Recall | Kong’s flight, gravity-defying Godzilla vs Kong 2021 @recall3550 | Uploaded April 2021 | Updated October 2024, 23 hours ago.
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Godzilla vs Kong 2021 Kong’s flight, gravity-defying
Flight scene from Godzilla vs Kong 2021
The movie’s wide and incongruous range of sources include zippy little jetpods plying the skies, as if from the “Star Wars” franchise; robotics from the Marvel Cinematic Universe; the massive, barren, neo-primitive landscapes of the DC Comics nature cult; and extra dashes of “2001,” in Kong’s use of an axe in battle, and in a feeble imitation of the agonized abstractions of the Star Gate sequence as part of a similarly gravity-defying flight. The Disneyfied get-up-and-go teen-heroic spunk that Madison and Josh display—as they join forces with Bernie and find their way to the final showdown—is a deferential sop to the superhero world’s fan base of nerdhood, adolescent and adult, saving the world. For good measure, the film adds the secular sacrament—and sentiment—of a child who shall lead them, in the form of Jia, the only character who can communicate with Kong. In “Godzilla vs. Kong,” and in the larger MonsterVerse to which it belongs, the problem is the competition, whether from Marvel, DC, or the “Star Wars” franchises, all of which involve extravagant science-fiction fantasy. The film takes the easy way out, focussing on a supersonic gravity-inverting mini-jet rather than any glimmer of true emotion, and the apocalyptic destruction of a major city rather than the experience of its citizens—let alone any governmental response. (Notably, governments are absent from the movie, whether in the United States or in Hong Kong—absences that are themselves ideological declarations.)
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Godzilla vs Kong 2021 Kong’s flight, gravity-defying
Flight scene from Godzilla vs Kong 2021
The movie’s wide and incongruous range of sources include zippy little jetpods plying the skies, as if from the “Star Wars” franchise; robotics from the Marvel Cinematic Universe; the massive, barren, neo-primitive landscapes of the DC Comics nature cult; and extra dashes of “2001,” in Kong’s use of an axe in battle, and in a feeble imitation of the agonized abstractions of the Star Gate sequence as part of a similarly gravity-defying flight. The Disneyfied get-up-and-go teen-heroic spunk that Madison and Josh display—as they join forces with Bernie and find their way to the final showdown—is a deferential sop to the superhero world’s fan base of nerdhood, adolescent and adult, saving the world. For good measure, the film adds the secular sacrament—and sentiment—of a child who shall lead them, in the form of Jia, the only character who can communicate with Kong. In “Godzilla vs. Kong,” and in the larger MonsterVerse to which it belongs, the problem is the competition, whether from Marvel, DC, or the “Star Wars” franchises, all of which involve extravagant science-fiction fantasy. The film takes the easy way out, focussing on a supersonic gravity-inverting mini-jet rather than any glimmer of true emotion, and the apocalyptic destruction of a major city rather than the experience of its citizens—let alone any governmental response. (Notably, governments are absent from the movie, whether in the United States or in Hong Kong—absences that are themselves ideological declarations.)
