Review: ‘Godzilla x Kong: The New Empire,’ starring Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns and Fala Chen

March 28, 2024

by Carla Hay

Godzilla and Kong in “Godzilla x Kong: The New Empire” (Image courtesy of Warner Bros. Pictures)

“Godzilla x Kong: The New Empire”

Directed by Adam Wingard

Culture Representation: Taking place in various places on Earth, the sci-fi/fantasy/action film “Godzilla x Kong: The New Empire” features a racially diverse cast of human characters (white, African American and Asian) representing the working-class, middle-class and wealthy, in addition to the movie having fictional animal characters.

Culture Clash: Giant monsters Godzilla and Kong team up to fight a common enemy: a giant ape called Skar King, a brutal ruler of an oppressive society in Hollow Earth. 

Culture Audience: “Godzilla x Kong: The New Empire” will appeal primarily to people who are fans of the Godzilla and King Kong franchise and adrenaline-packed and entertaining action movies about giant monsters.

Dan Stevens, Rebecca Hall and Kaylee Hottle in “Godzilla x Kong: The New Empire” (Photo by Daniel McFadden/Warner Bros. Pictures)

Better and bolder than its predecessor, “Godzilla x Kong: The New Empire” delivers what viewers can expect to see when two titan monsters team up against a common enemy. There are less human characters who are irritating and more spectacular action. Be prepared to wait for the epic showdown scene when Godzilla and Kong finally join forces. The movie builds up to this moment with the right amount of anticipation and suspense. It’s worth the wait.

Directed by Adam Wingard, “Godzilla x Kong: The New Empire” is a direct sequel to 2021’s “Godzilla vs. Kong,” a bombastic action flick that had too many annoying humans and a lot of bad dialogue than significantly lowered the quality of the movie. “Godzilla x Kong: The New Empire” has a new screenwriting team (Terry Rossio, Simon Barrett and Jeremy Slater) that made a huge improvement in the story’s narrative, structure and character development, compared to “Godzilla vs. Kong,” which was directed by Wingard and written by Eric Pearson and Max Borenstein.

In “Godzilla x Kong,” mutant dinosaur Godzilla is living above ground and still causing destruction. One of the intentionally amusing things in the movie is that when Godzilla is in Rome, he sleeps in the Colosseum. There are other world-famous landmarks in the movie that are the settings of some of the movie’s intense action scenes, such as the pyramids in Egypt. The scientists observing Godzilla notice that he has gone to a nuclear power plant to inhale the fumes, as if he’s gearing up for battle.

Meanwhile, giant ape Kong is living in his domain in an area in the middle of the Earth called Hollow Earth. Something seems to be disturbing him too. A signal seems to be interfering with Hollow Earth, which is under the scientific observation of the Monarch Hollow Earth Station in Barbados, as first seen in “Godzilla vs. Kong.” Dr. Ilene Andrews (played by Rebecca Hall) is the lead scientist.

Ilene’s adopted daughter Jia (played by Kaylee Hottle), who happens to be deaf, is mourning the genocide of her indigenous Iwi tribe of people, who worship and are protectors of Kong and others in his species. Later in the movie, an Iwi queen (played by Fala Chen) has some answers to questions about Jia’s heritage and Iwi legacy. Jia is causing concern at her school because she’s been making disturbing drawings in class on pieces of paper and on her desk. Jia tells Ilene, “I think I’m going crazy.” It turns out that Jia has been sensing certain signals that are interfering with Hollow Earth.

Ilene and Jia then go on an expedition to Hollow Earth with wisecracking Monarch veterinarian Trapper (played by Dan Stevens), hot-tempered pilot Mikael (played by Alex Ferns) and talkative podcaster Bernie (played by Brian Tyree Henry), who begs to be taken along for the ride. Ilene and Jia are the most level-headed people in this motley crew. What these expeditioners find in Hollow Earth changes the entire trajectory of the story.

Kong also has a new companion in Hollow Earth: a young monster ape named Suko, who has a child-like personality. Although they both get off to a rough start by clashing with each other, Kong develops a paternal relationship to Suko as they spend more time together, and they protect each other. This movie shows more of Kong’s vulnerable emotions than in “Godzilla vs. Kong.” The performances by the cast members are serviceable. Let’s face it: People see these Godzilla and Kong movies for the monsters more than the humans.

