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The king of all monsters gets a period-piece reboot, and it’s the closest the series has gotten since to the sincere, unironic horrors of the 1954 original. No comfy escape from terrible reality here.
Looks great, but the plot falls apart if you poke it and makes no attempt to grapple with AI’s potential. Instead it renders its robot people as a racialized Other in a clunky metaphor for bigotry.
Everything a monster movie needs: Monsters, natch. Cute kids who Know Things. Nerdy-hot scientists. Spectacular sci-fi visions. Humor but no cheese. Warmth but no schmaltz. And a superb green message.
An absolute mess, and nowhere near enough monster action. Does not give good disaster. No fun at all. Makes me long for guys in rubber monster suits awkwardly sparring. At least you could see them.
Raises the bar on big dumb fun, with The Rock’s social-justice-warrior badass and his genuinely charming relationship with a gorilla, plus a ton of goofball sci-fi monster action turned up to 11.
Toho’s reboot of its most famous kaiju is, amidst intense monster action, a bitter satire on bureaucracy and a cautionary tale about humanity’s collective folly.
Boiled down to its bonkers essence, Skull Island is a Vietnam war movie with monsters, a retro analog vibe, and a dash of both Moby-Dick and The X-Files.
But there’s always the sequel…
Breaking down the bling from last night’s Godzilla premiere while putting up the decorations for tonight’s “blue carpet” for X-Men: Days of Future Past…
Elegantly updates the King of All Monsters for the 21st century… but Hollywood’s tedious myopia means the movie as a whole isn’t quite so beautiful.
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