King Kong
Starring: Naomi Watts, Jack Black, Adrien Brody, Andy Serkis, Thomas Kretschmann, Colin Hanks, Kyle Chandler, Evan Parke, Lobo Chan, Jamie Bell, John Sumner, Craig Hall, Geraldine Brophy, Will Wallace, Joe Folau, Ray Woolf, John Clarke, Joe Folau, Will Wallace, Pip Mushin, Jed Brophy, Jason Whyte
Directed by: Peter Jackson

Released in the US: 14th December, 2005
Released in the UK: 15th December, 2005

Reviewed by: Adam Mast, ZBoneman.com

King Kong is a true spectacle of a motion picture. It really has it all; action, drama, romance, humor, and, of course, eye popping special effects. I guess the real question though, is it any damn good? The answer is yes, it is a good movie. However, I wouldn’t call it a great movie - I’m afraid it comes up a little short of greatness.

For those who aren’t in the know, the original King Kong from 1933 is the movie that made Peter Jackson want to become a film maker. And in fact, the creative visionary had been tinkering with the idea of a remake for several years, but it wasn’t until after a little series called Lord of the Rings, that Mr. Jackson earned the clout to realize his vision.

This version of King Kong, unlike the 70's update starring Jessica Lange, Jeff Bridges and Charles Grodin, takes place in the 30's and features Jack Black as Carl Denham, an eccentric, downright crazed film maker (think Howard Hughes in the early part of The Aviator) with aspirations of bestowing upon the world one of the most grand motion picture experiences of all time. Unfortunately, Denham and his masterpiece are up against a few little obstacles - namely no studio backing and no leading lady. So, like most maverick film makers, Denham sets out to finish the picture come hell or high water flying by the seat of his pants. As if by fate a leading lady practically falls in his lap in the form of struggling young actress Ann Darrow (a luminous Naomi Watts), and charters a boat in the wild hope that he and his film crew might find the mythical Skull Island - an uncharted strip of land that will serve as the perfect backdrop for his monster opus. The journey is treacherous to be sure, but the excitement really begins once they reach the island. When the ship finally sets shore the film crew and shipmates come face to face with the creepy natives that inhabit the island, but the massive wall that fortresses their dwelling place gives the crew cause to suspect that the hostile natives may be the least of their worries. That suspicion would be correct. And before you can say "banana," Darrow is abducted by the natives and bound as a sacrificial offering in order to appease the true star of the film, one King Kong - a colossal gorilla whom is feared above all of the island’s many beasts.

King Kong takes it’s time with it’s set up. Perhaps too much time (the movie runs just over three hours compared to the original’s one hour and forty minute running time). Don’t get me wrong. I’m all for character development, but there lies the problem. The first hour of the picture establishes what kind of people Darrow and Denham are, but does a piss poor job of developing the so called romance between Darrow and screenwriter Jack Driscoll (Adrien Brody). This proves to be a major weakness in the film, as Driscoll’s desperate yearning and acts of bravery in the final act just don’t ring true.

On the other hand, the idea that we the audience must wait over an hour to finally get a glance at Kong, adds to the anticipation and mystique of the whole film. Once the big hairy guy does make an appearance, the film quickly changes gears, and turns into a relentless, if a tad self indulgent, action piece complete with prehistoric monsters, giant bats, and king-size insects. And almost immediately, we see why Kong is the king of this jungle. He’d have to be to survive in this rough neighborhood.

Kong isn’t exactly disciplined film making. It’s passionate to be sure and it’s clear that Jackson loves the source material tremendously, but whereas Lord of the Rings had a more impressive balance of character and spectacle, King Kong is more about the awe inspiring grandeur. Not that there’s anything entirely wrong with that mind you - I suppose this is what most audiences want to see. Furthermore, this isn’t hollow entertainment like we’re used to seeing from the likes of film makers such as Michael Bay and Stephen Sommers. Kong does have heart, and it’s incredibly lively, but quite often - particularly when Driscoll, Denham and crew set out to rescue Darrow, the film drowns in a sea of repetition and excess. It’s action for the sake of action and doesn’t really serve the story. In fact, in a weird way, it is the action-packed rescue portion of the movie that sort of slows the flick down. Even more so than the first act.

