![]() ![]() ![]() Jackson) and combat photographer Mason Weaver (Brie Larson), plus biologists Brooks and San (Corey Hawkins and Tian Jing) who know something secret about the island. Then they confront Kong - a superbly rendered, imposing figure from Industrial Light and Magic - acting as the soldiers' personal Vietnam War in a disorienting flurry of quick edits and horrible screeching sounds to create an immersive battle sequence.Īmong the survivors: British black ops Captain Conrad (a stiff, would-be 007 Tom Hiddleston), unstable commanding officer Lt. Thirteen helicopters barely survive the storms. Randa persuades the Nixon Administration to dispatch a military expedition to a mysterious South Pacific island surrounded by permanent storms that seal it off from the rest of the world. operative Bill Randa (John Goodman) says. "Mark my word, there'll never be a more screwed up time in Washington," oddball U.S. Three decades later in 1973, the Vietnam War winds down as the Watergate scandal rises. In 1944, an American war pilot and a Japanese war pilot parachute onto a seemingly unoccupied island where they try to kill each other. Some have big teeth.Īll of them like to eat humans, and when we accompany them to "Skull Island," the creepy creatures and constant surprises remind us of the first time we saw "Mysterious Island" or "Jurassic Park." "Skull Island" knows what makes an old-fashioned monster movie work, mainly lots of monsters. We've seen a zillion movies like "Skull Island," but director Jordan Vogt-Roberts (known mostly for the teen comic drama "The Kings of Summer" - go figure) cracks a whip over this genre piece, energizing the action and pushing the cast to squeeze fresh spontaneity from stale characters, all while maxing out the humor. That would be "Kong: Skull Island," definitely not just another clunky remake of the 1933 monster classic about an oversized simian and his screaming girlfriend. Add a giant gorilla to Sir Arthur Conan Doyle's "The Lost World," then twist it into a fleetly edited, blistering political parable that also functions as the strangest cinematic valentine to the Chicago Cubs ever created.
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