII pilot surviving on the island and heavily channeling his Steve Brule character from Tim & Eric and I once again ask you, how could this not be fun? Then there’s Kong himself, who is an absolute unit here and way huger than I ever remember him being, measuring in at several hundred feet tall at least and fiercely protecting his kingdom from an armada of weird giant reptilian dragon things. There’s also giant water Buffalo, spooky natives and these bizarre stilt-walking arachnid nightmares that had me on edge and demonstrated some really impressive VFX. Jackson steals the show as far as human talent goes, playing a soldier who never saw enough combat in Nam to satisfy him before the war ended, is looking for a good old fashioned dust up and lives to regret being so eager before going completely, certifiably bonkers and trying to singlehandedly take down the big guy, on his own home turf no less. Throw in a solid supporting cast including Shea Wigham, Toby Kebbell, John Ortiz, Erin Moriarty and a sly cameo from Richard Jenkins and you’ve got one all star lineup, with the MVP moment going to Reilly as he hilariously delivers the film’s best line and one allowed F-bomb in true Steve Brule fashion. Kong delivers the goods too, he’s an angry, very physically lethal sonofabitch big ass monkey who doesn’t take kindly to anyone threatening his homeland, be they big scaly monsters, the US military or other. It’s also very subtly antiwar, but just enough so that it does feel preachy and still knows how to have a blast. Pulpy in the dialogue realm, brilliant red n’ orange tinged in the cinematography department, retro steampunk vibe to some of the costuming and deadly fucking fun on the giant creature mayhem side of things. While Peter Jackson’s monumental 2005 version will likely always be my favourite version of King Kong, this Skull Island iteration is a flippin’ knockout of popcorn entertainment, audacious visuals and rock em sock em jungle war-games. Great stuff.

-Nate Hill

SYLVAIN DESPRETZ: Los Ángeles by Kent Hill

May 10, 2020 by Kent Hill, posted in Interviews

I don’t profess to be anything except a guy who really loves his movies. So I was, needless to say, humbled when Sylvain Despretz, illustrator extraordinaire and Hollywood veteran, asked for my opinion on his new book Los Ángeles .

The thoughts (abridged) I rendered unto him are as follows:

“Right off the bat I concede we have a very similar taste in movies, beginning on the opening page where you count James Mason among your idols. You have a free-flowing narrative style here – mixed in with a little distain for certain elements of ‘The Industry’. Yet there, embedded in your frankness, and if you know the lyrics to Billy Joel’s Piano Man, you strike me in predicament alone, to be like John the bartender; sure that he could be a movie star . . . if he could get out of this place.

So in that I feel your journey is unique – in the sense that you have been surrounded by the business, yet are melancholic, purely because you are no different than any other kid who wanted to run off and join the circus – you longed to be a lion tamer – you wanted to be a director.

Still I can’t wait to see this all come together. As I read your words I heard your voice and am reminded of great quotes from the towers of their fields from days past. Well, two in particular. One I heard Peter Guber say: “Success has many fathers and failure is an orphan.” And the other comes from Harrison Ellenshaw, “Shakespeare never had a word processor . . . and now we word processors we have no Shakespeare’s.” Your life is extraordinary and the tapestry upon which your weave this tale is rich in texture and bold in attack.”

Los Ángeles is a book that is much about one man’s love of cinema as it is his adventures in the screen trade. It might get personal, and it does…in the best sense. This separates it from the generic ‘greatest hits’ compilations which would merely be satisfied showing you only the art from the films and pictures of the movie masters Sylvain has been privileged to rub shoulders with.

But this is not a film book. It’s about art, life, and loving movies so deeply you feel them at the source of everything that inspires one to create. Sylvain and I always have the most engaging and complex conversations, which are always nice to have with like-minded cineastes, especially when we share a similar perspective on what great films are and how they touch us.

Life like cinema is about a series of moments. We all know the films we like, still, when asked, we find ourselves recounting the scenes which really spoke to us. Robert Altman once told his wife about his first viewing on David Lean’s A Brief Encounter. She recalled that, though Altman was initially just casually watching the movie, by the end, he had fallen in love with the films leading lady, Celia Johnson, and was utterly moved by the story unfurled.