Kong and Suko both come across a formidable enemy: Skar King, an evil giant ape who has enslaved hundreds of other giant apes. Skar King has control of a mutant dinosaur named Shimo with freezing powers. Skar King uses Shimo in battles and to keep the enslaved apes in fear. There’s also a legendary creature from Godzilla lore (hint: the creature is female and has wings) that is also an important part of the story.

“Godzilla x Kong: The New Empire” also has a lot to say about family—whether the family is biological or found—and how being part of a family has a profound effect on the characters in the movie. (There are no mid-credits or end-credits scenes in the film.) The only main drawback to “Godzilla x Kong: The New Empire” is that the visual effects for Suko look too fake. However, the rest of the film is an entertaining ride that has the right blend of relatable emotions and thrilling action for the human and non-human characters.

Warner Bros. Pictures will release “Godzilla x Kong: The New Empire” in U.S. cinemas on March 29, 2024.

Review: ‘Godzilla Minus One,’ starring Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando and Kuranosuke Sasaki

December 7, 2023

by Carla Hay

Godzilla in “Godzilla Minus One” (Photo courtesy of Toho International)

“Godzilla Minus One”

“Godzilla Minus One Minus Color”*

Directed by Takashi Yamazaki

Japanese with subtitles

Culture Representation: Taking place from 1945 to 1947, the sci-fi/action film “Godzilla Minus One” features an all-Asian cast of characters representing the working-class and middle-class.

Culture Clash: A former World War II military fighter pilot joins forces with a motley crew to fight the ocean-dwelling monster Godzilla. 

Culture Audience: “Godzilla” will appeal primarily to people who are fans of the “Godzilla” franchise and crowd-pleasing action flicks about giant monsters.

Ryunosuke Kamiki in “Godzilla Minus One” (Photo courtesy of Toho International)

“Godzilla Minus One” is a welcome return to retro Godzilla filmmaking that puts more emphasis on character development, instead of the overblown visual effects and annoying characters than can be found in Hollywood versions of Godzilla movies. And the movie achieved this excellence with only a reported $15 million production budget, which is a small fraction of the budget of a typical Hollywood “Godzilla” movie.

Written and directed by Takashi Yamazaki, “Godzilla Minus One” takes place in Japan, from 1945 to 1947. The movie has subtle and not-to-subtle symbolism of the effects that the atomic bomb had on Japan. The monster Godzilla, in its original iteration, was meant to be a symbol of fear of the type of massive destruction that can come from an atomic bomb or other type of nuclear bomb.

“Godzilla Minus One” doesn’t tease viewers or play coy in showing the monster, since Godzilla appears and kills people in the very first scene of the movie, within five minutes of the movie starting. “Godzilla Minus One” begins in 1945 (toward the end of World War II), at the Odo Island Airfield. Before Godzilla appears, a young fighter pilot named Kōichi Shikishima (played by Ryunosuke Kamiki) first notices that something is very wrong, because there’s a lot of dead fish in the ocean.

Everyone at the airfield dies because of Godzilla’s attack, except Kōichi and a Navy Air Service technician named Sōsaku Tachibana (played by Munetaka Aoki), who blames Kōichi for the massacre because Kōichi froze and didn’t shoot at Godzilla from his plane when he had the chance. Sōsaku thinks that Kōichi could have used his pilot skills to fight Godzilla, but it’s somewhat unfair blame because Kōichi had been knocked unconscious during the attack. Still, Kōichi feel guilty for all of the deaths and has post-traumatic stress disorder.

After returning home to Tokyo, Kōichi (who has no siblings) finds out that his parents died in an air raid bombing that killed thousands of people. A neighbor named Sumiko Ōta (played by Sakura Ando) tells him the tragic news. In her grief, Sumiko verbally lashes out at Kōichi (who was a kamikaze pilot), by scolding him for being a disgrace to Japan. Sumiko says that if he had done his kamikaze pilot job properly, he would have died for his country.

Kōichi has a secret that he tells to only a few people: When he was a kamikaze fighter pilot, and he knew that Japan was coming close to being defeated in World War II, he pretended that there was a malfunction in his plane, in order to temporarily get out of fighting in the war. He was at Odo Island Airfield to get his “malfunctioning” plane “fixed” when Godzilla attacked. The war ended shortly after this attack.

