The first film in Warner Bros.’ “MonsterVerse” was 2014’s Godzilla, which showcased director Gareth Edwards’ ability to create legitimately awe-inspiring imagery and his propensity for leaving great actors hopelessly stranded. Director by Jordan Vogt-Roberts’ follow-up, 2017’s Kong: Skull Island, was a rocket-propelled freight train full of superheated stupid, seemingly made as a direct response to the criticisms of Edwards’ ponderous, ungainly epic. And if you could enter films into a calculator, and you divided Godzilla by Kong, you would arrive at Godzilla: King of the Monsters. It is literally the average of the two approaches, which makes a sort of perversely pragmatic sense in this Moneyball era of big-budget movie-making. by Bobby Roberts