KONG: SKULL ISLAND ½
PG-13, 118 mins.
2017, PG-13, 118 mins.
Tom Hiddleston as James Conrad / Samuel L. Jackson as Preston Packard / Brie Larson as Mason Weaver / Corey Hawkins as Houston Brooks / John Goodman as Bill Randa / John Ortiz as Victor Nieves / Shea Whigham as Cole / Jason Mitchell as Mills / Tian Jiang as San / Toby Kebbell as Jack Chapman / Kong / Marc Evan Jackson as Landsat Steve
Directed by Jordan Vogt-Roberts / Written by Dan Gilroy, Max Borenstein, and Derek Connolly
There have been so many cinematic iterations of KING KONG over the last, well, 80-plus years that it's quite easy to lose track of them all.
Of course, there was the landmark and pioneering
(still the best of the bunch), which was subsequently followed by the
semi-campy, semi-serious 1976
remake, which in turn was followed up by the
visually awe inspiring, but self indulgently long and bloated Peter
Jackson helmed iteration from 2005. Maybe I've reached a point of exhaustion when it comes to KING KONG
cinema. Have filmmakers not
said all they needed to about this iconic monster over the years?
awkwardly titled KONG: SKULL ISLAND hopes to break the mould of its titular
character, which is, to its credit, initially refreshing in the sense that
it all but abandons the tragic beauty and the beast thematic undercurrent
that has been a staple of the previous aforementioned KONG films.
Under the directorial eye of Jordan Vogt-Roberts (THE KINGS OF
SUMMER) and a three-man writing team that includes Dan Gilroy (who
previously wrote and directed the masterful NIGHTCRAWLER),
KONG: SKULL ISLAND is not so much a remake as it is a reboot of the KONG
movie mythos. That, and it
serves as a spiritual prequel to 2014's GODZILLA in hopes of inevitably
having a versus-movie featuring the two behemoths go toe to toe.
In many respects, KONG: SKULL ISLAND may indeed be the very first
prebootquel in cinematic history.
Edwards' slow burn and measured approach in GODZILLA (which sparingly
showed the creature, a move that polarized many), KONG: SKULL ISLAND
wastes very little, if any, time in thrusting Kong at us in his full glory
right from the get-go. After
a wonderful prologue set in the mid-1940's featuring two downed WWII
pilots - one American and one Japanese - crash landing on an island that
just happens to be Kong's home, we flash forward to 1973 at the end of the
Vietnam War, during which time U.S. government agent Bill Randa (a
surprisingly slimmed down John Goodman) wishes to make an expedition to an
uncharted island known as "Skull Island" to see what mysteries
lurk there. He hires former
British Special Forces Air Service Captain James Conrad (Tom Hiddleston)
to serve as party guide. Randa
also gains the services of the "Sky Devils", a former Vietnam War helicopter
squadron led by Lieutenant Colonel Preston Packard (Samuel L. Jackson) to
help serve as protection for everyone.
Also joining the group is photojournalist Mason Weaver (Brie
Larson), who has vast experience covering the atrocities of the Vietnam
War and smells something afoul with the Skull Island expedition.
Randa's party does arrive at the island they're immediately confronted by
the gargantuan Kong, who clearly doesn't take kindly to having his home
turf invaded by outsiders. After
making mince meat of Packard's helicopter fleet in the same way a human
would with flies, Randa and company get separated and the remaining
survivors not only have to deal with the frightening prospect of defending
themselves against a 300 foot tall ape, but they also have to contend with
the island's other grotesque monsters.
They eventually come in contact with the island's indigenous
population, which are led by, yes, the very same American pilot that crash
landed on the island all those years ago in Hank Marlow (an infectiously
hammy John C. Reilly), who matter of factly informs everyone that there's simply no getting off of Skull Island...easily.
aspect of KONG: SKULL ISLAND is that it's not
slavishly remaking the 1933 original down to its very core and opts to inject some much needed new energy and life into the larger Kong
movieverse. Instead of
rehashing old and well established narrative beats, KONG: SKULL ISLAND is
more of a man-on-a-mission action thriller than it is an inter-species
love story. Setting the film
in the 1970's is also welcoming, seeing as this provides Vogt-Roberts and
his team to have ample fun with playing with the period decor and
settings. Unlike the somewhat
purposely dour color palette of GODZILLA, this film is pleasingly vibrant
thanks to cinematographer Larry Fong's sumptuous eye for detail.
