Terminator: Dark Fate (2019)

Terminator: Dark Fate (Dir: Tim Miller, 2019).

Terminator: Dark Fate does its best to refresh a tired franchise after the last 3 series' entries were met with disappointment. As such we are advised to forget those, as this 6th movie reboots the series continuing where Terminator 2: Judgment Day (James Cameron, 1991) left off. 

Taking place 25 years after the events of Terminator 2, Dark Fate sees the return of original movie's hero Sarah Conner (Linda Hamilton). Teaming up with time travelling augmented human Grace (Mackenzie Davis), the pair are tasked with protecting Dani (Natalia Reyes) a young woman who is the target of REV-9 (Gabriel Luna), a Terminator sent from the future to kill her. The threesome eventually team up with Conner's old foe the T-800 model Terminator (Arnold Schwarzenegger), now 'living' in a secluded woodland retreat. Reality kinda takes a back seat as the four battle the seemingly indestructible Rev-9, intent on succeeding in its mission. 

The ending of the original The Terminator (James Cameron, 1984) suggested that any sequel would continue the saga of Sarah Conner. However, such was the impact made by Mr Schwarzenegger that any further Terminator movie would centre on the Terminator himself (itself?). Sarah’s story was told on TV in The Sarah Conner Chronicles (2008-2009) but it is nice to finally see her character receive the big screen outing she was previously denied. 

Based on a story by series creator James Cameron, fans of The Terminator franchise are on pretty safe ground with this latest movie, which sees the series finally back on track. It is less goofy than the entertaining nonsense of Terminator 3: Rise of the Machines (Jonathan Mostow, 2003) yet with enough of the humour missing from the rather dry Terminator Salvation (McG, 2009). Spectacular special effects and high octane action sequences are present and correct. The pace barely waivers and an early car chase is so impressive that the remainder of the movie has a hard time topping it. An extended climax somewhat stretches believability but, ultimately, Dark Fate is one of the more satisfying sci-fi actioners of recent years and a good addition to the series.

Performances are strong throughout. Those expecting a top lining Arnie may be a little disappointed; his screen-time is less than some publicity may have lead you to expect. Yet, serious minded female centred action movies are still a rarity and the three-hander between its leads lends this a welcome and distinctly different flavour to most action flicks. 

Despite its good points Dark Fate has been greeted with a lukewarm box office. Possibly the decision to market it a sequel to Terminator 2 has alienated younger audiences or, more likely, sequel/re-make/re-boot fatigue has set in. If this is the last we see of Terminator then at least the series has gone out on a high. I suspect this movie might find more appreciation in the home market and could well mean the series will "be back" at some point in the future.

Midway (2019)

Midway (Dir: Roland Emmerich, 2019).

The events of this true life WWII campaign were previously filmed as the similarly titled Midway aka Battle of Midway (Jack Smight, 1976). Not having seen the earlier account, I will not make comparisons between the two movies. 

Midway begins with the events surrounding the attack on Pearl Harbor and chronicle the subsequent naval battle of the Pacific. Best known for directing big budget sci-fi blockbusters Stargate (1994) and Independence Day (1996), Roland Emmerich may seem an unlikely choice to helm a serious wartime drama. Midway, however, was pet project for Emmerich, one that he has fought to bring to the screen for many years. 

Thankfully he tells the story straight. Certainly the special effects spectacle one expects from Emmerich is here, as are the breathtaking action sequences. Yet these scenes are broken by the necessary detailing of the campaign. This pacing allows the action to breath and helps the movie be more than just an exercise in visual effects. 

An fairly star-studded line-up was assembled for the movie, including Ed Skrein, Patrick Wilson, Luke Evans, Nick Jonas, Woody Harrelson, Dennis Quaid and Mandy Moore. As is often the case with these kind of movies, the actors are somewhat overshadowed by the spectacle. Although in fairness, the quality cast give solid performances throughout.

Midway is a decent movie, although one that, perhaps, brings nothing new to the war movie genre. A sense of the familiar is not necessarily a bad thing in a period movie but it’s underperformance at the box office suggests that old fashioned WWII features are a difficult sell to modern moviegoers, even with the presence of a Jonas Brother! That said, I did enjoy it. It is a worthy story, told in an impressively mounted and entertaining manner. If you want to watch it, it is worth catching its on the big screen where it spectacle can be fully appreciated. 

Mighty Joe Young (1949)

Mighty Joe Young (Dir: Ernest B Schoedsack, 1949).

16 years after scoring a massive hit with fantasy epic King Kong (Merian C Cooper & Ernest B Schoedsack, 1933), RKO Radio Pictures resurrected the mega-ape genre with Mighty Joe Young. Returning are Kong producers and directors Ernest B Schoedsack and Merian C Cooper and star Robert Armstrong. But this is no sequel to King Kong and its follow-up Son of Kong (Ernest B Schoedsack, 1933). Rather, Mighty Joe Young is something of a cousin of Kong or, if you will, a spiritual sequel. It certainly does a better joy of replicating the spectacle of the original movie than Son of Kong. 

