The cast of Godzilla vs. Kong shows commendable inclusion for a major studio film. But unfortunately for the talented actors, who have to spend most of their time standing staring at a blue screen, in stunned silence or uttering countless variations of shock and amazement of “Oh, my God”. Although there is a malnourished thread that connects the main characters by their experience of loss, there are rarely human figures and their interactions like the periphery of the title action in a blockbuster movie. tons of popcorn. The good news is that even if convoluted kaiju mythology tends to transcend itself in a plot that barely makes sense, facing off against the Monsterverse offers plenty of visceral excitement.
After a year of absence from the big screen, watching Warner Bros. released in IMAX with immersive surround sound is a remarkable thrill of its own. Whether fans of the genre catch this in theaters or on the main screen during the month-long simultaneous launch of HBO Max, it’s an interesting assault. The total income from the open international territories before the US suggests it will turn out to be a monster.
The predominance of the CG spectacle over the physical action here is even more powerful than that of its immediate predecessors, Kong: Skull Island and Godzilla: King of Monsters. And the breakneck pace of mayhem can sometimes seem like a foolish hand to cover up shortfalls in character development and logic. But screenwriters Eric Pearson and Max Borenstein are smart enough to know what customers want, stringing together thrilling parts with minimal delay between each new kill.
That said, there’s a lovely new addition to the human element of the story in the form of Jia, played by Kaylee Hottle in a gripping debut. A deaf, orphaned native Iwi girl rescued by Kong on Skull Island, Jia is being raised by Dr. Ilene Andrews (Rebecca Hall), an anthropological linguist working for the monster research organization. Monarch object of the United States government. The child’s ability to communicate with the great apes through sign language creates moments of poignancy throughout, even if the glycerin tears are sometimes a bit thick.
That connection – not the traditional link between Kong and a beautiful woman, but with an innocent child – provides some heart, amplified by the mesmerizing expression on the faces. facial contours of the ape. Advances in visuals make this arguably the grandmaster’s best performance to date.
It’s also in this area that the duel of the deck’s title is in favor of the gorilla grandfather, with his mottled fur and gruff cuddling even as he spends most of his time in a rage. . First glimpses of Kong – waking up from a nap with a yawn, stretching and lazily scratching his butt on his way to the falls, accompanied by the sweet sounds of Bobby Vinton’s doo wop singing “Over the Mountain, Across the Sea” – personifies the monster in ways that Godzilla never had.
This prehistoric reptile rarely looks uglier, its glittering eyes and malevolent growl heralding a cruel path of destruction. With pointed hair, pear-shaped body and tiny hands, perhaps Zilla will always be the runner-up in both beauty and personality of the contest.
The film’s humor comes mostly from another new character, who is on Godzilla’s side of action in two storylines that never quite intersect, at least not outside of a monster attack. war object. Bernie Hayes (Brian Tyree Henry) is a shrewd junior engineer at the cybernetic company Apex. A whistleblower conspiracy theorist, Bernie hosts a podcast eagerly watched by teenager Madison Russell (Milly Bobby Brown). She and her more characteristic father Mark (Kyle Chandler), now VP of special projects at Monarch, are supporters from Godzilla: King of Monsters.
Unscrupulous Apex CEO Walter Simmons (Demián Bichir) and technical director Ren Serizawa (Shun Oguri) – whose father, played by Ken Watanabe, died in the previous film – conduct secret experiments. secretly awakened Godzilla three years after the creature was last seen, drawing the monster to the company’s US base in Pensacola, Florida.
The result was chaos that left eight people dead and the industrial area in ruins. But Madison believes that Godzilla – a hero of humanity in the final round – has been provoked by unseen forces. She teams up with her tough schoolmate Josh (Julian Dennison, interesting discovery from Taika Waititi’s Hunting for wild people) to track Bernie. More by chance than by design, the three of them travel to the maze of Apex laboratories in Hong Kong.
It’s fascinating to see Bichir transform his considerable charisma into a nefarious character, a silver-tongued power broker with a charming smile, a crisp wardrobe and a good glass of scotch permanently clamped in his mouth. opaque silver dripping hands. In order to trigger their megaproject, Simmons and Serizawa need to harness an enormous amount of energy capable of maximally measuring giant beings known as Titans. They believe this energy can be found in Hollow Earth, a primeval world completely hidden in the core of the planet where the monsters originate.
