7 of 10
Cinematography byAndrew Lesnie
Naomi Watts
Jack Black
Adrien Brody
Thomas Kretschmann
Andy Serkis
Jackson doesn�t laugh at the audience, or wink sly with some specific section of it. He doesn�t make fun of genre films for the simple reason that he is making one: a fact he embraces whole-heartedly. At one point, Jackson�s filmic alter ego (played sporadically by Jack Black) flat-out admits that this is a B-picture. And Jackson loves every moment of it. I just wish there were fewer moments. About 45 minutes fewer.
That�s the real problem. With most kids, a complete lack of supervision is a bad thing. It�s unfortunate that The Fellowship of the Ring was so successful, in some ways. The studios were convinced to let Jackson supervise himself, which is the last thing you want an energetic kid to do. The results are predictable. Though the film is blessedly free of the calculated excesses one might find in a Ridley Scott film, there are definitely excesses.
After a fairly unimpressive first hour on the boat � (where Jackson introduces numerous characters and then fails to flesh out most of them) � the action starts. And never stops. It consists most of fighting: first with natives, then with Kong, then with dinosaurs, then with bugs, then with bats. Toss in a little chloroform throwing, some theater destroying, a car chase or two, and top it all off with a rousing biplane confrontation. The result? It�s just too much. By the time the film reaches its climax, the audience is exhausted. There is only so much emotional and visceral strain a person can take, and Jackson reaches that level about half-way through.
I sound too critical. There are good things to be said, as well. Andrew Lesnie�s work is superb; many of the shots are very beautiful, with a very painterly feel to them. The cast is universally good, with some standout work by Thomas Kretschmann and a wonderfully over-the-top Andy Serkis. The script avoids most of the cringe-inducing moments from the LOTR films � though not entirely. And the production values are through the roof. (What do you expect for $200M, anyway?)
Before I forget, it�s time to mention a little tidbit that might otherwise go unnoticed: the film is an absolute blast in spite of itself. Even with its pacing problems and excessive reliance on action, Jackson still gets the big thing right: Kong is real, pure and simple. The giant ape works on every level, conveying more emotion onscreen than most of the �real� actors are allowed to convey. His quiet scenes with Watts are occasionally a tad long, but very rewarding. And the technical feat of bringing him to life cannot be overstated. Superb work all around, from Serkis to WETA to Jackson�s brilliant imagination.
And because Kong is real, the film works. It keeps the audience going, because they really and truly want to know how it will all end. Without the believability and appeal of Kong, the experience would be incredibly frustrating and empty. But instead, it is frustrating and worthwhile.
In short, the film has flaws. Many of them. Cut half an hour, and it would be a superb film. Cut forty-five minutes, and it would be a masterpiece. But even in its current bloated condition, Jackson�s ability shines through; more than just his ability, actually. Some claim his work is narcissistic; that he does things because he can, and for no other reason than to showcase his abilities. In fact, I believe the exact opposite. Jackson is not showing off. Not in the least. He is having an absolute blast, celebrating the medium in such a wide-eyed, childlike manner that I cannot help but be swept up in his enthusiasm.
Someday, Jackson will become a movie-making adult. (Heavenly Creatures is the work of a cinematic teenager, at least, so the seeds are there.) But I don�t want my kids to grow up quite yet; I still want to appreciate them as kids first. And I don�t want Jackson to grow up yet, either. He�s having too much fun. And I�m having too much fun watching him.