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Godzilla vs. Kong: Monster Smackdown


I have to say, this current series of Hollywood movies about Godzilla seems like the wrong kind of throwback. 

Taken as a whole, the 2014 reboot, the 2019 Godzilla: King of Monsters, and now Godzilla vs. Kong ring a bell in me of nothing so much as Michael Bay’s Transformers movies from the 2000s: big, personality-free blockbusters where all the eye is lavished on the CGI characters, while A-list actors are thrown willy-nilly without regard for whatever human qualities they carry to the project. at least we’re spared Bay’s slavering over the asses of his lead actresses.

Even so, i assumed we were past this. The Marvel Comics adaptations have served as an example in delivering action on an epic scale while also giving the actors things like character arcs that they will play when they’re not in their superhero costumes. Somehow, the other studios seem reluctant to find out this. (And don’t email me about the Snyder cut of Justice League. I can’t workout the interest.) If you’re coming to Godzilla vs. Kong for the monster-on-monster fight scenes, the movie delivers thereon . Three films in, though, you’d think they’d be trying for more.


The film begins, wittily enough, with King Kong awakening within the morning to the retro sound of Bobby Vinton singing “Over the Mountain, Across the ocean.” (I would have picked “Mr. Lonely” myself.) It looks like a normal day on Skull Island, only scientists have clapped a biosphere dome over the place to stay the large ape from escaping, and he ain’t happy about it. 


That changes when Godzilla does a heel turn and launches a seemingly unprovoked attack on Pensacola, Florida. A villainous tech CEO (Demián Bichir) approaches Dr. Nathan Lind (Alexander Skarsgård), who shares the billionaire’s belief that the world is hollow. 

They speculate that King Kong comes from that subterranean space, and if they can escort him back there, this may stop Godzilla for, uh, some reason. Anyway, Lind convinces Kong’s biologist keeper (Rebecca Hall) to travel along with this. even as important is her adopted deaf Inuit daughter (Kaylee Hottle), who is the only one that can communicate with Kong.

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