There’s a lot of plot, lots of characters, and lots of different locations to keep going straight into the setting, and while director Adam Wingard and his screenwriters aren’t exactly getting the maximum lucidity. , it’s easy to keep going until the stars of the same name start to rumble.
That comes shortly after discredited geologist Dr. Nathan Lind (Alexander Skarsgård) is joined by Apex to find the Hollow Earth, teaming up with Hall’s Ilene “Kong Whisper” and using the ape to guide them there, transported by water on a giant aircraft carrier topped. for Antarctica. Simmons sends in his tough daughter Maia (Eiza González) to mock the good guys and ensure that her father’s interests are served.
The first clash between Kong and Godzilla took place in the Tasman Sea, consisting of a short Poseidon Adventure the moment when the entire ship capsized in the battle. Even if you’re going numb with all the trash and mutilated mythology, there’s real joy in watching Godzilla take down fighters and support ships with a flick of the tail, and Kong clamped the reptile to his jaw with his fist like a pebble.
Cinematographer Ben Seresin follows the action in lightning-fast motion, both on deck and underwater, in a sequence that speeds up the movie and sets the pace for the rest. There’s relatively little downtime after that, which should be disappointing for anyone demanding more character depth, but not so much for audiences who have ignored the video game plot.
Wingard, set in low-budget horror, clearly follows the sci-fi action-adventure tradition of Journey to the Center of the Earth when Dr. Lind’s expedition reached the South Pole and Kong made his way from there to Hollow Earth. Sequences of hominid swinging along the roofs of tunnels and underground chambers are visually striking. The impressive combination of locations with CG elements makes the destination quite enjoyable, even if there is a certain overwhelming situation in exploring a large land Jurassic World– kind of environment with great WiFi for a point thousands of miles below the Earth’s surface.
But if you can swallow it, then you won’t have a problem with Godzilla using his radioactive fire breath to blast a hole from Hong Kong to Hollow Earth to challenge the alpha predator. his old. The climax moves back to the Chinese port city, which has been largely evacuated to avoid mostly structural rather than human casualties. And the monster yard shook as creatures with rival titles once again found themselves fighting on one side to defeat a greater danger to humanity.
That threat will be a welcome re-release for classic Toho fans Godzilla , though many will guess what will happen from the glimpses in the new trailer and merchandise released by Legendary Pictures. There’s also a nod to the possible stamina of Monster Zero, the three-headed Ghidorah included in Godzilla: King of Monsters, which could indicate its reappearance in a future sequel. Fortunately, though, there’s less of a busy, more-monster-palooza attitude toward the Titans this time around.
The action sequences and the loud, boisterous style are defeated by the dynamic synthesizer score of Tom Holkenborg, who credits Junkie XL. Except for the roles played by bad boy Bichir, the always amusing Henry and newcomer Hottle, who comes from an all-Deaf family, man-written characters tend to fade into the background. But the draw is the heavyweight match of the title, so few will complain.
In the cross-franchise tradition it sometimes takes a lot of work Moneymaker 1 compared to Moneymaker 2 – think Freddy and Jason, Alien vs. Predatorand ugh, Batman v Superman – Godzilla vs. Kong was a match worthy enough, and certainly a huge step up from their first battle, in the 1963 film Toho. If only it had the intelligence of Abbott and Costello meet Frankenstein.
Production company: Warner Bros. Pictures, Legendary Pictures
Distribution: Warner Bros., HBO Max
Cast: Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, Kyle Chandler, Demián Bichir, Kaylee Hottle, Lance Reddick, Hakeem Kae-Kazim, Ronny Chieng
Directed by: Adam Wingard
Screenwriters: Eric Pearson, Max Borenstein; story by Terry Rossio, Michael Dougherty, Zach Shields, based on the character “Godzilla,” owned and created by Toho
Producers: Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull, Brian Rogers
Executive Producers: Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno, Kenji Okuhira
Director of Photography: Ben Seresin
Production Designer: Owen Paterson, Thomas S. Hammock
Costume designer: Ann Foley
Music: Tom Holkenborg
Editor: Josh Schaeffer
Sound Designers: Jason W. Jennings, Brandon Jones
Visual Effects Supervisor: John “DJ” DesJardin
Starring: Sarah Halley Finn
Rated PG-13, 113 minutes
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