‘Godzilla vs. Kong ‘: A clash of the colossi of pop culture that gives us everything that should be demanded of a giant monster movie
The viewer akin to giant monster movies you are absolutely right in the world if you decide to approach this new reincarnation with caution and skepticism from classic kaijus stories. The immediate precedents (that is, those produced by Legendary and that present plot continuity with this new battle) have not always shone high, perhaps with the sole exception of the superb ‘Kong: Skull Island’.
‘Godzilla‘(2014) was almost an emotional drama with a giant monster in the background, much in the style of the indie revelation that brought its director,’ Monsters’ fame. The size of his saurian and the overwhelming (but rare) sequences of destruction, however, were memorable. ‘Kong: Skull Island ‘(2017) yes it was round, a film with multiple readings, almost an ‘Apocalypse Now’ with a giant monkey, and with an absolutely vibrant action and character development. Its director, by the way, is now embarking on the adaptation of ‘Metal Gear Solid’.
The most irregular of the three is the most recent, and the most akin to this one: ‘Godzilla: King of the Monsters‘(2019) was a small mess, with undoubted successes derived from its impressive roster of monsters, but with the focus too much on human conflicts, decidedly, very far from what interests the viewer of a film like this. Fortunately, this new ‘Godzilla vs. Kong ‘directs the gaze more to’ Skull Island ‘than to the other films of radioactive saurus.
This time, the action revolves around the search for the Hollow Earth, an almost mythical environment, located thousands of kilometers from the core of the planet, and believed to be the monsters’ original habitat. Kong will be the unwitting guide on that journey, while Godzilla begins attacking humans for unknown reasons. The confrontation between the two colossi is inevitable. He directs a completely recovered Adam Wingard from stumbling as ‘Death Note’.
Two shows and one destination: poke
‘Godzilla: King of the Monsters’ made it clear that a movie of giant monsters tanning their backs could also fail if the perspective of what we have gone to the room was lost: an excess of humans and their mundane problems that often had nothing. to do with the giant creatures, or they just weren’t working (the whole Vera Farmiga conflict was a disaster). All that is polished here by putting humans in the background, and not wasting time on conventions that we already take for granted.
For example, there is a girl who communicates with Kong. Inheriting the lessons of ‘Kong: Skull Island’ and its approach to the ape’s relationships with humans, here we already know the girl (we don’t know where she comes from) being a friend of Kong, and through her the rest are structured of relationships. There are no over-explanations that we don’t need. That is, the complete opposite of the character of Millie Bobby Brown in ‘King of the Monsters’.
But the important thing, the fights between giant monsters, is what really brings the film to life: beautifully choreographed and edited, unusually intense for CGI animationsWith punches that hurt thanks to clever use of montage and sound, they are the best matches seen in a recent film in the series. They are also generous in length, take great advantage of the scenarios and include surprises, such as monsters that have not been seen in the trailers and that we will not talk about here so as not to spoil. Leave it in that the conflict between Kong and Godzilla takes on exhilarating nuances (and participants) in the final climax.
But in addition, the film has an absolutely captivating sense of wonder. In a twist that will undoubtedly not be to the taste of viewers most accustomed to the whole plot having a traditional verisimilitude, the film has a core that is pure adventure: the setting is changed to a fantasy where all hint of credibility is lost, but that is raised with classical pulp literature as a reference. And furthermore, ‘Godzilla vs. Kong ‘dares not to overexplain anything, simply to let the viewer marvel at the sets and sensational planning.
‘Godzilla vs. Kong ‘is not perfect and is perhaps a step below’ Skull Island ‘because – once again, the eternal problem – its human characters are not as attractive as in that tremendous war holocaust. Millie Bobby Brown’s subplot is not overworked and additives are left over, like his superficial father. They are secondary problems, however: ‘Godzilla vs. Kong ‘is a dream for fans of the kaiju eiga, and the perfect proof that the genre can still continue to invent and excite.