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Thus is the power of cinema, and the heart of Sylvain Despretz’s Los Ángeles.

As it has been written, so has it been done.

FOR MORE INFORMATION ON Los Ángeles, VISIT THE PUBLISHER’S WEBSITE HERE:

https://caurette.com/?fbclid=IwAR1Y5EdeVzKGdCZ1o2G-VExxykJR8ejEgEuphdnMHYkBiS7Frk2CbVHT5J8

Frank Marshall’s Arachnophobia

October 17, 2019 by natewatchescoolmovies, posted in Film Review

Scared of spiders? This is the perfect movie for you and no it’s not Eight Legged Freaks. Seriously though if you’re one of those people who are mortally, terminally and irrationally afraid of them then Arachnophobia will flare up just that kind of reaction. It’s produced by Spielberg too so it has that special kind of ‘menace in 80’s suburbia’ feel, this isn’t some cobwebby haunted house or fearsome jungle setting, this is killer spiders in the small town California which is all the more disarming. There is a jungle set prologue though because we gotta see just how these things did make it to Cali and you can thank scientist Julian Sands for that when he accidentally lets a breed of deadly arachnids hitch a lift in a coffin back to the states. There they slowly but surely begin to breed and wreak havoc on unsuspecting townsfolk until they’re basically everywhere. Jeff Daniels steps in for hero duty as a doctor who just moved into town and is getting a pretty suspect first impression of the area thanks to these creatures. It’s up to him and an intrepid posse to take them on while evading their deadly bites in the process. John Goodman shows up and steals the film as a boisterous, beer swilling exterminator who knows a maximum threat when he sees one and breaks out the non FDA approved methods for dispatching them. His character provides the film with levity and laughs as a kind of cross between Chris Walken’s kooky exterminator in Mouse Hunt and one of the Ghostbusters. This film is actually terrifying because it isn’t just giant spiders like in Harry Potter or The Hobbit and they’re not CGI or schlocky like countless other horror films, there’s actual craft and artistry put in and they use real spiders too so it’s pretty gnarly. There’s one scene where Daniels and his family are in the middle of the living room and there’s spiders literally everywhere.. the couch, ceiling, walls, appliances, floor… covered. We all know that feeling of seeing just one of them somewhere over in a corner, now amplify that by like a thousand. Yeah. It’s a great fright flick that never gets too gooey or gory and always maintains humour amidst the horror.

-Nate Hill

Laika’s ParaNorman

October 6, 2018 by natewatchescoolmovies, posted in Film Review

ParaNorman is a film that’s just about as close to perfect as you can get. Released by a low profile studio called Laika that specializes in gorgeously crafted stop motion animation adventures, this one has the irresistible flavour of retro Universal Studios monster movies put to use in a smart, engaging story full of well written characters, maturely imparted themes and wonderful pathos. Young Norman (Kodi Smit McPhee) can see, hear and converse with ghosts, and that generally makes him a bit of an outsider in his town. When the spirit of a deceased relative warns him of some vague impending doom encroaching on the region, it’s up to him and his merry gang including best buddy Neil (Tucker Albrizzi) his ditzy sister (Anna Kendrick), and Neil’s hilarious jock brother (Casey Affleck) to solve the spooky mystery of a centuries old witch who has risen the dead. It’s a brilliantly told story with boundless animation, a sharp script full of subtle, off the cuff humour, heartrending sadness at the core of its narrative and some of the most dazzling animation this side of Burton/Selick. The voice cast is peppered with carefully chosen talent like Jeff Garlin, Bernard Hill, John Goodman, Christopher Mintz Plasse, Leslie Mann, Elaine Stritch, Alex Borstein and more. Jodelle Ferland voices Aggie the witch as a tragic character with the same haunted complexity she brought to the role of Alessa in Silent Hill. Laika studios is also responsible for gems like Coraline, The Boxtrolls, Corpse Bride and last years Kubo & The Two Strings, they are a brilliant bunch who are trailblazing storytelling in exciting new ways. ParaNorman has to be my favourite though, it’s an enthusiastic love letter to golden age horror and an emotionally mature study of what it means to be different, how people react and the damage that can be done simply by not accepting someone for who they are. Trust an animated film to inject themes like that and explore them thoroughly while still having a blast of a fun time. I can’t say enough good things about this film.

