What is most profoundly remarkable about 'Queen Kong' is that as it begins, the movie demonstrates genuine promise. Over the top as everything immediately is, my reaction wavered between delight and dismay - before I had time to process one passing moment, the mood flipped with the next. Yet overall my initial response was laughing with the picture, more heartily than I have in a little while. There were some great ideas to start, and my hopes were raised.
Unfortunately, that positive first impression is not maintained after about the first ten minutes. The entertainment only ever diminishes, and watching becomes a bit of a chore well before the end credits roll.
This is unquestionably a parody, so unserious in that angle as to occasionally include humor referential or non sequitur, and break the fourth wall. More than that, of course - for whatever jokes and absurdities are included along the way, 'Queen Kong' is above all an obvious direct send-up of the 1933 classic 'King Kong,' lampooning each and every story beat for comedic effect. By all means, there's nothing inherently wrong with this; spoofs can be very funny and enjoyable.
It's hard to describe what went wrong with this particular film, but what it comes down to is that the attempts at comedy mostly just aren't funny as meager cleverness quickly gives way to tired mediocrity. It doesn't help that the writing and direction is pointedly gauche and careless. I can appreciate that for some viewers idiosyncrasies such as featuring a flubbed line in the final cut, or disregarding internal consistency and continuity, may be endearing, and part of the fun. For me, it disrupts suspension of disbelief, and so thoroughly befuddles as a film-making peculiarity as to at best distract from whatever transpires next. And then there scenes that serve no purpose whatsoever - if 'Queen Kong' were made in 2021, Linda Hayden's involvement may be chalked up to a crowdfunding stretch goal that was surpassed, and so an unnecessary moment is forced in as wish fulfillment to cast a noteworthy star. The course of events that led to her addition in 1976 are mysterious to me: Favor for a friend? Contractual obligation? Who knows.
The movie tries to ham-handedly include themes including sexism, and feminism, comparing the plight of Queen Kong to the treatment of women in contemporary society. Were the screenplay strong enough to support the argument, I could even back the thesis that the lead character of Luce Habit, in her ambition and ego, is in part a reflection of how all too often "breaking the glass ceiling" really means nothing more than writing female-coded figures in the same way that male-coded figures would be. However, these notions are not approached with any real effort, or especial sincerity - and are further undercut by writing and camerawork that illustrates the male gaze. Does 'Queen Kong' actually want to explore these themes, and just fails to do so? Does it want to cheekily play off these themes, and just isn't funny enough to show it? It's impossible to say for sure, just as it's impossible to tell the intent or awareness behind passing dialogue or moments that toe the line with racism, or homophobia.
I was genuinely excited when I first started watching, because the earliest scenes defied the poor reception this film had otherwise seemed to elicit. But disappointment soon took over, turning increasingly to a sense of embarrassment. I don't doubt for one instant that there are folks who love the sort of movie 'Queen Kong' is, and find this specific picture an absolute charm. I am glad for them. What I see, however, is a feature with varying and uncertain levels of labor, diligence, earnestness, and discretion - but a level of humor and amusement that is dependably very low, or absent.
Oh well.
Unfortunately, that positive first impression is not maintained after about the first ten minutes. The entertainment only ever diminishes, and watching becomes a bit of a chore well before the end credits roll.
This is unquestionably a parody, so unserious in that angle as to occasionally include humor referential or non sequitur, and break the fourth wall. More than that, of course - for whatever jokes and absurdities are included along the way, 'Queen Kong' is above all an obvious direct send-up of the 1933 classic 'King Kong,' lampooning each and every story beat for comedic effect. By all means, there's nothing inherently wrong with this; spoofs can be very funny and enjoyable.
It's hard to describe what went wrong with this particular film, but what it comes down to is that the attempts at comedy mostly just aren't funny as meager cleverness quickly gives way to tired mediocrity. It doesn't help that the writing and direction is pointedly gauche and careless. I can appreciate that for some viewers idiosyncrasies such as featuring a flubbed line in the final cut, or disregarding internal consistency and continuity, may be endearing, and part of the fun. For me, it disrupts suspension of disbelief, and so thoroughly befuddles as a film-making peculiarity as to at best distract from whatever transpires next. And then there scenes that serve no purpose whatsoever - if 'Queen Kong' were made in 2021, Linda Hayden's involvement may be chalked up to a crowdfunding stretch goal that was surpassed, and so an unnecessary moment is forced in as wish fulfillment to cast a noteworthy star. The course of events that led to her addition in 1976 are mysterious to me: Favor for a friend? Contractual obligation? Who knows.
The movie tries to ham-handedly include themes including sexism, and feminism, comparing the plight of Queen Kong to the treatment of women in contemporary society. Were the screenplay strong enough to support the argument, I could even back the thesis that the lead character of Luce Habit, in her ambition and ego, is in part a reflection of how all too often "breaking the glass ceiling" really means nothing more than writing female-coded figures in the same way that male-coded figures would be. However, these notions are not approached with any real effort, or especial sincerity - and are further undercut by writing and camerawork that illustrates the male gaze. Does 'Queen Kong' actually want to explore these themes, and just fails to do so? Does it want to cheekily play off these themes, and just isn't funny enough to show it? It's impossible to say for sure, just as it's impossible to tell the intent or awareness behind passing dialogue or moments that toe the line with racism, or homophobia.
I was genuinely excited when I first started watching, because the earliest scenes defied the poor reception this film had otherwise seemed to elicit. But disappointment soon took over, turning increasingly to a sense of embarrassment. I don't doubt for one instant that there are folks who love the sort of movie 'Queen Kong' is, and find this specific picture an absolute charm. I am glad for them. What I see, however, is a feature with varying and uncertain levels of labor, diligence, earnestness, and discretion - but a level of humor and amusement that is dependably very low, or absent.
Oh well.