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Release date : August 14,2021

123telugu.com Rating : 2.5/5

Starring:  Vishwak Sen, Nivetha Pethuraj, Simran Choudhary, Megha Lekha, Murli Sharma

Director :  Naresh Kuppili

Producer : Bekkem Venugopal

Music Director :  Radhan

Vishwak Sen is back with his new film Paagal. The film is out on the big screens and let’s see whether it lives up to the hype or not.

Prem(Vishwak Sen) is very close to his mother(Bhumika). But sadly, at a very young age, he loses her to cancer. He always remembers his mom telling him that if you love someone sincerely they will also love you back. So taking this seriously, he keeps proposing to every girl he meets. But sadly, he gets rejected until he finally falls for Teera(Nivetha Pethuraj). What changes did Teera bring in Prem’s life and did he find true love or not forms the story of Paagal?

Plus Points :

Vishwak Sen is the mainstay and carries the entire film on his shoulders. Vishwak is quite energetic in his role and looks cool when he delivers the over-the-top proposal scenes. Bhumika impresses in a brief cameo.

The first half of the film is quite funny and has some good moments. The comedy generated through the various proposals of Vishwak Sen and the track of Murali Sharma is good.

Nivetha Pethuraj is decent in her role and gets some good scenes to perform. Comedian Mahesh, Auto Ram Prasad do well in their scenes. The chemistry between Nivetha and Vishwak looks good.

Minus Points :

Paagal has good moments in the first half and when you think, things will get exciting, the proceedings go for a toss. Nivetha Pethuraj and Vishwak’s love story has no proper emotion. The pain and drama in the love story is missing.

Also, the conflict point is quite dull in the second half and Murali Sharma’s track which is connected to the main story does not create much impact. Everything looks rushed and is just added to weave the story.

Nivetha Pethuraj and her way of approaching the love story is weak. Her character has no clarity and the way the director narrates her track looks forced and has no proper depth. The father-daughter angle should have been elevated a bit more.

Technical Aspects :

The music of the film is pretty good but the BGM was just about okay. The production values are good as Vizag and its surrounding areas are showcased well. Dialogues and screenplay were good in the first half but it was ordinary in the second.

Coming to the director Mahesh, he has done a half-baked job with the film. By terming hero as Paagal, he has written good scenes and comedy in the first half. But when it comes to the key love story, he rushes up things and narrates the love story with a confusing characterization of the heroine.

On the whole, Paagal is a romantic drama with a decent first half. The comedy keeps the audience entertained and Vishwak Sen does well. But the film falls flat during the second half as the love story is weak, routine, and lacks the needed emotion making Paagal a half-baked love story.

Reviewed by 123telugu Team

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Movie Review: Paagal

Article by Satya B Published by GulteDesk --> Published on: 12:04 pm, 14 August 2021

2 Hr 18 Mins   |   Comedy/Romantic   |   14-08-2021

Cast - Vishwak Sen, Nivetha Pethuraj, Murali Sharma, Simran Choudary, Megha Lekha

Director - Naresh Kuppili

Producer - Dil Raju

Banner - Sri Venkateswara Creations

Music - Radhan

After crime thriller Hit, Vishwak Sen has opted for a romantic caper Paagal. Vishwak sounded over confident during the film’s promotions. With the film being presented by Dil Raju, it has some hope. Does it live upto the hope & hype?

What is it about?

Prem (Vishwak Sen) is an orphan who lost his mother to cancer at a very early age. He wants to love a girl who can replace his mother in his life. He tries every other girl on the street and luck doesn’t favour him. He ends up with Theera (Nivetha Pethuraj) who is already engaged and has just 6 months for her marriage. Prem convinces his best to love him for six months. What comes in between Prem and Theera? Who is Raji Reddy? How all the dots are connected form the crux of the story.

