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Wicked Little Letters (2023)
A women's film, but watchable
Parental Advisory. It really gets down to business here, a tough choice of words spoken or read out loud. And that's where the fun begins, this contrast to the setting of the good English seaside town in the 1920s. But there is also a serious background, or several: Prejudice, family and social pressures, equality, emancipation. All of this is based on true events and the cast is excellent throughout. Of course, the plot is predictable from minute ten, but the entertaining and humorous staging, as well as the great performances of the actors, make the film a great Sunday afternoon programme. But without children!
The Watchers (2024)
A bloated debut with lots of holes
Normally with a Shyamalan film, it becomes quite nonsensical at the end. In this half film, unfortunately, it's already 20 minutes in, and not only that, it's even more nonsensical. The same applies to the performance of all of Dakota Fanning's co-stars. You don't feel like you're in a magical forest, but rather in a sanatorium. Okay, that's probably meant to reflect the mental state of the prisoners of this secret power. However, I too was trapped in a meaningless, uninteresting, unexciting nothingness. Even the question of who or what didn't really get through to me, and that's just a weakness of the production. The self-proclaimed surprise - I don't even want to talk about a twist here - was also rather lame. An annoying film? No, one that simply doesn't trigger anything. Another thing about the basic classification: I would call this a mystery thriller, not so much a horror film. It's also Shyamalan style. Visually, everything was perfectly fine, apparently the budget was disproportionately high for a first film.
IF (2024)
If you have friends like this, ....
John Krasinski, from Hollywood-made to Hollywood-making. A man like from one of his scripts, written with lard on thin parchment paper. A henchman who presumably does or can do exactly what the omniscient superiors, a hodgepodge of calculation, free of any creative vision, like to see. But is that what the viewer wants? Never mind, consume and shut up. This kitsch is exactly what the modern-day foundation of the American film industry is made of, which is supposed to liven up the dull everyday life of the dull masses. Or is this "warm-hearted drama" with a running time of almost two hours supposed to be for children? There's a lot to be made in the family film category. The piano droning (in the "big moments" blown up to orchestral proportions), the irrelevant choice of words, the simple-minded characters, the sweet and sour plot. Why? All of this is served up here without that certain something, the necessary substance, perhaps even honesty, those not-so-secret components that stand the test of time. No, a far cry from the emotional fantasy blockbuster, a far cry from Spielberg or Lukas.
Plus the cast. Ryan Reynolds is now the definition of typecasting, his miscasting is brimming with inappropriate sarcasm, with him presumably not just acted but lived. There are his roles, that is one, but this one is not.
As already asked, a family film? I'm part of one, but probably not the target audience anyway. It better not be my children either, this film doesn't affect them, or rather disturbs them, i.e. The weird "ifs", rather than conveying the famous message. One that consists only of calendar sayings and beer mat wisdom. A drawing board work. Emphasising work, i.e. Not created artistically or via passion.
Beverly Hills Cop: Axel F (2024)
Back with a bang
If you're not constantly reading the relevant gazettes, the latest sequel comes relatively out of the blue. After the dull Zamunda rehash, expectations are naturally relatively low. Anyway, film off and a first aha: this is what the late 80s / early 90s looked like (well). The first familiar faces. All people are the same, yawn, and all the actors have of course aged incredibly over the last 30 years, except for the man with the black genes. So in this respect, the next cosy nostalgia factor. More of this, et voila! Original score on a continuous loop, an obviously motivated Eddie Murphy, a refreshing new buddy team in the form of his (role) daughter and Joseph Gordon-Levitt, a high gag density with a pleasant hit rate, plenty of action that keeps the pace high. Spirit, the magic word. In most cases it can't be reproduced, but here it can be felt in every minute. It's a shame, unfortunately it wasn't enough for an exciting screenplay, but if a Bad Boys makes it there, this film undoubtedly belongs in the cinema. If you liked the first two parts, you'll definitely enjoy this film too.
