Popularity: 9 (history)
Director: | Peter Jackson |
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Writer: | Peter Jackson, Philippa Boyens, Fran Walsh, Merian C. Cooper, Edgar Wallace |
Staring: |
In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with the leading lady. | |
Release Date: | Dec 12, 2005 |
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Director: | Peter Jackson |
Writer: | Peter Jackson, Philippa Boyens, Fran Walsh, Merian C. Cooper, Edgar Wallace |
Genres: | Adventure, Action, Drama |
Keywords | new york city, exotic island, movie business, show business, human animal relationship, great depression, giant insect, remake, prehistoric creature, dinosaur, creature, kaiju, empire state building, giant ape, woman in peril, 1930s, giant gorilla, grand, king kong |
Production Companies | WingNut Films, Universal Pictures, Big Primate Pictures, MFPV Film |
Box Office |
Revenue: $562,363,449
Budget: $207,000,000 |
Updates |
Updated: Aug 18, 2025 (Update) Entered: Apr 13, 2024 |
Name | Character |
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Naomi Watts | Ann Darrow |
Adrien Brody | Jack Driscoll |
Jack Black | Carl Denham |
Andy Serkis | Kong / Lumpy |
Colin Hanks | Preston |
Thomas Kretschmann | Captain Englehorn |
Jamie Bell | Jimmy |
Kyle Chandler | Bruce Baxter |
Evan Parke | Hayes |
Lobo Chan | Choy |
John Sumner | Herb |
Craig Hall | Mike |
Peter McKenzie | Venture Crew |
William Johnson | Manny |
David Pittu | Weston |
Mark Hadlow | Harry |
Geraldine Brophy | Maude |
David Dennis | Taps |
Pip Mushin | Zelman |
Jim Knobeloch | Thuggish Executive |
Ric Herbert | Sleazy Executive |
Lee Donahue | Studio Guy's Assistant |
Tom Hobbs | Young Assistant |
Tiriel Mora | Fruit Vendor |
Jed Brophy | Venture Crew |
John Wraight | Venture Crew |
Will Wallace | Venture Crew |
Frank Edwards | Venture Crew |
Crawford Thomson | Venture Crew |
Richard Kavanagh | Venture Crew |
Stephen Hall | Venture Crew |
Joe Folau | Venture Crew |
Chic Littlewood | Old Security Guard |
Samuel Taylor | Hooverville Child |
Lorraine Ashbourne | Theatre Actor |
Laura Surrich | New York Theatre Goer |
Katie Jackson | NY Child |
Michael Lawrence | Venture Crew |
Ray Woolf | Venture Crew - Helmsman |
Eddie Campbell | Venture Crew - Crewman |
Greg Smith | Venture Crew |
Phil Grieve | Laughing Man |
Matt Wilson | Photographer |
Jim McLarty | Photographer |
Latham Gaines | Photographer |
Camille Keenan | New York Citizen (uncredited) |
Peter Jackson | Biplane gunner |
Billy Jackson | NY Child |
Jack Machiela | American Soldier (uncredited) |
Frank Darabont | Biplane gunner (uncredited) |
Name | Job |
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Kelly Port | Compositing Artist |
Peter Jackson | Director, Writer |
Andrew Lesnie | Director of Photography |
James Newton Howard | Original Music Composer |
Jamie Selkirk | Editor |
Victoria Burrows | Casting |
John Hubbard | Casting |
Liz Mullane | Casting |
Dan Hubbard | Casting |
David Farmer | Sound Designer |
Joel Fletcher | Animation |
Dan Hennah | Supervising Art Director, Set Decoration |
Hammond Peek | Sound Recordist |
Peter Dillon | Utility Stunts |
Carolynne Cunningham | First Assistant Director |
David Birrell | First Assistant Editor |
Mike Hopkins | Supervising Sound Editor |
Atsushi Sato | Animation Supervisor |
Jared Connon | Location Manager |
Alan Lee | Conceptual Design |
Chris Anderson | Stunt Coordinator |
Sarah Valentine | Extras Casting |
Joe Letteri | Senior Visual Effects Supervisor |
