Godzilla and Kong smash! (On a boat.) Warner Bros. There is tumbling and slugging and smashing, and at all moments I could follow the action. One fight scene is set at sea, another against a neon cityscape.
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Most blockbuster fight scenes are visually incomprehensible, with seemingly very little thought put into where the camera is, what needs to be seen, and how to keep the audience rooted in space and time. Kong glosses over these shortcomings with visual excellence. Director Adam Wingard cut his teeth in low-budget horror ( You’re Next, The Guest) and doesn’t quite seem to know what to do with actors tellingly, it’s the funniest ones (Henry and Dennison in particular) who seem most like actual people and less like exposition devices.īut Godzilla vs. Writers Eric Pearson and Max Borenstein, who wrote the best installment in the Legendary Monsterverse series, 2014’s Godzilla, are desperately braiding together a lot of strands, and because everything moves so quickly, it’s easy to let plot holes fade away.
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It’s impressive, in a way, what’s packed into this film. So Lind teams up with Andrews and Jia to get on a huge ship and then take some fancy Monarch-developed technology to the center of the earth.Īnd, well, there’s still a lot more.
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The Monarch organization needs him to go to the center of the planet to find a new power source they think is located there, and for reasons that are only moderately clear, Kong is their best crack at finding it. Nathan Lind, who sits around gloomily theorizing about the earth being hollow. Alexander Skarsgård plays an improbably handsome former Monarch scientist named Dr. With Bernie and her buddy Josh Valentine (Dennison), Madison is determined to investigate why Godzilla has attacked, and the trio stumbles on some pretty wild stuff - though nothing that will shock Godzilla movie aficionados. Godzilla hasn’t been heard from in years, but he suddenly makes landfall in Florida and attacks the Pensacola Apex facility, which seems like an out-of-character move to the humans who’ve grown used to thinking of him as a protector of mankind. Madison Russell (Millie Bobby Brown), now a bit more of a snotty teen, is a fan of the pod, much to the consternation of her Monarch deputy director father Dr. Meanwhile, in Florida, a conspiracy theorist named Bernie (Brian Tyree Henry, who should be in everything) used to work at Apex Cybernetics but now runs a paranoid podcast about what Apex is doing. (Monarch, as you may recall, is the secretive scientific organization that monitors and protects titans like Kong and Godzilla, which it believes are vital to the continuing existence of the Earth.) Jia is deaf, and communicates with Kong via sign language. Kong lives on Skull Island in a Truman Show-like dome, watched over by his Monarch handler Ilene Andrews (Rebecca Hall) and her adoptive daughter, Jia (Kaylee Hottle), an Iwe girl whom Kong rescued when her parents were killed. The plot is basically right there in the title, and since the film combines two “cinematic universes” - to borrow the exasperating marketing term - it spends a lot of time cutting between groups of people on various quests related to the titular titans.
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And that’s all too lacking in an industry dominated by movies that sacrifice imagery for story beats. Kong lacks in narrative logic, it makes up in visual fun, even imagination. After the twin misery of its most recent predecessors - 2017’s clankingly clumsy Kong: Skull Island and 2019’s Godzilla: King of the Monsters, which seared my retinas without justifying its existence - Godzilla vs. I wish I could have seen it on an IMAX screen. On the contrary: I loved watching this movie. Mild bafflement reigns throughout.īut you should not take this to mean that it’s a slog. And it’s snappier than expected, wrapping up under the two-hour mark. Most of the major plot points are more logical-ish than actually logical. Memorable actors (Lance Reddick, for instance, or Hunt for the Wilderpeople’s Julian Dennison) appear out of nowhere, unexplained, and get suspiciously little screen time. Not 65 percent good as in quality it feels truncated, like it was hacked down to size from some much longer, possibly more narratively coherent cut. Kong feels like 65 percent of a good movie.