In a Violent Nature (2024)
a small modern classic has probably been created
Firstly, a good approach to rethinking the slasher genre with high artistic standards. In the meantime, it's almost a gift to the fans, given the mostly shamelessly celebrated lack of ideas that goes hand in hand with this low-dimensional and quantitatively overstimulated horror subgenre. Slasher doesn't quite cover it either, or rather the boundaries between zombie, backwoods, camp, splatter and gore are blurred here. In addition to the almost first-person perspective of the killer and some other interesting camera angles, the special sound is particularly striking. No score, apart from a few live radio songs, but natural sounds on Max. The spoken soundtracks are always in the foreground and artificially linked to the images in order to create at least a minimal narrative framework. In addition to the killer view, the viewer is thus better placed in the scenes and an appealing arc of suspense is created. This is important, given the usual linear ten little Negroes principle. But despite the kill-after-kill, final girl and other clichés, the film tries its hand at a certain unpredictability. Some attacks are full-on screen, others are almost off-screen. The unbelievable level of graphic violence also ensures that boredom is a thing of the past. I'm probably understating the case, but be warned, this is absolutely only for the hardcore. I think the labelling arthouse slasher is a little too high, and probably not what the makers were aiming for, but we have such an ambitious work here that, in combination with a high-quality production, a small modern classic has probably been created.
Kommando Leopard (1985)
Especially interesting for German Flick fans
At first glance, it's a neatly produced B-flick, but at second glance it's a name-dropping that will make a fan's heart beat faster, especially the German one. Behind the production Antonio Margheriti, Erwin C. Dietrich, Peter Baumgartner, in front of the camera, and, to name but a few, Klaus Kinski, John Steiner and, of particular interest, the dubbing legends Thomas Danneberg and Manfred Lehmann. Strangely, Danneberg speaks Lewis Collins in the German dubbing and is then spoken by Rainer Brandt himself.
Sure, the high expectations aren't met, when have they ever been with this type of film, but the pace is right, the actors seem motivated and the effects fit. Plenty of bangs and bangs, lots of pyrotechnics and very convincing miniatures. There is a short break in the middle section, where there is action. Commendable, but dangerous territory in terms of the genre. Unfortunately, Kinski doesn't get enough screen time, but he's obviously up for it. After all, the Philippines and Venezuela aren't the worst locations. You can watch it without expectations.)
Trigger Warning (2024)
Jessica Alba fans, take a look
A Netflix film. An action film with a woman in the director's chair. Two years of post-production. A story that's been told a million times before. Just some of the reasons not to watch it. But probably exactly one for a viewing: Jessica Alba. She has looked the same (good) for 25 years and is at least a reasonably solid performer. So, subjective weighting question, I had a tip of the hat in one direction. And what is there to report? As I said, it's all been seen many times before, better, but without question also worse. There is no unique selling point, so to speak, and therefore little reason to exist. The actors are ok, as are the visuals. Hold on. CGI fire! The only major effort in the direction of an action film, otherwise only a manageable amount happens, comes from the hard drive. Weak. The very poor reviews at the start are perhaps not entirely justified, this is genre fare for those who want genre fare. But I can't give it a good review either.
Robot Dreams (2023)
a great film, but you can't allow such a basic premise
I don't like dogs. But that doesn't matter, in this concept animals of all kinds generally slip into human roles, but remain restricted in terms of language. Not a word! So we're in for a long 100 minutes? But there's an even bigger problem, the central theme: it's about loneliness, friendship, separation and affection. Okay, but a robot as a solution? So machines in human roles too. Yes, this is the tenor of 2024, transhumanism, etc., which is alien to creation, but certainly far from a tolerable message. And forever out of touch with reality. After five minutes of running time, there is still a heavy stone on my soul, an unbearably heavy one. A film develops that divides me beyond belief. The dehumanised sequences versus many touching moments. The interplay of the two dominates the film and is primarily beautiful to watch, but objectively and on closer inspection very questionable. The wonderful visuals, drawn, yes, drawn, which must be emphasised once again, are a decisive sleeping sand in the direction of warm-heartedness.
Another little subjective aha moment for me: the setting is New York and it's the 80s. Suddenly, Reagan Youth is blaring out of the run-down back streets.
Wonka (2023)
No Wonka, but ok
It starts with a song. Oh dear. But even before that, the question arises as to who needs this remake. No one really, and that's why it's not a remake - after all, everything has already been said or shown. But apparently not everything has been sung, because it continues at a fast pace. So it's a prequel to the previously known film material, which at least might be interesting instead of rehashed. As usual, Wonka is set in a fantasy world, not Victorian England, as it seems at first. This is shown by the constellation of characters, which seem to be obligatory in 2023, and the magic beyond the previous dimensions. Not a Roald Dahl book, nor a real Roald Dahl adaptation. Willie Wonka has little in common with the literary character, despite all the fantasy about a youthful version. Rather an edgeless, smoothly ironed, indisputable, thus also unmystical. Simply suitable for children, as I said, no Dahl.
