I was surprised how similar the 2005 version was. I think that's testament to a really strong story.. but the original is surpassed in every way. Special effects, obviously. Acting, definitely. But even story.
My favorite moment of the film isn't in the original. It's a romantic scene between the woman and kong that jackson expertly weaves right into the middle of the final action scene. Really beautiful.
I still gave the 2005 a 3/5 though
Majority of films get that rating from me.
Haha I noticed that you give such low ratings!
My problem with today's genre films are that they take themselves too damn seriously! What I love about the original
King Kong and all of these old kinds of films is that they were fun and they just let themselves be just a lot of well-made fun experiences! But now they have to start adding pretentious characterization and dialogue and make the movies super long, and I guess that's why I haven't seen the new
King Kong, cause I expect it to be that kind of movie, I hope it's not, in any case though it's likely that I won't enjoy it as much as the original, but I hope I do like it!
A Time To Live And A Time To Die directed by Hou Hsiao-hsien - 10/10
OK this film definitely dethrones
Boyhood as my favorite coming of age film. This is Hou perfecting the kind of film he was making starting with
The Boys From Fengkuei, here he moves even further away from the use of a plot and he has a more Ozu-esque visual/editing style. Hou claims that he never saw an Ozu film till around 1989 but this film suggests that that is bullshit, unless Hou decided to use 'pillow' shots and low camera height thanks to his cinematographer Mark Lee Pin-bing (their collaboration starts with this film) who might have seen Ozu films. This film just spoke to me a lot because it draws out the rural setting in Taiwan so well, in a way that can speak to people who have lived in rural areas (like myself) and people that know a bit about Taiwanese culture at the time. There is simply so much attention to detail in the setting which added to the realism of the film. Furthermore, the film's plot just kind of creeps up on the viewer just like life, like with
Flowers of Shanghai, Hou doesn't have a story to tell us, he has characters he wants to show us that have stories just happen to them, some very important and some minor. Many people, including some of my friends would describe these early Hou films as sentimental, but I wouldn't, I find these films to be just as observational, grounded in realism, and objective as Hou's later films like
Flowers of Shanghai even though these are more personal stories.