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    Home»Movies»“Godzilla x Kong: The New Empire” It’s Kong’in Time or Whatever [Review]
    Godzilla X Kong: The New Empire Warner Bros. Pictures
    Movies

    “Godzilla x Kong: The New Empire” It’s Kong’in Time or Whatever [Review]

    Derrick MurrayBy Derrick MurrayMarch 29, 20245 Mins Read
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    Despite what you may think, I take no pleasure in trashing films. That kind of criticism is reserved for YouTube grifters who hate for likes. I’m all for mindless entertainment, and I have plenty of guilty pleasures I will defend with my life that have no business having any defenders.

    For many, “Godzilla x Kong: The New Empire” is precisely the kind of bonkers monster fun they’ve been waiting for, and honestly I’m happy for them. I’m just not nor have I ever been a kaiju fan (“Godzilla: Minus One” being the exception and the not the rule). Rock ’em sock ’em monsters is just not my kind of fun even if it’s yours. “Godzilla x Kong: The New Empire” sports some of the most horrendous CGI I’ve seen in a while, so poorly conceived and rendered it sets VFX back 50 years. But more than that, after 4 of these kinds of films, “The New Empire” just can’t escape its human problem, once again packing the entirety of the film with useless humans that do nothing but poorly react to even more poorly rendered green screens.

    “Godzilla x Kong: The New Empire” Warner Bros.

    “Godzilla x Kong: The New Empire” sees Adam Wingard return to the director’s chair with a screenplay from three writers: returning writer Terry Rossio, and new to the franchise Simon Barrett and Jeremy Slater. I’m not even going to try and give you a proper synopsis because I’m not entirely sure there is one that matters. The whole thing is as hollow as hollow earth itself. Kong is in Hollow Earth, searching for a family. Godzilla is running around the surface wrecking shit and charging up for something, and the humans run around both making shit up as they go along and desperately trying to find new reasons to be around. New evil monsters are awakened, and Kong and Godzilla have to team up to take them down. “Godzilla x Kong” inexplicably stars Rebecca Hall, Brian Tyree Henry, Dan Stevens, and Kaylee Hottle.

    “Godzilla x Kong: The New Empire” Warner Bros.

    It looks like a bad PS2 video game, and floods every frame with shoddy color grading, indecipherable cinematography and blinding lighting. The first 30 minutes I thought there was something wrong the projector or the screen itself, only to realize that the film just looks like that. It looks BAD bad, the kind of unbelievable carelessness of VFX you’d think they made the whole thing in photoshop. It’s the kind of film that looks so shoddy you start questioning where the hell the $150 million budget went. On the heels of “Godzilla: Minus One,” this is an embarrassment, visually.

    It’s 2024; films should not look this bad and the argument that it’s cheaper to digitalize everything crumbles when gigantic budgets look like a graphic designer’s student project. You can’t tell me practical effects are too costly when “Godzilla x Kong” doesn’t have a single frame of physical location and still looks like shit.

    “Godzilla x Kong: The New Empire” Warner Bros.

    Sure, the last 20 minutes is a blast; with blatant, wanton destruction. But that’s not enough to make up for 85 minutes of exhaustive slog. Wingard (a more than capable director who knows action and should know better) seems to care so little about what he’s putting in frame even with 4 giant monsters laying waste to Brazil you have no sense of scale or scope because the camera work is so frantic. “Godzilla x Kong” does at least try to give some heart to Kong and center the emotional journey on the monster instead of the humans. Ugliness aside, everything to do with Kong actually interesting, but because we have to constantly shift away from it to catch up with what the humans or Godzilla is doing, any effect is diminished and overshadowed. Hall, Henry, and Stevens have no business being here. Not just for the dumb human plot that plagues every single one of these films, but also for their careers. Every single person in this film is infinitely better than this schlock, and they all look like they made this film from their living room since there’s not actual set you need to show up on. Just green screens and shitty CGI.

    This film will assuredly have its fans and people who live for this kind of goofy mess will probably have a ton of fun. And that’s great. I’m not being sarcastic, either. Love this with your whole heart, I won’t stop you. This is just not for me, and I think this is the final nail in the coffin. I’m giving up on the American monsterverse. I just can’t do it anymore, and this shows no indication of changing its spots any time soon. Hell, it’s getting worse, and I just can’t sit through another one of these. They did it; “Godzilla x Kong” broke me. The grumpy old man who doesn’t like fun things has been defeated and will just settle for skipping these from now on.

    Unless it’s “Godzilla Minus 2: Electric Boogaloo,” you can count me out.

    Rating: 2 out of 5 Stars

    “Godzilla x Kong: The New Empire” is now playing in theaters. You can watch the trailer below.

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    Derrick Murray
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    Derrick Murray is a Los Angeles based stand up comedian, writer, and co-host for The Jack of All Nerds Show.