Financially, everything has worked out at the box office, so it may soon be Wonka - The Musical in your town too.
Enough ranting, Wonka is doing reasonably well, a magical screen fairy tale, a family film. And the sing-songy behaviour also wears off at the end.
One from the Heart (1981)
more than underrated
Francis Ford Coppola's financial nail in the coffin and the temporary end of his dream of an independent film studio. Yet we really don't have a bad film here, visually even an excellent one. Please watch it on as big a screen as you can - the colours, the play of light and shadow, the lighting in general, the camera work, the montages, the artfully artificial backdrops. To use the word in connection with One From The Heart: art comes from artificial, and the film is a unique work of art. Something completely different to date in Coppola's career, a fairytale-like filmed romance which, despite its bad reputation, has found several (more successful) imitators to this day. Here, the viewer's gaze must not leave the screen for a second, otherwise he will miss an intoxicating shot, a magical illusion. And then there's the fantastic soundtrack by Tom Waits and Crystal Gayle.
So the crux of the matter is the content: a couple, their everyday life, ups and downs, especially downs. The script is usually accused of banality, but isn't the filmed constellation the centre of most lives in the audience? A sad self-confession by the so-called critics. Allowing the emotional worlds in a film to be projected onto oneself is not least a matter of attitude. Our couple is deliberately portrayed by average actors, but I emphasise that they are not average actors. The acting of the actors, all of them, is admittedly deliberately somewhat artificial and reminiscent of theatre, but this is probably part of the basic vision of a studio film and also, in a negative sense, the impersonal communication on set, which Coppola tried to implement here as a new tool. Once again on the subject of overacting - no wonder there are some musical-like sequences, the director wanted to breathe new life into this genre. He received support from his beloved old Hollywood in the form of Gene Kelly. Unfortunately, at the time, the film missed out on the audience on the one hand and on realistic financial planning on the other.
Tiger Claws (1992)
Small scratch, not a big blow
A look at the hard facts in advance, genre, year of release, actors, with the result: what could possibly go wrong? Maybe that it looks like Asia, but it's USA/Canada. However, it soon becomes clear that Hong Kong has more quality to offer, or rather speed and lunacy. And the art of better concealing a lack of budget and acting talent. Tiger Claws is definitely a far cry from Bloodsport or something similar. What is being attempted here: a cop thriller in which a martial arts serial killer is hunted who kills his victims by scratching them. Well, it's as hare-brained as that sounds. What's more, it has few highlights, is not staged particularly quickly and the fight scenes are average at best. Cynthia Rothrock and Jalal Merhi as police buddies lack that certain something. But there's still one reason to watch this film, as you can probably guess: Bolo Yeung. As always, incredible presence and wild, unpredictable acting. Not a man, a weapon.
Sous la Seine (2024)
(shark) fan service
Most shark film fans are pain-free, as long as the supposed killers are on the hunt again and cater to the fears created in 1975. At least mediocre cinematic quality is on offer here, plenty of fan service, i.e. Cross-references to pretty much every animal horror classic, as well as (possibly) a side-swipe at a difficult-to-digest zeitgeist. Probably not the state of the Paris police force, but apparently the headquarters of Generation Z environmental activists, including its stereotypical personnel and fanatical agenda. But the dirty waters of the Seine quickly wash away these rose-coloured ideas and there is a silly, but not too silly, basic premise, as well as, essentially, a pleasantly high body count. The spiral of how a problem becomes a super disaster is really quite entertainingly concocted. With the option of more at the end, i.e. A sequel, if it's commercially viable. In terms of effects, everything is also acceptable, unless the makers perhaps wanted to set their standards a little too high. Good entertainment for a select audience.