Kelly Valentine Hendry | Casting Assistant |
Ethan Van der Ryn | Supervising Sound Editor |
Christopher Boyes | Sound Re-Recording Mixer |
Michael Semanick | Sound Re-Recording Mixer |
Christian Rivers | Animation Director |
Carrie McLaughlin | Foley Artist |
Dayna Grant | Stunts |
Daniel Falconer | Creature Design |
Philippa Boyens | Writer |
Fran Walsh | Writer |
Richard Taylor | Makeup Supervisor, Creature Technical Director |
Armen Ksajikian | Musician |
Steven Boyle | Makeup Effects |
Mana Hira Davis | Stunts |
Winham Hammond | Stunts |
Jason Tahu | Stunts |
Andrew Stehlin | Stunts |
Tim Wong | Stunts |
Mark Trotter | Stunts |
Min Windle | Stunt Double |
Shane Rangi | Stunt Double |
Tom Johnson | Sound Re-Recording Mixer |
Shane Dawson | Stunt Coordinator |
Ben Snow | Visual Effects Supervisor |
Guy Williams | 3D Supervisor |
David Long | Original Music Composer |
Mel Wesson | Original Music Composer |
Terry Ryan | Costume Design |
Brent Burge | Sound Designer |
Grant Major | Production Design |
Sean Button | Stunts |
Hugo Dominguez | Visual Effects |
Joe Bleakley | Art Direction |
Simon Bright | Art Direction, Set Decoration |
Kristie Breslin | Art Department Coordinator |
Chris Hennah | Art Department Manager |
Eliza Godman | Assistant Costume Designer |
Carolyn M. Fenton | Costume Supervisor |
Gunner Ashford | Armorer |
Victoria Sullivan | Script Supervisor |
Merrin Ruck | Script Supervisor |
Shona McCullagh | Choreographer |
Greg Cockerill | Set Decoration |
Jacqui Allen | Assistant Art Director |
Jeremy Bennett | Visual Effects, Conceptual Design |
Ed Mulholand | Construction Coordinator |
Colin Davidson | Construction Foreman |
Daniel Aird | Greensman |
Genevieve Cooper | Lead Painter |
Carl Bellavia | Location Scout |
Stephen Crene | Painter |
Christopher Aitken | Sculptor |
Miriam Bellard | Set Designer |
Ben Milsom | Standby Painter |
Rhys Duncan | Camera Operator |
Colin Deane | First Assistant Camera |
Tony Keddy | Key Grip |
Darren Bradnock | Grip |
David B. Nowell | Aerial Director of Photography |
Simon Harding | Steadicam Operator |
Pierre Vinet | Still Photographer |
Susie Glass | Hairstylist |
Corinne Bossu | Makeup Artist |
Simon Ward | Set Costumer |
Andy McLaren | Set Dresser |
Kevin Anderton | Carpenter |
Greg Butler | CGI Supervisor |
Chris Walker | Craft Service |
Julie Adams | Dialect Coach |
Aaron Cubis | Projection |
Pete Butters | Propmaker |
Nick Weir | Property Master |
Andy Buckley | Set Medic |
Shane Cooper | Software Engineer |
Karl Chisholm | Special Effects Coordinator |
Peter Russell | Stand In |
Ben Hall | Systems Administrators & Support |
David Hollingsworth | Telecine Colorist |
Collin Butrum | Transportation Coordinator |
Anne Bruning | Unit Production Manager |
Guy Adan | Unit Publicist |
Matt Holmes | Visual Effects Editor |
Veronique Lawrence | Script Supervisor |
Lynne Reed | Color Timer |
Ray Beentjes | Dialogue Editor |
Huw Griffiths | Best Boy Electric |
Tim Stratton | Electrician |
Reg Garside | Gaffer |
Taipua Adams | Lighting Technician |
David Brown | Rigging Gaffer |
Hannah Clarke | Production Coordinator |
Belindalee Hope | Production Manager |
Philippa Wood | Publicist |
Nigel Stone | ADR Supervisor |
Corrin Ellingford | Boom Operator |
Martin Kwok | First Assistant Sound Editor |
Tim Starnes | Music Editor |
Pete Anthony | Conductor, Orchestrator |
Chris Hiles | Production Sound Mixer |
Matthew Lambourn | Sound Editor |
Hayden Collow | Sound Editor, Sound Effects Editor |
Derek Casari | Sound Engineer |
