Kong: Skull Island 2017 123movies

Watch: Kong: Skull Island 2017 123movies, Full Movie Online – A washed up monster chaser convinces the U.S. Government to fund a trip to an unexplored island in the South Pacific. Under the guise of geological research, the team travels to “Skull Island”. Upon arrival, the group discover that their mission may be complicated by the wildlife which inhabits the island. The beautiful vistas and deadly creatures create a visually stunning experience that is sure to keep your attention..
Plot: Explore the mysterious and dangerous home of the king of the apes as a team of explorers ventures deep inside the treacherous, primordial island.
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Ratings:

	6.6/10 Votes: 320,239
	75% | RottenTomatoes
	62/100 | MetaCritic
	N/A Votes: 9217 Popularity: 47.727 | TMDB

Reviews:

Don’t let the title and promotional material fool you: Kong Skull Island is more military commentary and homage to Apocalypse Now than simply _another_ King Kong movie. In that sense it brings something new and fresh to the series, and is also very much a period piece–a period that all too recently seemed to be contemporary history, not the distant and unfamiliar past in which the film takes place.

After a prologue set during WWII, the current setting of the film opens in the waning days of the Vietnam War. While plenty of films have explored the war in Vietnam, Kong eschewed using combat or anti-war demonstrations on the homefront as the focal point. The Draft, flag burnings, use of the term “Charlie,” etc are all absent from the film. Instead, it takes the unique perspective of war from an elite group of soldiers contemplating going home–back to “The World.” While some characters look forward to reuniting with friends and family, the contempt for the army and the war that is seen in other Vietnam movies is also absent. These guys are soldiers and they are proud of that; it means something. Their commander is portrayed as an old war horse who is contemplating a future with no war to fight.

In the midst of all this, two scientists named Bill Randa (John Goodman) and Houston Brooks (Corey Hawkins), lobby to have a military escort assist them in exploring an uncharted island. Randa and Brooks assemble their team which consists of tracker James Conrad (Tom Hiddelston) photographer Mason Weaver (Brie Larson) a geologist San (Jin Tian) and a few other scientists not fleshed out enough to even remember.

They meet up with Lt. Col. Packard (Samuel L. Jackson) and the the soldiers we met earlier in the film. With all these convenient characters in place, the movie really begins.

The film shifts gears from being a period piece that goes out of its way–sometimes with distracting effect–to showcase outdated technology (a scene in which the camera pans to a table of rotary phones and then lingers for a few seconds comes to mind), to a Tarantino-esque homage to Vietnam War movies. The cinematography is excellent. Jordan Vogt-Roberts makes good use of the physical environment (coincidentally, Vietnam) and made me realize just how in need we were of a beautiful Vietnam War movie in the age of 4K and Real 3D.

Complete with Credence Clearwater Revival and Jefferson Airplane songs, equipment-laden soldiers marching through swamps, dogtags clinking together, their helmets advertising what they decided to scribble on them, the jolly Green Giant presses on through the jungle–the director’s love of Vietnam War movie visuals on full display, the movie moves along with great fun.

However, when the titular character first shows up, the action-packed visuals begin to detract very quickly from the mood Jordan Vogt-Roberts established in the first third of the movie. In the excessive age of more is better, the movie stumbles a bit, threatening to collapse under the weight of its title monster.

Thankfully Kong is reigned in and the human characters are able to command some attention. At this point, the camp is divided in two: Military vs. Civilian. While the Army soldiers are on a rescue mission to bring back one of their own, the civilian folks meet up with the island’s native population–including a downed WWII pilot (John C. Reilly) who’s been on the island for 30 years. Through him we learn that Kong is a protector of the island. That he is, in fact, not the monster at all.

Packard is not having any of this, of course, because Kong killed some of his men. This is where the movie makes its statement. Kong is the combatant that fights to protect the natives–much the way Packard and his men are portrayed. Packard mentions that soldiers do the dirty work so our friends and family back home don’t have to be afraid. In this, Kong and Packard have a kinship–common ground shared by all soldiers: They do the dirty work so you don’t have to. Unable or unwilling to see this, Packard decides to wage a personal war against Kong.

This is unwise as Kong protects the island from “Skullcrawlers”–massive lizard-like creatures who would eat any living thing on the island if not for Kong’s presence.

The civilians begin to see Kong as not only necessary, but as compassionate and humane. He saves a trapped water buffalo, marvels at the sight of the aurora borealis, and has a brief but tender moment with Conrad and Weaver. He is the soldier whom, during a lull in the battle, is shown as a well-rounded individual, a reminder that being a soldier is something one does; not something one is. This is also true of other soldiers in the film, such as Cole and Mills. Packard, however, has gone off the deep end. A showdown between he and Kong is inevitable, and with Kong out of commission, the Skullcrawlers are able to run amok and create problems for our heroes.

At this point Kong is miraculously resurrected to save the day because the scrip said so. And he does. And the film ends on the sappiest, corniest, and most contrived of happy Hollywood endings.

