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King Kong

  • 2005
  • 14A
  • 3h 7m
ÉVALUATION IMDb
7,2/10
461 k
MA NOTE
POPULARITÉ
1 201
166
Andy Serkis in King Kong (2005)
A greedy film producer assembles a team of moviemakers and sets out for the infamous Skull Island, where they find more than just cannibalistic natives.
Liretrailer2 min 56 s
3 vidéos
99+ photos
Adventure EpicDark RomanceDinosaur AdventureGlobetrotting AdventureJungle AdventurePeriod DramaPsychological DramaTragedyUrban AdventureAction

À New York en 1933, un producteur de cinéma trop ambitieux oblige ses acteurs et son équipe à se rendre sur la mystérieuse île de Skull Island, un gorille géant immédiatement séduit par Ann ... Tout lireÀ New York en 1933, un producteur de cinéma trop ambitieux oblige ses acteurs et son équipe à se rendre sur la mystérieuse île de Skull Island, un gorille géant immédiatement séduit par Ann Darrow.À New York en 1933, un producteur de cinéma trop ambitieux oblige ses acteurs et son équipe à se rendre sur la mystérieuse île de Skull Island, un gorille géant immédiatement séduit par Ann Darrow.

  • Director
    • Peter Jackson
  • Writers
    • Fran Walsh
    • Philippa Boyens
    • Peter Jackson
  • Stars
    • Naomi Watts
    • Jack Black
    • Adrien Brody
  • Voir l’information sur la production à IMDbPro
  • ÉVALUATION IMDb
    7,2/10
    461 k
    MA NOTE
    POPULARITÉ
    1 201
    166
    • Director
      • Peter Jackson
    • Writers
      • Fran Walsh
      • Philippa Boyens
      • Peter Jackson
    • Stars
      • Naomi Watts
      • Jack Black
      • Adrien Brody
    • 2.8KCommentaires d'utilisateurs
    • 250Commentaires de critiques
    • 81Métascore
  • Voir l’information sur la production à IMDbPro
    • A remporté 3 oscars
      • 47 victoires et 104 nominations au total

    Vidéos3

    Official Trailer
    Trailer 2:56
    Official Trailer
    A Guide to the Films of Peter Jackson
    Clip 1:33
    A Guide to the Films of Peter Jackson
    A Guide to the Films of Peter Jackson
    Clip 1:33
    A Guide to the Films of Peter Jackson
    What Roles Was Jack Black Considered For?
    Video 2:37
    What Roles Was Jack Black Considered For?

    Photos365

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    Rôles principaux99+

    Modifier
    Naomi Watts
    Naomi Watts
    • Ann Darrow
    Jack Black
    Jack Black
    • Carl Denham
    Adrien Brody
    Adrien Brody
    • Jack Driscoll
    Thomas Kretschmann
    Thomas Kretschmann
    • Captain Englehorn
    Colin Hanks
    Colin Hanks
    • Preston
    Andy Serkis
    Andy Serkis
    • Kong…
    Evan Parke
    Evan Parke
    • Hayes
    Jamie Bell
    Jamie Bell
    • Jimmy
    Lobo Chan
    Lobo Chan
    • Choy
    John Sumner
    John Sumner
    • Herb
    Craig Hall
    Craig Hall
    • Mike
    Kyle Chandler
    Kyle Chandler
    • Bruce Baxter
    William Johnson
    • Manny
    Mark Hadlow
    Mark Hadlow
    • Harry
    Geraldine Brophy
    Geraldine Brophy
    • Maude
    David Dennis
    • Taps
    • (as David Denis)
    David Pittu
    David Pittu
    • Weston
    Pip Mushin
    • Zelman
    • Director
      • Peter Jackson
    • Writers
      • Fran Walsh
      • Philippa Boyens
      • Peter Jackson
    • Tous les acteurs et membres de l'équipe
    • Production, box office et plus encore chez IMDbPro

    Commentaires des utilisateurs2.8K

    7,2461K
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    Avis en vedette

    7keith-farman-1

    The Apeman Cometh

    The eyes have it. Of all the multi-million $ visual illusions created for King Kong, the most critical to the film are the prehistoric, 25 foot Gorilla's eyes. However breathtaking the CGI generated action sequences, and they are superbly filmed and edited - it is the real sense of a primitive creature forming a meaningful attachment to a single human being around which this frankly preposterous story pivots. The importance of the eyes as a means of conveying 'innerness', thought, personal identity is a cliché of cinema acting. Quite how the eyes, even seen through the camera lens, communicate this sense of 'another' is a phenomenon as subtle as it is genuinely profound.

