The Mighty Kong is fairly awful. It’d be nice to say there’s some kind of charm to it, given it’s an animated, family-targeted, period King Kong adaptation, it’s got Dudley Moore’s final performance, and Jodi Benson’s a lot more professional than the production deserves. But it doesn’t have any consistent charm. Not even Benson, who’s the only potential anywhere in the picture; for a while it seems like Benson’s going to be the protagonist.
Okay, let me set it up a little. Moore is the Robert Armstrong character, the movie director. In Mighty Kong he has a nerdy sidekick who’s his cameraman and assistant only the nerdy sidekick (voiced by William Sage). Moore and Sage make musicals of wild animals appearing silly, which is rather imaginative for William J. Keenan’s script. At some point Mighty Kong gives up on having a script—to the point you can forget the movie has a fairly standard first act introducing the characters and situation. Sure, it’s peculiar because Moore’s never it enough to be the lead, even though he’s the lead of that part of the story no question, and the scale of the production is always lacking. Mighty Kong really doesn’t have the animation budget it needs and what the animators end up doing… I mean, it’s bad. There are times when director Scott seems to have a good idea and the animators butcher it.
Except in the finale, which I’ll get to in a bit.
First, back to the characters. So Benson is Fay Wray and Randy Hamilton is Bruce Cabot. Hamilton’s only character trait is he hates women being on ships and is generally a dick. He falls for Benson after the natives on Skull Island threaten her. We know he falls for her because their next scene together is a heavily stylized, including 1998 CGI stars, musical duet where you don’t believe Hamilton or Benson ever met much less sing the duet in the same studio at the same time. Heck, their animated characters don’t even appear on screen together for the duet. It’s godawful and in no way amusing.
Immediately after that duet, it’s time for the giant ape to get introduced—they call him a “Monkey God” in Mighty Kong, never ape. Maybe apes are too big a concept for the target audience, but there isn’t a target audience because it’s such a weird movie. But anyway.
The Kong grabbing Benson and fighting dinosaur after dinosaur section is brief and at least not good in a different way than the first forty-five or so minutes have been not good. Once they get to New York, there’s the absurd Kong breakout sequence where Hamilton and Benson just walk away and ignore the destruction behind them. Even when they should be running. They just walk. Because bad animation.
Though Hamilton looks just like John Cassavetes most of the time, which would be cool if Hamilton were any good. He’s not, though it’s also a terribly written part. Moore gets bad one-liners. The script at least tries for him. Benson does get the “concern for Monkey God” subplot, but very little dialogue in the third act.
The only good part of the movie is when Kong gets into comic hijinks destroying New York. Even when he apparently kills two teens necking in a car. The animation is hilariously executed. Even if Kong’s rarely the same size.
The Mighty Kong is (mostly) harmlessly bad; it’s clearly being done way too cheap. It’s got bad music, bad songs, bad performances of bad lines, bad animation—occasionally excellent editing from Tony Hayman—and it’s not even worth it as a curiosity, which is a shame. An animated musical kids version of King Kong ought to at least be a curiosity.
Though it could qualify as an icky curiosity for the occasional objectification of Benson’s cartoon character in a kids’ movie but… a good curiosity would be nice.