-Nate Hill

Joe Dante’s Matinee

May 13, 2018 by natewatchescoolmovies, posted in Film Review

Joe Dante’s Matinee is a fantastic love letter to golden age schlock cinema, a nostalgic look back at Cuban missile fever, a multiple angle coming of age story all framed by a playful lens and given life from John Goodman’s boisterous, passionate performance as Lawrence Woolsey, the kind of loving, hands on filmmaker you don’t see a lot of these days. Woolsey blows into a small coastal California town with big dreams and aspirations to release his cheesy horror flick ‘Mant’ (about a killer Man/ant hybrid, naturally) for all to see, but faces some obstacles right off the bat. The 1950’s nuclear scare casts a long and chaotic shadow over both the town and his production, as well as local protesters who label his art as junk and just don’t understand the medium. There’s a gaggle of preteens too, in the throes of growing up and chucked in the deep end when I comes to understanding the world around them, as well as adults. Former child star Lisa Jakub (Robin William’s daughter in Mrs. Doubtfire) is a standout as a particularly sassy, wise beyond her years girl who causes a fuss with the bomb drills and is the soul of the youngster element in the film. Goodman is superb, he has an amped up monologue about what it means to visit the cinema and escape that kind of encapsulates the beloved intangibles of the medium and why it has endured for so long. The film has a meandering and unfocused feel at first glance, but it’s a deliberate fly-on-the-wall peek at a very specific time and place, how Film relates to that place and the individuals who lived through it, and it achieves that goal wonderfully. A literal slice of life on film.

-Nate Hill

Luc Besson’s Valerian And The City Of A Thousand Planets

November 22, 2017 by natewatchescoolmovies, posted in Film Review

Luc Besson’s Valerian And The City Of A Thousand Planets is a lot of fun here and there, but I couldn’t help being a smidge underwhelmed by the whole deal, having waited years for news of a new Besson space opera following his insta-classic The Fifth Element. There’s just… something missing in the magic here, an undercurrent that should be cohesively flowing through it that’s sort of absent, leaving it feeling very episodic and loose. It’s not the heavy CGI that bothered me either, as the effects here are some of the most flat out amazing and well done graphics I’ve ever seen, particularly in a prologue set on a shell beach style planet with avatar natives running about, a stunning way to open the picture. No, it’s something illusory that didn’t ring true, something that was there in Fifth Element and just didn’t make it to the meeting this time around. The story centres on space feds Valerian (Dane DeHaan, who I just can’t help but be annoyed by in anything I see him in) and Lauraline (Cara Delevigne), hunting through the universe for a treasured artifact from aforementioned shell beach planet, mainly focusing on a manufactured megastructure housing over eight hundred million different species, all clambering over each other in the craziest, most colourful celebration of special effects to come along in a while. Seriously, the wildly varied aliens, gorgeous vistas and chase sequences set in the City are really something to be proud of, and when the film is in action mode, it’s a delight. Story suffers a lot though, with Clive Owen awkwardly hamming his way through a military captain role, John Goodman playing Jabba The Hut, a vague genocide subplot involving the avatar dudes, it all happens dimly and is hard to get a grasp on from scene to scene. Also, the writing for Lauraline and Valerian’s suuuuccckkkks. It’s meant to be adorable, glib romantic back and forth, yet just feels clipped, unnatural and stale. DeHaan drones on with it, and doesn’t ever feel at home in the role unless he’s doing stunts that don’t involve dialogue. Delevigne fares better and seems to really be having fun with her role, stealing the show from under Valerian’s nose. The best acting work of the film, shockingly, comes briefly from Rihanna as a shapeshifter thing called Bubble with an affinity for dancing and a hopeless romantic’s heart. Ethan Hawke is also there as some kind of zany cowboy pimp, an energy that’s a far cry away from his usual stone-faced intensity. Watch for the quickest ever cameo from an under-utilized Rutger Hauer, so fleeting that if you’re even a minute late to the theatre you won’t have a clue he’s in it. I did enjoy lots with this one, including a romp through the dining hall of a gluttonous alien race that resemble Harry Potter trolls, a fantastic extended action set piece in a sprawling bazaar market that overlaps into multiple dimensions, providing clever shortcuts, escapes and pratfalls for all involved, and the rich detail in costume design as Valerian travels through Rihanna’s section of the City, not to mention top drawer special effects all about the film. It just didn’t have the heart or connective tissue to make all these elements stick or resonate though, like a shattered mirror whose pieces are off lost somewhere. I found myself wanting to pop in my Fifth Element DVD multiple times, for there the story provoked emotion and made you deeply care for it’s two intrepid protagonists and their romance, whereas here it just feels a bit lifeless and forced, with an overarching narrative that needed way, way more fleshing out to really work or go somewhere. Next time, Luc.