    The Kong of the original 1933 movie and this faithful remake is essentially anthropomorphised, especially in the thrilling, CGI choreographed fight scenes with other pre-historic animals. The haymaker swings and punches are very exciting but hardly I would have thought gorrilla-like. This isn't a nerdy complaint: the dramatic effect of the breathless chases and titanic battles is all that matters - and it works. But the achievement of a sense of individuality for Kong is conveyed with a subtlety that really puts the more crash bang wallop of CGI action in the shade. Without a sense of Kong as a kind of individual, protecting the human to whom he has formed a unique attachment - there is no movie. With all these acutely observed anthropomorphised behavioural signals in place, we then 'read' genuine emotion, even pathos, into those great eyes. It is worth noting that the close-up in movies places us within the most private, intimate space of a character, gorilla or not, only achieved in real life in very special conditions of personal intimacy. Part of the unique power of the eyes in movies perhaps. And the basis of its inescapably voyeuristic quality.

    Peter Jackson is a frustrating movie-maker. He can brilliantly set up a mis en scène of 1930's New York in 5 minutes of economical editing and evocative cinematography, then drag out getting to Skull Island and the first appearance of Kong for another 40 minutes or so. Learning from Spielberg in Jaws, Jackson builds up tension before Kong appears, its just that the intervening 40 minutes is pretty dull and uninspired. However, while the unbearable, cumulative tension of Spielberg's movie virtually evaporates as soon as we see the clunky metal reality of the phoney shark, Jackson's Kong stands up to every scrutiny and never disappoints. But Jackson's movie-making sprawls across the screen, in this case taking 187 minutes to cover essentially the same story, in a sense the same film given its faithfulness to the original, which came in at 104.

    Jackson's editing willpower seems to desert him with CGI footage. Instead of being an immensely powerful means to achieve a dramatic effect, it simply becomes an end in itself. This tendency began with the LOR trilogy and persists here. At least KK only has one ending. As Jackson piles impossible thrill upon impossible thrill in the second hour of the movie, one at times begins to suffer from astonishment fatigue. So many creatures, so many battles, so many shocks your brain jams with overload. And this lack of pacing makes an already pretty average script clunk even more than it should. LOR and KK despite their amazing and highly entertaining strengths, share the same inherent weakness - a lack of cadence. Their narrative seems to have only two speeds - slow or flat out. Only late on with the scenes with Naomi Watts sharing the beauty of a sunset with a 'contemplative' Kong does the movie achieve a kind of stillness that allows the illusion of an impossible relationship to breathe a little credible life.

    Casting is patchy. Naomi Watts is good in an impossible part and deserves an Oscar for the longest unbroken sequence of reaction shots in movie history. Jack Black just can't seem to make off-the-wall entrepreneur-come-filmmaker Carl Denham quite fit and despite a good crack at writer Jack Driscoll, Adrien Brody looks miscast. The rest do a good job with pretty cardboardy characters to work with including a confident Jamie Bell in an add-in part. But the heart and soul of the movie of course is Kong and the credibility Watts just about manages to convey of an affection and empathy between impossibly disparate species. (I'd leave any psychoanalytic concepts in the car for this one by the way). The third star of course is CGI. A star who many Directors are beginning to discover, is becoming far too big for his boots, prohibitively expensive and starting to suffer from the law of diminishing returns.

    The end result is an at times breathlessly exciting movie whose subtext morality tale plays no better nor worse than the original - which is pretty marginally. And Kong reigns absolutely supreme as the most realistic cinematically generated creature in movies so far. In his faithfulness to the original it is a pity I think that Jackson leaves himself open to the same criticism levelled against the first film's portrayal of the native people of Skull Island. Why oh why are aboriginal people always portrayed in such a crass, ignorant, farcically stereotypical way? Leering, filthy, witless, pitiless 'savages' just there as fear fodder. It may seem a bit precious to refer to this in a review of an old-fashioned adventure yarn movie and I'm not talking from political correctness, but this story could have been enhanced not harmed, by a more intelligent portrayal and use of this aspect of the story.