Gojira -1.0 (2023)
don't believe the hype, all right, but only a little bit
A fan favourite, so I was positively excited. The beginning was quite good, although I thought I was in Jurassic Park. Then, instead of our T-Rex, there is now a plot. Not an irrelevant one, because the historical reappraisal is essential for the origin of the plot and the country of origin itself. One of the greatest war crimes of all time, the testing of stolen nuclear weapons technology on a living object. Wrong, the deliberate calculation to use an inhumane, unspeakable and inappropriate weapon in order to keep itself as harmless as possible in achieving its imperialist goals. The usual 'liberation' of a country, especially that of influence, previous power structures and foreign currency. This is the historical prehistory and the monster is a metaphor for the same, one with the stars and stripes. Speaking of which, Godzilla is coming back, bigger, more impressive and more destructive. I wonder who is also radiantly to blame for this mutation? As I said, the beast becomes a parable with the one from overseas, which reaches its climax in the bombastic city incineration. What a demolition, what a soundtrack. The much-praised trick technique is really fun, the right intersection of traditional and modern tools. However, there's one but hovering over everything: nationalistic pathos. The excess can be quite unpalatable, but Minus One allows itself to orientate itself on its starting point here too. And a little pride and a sense of unity never hurt, c'mon, poor Germany.
Challengers (2024)
Simply a masterpiece
Wow, Challengers is the visual definition of a modern film. The rhythm of the scenes, the change of pace, the editing, the use of the score, the match camera, the variation of the time line. All of this merges into essentially two core concepts: Energy and aesthetics. And also answers the question of media recommendation. Definitely cinema, even if it doesn't look like it at first glance.
For me, the two protagonists, who tend to be acting nobodies, are the most likeable characters (and excellent actors, by the way), not the superstar Zendaya. However, she is the driving force behind the story and plays more of a femme fatale, emotionless, undercooled and success-orientated. A knife if you act symbiotically with her, a bomb if she slips to the opposite side? Not that, it's not a film noir after all. But a woman next to whom there is really no room, a great time with her will sooner or later be paid for with even greater pain. If the task is to function, it becomes the downfall that the other person is not understood, cannot be understood.
The screenplay is fantastic, the aforementioned pieces of the puzzle from different time periods come together perfectly to form a coherent story, simply a masterpiece. The escalation of events, i.e. What is really at stake in the final challenge and how much, sparks both suspense and drama in a rousing synchronised pace. There is a message that everyone can take away for themselves. Only success is attractive? Friendship means mountains and valleys! Bros before Hos!?
A really great film experience, and anyone who says otherwise probably has no idea. Or has been caught on the wrong foot. Electro-sound allergy, overlength fatigue or the fact that Guadagnino naturally can't resist constantly anayising everything again?
The First Omen (2024)
Almost, but only almost. Hm, probably the female factor.
An amazing look, it looks like it's from the times when such films originally belonged, the wild 70s. Well, that style soon turns out to be a simple sepia filter, but still. The omens were generally rather modest, another franchise being exploited. There are rather poor role models for such commercially orientated projects, especially in recent years. But the makers dared to go down a classic path, not only visually, but also in terms of staging, and were well rewarded by the general criticism of the film, which was positive. However, the consumer is the decisive factor and the expected money was not made at the cinema box office. The Omen is not a pure shocker, more of a mystical slow burner with a few nasty spikes. Courageous, because this is now only partially in line with the horror-affine part of the audience, even the trailers nowadays have to promise gruesome, permanent terror or brutal splatter. The script is interesting, a really good idea for a prequel. With all the agenda, eccentric Judaism or unbearable Islam, the film once again provides a good reminder of how strange many things are in Christianity too. I was well entertained, but I don't see the need for a re-watch, there is simply a lack of iconic sequences.
Dream Scenario (2023)
When dreams become nightmares
The material for an interesting film, something that has never been shown before. Dealing with sudden fame, the powerlessness of having one's own person taken over by the public, and the inability to deal with it. In this respect, Cage could certainly reflect well on his own experiences, see the meme nonsense of recent years. Dream Scenario is obviously criticising the media, especially social media. A sudden omnipotence without any performance, without any potential, or not really in terms of general focus, that is a phenomenon of our time, and it is lovingly accepted. Too much boredom, too much restlessness, too little focus, too little connection to real life, whatever. And as quickly as the strange fame is there, it can also be gone again, nothing is actually in one's own hands, only apparently. Among other things, the supposed love scene and its miserable outcome or the marketing attempts by one of the moral-free soul-stealing agencies are significant. In any case, the artificial figure that emerges is alien to the actual reality. Cinematically, everything is overdrawn, based on a character who could not have less prominent characteristics. I said overdrawn, but too overdrawn for a serious drama, not overdrawn enough for the utterly grotesque Sar-Gasmus. So the film has to put up with the accusation of lacking a line, or it adorns itself with the title of unpredictable.
