The latest clash of the legendary pop culture Titans is moving from HBO Max and selected theaters to ultra-high definition home entertainment centers in Godzilla Vs. Kong (Warner Bros. Home Entertainment, rated PG-13, aspect ratio 2.39: 1, 113 minutes, $ 29.96)
Five years after Godzilla saved humanity from King Ghidorah, the story unfolds as an unusually enraged giant lizard is on the warpath, destroying EX Cybernetics’ evil Pensacola base, while the revered Kong remains secretive and unhappy in the secret detention center of the Monarch government agency.
However, when the multi-storey e is dragged across the planet and eventually used as a guide to find the mysterious Hollow Earth (the supposed home world of the Titans), it encounters the King of Monsters.
Once the battles begin, it’s several rounds of knock-down, drag-out battles highlighted by the explosive, computer-generated destruction of Hong Kong.
And true Godzilla mythos fans are waiting for a real treat when a mechanized Titan appears in a fight challenging both popular monsters on the tag team royale.
As with all Janes-style monster movies, people become mainly side events as the main events take place, but there are certainly some notable ones.
Among them is a young orphan Jia (Kaylee Hottle), who helps Kong as his interpreter; Madison (Millie Bobby Brown), daughter of monarchist scientist Mark Russell, who seeks the root of Godzilla’s aggression; Hollow Earth Researcher Nathan Lind (Alexander Skarsgård); and the cartoon criminal, EX CEO Warren Simmons (Demian Bichir), who instructs his minions to exterminate all the Titans.
The sequel to director Adam Wingard from the film Monsterverse from Legendary Pictures succeeded thanks to the shocking action and loving embrace of his creative team of the Kaiju film genre.
Just announcing it requires viewers to arrive with a royal bowl of popcorn and the widescreen precision of these classic alpha predators.
4K in action: During the first minutes of the film, as the incredibly realistic and older Kong walks through the waterfall, viewers know that they are waiting for them, thanks to this quality presentation created from the 4K digital intermediate and including improvements in high dynamic range.
Moments like the soaring Kong, who touches his index finger to little female helper Jia, as rain drips from his serrated nail at night, reveal immaculate detail and clarity. The same visual perfection finds that the first duel between Congo and Godzilla underwater lacks darkness.
The color saturation and tones remain strong throughout, as shown by Godzilla’s blue atomic breath intersecting the aircraft carrier and glowing beyond the Congo, a psychedelically lit, gravitationally crushing trip to Hollow Earth, and Godzilla’s raging Honk Kong amid super neon-lit skyscrapers.
For those with a speaker set to use Dolby Atmos soundtrack, they immerse themselves in the familiar roars and sinister orchestral crescendos every time pears appear on the screen.
The best accessories: Although viewers should invest time to revisit the film with optional commentary provided by Mr. Wingard, the included version of the film comes with features that further expand its limited considerations.
Recorded before the film’s release, it’s not as talkative as I had hoped, and it often focuses on little things like a hardcore fan rather than a $ 150 million filmmaker.
Occasionally distributes some of the best shots through revisions of the story and some technical points and locations; calls its film catalog “masked musicals” because of its scoring preference; and mentions how astonished 200 extras were that Miss Brown played on stage and how much she loves to draw child-style art.
He also explains the importance of seeing monsters in night scenes, creating a rough Congo that acts like a retired gunslinger or an elder, Elvis, and wants Godzill to enlarge his head,
It would be useful for writers or any resident film historian Kaiju to join him during the composition to fill the fluffy discourse.
Those looking for more are 10 features divided into sections – God, King and Battles – and offer about 75 minutes more to shoot, which is reinforced by interviews not only with the director and the main actors, but also with production designers Thomas S. Hammock. and Owen Paterson and producer Alex Garcia.
The best of the group is a pair of segments covering previous Congo and Godzilla films by directors Gareth Edwards (“Godzilla” version), Michael Dougherty (“Godzilla: Destroy All Monsters”) and Jordan Vogt-Roberts (“Kong: Skull” Island “); and actors Bryan Cranston (“Godzilla” version) and Vera Farmiga (“Godzilla: Destroy All Monsters”), as well as genre historical expert Stephen Asma.