Robert Baldwin | Creature Design |
Dan Akers | Digital Compositors |
Rebecca Downes | Visual Effects Coordinator |
Vicki Galloway Weimer | Visual Effects Producer |
Scott E. Anderson | Visual Effects Supervisor |
Colin Alway | Sequence Leads |
Julie Zavala Ron | Machinist |
Rick Findlater | Hair Supervisor |
James Van Der Reyden | Motion Capture Artist |
Jabez Olssen | Additional Editing |
Bruce Emery | Dolby Consultant |
Randy Link | Animation |
Emily Ireland | Unit Manager |
Peter Cobbin | Thanks |
Patrick Kalyn | Animation |
Ed Hawkins | Digital Compositor |
Hayley Atherton | Assistant Makeup Artist |
Lucy Adams | Costume Assistant |
Cilla Leckie | Costume Coordinator |
Lucy McLay | Costumer |
Paul Hambleton | Extras Dresser |
Richard Matthews | Additional Second Assistant Director |
Stephanie Weststrate | Second Assistant Director |
Skot Thomas | Second Second Assistant Director |
Randall William Cook | Second Unit Director |
Del Chatterton | Third Assistant Director |
Darryl Longstaffe | Draughtsman |
Mark Cameron Williams | Graphic Designer |
Chris Guise | Title Designer |
Polly McKinnon | ADR Editor |
Brian Kahanek | ADR Mixer |
Rick Canelli | ADR Recordist |
Neil Aldridge | Assistant Dialogue Editor |
Robyn McFarlane | Foley Recordist |
Karen Harper | Vocals |
Jonathan Roy Grindlay | Special Effects Assistant |
Ross Anderson | Special Effects Technician |
Heather Clarke | Additional Visual Effects |
Mario de Dios | VFX Artist |
Alex Funke | VFX Director of Photography |
Juliette Davis | Visual Effects Production Assistant |
Marion Davey | Visual Effects Production Manager |
Ryan Carey | Stunt Double |
Noor Razzak | Assistant Grip |
Dion Hartley | Best Boy Grip |
Alys Rowe | Camera Trainee |
Alexandra Bishop | Clapper Loader |
Andrew Lambert | Data Wrangler |
Kayne Asher | Dolly Grip |
Mike Knudson | Focus Puller |
Tony Monk | Helicopter Camera |
Steve Allanson | Second Assistant Camera |
Eric Leighton | Animation Director |
William Dwelly | Animation Technical Director |
Jamie Beard | Lead Animator |
Keith Huggins | Senior Animator |
Katy Wood | Sound Editor |
Mark Hawthorne | Assistant Editor |
Nadia Diggins | Color Grading |
Jan Kruse | Digital Colorist |
Jayne Herrmann | Digital Intermediate Assistant |
Holger Spill | Digital Intermediate Editor |
Shara Hudson | Post Production Coordinator |
Mathew Gordon | Location Assistant |
Stuart Michael Thomas | Music Consultant |
Nigel Scott | Music Coordinator |
Jim Weidman | Supervising Music Editor |
Linda Klein-Nixon | Accountant |
Jessica A. Gihon | Assistant Accountant |
Aimee Aspinall | Assistant Production Coordinator |
Aria Harrison | Assistant Script |
Leigh van der Byl | CG Artist |
Christine Arboit | Creature Technical Director |
Tanya Blumstein | Dialogue Coach |
Cyndi Ochs | Digital Effects Producer |
Miranda Rivers | Extras Casting Coordinator |
Peter Baustaedter | Matte Painter |
Emily Griffiths | Production Assistant |
Jeff Barnes | Production Executive |
Jonny Doig | Production Runner |
Sarah Milnes | Researcher |
Evan Christie | Rotoscoping Artist |
Michael Hedges | Sound Re-Recording Mixer |
Brian Van't Hul | Visual Effects Supervisor |
Graham Binding | Animation |
Sally Eccleston | First Assistant Camera |
Clint Elvy | Stunts |
Morgan Evans | Stunts |
Baz Karbouris | Stunts |
Sebastian Foxx | Stunts |
Kirk Maxwell | Stunt Coordinator |
Tony Marsh | Stunt Double |
David J. Muzzerall | Stunts |
Steve Reinsfield | Stunts |
Sharon Maxwell | Stunts |
Amanda Foubister | Stunts |
Jonathan Costelloe | Stunts |
