If nothing else, Legendary Entertainment and Warner Bros. Pictures have been surprisingly persistent in trying to make their MonsterVerse into a successful franchise. This is the fourth film they’ve released since 2014’s Godzilla reboot, and as the title boldly announces, this is the one where the new version of Godzilla meets the new version of King Kong. Of course, by “meets”, I mean “fights to the death in the middle of a bunch of skyscrapers”.
Like the previous films in the MonsterVerse, Godzilla vs. Kong is exactly as advertised. It is essentially plot-free, because that would get mean less time for the monsters to try to murder each other. And monster fights are why this film exists. In between fights there is a small amount of filler in the form of serious science-talk about the origins of these monsters and the “hollow earth”, but feel free to ignore it as I did. Because all the science-talk in the world won’t explain why these giant monsters are saving the environment through killing each other, or why the hollow earth is as bright as day when it is literally the centre of the earth. And the next monster fight is just around the corner anyway.
No one will ever mistake Godzilla vs. Kong for a good movie, but it is a movie that you have to respect if only for its self-confidence. This movie is just so damn sure of itself. So damn sure that you have paid to see monster fights and so damn sure that you do not care about plot or character development or anything else that a normal movie contains. And at least in my case, it was right. I did not miss that other stuff one bit. If you have read this far and still want to see this movie, it will not disappoint. Just pick your favourite monster, sit back, and enjoy the show!
We meet scientist Augustine (George Clooney) on a very bad day for humanity. The inevitability that climate change has been predicting for years is finally here, and in the end, it goes so much more quickly than we ever imagined. Augustine works at an Arctic station that is being frantically evacuated on this particular day, people rushing home to be with loved ones as they wait to die, and in a matter of just days, they do. The toxic air will take a few days more to reach the Arctic, so Augustine stays behind, alone. At least he thinks he is until he discovers a little girl (Caoilinn Springall) who’s been left behind, but by the time she’s found, Augustine can no longer reach anyone else. These two may be the last humans alive on Earth.
BUT. There are 5 more humans still alive in space, astronauts that have been on a 2 year mission to assess a newly discovered planet for viability. And indeed it does appear to be the promised land, able to sustain human life. Except for everyone on Earth, it’s too late.
With his communications down, Augustine makes the difficult decision to try to reach another station. On foot. In the quickly melting, deteriorating Arctic landscape. Racing against toxic air. With a little girl in tow. Easy journey, you say? It is not. But Augustine’s got an urgent message for those aboard the starship: don’t come home. Turn back.
The five people aboard that starship are Sully (Felicity Jones), who is pregnant in space, her baby daddy and boss Adewole (David Oyelowo), plus Sanchez (Demián Bichir), Maya (Tiffany Boone), and Mitchell (Kyle Chandler), none of whom knew they were signing up to be the last earthlings/the ones who would need to repopulate humanity. What an awful burden to put on anyone, but it’s either that, or death. Which would you choose?
Sean didn’t love this movie because he found it cold, and I don’t think that’s just a temperature thing (although poor George had to limit takes to 1 minute, and use a hair dryer to thaw his eyelashes between takes). There’s no room in the movie for recriminations but thanks to a subtle and clever script by Mark L. Smith (based on Lily Brooks-Dalton’s book, Good Morning, Midnight), we know that Augustine is disgusted by humanity, by the fate we chose for ourselves. The movie very quickly divorces itself from Earth, which is over, and I can understand feeling untethered by that. I myself found it a fascinating corner of the human psyche to explore and discover.
Who are we at the end of the world? Augustine’s life’s work revolved around solving this problem, and now he’s watching it all come to naught. Were his sacrifices worth it? It is a powerful accounting of one’s life that takes place when it can be so starkly measured, and through flashbacks we sense that he’s feeling some regret. The astronauts too are facing a similar hardship. Imagine having come so close, having landed on a planet that could save humanity only to learn that they’re just a little too late. Oh, and that everything and everyone that they knew and loved are dead. And that they can never go home again, in every sense of the expression, that their fates now lie on a strange and unpopulated planet where, best case scenario, their kids will be committing incest for generations.
I love a movie like this that has me trying on so many different shoes to see how they feel. How it feels to fail on such a devastating scope. How it feels to actually face the extinction of the Earth, which seems like such a theoretical concept until the reality is burning in your lungs. And yet to also be in a place where guilt and regret no longer matter. Where not even grief and tears matter because we can only mourn what we have lost, or what we are leaving behind, and neither of those things apply when everything is blinking out at the same time. There are no legacies, no one to carry forward your story, everything will be forgotten, so none of it mattered.
