There should now be two works in the Monster Universe, one is Godzilla in 14 years, and the other is this King Kong. It feels that Warner has placed the two works on two extremes, and wants to determine the future direction of the monster movie through the feedback of the audience.
Audiences who have watched Godzilla for 14 years should know that the atmosphere creation of that version of Godzilla should be awesome. Godzilla was in the mist from the beginning, but the atmosphere creation brought It is the cover-up that the passers-by and the audience dislike very much. Godzilla has been playing a guise with the audience, and only the end is a happy fight.
However, this King Kong showed its true colors from the beginning of the film. It swept away the previous cover, and really took the monster as the protagonist. Every battle tried its best to give King Kong the most shots. To be honest, although I also like the depressive atmosphere of the 14th version of Godzilla, the monster universe movie in my mind should be more like this King Kong, let the monster fully present itself on the big screen, from the beginning to the end of the movie.
Let's talk about the shortcomings first.
Since the film is all focused on King Kong, humans have become the dispensable part, so the script and the actors have become the two biggest deductions for the film.
The script is so simple that it hasn't been carefully polished at all. In fact, this film does not need to be spoiled at all, it is the story of a human being who enters the Skull Island and escapes after death. There is no spark between all the characters, and there is no team look at all. Explaining the cause, he immediately began to fight, and the role of the character's appearance was limited to introducing the character, and then dragged him into this escape adventure. The so-called three-line narrative has not been well laid out, and has become a mess. But fortunately, the length of the film is not very long, so these flaws in the script are not too much.
Then there are actors and characters. To be honest, no role is successful. The addition of some characters has no cause and effect, making the audience know little about them, and naturally it is impossible to cause emotional fluctuations. The heroes and heroines have no sparks, and they don't even know what they are doing, especially Larson (but Larson's body is really good, everyone will know it after reading it). The role of the director should be the most three-dimensional in the film, but it has been portrayed as an annoying tyrant, which is too extreme.
It is worth mentioning, of course, our Jing Tian. Maybe the easter egg should be her best moment in this film. Also, everyone is ashamed, are you still as fair as ever, so embarrassed?
Therefore, there are still many problems in this film. However, the director, yes, I have only filmed a small fresh [Summer King] before. In the process of filming this film, the director who dare not shave his beard saved the film and made a forcibly. The possible dross got to the forefront of the popcorn movie.
dceu can really think about this one, Jordan Vogt-Roberts
The director is very clever. He knows exactly where the less-pleasing characters in the literary play in the script will consume the patience of the audience, so it is very suitable to fill the length and burn in the limited and not-so-good script framework. Many action scenes are allocated appropriately, making the rhythm of watching movies very comfortable. The ratio of literary and martial arts is very balanced, and there is no situation where a splendid Hong Kong battle like the Pacific Rim made the whole movie discouraged. Rhythm control is the first praise point
Speaking of specific fighting scenes. First of all, the battle is really conscientious. All battle scenes take place during the day, so there is no need to worry about seeing blindness. But what I mainly like is the scheduling of the battle scenes. The battles in this film should be said to be very complicated. Humans and beasts, beasts and beasts, machines, bullets, flames, teeth, fists, claws... the composition of each battle. There are so many elements, but they have not been reduced to a hodgepodge. The director's excellent scheduling makes every battle complicated and not chaotic. We can clearly know what every part of the battle is doing every second without being dazzled. The collection of this point is focused on the final battle. King Kong's most perfect combat power and monster modeling are reflected in this scene. The use of various elements in the middle section of the skeleton lizard encounter makes the battle more interesting. Battle scheduling is the second praise point
The third praise point is the creation of a sense of age. It is not easy to show the sense of age of the Vietnam War in a popcorn movie. From the film title similar to Godzilla, to the font of the subtitles, to the selection of golden songs of various ages, to the texture of the photos taken by Larson; to the deeper level of the Vietnam War psychology, and even the whole film is about the Vietnam War. It’s a pleasant surprise to see in commercial films. Using the idea of a Vietnam War movie to shoot a monster universe movie origin is very right, the director's choice is very correct
That's almost all I want to say, it should be regarded as the upper level in the popcorn movie. Although there are still many problems, it cannot conceal the excellence of the film itself. The director became the savior of this movie.
Very cool, very burning, very satisfying monster movie
Rated 7.8
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