From when Peter Jackson’s name was synonymous with gore and splatter, rather than say, Orcs and Oscars; his films have always included a sprinkling of the geek; an inherent wonder of what can be achieved with special effects (Bad Taste, Braindead, The Frighteners) and, in contrast, a maturity and natural ability to mould human drama (Heavenly Creatures). This contrast puts Mr Jackson a Middle-Earth beyond his peers, and is why this reviewer considers The Lord of the Rings to be one of the most profound experiences of his life. Seriously.
Who better then, to handle a story that demands both technical radiance and heart the size of a moped? As such, it's a pleasure to say that Kong delivers in both areas, and it almost reaches the dizzying heights of Barad-Dûr, but takes its sweet time in getting there. What made Lord of the Rings so special was the material it was derived from; an overabundance of narrative and character details; which demanded a three-hour running time to do it justice, something Kong does not.
In fact, King Kong takes so long to get to the action it threatens to run out of steam and sink before the story really begins. Ann Darrow (Naomi Watts) and Carl Denham (Jack Black) are introduced, among a startlingly realistic depression-era New York backdrop, as is Jack Driscoll (Adrien Brody), then a whole host of minor characters are also introduced; the latter needlessly, and rather poorly. What misses the mark most spectacularly is the tepid surrogate father/son relationship between Jimmy (the newly American Jamie Bell, see: Production Diaries) and Hayes (Evan Parke), which taints the film almost permanently. Add an over use of Jackson’s shaky-cam, and you are begging for S-K-U-L-L Island.
Nevertheless, these are minor quibbles, as from the moment we reach our destination, you are reminded that this is a Peter Jackson film as it cranks up about a thousand gears and stays splendidly in overdrive until the finale. The CGI effects themselves are astounding, if occasionally reaching. The film boasts some of the most menacing creepy crawlies and unashamedly enjoyable action set pieces ever screened, truly breathtaking. Yet where the acclaim should really be placed is with WETA digital and Andy Serkis for making Kong so seamless; at once allowing for the unsurpassable monkey magic (the action) as well as a kaleidoscope of emotion which truly entrances the viewer and makes the climax work so wonderfully.
The most prominent cast members impress too, Adrien Brody makes an unlikely action hero, but this works exactly to his credit. Jack Black manages to tone down his animated demeanour to suit his self-obsessed mildly delusional character perfectly, and Naomi Watts deserves particular recognition for her wholly authentic chemistry with Kong (little more than Andy Serkis is a muscle suit during production). There is also a few neat little in-jokes to keep us interested between action sequences; Carl Denham filming a scene which included himself in the original 1933 version, as well as a nod to the original Kong vs. T-Rex fight.
As a whole, King Kong is an excellent film, fusing great performances with seamless CGI… but it would be an astonishing film if only Jackson and co. were a little less indulgent with the superfluous characters. Still, King Kong uses its mighty feet to squash its 2005 blockbuster counterparts into nothingness. Let us hope Jackson takes his own dieting regime into account and trims off a little fat for the DVD release. (Update: He didn't.)