-Nate Hill

Fun, and in every sense civilized: An Interview with Charlie Haas by Kent Hill

November 9, 2017 by Kent Hill, posted in Interviews

Charlie Haas began his life with no thought of working in film. He was interested in fiction and journalism until, that is, at UC, Santa Cruz he started attending a film history class taught by his future collaborator Tim Hunter.

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1978 comes around, and their first collaborative effort, Over the Edge, is sold. It is highly unusual for a first time screenwriter to have his early work produced, but that was what happened. After that it was a rise and rise. A young Matt Dillon would go on the star in Hunter and Haas’s next film Tex, and while hanging around at Disney, Charlie found himself doing an unaccredited dialogue polish on, the now cult classic, Tron.

Two other favorite films of mine were penned completely by Charlie Haas. Gremlins 2: The New Batch and Matinee. Both of course were directed by Joe Dante, a famously collaboratively-generous filmmaker. Charlie’s experiences were similar to those had by Eric Luke (whom I’ve chatted with before) who spoke fondly of his Dante adventure on Explorers. Gremlins 2 was a free-for-all kind of sequel. The studio wanted it and so Joe and Charlie were given quite a lot of rope creatively. Meanwhile Matinee is sadly an unsung delight that surprisingly few people I talk to have seen. If you are one of these people, hopefully listening to this may prompt you to check it out, and, if you’re a fan and you haven’t seen it in a while, well, now might be a good time to rediscover this lost little gem of a movie.

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Charlie Haas is a true gentleman and it was great to finally shoot the breeze as they say. Though he is not in the industry anymore he is far from unproductive. He has been writing novels, which I shall post the links to below, so check those out.

Whether you have encountered his writing in print or on screen, please now take the time if you will to encounter the man behind the words, the great, Charlie Haas.

https://www.amazon.com/What-Color-Your-Parody-Charlie/dp/0843107960/ref=sr_1_5?s=books&ie=UTF8&qid=1510213067&sr=1-5&keywords=charlie+haas

Gregory Hoblit’s Fallen

September 28, 2017 by natewatchescoolmovies, posted in Film Review

A demon angel. A Badass Denzel Washington. Tony Soprano singing the Rolling Stones. Creeping psychological dread. Browned, burnished production design. A deliciously mean spirited, ballsy twist ending. All this and more can be found in Gregory Hoblit’s Fallen, an atmospheric spook-house of a flick that gets tone, fright and suspense just right. Nestled in that sweet spot of the 90’s where detective stories often had a neat supernatural twist (The Prophecy is another dope one), it’s a film that demonstrates the power of storytelling and atmosphere done right, like a campfire tale that cops tell their youngsters. Denzel is Hobbs, a detective who oversees the graphic execution of serial killer Edgar Reese (Elias Koteas, terror incarnate), a monster he once caught. Case closed, right? Not so much. Soon after he kicks the bucket, one or more copycat killers show up, and once again the crimes happen under Hobb’s watch. Coincidence? Paranormal? It’s a neat, eerie game of cat and mouse with an antagonist who possesses a few unearthly methods of skulking around in the dark. Hobbs is helped by his two colleagues, salt of the earth John Goodman and hothead James Gandolfini, bumps heads with the obstinate police captain (Donald Sutherland), and runs into his foe at every turn, each time in a new vessel which gives the actors, right down to extras, an opportunity to have some devilish fun. Embeth Davidz is her usual withdrawn self as a woman with ties to the killer’s past, and watch for Robert Joy and Gabriel Casseus as well. Composer Dun Tan’s unearthly drone of a score compliments the drab shadows, oppressive nocturnes and threatening frames of the film eerily as well, creating a mood-scape that drips ambience. The end is an acidic kick in the nuts, and I admire a film that has the stones to chuck in such a shock tactic, embracing the dread that has been built up to that point with one last sardonic, hopeless cackle. Film noir to it’s roots, subtly mystical, a perfect one to settle down with as we move into the Halloween season.