The establishing shots of Skull Island themselves almost have a
painterly and foreboding beauty to them.
(never once referred to as "King Kong," perhaps because of name
rights issues), is a staggeringly impressive visual effects creation
through and through that's been given a noticeable size upgrade from
previous versions to, no doubt, be able to battle the equally massive
Godzilla in a future crossover film.
As a visual effects extravaganza that highlights Kong - and the
other beasties that torment the survivors - the film is technically
masterful. The epically staged
action sequences themselves also have an impressively crisp clarity,
especially in the opening sections of the party's arrival on Skull
Island. Vogt-Roberts relishes in utilizing unique and novel ways of
showing Kong tearing through Packard's helicopters (when his fists and
feet can't be used, Kong even resorts to using whatever environmental
implements are available around him for weapons).
There's also a sensationally realized moment involving
Hiddleston's tracker - with katana in hand (don't ask) - trying to fend
himself and others against the island's Skullcrawlers, reptilian creatures
with a ravenous appetite for human flesh.
All of this is
stupendous fun, in a form of pure unapologetic B-movie escapism.
Yet, where KONG: SKULL ISLAND mightily falters is with its human
element. There are simply too
many characters all vying for attention and screen time here, and as a
result a majority of them are laughably underwritten.
This has the negative effect of reducing tension in the film,
seeing as it's hard to care about any of these people being decimated by
Kong or the Skullcrawlers. Most
of the characters are more broadly delineated types than flesh and blood
people, which is crushingly disappointing considering the vastness of the
Oscar winning and nominated talent on board.
Brie Larson recently won an Academy Award for her searing
performance in ROOM, but here she's
regrettably reduced to fetching eye candy without a character arc to speak
of. Tom Hiddleson as well is
sadly misused; he certainly looks handsome and debonair in a Errol
Flynn kind of way as his hunky tracker, but the part is afforded no depth
or personality that makes use of the star's abilities. Any attractive
squared jawed male star could have adequately pulled off this underwritten part.
KONG: SKULL ISLAND represents a horrible misappropriation of its acting resources.
two personas in the film that generate interest are John C. Reilly's shell
shocked pilot and Samuel L. Jackson's vengeance fuelled army man.
Marlow generates some of the film's better laughs at the expense of
clearly spending far too much time separated from western
civilization for his own good, and Packard makes a decent villain largely
because of Jackson's fire and brimstone portrayal of this man that will
stop at nothing to end Kong once and for all.
As for Kong himself, he's perhaps the film's biggest casualty in
the sense that he's never afforded any personality beyond being a brute
force of nature. The Kong of
the previous three movie versions was delineated as a sad victim of human
meddling and a misunderstood monster that was ferociously
protective of his human love. KONG:
SKULL ISLAND rarely finds a way to make its main character feel oddly
relatable and sympathetic. He's
an awe inspiring marvel of visual effects ingenuity, but not much
else. Kong here doesn't have much a soul. .
Maybe I'm over analyzing a monster movie about a giant ape. No one goes to see a KONG film for sobering and complex insights into the human condition; they go to see monsters wreak havoc. On those latter levels, KONG: SKULL ISLAND is an unqualified success. Yet, it's hard to overlook the film's slew of A-listers phoning it in and slumming their way through clunky and expositional dialogue exchanges that are frankly embarrassing to witness. That, and KONG: SKULL ISLAND suffers from a tonal imbalance that's difficult to gloss over: when it's not self-deprecatingly amusing it takes itself very seriously to the point where I felt like I dropped in on a whole other movie altogether. KONG: SKULL ISLAND is exhilarating eye candy that serves its purposes of setting up future films in Legendary Entertainment's self anointed "Monsterverse" with Godzilla, but beyond that it's a bit too empty minded and doesn't triumphantly beat its chest with as much genre defying authority as it should have.