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    Movie Review

    Godzilla vs. Kong offers monstrous destruction but little humanity

    Alex Bentley
    Mar 31, 2021 | 3:45 pm
    Godzilla vs. Kong offers monstrous destruction but little humanity
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    The return of the Godzilla franchise from American filmmakers has been a mixed bag so far. 2014’s Godzilla pulsed with energy and a good story, while 2019’s Godzilla: King of the Monsters had an incoherent plot and action sequences. That movie, along with 2017’s Kong: Skull Island, set up the ultimate monster face-off, Godzilla vs. Kong.

    In many ways, the new film borrows from the best and worst impulses of the previous two Godzilla movies. On the bad side, there is just way too much going on with the plot and too many characters to track. There’s Bernie Hayes (Brian Tyree Henry), a conspiracy-loving podcaster who works for Apex Cybernetics, a mysterious company led by the nefarious Walter Simmons (Demián Bichir) whose headquarters Godzilla attacks early in the film. There’s Madison Russell (Millie Bobby Brown), one of only two returning characters, who joins forces with Bernie to investigate Apex, along with her friend Josh (Julian Dennison).

    On the Kong side, there’s scientist Ilene Andrews (Rebecca Hall), who lives on Skull Island to study the great ape and keep him under control. Her daughter, Jia (Kaylee Hottle), is deaf and has forged a connection with Kong through sign language. After the Godzilla attack, kaiju researcher Nathan Lind (Alexander Skarsgård) is convinced by Simmons to approach Andrews and persuade her to let Kong out of captivity to save the world from Godzilla’s destruction, a quest that involves concepts like the “Hollow Earth” and “gravitational inversion.”

    On the plus side, the filmmakers, led by director Adam Wingard, know what audiences have come to see — Godzilla and King Kong in action — and they don’t make us wait long to see them. The first look at Kong comes two minutes in, first look at Godzilla comes 10 minutes in, and they return to each regularly throughout the film, bringing lots of chest beating, roars, and destruction with them.

    Just like King of the Monsters, there’s almost no point in trying to figure out the human-level plot mechanics. All you really need to know is that Godzilla, who saved humanity from other kaiju in the previous film, is now being viewed as evil by many, and Kong is the only one who can make things right again. They only directly clash a few times throughout the film, but each one is thrilling and, thankfully, not muddled by fast-moving action where it’s difficult to understand what’s happening.

    The filmmakers attempt to keep things grounded by showing Kong’s connection with Jia, a technique that mostly works. It’s not as easy to relate to Godzilla, but they throw in a few scenes that show it as more than just a mindless monster. Unfortunately, that all goes out the window in the climactic sequence, in which innumerable buildings get destroyed, likely causing the deaths of thousands of people. The destruction is to be expected to a certain degree, but the way it’s presented, with no introspection about the human toll, comes off as callous and shallow entertainment.

    The film is obviously CGI-heavy, but the filmmakers seem to have gone a hybrid route in how it’s employed. The look of the monsters is high-tech and detailed, but there appears to be an homage to the lo-fi method of the original Godzilla movies, as many buildings look like practical models being smashed. Given that they’re being ruined by the CGI monsters, it’s surely just smoke and mirrors, but it’s a fun concept nonetheless.

    Most of the acting in the film is, shall we say, not subtle. For instance, Henry, who’s been great in the FX show Atlanta and almost everything else he’s been in, is reduced to wild rants that don’t do him any favors. Only Hall and Hottle are allowed to be low-key, and it’s the reason that they wind up being the heart of the film.

    Godzilla vs. Kong is far from a good movie, but it’s actually an improvement over the abominable King of the Monsters. For moviegoers who are starved for blockbuster entertainment, it does the trick as long as you’re willing to leave your brain and most of your humanity at the door.

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    Godzilla vs. Kong debuts in theaters and on HBO Max on March 31.

    Godzilla and King Kong in Godzilla vs. King Kong.

    Godzilla and King Kong in Godzilla vs. Kong
    Photo courtesy of Warner Bros. Pictures and Legendary Pictures
    Godzilla and King Kong in Godzilla vs. King Kong.
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    Movie Review

    Timothée Chalamet cements star status in new movie Marty Supreme

    Alex Bentley
    Dec 23, 2025 | 4:30 pm
    Timothée Chalamet
    Courtesy
    Timothée Chalamet

    In a time when true movie stars seem to be going extinct, Timothée Chalamet has emerged as an exception to the rule. Since 2021 he has headlined blockbusters like the two Dune movies and Wonka, and also earned an Oscar nomination for playing Bob Dylan in A Complete Unknown (his second nomination following 2018’s Call Me By Your Name). Now, he’s almost assured to get his third nomination for the stellar new film, Marty Supreme.

    Chalamet plays Marty Mauser, a world-class table tennis player living in New York. But reducing Marty to his best skill doesn’t do him justice, as he’s also a motormouth schemer who will do almost anything to achieve his dreams. He doesn’t have any qualms about wooing married women like neighbor Rachel (Odessa A’zion) or actress Kay Stone (Gwyneth Paltrow), or hiding his true ping pong skills to win money in scams with friends like Wally (Tyler the Creator).

    Marty is seemingly on the go the entire movie, whether it’s trying to convince Kay’s millionaire husband Milton Rockwell (Kevin O’Leary) to fund his table tennis ambitions; or trying to track down the dog of Ezra (Abel Ferrara), a man he accidentally injures; or trying to avoid the ire of the boss at the shoe store where he works. Just when you think he might slow down, he’s off to the races on another plan or adventure.

    Directed by Josh Safdie and written by Safdie and frequent co-writer Ronald Bronstein, the film is an almost continuous blast of pure energy for 2 ½ hours. So many different things happen over the course of the film that the story defies conventional narratives, and yet the throughline of Marty keeps everything tightly connected. His particular type of brash behavior turns much of the film into a comedy as he does and says things that are both shocking and thrilling.

    Another thing that makes the movie sing is the fantastic characterization by Safdie and Bronstein. Almost every person who is given a speaking line in the film has a moment where they pop, which speaks to airtight dialogue that the writers have created. Characters will be introduced and then disappear for long stretches of time, and yet because they make such an impression the first time they’re on screen, it’s easy to pick up their thread right away.

    Safdie, as he’s done previously with brother Bennie (Uncut Gems), calls on a host of well-known non-actors or people with interesting faces/vibes to inhabit supporting roles, and to a person they are crucial to the film’s success. O’Leary (of Shark Tank fame), rapper Tyler the Creator, director Ferrara, magician Penn Jillette, and fashion designer Isaac Mizrahi each deliver knockout performances. The relative unknowns who play smaller roles are just as impressive, making each beat of the film feel naturalistic.

    Leading the way is the powerhouse performance by Chalamet. For one person to believably play both the famously reserved Dylan and also a firecracker like Marty is astonishing, and this role cements Chalamet’s status as his generation’s movie star. A’zion is a rising star who gets great moments as Marty’s on-again/off-again love interest. Paltrow pops in and out of the film, lighting up the screen every time she appears. Fran Drescher as Marty’s mom and Sandra Bernhard as a neighbor also pay dividends in small roles.

    Josh Safdie’s first solo directorial effort is unlike any other movie this year, or maybe even this century. Thanks to its breakneck storytelling, a magnificent performance by Chalamet, and countless intangibles that Safdie employs expertly, the film smacks viewers in the face repeatedly and demands that they come back for more.

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    Marty Supreme opens in theaters on December 25.

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