Godzilla vs. Kong: It’s Good When It’s What’s On the Tin – HBO Max Review

The monsters are great, but the humans need work.


Godzilla has been the unquestioned Alpha of the Titans (Kaiju) since his defeat of King Ghidorah, but now he’s starting to become wild and aggressive. Meanwhile, Kong has been in a protective covering on Skull Island to keep him away from Godzilla, as Kong would naturally have to challenge him as an Alpha. Kong is monitored by Ilene Andrews (Rebecca Hall) and her deaf adopted daughter Jia (Kaylee Hottle). Meanwhile, Bernie Hayes (Brian Tyree Henry), is a Titan conspiracy podcaster who is investigating the APEX corporation and its CEO Walter Simmons (Demián Bichir). Simmons hires geologist Nathan Lind (Alexander Skarsgård) to convince the team monitoring Kong to take him to the Hollow Earth and, in the process, to allow Simmons’ daughter Maya (Eiza Gonzalez) to harvest a power source for APEX. Bernie is joined by Madison Russell (Millie Bobby Brown), who is the daughter of two Titan scientists (one of whom tried to destroy the world in the last movie), and her friend Josh Valentine (Julian Dennison). The three discover that APEX is behind something that poses a bigger threat than either Kong or Godzilla.

There is no way that aircraft carrier could hold them. Its full load is about 100,000 tons and each one of them weights 90,000.


It hurts a little bit to try and determine whether or not this was a good movie because in some ways I worry that my enjoyment of the film was due to extremely low expectations. Not that I’m going to put it up for an Oscar or anything, and I’m pretty sure that the writing for the human characters (aside from Brian Tyree Henry who might have just been improvising) was literally pulled from a screenwriting manual, but I have to say this was pretty much the best kaiju fighting I’ve seen in a long time. If I were to describe what I wanted to see in this film, it would have been “I want to see Godzilla judo-throw a drop-kicking King Kong” and, well, that’s the kind of thing that this movie does right. The problem is there’s no way to do 90 minutes of that. 

There is a singing contest, of course.

The best Godzilla movies usually try to treat Godzilla as a force of nature or a metaphor. The original Godzilla was used as a metaphor for the Atomic Bomb and the most recent Toho film, Shin Godzilla, treated the character mostly as a threat for the purpose of establishing how Japan is treated by the Western world. When you treat Godzilla as something beyond humanity or as a consequence of humanity’s hubris, then it gives him an appropriate relationship to the characters as something almost inevitable or that can only be dealt with by sacrifice. While some of the Godzilla movies give him more character and emotion, but in those films he’s usually more isolated from the “real” world, so you don’t have to worry as much about how the humans are reacting to the kaiju. The American movies, so far, haven’t really gotten this right, including this movie, because Godzilla is still treated more like a monster or a wild animal than a force of nature (although they start to give him some emotion when dealing with Kong). However, since Kong usually IS treated like an emotional creature, at least the scenes with the giant ape actually come off pretty well. 

It is a little telling how unbalanced the fight is when you have to give Kong an anti-Godzilla weapon to make it fair.

The biggest problem with the movie is that the human characters, with the exception of Bernie and the absolutely adorable Jia, are mostly forgettable. There are too many of them and they’re often in completely separate plots throughout the film. Moreover, the plots range from “needless” to “insanely stupid.” At one point, in order to be present for the finale, three characters accidentally travel from Pensacola, Florida, to Hong Kong (it makes sense in context… no, it’s still insane). That said, once the film actually gets to having Godzilla and Kong going at it, it’s a hell of a fight and even has a few moments that were genuinely visually impressive. This film really put a lot of extra effort into lighting and framing shots as well as creative creature design and settings, so when it gets the plot and people out of the way, this is very enjoyable. 

The hollow Earth looks cool.

Overall, while this movie wasn’t what it could have been, it had enough fun visuals and a solid fight sequence to merit the viewing. 


Also, it’s great that they had Godzilla win the fight. Like, there’s no question that Godzilla can kick Kong’s ape ass up and down Skull Island. I was worried they’d just avoid having a real winner by having them fight MechaGodzilla together, but they managed to do both. 

The Midnight Sky: Long, Slow, Decent – Netflix Mini-Review

It’s not a movie you can watch without focus, but it’s worth setting the time aside.


Welcome to the future where Earth is mostly screwed. Or just the future, I guess. Augustine Lofthouse (George Clooney/Ethan Peck) is a scientist who studied habitable planets. Years ago, he fell in love with a young woman named Jean Sullivan (Sophie Rundle), but they separated due to his obsession with work. This turns out to not be the worst decision as thirty years later, Augustine is apparently the last person on Earth, having managed to find a habitable moon of Jupiter for humans to move to after a catastrophe has rendered the planet uninhabitable. Trying to warn manned space probes about the situation on the planet, he only locates one, the Aether, a ship returning from the moon Augustine discovered. The crew consists of Commander Adewole (David Oyelowo), Maya (Tiffany Boone), Mitchell (Kyle Chandler), Sanchez (Demian Bichir), and Sully (Felicity Jones). Augustine attempts to contact them to explain not to come back to Earth, but his antenna is too weak. His situation becomes more strained when he finds a mute girl hiding in his facility, now Augustine must try to warn off the Aether and keep the child, Iris (Caoilinn Springall), alive. 

Clooney, rocking that beard.


I’ll start off by saying that cutting 30 minutes out of this movie would be a great help. This movie aims a bit too high by trying to go too grand on the scale of the narrative. If it had pulled it off and kept a decent pace, this wouldn’t be a problem. Instead, it ends up feeling a bit longer than the audience is likely willing to endure. So many of the subplots or conflicts could easily have been cut, as many of them focus only to try and artificially heighten tension, rather than deepening the narrative. On the other hand, the movie is very dark and mostly pessimistic towards the future, so maybe having too many crises is thematic.

The visuals are pretty great.

George Clooney is either alone much of the film or talking to a mute girl, so it is a credit that his performance never really feels like it gets old. Augustine is a man who has to constantly get dialysis (or blood transfusions, I feel like I might have gotten confused) and so can easily just let himself die, but keeps fighting to help keep humanity’s torch alive. It’s a very powerful portrayal. Most of the crew of the Aether, in contrast, usually provide the human interest aspect or the comic relief, but their performances help break up the dark, slow stretches.

Yes, they’re floating in the aether.

Overall, it’s not that this is a bad film, I just think it wasn’t supposed to be two hours. 

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