Among them: Tom Hiddleston as the Doc Savage-style white jungle adventurer, Brie Larson as the morally conscientious photojournalist/Kong bait, and Samuel L. John Goodman plays Bill Randa, a government official searching for giant monsters with the help of a crew that contains scientists, soldiers, activists and mercenaries. That Cannibal Holocaust comparison is no hyperbole, by the way, at least in terms of the disgusting fate that befalls one character. One minute, it’s bombarding you with comic ultraviolence and gore that would not be out of place in The Evil Dead or Cannibal Holocaust, and the next it’s legitimately very funny. Kong: Skull Island is not a complex film, and it doesn’t really deserve “complex analysis.” It’s a calculated popcorn action movie and a would-be blockbuster, and one that is intensely uneven tonally by design.
However, the corresponding films from DC have proven that this is much easier said than done. It is of course another film studio’s attempt to tap into the seemingly endless money engine of successful “cinematic universes,” as Marvel Studios can attest to. This is the second film is Legendary’s “MonsterVerse,” which began with Godzilla and is slated to continue with at least two more films: Godzilla: King of the Monsters in 2019 and Godzilla vs. There are avenues to criticize Kong: Skull Island, but “lack of Kong” is not going to be one of them.
The audience meets Kong quickly, and often. Given that the most vociferous public complaints about Gareth Edwards’ 2014 take on Godzilla were … well, the dearth of GODZILLA scenes, it seemed only natural that Legendary’s reaction would be to get the whole King Kong reveal out of the way almost immediately in this film. I went into the opening of Kong: Skull Island with something of a prediction in mind.
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