Back to the plot. The mood quickly changes from famous to infamous, from soaring to plummeting. And another abomination of our time strikes mercilessly, the disgusting cancel culture. Defamation, professional and personal attacks, backstabbing and even physical attacks. Despite a few smirks, the second part is truly tragic, and this is not least due to Cage's presence and his ability to impressively embody all the ups and downs.
A few things are missing from a cult film, but nothing from a special viewing pleasure.
Furiosa: A Mad Max Saga (2024)
I had not expected such high quality!
Great start, until, yes, Chris Hemsworth's clownish appearance, already a questionable casting decision in the trailer-only period. That doesn't change a prominent nose or a script full of cruel deeds, he doesn't embody the super-villain, the Leader Of Evil. Don't get me wrong, this isn't a general aversion, I liked him last in the role of Tyler Rake, for example. Anyway, the only explanation: nobody can be bigger than Immortan Joe. Enough of the negative flavour, this end time makes an impression, this twilight of the gods is fun. Even without continuous action, instead a little cosy Thunderdome feeling in between. Digression and variation were necessary, both after 1981 and 2015, but continuous fire alone wears off quickly. And then again, a huge Mad Max 2 homage, even with more than a little Max clone, both in spirit and physically. Or Stacy Keach?
150 minutes is a chunk of film, but a restless ride through this apocalyptic hell is guaranteed at all times. And at the end, Hemsworth even gets a chance to redeem himself as a mime. Predicate successful.
By the way, to all those born after 2000, the gnomes who ranked Fury Road or even Furiosa ahead of Part 2. No green screen or keyboard creation can be as wild, as crazy, as groundbreaking as real haptic film art.
The Fall Guy (2024)
I got what I expected.
Fall Guy is the definition of a Hollywood blockbuster outside of fantasy and (pure) RomCom. An action comedy with romantic touches, the popcorn machine in continuous operation. The reference to the series is nothing more than marketing in advance. Gosling and Blunt harmonise and are generally the kind of characters that give a film that certain can't-be-bad feeling. Apart from that, it's loud, colourful, brainless, fast and entertaining. Entertaining for some, probably a horror for others. The only interesting aspect is the superficial insight into the stuntmen business.
I got what I expected.
Darkness of Man (2024)
Don't expect a kickin' JCVD
The film noir poster on the wall is significant, Van Damme plays the washed-up agent with alcohol problems. The focus is on that mime, JCVD focuses on acting aspects in the autumn of acting, certainly also because physical action is only possible to a limited extent. His ambitions in all honour, but let's be honest, what is it that we want to see from him? The budget was there, that's obvious, Darkness Of Man looks good and has some nice cameos. In terms of staging, however, it overreaches itself, wanting to be more audience-orientated than it should be. Above all else, the voiceover constantly echoes with the audience, no doubt intended as a Hemingway-esque pretension screw.
Once again, the cultural enrichment through immigrants is thematised. The living conditions of the original citizens are improved by robbery, murder, receiving stolen goods, drugs, prostitution, blackmail and so on. Funnily enough, we find these officially pure fantasy products in every second action film. Just misplaced stereotypes, I'm sure.
Speaking of action, there's a little brawl every 25 minutes. But Van Damme is just a boxer, with no kick. In the last half hour, there is a categorical final revenge campaign according to the standard formula, at least the level is ok. This release will not end up in any top rating.
The Palace (2023)
Polanski delivers, as always!
The media are underplaying the major event of the new Roman Polanski with the categorisation: a bad Polanski, probably his worst. And the scribblers forget one fact: a bad Polanski is largely subject to impossibility. Perhaps the popularly celebrated condemnation is still due to the witch hunt as part of the unspeakable MeToo smear campaign. In "J'Accuse" there was no artistic attack surface whatsoever, but here there is a little more. A light and entertaining film, undoubtedly in the realm of comedy, so intentional, so brought to the screen. The Palace is obviously modelled on the screwball comedies of the pre-50s.
