A completely fine and visually gorgeous blockbuster with fairly good performances, but ultimately it's wasted potential. What could have been Apocalypse Now with monsters is just a parade of monsters in pretty scenery with cheesy dialogue and an uninspiring script. Solid entertainment for two hours, though, and I'll definitely check out the sequel.
Jordan Vogt-Roberts confeziona un blockbuster che più classico non si può, ricco di avventura, infarcito di archetipi narrativi ma proprio per questo godibile e divertente. Si riassapora finalmente quel "sense of wonder" che da tempo mancava a questo genere di produzioni e il tutto sembra epico e grandissimo. Solo nella seconda parte, purtroppo, il giochino si sgonfia e rivela tutti i suoi limiti... ma tant'è.
I have often told friends to go see King Kong, the terrific, the wondrous. Nonsense! they cry, having seen him. Not so! Indeed not, I respond. Because you saw Kong only on a home television screen. My 50-foot ape was chopped down to your 12-inch-high dwarf. • Ray Bradbury, Yestermorrow
The screenplay is packed with contrivances and the dialogue is dripping with cheese, but Vogt-Roberts works some real magic from the director's chair. The Vietnam War setting pairs painterly imagery and a slick oldies soundtrack with some novel (if blunt) ruminations on militarism. Also, unlike Gareth Edwards' recent "Godzilla," you don't spend two-thirds of the film waiting for the beastly hoedowns. A real surprise!
While the plot continuously falls apart, the movie sustains a highly level of entertainment with his aesthetics. Character development is zero and for that you can blame the writers, who simply used their imagination only for action sequences. For me this is just 6.5/10. Overall i prefer a good story than a high visual level but sometimes that comes both... sadly not today.
The director apparently had this uncontrollable urge to overdramatized every scene and drown it in every friggin Vietnam war movie soundtracks. I was bathed in cliches and my eyes tired of rolling up in my skull. Congratulation, Vogt-Roberts, you made Peter Jackson's version looked better.
A barely comprehensible mess with top-notch effects and an A-list cast who look like they all want to step out of frame to call their agents and demand to be removed from the production. Who gave this man-child and his 4 (clearly) different editors the lines to such a tentpole? Would give less than a star if possible.