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    Most studios searching for a match-3 level design company are looking for five different things. Some need levels built from scratch, others require a live game rebalanced before churn compounds, and some demand a content pipeline that won't fall behind. These are different problems, and they map to multiple types of companies. The mistake most studios make is treating "match-3 level design" as a single service category and evaluating every company against the same criteria. A specialist who excels at diagnosing retention problems in live games is the wrong hire for a studio that needs 300 levels built in 2 months. A full-cycle agency that builds from concept to launch isn't the right call for a publisher who already has engineering and art in place and just needs the level design layer covered. This guide maps 7 companies for match-3 level design services to the specific problem each one is built to solve. Find your problem first. The right company follows from there. What Match-3 Level Design Services Cover The term "level design" gets used loosely in this market, and this causes bad hires. A studio that excels at building levels from scratch operates dissimilarly from one that diagnoses why a live game's difficulty curve is losing players (even if both describe their service the same way on a website). Match-3 level design breaks into four distinct services, each requiring different expertise, different tooling, and a different type of partner. Level production — designing and building playable levels configured to a game's mechanics, obstacle set, and difficulty targets. This is what most studios mean when they say they need a level design partner, and it's the service with the widest range of quality in the market. Difficulty balancing and rebalancing — using win rates, attempt counts, and churn data to calibrate difficulty across hundreds of levels. Plus, this includes adjusting live content when the data shows a problem. Studios that only do level production typically don't offer this. Studios that do it well treat it as a standalone service. Live-ops level design covers the ongoing content pipeline a live match-3 game requires after launch (seasonal events, new level batches, limited-time challenges) sustained at volume and consistent in quality. This is a throughput and process problem as much as a design problem. Full-cycle development bundles level design inside a complete production engagement: mechanics, art, engineering, monetization, QA, and launch. Level design is one function among many. Depth varies by studio. Knowing which service you need before you evaluate a single company cuts the list in half and prevents the most common mistake in this market: hiring a full-cycle agency to solve a level design problem, or hiring a specialist to build a product from scratch. The List of Companies for Match-3 Level Design Services The companies below were selected based on verified credentials, named shipped titles where available, and the specific service each one is built to deliver. They are ranked by how well their capabilities match the service types outlined above. A specialist who does one thing exceptionally well sits above a generalist who does many things adequately. SolarSpark | Pure-play match-3 level design specialist SolarSpark is a remote-first studio built exclusively around casual puzzle game production. With 7+ years in the genre and 2,000+ levels shipped across live titles including Monopoly Match, Matchland, and KitchenMasters, it is the only company on this list that does nothing but match-3 level design. Level design services: Level production, difficulty curve planning, fail-rate balancing, obstacle and booster logic design, live-ops pipeline, competitor benchmarking, product audit and retention diagnostic. Verdict: The strongest pure specialist on this list. When level design is the specific constraint, SolarSpark is the right choice. What they do well: Every level is built around difficulty curves, fail/win balance, obstacle sequencing, and booster logic, measured against targets before delivery. Competitor benchmarking is available as a standalone service, mapping your game's difficulty curve and monetization structure against current top performers with specific, actionable output. Where they fit: Studios with a live or in-development game that need a dedicated level design pipeline, a retention diagnostic, or a one-off audit before soft launch. Honest caveat: SolarSpark does not handle art, engineering, or full-cycle development. Logic Simplified | Unity-first development with analytics and monetization built in Logic Simplified specializes in Unity-powered casual and puzzle games, with match-3 explicitly in their service portfolio. Operating for over a decade with clients across multiple countries, the studio positions itself around data-informed development: analytics, A/B testing, and monetization are integrated into the production process. Level design services: Level production, difficulty progression design, obstacle and blocker placement, booster and power-up integration, A/B tested level balancing, customer journey mapping applied to level flow. Verdict: A credible full-cycle option for studios that want analytics and monetization treated as design inputs from day one, not as post-launch additions. What they do well: Logic Simplified builds analytics and player behavior tracking into the design process. Their Unity expertise is deep, and their stated MVP timeline of approximately three months is competitive at their price point. India-based rates make full-cycle development accessible without requiring a Western agency budget. Where they fit: Studios building a first match-3 title that needs the full production chain handled by a single vendor, with analytics built in from the start. Honest caveat: No publicly named match-3 titles with verifiable App Store links appear in their portfolio. Ask for specific live game references and retention data during the first conversation before committing. Cubix | US-based full-cycle match-3 development with fixed-cost engagement Cubix is a California-based game development company with a dedicated match-3 service line covering level design, tile behavior, booster systems, obstacles, UI/UX, and full production on Unity and Unreal Engine. 