Performances :

After playing an investigative cop in Hit, Vishwak Sen turned into a lover boy. He tried a bit different. His characterisation has shades and layers which he pulled off well. However, he goes overboard at times and gets too emotional than what is needed. Nivetha Pethuraj has done complete justice to her role which only makes entry in the second half. She made her presence felt. Murali Sharma shines in his role as politician Raji Reddy. Vishwak’s friends Ram Prasad, Mahesh are hilarious. They evoke some laughs. Performances wise, there is nothing much to point out.

Technicalities :

Debutant director Naresh picked up a wafer-thin plot and stretched it so long. He filled the film with forced scenes and comedy leaving the plot to the last. CG work could be better. Music isn’t great. Barring Ee Single Chinnode and title rap song, rest all disappoint. Background score is a big let down.

Highlights :

Viswak Sen Comedy Scenes

Drawbacks :

Draggy Scenes Weak Second Half

Paagal is an apt title that defines the protagonist’s character. The film starts with the hero’s story and what makes him desperate for love. It is stretched till the first half. The conflict and real story is only revealed in the second half which is a shortcoming.

Initial portions have some laughing moments which are saving grace. Vizag scenes where the hero beats Rahul Ramakrishna and gang are hilarious. Hero often relies on his friends for advice. He blindly follows them and ends up with a break-up. The protagonist has no aim in the movie other than winning his love. What happens to his software job and where he gets all the money to spend on girls is an unanswered question.

The comedy with the fat chick worked out well. Especially, the fun generated through Mani Ratnam’s Geethanjali-inspired romance keeps the audience in splits. The interval twist raises slight curiosity. But when we get to know the reason, it just fizzles out. The gay comedy goes overboard. It makes one squirm in the seats. It’s extended and included unwanted fight scenes which doesn’t add any value to the story.

The Second half of the film goes nosedive. It drags and drags. At times, the film tests patience and makes one wish for a forward option similar to that on OTT. Nivetha shoulders the film to an extent, but poor story and weak direction add to the woes. The story isn’t fresh. The love story between two orphans from childhood days makes the film very ordinary. Nivetha’s backstory should be shortened. It is a tad boring. The fun and youthful scenes in the first half may entertain masses. Barring these, Paagal has nothing much to offer.

Bottom Line: Pichi Peaks

Rating: 2.25/5

Tags Movie Reviews Paagal Vishwak Sen

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Frequently Asked Questions (FAQs) About Paagal

In this Paagal film, Vishwak Sen , Nivetha Pethuraj played the primary leads.

The Paagal was released in theaters on 14 Aug 2021.

The Paagal was directed by Naresh Kuppili

Movies like Oxygen , Don't Trouble The Trouble , Kannappa and others in a similar vein had the same genre but quite different stories.

The Paagal had a runtime of 138 minutes.

The soundtracks and background music were composed by Radhan for the movie Paagal.

The cinematography for Paagal was shot by S Mani Kandan .

You can watch the Paagal movie on Amazon Prime Video,.

On 03 Sep 2021 Paagal was released on the Amazon Prime Video, platform.

The movie Paagal belonged to the Romance, genre.

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Paagal Movie Review & Rating {2.5/5}

Hero Vishwak Sen who recently tasted success with 'Hit' joined hands with debutant director Naresh Kuppilli and came up with a romantic comedy entertainer titled ' Paagal '. Featuring Nivetha Pethuraj , Simran Choudhary, and Megha Lekha as the female leads, the movie got postponed multiple times because of the covid-19 pandemic and finally steered its way to the theatres on 14th August 2021. The recently released posters, teaser, and also the trailer hinted that Vishwak Sen played a playboy kind of role in the film and grabbed the attention of the audience. Let's check out the review of the film.

Prem (Vishwak Sen) loses his mother (Bhumika Chawla) when he was a 7-year-old. Some of his friends advise him to love a girl who can replace his mother and her love. In the process of finding a girl who can love like his mother, Prem proposes to 1600 girls but none of them accepts his proposal. Vexed up with his life, Prem tries to attempt suicide but Teera (Nivetha Pethuraj) saves his life. Though she is already engaged, she confesses her love for Prem which gives a twist to the tale. The rest of the story will revolve around Prem and Teera and how they tried to dodge the obstacles to give a happy ending to their love story.

