6 UNDERGROUND

Ryan Reynolds     Melanie Laurent     Manuel Garcia-Rulfo     Adria Arjona     Corey Hawkins

Dave Franco     Ben Hardy

     Six characters so closeted, when someone says, “Who are you?” the answer is, “No one.” They like to see themselves as “ghosts.”  Number One (Reynolds) (they use numbers, rather than names) who essentially functions as the leader (and founder, perhaps) has strict principles to live by, which precludes forming attachments, having cell phones, or leaving any digital trace of their footprints.  (This code is bandied about from time to time, with some squirming against it, and some openly questioning it; but One always defends it.)  They’re a “Delta” force doing risky, undercover work; but unlike the Navy Seals, for instance, they are not attached to a government.  It’s part of their creed that they take orders from no one and make their decisions to take action all on their own (vigilantes).  This also means that things like “due process” and written laws of justice are not a part of their value system.  They do believe that if they see broad social injustice—such as a despotic leader exploiting his people—they have a right/duty to intervene through whatever means it takes.

     This system presents a wondrous opportunity for filmmakers (Michael Bay, director) to devise a point-by-point account of the group’s derring-do against a backdrop of luxurious settings (e.g., Florence Italy and Hong Kong), on gigantic yachts, in elegant hotels, and so on.  It’s like a James Bond film, but here you have six/seven heroes/heroines to gaze upon.  Likewise, it’s an opportunity for a macho extravaganza of destruction.  (Thank goodness, they spared Michaelangelo’s David sculpture in Florence!)  It’s the cinematographer’s (Bojan Bazelli) job to show off the visual elegance of these scenes, accompanied by Lorne Balfe’s reverberating score.

     6 Underground is a libertarian’s wet dream about heroic acts being achieved outside the strictures of authority and government.  It’s likewise a video-game-like lavish display of machismo—executed by women (thank you very much!) as well as men.  I do appreciate females being portrayed with as much authority as the males. And it even shows their superiority at times when two males can’t keep from fighting like little boys.

     As in many action films, 6 Underground is heavy on the car chases and heroics at the expense of story and character development. Maybe this was meant to be more tongue-in-cheek than I got, but, to me, Ryan Reynolds did not fit with the hard-edged character he was meant to be.  Just to look at him physically, is to see a nice and gentle guy who could pull off Deadpool beautifully.  I think a more sharp-edged—going toward the cynical—look in the actor would be more apropos in this case.

     I can say that on the one hand, 6 Underground is entertaining in places and has unexpected elements, and I always like to see the evil man get his due.  On the other hand, envisioning a vigilante force outside of law exerting its judgment (including killing) without benefit of a lawful trial makes me uneasy.  I’m also against the wanton destruction shown during much of the film, especially when cars are careening every which way and bashing into other cars, buildings, and historical sites along the streets in Florence and elsewhere. These scenes become tediously repetitious.

     Aside from Reynolds—who I think was miscast, although he is a good actor—Melanie Laurent, Manuel Garcia-Rulfo, Ben Hardy, Corey Hawkins, Adria Arjona and Dave Franco enrich the plot and inhabit their characters well, especially Laurent, Hardy, Hawkins, and Garcia-Rulfo.  

If you’re up to a video-game kind of movie, this will please you.  But if you have a problem with vigilantism and absurd car chases, find another film to watch.

Grade:  D+                                    By Donna R. Copeland

KONG: SKULL ISLAND

Tom Hiddleston   Samuel L. Jackson   Brie Larson   John C. Reilly   John Goodman   Richard Jenkins   Corey Hawkins

       This movie begs the question of why it was made at all.  The story of King Kong has appeared in various media since 1933, when the original film King Kong appeared.  In addition to remakes in 1970 and 2005, there have been countless take-offs of some kind or other ever since.  This tale is not much different from most—a feared, gigantic monster turns out to have a heart after all.  Perhaps it is related to the age-old mythological theme of something that we have feared turns out to be something we treasure.  At any rate, the film also shows very clearly the destructiveness of invading lands that belong to others without even learning something about them before blustering in with guns a-blazing.  This part of the film really hurts those of us who don’t feel entitled to have full rein on the rest of the world.

      Kong casts aspersions on science in the form of Bill Randa (Goodman) who has learned of a hitherto unexplored island in the south Pacific where whole ships and their crew have disappeared.  Now, he presents his proposal for a scientific expedition to his Congressman (Jenkins) who “owes” him.  He sells it with the potential of discovering geological and other information that scientists know nothing about.  In truth, his motives are not so pristine.

       He is granted the funds to go, with—oh, by the way—a military escort.  The war is just ending in Viet Nam, and one character at least, Packard (Jackson), is wondering what on earth he is going to do without a war.  He is only too happy to lead the military escort.  “Thank you”, he says at the end of the phone conversation engaging him in a rather dangerous mission.  He has more than enough hubris to be confident he can take on anything.  The team does have the foresight to recruit an experienced tracker in the wild, James Conrad (Hiddleston), who should be able to get them out of threatening situations.  Because the movie needs a woman, a wartime photographer, [cleverly misleading name of Mason Weaver (Larson)] has applied and is given permission to go along.

       Of course, you know they encounter Kong, King of Skull Island, now 328 feet tall, who snatches helicopters out of the air like they were toys.  But note that this is after the “scientists” have dropped bombs into the terrain to ascertain its makeup.  Not only does this bring out Kong, who is trying to protect his island, but other much more sinister creatures.

Cinematography (Larry Fong) and special effects are impressive, but scenes of fighting with the monsters go on far too long, with too many characters rapidly flitting on and off the screen to keep track of.   Director Jordan Vogt-Roberts and editor Richard Pearson could have easily trimmed the two-hour production and/or focused on more character development.  Back-stories of the main characters would help us care more about them and understand their motivations for what they do.

       We do get that for John C. Reilly, a consummate actor for oddball characters.  His story is interesting and (mostly) plausible, and the way he relates to the native humans and animals is interesting as well as admirable.  The roles of Samuel L. Jackson, Tom Hiddleston, and Brie Larson are familiar and ones they do very well.  Jackson is a hardheaded military man with a black-and-white view of the world and people.  Hiddleston is a quiet, modest hero with considerable clout.  Larson acts bravely and speaks out for a feminine point of view in a testosterone-laden story.

If you never tire of the oft-repeated King Kong story, then this one is for you.

Grade:  C-                                    By Donna R. Copeland