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The most disarming thing about the Monsterverse is its horror, sorrow, and incredulity at the sight of humans dodging extinction-level threats while failing to accept that they can't defeat, reverse or even negotiate with them, only learn to coexist with them. That's why the shots of soldiers and tanks and planes and battleships unloading on these beasts are so absurd. But while some films were more MCU-like than others-the first is the least compromised-the kaiju never devolved into handmaidens of commerce. (Monarch predates the '70s action of "Skull Island" it was formed in the 1950s.) Of course all this stuff was modeled on binding elements in the Marvel Cinematic Universe, particularly the the S.H.I.E.L.D.-like agents and scientists of Monarch, and the post-credits scenes revealing the beasts-on-deck. "Godzilla," the Vietnam-era period piece "Kong: Skull Island," and the Calling All Kaiju! extravaganza " Godzilla: King of the Monsters" also established a top secret, international, decades-in-existence organization, the Monarch Project, that linked the films across release years and story decades. If we hadn't treated Earth like a toilet for centuries, they would've stayed beasts of song and legend, talked about but never seen. They're animals jockeying for dominance, over territory and each other. They don't even mean us harm (though they do enjoy a human snack now and then). This premise was fused to a philosophy that stayed consistent from film to film. The first entry in the series, "Godzilla," was "Close Encounters of the Kaiju Kind," unveiling its creatures in Steven Spielberg magic-and-wonder mode, and introducing the franchise's unifying premise: giant creatures older than the dinosaurs once lived on the earth's surface, feeding on residual radiation from the Big Bang, then moved inside as that energy ebbed, hibernating in the "Hollow Earth" until humans disturbed their slumber with nuclear testing, strip mining, and the like. Kong" continues this series' tradition of moving the master narrative about the Monarch project forward while letting each successive team of filmmakers do their own thing. Spoilers from here-even though, as I will argue, the tale is told in a way that renders such warnings unnecessary.ĭirected by Adam Wingard (" The Guest"), and written by Eric Pearson and Max Borenstein (who wrote the first film in the series), "Godzilla vs. If it isn't, it's for damn sure the most fun. Kong" stays light on its feet, like its co-leading man, a skyscraper-sized primate who bounds through jungles, tropical and concrete, like an astronaut skipping on the moon. It might be the best studio film so far this year. It dares to dream big and be goofy and sincere as it does it. And yet, for an over-scaled and incident-packed tentpole flick, "Godzilla vs.
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It is a fairy tale and a science-fiction exploration film, a Western, a pro wrestling extravaganza, a conspiracy thriller, a Frankenstein movie, a heartwarming drama about animals and their human pals, and, in spots, a voluptuously wacky spectacle that plays as if the creation sequence in " The Tree of Life" had been subcontracted to the makers of " Yellow Submarine." It has rainstorms and explosions and into-the-wormhole light shows, giant mammals and reptiles and amphibians and insects and beasts that might be hybrids of one or more of the animal kingdoms, with some zombie, robot, or demon thrown in. Kong" is a crowd-pleasing, smash-'em-up monster flick and a straight-up action picture par excellence. And it’s made all the better for wholeheartedly embracing that."Godzilla vs. Eschewing the satirical edge of Skull Island or the slow-burn approach of the 2014 Godzilla, this is a Saturday afternoon matinee gussied up with elaborate effects. Kong is particularly deep or introspective? No. Kong not only lives up to the bone-crunching, building-smashing promise of its title, it also brings together numerous threads laid out over the three Monsterverse chapters thus far. As directed by Adam Wingard from a screenplay by Eric Pearson and Max Borenstein, Godzilla vs. Of course, 49 years was probably long enough for the two icons to chill in their respective corners, so the timing couldn’t be more right for this long-in-coming rematch, one afforded the blockbuster budget and razzle-dazzle we’d expect in 2021. That one-off battle retained enough of a Godzilla-sized footprint in pop culture that, no matter how many other creatures the Japanese lizard squared off against, it was this pairing that seemed as inevitable as it was unlikely.
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and Legendary’s “ Monsterverse” of kaiju movies that began with 2014’s Godzilla and 2017’s Kong: Skull Island, pits the two giant monsters against each other for the first time since the Japanese-produced King Kong vs. Kong delivers exactly what the title promises.