There is chaos in the streets of Tokyo, where one day Kōichi sees a woman, who’s about the same age as he is (mid-to-late 20s), frantically running away from some men who are calling her a thief. She’s carrying a baby, whom she quickly hands to Kōichi before running away. A shocked Kōichi spends quite some time looking for the woman, who comes out of hiding in a nearby alley when she sees that he is alone.

The woman says her name is Noriko Ōishi (played by Minami Hamabe), and the baby is a girl named Akiko. Noriko explains that Akiko is not her biological child. The baby was given to Akiko during an air raid attack by a dying female stranger, whom Noriko assumes is Akiko’s mother.

Noriko doesn’t know the woman’s name and has decided to take care of Akiko. Noriko also says that her own parents were killed in the air raid bombings and she has nowhere to live. Kōichi is a kind person and invites Noriko and Akiko to live with him. Noriko has an outspoken and independent streak.

By March 1946, the relationship between Kōichi and Noriko has blossomed into romantic love, but they are reluctant to express their true feelings to each other. They have settled into a happy domestic life as an unmarried platonic couple and are raising Akiko (played by Sae Nagatani) together. Their living arrangement is unusual, but not unexpected in an area devastated by war and where many people have formed familial bonds with people who aren’t biologically related to them, after their own biological family members died in the war.

Kōichi works as a minesweeper, while Noriko has an office job. Noriko is worried about the dangerous nature of Kōichi’s job, but he assures her that he probably won’t get killed from being a minesweeper. Their neighbor Sumiko, who is no longer angry at Kōichi, sometimes helps take care of Akiko. Kōichi is kind to Akiko, but when she becomes old enough to speak, he doesn’t want her to call him “daddy” or “father.” He repeatedly tells Akiko that he’s not her father, and she looks sad every time he says that, because Kōichi is the only father she has ever known.

In his minesweeper job, Kōichi works with three other men on a ramshackle wooden boat called Shinsei Maru. The three other men are a former Navy engineer named Kenji Noda (played by Hidetaka Yoshioka), who is logical and even-tempered; boat captain Yōji Akitsu (played by Kuranosuke Sasaki), who is commanding and has a somewhat stubborn personality; and junior crew member Shirō Mizushima (played by Yuki Yamada), who has an eager-to-learn personality and wants the respect of his more experienced colleagues.

Since this is a Godzilla movie, it’s only a matter of time before Godzilla makes another appearance to attack. Without going into too many details, it’s enough to say that by 1947, Kōichi finds himself in the Pacific Ocean fighting Godzilla with his colleagues, as already shown in the movie’s trailer. Kenji has come up with a plan to destroy Godzilla. But will this plan work?

A former Navy air service technician named Sōsaku Tachibana (played by Munetaka Aoki) has a pivotal role in the fighter planes that are used in the intense battles against Godzilla. It should come as no surprise that Kōichi would eventually use his fighter pilot skills instead of being stuck on a boat firing cannons. The action in the movie is easy to predict but still thrilling to watch.

“Godzilla Minus One” also makes the most of its relatively small budget with convincing visual effects and sound design. In addition to writing and directing “Godzilla Minus One,” Yamazaki co-led the movie’s visual effects department with Kiyoko Shibuya. This is a Godzilla movie where viewers can feel as terrified as the characters in the movie. The pacing and editing of the movie in the battle scenes also add to the suspense.

Visual effects and action scenes are empty without engaging characters. No one is going to win any major awards for acting in “Godzilla Minus One,” but the movie does a very good job at showing the emotional stakes that the principal characters have in the story. Like many of the characters in the movie, Kōichi and Noriko lost their families to a massacre. Kōichi and Noriko have created a unique family of their own that viewers will be rooting for to survive and stay together. Godzilla is the namesake and star attraction for this franchise, but the best Godzilla movies are the one that have human characters whom viewers care about the most.

*January 26, 2024 Update: Review of “Godzilla Minus One Minus Color”

“Godzilla Minus One Minus Color” is the same movie as “Godzilla Minus One,” but in black and white instead of color. On the plus side, the black-and-white imagery makes the movie look more like the 1940s time period in which the story takes place. However, iconic hue images, such as Godzilla’s glowing blue spine, aren’t there. The heart of the story remains, which is why it’s still an impressive monster movie. But the color version is a more immersive experience that makes Godzilla slightly more terrifying.