Performances:

Vishwak Sen is truly impressive in his role. The actor breathes life into his character and it felt like the character was tailor-made just for him. It is also good to see vishwak Sen in a lover boy kind of role in the film. Nivetha Pethuraj looked too good in the film. Her performance added more strength to the film. She looked beautiful and also carried her role well. Bhumika Chawla is definitely one of the highlights of the film. Murali Sharma who played the father role of heroine delivered an honest performance. Simran Choudhary and Megha Lekha also impressed with their beautiful performances. Rahul Ramakrishna and Mahesh Achanta's comedy worked out well for the film. The rest of the actors also made their presence felt.

Technical Aspects:

Despite being a debutante, Naresh Kuppili succeeded in delivering a quirky comedy film. Though some of the scenes are hard to relate, the director tried to focus more on the relationship between mother and son in a decent way. He tried to generate comedy with an emotional backdrop which worked out partially. Production values by Venugopal under Sri Venkateswara Creations and Lucky Media are very high. The songs by Radhan are too good. A couple of songs are catchy and impressive. The background score by Leon James is also quite impressive. Cinematographer S Manikandan has delivered some beautiful visuals. Editing by Garry B H is good.

The entire film revolves around mother and son sentiment which is engaging at times but boring at the same time. Though some of the scenes are handled well, the comedy track could have been better between the lead pair. The pace of narration in the first half is quite good and the comedy scenes also worked out well. The film narration fell flat, especially in the second half. Some of the scenes felt draggy. Performances can be considered as one of the plus points for this film. Especially, Vishwak Sen's ease in delivering his character is too good. Sarcastic comedy scenes failed to impress the audience. Also, the emotional scenes could have been better. Overall, 'Paagal' is an average film with the same old storyline blended with some decent comedy scenes.

• Vishwak Sen
• Nivetha Pethuraj

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Release date: 1940

Pagal cast & crew, primary starcast, release date.

• Tara Bai ...
• Madhuri ... Parvati
• Sunalini Devi ...
• Khatoon ... Chhaya
• Sitara Devi ...
• Trilok Kapoor ...
• Prithviraj Kapoor ... Dr. Vasant
• Charlie ...

Censor Details:

Censor dates.

• Not Available.

Censor Certificate No

Certification, music director.

• K Chand Prakash
• P L Santoshi

Cinematographer

• Krishna Gopal

Shooting Location(City & Country)

Frequently asked questions.

Q: What is the release date of Pagal? A: The release date of Pagal is 1940.

Q: Who are the actors in Pagal? A: No Data Found..

Q: Who is the director of Pagal? A: Pagal has been directed by A R Kardar.

Q: Who is the producer of Pagal? A: Pagal has been produced by Ranjit.

Q: What is Genre of Pagal? A: Pagal belongs to the genre Drama, Romance.

Q: Who is the music director of Pagal? A: The music of Pagal has been composed by K Chand Prakash.

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Pagal is an Indian movie directed by Ezhil Barathy starring Aadhav kannadhasan.

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Godzilla x Kong First Reviews: Full of Mindless, Glorious Spectacle, Just as Expected

Critics say the latest chapter of the monsterverse doesn't boast the most coherent story, but with kaiju fights this good, it doesn't really matter..

TAGGED AS: First Reviews , godzilla , king kong , movies , Sci-Fi

On the heels of the Oscar-winning success of the Japanese outing Godzilla Minus One and the Apple TV+ series Monarch: Legacy of Monsters , fans might be craving something more goofy and fun in a kaiju film, or they could be disappointed by the lack of seriousness in the latest Monsterverse outing. Either way, Godzilla x Kong: The New Empire delivers what’s expected, according to the movie’s first reviews. Critics either hate its dumb mayhem or enjoy its mindless spectacle, but they’re mostly saying the same thing: if you want to watch Titans going at it, crushing landmarks and ignoring human life as they save the world more than destroy it, then you can’t do much better than this fantastical sequel.

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Where does Godzilla x Kong rank within the Monsterverse?

