In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to the mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
A washed up monster chaser convinces the U.S. Government to fund a trip to an unexplored island in the South Pacific. Under the guise of geological research, the team travels to "Skull Island". Upon arrival, the group discover that their mission may be complicated by the wildlife which inhabits the island. The beautiful vistas and deadly creatures create a visually stunning experience that is sure to keep your attention.Written by
Kong seems to show a great deal of loneliness, as a result to him losing his parents to the Skullcrawlers at a young age. His eyes well up with tears when Weaver gently touches him, and one of the cave paintings depicts him crouching and mourning over the remains of his deceased parents. The producers intentionally designed Kong to have a personality similar to a "teenager orphaned early and forced to assume adult responsibilities," being not yet fully grown but left to fend for himself. The director wanted to give the audience insight into Kong's state of mind of him being a lonely and exhausted God lumbering around the island, being its protector but also killing time as he drags himself from place to place. Terry Notary played Kong as a lonely, burdened "14-year-old that's trapped in the life of an adult" who's coming into himself and his role as a protector, driven to uphold his sense of duty by the burden of the loss of his family. Director Jordan Vogt-Roberts also described Kong as an adolescent growing into his role as alpha as he faces the defining battle of his life to claim his rightful place as King of Skull Island. See more »
The D-Day Invasion stripes on the plane during the crash in the first scene would not have been found on this plane in the Pacific Theatre. See more »
Mark my words. There'll never be a more screwed up time in Washington. But we can't let it stop us.
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The opening credits are a montage of 1940-70s news videos. See more »
I was confused about the purpose of this film, and sadly, I was still confused after watching the film. All the elements of this new version of King Kong have been recycled. Taking parts of the originals/remakes and hastily gluing them together again in a different way doesn't mean it is going to create an inventive artwork.
And I knew they would put a scene where Kong saves a pretty lady in his palm, I just knew it. All that's improved from the previous films is Kong's appearance. He is fluffier, angrier and more realistic. Some points must be given to the stunning visual effects.
The characters' names and faces have also changed, but their nature and characteristics are half dimensional and predictable. It is stereotypes upon stereotypes. It is a major waste of talent with Tom Hiddleston, Samuel L Jackson and Academy Award winner Brie Larson ("Room") struggling in the muddled chaos. You could see and feel the disappointment. Even Kong seems confused. The performances are half- hearted and there is just no substance for them to work with. I bet all they were thinking of while filming was 'get me out of here' – literally.
For the majority of the film, everyone says very few words to each other. The conversations are forced and laughable. It wouldn't have made a difference if they were just silent. It's so predictable that you would know exactly what the next line would be.
I thought while watching this, was this meant to be an exaggerated satire of King Kong? Or was it meant to be taken seriously? Even the execution of the film presents the same questions. At one point, it would be slow and mystic, and minutes later, overly upbeat music would hit your ears, and we are treated to magnified slow-motion action. It feels it is trying too hard to get our attention. And once it does, it doesn't know how to sustain it.
And finally, there are so many extreme close-ups of Samuel L. Jackson's face, it probably took up half the film. They did it to match Kong's face, so you can imagine how gigantic it was.
Maybe if Director Jordan Vogt-Roberts figured out from the beginning what type and style of film this would be, it would have been a better film. It seems like he had an idea but is unconvicted towards it, and instead keeps changing his mind to offer more 'fun'. The result that it is a jumble of various pieces that don't belong in the same puzzle.
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