30+ in-house animators can cover the full scope of puzzle game production. Level design services: Level production, combo and difficulty balancing, blocker and locked tile placement, move-limit challenge design, booster and power-up integration, scoring system design. Verdict: A viable full-cycle option for studios that need a Western-based partner with transparent fixed-cost pricing and documented match-3 capability. What they do well: Cubix covers the full production chain in one engagement, with strong visual production backed by an in-house animation team. Their fixed-cost model is a practical differentiator for studios that have been burned by scope creep on previous outsourcing contracts. Staff augmentation is also available for studios that need talent to plug into an existing pipeline. Where they fit: Studios that want a US-based full-cycle partner with predictable budgets, cross-platform delivery across iOS, Android, browsers, and PC, and a single vendor to own the concept through launch. Honest caveat: Named shipped match-3 titles are not prominently listed in their public portfolio. This is a verification gap worth closing during vetting, not a disqualifier on its own. Galaxy4Games | Data-driven match-3 development with published retention case studies Galaxy4Games is a game development studio with 15+ years of operating history, building mobile and cross-platform games across casual, RPG, and arcade genres. Match-3 is a named service line. What distinguishes them from most studios on this list is a level of public transparency about retention data. Their case studies document real D1 and D7 numbers from shipped titles. Level design services: Level production, difficulty curve development, booster and obstacle design, progression system design, LiveOps level content, A/B testing integration, analytics-based balancing. Verdict: The most transparent full-cycle option in terms of real retention data. For studios that want to see numbers before they hire, Galaxy4Games offers evidence most studios keep private. What they do well: Their Puzzle Fight case study documents D1 retention growing to 30% through iteration. Their modular system reduces development time and costs through reusable components, and their LiveOps infrastructure covers analytics, event management, and content updates as a planned post-launch function. Where they fit: Studios that need a data-informed full-cycle match-3 partner and want to evaluate a studio's methodology through published results. Honest caveat: Galaxy4Games covers a broad genre range (casual, RPG, arcade, educational, and Web3), which means match-3 is one of several service lines rather than a primary focus. Zatun | Award-winning level design and production studio with 18 years of operating history Zatun is an indie game studio and work-for-hire partner operating since 2007, with game level design listed as a dedicated named service alongside full-cycle development, art production, and co-development. With 250+ game titles and 300+ clients across AAA studios and indie teams, this agency has one of the longest track records. Level design services: Level production, difficulty progression design, level pacing and goal mapping, game design documentation, Unity level design, Unreal level design, level concept art. Verdict: A reliable, experienced production partner with a long track record and genuine level design depth. What they do well: Zatun's level design service covers difficulty progression, pacing maps, goal documentation, and execution in Unity and Unreal. Their 18 years of operation across 250+ titles gives them a reference library of what works across genres. Their work-for-hire model means they can step in at specific production stages without requiring ownership of the full project. Where they fit: Studios that need a specific level design or art production function covered without a full project handoff. This can be useful for teams mid-production that need additional capacity on a defined scope. Honest caveat: No publicly named match-3 titles appear in Zatun's portfolio, their verified work spans AAA and strategy genres; match-3 specific experience should be confirmed directly before engaging. Gamecrio | Full-cycle mobile match-3 development with AI-driven difficulty adaptation Gamecrio is a mobile game development studio with offices in India and the UK, covering match-3 development as an explicit service line alongside VR, arcade, casino, and web-based game development. Their stated differentiator within match-3 is AI-driven difficulty adaptation. Thus, levels adjust based on player skill. Level design services: Level production, AI-driven difficulty adaptation, booster and power-up design, progression system design, obstacle balancing, social and competitive feature integration, monetization-integrated level design. Verdict: An accessible full-cycle option with a technically interesting differentiator in AI-driven balancing. What they do well: Gamecrio builds monetization architecture into the level design process: IAP placement, rewarded ad integration, battle passes, and subscription models are considered alongside difficulty curves and obstacle sequencing. The AI-driven difficulty adaptation is a genuine technical capability that more established studios in this market have been slower to implement. Where they fit: Early-stage studios that need a full-cycle match-3 build with monetization designed in from the first level. Honest caveat: No publicly named shipped match-3 titles are listed on their site — request live App Store links and verifiable retention data before committing to any engagement. Juego Studios | Full-cycle and co-development partner with puzzle genre credentials and flexible engagement entry points Founded in 2013, Juego Studios is a global full-cycle game development and co-development partner with offices in India, USA, UK, and KSA. With 250+ delivered projects and clients including Disney, Sony, and Tencent, the studio covers game development, game art, and LiveOps across genres. Battle Gems is their verifiable genre credential. Level design services: Level production, difficulty balancing, progression system design, booster and mechanic integration, LiveOps level content, milestone-based level delivery, co-development level design support. Verdict: A well-resourced, credible full-cycle partner with a flexible engagement model that reduces the risk of committing to the wrong studio. What they do well: Juego's engagement model is flexible: studios can start with a risk-free 2-week test sprint, then scale to 20+ team members across modules without recruitment overhead. Three engagement models (outstaffing, dedicated teams, and managed outsourcing) let publishers choose how much control they retain versus how much they hand off. LiveOps is a named service line covering analytics-driven content updates and retention optimization after launch. Where they fit: Studios that need a full-cycle or co-development partner for a match-3 build and want to test the relationship before committing to full project scope. Honest caveat: Puzzle and match-3 are part of a broad genre portfolio that also spans VR, Web3, and enterprise simulations. How to Use This List The seven companies above cover the full range of what the match-3 level design market offers in 2026. The quality range is real, and the right choice depends on which service type matches the problem you're trying to solve. If your game is live and retention is the problem, you need a specialist who can diagnose and fix a difficulty curve. If you're building from zero and need art, engineering, and level design bundled, a full-cycle partner is the right call and the specialist is the wrong one. 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