The most enjoyable MonsterVerse movie yet. — Ian Sandwell, Digital Spy

It’s the best of [Godzilla and Kong’s] canonical team-ups, and easily the most entertaining film in the Legendary Monsterverse. — William Bibbiani, The Wrap

GxK is second only to the under-appreciated Godzilla: King of the Monsters among the Warner/Legendary reboot of these venerable characters. — Alonso Duralde, The Film Verdict

Godzilla vs. Kong director Adam Wingard brings more fun to Legendary’s Monsterverse in his second kaiju outing. — Lupe Rodriguez Haas, CineMovie.tv

I still prefer Godzilla vs. Kong but Adam Wingard’s follow-up remains a decent, fun entry in the Monsterverse franchise. — Casey Chong, Casey’s Movie Mania

While not quite matching the face-smashing fun of its predecessor, Godzilla x Kong: The New Empire manages to quicken the pace even more, which is a welcome turn away from a pair of sequels that suffered from including too many uninteresting human characters. — Andrew Parker, The Gate

After a roaring return to cinematic glory with Godzilla vs. Kong , the MonsterVerse’s creative aims are quickly waning with a subpar sequel. — Courtney Howard, Fresh Fiction

(Photo by ©Warner Bros.)

How are the kaiju battles?

Unlike many of the previous American kaiju movies, GxK wisely intersperses the monster action throughout; the movie still saves its best melees for the last 20 minutes or so, but at least it enlivens the wait involved to get there. — Alonso Duralde, The Film Verdict

Adam Wingard knows how to choreograph a beastie battle so that it does maximum damage in a way that appeals to your inner toy-smashing seven-year-old. — Owen Gleiberman, Variety

The climax of The New Empire somehow bests the final fights from Godzilla vs. Kong , and it’s capable of jolting even the most jaded moviegoer to their feet. — Dominic Griffin, Looper.com

The power struggle that emerges between Kong and Skar King is beautifully rendered, and that it’s all communicated effectively sans dialogue is a testament to Weta’s increasingly impressive visual-effects work. — Amon Warmann, Empire Magazine

When Kong and Godzilla share the screen, it’s great; however, they barely do. — Tessa Smith, Mama’s Geeky

Does the film make us care about these creatures?

To the filmmakers’ credit, they manage to lend the proceedings something resembling an emotional arc, with Kong movingly displaying more relatable emotions than many of today’s overpaid human stars. — Frank Scheck, Hollywood Reporter

This movie shows more of Kong’s vulnerable emotions. — Carla Hay, Culture Mix

Here the Titans take on human characteristics which is a bit hokey but it’s in the tradition of the campy Japanese Godzilla movies. — Lupe Rodriguez Haas, CineMovie.tv

While we understand the importance of exploring the background of certain characters so that we can learn more about them, diving into the history of the Titans does not warrant as much time as it is given. — Tessa Smith, Mama’s Geeky

(Photo by Daniel McFadden/©Warner Bros.)

How are the human characters?

The standout once again is Kaylee Hottle, now a teenager, who brings compassion and a strong presence to the screen. Jia’s connection with Kong is still the heart of the story. Dan Stevens also brings joy to the movie as an eccentric scientist with a goofy side. — Lupe Rodriguez Haas, CineMovie.tv

It’s nice to see the often-underused Stevens in an uncomplicated hero role, and he’s the most memorable human in the film. — Chris Bumbray, JoBlo’s Movie Network

Stevens’s laid-back vibes are an especially good fit for a world where human casualties aren’t taken all that seriously. And though she could have done with a little more screentime, Hall ekes out every moment of substance she can. — Amon Warmann, Empire Magazine

Hall and Hottle are effective as the grounded human characters, and Henry and Stevens get a chance to cut loose and crack wise. Their efforts are succinct but great. — Andrew Parker, The Gate

It would be nice to report that great actors like Rebecca Hall, Brian Tyree Henry and Dan Stevens were given interesting things to do, but they aren’t. They’re here to class up the joint, have a little fun and collect their well-deserved paychecks. — William Bibbiani, The Wrap

Does the plot even matter?

