|(Caution: Hyphens and brackets prickle this review.)|
The mandatory female lead Mason Weaver (Brie Larson) makes for commercial decoration rather than the photographer she is supposed to be playing. A madcap, chuckle-inducing, endearing cameo by John C. Reilly lightens up the second half. Reilly's Marlow is the only character with any connect here.
A ship sails without anything remotely ominous happening. The CGI created XXL-sized storm cloud is yawn-inducing, As a bevy of helicopters break through to Avatar-like geography and the talented cast contorts awe-stricken faces to a Jurassic Park-like soundtrack, an airborne tree trunk meets a windshield. Enter Kong, bloody red-eyed, mammoth, all too familiar and one-note.
Big budget blues
Filled, or more precisely, populated with the movie (Apocalypse Now), anti-war (in uppercase and underlined many times over) and literature (Heart of Darkness by Joseph Conrad) references, Kong: Skull Island gathers audience attention due to its ballooned up budget and cast, rather than anything remotely spectacular.
Lame jokes, cardboard characters
Mammoth-sized creatures on an unknown island battling man's greed, weaponry and ego is oft-repeated big screen potential.
Kong: Skull Island borrows from all previous reboots and the original King Kong (1933) but falters, scene after scene. Cliches, overcooked dialogues, loud in-your-face action ensures the utter lack of surprises.
Only for a minute, in a haze-induced hunted-hunter waiting does this wannabe monster movie come alive. A decent final Kong-Giant Lizard confrontation ably mimics bits from Peter Jackson's King Kong (2005). These two action episodes just about hold our attention.
No genuine moments, zero on the thrill meter, a brief, forced human-Kong connect, guns, fire, ho-hum.
Too full of itself and a loud chest-thumping, grizzle of a movie, Kong: Skull Island in 3D is a shallow breeze thanks to its incident-filled screenplay and CGI. An optional, not so boring watch at the theaters this week.
For a better experience, catch Peter Jackson's inconsistent but impressive, high-quality King Kong instead.