Ann Robinson | Casting |
Steve Ingram | Special Effects Coordinator |
Dave Whitehead | Sound Designer |
Melanie Graham | Sound Editor |
Justin Webster | Sound Editor |
John Simpson | Foley Supervisor |
Peter Mills | Foley Editor |
Craig Tomlinson | Foley Editor |
George Murphy | Visual Effects Supervisor |
Rodney Cook | Stunt Coordinator |
Matt Aitken | CG Supervisor |
Dan Lemmon | Digital Effects Supervisor |
Erik Winquist | Compositing Supervisor |
Peter Swords King | Makeup Designer, Hair Designer |
Pippa Anderson | Post Production Supervisor |
Andrew Stroud | First Assistant Camera |
Stuart Thorp | Stunts |
Alexander Nowotny | VFX Artist |
Merian C. Cooper | Original Story |
Edgar Wallace | Original Story |
Name | Title |
---|---|
Carolynne Cunningham | Producer |
Peter Jackson | Producer |
Fran Walsh | Producer |
Philippa Boyens | Co-Producer |
Jan Blenkin | Producer |
Annette Wullems | Associate Producer |
Eileen Moran | Co-Producer |
Organization | Category | Person |
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Popularity History
Year | Month | Avg | Max | Min |
---|---|---|---|---|
2024 | 4 | 146 | 180 | 115 |
2024 | 5 | 99 | 192 | 56 |
2024 | 6 | 66 | 88 | 44 |
2024 | 7 | 69 | 115 | 51 |
2024 | 8 | 60 | 92 | 36 |
2024 | 9 | 50 | 69 | 33 |
2024 | 10 | 53 | 79 | 34 |
2024 | 11 | 47 | 90 | 35 |
2024 | 12 | 45 | 52 | 36 |
2025 | 1 | 55 | 88 | 41 |
2025 | 2 | 41 | 61 | 9 |
2025 | 3 | 15 | 49 | 3 |
2025 | 4 | 9 | 11 | 7 |
2025 | 5 | 9 | 11 | 7 |
2025 | 6 | 9 | 10 | 7 |
2025 | 7 | 8 | 10 | 7 |
2025 | 8 | 8 | 10 | 7 |
2025 | 9 | 10 | 12 | 9 |
Trending Position
Year | Month | High | Avg |
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2025 | 9 | 358 | 752 |
Year | Month | High | Avg |
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2025 | 8 | 237 | 755 |
Year | Month | High | Avg |
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2025 | 7 | 233 | 640 |
Year | Month | High | Avg |
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2025 | 6 | 536 | 849 |
Year | Month | High | Avg |
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2025 | 5 | 271 | 733 |
Year | Month | High | Avg |
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2025 | 4 | 17 | 523 |
Year | Month | High | Avg |
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2025 | 3 | 99 | 552 |
Year | Month | High | Avg |
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2025 | 2 | 36 | 450 |
Year | Month | High | Avg |
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2025 | 1 | 123 | 547 |
Year | Month | High | Avg |
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2024 | 12 | 226 | 600 |
Year | Month | High | Avg |
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2024 | 11 | 205 | 560 |
Year | Month | High | Avg |
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2024 | 10 | 269 | 582 |
Year | Month | High | Avg |
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2024 | 9 | 304 | 537 |
Year | Month | High | Avg |
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2024 | 8 | 312 | 585 |