While that plot is often total nonsense it’s nonsense in service of making monsters fight each other while looking awesome. If this be malarky there is method in it. — William Bibbiani, The Wrap

Those who find comfort in not asking a lot of questions and simply watching lots of pretty colors and things blowing up real good will have a good time with Godzilla x Kong: The New Empire . — Andrew Parker, The Gate

Is this just a bit of mindless entertainment?

It’s not high art. It doesn’t have to be high art. But it all looks pretty great and it captures the feeling being a kid playing with a bottomless toy box. — Andrew Parker, The Gate

A welcome reminder that there’s nothing wrong with being fun and ridiculous… It’s no small compliment to say that Godzilla x Kong: The New Empire is expertly crafted drivel. — William Bibbiani, The Wrap

You can’t get away from the fact that it’s all a bit ludicrous, even down to the concept that the world now just has to deal with regular Titan attacks. But everybody involved is now in on the joke, rather than attempting to make Godzilla x Kong something that it isn’t. — Ian Sandwell, Digital Spy

If you’re simply looking for a film that features oversized creatures punching each other in the face for 115 minutes, Godzilla x Kong: The New Empire is going to give you everything you want. Is it good? No. But is it entertaining? Yup! — Joe Lipsett, Queer.Horror.Movies

Will it leave us excited for Monsterverse movies?

GxK both lays the groundwork for more sequels and makes the possibility of such sequels seem welcome. — Alonso Duralde, The Film Verdict

If the series is to continue, and there seems little doubt that it will, the human characters are going to have to be treated with the same loving attention as the monsters. — Frank Scheck, Hollywood Reporter

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It’s recess at a small school in Nigeria and the boys are kicking around an empty water bottle in an improvised game of soccer. Except for one. Anthony Madu on the far side of the playground, is performing a private ballet. One of his classmates asks, “Why is he dancing like a girl?” 

Anthony is dancing because that is who he is. When he is not dancing, his body is shy, uncertain. When he dances, he is sure, elegant, graceful. “Madu” is a documentary about what happened when a brief 2020 video of Anthony dancing barefoot in the rain went viral, leading to an invitation to study in a seven-year program at an elite British ballet academy. As the film begins, he is packing and saying his farewells. He receives his passport, where he is described as a “child student.” His mother is proud, happy for him, but painfully aware of how much she will miss him. We see him silhouetted against the train window, an unfamiliar landscape outside. When he arrives, he calls home and like all mothers, her first question is “Have you eaten?” 

In their call a few weeks later, she says Anthony is adopting a British accent and his brother says, “You’re speaking like a white person.” We see the poignance of Anthony’s missing his family but feeling that the shared dedication to dance is a different kind of home, equally precious. “Home is a place where you feel like you belong,” he says, meaning the world of dance, but then he says home is also where your family is.

We might have expected that Anthony might feel isolated or even bullied for being from another country and culture, but his classmates are all friendly and inclusive. Some of the film’s sweetest moments are watching Anthony completely comfortable as he is laughing with his friends or hugging them goodbye as they leave for summer break. Some of the most touching are when we see his parents watching his performance as one of the stars of the end of school year production, via FaceTime, in Nigeria.

The entering class is told they are the select few of over 500 who applied. But this is not like the many other dance films about demanding teachers. The presence of the documentary cameras may be a factor, but the kindness, sensitivity, and compassion of everyone Anthony meets is so pervasive that it is clearly the culture of the community around him. A teacher tells the students that a warmth in the muscles during practice is good, but if it ever burns, they should stop. And when a serious health issue arises, the school and the doctors are sympathetic and supportive.