-Nate Hill

Atomic Blonde

September 4, 2017 by natewatchescoolmovies, posted in Film Review

Atomic Blonde is the annual adrenaline shot the action genre gets every year, if we’re lucky. Amidst carbon copy superhero extravaganzas, increasingly ridiculous Fast/Furious hemorrhages and head scratching animation ventures, the multiplex is a frustrating realm these days, but sometimes we are blessed with a good old fashioned hard-R action blitzkrieg that turns out to be a pure banger, lighting up the summer movie roster like neon fireworks. Blonde rides the wake that John Wick left behind, a refreshing, stylistic, no-holds-barred form of action storytelling that cheerfully pisses in the face of all things glossy and PG-13. Set in a frenzied Berlin days before the wall comes down and the Cold War freezes over, Charlize Theron is a breathtakingly sexy super spy with a very particular set of skills and a borderline nihilistic approach to espionage, as well as a massive bone to pick with certain factions of the enemy, who stay fairly hidden until the wicked chess game of a plot rounds it’s final curves. Tasked by a sneaky British intelligence honcho (Toby Jones) and a mysterious CIA Agent (John Goodman, excellent as always) she’s caught between all kinds of warring assets including the KGB, roaming German euro trash punks and a British rogue agent (James Macavoy) playing all sides at once. The plot serves action, to be sure, but it still takes itself seriously amidst all the punches, flying kicks, icepicks to the jugular and careening vehicular destruction. Theron is a primal piston of wanton violence and slinky sexual virility, throwing herself headlong into every action sequence with the kind of reckless abandon that makes you believe those bruises for real (apparently she busted a few ribs for real filming this, the absolute champ). The highlight is a bone shattering one take wonder of a staircase fight, a hapless Eddie Marsan bandaging a bullet wound with swaths of duck tape while Theron furiously dispatches several enemies using any means within arms reach, a spectacle that leads to glorious cringes once the hits get hard and critical and sharp objects start getting close to eyeballs and major organs. The soundtrack must be noted too, the filmmakers employing nostalgic melodies straight out of the 80’s to evoke time and place nicely, with everything from Nina’s 99 Luftballoons to The Clash’s London Calling and Queen’s Under Pressure coming into play. There’s also pretty much the hottest movie sex scene I’ve seen in years, as Theron and a bombshell of a French agent (Sofia Boutella) get slippery under the sheets in a neon soaked Berlin hotel room. This is an action film made by folks who are head over heels in love with the genre, and the passion shows. We never feel cheated, chaperoned or short changed, every ounce of this piece charged up to please the crowd and keep pulses thundering.

-Nate Hill

WRONG: DULL ISLAND

March 23, 2017 by Kent Hill, posted in Film Review

He’s bigger, he’s better and he’s back. He’s King Kong, and this time he is not going to be dragged off Skull Island and taken back to civilization to be paraded around till he takes exception to being someone’s meal ticket, breaks loose his chains and starts a city smashing rampage which ends with a barrage of bullets and a long fall to the asphalt below.

No folks, this time round Kong, now the size of a mountain, is hanging out and keeping the peace on his island. That is until and group of curious humans, led by an alleged Bear Grylls, Tom Hiddleston, Oscar winner Brie Larson who shifts between looking wide-eyed at things and taking photos, John Goodman who knows the truth is out there and Samuel L. Jackson. When you absolutely, positively have to kill every monkey in the room – accept no substitute. This group headlines a cast of who-gives-a-shit characters on a trip to Skull Island where everything is big. Even the ants apparently, but that’s a set piece too far.

The journey to the island is mandatory – montage and music stuff. Then we break through the perpetual storm clouds and have ourselves a bit of an Avatar moment as the crew marvel at the grandeur and beauty of this lost wilderness. Then Kong shows up and goes apeshit. He smashes up the Apocalypse Now homage and then walks off to enjoy a little calamari, ’cause they just don’t make bananas that big. So, with the cast all over the place, Tom and snap-happy Brie and their group are headed from the rendezvous point, Sam and John and that guy who played Private Wilson in Tigerland, plus the other soldiers are off to get some more guns to aid in Sam’s desire to turn the King into fried funky monkey meat.

