King Kong is a movie about a giant ape, and it spends most of its runtime proving that giant apes are still the best kind of monster to put on screen. Peter Jackson’s remake of the 1933 classic runs nearly three hours, and it earns every second of that running time through sheer force of will, spectacle, and a surprisingly effective emotional core. The film is not subtle, but it rarely needs to be.
The story follows Ann Darrow (Naomi Watts), a struggling actress hired to play the lead in a Broadway show financed by Carl Denham (Jack Black). Denham is chasing fame and fortune, and he believes there is something special waiting for him out in the Pacific. He finds it on Skull Island, where a giant gorilla named Kong rules over a menagerie of creatures straight out of a nightmare. Ann is swept up into the adventure, and the film spends its middle stretch building toward the inevitable confrontation between man and beast.
Trailer, via Universal Pictures At Home.
Ann Darrow and the Heart of the Story
Naomi Watts carries the early scenes with a warmth that anchors the film’s excess. Her performance as Ann is the emotional center of King Kong, and she sells the fear, the curiosity, and the eventual affection that develops between human and monster. The relationship between Ann and Kong is the engine that drives the film’s final act, and Watts makes it feel genuine even when the script asks her to sit quietly while a giant ape holds her in his hand.
Jack Black plays Carl Denham as a charming lunatic, a man who believes in his own legend so completely that he cannot see the danger he is creating. His scenes are often the funniest in the film, but they also carry a weight. Denham is a tragic figure, a man whose obsession with fame has cost him everything, and Black plays that tragedy with a light touch that keeps the film from becoming too grim.
The Beast and the City
Kong is the star of King Kong, and he is treated as such. The motion-capture work is seamless, and the creature design is both terrifying and oddly sympathetic. Kong is a monster, but he is also a protector, a father figure, and a tragic figure whose fate is sealed from the moment he picks up Ann. The film understands that Kong is not a villain, and it spends its final hour making sure we understand that as well.
The scenes on Skull Island are the film’s high point. The island is a living hell, filled with dinosaurs, giant insects, and other horrors that make the audience grateful to be watching from a safe distance. The action sequences are chaotic, but they are also carefully staged, with Jackson using the chaos to create a sense of dread. The island feels like a place that exists outside of human logic, and the film never lets us forget it.
New York and the Final Showdown
The film moves from the island to New York City, where Kong is brought back as a spectacle for the masses. This section of the film is where the story slows down, and it is where the film’s flaws become more apparent. The pacing drags in the middle stretch, and some of the supporting characters feel underdeveloped. But the film recovers in its final act, when Kong is captured and taken to the top of the Empire State Building.
The final showdown is a masterpiece of spectacle. Kong is attacked by airplanes, soldiers, and the citizens of New York, and he fights back with a fury that is both terrifying and heartbreaking. The scene is a visual feast, but it is also a moment of great sadness. We know what is coming, and the film does not flinch from showing it.
The Music and the Sound
The score, composed by Howard Shore, is a driving force throughout the film. It is bombastic and emotional, and it knows when to pull back and let the image do the work. The music swells during the island sequences, and it becomes a wall of sound during the final battle. It is a score that deserves to be mentioned alongside the best of the genre.
The sound design is equally impressive. The roar of Kong is a constant presence, and it is used sparingly enough that it carries real weight when it does arrive. The sound of the city, the screams of the crowds, and the mechanical hum of the planes all combine to create a soundscape that is immersive and overwhelming.
Comparing the Two Versions
| Element | 1933 Version | 2005 Version |
|---|---|---|
| Length | 76 minutes | 187 minutes |
| Technology | Stop-motion animation | Motion capture |
| Lead Actor | Fay Wray | Naomi Watts |
| Setting | Skull Island | Skull Island |
| Tone | Silent horror | Modern epic |
The comparison is instructive. The 1933 version was a landmark of its time, a film that pushed the boundaries of what could be shown on screen. King Kong (2005) takes that legacy and expands it, using modern technology to create a more detailed and immersive world. The new version is not necessarily better, but it is certainly different. It is a larger, louder, and more emotional version of the same story.
The Verdict
King Kong (2005) is a flawed but essential film. It respects the source material while giving it a modern update, and the comparison table shows how far the story has come. The island sequences are a triumph, and the final act is a powerful piece of storytelling. The middle stretch drags, and some of the characters feel thin, but those flaws are outweighed by the strength of the central relationship between Ann and Kong.
The film is a spectacle, and it knows it is one. It is not subtle, and it does not pretend to be. But the spectacle serves a purpose. It creates a world that is truly alien, and it makes the emotional payoff feel earned. The film ends with a moment of quiet, and it is the most affecting moment in the entire story.
King Kong is a big, messy, beautiful movie. It is not perfect, but it is memorable. It is a film that rewards attention, and it is a film that will be remembered for years to come.
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