With theaters reopening after lockdown restrictions eased and a backlog of blockbusters coming to the big screen, film critic Paul Steward is criticizing the film Godzilla vs. Kong (12A).
Review: Godzilla vs. Kong
The next chapter of Legendary Entertainment’s MonsterVerse arrives with the ultimate showdown between two of cinema’s most iconic behemoths.
Co-produced by Warner Bros, this film’s set-up included two solo films for Godzilla (2014 Godzilla and 2019 Godzilla: King of the Monsters) and one for Kong (2017 Kong: Skull Island).
All have received lukewarm responses from critics, despite relative commercial success.
From the start it was very clear where things were going and this epic showdown has always been the franchise’s ultimate goal.
Since the last episode, humanity has entered into a peaceful coexistence with the Remaining Titans, but when Godzilla sets out on an inexplicable path of carnage, Earth must call upon Kong, the planet’s other benevolent giant, for it. ‘Stop.
Rebecca Hall and Alexander Skarsgård star alongside newcomer Kaylee Hottle as scientists trying to conceive of the confrontation and the mute girl whose connection to the giant ape could prove to be essential.
Kyle Chandler and Millie Bobby Brown return to reprise their roles as father and daughter Mark and Madison Russell, and while Chandler is mostly sidelined in a glorified cameo, Brown teams up with Brian Tyree Henry and Julian Dennison for a sub. An entertaining storyline that sees the trio investigate a sinister conspiracy involving the Titans.
As you might expect, the storyline is secondary here and with horror director Adam Wingard at the helm, the primary focus of the film is to set up a battle between the two giant monsters.
A slight skirmish at the start teases what’s to come, but when the pair do end up clashing, the show doesn’t disappoint.
Unlike the previous film, which was plunged into darkness, this ruck takes place in broad daylight and offers a spectacular visual feast, as the behemoths devastate the evacuated city of Tokyo.
With cinemas open again, UK viewers can watch the carnage on the massive IMAX screens this film was clearly designed for.
He won’t win any awards for subtlety, but Godzilla vs. Kong is a big improvement over the weak films that came before it.
Offering thrills on an epic scale, the film offers an entertaining spectacle despite its very slim plot.