| Warner Bros. | Release Date: March 29, 2024 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
10
Mixed:
30
Negative:
11
|
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Critic Reviews
PolygonMar 28, 2024
NMEMar 28, 2024
There was a point, midway through the film’s major third-act climax, CGI beast raging against CGI beast, when a thought came to this humble critic: “This shouldn’t be boring.” And yet this is what happens, when there’s no emotional weight to the stakes, and the characters themselves feel as hollow as the earth they live on.
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Director Adam Wingard (reuniting with Stevens after the terrific 2014 thriller The Guest) orchestrates the monster madness with impressive visual flair even if he relies on an excessive number of ‘80s-era pop song needle drops to make things seem more exciting than they actually are.
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ColliderMar 28, 2024
Godzilla x Kong is a vacuous de-evolution into monster-on-monster action but also arguably the best possible version of that transition. There’s no doubt that this is fairly moronic, but it still manages to be an improvement over what we’ve seen from the last two installments in this cinematic universe.
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It’s a photo-realistic computer-animated movie. The animation of Kong, Godzilla, and the other Kongs is mediocre at best. The backgrounds should look photo-realistic, but they don’t. I’d rather watch dudes in suits duke it out over a cardboard city than watch this cartoon mess again.
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What this feels like is a second-generation copy of a copy, and one that suffers from the typical franchise law of diminishing returns. No one expects the reinvention of the MonsterVerse wheel, but it’d be nice to have something that isn’t more of the same and less than the sum of its I.P. parts.
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The TelegraphMar 28, 2024
There’s some commendable trippiness towards the end, but for the most part Godzilla Smooch Kong is all too ready to fall back on delivering the bare minimum promised by its title. It’s giant monsters fighting, the thing constantly shrugs: what else do you want? Ideally a bit more than this.
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Even for those who have an orgasmic reaction to kaiju confrontations, far too little of the film is devoted to them and the overreliance on CGI leeches away the immediacy and awe associated with the spectacle. This isn’t as bad as the 1998 Godzilla misfire but it’s perilously close.
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