The style of the documentary is “fly on the wall.” Filmmakers Matthew Ogens and Joel Kachi Benson include occasional interviews with Anthony and his parents but no talking head experts. Cinematography by Charlie Goodger and Motheo Moeng is intimate and lyrical, with contemplative music that contrasts with the classical pieces accompanying the dance lessons and performance. An opening scene shows us Anthony dancing near a fire, his movements in the flickering light showing the fiery spirit that impels him. Near the end, he is on the beach, wading into endless water stretching all the way to the horizon, indicating the larger, more centered sense of himself and his passion for ballet made possible by access to teachers and other dancers, and a sense of possibility. But, as with the boys at the center of documentaries like “ Hoop Dreams ” and “ The Wolfpack ,” the focus on those who are too young to have a nuanced understanding of what is happening to and around them can make us feel both unsatisfyingly removed and uncomfortably intrusive. Maybe the only solution is to require any documentary about those who are underage to be locked away and then brought out again when the children are old enough to watch it and make up their minds about whether they are willing to have it seen.

Anthony’s eloquence is in his movement. A telling moment is his assignment to create a dance performance. Even to an untrained eye, his extraordinary gifts are unmistakable. His grace, balance, and control are exceptional, and his leaps are breathtaking. The teachers who are evaluating him are warmly encouraging, complimenting his love of movement. They gently ask whether he had a story in mind. When he says no, they suggest he try to imagine a narrative. Given the complexity and near-fairy tale improbability of his real-life story, it is not surprising that Anthony is comfortable taking a break from plot to revel in the pure abstraction of movement. With this documentary, we can appreciate his story, and his relevé and pirouette.

On Disney+ now.

Nell Minow is the Contributing Editor at RogerEbert.com.

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Film credits.

Madu (2024)

100 minutes

Anthony Madu as Self

• Matthew Ogens
• Joel Kachi Benson

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A mentally unstable is accused of rape and is brought to police station. As the investigation progress the pagal starts to relate a bedtime story narrated by his mother once. A mentally unstable is accused of rape and is brought to police station. As the investigation progress the pagal starts to relate a bedtime story narrated by his mother once. A mentally unstable is accused of rape and is brought to police station. As the investigation progress the pagal starts to relate a bedtime story narrated by his mother once.

• Emad Khalid
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‘Godzilla x Kong: The New Empire’ Review: Running Out of Steam

The latest in the Warner Bros. Monsterverse franchise shows signs of an anemic imagination.

• Share full article

By Alissa Wilkinson

Nothing about “Godzilla x Kong: The New Empire” makes sense, which is not, on the face of it, a problem. We have not settled into cushy cinema seats with our comfortingly stale popcorn to engage in discourse about metaphors and science; we are here for the stars in the title. About that title: “Godzilla x Kong” (meant to echo various other titles in other, non-Hollywood Godzilla movies) could mean Godzilla times Kong, or Godzilla crossed with Kong, or Godzilla against Kong — some permutation of titans. Whatever it is, there will be punching. We are here for the punching.

What we’re not here for is the humans, which is lucky, because they’ve been dropping like flies. Most of the characters from the last few films — including the 2021 “Godzilla vs. Kong” (also directed by Adam Wingard) — have disappeared, largely without explanation. Our main character now is Dr. Ilene Andrews (Rebecca Hall), adoptive mother to a tween, Jia (Kaylee Hottle), a member of the Iwi tribe, who communicates with Kong directly via sign language. I particularly missed Alexander Skarsgard’s Dr. Nathan Lind, whose absence is sort of explained but not mourned, and who has been replaced, for narrative reasons, by a kooky veterinarian to the titans played by Dan Stevens. (For some reason, I assume to signal the kookiness, Stevens sports an exaggerated Australian accent.)

They’re joined once again by Bernie Hayes (Brian Tyree Henry), the conspiracy podcaster-blogger-documentarian-weirdo from the last film. For some reason, he’s convinced that nobody believes his stories about the titans, even though actual Godzilla is roaming the Earth and shown on the nightly news. (I’m more stuck on the strangely fantastical idea that he’s a popular blogger. Wouldn’t he have a Substack by now?)

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These humans are pretty boring, more anemic than they were in the last movie. They’re there purely for narrative propulsion through this story, which begins with Kong living in the Hollow Earth (exactly what it sounds like) and Godzilla up on the surface. As long as the twain never meet, we’re good — and by we, I mean humankind.

