Hot on the heels of 2023s “Godzilla Minus One,” the first ever Academy Award winner in the giant reptile’s decades long film career, comes “Godzilla x Kong: The New Empire.” The Oscar winning movie focussed on drama more than destruction, but the new film is pure spectacle. A ballet of kaiju chaos for fans.
Set three years after “Godzilla vs. Kong,” the last entry in the MonsterVerse franchise, a new threat has emerged. “For most of human civilization, we believed that life could only exist on the surface of our planet,” says Kong Research Director Dr. Ilene Andrews (Rebecca Hall). “What else where we wrong about? This world has more secrets than we could possibly imagine.”
Having defeated Mechagodzilla the last time around, the Godzilla, and his atomic breath, and King Kong, the ruler of a subterranean ecosystem deep within the Earth called Hollow Earth, face a new threat.
When Andrews discovers large red hand marks on Skull Island, imprints that did not come from Kong, it becomes clear there is another giant ape with his eye set on taking over Skull Island, and beyond.
Even at 337 feet (102.7 m), and equipped with a giant axe and a mechanized power glove, Kong isn’t capable to do battle on his own.
“They don’t have to like one another,” says the “hippy dippy Ace Ventura” veterinarian Dr. Trapper (Dan Stevens) of Kong and Godzilla. “They just have to work together.”
Val Lewton and generations of horror/suspense directors who followed, kept their monsters off screen as long as possible. It was less-is-more filmmaking, that understood your brain would fill in the blanks; that what you didn’t see would be scarier than anything they could show you. It allowed the imagination to run wild, but “Godzilla x Kong” leaves nothing to the imagination. It is a bigger-is-better movie, the cinematic equivalent of a Monster Truck Rally.
It’s all about Kong, Godzilla and new characters like the 318 foot (96.8 m) tall simian Titan Skar King and an adorable-but-feisty mini-Kong named Suko, loud and proud, in action, leaving a trail of carnage behind them.
The human characters exist only to explain things, provide occasional comic relief, utter lines like, “What the bloody hell is that?” and look in awe as the Titans do battle. On the plus side, Brian Tyree Henry and Dan Stevens do look like they’re having fun.
The CGI is dodgy from time to time, the clunky story is essentially an excuse to pit Kong and Godzilla against other Titans and it doesn’t have the grace or emotion of “Godzilla Minus One,” but “Godzilla x Kong: The New Empire” turns it up to 11. It’s a crowd pleaser, although milage may vary depending on your level of fandom of Rock ‘Em Sock ‘Em action, that comes in and goes out with a roar.
If Blue Öyster Cult were to write the hit song “Godzilla” today they’d have to change the lyrics. In 1977 they sang, “Oh, no, there goes Tokyo.” Today the prehistoric sea monster has expanded his worldview beyond Asia and is now concerned with the entire planet.
The action in “Godzilla: King of the Monsters” begins when paleo-biologist Dr. Emma Russell (Vera Farmiga) and her daughter Madison (Millie Bobby Brown) are kidnapped by terrorists. What would these bad people want with this Emma and Madison? Turns out Emma belongs to the crypto-zoological agency Monarch, a scientific watchdog group who study the Titans, creatures long believed to be myths. Along with her ex-husband Dr. Mark Russell (Kyle Chandler) Emma invented “the Orca,” a device that allows communication with these mysterious beasts. More importantly, for the bad guys at least, it can also “control them using their bioacoustics on a sonar level.”
As reluctant hero Mark teams with Dr. Serizawa (Ken Watanabe) and Dr. Graham (Sally Hawkins) to save Emma and Madison from the kidnappers the Titans, Mothra, Rodan, the three-headed King Ghidorah and others, rise, threatening to destroy the earth. It’s the ultimate clash of the Titans as Godzilla (who now appears to have a beer belly) stomps in to level the playing field. Cue the Blue Öyster Cult: “Go, go, Godzilla (yeah).”
“Godzilla: King of the Monsters” is a remarkable achievement. It’s one of the most incomprehensible movies in the “Godzilla” franchise and that is really saying something. This story of restoring harmony to the world by releasing these angry monsters is pure codswallop and remember, this is the series that once devoted an entire movie to the king of the monsters teaching his dim-witted son how to how to control his atomic breath.
I’ll start with the script, and I only call it that because it contains words and was presumably written by people and not some kind of Kaiju-Auto-Cliché generating device. Ripe with pop psychology (“Moments of crisis can become moments of faith.” #Deep), horrible dialogue (“We’ve opened Pandora’s Box and there is no closing it!” #howmanytimeshaveweheardthat?) and several big emotional moments you won’t care about because the characters are walking, talking b-movie stereotypes, the movie is as clumsy as the script is dumb.
But you don’t go to a Godzilla movie for the human content; you go to see Titans battling it out and on that score “Godzilla: King of the Monsters” delivers. Unlike the 2014 Gareth Edwards reboot the new film wastes no time in introducing the radioactive monsters. We then sit through a bunch of pseudo-scientific pontification until the main event, the cage match between G-zil and his three-headed foe. In those moments the film improves, mostly because these characters don’t spout endless exposition about saving the world. They simply fight. It’s WrestleMania with fire-breathers and when they’re wreaking havoc it’s a good, fist-pumping time.
“Godzilla: King of the Monsters” is in 3D—Death, Destruction and Decibels—and has a certain kind of cheesy appeal. Watching the cast of good international actors try and play it straight as they muddle through the nonsense leading up to the climax is fun for a short time but next time I hope we get more actual monsters and less monstrous scripting.
