Godzilla x Kong: The New Empire 4K 2024 2160p WEB-DL

After the Mechagodzilla massacre, the world seems to have come to a relative equilibrium. Kong reigns in Hollow Earth, and Godzilla keeps the monsters at bay by actively responding to their threats. But Monarch's department detects an unknown signal - only telepathic woman Dia (Kaylee Hottle) can understand its origins: together with her mother Eileen (Rebecca Hall), badass vet Trapper (Dan Stevens) and podcaster (Brian Tyree Henry), they set out to investigate the mysteries of Hollow Earth. Kong and Godzilla will once again have to team up to stop King Scar and his tribe.

Godzilla x Kong: The New Empire 4K Review
It's rather strange to realize that the current decade is spent with the roar and battles of prehistoric monsters. Kaiju, like in the good old 60's, have once again gathered on the battlefield. They really prepared a whole conveyor belt, competently dividing the zones of influence in the Pacific Ocean: recently progressed Japanese “Godzilla: Minus One” (and even grabbed the prestigious Oscar statuette for best visual effects), and the American universe MonstreVerse expanded its ecosystem successful series (to the project “Monarch: Legacy of Monsters”, it seems, no one has no critical questions). Moreover, it was with Adam Wingard's supercrossover in 2021 that Hollywood blockbusters got in line after the pandemic: “Godzilla vs. Kong” came to the big screens to awaken not only the primal rage of mutant monsters, but also the sincere “wow” of our inner child. The film was full of absurdities, everything exploded in graphic fractals, and we had to restrain ourselves, reminding that it was all a bit fake, but Wingard's fighting show was quite suitable as a symbol: big blockbusters - loud, primal and fangy - did not go anywhere, but just waited for their time.

As for “The New Empire”, even here Wingard did not lose his baby. On the screen again mindless graphic chaos with fights for all tastes: distribution of blows in Rome, Cairo, Rio de Janeiro and somewhere on the latitudes of the Hollow Earth. The main bane of such supercrossovers is the necessity to pull a human line behind the plot (always, it is easy to assume, poorly successful and sewn with white threads). For once, the authors decided not to prevent monsters from waving their tails - people, of course, have a conventional theater of action: doctors fix something there in the Hollow Earth, and the heroine Rebecca Hall wastes no time trying with her adopted daughter (Kaylee Hottle) to figure out what chthonic forces are hidden under the Earth's layer. Not to get bogged down in the darkness at all, the plot was also given its own funnyman - Dan Stevens in a Hawaiian shirt, playing a veterinarian, dentist and part-time giver of a high-tech glove for Kong.

Colorful CGI shows are easy to get caught up in being optional. In “Godzilla vs. Kong,” Wingard had something to say and show, and then the appearance of Mechagodzilla and the titanic kaiju-porn many surpassed the blown-out scale of the sequel, but the angry tribe of apes is no longer as exciting to watch (especially since there's a franchise like this somewhere in the neighborhood, and it's kind of still in the works). However, the naive simplicity and, dare we say it, the conscious second-rate are also as if they were part of the megalomaniac director's plan: Wingard just wanted to have fun again, to turn the colors even brighter and find some reason for the triumphant massacre. “It's like the '80s,” the audience will chant in unison, and they'll be right. Added to the general old-school vibe is an upbeat electronic playlist that could mistakenly be confused with the soundtrack to Guardians of the Galaxy.

Unlike, say, Gareth Edwards' “Godzilla,” the rambling of “The New Empire” has no end, for Wingard glues the juiciest kaiju fetishes into the frame: here Godzilla once again tears the enemy with a radioactive beam, the ape and the lizard have a ringing prehistoric roll call, deserts, megacities, cultural sites - everything turns to dust. And then the show provides a dose of crowd-pleasing revision: Godzilla defeats his enemies and folds himself into a fist in the Colosseum, while Kong is ingeniously treated for a tooth, using near-military power for the task. This parade of tastelessness has a right to exist, except that the Japanese - the conditional rivals of the Americans on the chessboard of “Godzilla” - made a much more crushing move. Against the backdrop of “Minus One,” Wingard's digital pornography looks like a prehistoric regression - a throwback to those distant times when life on earth was perfectly manageable without humans.