Okay, I can sort of see why you might find this bleak. Yet I am choked with awe reconsidering it all again. George Clooney directs, and he correctly identifies that the end of the world will be markedly emotionless. We humans have no concept of an extinction level event. In 2049, when this movie takes place, we’ll have had – what, 70, 80 years? – of warning, and yet we still won’t see it coming, we still won’t be prepared, and we still won’t believe it until it’s too damn late. I can’t help but admire a movie that is willing to punch you in the gut like that.
Do you remember there was a Godzilla movie released in 2014? Neither did I, but maybe that’s because we saw it at the drive-in. Apparently Godzilla: King of the Monsters is a sequel to the 2014 film, and apparently in 2014 Godzilla stomped through San Francisco at some point. Well, during the mayhem, Vera Farmiga and Kyle Chandler’s movie son died, and it really put a strain on their marriage. So they split up, and now their movie daughter Millie Bobby Brown lives with Vera in a Chinese rainforest, researching classic movie monster Mothra. Things go sideways, though, when ecoterrorist Charles Dance kills everyone else at the research lab and takes Vera and Millie hostage along with Vera’s monster-controlling sound machine, in order to wake up lots of other monsters and let them run wild.
Obviously, the plot is really dumb. And the characters have some of the dumbest dialogue of the year. Mostly espository nonsense in between assorted lame quips (and very occasionally a good quip from O’Shea Jackson Jr., probably ad-libbed). Just terrible writing. So much terrible, terrible writing. But who cares, really? Godzilla should be about the monsters, and the monsters come to play.
Godzilla, Mothra, Rodan and Ghidorah feature prominently, with King Kong and a bunch of other monsters making cameos (I don’t know who the other ones are but I bet someone does!). Monsters fight in Antarctica, monsters fight in Mexico, monsters fight in Boston, and I think they fought in one or two other places as well, but who can keep track? The important thing is, when the monsters fight, the movie works. And they fight enough that all the stupid writing can just be ignored, because you know another fight will come before too long.
Maybe next time they can fill the inter-fight lulls with halfway decent writing, plotting and character development. But if I have to choose between good human-vs-human scenes and good monster-vs-monster ones, I’m picking monster fights every time. After all, the monster fights are why I went to see Godzilla: King of the Monsters in the first place!
I’ve had such bad luck with comedies lately that I saw this trailer with nothing but dread and skepticism. Of course I saw it anyway, but only because many of my reliable film buddies made it sound relatively watchable. And I’m happy to say they’re right. This is no comedic gem, no future cult classic, probably not even a movie you’ll discuss or remember with any fondness or clarity on the car ride home. But it is a solid movie with some laughs and an unexpectedly great performance by Jesse Plemmons – that alone is worth the watch.
Annie (Rachel McAdams) and Max (Jason Bateman) are famous among their friends for hosting ultra-competitive game nights. It’s the best part of everyone’s week, and the only blemish is having to hide them from creepy next door neighbour Gary (Jesse Plemmons) who’s been disinvited ever since he and his wife split up. But a new blemish has popped up in the form of Max’s big brother (and the source of his low self-esteem and sperm count), Brooks (Kyle Chandler). Brooks is rich and successful and has never lost at anything, ever. Max can barely stand to be around him. So when Brooks proposes the latest in rich-guy game nights, the incredibly realistic murder mystery, with Max’s dream car up for grabs by the winner, you bet every single one of them is raring to go.
Except of course it’s possible that the game gets intersected with some real kidnap and murder shit that’s all but impossible to sort out. And Annie and Max keep playing the game with criminals who really aren’t.
McAdams, nearly 40, and especially Bateman, who is pushing 50, are a little old to be playing the young couple who’s only now wondering about starting a family, but the directors are confident they’re believably 30-somethings, so go with it. It’s also kind of difficult to believe that their group of friends are actually somehow friends, but go with that too. Stick it out for Jesse Plemmons. Watch and see if he cracks a smile even once, though he’s playing the most absurd character on screen.
There’s some memorable flair to the direction (I liked the establishing shots), and it mostly stays away from the groan-inducing lowest-common-denominator stuff that seems to be the bulk of comedy scripts lately. The cast is solid (McAdams in particular looks like she’s having fun), the premise is fairly fresh, and it’s a pretty entertaining night at the cinema.
Do you and your friends get together for game night?