Films: February 8 - 14

Chaos Walking (2021)

Lethal Weapon 3 (1992)

Lethal Weapon 4 (1998)

King Kong (1976) 

King Kong Lives (1984)

Dressed To Kill (1980)

Looker (1981) /// 

Chaos Walking (2021) Potential of future world where thoughts are visualized through colorful auras and fragmentary voices intrigues, until rudimentary Western chase plot with crash-landed Daisy Ridley on run with questioning Tom Holland unravels. More like extended setup for next story.

Lethal Weapon 3 (1992) Weary Danny Glover has days until retirement so of course unhinged Mel Gibson will find trouble. No nonsense Rene Russo adds spark as principled internal affairs officer and production provides easy comedy and slick action. Plot and threat remain disposable.

Lethal Weapon 4 (1998) Pretense at character development and narrative cohesion jettisoned for domestic comedy and dual pregnancies interrupted by impressive, excessive action. Assassin Jet Li provides menace, Chris Rock and Joe Pesci deliver laughs. Few surprises as Mel Gibson and Danny Glover go through the motions.

King Kong (1976) Suffused with John Barry's gorgeous score, a lighter, more knowing tone moves story from monster horror to sentimental adventure with eco warrior Jeff Bridges, aspiring actress Jessica Lange and oil exec Charles Grodin exploring mysterious island. Breezy diversion.

King Kong Lives (1984) Batty mishmash of monster fury & family emotion sees hunt for titular ape & lady friend mirrored by frantic scientist Linda Hamilton & bland adventurer Brian Kerwin. Dynamic John Scott score shines. Effects & production flail without cohesive sense of tone.

Dressed To Kill (1980) Giddy, sensationalist narrative strands allied to controlled, encompassing visual style sees frustrated Angie Dickinson's murder throw son Keith Gordon and unknowing witness Nancy Allen within killer's shadow. Shady Michael Caine looms, lyrical Pino Donaggio score heightens scares.

Looker (1981) Intriguing ideas on societal concepts of beauty and consumerist manipulation entwined with futuristic technology undone by muddled style and confused storytelling. Suspicious plastic surgeon Albert Finney and model Susan Dey infiltrate shifty James Coburn’s mysterious corporation with diminishing suspense.