KONG: SKULL ISLAND

The legend of King Kong has sure changed over the years. What began as a silver screen spectacular of game-changing special effects for its time has transformed into - well, a colored, saturated spectacular of game-changing special effects. But King Kong is also now part of a legend, a revamping of popular culture where people really like the big monsters, good or evil.

The new Kong film, Kong: Skull Island, from director Jordan Vogt-Roberts, is mostly a treat. If it were a chocolate cake, it would be a store-bought, sagging-on-the-side, with an uneven spread of frosting, cake. Falls short of the exquisite, but still mightily tasty. It is a gorgeously produced film that further affirms the throwback to old monster movie extravaganzas.

Whether it’s a sequel to Peter Jackson’s 2005 masterpiece or a stand-alone beginning to a new collection of beast films, I couldn’t tell you. But what Vogt-Roberts does absolutely right is the way he submits his focus on the locale of Skull Island, which of itself is a great part of the mythos of King Kong. The designs by Stefan Dechant explores more primal, outdoorsy exteriors, leading down the same major design Grant Major took us along in Jackson’s film. Better yet, Larry Fong’s cinematography is so focused on this idea of the island's temperature that we feel the humidity and heat of fear and dark space on Skull Island.

The movie, however, is wishy-washy on its empathy. Character is not the movie's strength, even with big names like Tom Hiddleston, Brie Larson, Samuel L Jackson, and John Goodman, and some of the demises lack sensitivity, losing the line between thrill and horror. Yes, action and horror do go well together. Jackson’s King Kong elicited more sympathy, and purposefully so because how we felt about Naomi Watts' Anne Darrow and Kong was rather the crux of the films. Vogt-Roberts makes the mistake of attaching us too soon, too quickly to the ensemble, so that when brutal deaths begin, we feel a bit too personally hurt by it when their bones make for toothpicks in creatures’ mouths.

John C. Reilly, as a stranded survivor, however, is the human highlight in the film, destined to nearly steal the show. Around Reilly, there is more air to breathe, and he welcomes the mystery and insanity behind the story of the island. He is more than an all-knowing guide to the explorers; he leads the audience, effortlessly, into the island’s heart of darkness.

With that, I realize that many (including myself) did not come to Kong for the performance features. It’s the entertainment factor behind the design and visual effects, all of which are nearly perfect. I only say nearly because the visual effects work behind Kong are truly splendid, seamless and altogether thrilling. Vogt-Roberts seems to know how long we’ve been waiting for the battle-ready ape and does not waste time getting him on the screen.

Flip-flops and all, Kong helps restore the magic and mystery behind the cinematic legend. It may not completely change the way we honor it, but it does affirm it, and it’s great fun.

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