It's a massively fun movie. I'd heard that this was the one Peter Jackson has wanted to make since the birth canal, and it shows. He puts everything into it, up to and including the kitchen sink. It's the same basic plotline as the 1933 original, only. . . bigger. Everything about it is larger. Where the original was hovering between being a pure creature feature and having a plot and characters, Jackson's version is big enough to accommodate both.
The first act establishes the setting (Depression-era New York, complete with shantytowns, soup kitchens, and the last dregs of Prohibition) and, more importantly, the characters. Carl Denham, Ann Darrow, and Jack Driscoll all have actual personalities in this film. In particular, I like this vision of Ann Darrow as a scroungy vaudeville performer. It gives her an authority she'll need later on in the film. The first act is also a great satire of the drama industries, both live theater and filmmaking. One can definitely see why Carl Denham's story might have held some appeal for someone like Peter Jackson. Some of it reminded me of a more grown-up and less X-rated version of the humor in "Meet The Feebles," which I, at least, thought was funny.
Jack Black has a sort of controlled mania about him that drew laughter even through the bits where you realized that Denham is in fact a heartless profiteer. Naomi Watts can certainly scream and looks good in a white bias-cut dress (the two basic prerequisites for playing Ann Darrow). She goes above and beyond by showing that Ann has a performer's brain in her head and a sense of humor, even when it comes to her own fangirlishness about Jack Driscoll. Adrien Brody starts off giving a very bare-bones performance. He fills it in gradually as the film goes on, becoming more and more of a real, feeling human being who falls in love without quite meaning to, but realizes that he will have to spend at least some time playing second banana to a giant ape.
The second act is a creature feature on speed. The natives are in no way PC, nor, given their function in the story, is there any way to make them so. Jackson goes the other way and revels in their primitive oinga-boinga-ness. The dinosaurs definitely show the effect of modern scientific research, being lively and quick-moving. There's a brontosaurus stampede, a triple-T. rex attack, and lots of creepy-crawlies. Jackson is an arachnophobe who seems to delight in making other people understand just why he is so. Shelob was only one spider (albeit a very large one); on Skull Island, Jackson can have hordes of giant cockroaches, centipedes, scorpions, and other unsavories literally coming out of the walls. And then there is Kong.
The great thing about Kong is that he is a person. He's not a human person. He's a gorilla person, and you really believe him as a gorilla. He moves like a gorilla and, more importantly, he thinks like a gorilla. He knows his environment, he knows what the dangers are and how to deal with them, he has an understanding of social relations and a sense of humor. You get a good look at Kong's life and how he's adapted to it, which makes the third act come alive.
The third act is the horror movie part, where Kong rampages through New York and finally has his Empire State Building scene. What's nice here is that, having spent so much time watching Kong on Skull Island, you know what his life is like there, and you can see how he might interpret the things that happen to him in New York. The point of Denham's stage extravaganza is clear to the audience, but Kong doesn't get it. Trams are just more T. rexes to be fought, biplanes are giant bats to be swatted, the Empire State Building is a giant cliff to be climbed. And there are suddenly a lot of bottle blonds who look similar to his favorite toy, and he has to find the right one.
There is also a scene involving a frozen pond in Central Park that manages to be both romantic and hysterically funny at the same time.
Kong's last stand atop the Empire State Building is at once touching and gorilla-ish and spectacular.
The three hours don't fly by -- it's a long movie, and there's no getting around that. But there's so much to see and explore. The reason "King Kong" is three hours long is because Jackson does not hurry at any step of the way. To him, everything about the story is interesting, and he gives it all a thorough examination. You feel like you've seen everything once you leave a particular location. Very satisfying. And afterwards, I overheard some girls crying in the ladies' room about what happened to Kong.
Definitely worth my while. I'd see this one again.