We find ourselves in the millennium night of 1999, a luxury hotel in the Swiss mountains, a meeting place for the formerly beautiful and supposedly rich. A rendezvous of bizarre characters, chaotic events and crazy entanglements unfolds, all madly directed by hotel manager Oliver Mansucci, currently Germany's best acting export. Lots of familiar faces and not a minute of boredom, mission accomplished.
Mad God (2021)
A special kind of film experience
Fancy a special kind of film experience? Here you go!
Maker Phil Tippett is a master of stop-motion effects and is behind numerous effects in important classics such as Jurassic Park, Robocop, Willow and Star Wars. He probably began working on Mad God as early as 1987, which then stretched over 30 years. The story plays less of a role, all that was needed was a gloomy setting for monstrosities, flesh-machine hybrids, dystopias, fire, destruction and omnipresent death. Hard to describe, a broken world full of living beings, but devoid of any life. Presumably an allegory for the development of our own. With regard to the incorporation of real film sequences, the quality unfortunately drops a little, the necessity of which is not entirely clear to me. But the claim of comprehension is also the wrong approach to this film. There is no room for the spoken word and every scene contains countless details to be discovered. A frenzy of images, but rather inspired by a Hieronymus Bosch. The comparison is not overstated, the film can certainly be described as a work of art, but of course not one for the masses.
Dirty Dancing: Havana Nights (2004)
Can't be compred to the iconic original
What's the difference between Dirty Dancing and Dirty Dancing 2? The former has charismatic actors, iconic moments every minute, an absolute big-screen feeling despite a modest budget, an outstanding soundtrack and that certain indefinable component that ensures the entertainment factor never wears off. Never! So it's unfair that a cult film is sent into the race against a small TV production that has been artificially inflated for the cinema. The biggest disaster here is probably the male lead, the downer the cameo appearance, or rather a little more, by Patrick Swayze. Back to the list at the beginning, Dirty Dancing, what an epic finale. Dirty Dancing 2, what no finale at all.
You'll Never Find Me (2023)
Big surprise
An interesting start. Who or what is the threatening element here, the pointers are pointing in all directions? Turn up the volume, set your internal antennae to high sensitivity, the excellent sound system does a lot of dramaturgical work here. And it continues in the same vein as it began, maintaining the nerve-wracking tension almost throughout. Not a minute of this chamber drama is boring, until the last third you are completely in the dark. The ending, well, it's the old horror story. At least it's not a complete fail. Both actors are fantastic, celebrating the constant changes of mood. So don't inform yourself beforehand and enjoy this genuine surprise of all tending nobodies and make the film a deserved success.
Monkey Man (2024)
Special Mixed Art
First of all, thank you Monkey Man, this is the India of my imagination, not some inappropriate hobnobbing. Dark, dirty, mystical, corrupt, brutal, misanthropic, more class difference and less class struggle than anywhere else. The lumpen filth stays in the dirt, the filth in fine silk celebrates itself with its own kind.
Comparisons with John Wick, Nobody and The Raid, for example, which are often made, initially by the film's own marketing, are superfluous; a different tone prevails here. No continuous fire, no uninterrupted music-clip aesthetic, everything is more raw and less westernised. The drama element permeates the action more noticeably, which is more authentic, underpinned by tradition and mythology. By and with Dev Patel, generally a guarantee for high-quality films, he demonstrates the courage to step on the brakes and mix different viewing habits. And that might be difficult for some. Blunt film buffs will be alienated by the withdrawal in the middle section, while fans of sophisticated entertainment will take a closer look, but then get a culture shock at the end. The ultimate film watcher, me for example haha, on the other hand, will leave the two hours satisfied.
Godzilla x Kong: The New Empire (2024)
$135 million trash
I always switch on the sequences in video games when I want to play them myself. At least that was the case with my last game about 15 years ago. But if you like watching that, you've come to the right place. There's also product placement, blockbuster nonsense, Michael Bay aesthetics, further exploitation and perversion of the basic story. The only central content seems to be the question of which metropolis is being destroyed by a keyboard. I can't find any reference to its predecessor, which is typical of this type of film: turn off your brain, take in a flood of images, maybe be reasonably entertained for the duration, lose a dozen brain cells, remember nothing a day later. Although, a memory can also have a negative impact. The whole hollow earth nonsense was already bananas, but the body modification in Kong tops it all again. Somehow you like this Kong throughout the film, at least he doesn't mess that up, but it's still $135 million trash.