After watching Godzilla I noticed that it shows one of the Today's culture. So all the blockbuster movies were connected.
Kong lives in the Hollow Earth, which is where most of the movie takes place (the idea of a Hollow Earth is a place I don't really like because it's like Earth's version of a warehouse basement). But he actually discovered a monkey cub that looked like an homage to the cute creature he featured in the 1967 Japanese film Son of Godzilla. This gorilla child leads Kong to a craggy and hostile ape tribe living in a slave society ruled by the Skull King. The Skull King is an evil spotted red-haired ape who is as tall as Kong and wields a skeletal whip that looks like it was made. From the spine of a sea serpent. He also commands a giant stegosaurus-like creature left in his freezer as a sort of personal weapon of mass destruction. And in fact, his His main power is his breath ray, which can turn anything into ice, including the powerful Kong.
In other words, Kong is facing the exact same forces as the villains in Ghostbusters: Frozen Empire!
Then there's Godzilla. In the film, he travels from one location to the next, absorbing radiation, first from a nuclear facility and then from an underwater battle with an iridescently radioactive flower-headed monster. By doing so, you are preparing for an apocalyptic showdown. By the time Godzilla is done with all this, his very being is filled with radioactivity and is literally turned upside down. pink.
In other words, he looks like he's having a “Barbie” moment.
And there are essential ways in which Godzilla x Kong, the fifth installment of the MonsterVerse, resembles the tenth installment of the superhero series. The film is occasionally punctuated by creature battles, but its first 90 minutes are dedicated to coloring the world-building backstory. (We know that prospect already excites you.) Godzilla and Kong each have a complicated relationship with Earth's place in the universe, and the story hits the big hurdle of turning them from enemies to allies. jump over.
The film's central character, Dr. Eileen Andrews (Rebecca Hall), is busy planning all this while her adopted daughter, Gia (Kayley), whom she rescued after the Iwi tribe on Skull Island was destroyed, is busy planning all of this. Hottle) is most interested in his fate. Coincidentally, the Earth Hollow is home to another Iwi tribe (with a lot going on in its basement), and Zia is able to communicate with them telepathically. And it turns out that she is a kind of chosen one. Zia is a key figure in activating Godzilla's old nemesis-turned-her ally Mothra (now reinterpreted in shimmering designer gold), and she plays a role in the outcome of the final conflict. Because you will be making a contribution. …
The thing that connects Godzilla But not because it's too complicated to understand. That's because the real complexity is, “Why should we care?” What about this?
While it's true that Godzilla x Kong might not turn out to be a Jurassic Park sequel where everyone's all gushing about the fate of the world and the “related” issues of genetic engineering, , we're just there for that. The ride feels as if a learning sheet has been pasted on it. This review revealed that Brian Tyree Henry as the wide-eyed high-tech whistleblower turned conspiracy blogger Bernie Hayes and Dan Stevens as the cantankerous British veterinarian Trapper There was, but to me it felt like the two actors mostly filled the space. Rebecca Hall, with her unfussy hair, makes good use of her earnest rigor, and Kaylee Hottle, as Gia, is a shining presence, but it's a shame that the film never lets the human side shine through. Every time I invoke it, it feels like a boilerplate sentence.
A qualifier that is always present in Godzilla movies can be said to mean that the story is not important in Japanese monster movies. They are often nonsense. But not always. The original 1954 “Godzilla” had a fairy-tale science fiction gravitas. That was also true of his two other masterpieces of early monster movies, Mothra (1961) and Destroy All Monsters (1968). And the fact that “Godzilla x Kong'' is being released right after “Godzilla Minus One,'' the movie that shook the monster movie world, may be a karma. The film contained not only the lyrical grandeur of earlier films, but also a linear, moving story rooted in Japan's World War II trauma. It was a reminder that these creatures are capable of emotional grandeur.
Godzilla x Kong, by contrast, is a product, but it would be foolish to pretend that the best parts of it don't “come through.” Director Adam Wingard (who made Godzilla vs. Kong) knows how to choreograph a fight with the beast in a way that appeals to his 7-year-old who loves to destroy toys. and can cause maximum damage. In the early scene where Godzilla attacks Rome (before he curls up in the Colosseum to sleep), I actually winced when I saw all those gorgeous old buildings, all that history, reduced to rubble. Still, there's a part of me that wishes Godzilla and the rest of the movies would continue to tread on the real world. As these monsters destroy familiar cities, their mayhem is relatable and the sights literally seem more real. When they're set against a backdrop of rugged mountains and a hollow Earth, it's even more obvious that it's all CGI.
Kong thaws himself and once again proves himself to be the most ferocious primate. And while Godzilla outshines his foes, he is so clearly defined by his pink glow that it seems as if he is being set up as a new kind of allegorical monster. Not a bomb metaphor, but a responsible nuclear resurgence metaphor. energy? Stay tuned for the next spectacularly pointless sequel.