In isolation, we see the king of monsters being held in a "Kong Containment" zone. In a matter of minutes, the story goes from Kong's annoyance at being trapped in a world similar to The Hunger Games to Godzilla suddenly attacking him when he is in chains. Some stupid humans on earth form an organization called Apex Cybernetics with the main motive of keeping alive the number of alpha titans at one.
Somehow Kong's guard angles Dr. Ilene Andrews (Rebecca Hall) and Jia (Kaylee Hottle) convince him to listen to stupid humans, but they regret it before settling down that path. The plan is to follow the concept of the hollow earth and lure Kong into going there by tricking him into saying that it could be his home. Will Kong follow orders as he faces the block of water created by Godzilla? This is what the rest of the story is about.
Godzilla vs Kong Movie Script Analysis
It took me a while to figure out how, after a big Skull Island and a lot of shit in King Of The Monsters, the creators have taken a step in a completely different direction this time. Yes, it still carries the usual cliches of its predecessors, but this goes from being a MonsterVerse to a SuperHeroMonsterVerse. But the inclusion of Thor: Ragnarok writer Eric Pearson, combined with the classic traditional touch of Max Borenstein, who has been in this universe longer than most of the team, creates the whole superhero aura around the monsters.
It's a homecoming for writer Terry Rossio, who wrote the story of the first Godzilla movie (1998) produced entirely by a Hollywood studio. Teaming up with King Of Monsters director Michael Dougherty, Terry makes sure to keep at least one intriguing objective on-screen throughout the entire movie. Although the main purpose of the film remains unclear, the in-between mini-missions keep the entertainment afloat. There are no visible fillers that influence the grip of the movie characters, who constantly explore this war between the alpha-titans.
Ben Seresin, with his filming work on Brad Pitt's World War Z, showed just how high the bar could be raised if the rest of the departments hold their own. This is what he did here; As he captures the two skyscraper-sized monsters, it's not always about them. He places the camera in a remote office in Japan, using its tall windows to enact the destructive tricks of Kong and Godzilla. While he keeps the whole modern theme tinged with orange-blue, the colors add to the whimsical feel of the film.
I could fill this section with how much I was absorbed by the immersive experience of the 4DX version of the movie, but to inform you: this is the most you can get out of the experience of actually being in the movie universe (until, of course, the virtual reality takes over). It was officially sold out when the seat started vibrating to the beat of Junkie XL's sick soundtrack (more on that later in the review).
Godzilla vs Kong: Stellar Performance
I know we don't usually give credit to the creatures that rely on the visual effects in these movies, but let's take a moment to appreciate how hard the visual effects supervisors have worked there to bring them to the screen. From making Kong speak through sign language to making him drink green-colored dragon blood, this is the best use of the furry-haired monster in his universe. It has a huge advantage over Godzilla, which was completely understandable after the performance of their respective latest movies.
Child actor Kaylee Hottle's bond with Kong helps build an emotional bond with the story, which was more or less absent since the Empire State Building in King Kong in 2005. Alexander Skarsgård has very little to play in the face of a disappointing character arc. Millie Bobby Brown and Brian Tyree Henry's track continues to jump from useless to useful, landing on the latter in the second half of the film.
Godzilla vs Kong: Direction, Music
Adam Wingard surprises and how? This is the first of his works that I am seeing and his understanding of the universe is very helpful in creating this adrenaline-pumping artist. The action sequences are difficult but a minor fruit in these films, and the director who acts outdoors excels. Adam tries to mix the "monster show" with the humans around them, and those are the most shocking scenes.
You know the good times are here when Tom Holkenborg aka Junkie XL gives you his version of electrofusion tunes for the second week in a row (after Zack Snyder's Justice League). The main thing that has been missing in this universe for years is a pumping score from people like Junkie XL. Although Henry Jackman did an impressive job with Skull Island, Tom masterfully mixes the classic background theme with his understanding of trance, electronics, and techno-pop.
The Last Word
All in all, if you can find a 4DX theater near you, don't miss your chance to tackle this crazy journey into the monster. Even if it's not 4DX, be sure to see it on the biggest, clearest screen you have access to.