King Kong

2005

Action / Adventure / Drama / Romance

281
Rotten Tomatoes Critics - Certified Fresh 84% · 268 reviews
Rotten Tomatoes Audience - Spilled 50% · 250K ratings
IMDb Rating 7.2/10 10 445113 445.1K

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Plot summary

In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with the leading lady.


Uploaded by: OTTO
July 26, 2022 at 09:44 AM

Director

Top cast

Peter Jackson as Gunner
Naomi Watts as Ann Darrow
Jack Black as Carl Denham
Andy Serkis as Kong / Lumpy
720p.BLU 1080p.BLU 2160p.BLU.x265
850.53 MB
1280*720
English 2.0
PG-13
23.976 fps
3 hr 7 min
Seeds 31
2.86 GB
1920*816
English 2.0
PG-13
23.976 fps
3 hr 7 min
Seeds 67
9.04 GB
3840*1634
English 5.1
PG-13
23.976 fps
3 hr 20 min
Seeds 26

Movie Reviews

Reviewed by Steffi_P 10 / 10

"Monsters belong in B-movies"

We live in an era in which virtually every classic of cinema is being remade, usually for the worse. King Kong was originally a surprise hit for RKO studios back in 1933, the heart of the depression. It had already been remade once, in 1976. That version simply updated the story for 1970s characters and settings, which seems logical enough. I haven't seen the 1976 movie so can't comment much on it, but the consensus is that it was atrocious. However for this latest and, I hope final remake, producer-director Peter Jackson returns to the 1930s setting that was the original picture's present day. In so doing, he gives the story a little of the relevance it once had in its era, whilst simultaneously recreating it as a nostalgic period piece.

The 2005 King Kong is also a far longer movie than either of its predecessors. This extra time is not really used to augment the plot, which is more or less identical to what it was in 1933. Instead, it's used to augment the characters. While the ship's crew of the first movie were nameless dots getting picked off one-by-one by various claymation monsters, here they are real human beings with personalities and backstories (who then proceed to get picked off one-by-one by various CGI monsters, but at least now the toll seems realistically human rather than a simple case of numbers). What's more, the character of the eponymous ape is fleshed out too, his mix of savagery, tenderness and near-humanity given a complex and moving arc. Kudos here also goes to the motion-capture acting of Andy Serkis and the animation team who have done a fantastic job of creating an animal with emotional depth.

The profundity of the screenplay is exemplified in a scene, intercut with the arrival on Skull Island, where Jamie Bell says of the Joseph Conrad novel he is reading "It's not an adventure story, is it?" This is of course theoretically an action picture, but it's an hour into the runtime before we get an action scene. Jackson doesn't pull the cheap trick of manufacturing a fight or a chase simply to keep up the pace, instead managing to hold our interest with creeping tension and character development. When the action does come, Jackson proves his mastery at fashioning breathtaking sequences. There are some truly exhilarating moments, like when the camera moves in on Kong and the T-Rex for the climax of their battle. As in his earlier pictures, one of Jackson's trademarks is little moments of comedy, most notably seen here in the dinosaur stampede. And when the middle hour of the picture becomes an almost non-stop action-fest, Jackson has the sense and inventiveness to give each sequence its own tone, even requesting an unusually sombre bit of musical scoring for the insect pit. Incidentally, it's a superb and sensitive score all round by James Newton Howard.

Finally, one thing that makes the 2005 King Kong special is its open tribute to its roots, not just the 1933 movie but 1930s Hollywood in general. Peter Jackson is very much a modern director on the surface, filling his movies with wall-to-wall CGI and two-second shots, but his understanding of his cinematic forebears underpins it all. The movie begins with "I'm Sitting On Top of the World", but the opening shot is of a shanty town, which is the kind of irony seen in depression-era movies like Gold Diggers of 1933. There's some sly mocking of the stars and scripting of the era, but done so as to be a knowing wink to old-time movie fans. And, with its beautiful rhythm and epic scope (epic being an overused word these days, but this picture truly merits it), this is a version of a Hollywood classic that seems totally in love with the very essence of cinema.

Reviewed by GiraffeDoor 9 / 10

Agreed, Ann: beautiful.

Maybe I'm blinded by nostalgia but I adore this movie.

It's one of the few movies for me that is truly and action movie and not just a movie with some gun fire and general badassdom. The action sequences are captivating, electrifying and operatic in their scale and execution.

