
Kong: Skull Island movie review: ape-ocalypse now
Boiled down to its bonkers essence, Skull Island is a Vietnam war movie with monsters, a retro analog vibe, and a dash of both Moby-Dick and The X-Files.

Boiled down to its bonkers essence, Skull Island is a Vietnam war movie with monsters, a retro analog vibe, and a dash of both Moby-Dick and The X-Files.

My pick: “Pearl,” blending new VR tech with old-fashioned characters and emotions, demonstrating storytelling possibilities that are beginning to open up.

Busy with CGI to hide the emptiness where the emotional core should be. Even the mechanics of getting a man from mere mortal to demigod-in-a-cape are rote.

More like a pleasant walk in a redwood forest with a boy and his dragon than a rollicking adventure, but its serenity and warm heart are infectious.

Should be grim, bitter, and as horrifyingly alluring as Hannibal Lecter. But it’s nothing but a teen-friendly ad for toys, Ts, and other disposable merch.

Fantasy meandering twists into something more action-oriented, and there’s little magic in it. This is not what we expect from a master cinematic fantasist.

Leaden and witless, though it obviously believes there is humor in its loud, chaotic juvenility. It would be an insult to cartoons to call this cartoonish.

Hilariously, casting white Westerners as mortals and deities of the ancient Nile is the least offensive thing about this crime against goofball cinema.

About precisely nothing other than pure pulp comic-book soap-opera rigmarole, overshadowed by clichés, implausibilities, and missed opportunities.

Bad chicken-and-egg puns and indoctrination into animal cruelty as just good fun for everyone involved (including the animals). You know, for kids.