Where the film works, it works well. Its commentaries on soldiers and soldiering are interesting without being heavy handed. Despite the Vietnam backdrop, Jordan Vogt-Roberts avoids making a commentary about the Vietnam War specifically, avoiding political controversy in the process. The actors make good use of what material they have to turn in decent performances. In a movie with Brie Larson, Tom Hiddelston and Samuel L. Jackson, it’s John C. Reilly, Jason Mitchell and Shea Whigham who steal the show. Also, Kong looked terrific. The CGI work is better than what the Peter Jackson remake gave us–though the Skullcrawlers looked laughably cartoonish.

But, the movie has its faults as well. Its parallels to Apocalypse Now can be distracting at times. As is common with ensemble pieces, there are too many characters on the screen for any one of them to get enough screen time to become memorable. Hiddleston in particular had the least material to work with. His character–such as it was–had no depth or personality. He was simply action movie trope. The interactions between Larson and Kong only work because we know that King Kong has always been a Beauty and the Beast tale. It’s forced. Giant ape and pretty blonde get along, because it’s a Kong movie. For the uninitiated, it could just feel jarring and uneven.

All in all, the film succeeds as a blockbuster to eat popcorn to. Yet it tries, with varying degrees of success, to reach beyond that. While Kong deserves an A for effort, a B- is all it achieves in its execution. Also, the interesting and unique aspect of combining Vietnam War movies with the Kong mythos is highly rewarding for the audience.

Better than average, but still far from perfect.

**A new dawn. The King has arrived.**

Seems I’m the only one who did not know it was not a sequel to the 2005 film. The Kong was over a 100 feet tall in this, compared to 25 feet from a decade ago. Being a big fan of that film and Peter Jackson, I hated this idea, especially for totally a fresh cast and crew. So I was not expecting it. Only while watching it, I came to know it was a new version. With a new cinematic, a new set of actors, timeline, completely a different kind of tone for a King Kong film that I have ever seen.

They wanted it to be a badass action film than a value added storyline. That does not mean I loved it. It was average. I only enjoyed the nice action-adventures. But the visuals were a more commercialised. I even confused whether did I watched a Hollywood film or an Rajamouli film. You know those terrible methods used for stunt sequences.

The most boring part of this film was the same old formula, which is a set of people enter in a dangerous enclosure and only a few come back alive. A couple of scientist escorted by a military to a mystery island hidden in the mists of the South Pacific to do some scientific research. Soon they come to realise they are in a dangerous place where giant monsters live. After losing some of the soldiers, now it becomes a survival game. But the general is obsessed with a revenge. How the rest of the story folds were told with a battle of the film.

Basically, this film was created to merge two franchises, the rebooted ‘Godzilla’ with this one. The post end-credit scene gave some important hint about the future of the franchise. But I thought it was too similar to the comedy flick, ‘Journey 2: The Mysterious Island’. Usually spoof films were made out of greatest hit films. But it looks like here a reverse case. Though all the actors were good. Nice direction, visuals, music, particularly the sound effects. This film is simply enjoyable and forgettable.

There are many things I did not like. The Peter Jackson film was so artistic. Every frame was like a classic painting. In this, the Kong standing on his two feet, walking around like a man, totally turned me off. The giant ape did not behave like a real ape. Many sequences were also borrowed from many other films, only replaced with different creatures and recreated with a fresh setting. This is a perfect time pass film to have on a weekend. Particularly, if you are a graphile (graphic+phile), you would have a nice time.

_5.5/10_

Into the “Heart of Darkness” with King Kong
2017’s “Kong: Skull Island” was a much better film than I anticipated it to be. Perhaps my enjoyment of the film was strengthened by the fact that I didn’t go into it with very many expectations – as I had shielded myself from the hype and plot details for months, ever since it was announced that the film was being produced.

Boy, am I glad that I cared little, at first, to read or see anything regarding this picture. (I honestly did not care to see the film, period, but my curiosity got the better of me and I’m glad that it did.)

What I did know, before going in, was that “Kong: Skull Island” was meant to reboot and reintroduce King Kong for the modern era – and set up a possible future crossover with “Godzilla” (2014); Warner Bros. and Legendary Pictures are behind the whole thing. (And rumors suggest that “Pacific Rim” may figure in there somewhere, too.) I’m 31, going on 32. I grew up on the original 1933 “King Kong,” as well as the 1962 Japanese kaiju-eiga (Japanese monster movie) “King Kong vs. Godzilla,” which saw America’s Eighth Wonder of the World go head-to-head against Japan’s mighty King of the Monsters. (“King Kong vs. Godzilla” is referenced here, too, in one brief eagle-eyed scene, just to show that the filmmakers had in fact done their homework.) Honestly, 2020 cannot get here fast enough for this monster movie fan.

