I love the original King Kong, ever since I picked up a cheap VHS copy. While dated, it told a simple story very effectively and movingly. I’ve always been a sucker for stop-motion effects. I’ve never seen the ’70s remake but I remember being psyched when Peter Jackson released his, although this was ollowed by crushing disappointment as a wealth of CGI and Jack Black couldn’t cover the fact that it was bloated and boring.
One of the things that I always loved was the mysterious Skull Island that Kong calls home until he’s stolen away to New York. The island is home to other monsters, and you always wonder where Kong came from. Was he part of a giant ape race? Or a singular freak of nature?
This movie focuses on the island and gives Kong a fresh backstory. It’s not a retread of the original, and a new approach to the character, which I think is the way to go.
The movie kicks off in 1944 when two pilots crash on the same beach, one Japanese and one American. They try to kill each other and chase each other through the jungle, until their fight is interrupted by the arrival of a massive ape.
We then jump almost thirty years forward to 1973, and two representatives of an organisation called Monarch are trying to get support for a mission to an uncharted island. The senior official, Randa (John Goodman) is fearful for the organisation’s future and wants to get the mission set up before the Vietnam War ends. However, the senator dismisses his theories of “monsters” and only agrees when Randa’s assistant Brooks (Corey Hawkins) points out that as they know little of the island there is no telling what is there and that if they hesitate the Russians might beat them to it.
Randa requests a military escort and is provided with the Sky Devils, a helicopter squadron about to ship back from the war. Headed by Colonel Packard (Samuel L Jackson) they will fly the scientists to the island which is surrounded by a perpetual storm. Also recruited is James Conrad (Tom Hiddleston) a former SAS Captain noted for his skill in jungle survival and expertise in uncharted territory.
Rounding off the group is photographer Mason Weaver (Brie Larson) a photojournalist who clashes with Packard who blames the media for negatively effecting support for the war back home.
They arrive at the island where the scientists plan to use explosions to map the geologic nature of the island, which turns out to be hollow beneath the bedrock. Unfortunately the explosions anger Kong, a giant ape who attacks the choppers and brings all of them down, scattering the survivors across the island.
Conrad leads Weaver, Brooks and a handful of others through the jungle seeking the rendezvous point. Meanwhile, Packard leads the majority of his men and Randa towards one of the isolated pilots, Chapman (Toby Kebbell). Packard gets the full story from Randa, who holds to the “hollow earth” theory that there are pockets beneath the earth’s surface where monsters dwell.
Intent on revenge Packard aims to reach Chapman’s chopper and use the weapons and explosives to kill Kong.
Conrad’s group run into the local tribespeople and are introduced to Hank Marlow (John C Reilly), the American pilot who crashed there at the beginning. He has been taken in by the locals and explains that he befriended the Japanese pilot who was killed by another monster years earlier. Marlow explains that the native population worship Kong as a king or god, as he protects them from what he dubs Skull Crawlers, vicious beasts that try to eat them. Kong’s race have long held this role, but as the last of his kind the locals are fearful that when Kong dies the Skull Crawlers (henceforth known as SCs) will run wild, having nothing to fear. The explosives dropped by the group will have roused some of the beasts, although they suspect that “the big one” will remain underground.
Marlow shows the group his boat, made from debris of the fighter planes and other vehicles that have crashed at the island. They head for the rendezvous but find Packard, who insists they head on for Chapman. The group are attacked by a SC, and after suffering heavy losses manage to kill it. When Packard’s plan is revealed Marlow objects, supported by Weaver, who Packard draws his gun on. Conrad cools the situation and leads the civilians to the boat, however, he decides he needs to stop Packard and with Weaver and Marlow returns.
Packard’s men attack Kong and while many of the men are killed, Kong is injured. Then the Big SC arrives. Kong battles it, but is weakened and the nasty chases the humans. Conrad, Weaver, Marlow and the surviving members of the Sky Devils make for the boat but following Conrad’s instructions Brooks has left at dawn. Attempting to escape on foot they use their meagre weapons on the BSC but their weapons don’t seem up to the task.
Does the battered Kong have the strength to bring it down? If he can’t what happens to the survivors and the monsters?
Okay, here’s the thing I really loved this movie which delivers pretty much from the jump. The 1944 prologue was a nice touch and the character of Marlow provides a neat way to provide exposition and Reilly’s performance as the slightly unhinged survivor is charming and entertaining, stealing most scenes he’s in. Reilly should be praised for balancing humour with genuine emotion, with the frazzled, lonely man talking about what might await for him at home being quite touching and tying into the film’s theme of whether soldiers can ever truly come back from war.