Which means, of course, they’ll meet. The scientists spot Godzilla napping in the Colosseum, then stomping his way through Europe and northern Africa, seemingly absorbing as much nuclear power as he can because he senses some confrontation coming. At the same time, something is very wrong in Kong’s world down below. And Jia is having strange dreams, too — dreams that lead to an expedition into the Hollow Earth.

What follows is an attempt to establish a whole lot of mythology for the Monsterverse franchise. (Their term, not mine.) This is a big mistake. You can tell it’s a mistake, because all of that mythology has to be revealed in tedious expositional dialogue. More important, once you know what happened in the past, you know precisely what will happen in the present, which rips any remaining suspense out of the film, leaving only the punching. (So much punching.)

Besides: Does this series need a mythology? Both Godzilla and Kong have a rich screen history to draw on — this is the 38th movie for Godzilla and the 13th for Kong, and though they haven’t shared the screen until recently, they bring all of their baggage and back story with them. It feels like a desperate attempt for the crossover franchise to justify both its existence and its continuation.

Which is not surprising. This series’ track record induces whiplash. The 2014 film “Godzilla,” a kind of reboot of the original Toho series featuring the character, was a legitimately excellent film, balancing spectacle and human pathos. But then came “Kong: Skull Island” and “Godzilla: King of the Monsters,” both meant to build toward a shared universe, both of which were not just bad but real bummers. Next was “Godzilla vs. Kong” which wasn’t, technically speaking, good — but it promised confrontation and delivered it, with a late-breaking coda of unwilling and visually spectacular cooperation between massive ape and nuclear lizard. It was a blast to watch, not least because the climax happened: The two monsters finally had their long-teased meeting.

But with that zenith in the rearview mirror, “Godzilla x Kong: The New Empire” has very little road left to cruise, and it shows. The best stretches involve Kong lumbering through the landscape, Godzilla stomping around crushing things, and of course the inevitable final confrontation, which has a few surprises up its proverbial sleeves. Kong in particular seems to have no problem communicating without human language, and those extended scenes are so fun to watch that it’s disappointing to swing back to the humans.

Certainly, humans can be a fruitful part of these monster movies. The recent Japanese film “Godzilla Minus One,” produced for a fraction of the “Godzilla x Kong” budget and recipient of the Oscar for best visual effects this year, manages to combine the creature with true pathos and a focus on the human cost of war, guilt and trauma. It’s more in line with the origin of Godzilla, too, as a metaphor for Japanese generational trauma related to the atomic bomb. In 2004, writing for The New York Times , Terrence Rafferty succinctly described the monster as embodying “a society’s desire to claim its deepest tragedies for itself, to assimilate them as elements of its historical identity.”

None of that is here. In fact, “Godzilla x Kong” is evidence the original thread has been lost entirely — a shame, in an era haunted by monsters the movies can only hint at, from climate catastrophe, destructive weaponry and geopolitical strife to power-hungry, brutal authoritarianism. There’s no reflection here at all, not even space to contemplate what might lie beyond the literal. Beyond the main cast, the humans in this movie exist only to get squashed like ants by falling debris and mangled buildings. They are expendable, but it doesn’t matter. The meaning of these films isn’t in metaphor at all. It’s in punching.

Be warned: There’s a lot of guts in “Godzilla x Kong,” guts from mammals and reptiles ripped in half, guts from sea monsters, Technicolor guts, way more than I expected. They feel appropriate, for a monster movie, and aren’t quite gross enough to merit an R rating. But as I pondered the guts, I found myself wondering one thing: When will someone have the bravery — the guts, you might say — to make a movie with Kong, and Godzilla, and various other titans and monsters, and no humans at all?

Or maybe there’s a greater question at stake: When will Hollywood have the guts to make a fun blockbuster like this that dares to acknowledge the real menacing monsters?

Godzilla x Kong: The New Empire Rated PG-13 for destruction, some mild profanities and so, so many guts. Running time: 1 hour 55 minutes. In theaters.

Alissa Wilkinson is a Times movie critic. She’s been writing about movies since 2005. More about Alissa Wilkinson

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