But back to “Kong: Skull Island.” Let me just say, this film did not disappoint in the slightest. I saw the film with a good friend of mine (which enhanced the experience for me on a deeply personal level). I was surprised to find the picture working from its opening moments, which begins in World War II before fast-forwarding to 1973 during the height of the Vietnam War era. Mixing the story of the original 1933 “King Kong” with elements of “Apocalypse Now” (1979) (and its source material, the novella “Heart of Darkness” by Joseph Conrad) and “Platoon” (1986), plus the South Korean monster movie “The Host” (2006) and the critically acclaimed Hayao Miyazaki Anime’ “Princess Mononoke” (1997), “Kong: Skull Island” proves to be one of the more original films of its genre – since I did not know much of this beforehand.

The story involves a scientific expedition led by Bill Randa (John Goodman) and his young associate Houston Brooks (Corey Hawkins) to the titular Skull Island, an uncharted destination located somewhere in the Pacific Ocean that he compares to the Bermuda Triangle, and he has a small helicopter contingent of the U.S. Army led by Lieutenant Colonel Packard (Samuel L. Jackson) as a military escort. Leading them all into the jungle (the “Heart of Darkness”), is an expert hunter-tracker and former British S.A.S. soldier named James Conrad (Tom Hiddleston). Once on the island, they come to make an amazing discovery of a world that time forgot – and it is ruled by a monster-god who is the last of his kind, but the “King” of his domain…

This version of King Kong is a true force to be reckoned with. Brilliantly motion-captured by Terry Notary, this is a Kong that can think and displays ample cunning and intelligence, and attitude. Reimagined here as a fierce protector of his homeland (but whose role is not unchallenged by some of the other ungodly prehistoric beasts on Skull Island), it’ll be very interesting to see him go toe-to-toe with Godzilla in three years. That should be an incredible monster battle re-match from when they first fought in 1962.

“Kong: Skull Island” is a film that had me on the edge of my seat pretty much the entire time that I was watching it. It’s not perfect, but director Jordan Vogt-Roberts has crafted a wonderful first entry into a possible amazing franchise. Its screenplay is credited to three writers, one of whom is Max Borenstein, who was on-board 2014’s “Godzilla” (and thereby sealing the behind-the-scenes connection to that film). Where the film may ultimately fall short, are in its characterizations. While Samuel L. Jackson and John C. Reilly (in a surprise cameo halfway through the film) give the most note-worthy performances, you do care about what happens to everyone, even lesser developed characters like Packard’s straight-laced right-hand man Jack Chapman (an effective Toby Kebbell, who also motion-captured Kong’s performance along with Terry Notary). My personal favorite character was U.S. Army pilot Slivko (Thomas Mann). Maybe it’s because I like Thomas Mann a lot as an actor and that I’ve enjoyed everything I’ve seen him in (namely 2012’s “Project X”), that I gravitated mostly toward his character here and hoped he made it out okay.

“Kong: Skull Island” is a thoroughly enjoyable monster film from start to finish. I had my fun with it. My lack of knowledge beforehand undoubtedly helped me like this movie a lot more than I thought I would, I think. I’m glad that I had the chance to see it yesterday with my friend.

P.S.: Its soundtrack features many songs from the Vietnam era (Black Sabbath’s “Paranoid”!), and if you enjoy the music from that time, you’ll probably like the movie a whole lot more.

P.S. #2: Stay through the lengthy end credits. You won’t regret it. Serious.

9/10

Other Information:

Original Language en
Runtime 1 hr 58 min (118 min)
Budget 185000000
Revenue 566652812
Status Released
Rated PG-13
Genre Action, Adventure, Fantasy
Director Jordan Vogt-Roberts
Writer Dan Gilroy, Max Borenstein, Derek Connolly
Actors Tom Hiddleston, Samuel L. Jackson, Brie Larson
Country United States, China
Awards Nominated for 1 Oscar. 1 win & 20 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, DTS (DTS: X), IMAX 6-Track, 12-Track Digital Sound, Dolby Atmos, Dolby Surround 7.1, Sonics-DDP, Auro 11.1
Aspect Ratio 2.39 : 1
Camera Arri Alexa XT Plus, Panavision B-Series and SLZ11 Lenses, Phantom Flex, Panavision B-Series Lenses (high-speed shots), Red Dragon, Panavision SLZ11 Lenses (visual effects plates)
Laboratory FotoKem Creative Services, Burbank (CA), USA (digital intermediate by), FotoKem nextLAB (mobile dailies)
Film Length N/A
Negative Format Codex, Redcode RAW, Video (HD)
Cinematographic Process ARRIRAW (3.4K) (source format), Digital Intermediate (2K) (master format), Dolby Vision, Panavision (anamorphic) (source format), Phantom RAW (2K) (source format) (high-speed shots), Redcode RAW (6K) (source format) (visual effects plates), Spherical (source format) (visual effects plates)
Printed Film Format 70 mm (Kodak Vision 2383), D-Cinema (also 3-D version)