Seeing the movie in black and white makes it look like a time capsule, almost like a documentary. The psychological effect on viewers is that Godzilla looks like a monster stuck in a past century. Seeing the movie in color makes it look more convincing that Godzilla is a monster that could live for centuries and could be part of the present day. And that’s why the ending is more effective when seeing the movie is color.

Toho International released “Godzilla Minus One” in U.S. cinemas on December 1, 2023, with a sneak preview on November 29, 2023. The movie was released in Japan on October 18, 2023. A black-and-white version of “Godzilla Minus One,” titled “Godzilla Minus One Minus Color,” will be released in Japan on January 12, 2024, and in the U.S. on January 26, 2024.

Review: ‘Godzilla vs. Kong,’ starring Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Julian Dennison and Demián Bichir

March 29, 2021

by Carla Hay

Godzilla and King Kong in “Godzilla vs. Kong” (Photo courtesy of Warner Bros. Pictures and Legendary Pictures)

“Godzilla vs. Kong”

Directed by Adam Wingard

Culture Representation: Taking place in various other parts of the world, the action flick “Godzilla vs. Kong” features a racially diverse cast (white people, African Americans, Asians and Latinos) who are part of the scientific community, corporate business or are underage students.

Culture Clash: Gigantic monster enemies Godzilla and King Kong cross paths, while some greedy corporate people want to exploit the monsters’ power sources in order to make deadly weapons.

Culture Audience: “Godzilla vs. Kong” will appeal primarily to people who are fans of “Godzilla” and “King Kong” movies and don’t care if the story is badly written, sloppily directed and populated with hollow human characters.

Alexander Skarsgård, Rebecca Hall and Kaylee Hottle in “Godzilla vs. Kong” (Photo by Chuck Zlotnick/Warner Bros. Pictures and Legendary Pictures)

The tedious and atrociously made train wreck that is “Godzilla vs. Kong” probably will please people who have extremely low standards for action flicks. But considering that several superhero movies have proven that action movies can be entertaining spectacles with distinct and memorable characters, there’s really no excuse for why “Godzilla vs. Kong” stinks more than any toxic excrement that can be expelled from these fictional monsters’ bodies. “Godzilla vs. Kong” is the epitome of a “cash grab” film that lazily exploits the nostalgic brand names of beloved creature feature films. In “Godzilla vs. Kong,” the filmmakers do almost nothing to create intriguing characters that can exist in a cinematic art form.

Directed by Adam Wingard and written by Eric Pearson and Max Borenstein, “Godzilla vs. Kong” takes an annoying amount of time building up to the inevitable fight scenes described in the movie’s title. The filmmakers inexplicably overstuffed the movie with a lot of characters that barely do anything except act egotistical (if they’re the villains) or look anxious (if they’re the heroes). The human characters who are involved in the most action and decision making in the movie are reduced to spouting idiotic dialogue that makes the monsters in the movie look more intelligent.

Yes, it’s another movie about a creature that threatens to destroy the world, while humans think they can stop the destruction in time, and the greedy ones think they can get rich off of this crisis. That’s pretty much the plot of every movie about Godzilla, King Kong or other giant monster. Pitting two supersized titan monsters against each other should raise the stakes even higher, but “Godzilla vs. Kong” fails in delivering an enjoyable story and has an ending that falls very flat. The movie’s visual effects from Luma Pictures are adequate but not outstanding.

“Godzilla vs. Kong” begins with King Kong living in a biodome on Skull Island, where he is being observed by scientists for research. Leading the team of scientists is Dr. Ilene Andrews (played by Rebecca Hall), who is a single mother to an adopted deaf/mute daughter named Jia (played by Kaylee Hottle), who’s about 9 or 10 years old. Apparently, Ilene cares more about her research than the safety of her underage daughter. Jia is allowed to be in many completely dangerous situations that would be more than enough for child protective services to get involved.

But dumb movies like “Godzilla vs. Kong” pander to the lowest common denominator by showcasing people with horrific parenting skills and acting as if nothing is wrong with it. And if that means making it look like kids should be allowed to be in the line of fire and actively fighting these monstrous and deadly creatures, then so be it. Kaylee and some of the other underage characters in “Godzilla vs. Kong” are portrayed as having uncanny knowledge and skills that the adults don’t possess. It’s just more pandering to a kiddie audience or people with a child’s mentality.

