Godzilla vs. Kong (2021)
113 min|Action, Sci-Fi, Thriller|31 Mar 2021
6.3Rating: 6.3 / 10 from 261,609 usersMetascore: 59
The epic next chapter in the cinematic Monsterverse pits two of the greatest icons in motion picture history against each other--the fearsome Godzilla and the mighty Kong--with humanity caught in the balance.

Godzilla vs. Kong merupakan seri keempat dari semesta sinematik, MonsterVerse yang diawali melalui Godzilla (2014). Film ini diarahkan oleh Adam Wingard yang menandai sineas yang berbeda yang menggarap tiga film sebelumnya. Film ini dibintangi oleh Rebecca Hall, Alexander Skarsgard, Brian Tyree Henry, serta para pemain seri sebelumnya, yakni Millie Bobby Brown dan Kyle Chandler. Film berbujet lebih dari USD 150 juta yang sejatinya rilis November tahun lalu ini, akibat pandemi baru dirilis pekan ini di teater dan secara streaming di platform HBO Max. So, apakah filmnya juga sama pencapaiannya seperti satu seri sebelumnya (The King of Monsters)?

Para ahli telah menemukan rongga dalam bumi (hollow earth) yang disinyalir merupakan tempat para monster berasal. Rencana menggiring para monster untuk mengembalikan ke tempat asal mereka adalah mengumpankannya dengan Kong. Godzilla yang merupakan seteru abadi Kong, diyakini akan mengikuti kera raksasa tersebut jika ia masuk ke dalam rongga bumi. Namun, di luar dugaan, satu perusahaan lain memiliki rencana yang berbeda untuk memusnahkan para monster dari permukaan bumi.

Yah, sederhananya plotnya begitu. Detilnya, saya sendiri sudah tak paham, karena semua logika cerita seri terdahulu seolah sudah tak dianggap. Plot Godzilla vs. Kong jelas dipaksakan dan mengada-ada untuk membuat kisahnya bisa berjalan agar memancing adegan aksi skala besar bisa terjadi. Rongga bumi? Duh, ini apa pula? Mengapa kesenjangan teknologi dalam dunia cerita film pertama dan kedua, begitu jauh berbeda dengan film ini? Banyak hal sungguh tak bisa dinalar menggunakan logika cerita sebelumnya. Bicara untuk kebaikan umat manusia juga hanya omong kosong. Godzilla yang awalnya (Godzilla/2014) memiliki konsep pelindung umat manusia kini berbalik menjadi pemusnah umat manusia. Konsep filosofi keseimbangan alam yang dulu diagungkan kini hilang tak berbekas. Ini yang membuat filmnya tidak memiliki dimensi manusia sama sekali dan hanya sekadar menyajikan superioritas para monster.

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Seperti yang dijanjikan judulnya, Godzilla vs. Kong semata menyajikan aksi besar dengan gemerlap efek visual melalui konsep naskah yang sudah melenceng jauh dari seri pertamanya, tanpa sedikit pun human value di dalamnya. Seri ini kini tak ada ubahnya seperti film anak-anak. Sejak dua dekade lalu, rasanya Godzilla vs. Kong adalah salah satu film blockbuster terburuk yang pernah diproduksi. Sementara Godzilla (2014) adalah salah satu film fiksi Ilmiah terbaik yang pernah diproduksi, baik secara konsep cerita maupun pendekatan estetiknya.

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Artikel BerikutnyaThe Father
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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