A lot of people have asked, why remake King Kong when the original is such a classic? But this isn't some kind of sacred text, movies should be about entertainment and spectacle, Cooper and Schoedsack understood that and their movie is one of the best examples of pure entertainment in history. Peter Jackson understands it too, and you're unlikely to find a better slice of undiluted fun in our cinemas in recent years (and that includes Jackson's revered Lord of the Rings films). The three hour running time breezes by and the classic set pieces (Kong fights T-rexes, Kong swats bi-planes atop the Empire State) are all intact and stunningly realised. Jackson's past in horror comedy means he knows exactly when to lighten the mood and when to up the tension, building slowly across the first hour with the suspenseful voyage to and discovery of the island, through Ann's capture by the natives, to the final reveal of the mighty ape himself. While remaining undoubtedly very silly and implausible, the film is totally involving and any audience member who doesn't find themselves wanting to cheer as Kong tears a T-rex's jaws open or knocks a plane from the sky has no soul. Special mention must also go to a fabulous, Kong free, sequence in which the crew are attacked by all manner of giant insects, if anyone thought the Shelob's lair sequence in Return of the King was good, this will blow you away. The three human leads give strong performances in roles that Jackson and his co-writers have fleshed out well from the original. Jack Black invests scumbag Carl Denham with some charm and sympathy, whilst still remaining a scumbag. Adrien Brody's playwright version of Jack Driscoll makes an interesting action lead (where else are you going to see the Oscar winning actor punch out a dinosaur?). While Naomi Watts is absolutely adorable as Ann Darrow (you really can see what Kong sees in her), amusing the great ape with her Chaplin-esquire vaudeville performances. Really though, the star of the movie is, and always will be, Kong himself, and here Jackson and his team excel themselves. Brought to life by a superb performance from Andy Serkis and digitally created by Jackson's people at Weta, Kong is a real, living, breathing character. The other special effects are undoubtedly excellent (really showing up the faintly shoddy moments in this month's Narnia), but it's Kong that really stands out. Both strong and gentle, noble and violent, Kong's complex emotions are brought across brilliantly, not to mention he looks, moves and sounds like a real gorilla. He fights, he roars, he beats his chest, but the real triumph is in his moments of tenderness. The chemistry between Watts' Ann and her tall, dark leading man is far superior to that between most human stars and scenes such as Kong in New York ice skating with Ann in his hand are just the right mix of sweet and funny. Don't worry though, he might be a gentlemanly ape, but that doesn't prevent a great destructive rampage through the city streets. Like all tragic romances, it's doomed from the start, but that's what makes Kong's final moments so affecting. It's impossible to really compare Jackson's version to the 30s original. Both are great and cutting edge in their own time but more importantly have an enduring sense of fun to them. Jackson's version deserves to be remembered in years to come with the same affection as the original has earned (if nothing else it wipes the memory of the disastrous 70s version). I urge you to see this film and, if you haven't seen the original, hopefully this version will lead you to seek it out.