SPL II: A Time for Consequences (also known as Sha po lang 2 or Kill Zone 2) is a 2015 Hong Kong-Chinese martial arts action film directed by Cheang Pou-soi and produced by Wilson Yip and Paco Wong. The film starred Tony Jaa, Wu Jing, Simon Yam and Zhang Jin, with Louis Koo making a special appearance. The film was released on 18 June 2015 in both 3D and non-3D formats.
On The Hollywood Reporter, Elizabeth Kerr called the film "a tight, entertaining action flick". Joe Leydon of Variety called it "a martial-arts noir melodrama that neatly entwines operatic outbursts of emotion with bodacious bouts of butt kicking." Derek Elley of Film Business Asia gave the film a score of 6/10 and called it "a big, splashy mess, with a chaotic script."
"Godzilla vs. Kong" is a crowd-pleasing, smash-'em-up monster flick and a straight-up action picture par excellence. It is a fairy tale and a science-fiction exploration film, a Western, a pro wrestling extravaganza, a conspiracy thriller, a Frankenstein movie, a heartwarming drama about animals and their human pals, and, in spots, a voluptuously wacky spectacle that plays as if the creation sequence in "The Tree of Life" had been subcontracted to the makers of "Yellow Submarine." It has rainstorms and explosions and into-the-wormhole light shows, giant mammals and reptiles and amphibians and insects and beasts that might be hybrids of one or more of the animal kingdoms, with some zombie, robot, or demon thrown in. It dares to dream big and be goofy and sincere as it does it. And yet, for an over-scaled and incident-packed tentpole flick, "Godzilla vs. Kong" stays light on its feet, like its co-leading man, a skyscraper-sized primate who bounds through jungles, tropical and concrete, like an astronaut skipping on the moon. It might be the best studio film so far this year. If it isn't, it's for damn sure the most fun.
More consequential and moving, though, are the human/monster and monster/monster relationships. Kong and Jia are a magical screen team, in the tradition of heart-tugging pairings in animal pictures like "The Black Stallion," "Free Willy," and "E.T." The latter resonates extra-hard. The movie treats Kong's heartbeat as a conduit to Jia's mental state, as well as narrative Morse code-pulses for the viewer that reveal Kong's stress level and physical condition. Obviously a lot of the credit for the Kong-Jia friendship should go to the filmmakers, including editor Josh Schaeffer ("Pacific Rim: Uprising"); cinematographer Ben Seresin ("Unstoppable," "Pain and Gain"); and the nation-state of effects artists who did the designs, motion-capturing, rendering, compositing, etc. This a rare modern blockbuster with effects that are truly special. The Hollow Earth scenes in the middle of the picture, especially, are ecstatically dreamy kitsch, in the vein of a '70s sword-and-sorcery paperback book jacket, or a '70s-'80s psychedelic sci-fi or fantasy picture like "Zardoz," "Flash Gordon," "Tron" or "The Neverending Story." The neon primary colors in the Apex labs and Hong Kong streets are blissed-out decadent coolness: John Woo by way of British synthpop videos. Kong and Godzie might as well have done lines of coke off the top of a bus before laying into each other.
Wingard is on record saying that the physicality of this King Kong is partly modeled on Bruce Willis in the "Die Hard" films and Mel Gibson in the "Lethal Weapon" series. You see the lineage in scenes of Kong dirty-fighting like a back-alley brawler, stumble-running through Hong Kong streets, and jumping off the deck of an aircraft carrier as Godzilla nukes it from below. But this is not just a great stunt-work job. It's according-to-Hoyle, Andy Serkis-caliber acting. Watch Kong cough up seawater after Godzilla almost drowns him, or collapse and doze off after vanquishing an enemy, or tear a winged beast's head from his neck and guzzle blood from the stump like a brigand downing a pint of mead. When Kong awakens after being airlifted to an Antarctic base to start his journey into the Hollow Earth, he has Martin Sheen's still-in-Saigon hangover-face from "Apocalypse Now." When Kong speaks sign language to Jia, looking away and then back at her, you see wheels turning in his mind: I hate what this kid just told me, and it's hard to get my mind around, but I accept it, because I have no choice.
The two-against-one finale pitting Godzilla and Kong against the missile-spraying, jet-propelled, double-footed kangaroo-kicking Mechagodzilla is, like every other action scene in the picture, fully thought out in terms of each fighter's strengths and weaknesses. Not that Mechagodzilla has any. That's what makes him terrifying. He's a Terminator of kaiju. The film even gives him a Skynet moment. He tosses Godzilla around like a child. At one point, poor Godzie gets his head smashed into a vertical-ice-cube-tray office building like Jackie Chan going face-first into a popcorn machine in "Police Story." For a brief, unsettling instant while his cyborg double is thrashing him, a look of dazed insight flashes through his puffy dinosaur eyes. Almost like: What if I deserve this?
King of New York is a film that fits into the stylistic tone of other New York City underworld movies, Escape from New York and Good Time. The use of color; like neon deep blues, gives this sub-genre an interesting visual tone.
The most modern gangster film on this list, Killing Them Softly addresses the impact of organized crime on American society after the collapse of the housing market. It also happens to be one of the best crime movies.
Guy Ritchie made an explosive entrance to the world of cinema with his debut film Lock, Stock and Two Smoking Barrels. But in his second film Snatch, Ritchie improves on the British Gangster formula with an all-star cast and heavy stylization.
The Departed is adapted from the Hong Kong film Infernal Affairs. Infernal Affairs is an excellent movie in its own right and I considered putting it here in place of The Departed. But I came to the conclusion that if one film outranked the other, it was The Departed.
By the year 2000, world culture had grown to see gangster films as a mostly sensational, idyllic genre. Popular gangster movies were rife with moral praise; often creating heroes and badass anti-heroes out of people the court would sentence to death.
One film in particular that is condemned in this way is Scarface. Children in the film say they want to be like Tony Montana but the life of crime they find is not the one that they had envisioned from the movies.
Jacques Audiard directs this thrilling gangster film about a young man who finds himself recruited into the Corsican Mafia while serving a prison sentence. A Prophet is a remarkably modern gangster movie.
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