Godzilla x Kong: The New Empire, Steve! (Martin) and In the Land of Saints and Sinners

[NoHo Arts District, CA] – This month’s Mike Peros movie and TV reviews are on Godzilla x Kong: The New Empire, Steve! (Martin) and In the Land of Saints and Sinners. 

The most refreshing thing about Godzilla x Kong: The New Empire is that Japan is basically spared from being destroyed (again). Director Adam Weingold’s new entry in what seems to be a long-running not-so-friendly rivalry between these two big guys takes them all over the globe, from Rome in the early stages (where Godzilla takes on some even meaner monsters in his role as planet mediator), to the climactic free for all in Rio de Janeiro (spoiler alert; much human life is lost, much damage is done—look for it to be rebuilt by the inevitable sequel). Now this film does have some talented human actors, including Dan Stevens and Rebecca Hall, gamely trying to generate some interest in the non-monster combat sections. (A plot thread has to do with bringing back Mothra, wouldn’t ya know.) However, you’re probably at Godzilla x Kong for the fight scenes and not to contemplate the human cost of keeping these monsters around; as these American-made Godzilla movies go (as opposed to Godzilla Minus One), the emphasis is on spectacular battles, both between Kong and Godzilla, and the two of them against other members of the Monster-verse. I will say, by the time these battles were over, I felt as pummeled as some of the combatants (especially if you see it in IMAX), but lucky to be alive (whereas I would say two-thirds of the population in Rio doesn’t quite make it—no matter, I’m sure the boys will be welcomed there when they return.)

In the last few years, a number of comic geniuses (like Albert Brooks) have been the subject of feature-length documentaries, and if you’re fond of Steve Martin, as I am, then you’ll find Apple TV’s Steve! (Martin) A Documentary in 2 Pieces to be a welcome addition to the ranks. As the title suggests, it’s in two parts, with the first part, Then, depicting Martin’s rising in and revolutionizing stand-up comedy, and all the expected (and some unexpected) difficulties that ensue: coping with the fame, family (father) issues, preserving privacy. There is plenty of footage from those early days, including Martin’s early appearances on Saturday Night Live and at various clubs and concert venues. Several seminal early Martin bits are shown, with an off-screen, present-day Martin providing insights on those heady times. Then concludes with his early forays into film and his decision to leave stand-up, while Part Two, Now, provides a happier Martin, this time on-screen, often with either Martin Short or Jerry Seinfeld, but also in the company of his wife. Now is chock-full of moments for Martin fans: there are some clips from the essential films (my personal favorites All of Me and Roxanne included), a number of sections with Martin and Short prepping for their comedy tour, Martin’s reflections on love, marriage, and his life-long love of art. Even with the three-hour plus length, it does feel like you’re missing some things, including any mention of Carl Reiner (writer/director of several of those early works). And in terms of dramatic structure, the second part begins with Martin sharing how happy he is in the present day with his new outlook, marriage and career, which is great for him, but removes the conflict factor. As a result, the second part tends to get a bit repetitive and drag—still, Steve! is worth seeing—and it might make you want to seek out the underrated Pennies from Heaven (his under-seen follow-up to The Jerk).

Liam Neeson’s latest, In the Land of Saints and Sinners, is a more thoughtful exploration of redemption, violence, and the cost of war than some of his more recent efforts. Set in 1970s Ireland, Neeson is a gunman trying to back away (ok, we’ve seen that before) from all conflicts, but when his young neighbor is abused by a fugitive IRA member, Neeson takes action—and these actions have consequences—especially when the IRA member has a committed and vengeful sister (Kerry Condon). Much of the plot will seem familiar, but there are some unexpected elements—despite what you may have heard in other reviews, the characters aren’t sketched in terms of black and white. Several, like Condon’s IRA member, have some interesting shadings, and one of the best scenes in the film has her trying to gently convince an elderly, potential eye-witness (to a killing) to go back to her room and thus avoid more bloodshed. Neeson is in good form throughout (it’s far from a walkthrough), aided by Condon, Jack Gleeson as a younger killer and Ciaran Hinds as a constable friend—and the inevitable confrontation at the end is well-done, with a satisfying payoff. Worth seeing, either at the cinema, or the inevitable (and probably imminent) streaming.

—