The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
It's fun to watch the [monsters] in action, but on the human side, the film is clumsily written, over-cast and underacted, with only frustrated soldier Samuel L. Jackson striking the right tone of crazy amid the chaos.
Creedence Clearwater Revival thrums on the soundtrack - has any '70s movie managed to avoid it? - but when the giant spiders start stomping, Vogt-Roberts earns the right to blast "Run Through the Jungle."
It's wildly entertaining and it has a sense of humor about itself - and it doesn't hurt when a great big monster movie features an A-list cast including John Goodman, Samuel L. Jackson, Brie Larson, Tom Hiddleston and John C. Reilly.
Ultimately, the film's Vietnam setting is less about warfare and history than finding an intoxicating canvas for a pretty old story. Kong: Skull Island is more about the monster clashes and, as the post-credit clip proves, setting up future installments.
I've gone on about the creatures because there's so little to say about the humans, who, in their turn, have little to say about the creatures, because the writers haven't written enough lively dialogue.
Mostly, the movie gives the impression of serving as the opening salvo in a larger corporate enterprise. And while its leading man might be gigantic, in qualitative terms, Kong doesn't set the bar very high.
For no reason I can fathom, except perhaps the classic-rock tunes desired for the soundtrack-the story takes place in 1973, when the Vietnam war is winding down and President Nixon is being driven from office.
"Kong: Skull Island" is a big, noisy B-movie infused with moments of wit and sprightly visual sophistication, anchored by what surely must be the most enormous version of King Kong since the giant ape made his screen debut in 1933.
The monster battles have enough wow to keep the movie rolling along, but the connective tissue is so thin that it scarcely matters who lives and who gets stomped, eaten, blown up, ripped to shreds or impaled.
Ultimately more interested in gorilla warfare than the guerilla kind, Skull Island looks from a distance like a Vietnam polemic with a monster painted onto it. But the opposite is truer. It's a King Kong movie -- a state-of-the-art monster mash.
Of course, monster fans of a certain age will miss the handmade charms of old-fashioned stop-motion animation - the laborious, artisanal process that brought the first Kong to trembling life. But the effects here are terrific ...
Scratches your monster-movie itch without ever once providing an injection of unpredictability or eccentricity. It lacks neither fun nor polish, but it has the square tidiness of a compartmentalized fast-food meal.
We didn't come to Kong: Skull Island for the characters (well-developed or otherwise), we came for the damn dirty ape. And director Jordan Vogt-Roberts and Industrial Light and Magic's Kong is a CGI showstopper.
A big, dumb beast that, for all its noise, is kind of lovable at heart. That describes both a certain giant ape and Kong: Skull Island, the latest of an oeuvre of King Kong films going back 80-plus years.
This fantastically muddled and exasperatingly dull quasi-update of the King Kong story looks like a zestless mashup of Jurassic Park, Apocalypse Now and a few exotic visual borrowings from Miss Saigon.