They just couldn't leave him on his island could they... King Kong is directed by Peter Jackson and Jackson co-writes the screenplay with Fran Walsh and Philippa Boyens. It's based on a story by Merian C. Cooper and Edgar Wallace. It stars Naomi Watts, Jack Black, Adrien Brody, Thomas Kretschmann ... , Colin Hanks, Andy Serkis, Evan Parke, Jamie Bell and Kyle Chandler. Music is by James Newton Howard and cinematography by Andrew Lesnie. After completing the hugely successful Lord of the Rings trilogy, Peter Jackson turned his attentions to a reimaging of that daddy of classic creature features, King Kong. With all the new tools of the trade to hand, Jackson set about making a Kong film full of love and respect the original from 1933, whilst obviously making his own beast as it were. Story remains the same, mankind sets off to a fabled place known as Skull Island, there they find beasties not of this world, not least a gigantic mountain of a gorilla. They stupidly bring him back to America for money making exercises and things go really bad. The End. I have personally found it most interesting re-watching the film nearly 15 years since its release, especially given we have not long had a different Kong reboot with "Kong: Skull Island" in 2017. For the differences, for better or worse depending on your proclivities in Kongdom, are enormous. Kong: Skull Island is a no brain adventure yarn, high on action but low on intelligence, but it does know it. Jackson's Kong aspired to be much more cerebral, and for the most part it achieves it. Sadly it takes a whopping 3 hours to reveal its intentions, which was a problem to many back in 2005, and is still a hindrance sitting down to watch it these days - this even knowing and preparing once again for how long it is. Frustratingly there's a great film in the mix just crying out for an hour of extraneous filler and clunky dialogue to be jettisoned. Once set up has been achieved in the first hour, we finally get to Skull Island and it's an absolute technical treat. The look is fantastic, the turn of events as Kong and his acolytes have been introduced is terrific. From here it's creature feature mayhem, the beauty and the beast aspect kicks into gear, and it's all very comforting, thrilling even - with one exception. A dinosaur stampede looks ridiculous, the blend of human actors and CGI is so poor it belies the money spent on the effects for this production. That aside, though, the action sequences are electric, particularly the monster mash ups. Yet the quite reflective periods on Skull Island really strike a chord as well, just sections where Kong and Ann Darrow (Naomi Watts) are chilling out together, taking in the landscape that money mad men want to take Kong away from... Then it's back to The States and carnage ensues, culminating in a brilliantly staged last quarter of film, where all that superb period detail gets obliterated during the battle between man and beast, and where even now I'm rooting for Kong to win! As the tenderness of the Beauty and the Beast arc subsides - and it is beautiful - it's then that you once again know that Jackson was too indulgent. His cast were on form, Serkis as Kong a revelation, this is a great picture at times, a real treat in High Definition, if only someone had fronted him up to not over indulge. For then we might have a 9/10 movie as opposed to a bloated 7/10 one.
05 is the worst of the Kong movies, mainly because it tries to do way too much. It tries to be epic, and because it tries to be epic it drags. DRAGS. Watching through it, there is about an hour and a half that I would cut, mostly because it's not necessary for a movie like this. There was charact ... er development... but too much of it. There was plot, but too much of it. If the movie was trimmed down with an eye to making it flow, it would have been decent. But instead they let it run too long with with not enough happening in it to be an exciting monster movie. The result was kind of a drag.