This is touched on in Conrad, Hiddleston’s calm and collected action hero, who is recruited by Randa who observes that men go to war in search of something, and Conrad’s continuing presence in Vietnam suggests he is yet to find whatever that is.
It’s most evident in Jackson’s powerful performance as the vengeance seeking Packard. During his first meeting with Weaver where he blames the media for effecting support and moral for the war in Vietnam, she asks him incredulously if he is blaming them for losing the war. His response that the war wasn’t lost, instead “abandoned” shows an insight into his psyche and his dogged pursuit of a fight with Kong shows that he is not ready to come home yet.
Jackson is always watchable and here he is on fine form as the tightly wound soldier who slowly unravels and becomes obsessed. He’s mesmerising on screen.
Tom Hiddleston is pretty good as an action hero, even if he does look a little clean cut and smooth for an SAS officer who spends time alone in the jungle saving POWs. That being said, his quiet performance is well done and he has moments where he charms. He also handles the action sequences like a boss.
But it’s hard not to feel bad for Brie Larson who while capable enough has an underwritten role as the photojournalist accompanying the mission.
The period setting works wonders for me as it handily explains how Skull Island has remained undiscovered until the movie and means the humans have older, less sophisticated weapons for their fights. It also means that the movie has a belting soundtrack of ‘Nam era songs (Bowie, Black Sabbath and Creedence Clearwater Revival), and borrows heavily from the imagery of that war- fires engulfing jungle, helicopters flying low and the look of the soldiers. The film looks fantastic and the mash up of Nam movie iconography and giant monsters works for me, unsurprisingly.
The monsters here are fantastic, as is all of the island. The native tribe and their walled village is well done as is their temple to Kong, replacing the African style tribe of the original with a more Asian vibe fitting the Pacific setting. The island location is beautiful, with mountains, dense jungle and panoramic views of the landscape being worth the extra IMAX charge alone.
This is only the second movie I’ve seen in IMAX (the other being Doctor Strange) and it is proving to be worth the money, and vastly superior to normal 3D. This is the kind of epic movie that warrants the big screen and enhanced visuals, and it delivers throughout, both in the titanic smackdowns and in the scenes on the groud amongst the trees.
The movie succeeds where the Jackson movie stumbled by putting Skull Island front and centre and we get to see plenty of the island’s nature. Alongside Kong and the SCs we also get supersized versions of spiders and water buffalo, a reference to giant ants and some seriously vicious pterodactyl style critters. The island is set up as a dangerous place to be and the action sequence are uniformly well executed throughout.
It’s a relentless thrill ride and has some solid performances, and a sense of fun to proceedings, making it considerably more enjoyable than the most recent Godzilla movie, which this will apparently cross over with. Hopefully the monster mash will lean more towards this, which is more fun and has better human characters. The romance between Hiddleston and Larson’s characters might be underdeveloped, but aside from this the major players hold the attention and the director knows that this is secondary to letting Kong do his thing.
I’ve always preferred Kong to Godzilla because his ape features are more expressive and that in every incarnation he has moments of gentleness. The backstory here of him as the island’s top dog and protector is a nice touch and I felt it delivered.
A big, action packed blockbuster, this is gorgeous to look at, filled with nice moments and just plain fun. It might lack the emotional punch of the original, but it’s still kept me involved throughout.
Verdict: The ’70s setting is a nice touch, the cast do well with what they get and the movie knows that it’s main strength is Kong and lets him cut loose. Hugely entertaining. 8/10.
Any thoughts? You know what to do. BETEO.
Everybody craps on the 1998 Roland Emmerich version of Godzilla, and it is a deeply flawed movie, but at least it’s fun. There are daft gags and likable characters played by Matthew Broderick, Jean Reno and Hank Azaria, and for that reason it is infinitely better than the latest reboot.
Which is disappointing because director Gareth Edwards had really impressed me with Monsters, his first flick. It followed a pair of characters as they attempted to navigate their way through a world where giant monsters were constantly a background threat, appearing in the distance or briefly glimpsed. It was a great movie based on two characters you invested in and the mysterious creatures were interesting.
The problem is, with Godzilla we know what’s coming and the audience wants the giant lizard to start smashing stuff up early, but Edwards still goes for the slow reveal, with a few quick glimpses of Godzilla’s fins before he turns up. Apparently big G was knocking around in the ’50s and the reason the Yanks nuked the South Pacific so much, and he’s lain dormant since (here Godzilla is prehistoric, not radioactive in origin).
