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Nathan Lind (Alexander Skarsgard), a largely disparaged Hollow Earth theorist who is recruited by Simmons to convince Dr.
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Meanwhile, #TeamKong is rounded out by toothy geek Dr. He will soon, along with rebellious teen Madison Russell (Millie Bobby Brown), survivor of 2019’s vastly inferior “Godzilla: King of the Monsters,” and her best friend Josh (Julian Dennison) form an intrepid, if rather irritating, #TeamGodzilla. This one is run by APEX, a shady conglomerate headed by a clearly megalomaniac Walter Simmons (Demián Bichir), and it’s already under haphazard investigation from the inside by low-level engineer and conspiracy podcaster Bernie Hayes (Brian Tyree Henry), who gets some of the film’s clunkiest lines, but hey, at least they’re delivered by Brian Tyree Henry. Just when it seems like we’re in for all-out comedy, with Kong perhaps ready to toss a few SUV-sized Alka-Seltzers into a handy freshwater fjord, up pops his playmate Jia (Kaylee Hottle), the deaf Indigenous orphan with whom he has a special, narratively convenient bond. Sweet doo-wop music plays as he scratches his rear en route to his waterfall shower. The unseriousness of it all is signaled from the start, when a lumbering Kong - now matured into the largest incarnation of the ornery ape ever - grouchily awakens on a utopian Skull Island like a trucker with a hangover. And after so many tentpoles that have insisted on being metaphors for this or that, the abundance of sound and fury here - take a bow, Tom Holkenborg, composer of the majestic synth score - blissfully signifying nothing, qualifies as a colossal, giddily escapist relief.
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#WHO WINS KING KONG OR GODZILLA MOVIE#
If the infinitely slicker new movie is an allegory at all, it’s an allegory for what would happen if a really big, tool-using primate had an ancient beef with a really big radioactive dinosaur. Godzilla,” in which a dude encased in spongy rubber had a couple of hilarious slappy-fights with another dude wrapped in old carpet, billed itself as a media satire. It’s a truly noble aim when even Ishiro Honda’s dinky 1962 release “King Kong vs. Kong” is magnificent in its refusal to be relevant or serious or important in any way. With its dazzling, scaled-up, crunchy blockbuster CGI, the sequence plays like a novel solution to the recent boat-stuck-in-the-Suez-Canal snafu that kept the world riveted for days.īut that moment is also notable for being the only time anything in this witty, rollicking, nonsense movie - which mashes up mythologies and movie references into one Jules-Verne-meets-"Tron” event - even lightly brushes against reality. A fleet of ships nervously bringing precious cargo across the ocean encounters Godzilla, and his razor-sharp, Himalayan dorsal fins neatly bisect an aircraft carrier or two. There is a moment early on in Adam Wingard’s deft, daft “Godzilla vs.