“Godzilla x Kong: The New Empire”: Back to Basic Behemoth-Bashing

The yellow-and-black IMAX movie poster for "Godzilla x Kong: The New Empire". The title monsters are running in shadowed profile. Tiny fight jets zoom alongside them. The 'A' in "IMAX" is replaced with a Pyramid thinner than any real Egyptian Pyramid.

Bad beasts, bad beasts, whatcha gonna do?

Previously on Midlife Crisis Crossover: the MonsterVerse is a thing! Once enough time had passed since Roland Emmerich’s Godzilla and Peter Jackson’s King Kong, the blockbuster peddlers at Legendary Pictures decided America was ready once again for rude giant animals to crush everything in their paths and possibly dominate theaters. Their Avengers-style interconnected saga began with 2014’s recycle-titled Godzilla, which delivered one truly mighty monster melee after two hours of ordinary humans reminding us what we didn’t like about the previous five decades’ predecessors. Pop culture’s most popular overtall simian returned in 2017’s Kong: Skull Island, a period-piece prequel that shamelessly embraced kaiju camp, OD’d on steroids and let its creatures run amuck through Apocalypse Now backdrops and chase some of the best character actors in the biz. The humans were suspiciously more entertaining and having way more fun than usual, as monster toe-jam ingredients go.

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“Godzilla vs. Kong”: When Humanity’s Doom Was Super-Sized, Not Microscopic

King Kong Waits.

“Waitwaitwaitwait — they signed me up to fight WHO?”

Once upon a time at the cinema, the deadliest monsters weren’t lurking in our own airways, weren’t infiltrating nursing homes to murder our loved ones, and weren’t other humans screaming in our faces about their hallucinatory conspiracy theories. In our shared realm of pure imagination, creatures fifty feet tall or more threatened our lives, our livelihoods, our close-quarters societies, and our very infrastructure that is the ultimate status symbol of superior lifeforms. In each rueful tale humankind was brought low by its hubris and its denial of its own frailty, screaming at the heavens as our deathblow came not from ironically itty-bitty microorganisms, but from amazing colossal oppressors who deemed us just as squashable as ants. Though they were arguably empowered by humanity’s sins, at least we could see them coming from a mile away and escape them if we had a cool enough car. In those days, dire threats to our entire species were much more fun.

Blame nostalgia for old-fashioned monsters, as opposed to today’s monsters outside our windows, as the primary motivation that drove me to see Godzilla vs. Kong in theaters and break my own rules.

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So There’s a Scene During the “Pacific Rim” End Credits

Gipsy Danger, Pacific Rim

Midlife Crisis Crossover calls Pacific Rim the Best Men’s-Adventure Film of the Year!

So far, anyway. I’ll admit my opinion is skewed because I don’t watch every theatrical release. I certainly didn’t see 6 Fast 6 Furious, which might or might not be a five-star men’s-adventure flick for all I know, but the 6F6F trailers showed a sign of weakness: two female characters sharing a scene, even though it was a scene of angry pummeling. Not counting extras or one-line background fillers, I counted four female characters in all of Pacific Rim: two robot drivers; one of those drivers as a young girl; and, with 95% certainty, at least one of the monsters. None are onscreen at the same time, spaced apart by several men and minutes, just as you’d expect from an awesome boys-club tale of manly-man heroics.

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