As a re-production of Merian C. Cooper’s great success in 1933, this time "King Kong" used the super-evolutionary miracle brought about by 21st century CGI technology to improve the facial structure, showing New York in the Great Depression era, SS Adventure Traveling, the flora and fauna on Skull Island and two planes attacked the Empire State Building, and of course the giant orangutans themselves, and used a certain degree of photo simulation details, which is very complicated and expensive. For a masterpiece that only used static animation and stained glass technology in 1933, or the animation special effects used in the reshoot in 1976, it is simply incredible.
This film is a huge technical success, but there is still a problem that threatens this fascinating story: In the super long three hours, the "longitude" of this film exceeds its effect. . If one thing can be done three times, Jackson will never just say or do it once.
The first act is also expanded in this movie. Carl Dam (Jack Black, a good blend of cynical indulgence and imagination?), the director of the only profitable picture, combines the struggling actress Ann Darrow (Naomi Watts) with the playwright who visits the slums Jack ∙ Driscoll (played by Adre Brudy) and all kinds of people waited in a cargo ship and sent to an unknown destination.
Cooper treated this part as a slow prelude to the desert island adventure, while Jackson spent an hour away from the topic to show redundant backstory and nauseating secondary actors. With the sunset made with orange CG technology as the background, and then using the shiny CG chimney to overflow the CG smoke, he sailed to the dangerous and vast "Titanic" sea; there was even an Irish quick step before landing hastily.
It happened as soon as it landed. They carried out a series of bold and reckless actions against the deadly ecological environment including dinosaurs running around, scrawny predatory birds, monitor lizards, large insects, evil bats and constant T-Rex attacks.
The following situations really have a feeling of nightmares --- encountering an obscene, someone as big as a leech attacked by a penis with teeth, or a vicious native (this is the only word suitable for this strange and savage character), Cinematography uses slow motion to produce a dizzying effect, coupled with an elegy, is likely to shock the child. Indeed, this endless chain of attacks began to look more like a vivid, executed dream test than just a narrative.
The success of the picture lies in "just" himself. Like the character of Gollum in the "Lord of the Rings" series, this CG character is more complex, plump and charming than any human being. It has been transformed from a sinful and ugly orangutan into a tragic, semi-heroic character. .
On the outside, "Gang" is a lifelike gorilla with a distorted face, scarred and incomplete limbs and low, wide buttocks. These parts are described in amazing detail in the movie, both static and dynamic. But Jackson is capable of surpassing his predecessors, relying on making a leap in creating a "rigid" that is equally credible in action and emotion, without giving it too much humanity.
Andy·Serkis (he also “played” Gollum)’s computer-enhanced special effects show showed us a “gang” who was angry and vigilant at first, but later his lonely and brutal life was affected by the arrival of a mysterious blonde beauty. Change; Lawton's Quasimodo is cited as the prototype.
The mutual attraction and love of "Gang" and Ann deeply shocked. Although the gender issue in this beauty and beast pairing is still very subtle, it is clear enough to make Driscoll the loser of the romantic bet.
Bringing the chains back to New York still brought more pain: "Gang"'s low status and obvious fear and confusion about civilization made it more difficult than ever to reconcile with fighters. His anger towards the city led us to another journey of animation special effects. Although this is also part of the film’s roundabouts and procrastination, it seems that Jackson couldn’t resist showing the 90,358 houses in the digital film that are indeed decorated with door handles.
The movie scenes are big and smart, but they are always a little strange. The story is obviously based on a certain degree of surreal mythology, rather than naturalistic realism. Why not make the "New York in King Kong" an exaggerated and dreamy environment like Skull Island, and reimagine the feelings of "Gang". New York is an overly heavy and angular prison? Replace it. It is the director who has made New York a real look without any originality.
The power of the climax of this story lies in the conflict between the chaotic and uncontrollable self-awareness of "rigid" and the strictly controlled modern Manhattan: unrestrained desire and extreme rationality, instinctive impulse and regulation .
Finally, the "Gang" has been under the control of technology: building, flying and photography Jackson produced the mobile perspective Carl ∙ Dame could be proud of; if he wants to be able to be less obsessed with him those magic high-tech means. , Is more willing to let go and shoot naturally, he may make a movie that is more soul-bound.
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