Joe is a massive gorilla (not as big as Kong, but still pretty hefty) raised by young Jill Young (Terry Moore) in his African home since a baby. Persuaded by showman Max O’Hara (Robert Armstrong) and his buddy Gregg (Ben Johnson) to accompany them to the US, Max employs Jill and Joe as star attraction at his California nightclub. As is often the case with exhibiting giant gorillas (or, indeed, dinosaurs), things do not go to plan. Otherwise gentle Joe is taunted by drunks to the point where he wrecks the joint. With Joe subsequently imprisoned, Jill, Gregg and Max plot a daring rescue attempt to free the gorilla and return him to Africa. 

Of the human cast, Terry Moore and Ben Johnson make for attractive leads, Moore is particularly touching in her scenes with Joe. Robert Armstrong is effective in a similar role to that of King Kong with a welcome comic sidekick in Frank McHugh. The quality cast undoubtedly adds to the enjoyment of Mighty Joe Young, but let’s be honest, none of us are really here for the actors. 

Shot in black and white with dramatic use of colour filters, Mighty Joe Young is a visual treat. King Kong’s Willis O’Brien and assistant Ray Harryhausen handle the outstanding special effects which elaborate upon the techniques perfected in Kong. Joe is brought to life by beautiful stop motion animation and the interaction between him and his human counterparts is astonishing! A scene where Joe wrestles live action/animated lions is particularly impressive as is the dramatic climax in which Joe rescues children from a burning orphanage. 

While it did not have the same impact as the original King Kong, Mighty Joe Young is an impressive movie in its own right with much to recommend it. It is undoubtedly more sentimental than Kong but it is still a thoroughly entertaining feature; well paced, with plenty of humour amidst the thrills and some of the most spectacular visual effects committed to celluloid. Fans of King Kong not familiar with Mighty Joe Young would do well to check out this fantasy classic! 

The Son of Kong (1933)

The Son of Kong (Dir: Ernest B Schoedsack, 1933). 

How would the makers of Son of Kong manage to top the groundbreaking, blockbuster original King Kong(Merian C Cooper & Ernest Schoedsack, 1933)? Short answer: they wouldn’t. But neither did they try. Ernest Schoedsack returns as producer/director but Merian C Cooper, his collaborator on the first movie, bowed out when RKO slashed the budget. Scriptwriter Ruth Rose also returns, as do cast members Robert Armstrong as Denham and Victor Wong as Charlie the Cook. 

A month after the disastrous events of the first movie, beleaguered showman and moviemaker Carl Denham escapes his creditors by chartering a ship to Kong's Skull Island, in search of mythical hidden treasure. Joined by an animal trainer cum singer (Helen Mack) and shady ships' captain (Frank Reicher) and faithful cook Charlie, the gang are cast overboard by a mutinous crew and arrive on the island via rowboat. After a hostile encounter with the native islanders they encounter the ape sinking into quicksand. Denham and the singer (unnamed in the movie but referred to as Hilda in the credits) rescue pint-sized Kong who then befriends the pair as they battle a cave bear and brave a massive earthquake in their search for riches. 

Although this movie lacks the grandiose special effects set pieces of the original King Kong, Kong Jr is still an impressive beast. There are certainly some effective sequences, such as baby Kong wrestling with dinos like his old man before him. The climactic earthquake also offers plenty of thrills. However budget and time constraints - Son of Kong was released a mere nine months after King Kong - means that the spectacle is on a distinctly smaller scale this time around. 

Smaller than his pa at 12 foot, as opposed to Kong’s 20ish foot, Kong Jr is also more anthropomorphised than his father. The stop motion ape is, once again, beautifully animated by special effects genius Willis O’Brien. Yet with more human like expressions he is less menacing than his dad, but likewise less sympathetic. This ups the comedic aspect but ultimately makes for a less awe-inspiring beast and somewhat hampers any dramatic aspects of the movie. In fact, apart from the tragedy that befalls one character, Son of Kong adopts a much lighter, more comic tone than its predecessor. As a result the movie is, sadly, less impressive, less poignant and less engaging than the original King Kong. But it is by no means the disaster it was initially perceived to be. 

A major disappointment in its day, the years have been kind to Son of Kong. Its special effects are still superlative; the performances are strong and at barely 70 minutes it doesn’t outstay its welcome. While seen as a minor footnote to its mighty predecessor it is certainly not the worst movie of the Kong franchise. Lower your expectations (slightly) and you will find The Son of Kong a highly entertaining time waster. 

Related reviews: 

King Kong (1933): 

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