On top of this, the sense of adventure as we travel from a vivid (and probably fake) evocation of 1930s New York to the eerie island forgotten by time is realized with an artisanal attention to detail and an artist's spark and passion (though of course all movies are art).

A lot of people felt it took a while to get going. But I like local color and characters that make this feel all the more vivid. They do it with verve when so many other monster movies spend too much time on humans when they only know how to write the monsters.

The love story angle part might have been a tad much but I like Ann, I like Jack, I love to look down my nose at Carl and Hayes and the boy are a sweet addition too.

You will fear and in time come to love this endling ape who reigns as king of the forgotten world but but rules it alone. When Naomi Watts described it as a love story I dare say it might have been the most inciteful thing an actor has ever said about one of their movies that they didn't write in an interview. It's no an erotic love but in the bleak world of giant sabre toothed leach eat giant sabre toothed leach, sometimes moments of tenderness between the most unlikely pairs becomes possible.

And then we get back to New York and words do not do it justice. They kind of slapped a Christmas/Winter aesthetic in the final act because this movie released in December and I am so happy to go along with it, maybe because of that score.

Overall, one of the few remakes of a good movie that is justified since it managed to recreate for modern audiences what the original would have been at its time.

Reviewed by Leofwine_draca 6 / 10

As good as it could be for a modern Hollywood film

Peter Jackson has said that the original KING KONG was the movie that inspired him to be a film-maker in the first place, so it's only fair that he's the helmer of this multi-million dollar blockbuster. Now, I'm the first to admit that the whole Kong mythos has been done to death – the original movie was an absolute classic which nothing can touch; the sequels and Japanese rip-offs were largely forgettable, and the 1976 remake was diabolical. Still, Jackson was on a high after his astonishing LORD OF THE RINGS trilogy, so it was with eager expectations that I watched this movie.

The first hour is fantastic, building up a totally realistic portrayal of 1930s America during the Depression and Prohibition eras. The script is smart, witty and contains plenty of humour to keep things moving along nicely, and the camera-work is excellent; the movie looks tremendous, a visual style pretty much unmatched elsewhere. Jackson works hard at characterisation, so that by the time the guys reach Skull Island, you get a good image of all the major cast members and and what their characters are like. While I'm on the subject, the acting is uniformly good; Adrien Brody is likable as the hero, Jack Black also likable despite being the real villain of the movie, whilst Naomi Watts, although trying a little too hard in places, is pretty good – although no Fay Wray, it has to be said. The supporting cast are outstanding – from Colin Hanks' understated turn to Thomas Kretschmann (so sadistic as the killer in THE STENDHAL SYNDROME) as the salt-of-the-earth sea captain. Jamie Bell works hard, too, to bring sympathy to his minor role, whilst the delightful Andy Serkis steals every single scene as the ship's cook – give this man more roles, please! The second hour involves a massive jungle trek as our increasingly depleted party face off against some prehistoric nasties. Here's where the film gets less good – Jackson is so busy having fun with all his new sparkling CGI creations, he loses the focus of the story, and Kong's match against three Tyrannosaurs quickly becomes tiresome. Still, an interlude in which the heroes fall into a bug pit and are set upon by various centipedes, cockroaches, and slugs is good sick fare, and there's the unforgettable sight of a man being chewed upon by a massive slug which alone makes the entire film worth watching. Speaking of horror, it's in good supply here, from the aforementioned insect escapade, to the Orc-like natives who are gruesome in appearance, to moments of casual violence that reveal Jackson's background – the flying tongue scene, for instance, is one to remember.

The final third sees Kong returning to the city and going on his climatic rampage. Here, things play out pretty predictably, with the addition of a cheesy ice-skating sequence that should have been excised in interests of soppiness. The special effects are well up to the job as Kong goes on his rampage of destruction, so you'll find things totally believable; the giant ape himself, half-acted by Andy Serkis once again, is totally convincing and true to life – but he's still not a patch on that plasticine model we all know and love from the 1933 classic.

The major flaw with this film is its length – half an hour to an hour could easily have been cut out and it would have been a much better, tighter movie. As it is, there are problems with pacing, and some utterly cheesy sequences that belong in a JURASSIC PARK sequel – the vine-swinging T-Rexes are particularly embarrassing, and you find it hard to believe that Jackson himself didn't see this fatal error. Other than that, the film looks good, feels good and IS good – not up there with the original but still pretty damn close.

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