King Kong

Jackson has returned to his roots, where he can extract maximum impact from minimal elements. In this case, it's a fairy tale that could be told in 20 minutes, but thanks to the final three-hour runtime, it remains engaging and avoids boredom. It is true that several scenes from the first half could be trimmed without much loss (although the reference to the original King Kong creator, Merian C. Cooper, was the only thing that made me laugh in the theater). However, the second half is a perfect celebration of filmmaking. While the flurry of visual effects often borders on being self-indulgent, the content is so fascinating that it's impossible not to be mesmerized, with one's mouth agape, silently staring. Kong truly comes to life, and it's astonishing how Jackson managed to imbue him with such a realistic presence. The viewer finds themselves rooting for him in the intense battles for survival while also feeling deep empathy for this profoundly lonely creature who remains so isolated. The acting talents, with Jack Black in a standout role, serve as mere supporting players, with only Naomi Watts slightly standing out because it is her character that drives Kong's actions. The magnificent finale is an amazing golden highlight, albeit perhaps excessively saccharine kitsch. However, it is so sweet and captivating that one cannot help but surrender to it and unabashedly shed tears along with everyone else. (2006-02-03)

Just like Carl Denham, Peter Jackson should have had a good producer at hand to keep a tighter rein on him while making this movie. As the saying goes: “less is more" and (even in the extended edition which, unfortunately, mainly contains new scenes with dinosaurs and only here or there something meaningful) King Kong is a prime example of that. The entire island part is over-combined and the fact that Peter was just making his childhood dreams come true here is no excuse for it. The scenes with Kong and Ann are splendid, but unfortunately rather sidelined by scene with the dinosaurs fleeing from other dinosaurs, something that you soon get fed up with. The only scene that works in this pulp dime action respect is the one with Ann, King Kong and the trio of T-Rexes. Basically, as long as Kong/Ann are on screen, then everything is perfect and when they aren’t, then it’s just mediocre. Of course, any objections go aside as far as the New York finale goes (which lasts almost as long as a feature-length movie) and I have no qualms in giving this a full set of stars. ♫ OST score: 3/5 (2005-12-15)

I have avoided this film for a long time because I knew I wouldn't like it in advance. In the end, I couldn't escape it, and when I finished it, all the prejudices I had formed about the movie in the past were fully confirmed. There were no surprises. After the huge success of his Tolkien trilogy, Jackson had the film world at his feet, and he could have taken a risk and created any film on any topic. Instead, he chose a story that had been used many times before, was perfectly exhausted, and had a theme that could have been significant in the 1930s, but today can only evoke a sympathetic smile. Yes, Jackson wanted to pay tribute to old adventure literature and B-movies, on which he grew up, as did I. But he would have had to direct the film with a much greater dose of humorous detachment to do so. Essentially, as a subtle parody in the style of Indiana Jones. However, Jackson got carried away by the wave of romance with only a touch of adventure film. The main character is somewhat unnecessary, but above all, the chemistry between him and Naomi Watts as the film's fateful woman simply does not work. Film characters in many cases only recite their positions or appear to gloriously perish shortly after. Otherwise, it is a bombastic, high-budget film, and Jackson's direction does not disappoint. For example, the battle between King Kong with three tyrannosaurs at once, the duel in swaying vines with clapping dinosaur jaws, or attacks by giant insects that take one's breath away. There are a few such scenes in the film, but after they arrive in the city, the film loses momentum, and adventurous action is replaced by overly sweetened romance. With a budget like this, a dozen other films could have been made, and half of them would probably be better. Jackson should have been more judicious. Overall impression: 45%. (2008-01-02)

Whereas every image in The Lord of the Rings had its own weight and was an integral part of a well-thought-out, sensitively constructed and complex whole, every image in King Kong is an eccentricity derived from the mood of the moment and a different approach to the viewer. And the result is an enormous incoherent mishmash that begins with the promise of a distinctive Jacksonian flick (romance conceived through crazy cinematography and editing, enthusiastic filmmaking and the nostalgic atmosphere of 1930s New York), but it continues in the spirit of the pre-digitalized calculus where even a dozen bloodthirsty dinosaurs don’t inspire as much awe as the single, herbivorous one did in the first Jurassic Park. Not even James N. Howard’s music, skillfully combining the needs of a contemporary soundtrack with the formula of Max Steiner’s classic score, could salvage this movie, nor could Naomi Watts’s embodiment of celestial beauty or the touching expressiveness of Kong’s eyes, or the endearing juxtaposition of boulders and ice skating. I’m a fan of Peter Jackson, lost worlds and epic films, but I will shed a tear for unfulfilled expectations and watch the more enchanting and well-balanced Sky Captain and the World of Tomorrow. (2005-12-18)

The pleasantly old-fashioned opening titles make us forget about the digital escapades that we will witness throughout the film. In every minute of this captivating film you can feel it is the work of Peter Jackson. The same mise-en-scène structure, composition of images, camera sweeps, and even the use of visual effects. Thanks to his direction, the film itself becomes more a celebration of traditional values rather than just an action blockbuster. The lengthy running time does not bore and not a single shot feels unnecessary. The production design is truly impressive, the panoramic shots of 1930s New York are breathtaking. The meticulously crafted visual effects were truly worth the money and you can feel the amazing atmosphere. Even Kong himself turned out to be outstanding. This was made with love for film, as a dream project. It should be taken into consideration. (2005-12-17)