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A tale of unrequited inter-species love and non-consummated romance, King Kong rivets us to our seat in the new age Peter Jackson remake of the classic King Kong. The computer-generated ape is a perfect blend of technological finesse and histrionic excellence.

The legend of the biggest primate has bettered the re-make and the original and upgraded King Kong to the contemporary adventure and horror blockbusters.

Kong is a recluse who lives in a dinosaur / bats / spiders / worms / insects / flies / relic worshipping humans' jungle. His equanimity is disturbed by the arrival of a young blonde (Ann Darrow), who accidentally visits his abode for location shoot with her crew. Kong rescues her to his safe custody but not before demonstrating his machismo to marauding pre-historic natives and gluttonous dinosaurs. No sooner does the blonde start to understand and bond with her much misunderstood monstrous captor that her scriptwriter love interest (Jack Driscoll) sneaks her away from Kong, the search of which leads to Kong's entrapment and decimation of few supporting actors.

The avaricious film crew-members decide to introduce Kong to civilization and earn dollars through his spectacle in New York City's Radio City Music Hall. Commotion follows soon thereafter as King Kong, irked by flashbulbs and love-pangs, breaks free on the very opening night. He goes on a rampage in New York in search of Ann, finds her with little road-map guidance from Driscoll, and thereafter, manages some romantic rolls and spins with her in a frozen pond.

The denouement is touching. The ingenuous gorilla is attacked and killed by American bi-planes desperately sent to target and destroy him, while he perches atop the Empire State Building, single-handedly defending himself and his lady against the combined attack.

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Reviewer: - Dewmore
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