There are other monsters too, the MUTOs (Massive Unidentified Terrestrial Organism) who are the bad guys. They feed of radiation and are responsible for the tragic backstory of our heroes Joe Brody (Bryan Cranston) and his son Ford (Aaron Taylor-Johnson). Joe works at a nuclear power plant and in ’99 it’s attacked by one of the MUTOs which has awoken from it’s cocoon, with his wife buying the farm during the attack. In the intervening period they’ve become estranged due to Joe’s obsession with finding out what really happened, knowing it wasn’t caused by an earthquake and curious as to what’s being hidden in the quarantine zone.
Ford, meanwhile, is a bomb disposal expert for the US Navy and lives in San Francisco with his wife Elle (Elizabeth Olsen) and young son. Ford is just back from 14 months away, but has to leave after Joe is pinched in Japan. He gets Joe out and invites him back to the US, but Joe wants to go visit one last time to test a theory that something is “talking” from there.
In the quarantine zone they get pinched and witness the MUTO awaking and killing a bunch of folks, including Joe. The MUTO has apparently been calling it’s mate who’s been stashed by the Americans in Nevada and is also ready to get it on. But there’s a third voice in the monster mash- Godzilla.
Expert Serizawa (Ken Watanabe) believes that G is en route to lay the smack down but the problem is the military don’t believe him and want to nuke the MUTOs and Godzilla in the middle of the ocean, which is dumb as they feed of radiation. Whatever, Ford travels home but is present when MUTO 1 hits Hawaii and then MUTO 2 smashing its way through Nevada. They’re all heading to one place- you guessed it, San Francisco.
Bored yet? Because I was. I almost fell asleep half way through.
Good gods almighty, there is no excuse for a monster movie being this dull. You pay your money to see Godzilla smashing stuff up, and with the promise of other monsters you expect a fun ride. But Edwards approaches it all too seriously, there’s an overdose of slow mo in the Godzilla vs MUTOs handicap match which I think was meant to get the audience to feel bad as the King of Monsters takes a pasting, but as we’ve barely met the critter and it just looks like a giant lizard I wasn’t feeling it.
One of the major criticisms of Emmerich’s effort was that the beastie had no character, as the old rubber suit ‘zilla had an odd likability to it, but the new version is just as hard to warm too. There’s a moment where a knackered G makes eye contact with Aaron Taylor-Johnson and it’s clearly meant to be an emotional moment of connection, but it doesn’t work as it’s just four lifeless eyes staring back at each other.
I can’t remember a lead performance as wooden and uninteresting as ATJ’s work here. The character of Ford drifts along being present at all the major events, with terribly bad luck, and I get that they need a connecting presence, but I didn’t give a damn about Ford and his family. ATJ, who was charming as KickAss and even made John Lennon likable, is painful to watch here. The character has no defining qualities, we’ve had barely any chance to meet him as an adult, and aside from one evening with his family which felt so hackneyed it could have been an advert for John Lewis.
To illustrate how bad he is when his nipper asks “Will you be here tomorrow?” ATJ responds with a look that seems to say “Is this kid an idiot, course I’ll be here in the morning” where I’m sure he’s meant to look hurt/sad/upset. Also, while he’s broadly heroic in the end he just drifts along for most of the film, and never engages. I might be showing myself to be a child of the 80s but would it have killed the scriptwriters to throw in some banter or quips into the mix? Something to give the illusion of character.
How bad is he? Taylor Kitsch was better in Battleship.
The film is doomed as soon as Cranston bites the dust, as he’s the only interesting on screen presence and his character’s fire is the closest it comes to genuine emotion.
Ken Watanabe is screwed over by having very little to do, which also does for Elizabeth Olsen and Sally Hawkins’ Watanabe’s partner in science. The rest of the cast are equally dull and underwritten.
I can only think of two decent moments in the whole flick- casino customers in Vegas oblivious to the news coverage of MUTO 2’s rampage until it bursts into the room and Godzilla taking out MUTO 2 by blasting her with flame breath right into the mouth and tearing off the head. That’s it. Two moments in just over two hours. I gotta say I was surprised it was only two hours, because it felt a lot longer.
A clearly talented director and cast are wasted, and what should have been a big fun blockbuster vanishes in a haze of mediocrity and poor pacing. Woeful stuff.
Just watch Pacific Rim, it’s a lot better. Hell, watch the ’98 flick again.
Verdict: Edwards fumbles terribly, with this a dull, overlong mess. Cranston’s death deprives us of the only interesting character as Taylor-Johnson sleepwalks his way from one underwhelming set piece to the next. Godzilla is revealed too late and the design makes him hard to warm too. Never has a monster mash been shot with such po-faced monotony. 3/10.
Any thoughts? You know what to do. BETEO.