Godzilla and Kong: The New Empire. The review

Godzilla and Kong. The new empire it’s a toy movie much more aware of his nature than he was Barbie. In fact, Greta Gerwig was not ashamed to convey hers to the public past pleasure in playing with the popular doll. However, his memories were intertwined with dozens of other reflections to which a heated summer debate was then dedicated. Adam Wingard’s film has the same depth as a child inventing a story to pit two puppets against each other. The plot is thin and approximate but this is the necessary condition to ensure an afternoon of fun. Who knows if Mattel will take this into account, now that it is outlining the contours of its new film division.

The new blockbuster it is not directly connected to a line action-figures but he acts as if he were. Long gone are the days when Godzilla (2014) had tried to code a new tone for i monster movies. Gareth Edwards had made an exceptional apocalyptic film, with men reduced to helpless extras. His intuition about our irrelevance was confirmed but significantly overturned. The interactions between them homo sapiens are reduced to entr’acte which oscillate between sentimentalism and extemporaneous sketches. Our presence is further and voluntarily marginalized because in the bedroom there is no room for them.

The creatures they continue to compete for the Earth as if we and our cities did not exist. However, the early films had respect for the consequences of their battles. The men could not determine the outcome but suffered the losses and deaths. The conflict between their strength and ours hubris retained a central role. Now, the problem of the man who thought he was at the top of the food chain is to the utmost the basis of a funny dialogue. Godzilla destroys buildings, monuments and infrastructure as collateral damage of his own clumsiness they weren’t there. Cars falling from crumbled bridges for a his misstep they are little more than fleeting CGI effects. The helicopters that monitor him while he sleeps crouched inside the Colosseum are little more than mosquitoes on a summer night.

It still makes sense to wonder what could have become the franchise of Warner if he hadn’t completely disengaged? By now, the path seems clear and the sequels are in the pipeline until the public guarantees the takings. The definitive turn towards the childish approach is also confirmed by the visual structure of the staging. The storyboards of a school-age screenwriter would have been identical and would have equally relied on the imagery of social media and the most loved films. So, the fantastical Hollow Earth is yet another variation of Pandora while the numerous razed cities are as photogenic as an Instagram filter.

The irreversible choice of Godzilla and Kong. The new empire Has it undermined its potential or diverted it to more coherent terrain? The answer depends on the level of prejudice you have towards a tokusatsu one hundred and fifty million dollars. The film is incredibly hilarious for those who have been waiting for a new episode of Ultraman and fantasized about seeing one done better. It doesn’t have any memorable elements but it is packaged in an attractive way and lasts two hours of viewing without faltering. King Kong seeks a family as an exile, and Godzilla defends our civilization in his own way. In the end, the two thousand-year-old rivals find themselves teaming up again with the intercession of a great comeback. The villain will make someone remember a horror version of King Louie by The Jungle Book.

By now, the answer as to who is stronger between the two was given in the previous episode. There are still many questions and now the two are struggling to prove who has the scariest scream. The din is the common denominator of Godzilla and Kong. The new empire and Adam Wingard manipulates him in the most effective way to achieve his goal.

Original title: Godzilla x Kong – The New Empire
Director: Adam Wingard
Cast: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, Rachel House, Rom Smyck, Chantelle Jamieson, Greg Hatton, Kevin Copeland, Tess Dobré, Tim Carroll, Sophie Emberson-Bain, Chika Ikogwe
Distribution: Warner Bros. Italy
Duration: 115′
Origin: USA, 2024