The movie (which was filmed in Hawaii and Australia) jumps all over the place in a haphazard manner, but here are the main locations in the film:

  • Skull Island, where King Kong lives until he’s brought out of hiding for reasons explained in the movie. It’s also where Ilene and her daughter Jia live until they decide to travel to wherever Kong will be relocated.
  • Apex Cybernetics, a high-tech corporation in Pensacola, Florida, is involved in cybertechnology related to military defense weapons. The CEO of Apex is a typical money-hungry villain named Walter Simmons (played by Demián Bichir), who has a conniving daughter named Maya Simmons (played by Eiza González), who wants to take over the business someday. Walter’s loyal right-hand henchman is Apex chief technology officer Ren Serizawa (played by Shun Oguri). Apex also has an engineer named Bernie Hayes (played by Brian Tyree Henry), who ends up becoming a whistleblower.
  • Monarch Relief Camp, also in Pensacola, is the temporary home of refugees who were displaced by the destruction caused in the 2019 movie “Godzilla: King of the Monsters.” It’s where divorced dad Mark Russell (played by Kyle Chandler), a former Monarch animal behavior and communication specialist, works to help refugees. Mark has a headstrong and independent teenage daughter named Madison (played by Millie Bobby Brown), who wants to follow in his footsteps as scientist who studies animals.
  • Denham University of Theoretical Science is a think tank in Philadelphia where the workaholic and underappreciated Dr. Nathan Lind (played by Alexander Skarsgård) is working on a top-secret theory/experiment. Aren’t they all in movies like this one?
  • Hong Kong, where some of the characters in the story take a rocket, because apparently it’s not enough just to have transportation by planes, ships, trains or automobiles.
  • Tokyo, because you shouldn’t have a Godzilla movie without Godzilla fighting in Tokyo.
  • Hollow Earth, a place somewhere below the earth’s surface that was discovered in “Godzilla: King of the Monsters.” This location also plays a major role in “Godzilla vs. Kong.”

In “Godzilla vs. Kong,” King Kong somehow got access to a javelin (it’s never explained how), and like an Olympic champ, he throws it at the sky while he’s on Skull Island. The javelin pierces the biodome ceiling, so that’s how King Kong finds out that the world he’s been living in has been hermetically sealed.

You know what that means. King Kong becomes restless because he knows he belongs somewhere else. It isn’t long before Ilene and the rest of the scientists find out that King Kong has literally cracked their carefully constructed façade.

Ilene comments about King Kong to a co-worker named Ben (played by Chris Chalk): “The habitat is not going to hold him much longer.” Ben replies, “We need to think about off-site solutions.” Ilene then says, “The island is the one thing that’s kept him isolated. If he leaves, Godzilla will come for him. There can’t be two alpha titans.” Oh yes, there can, or else this movie wouldn’t exist.

The decision is made to move Kong out of Skull Island. King Kong is tranquilized and strapped to a cargo ship. And you just know that tranquilizer is going to eventually wear off. Somehow, Kong’s energy is sensed by Godzilla, who comes out of hibernation from deep in the ocean. Godzilla goes on a rampage in trying to find Kong. It’s all just filler until these two creatures face off against one another.

What does this have to do with Apex? The company has discovered a subterranean ecosystem that’s as “fast as any ocean light.” It has an energy life force that Apex wants to find in order to make a weapon that will defeat Godzilla.

Nathan, a former Monarch employee, says that he tried and failed to find the mysterious Hollow Earth entry. He believes in genetic memory, a theory that says all titans share a common impulse to return to their evolutionary source. Nathan wants to tag along with Ilene and her crew to find the power source that’s in Hollow Earth.

But since “Godzilla vs. Kong” isn’t interested in keeping things simple with only essential characters, there are more people who want to get to Hollow Earth too. There are the Apex villains, of course. And then there’s a motley trio that’s meant to be the movie’s comic relief but they end up saying a lot of corny lines and getting into stereotypical slapstick predicaments.

