The Mountain Between Us (2017)

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Every once in a while you stumble upon something that makes you fall in love all over again, with that irresistible magic that first sparked your passion. Every movie lover can trace their journey back a few years, or possibly decades, to the moment that they first realised movie magic existed. I honestly never thought that Idris Elba and Kate Winslet would take me there, back to that dim little movie theatre on the corner of James and Robertson Street. Looking back now, I realise this is probably a movie I enjoyed a lot more than I “should have” (because in reality The Mountain Between Us has almost altogether flopped,) but I at least hope you can agree that there is nothing not to love about Elba and Winslet on a snowy mountain, battling for survival in what is almost an adventurous romance.

Kate Winslet is the free-spirited Alex, a photojournalist eagerly awaiting her wedding the following morning, while Idris Elba is the straight-laced Ben, a brain surgeon who must desperately operate on a dying 10 year old boy interstate. An impending storm has stranded them both at Salt Lake City Airport, with little choice but to wait out until the morning. With everything at stake, the pair persuade a local charter pilot to fly them across deadly mountain ranges, with little concern for local aviation or the pilot’s failing personal health. And so it goes, a sudden fatal stroke cascades the plane into the snowy peaks of Utah and we are left to pick up the pieces of their extraordinary battle for survival. I don’t have to fill in the gaps here, as I’m sure your mind is already drifting to the many injuries, hypothermia … or maybe even mountain cougars, you’ll see it all.

Kate Winslet once survived a sinking ship in Titanic, and Idris Elba once thrived on the streets of Baltimore in The Wire. There is no reason why these dynamic actors shouldn’t carry enough dramatic weight between them to elevate a trek through the desolate snow-blanketed mountain ranges. But instead, they find themselves floating somewhere between drama and soap opera. But here I’ll attribute Elba’s surprising awkwardness to his first-ever crack at romantic lead, (p.s. just as you might have hoped he is nothing short of dreamy.) Based on the novel by Charles Martin, and propelled by the screenplay collaboration of Chris Weitz and J. Mills Goodloe, who share a wide scope of successful romance films between them, The Mountain Between Us has all of the mesmerising elements to succeed. Add Palestinian director Hany Abu-Assad, the visionary behind Paradise Now and Omar (a love story, mind you) and there’s no room for fault. But here the once epic vision fails and instead the beautiful mountains begin to look more like molehills.

Right – but coming back to my dramatic spiel in the beginning. For a reason unbeknown to me, I was enveloped in the charasmatic charm, mystery, drama and unfolding romance, so much so I almost shed a happy tear. The film may have altogether tumbled and it might have been dramatically corny, but my romantic soft spot overcame. So if you’re weighing up whether to watch this one, you need to first consider the pros and cons for yourself in order to really derive a solution. If you read this review and at any moment in time you felt compelled to throw up, I am inclined to tell you that this is definitely not a movie I would recommend for you. It’s so bad that it’s really good!

Here’s what the professional critics had to say … ‘This romantic drama is most compelling as a mild story of survival adventure. Contemporary romances often stumble over the first hurdle: Their dramatic obstacle.’ – Michael Ordona, Common Sense Media or ‘A perfect title for a movie in which neither the subzero temperature nor the romantic heat penetrates more than skin deep.’ – Peter Debruge, Variety

IMDb – 6.2  Rotten Tomatoes – 43%

★★★☆☆

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Kong: Skull Island (2017)

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All monster films fall into two kinds of categories – one that takes its time to reveal the monster and one that shows you the monster straight away. The star of this show is front and center for the entire 118 minute running time. We’re all accustomed to the mighty King Kong from Merian Coopers’ 1933 original all the way to 2005’s Jack Black reboot, there are just way too many spiels to list. But you’ll be happy to know this remake is engaging, mesmerising and Tom Hiddleston (I’m sold).

Jordan Vogt-Roberts’ reset of the Kong legend returns to 1973, as the last American troops are pulling out of Vietnam. Colonel Packard, played by Samuel L. Jackson (I’m sold sold), is reluctant to leave the battlefield, suspended in an existential crisis as the war draws to a close. Packard’s right-hand man Chapman, Toby Kebbell, looks forward to returning home to his son, as do all of the other helicopter squadron members do. But on the other side of the world, Government representative John Goodman relentlessly pursues a hollow-earth theory expedition on Skull Island. A land mass perpetually overcast by violent storms, there is no limit to what could be discovered. He hires James Conrad, Tom Hiddleston, to be the skilled tracker on the mission to chronicle any findings, and piggybacks on the helicopter squadron to discover monsters, bombs and a grizzly John C. Reilly (Step Brothers).

Vogt-Roberts and the film’s screenwriting trio play out the occasionally troubling conflicts of Vietnam on the backdrop of a panicked survival group attempting to escape a forbidden island. The period setting throughout Skull Island is based on an appealing soundtrack by the stooges and Jefferson Airplane, but the updated man-vs-beast conflict of previous King Kong tales roots in the blood-soaked anxiety of war. The cycle of war is astonishing, and superbly written – unlike anything you’ve seen in any other King Kong film. The island is richly bathed in colour of both natural and post-production, but this unique style sets it apart from any modern re-imagining. Designs are impressive, creations are emotive and breathtaking … it’s showy … but it works.

Skull Island takes on the role of mixing in memorable actors in even the smallest parts of the film. Few of the characters are built upon more than an introduction or a rapid-survival failure. John C. Reilly is particularly spot-on, with a mix of mania and sorrow, in the middle of an extravagant tale of monsters. Goodman is a selfish deadpan, Jackson derails with his eyes fuming with rage and Larson delivers a kind of kindness and compassion that causes Hiddleston to run around in gas masks for her. The cast is sensational really, and in my opinion a great combination for an epic spiel like this one.

Perhaps the most satisfying part of Kong comes after you’re done reeling from the fun of the film. This definitely won’t be the last we see of this fantastic ape, but it’s the kind of messy enjoyable throwback that will leave you wanting more.

★★★☆☆

Imdb – 7.1/10  Rotten Tomatoes – 79%