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Kong: Skull Island

 

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Sometimes the most unexpected aspects of a film are the most enjoyable. In the case of Kong: Skull Island, which I enjoyed for multiple reasons, the most delightful aspect was the film’s relation to another film, a relation that is far from accidental and makes KSI an expansion of an established cinematic universe. The question therefore is whether Jordan Vogt-Roberts’ film works on its own or if spends too much time being referential. The answer is most assuredly the former, as Vogt-Roberts crafts an immersive thrill ride with a motley crew of adventurers journeying to the titular island, only to find more than they bargained for. This crew are diverse in terms of gender, race and personality, with tracker James Conrad (Tom Hiddleston), photographer Mason Weaver (Brie Larson), disgruntled US army colonel Preston Packard (Samuel L. Jackson) and visionary Bill Randa (John Goodman), who provides the main link to another film, as well as various other characters that have just enough background to make them more than faceless beast fodder. The 1973 setting, during the US withdrawal from Vietnam, establishes a conceit of humans’ non-superiority in relation to nature. The film explores this premise as several of the characters develop a new appreciation of the environment and their relationship with it. The most important aspect of this is of course Kong himself (played in performance capture by Toby Kebbell, who also plays soldier Jack Chapman), a massive presence who looms over the film even when off screen. Unlike other versions of the big ape, KSI does not overplay a Beauty and the Beast angle, as Weaver is far more capable than Ann Darrow and Kong remains unequivocally wild. This wild otherness gives the film its engrossing atmosphere, which is enhanced by other creatures and never lets up, Vogt-Roberts’ dynamic visual style conveying the thrills and spills of our heroes. With a post-credits scene setting up future developments, this is one island I’ll be keen to revisit.

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