    Well worth a visit. But be warned - the 12A certificate is yet again misleading. I would think twice about accompanying any child under 12 to this at times graphically scary movie. Like the latest Harry Potter, KK demonstrates that the 12A certification needs serious re-thinking as it is misleading parents into taking too many too young kids to too many too scary movies.
    9MikeWindgren

    A Great Adventure

    I agree, some scenes maybe are a bit too long. But what do you expect from a 3 hour movie? That it is short?

    You know how the duration before you start watching.

    I was thinking give it an eight or a nine. I chose nine. Because overall this still is a great adventure movie for sure.

    The more recent Kong: Skull Island is a fun watch as well, but more like a fast paced action movie of it's time.

    This Peter Jackson version has it's fair amount of action and still pretty good effects and tells a better and more complete story.
    10pugheaven

    Not the recognition it deserves!!!

    Typical Peter Jackson, however gonna watch the even longer extended 3 hours 20 minutes edition in 4k, not watched in years but the picture is epic apart from it being too warm for my liking. The sound is the unusual DTS-X high def sound and already is gorgeous!

    However enough of the technical borefest hahaha... this film for me is stunningly shot... some of the shots of the city are incredible. It really is a grand film and for me better than his LOTR trilogy which I may well resist soon.

    However its the cinematography and sets that set this film apart from most films... integrated so well with XGI which even in 4k is holding up well... stunning is all I can say, actually old school filming with modern techniques!

    Classic tale and story that recreates the original for the modern era. Even Jack Black is watchable but the stunning Naomi Watts is very very watchable hahaha.

    This film doesn't get the recognition it deserves!!! As an achievement in cinema alone its a 10/10. You want blockbusters that have a story and a smidge of empathy with the characters with possibly the greatest ending of all monster films ever... this is how you do it.

    Marvel and DC and all the other nonsense need to take a step back!!! This is how you combine live action, real sets and CGI into an epic tale...
    7Mysterygeneration

    Peter Jackson strikes again

    If a movie is three hours or longer, that usually means it already has two negative points against it. But even as the three hours and seven minutes passed, I didn't take my eyes off the television. If the "Rings" trilogies weren't enough to persuade you, now is the time for everyone to agree that Peter Jackson is one of the most imaginative individuals to ever hold the director's chair. This movie belongs to a unique class. Everyone who attempts to replicate "King Kong" should be imprisoned in a rubber room.

    Then, you cram this classic remake with moving humanity, astounding amazing effects, and a ton of unforgettable imagery, and you do it all so flawlessly that it's bound to become a classic as well. In a word, Jackson's "King Kong" is amazing, fantastic, beautiful, and spectacular. I'm afraid I can't put it into one word.
    bob the moo

    Attempts at depth are worthy enough even if they don't work but the rest still produces a commendable special effects blockbuster

    1933 New York and two people find themselves in difficult circumstances, albeit for different reasons. Carl Denham is a movie producer who wants to make his big picture but finds the studio unwilling to support him. Ann Darrow is an actress who has hit hard times and is one meal away from having to become a performer in a seedier version of "acting". While frantically searching for an actress that he can quickly convince to come on a mystery voyage to shoot on a distant island, Carl meets Ann and convinces her to come along on the strength of the involvement of writer Jack Driscoll. After an eventful journey, they arrive at the island but to suggest that they face a "troublesome" shoot is a real understatement.

    In my 12 hour wait for my "First Class" seat for a transatlantic flight to America I discovered that "First Class" to Continental means "you pay lost more cash but we extend you just the same (dis)courtesy as the economy passengers". With my laptop with me I was at least able to find some distraction with a DVD copy of King Kong. Although I'm sure it loses something by being seen on a comparatively small screen I still enjoyed the film as a big budget b-movie, which is pretty much what it was. Sure, Jackson may have had aspirations to deepen the story and bring real pathos out of his "characters" but he doesn't particularly pull it off and most of the viewers will have been there for the big effects rather than the chance to explore the emotions within a cinematic legend. So in this regard the film works by kicking out the action after a comparatively slow start where we spend a lot of time with lesser characters who don't matter that much in the wider context of the narrative.

    However when the action comes it is slick, noisy and visually impressive. The only thing I did have a problem with was how hollow it all was. Jackson does attempt to develop a tender relationship between Kong and Ann, but the material struggles to deliver the goods and all that we are left with is lots of "meaningful" looks as the pair get some sort of unspoken (and unseen!) understanding. At this level the film didn't really engage me – I respected what he was trying to do with it, but I'm afraid I can't relate to those who claim to have cried and felt so much from this "beautiful" relationship.

