The giant ape Kong is a mythic character known worldwide — although each time he appears on screen (1933, twice; 1962 and 1967 in Toho adventures; 1976; 2005) he is unique and re-imagined.  Now, on his home of Skull Island, he is one hundred feet tall, guardian of the friendly native life, and not to be trifled with.  He is purely a cinematic invention — as opposed to a literary creation, such as the vampire Dracula, or Frankenstein’s Monster — and as such enjoys a freedom uncommon in monsterdom, untied to specific tradition or history.  We all know his general character, yet filmmakers feel free to interpret him as they wish.

Jordan Vogt-Roberts’ film follows the recent reboot of Godzilla (2014) and is preparatory to a film which will pit them against one another.  Here, scientific researcher Bill Randa (John Goodman) puts together an expedition to Skull Island, along with military escort, to learn its secrets.  Kong reacts badly to the human invasion and the war is on.  It’s actually a continuation of the Vietnam War, since the story occurs in 1973, with the military escort led by Colonel Packard (Samuel L. Jackson), an officer loath to leave the battle before victory can be achieved.  Along for the ride are a resourceful tracker, James Conrad (Tom Hiddleston) and an ace war photographer, Mason Weaver (Brie Larson).  What they find on Skull Island makes the Vietnam War look mild in comparison.

Much of the film works because of the human conflicts it establishes.  Gung ho Colonel Packard wants revenge on Kong more than anything else and will not accept what the others learn — that Kong is guardian of the island, just protecting his turf.  The civilians adjust to the new reality quickly but the military men must prove human domination or die trying, which is exactly what happens.  Then there is Hank Marlow (John C. Reilly), a downed World War II pilot who has survived for twenty-eight years and knows all of the island’s deadly secrets.  Marlow is a great character and the movie would not be nearly as entertaining as it is without him.  Another asset is the collection of other, grotesque monsters on the island, from a colossally tall spider to a log creature that may or may not be harmless.  The “skull-crawlers” are indeed hideous, providing Kong with a worthy adversary, and the battles with which they engage the giant ape are never as overdone or ridiculous as Kong battling the three snake monsters at the same time in Peter Jackson’s overblown 2005 version.

Not everything works; when the helicopters first encounter Kong it is insanity that they continue to hover within his reach, or that when he grabs them their rotors do not slice off the giant ape’s fingers.  That sequence, dramatic as it is, simply isn’t logical or very effective.  But once on the ground, having to face the island’s dangers, the story makes a whole lot more sense.  Even the minor characters are given screen time and things to do, and it is compelling to watch.  Thematically it completely refutes the “might makes right” perspective and even seems like a sly allegory to some of the political wrangling taking place now.  But mainly it is simply an entertaining new take on an old legend, allowing the big ape to keep his dignity intact without resorting to sentimental flirting or silly ice dances.  This Kong is a keeper.  ☆ ☆ ☆.  13 March 2017.