There are other items in the screenplay by Fran Walsh, Philippa Boyens, and Peter Jackson that could have been omitted entirely. There’s a strange fatherly bond between crewman Hayes (Evan Parke) and ragamuffin stowaway Jimmy (Jamie Bell) that I could have done without. Hayes’ constant words of wisdom became extremely tiresome. Not only was it a dead-end subplot, but it also contained some of the film’s more stilted dialogue.

I did enjoy the numerous inside film making jokes and also loved the clever references made to the original picture (watch for a wonderful tip of the hat to actress Fay Wray).

The strongest moments in the picture are the ones between Darrow and Kong. There’s a sweetness and melancholy tone to the bond that develops between these two that I wasn’t really prepared for. I wasn’t sure how it would play. Happily, Jackson pulls this unlikely relationship off for two reasons. Firstly, he’s found the perfect Darrow in Naomi Watts. This amazing actress simply goes for it. Look no further than her first big moment with Kong in which the fearless performer, in an attempt to prolong her life by diverting the great beast, she goes with what she knows and breaks into her Vaudeville schtick. The whole scenario seems ridiculous but it works amazingly well, because Watts really sells it.

Secondly, Jackson has found the perfect leading man in Kong. But then Jackson is no stranger to the world of amazingly realistic CG characters. Look at Lord of the Rings’ Gollum for example. Kong is on par with that. He is brought to life through the effects magicians at WETA Workshop and through the brilliant body language and mannerisms of Andy Serkis (who also plays Lumpy the cook in the film), the terrific actor who also helped bring Gollum to life. Jackson has made an extra conscious effort to make Kong a character in the picture and not just an effect. One of my very favorite sequences in the movie, occurs in the final act as Kong is taken to New York and is treated as a sideshow attraction. The pain in his eyes is evident, but what really makes this sequence fly is his angered reaction to the replacement woman whom Kong initially believes to be Darrow. When Kong realizes the woman before him is an imposter, all hell breaks loose. This is a beast that will not be duped. The bottom line is, it is the bond between Darrow and Kong that is the foundation of the movie. If it doesn’t work, then the movie would have been dead in the water. Thankfully, it does work.

Jack Black (whom I’m a huge fan of) is neither terrible nor great. He’s just sort of there as is the rest of the cast (i.e. Colin Hanks, Adrien Brody, Jamie Bell etc.). Furthermore, Black’s Denham is somewhat the selfish prick in the movie, but he is who he is in the name of his art, and for what it’s worth, Black is able to lend a little likability to the role. Let’s face it though, the movie is really about Darrow and Kong, and the film is strongest when the story focuses on them.

Most of the effects work is top notch although it should be noted that some of the live action/CG integration isn’t exactly seamless. There are sequences here, most notably a massive brontosauras stampede, where things get a little choppy and muddled, and I wasn’t entirely buying the actors’ reactions to the chaotic events surrounding them.

Of course for every scene that doesn’t work are three or four that do. Kong’s battle with a pack of T-Rex’s is breathtaking, and the climactic scaling of the Empire State Building is absolutely stunning. In fact, dare I say that the climax as played in this version is stronger and far more heartbreaking than it was in the original, particularly because of the way it’s played. Jackson has made slight alterations. Ann Darrow isn’t a mere damsel in distress here. She cares for Kong and realizes that he’s comforted in her presence. This adds a sort of poignancy to the end of the picture, although I did feel there were a few too many shots of Darrow looking deeply into Kong’s lovesick eyes. Still, the ending of this film has real drama. It’s packs an emotional wallop.

Finally I’d be an absolute idiot if I didn’t mention the look of this picture. It really took my breath away, particularly the re-recreation of Depression era New York. This is movie magic at it’s absolute finest. I really was in awe of it.

Kong, while flawed, really establishes Peter Jackson as a true visionary. He’s simply drunk in the pure joy of film making, and while his passion sometimes gets the better of him, I applaud him for his sheer showmanship. And while I’ve been a fan of his work all along, and have followed his career since the early days (I’m a proud fan of Bad Taste, Meet the Feelbes, Dead Alive, Heavenly Creatures and the underrated The Frighteners), it’s nice to see him tackle these monstrous projects with such courage of conviction. He hasn’t only remade one of his all time favorite films, but he’s paid homage to the various film makers he’s been inspired by as well (Spielberg just to name one). Now that he’s taken the world by storm with the likes of Lord of the Rings and the eighth wonder of the world, it sure would be cool to see him do a smaller movie again. Whatever he chooses to do next, you can be certain I’ll be in line to see it.

Grade: B+