    Faced with such big effects, noise and spectacle, the cast cannot do much other than try and hold their own. Watts has the hardest role as she tries to react and bond with a creature that was never actually there with her in reality – only in a computer. When you remember this, her performance is pretty commendable but when I was watching the film I must admit that I thought she relied far too much on staring and looking sad or having a half-smile on her face; she still did as well as one could have hoped but again I don't get the claims that she was brilliant here when she clearly wasn't. Black and Brody are very much supporting performances that have little to do; Brody didn't suit his role and Black never convinced as a larger than life movie producer. Yet again Serkis does a good job to bring an effect to life although for obvious reasons he is nowhere near as good as he was in the Lord of the Rings films and he can only do so much with expressions.

    Overall then a solidly enjoyable blockbuster that produces plenty of noise, action and impressive visual effects. The attempts at depth and meaning are laudable and do add something to the mix but I'm afraid that it doesn't really work as well as some viewers have claimed. Still worth seeing as a blockbuster experience though, despite some of the flaws inherent in the approach and the rather cumbersome running time.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      It took 18 months to craft the CGI version of the Empire State Building. The real thing was built in 14 months.
    • Gaffes
      (at around 1h 15 minutes) At the end of the sequence where Kong carries Ann through the forest, there is a very brief scene where Ann is wearing pantyhose (not invented until 1959, twenty-six years after the story took place). However, Ann's legs and feet are bare in all other scenes on the island.
    • Citations

      [last lines]

      Carl Denham: It wasn't the airplanes. It was beauty killed the beast.

    • Générique farfelu
      The end credits are set against an art deco backdrop rather than the traditional black screen. The backdrop is an exact replica, in Technicolor, of the same backdrop that was used for the opening credits in the 1933 version of "King Kong".
    • Autres versions
      On November 14, 2006, an extended edition DVD was released with 13 minutes of additional scenes edited back into the film. Denham's party is attacked both by a Ceratops immediately upon entering the jungle to rescue Ann and by a giant fish while on rafts on a river, after which they kill a giant bird while firing blindly into the jungle (the longest addition by far). Baxter's rescue of the party is extended and finishes with Jimmy's farewell to Hayes. Kong's pursuit of the party on Skull Island and his pursuit of Driscoll in NYC are slightly extended, and there are two brief additional encounters between Kong and the military in NYC. A complete breakdown is at http://www.movie-censorship.com/report.php?ID=3550.
    • Connexions
      Edited into It's All Gone King Kong (2005)
    • Bandes originales
      I'm Sitting on Top of the World
      Written by Ray Henderson, Joe Young, Sam Lewis (as Sam M. Lewis)

      Performed by Al Jolson

      Courtesy of Geffen Records

      Under license from Universal Music Enterprises

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    FAQ31

    • How long is King Kong?Propulsé par Alexa
    • What happened to the natives after they hid?
    • What is 'King Kong' about?
    • Is "King Kong" based on a book?

    Détails

    Modifier
    • Date de sortie
      • 14 décembre 2005 (Canada)
    • Pays d’origine
      • United States
      • New Zealand
      • Germany
    • Sites officiels
      • Official Facebook
      • Universal Pictures Home Entertainment
    • Langue
      • English
    • Aussi connu sous le nom de
      • Peter Jackson's King Kong
    • Lieux de tournage
      • Shelly Bay, Wellington, Nouvelle-Zélande(Skull Island)
    • sociétés de production
      • Universal Pictures
      • WingNut Films
      • Big Primate Pictures
    • Consultez plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Budget
      • 207 000 000 $ US (estimation)
    • Brut – États-Unis et Canada
      • 218 080 025 $ US
    • Fin de semaine d'ouverture – États-Unis et Canada
      • 50 130 145 $ US
      • 18 déc. 2005
    • Brut – à l'échelle mondiale
      • 556 906 378 $ US
    Voir les informations détaillées sur le box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      3 heures 7 minutes
    • Couleur
      • Color
    • Mixage
      • Dolby Digital EX
      • SDDS
      • DTS-ES
      • Dolby Stereo
      • Dolby Digital
    • Rapport de forme
      • 2.39 : 1

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