There’s a giant spider that should make Jon Peters happy. There’s the Watcher in the Water moment. The Soldier who writes to his son bites it, or gets bitten by something unusual, but we don’t get the exposition till we meet up with John C. Reilly looking like his character Gershon Gruen from The Extra Man, minus the collection of souvenirs and the no-testicle high voice. This guy though gives the film a pulse. Oh, and he was the pilot from the beginning, SPOILER! He’s been hanging out on the island with the tribe that speech forgot, waiting to come in and add some much needed comic relief. Turns out there are huge nasties that you can call whatever you want under the ground that Kong has kept from emerging to prominence and getting there own spin-off movie.

This task used to be in the hands of more Kongs, but there is a ‘big one’ of these things that lay waste to them. Now Kong is the only one left who can keep cool, sit tight and keep the creatures in there holes. Of course this film falls into the cash-cow category. They brought back Godzilla, now they make a Kong that’s to scale, in order for the pair to have a decent scrap. But sadly it is a joyless ride. Predictable, laughable, with (and I’m quoting a prior review I’ve read) cardboard cut-out characters that are simply there to fill in the time between Kong and his monster-bashing bits. Heck my son started talking at least 45 minutes out from the end. This tells me that he is board out of his mind and I was with him. But I tried to hang on. I did not fall asleep like I did after the first fifteen minutes of the Conan remake. I have since completely avoided the try-again versions of Clash of the Titans, RoboCop, Ben Hur, Point Break, Total Recall as so on and so forth.

There is a line from James Ivory’s Surviving Picasso in which Anthony Hopkins, as the title character, refers to the methods of artists who have found fame and fortune. He says they make themselves little cake-molds and bake cakes, one after the other, all the same. He then stresses to Natascha McElhone’s Francoise, not to become your own connoisseur. This is extremely relevant and typical of the modern Hollywood. There is little to no attempt at originality, and if there is, it takes place within a film that fits into the friendly confines of a pre-branded property.

But the big ape lives and walks off into the center of his jungle home. He survives his encounter with dim-witted humanity, only to go off and fortify himself for the coming sequels and, quick note on cinematography, Larry Fong gets to send a love letter to his buddy Zack Snyder with a little samurai sword in green smoke action. We have reached that point in the history of the movies dear readers, in which the dead horse has been flogged so often that they have been whipping the bones. Soon all that will be left is the dust of said bones under foot. What are we to expect then? I’m reminded of one of Kevin Costner’s lines from his summation speech in JFK, “perhaps it will become a generational thing.” Ten years goes by and it’ll be, “Well, time to drag a King Kong movie out again.”

Sam Jackson buys the farm much like he does in Deep Blue Sea, swiftly and unexpected, at least for him. I’m starting to believe Hollywood is looking at us the same way. Here we stand, full of confidence, about to witness triumph in whatever form it may appear. Then it becomes like the lead up to the first ever screening of the Phantom Menace. The audience was cheering, poised, ready for the planets to align in complete and utter harmony. The Fox logo. The Lucasfilm logo. A long time ago, in a galaxy far far away. Star Wars. If you watch the documentary The People Vs. George Lucas, one interviewees describes this as perhaps one the greatest moments in cinema history, then, then the film started.

I think it is a frequent occurrence today. There is so much pomp and pageantry surrounding these tent-pole movies that more often than not bad, because to achieve the same level as the hype generated is near impossible. Mind you, there are a few that defy this convention but they are few and far between.

So my favorite Kong is still the one I grew up with, the John Guillermin 1976 version.

People tell me they hate that one too. But to each his own. Kong will most likely be back in a decade after this lot. He’ll be half the size of the planet, ripped and ready to rumble against the Independence Day giant aliens when they decide to return to the best place in the universe, Planet Earth: home and the re-imagination of the adaptation of the sequel of the remake.

He’ll take a huge crap in his mighty hand and fling it at them. Oh if only…

The Dude in the Audience