King Kong

King Kong (1976) sits in a weird spot, nowhere near as revolutionary as the 1933 classic, and overshadowed in nearly every way by Peter Jackson’s 2005 remake. With a few streamlined story changes and no fresh perspective, it ends up feeling like a film few people actually need to watch. The only thing this version really has going for it is the mild curiosity of seeing how Kong was brought to life in a post-Jaws Hollywood.

As a ’70s adventure film, it works decently. The wide shots and scale of the island help sell the thrill of venturing into the unknown, and everything leading up to Kong’s reveal is built in a straightforward but effective way. John Barry’s score, while a bit too close to his James Bond sound and often repetitive, still captures the film’s atmosphere well. The cast is mostly fine, Jessica Lange, in her film debut, hits some false notes, but nothing too distracting.

The film peaks when Kong is introduced in a genuinely eerie sequence. It’s too bad no one can ever go into this blind, not knowing what’s behind that massive wall. Still, the tension in the build-up is palpable, and the first reveal is genuinely thrilling.

But once Kong appears, the movie starts going through the motions. The beats we know from the original, battling other creatures, being captured, falling in love, are repeated with more of a sense of obligation than reinvention. None of it truly connects or excites. The modernized setting doesn’t bring much to the table either, especially in terms of character development. The protagonist’s arc is paper-thin: he’s the usual moral compass character who believes Kong belongs in the wild and wants to save the girl.

Outside of the effective adventure feel in the first half, the film does offer a few nice touches of comedy, some intentional, others not so much (Dwan asking for a drink mid-attack, people waiting until Kong’s cage is fully broken before running, or the over-the-top death of the antagonist). Similarly, the visual of Kong wearing a literal crown during his New York sequence creates some striking imagery.

But the biggest letdown is how little we actually feel for Kong. His relationship with Dwan falls into an awkward middle ground, caught between the horror-tinged dynamic of the 1933 version and the emotional connection of the 2005 film, but never fully committing to either. Part of that’s on Lange, who never quite sells the bond with the beast, but the larger issue lies with the effects, especially when viewed today. They work decently in the island scenes, where the film smartly emphasizes Kong’s size through his hand. But once we start getting too much of his animatronic face (a lesson Jaws learned better), the illusion breaks. It becomes hard to see Kong as a living, breathing creature rather than just a guy in a suit.

In the end, this King Kong feels like a half-hearted retread, neither bold enough to reinvent the story nor strong enough to stand on its own. You’re better off watching the 1933 original or Jackson’s 2005 remake. For this one, just listen to John Barry’s score and let your imagination fill in the rest.

At a glance

2.5/5

Mixed

Where to watch

🎟️Buy or rentNot available for streaming

Trailer

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