KONG

Last week, my other half and I rented the original King Kong, just to get a feel for the epic before Peter Jackson’s remake. The original was far better than I expected and heralded the beginning of Hollywood spectaculars and special effects. We saw Jackson’s Kong yesterday, and I have little doubt that the gloom-sayers about its box office prospects are wrong. It’s an astounding achievement of cinematography: more graphic, involving, spectacular and emotionally resonant than any movie of its kind ever made before. I’m not a huge fan of the big epics, or even CGI-dominated event movies. But this is different. Naomi Watts is gorgeous and vulnerable and credible; Jack Black is wonderfully, enthusiastically amoral; the beast itself a miracle of emotional expression without anthopomorphic distortion. It’s a tour de force. I predict that word of mouth will soon propel it to box office success. But then, I’m often wrong about these things.

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