This trio consists of Apex engineer Bernie, who’s decided he’s going to expose Apex’s dastardly plans; teenage Madison, who apparently skips school so she can save the world in “Godzilla” movies; and her schoolmate Josh Valentine (played by Julian Dennison), who’s the type of character that Dennison is known to play in movies: a sarcastic brat. Josh is also the clownish “klutz” of the group who’s prone to be more terrified than the others. Meanwhile, Bernie sometimes acts like he’s uttering lines that were rejected from a bad stand-up comedy act.

How did Bernie get mixed up with these kids? Bernie is the host of a podcast called the Titan Trade Podcast, where he spouts “insider” conspiracy theories about Apex but doesn’t reveal his true identity. Even though Bernie’s voice and his irritating motormouth personality would be recognizable to his Apex co-workers on this podcast (Bernie makes no effort to disguise his voice), the movie wants people to believe that Bernie’s been able to keep his podcast identity a secret while he’s spilling confidential company information to the world.

“Something bad is going in here,” Bernie warns in one of his podcast episodes. He says that he’s going to download evidence of a “vast” corporate conspiracy. “It’s more than a leak. It’s a flood,” he adds. “And this flood is going to wash away all of Apex’s lies.” And with that announcement, Bernie essentially tells the world that he’s a company whistleblower, without thinking that the company could possibly catch on to his exposé plan before he actually does it. So dumb.

Madison listens to the podcast and essentially drags a reluctant Josh along when they meet Bernie. Madison uses Josh because he has a car and she doesn’t. As if to put an emphasis on how Bernie is the “out of touch” adult in this trio, he has a very outdated flip phone that he uses a lot in the movie. It might be some type of weird irony that a guy who works as an engineer at a highly advanced tech company doesn’t even have a smartphone, but it just makes Bernie look even more dimwitted, considering all the benefits of a smartphone that he would need on this mission.

Because “Godzilla vs. Kong” is meant to be a family-friendly film, there are the obligatory sappy moments to make it look like this isn’t just a movie with fights and explosions. Jia has an emotional bond with King Kong that’s intended to tug at people’s heartstrings, because somehow she’s taught him sign language without her mother knowing. Ilene eventually finds out, but you have to wonder how much of neglectful parent Ilene must be if she let her daughter spend enough time alone with King Kong that Ilene didn’t know that Jia has now become King Kong’s personal American Sign Language tutor. Kids these days.

And while this awful movie whips around from place to place like a flea in search of a mangy dog, somehow the filmmakers forgot to have any meaningful story arc for Madison’s father Mark (who was a protagonist in “Godzilla: King of the Monsters”), who is completely sidelined in “Godzilla vs. Kong.” The parents in this movie are insultingly portrayed as incapable of making truly effective decisions unless the kids show them the right way.

There’s nothing wrong with precocious kid characters, but not at the expense of making the adults with years of scientific knowledge look clueless next to kids who haven’t even graduated from high school yet. The movie completely undervalues and dismisses the life experiences of adults whenever the kid characters are in the same scene. It’s why “Godzilla vs. Kong” has the mentality of video game or a cartoon instead of a live-action movie.

“Godzilla vs. Kong” doesn’t even bother giving the villains anything memorable about their personalities, which is what all worthwhile “good vs. evil” stories are supposed to do. Heroes often have bland, interchangeable personalities, but villains are the ones who are supposed to get the biggest audience reactions in these stories. And audiences like to see some of the clever ways that villains make mischief. None of that happens in “Godzilla vs. Kong.”

There could have been so much improvement to the movie’s lackluster human interactions if the villains were compelling. Walter is very generic, Ren doesn’t talk much, and Maya is a completely unnecessary character. All of the actors in “Godzilla vs. Kong” give performances like they know they’re in a movie where they don’t have to show much acting talent and it’s all about the paychecks they’re getting.

As for the Godzilla vs. King Kong fight scenes that come too late in the movie, they are extremely predictable but at least better than the witless dialogue that the audience has to endure whenever the movie’s scenes focus only on the humans. In order for a monster movie to have the most impact, viewers should care not just about the fight scenes but also about the people whose lives are in danger. And in that regard, “Godzilla vs. Kong” stomps out a lot of humanity to distract viewers with CGI action that isn’t even that great in the first place.

Warner Bros. Pictures will release “Godzilla vs. Kong” in U.S. cinemas and on HBO Max on March 31, 2021. The movie was released in several countries outside of the U.S. on March 25 and March 26, 2021.

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