Jordan Vogt-Roberts’ Kong: Skull Island is the kind of film that makes you wonder what everyone involved was thinking, including some generally good actors (Samuel L. Jackson, Tom Hiddleston, John Goodman, John C. Reilly). It’s a hot mess of a film—incoherent, pointless, lots of execrable writing and wooden acting. And it gratuitously and shamelessly pulls from other (better) films—notably Jaws (1975) and Jurassic Park (1993).
Kong does say much about how horror films (and maybe life) work, however. Cast as a kind of reboot of the first King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933), Kong shows how utterly bound to the need for borders and for “others” the horror film tradition is.