Directed By Michael Dougherty
Starring – Vera Farmiga, Millie Bobby Brown, Kyle Chandler
The Plot – The new story follows the heroic efforts of the cryptozoological agency Monarch as its members face off against a battery of god sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three headed King Ghidorah. When these ancient superspecies, thought to be mere myths, rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.
Rated PG-13 for sequences of monster action violence and destruction, and for some adult language
– Articulate computer generation. All of your favorite Toho monsters return to the silver screen, and are each given an upgrade in rendering that brings out the true diversity and grand scale in each character design. Godzilla is not only as big as he’s ever been in size and strength, but the rough texture that tells the stories of the various wars he has been through, compliments the gigantic lizard in ways that immediately capture your attention and intimidation of him in all of his god-like presence. In addition to this, most of the movie is computer generation, and what worried me about that initially was the loss of weight being diminished in artificiality, but thankfully the devastation feels every bit as thunderous as it does expansive, giving us the same kind of colossal damage that we all grew up loving, for half of the price and physical labor going into making and destroying live action sets. It gives the events in the film an air of permanence on a global scale that logically will make this easily the most difficult to clean up from of all of the Godzilla franchise.
– Bear with me. Music composer Bear McCreery steals our audible attention seamlessly with a scintillating musical score that pays tribute to classic Godzilla chords, all the while distorting the music in a way that creates something completely fresh and unique from the ages old piece. Godzilla’s main theme is of course heard a couple of times throughout the film, but it’s after those initial familiar intro notes where the track evolves to paying homage to the art in motion that we are seeing displayed before our very eyes. McCreery manages to capture the true wonderment and astonishing nature of the character, echoing his invasion to these scenes with operatic levels of volume that practically forces audience members to the edge of their seats for the brutality that is sure to follow. Also intriguing is a collaboration that Bear has with System of a Down front-man Serj Tankian, in covering the classic Blue Oyster Cult stadium anthem “Godzilla” for post movie credit sequence. In total, the music plays a pivotal role in amplifying the tension and drama of the moment, and establishes an influence by Bear that is every bit as immense as the movie’s title protagonist.
– A surprise behind every corner. I knew of the first three or four celebrities who were in this film, but I had quite literally no idea the depth of big name personalities that make up one of the best collective ensembles in a disaster movie ever. What’s gratifying is that none of them are a temporary cameo, sticking around for the entirety of the movie to give this installment a higher value of caliber than we’re rightfully used to from this otherwise hokey franchise. I will choose not to spoil any of the names, but for my money the supporting cast is what kept me constantly intrigued into the movie, and the main character’s dominance of the screenplay did them zero favors in gaining popularity the longer you spend with them, and it’s nice to know that Godzilla’s timeless influence rings true for even some of Hollywood’s most elite actors and actresses, as they simply can’t turn down a chance to act in infamy.
– Same shit, different day. The very same problem that I had in 2014’s “Godzilla” exists in this sequel, but made even worse for the longer run time that completely fries the pacing with its choices in direction. Once again, this is Godzilla’s movie, but humans and unlimited long-winded series of exposition scenes make up roughly 90% of its 127 minute run time, complicating a film so easy to construct that even the trailers did it for them. When I say that I didn’t like the human character’s in this movie, I’m not embellishing slightly. They are every bit as stupid in their actions as they are deceitful in their morals, and being forced to spend scene after scene with each of them became increasingly frustrating when all I wanted to see what exciting monster collisions with carnage chaos to spread. We are told during the film that there are 17 monsters scattered all across the globe, but because Godzilla becomes a supporting character in his own movie, we really only passionately follow four of those monsters in the foreground, and it’s a humiliating missed opportunity for all of the hardcore fans of the series to see their favorite character with a modern rendering.
– Too much humor. The dialogue in this film isn’t just meandering, it’s down right humiliating in regards to how it chops the urgency and seriousness of the situation each time a character opens their mouths to say something cute. The only other Godzilla film that I can compare this stance to is 1998’s “Godzilla”, a failure on nearly every aspect of technical filmmaking that many fans have chosen to forget its existence. You can’t tell me this banter is any different, as the commentary coming from this crew of class clowns feels a bit too protected in their ivory towers to truly soak in the tragedy that exists on the ground, reminding me of those 2000’s VH1 shows, where a bunch of comedians are brought in to tell jokes towards an internet video playing in real time. Not only did I find this direction counterfeit of the story taking place around it, but it also felt childish for the very laughs that the lines reach for in some truly hideous deliveries, that feel so out of place to the previous film’s serious demeanor.
– Disgusting cinematography. Another continued problem from the first film are these darkly colored, shaky-cam frames that make it so difficult to focus firmly on any of the fight choreography transpiring. With the exception of the movie’s final battle, the previous three are a smoke-filled, never-ending rainout of cluttered catastrophe, that often make it feel like you’re riding Godzilla’s back for how chaotic everything appears. The shakey-camera effect was fine in 1998, when “Saving Private Ryan” perfected it in a way that took nothing away from what registered, but in 2019 imitators are still conjuring up new ways to make you run to the bathroom in motion sickness delirium. At least the finale fight pulls back a hair in its otherwise tightly claustrophobic angles, but the damage of character building physical exposition for a new generation is done, soiling in the process anything of rarity or uniqueness about these monsters to make them stand out.
– Stupid story. This is typical for Godzilla movies, but I can’t give a pass to a world existing beyond the screen where I’m smarter than every single character that exists in it. SPOILERS YOU’VE BEEN WARNED. The main idea behind unleashing these monsters is that one character believes they will fix the problems caused by humans. BY KILLING THEM ALL? How will we be around to reap the benefits of this reward? Beyond this, problems with logic involved an electronic machine getting drenched in rain, yet not malfunctioning at the very least, a barrage of particles flying at a group of characters, where not one rock or wooden board hits them anywhere on the body, a child being able to access government run operations and programs, and suits being worn by some characters because of the radiation being distributed into the air, yet others going as far as touching said creature without even a raincoat on. I get that these movies are stupid goodness that you turn your brain off and watch, but when a film is trying to be overly preachy about the real problems we face in our own real world, it’s difficult for me to afford it the courtesy of being naive when the movie asks for it. You built a world reflective of our own, so you simply can’t overlook the tremendous holes of logic in the way your story plays out.
– Contradicting directions. It’s hard to decide what kind of tone Dougherty seeks to attain in the film when aspects of the script don’t mesh well with others in creating one cohesive narrative. As I mentioned earlier, there is an overwhelming amount of humor from the dialogue, yet a serious attention given to the trio of performances by Chandler, Farmiga, and Brown. There’s an attentive focus to political commentary on humans being the real monsters, yet a story driven narrative that is painfully contained and limited because it begins and ends because of one family’s stupid decisions. This is a film creatively that is experiencing an identity crisis, thanks in part to five different screenwriters having a hand in its fate feeling like five different directions, and if it managed to settle down and establish a layer of consistency for longer than three scenes, the accomplishment of a continuous pace of tone would feel concrete, but “King of the Monsters” endlessly searches for a direction that it never comfortably finds, and takes so much away from the weight of what’s on the line in so much tragedy.
– Lack of character. The consequences of bare minimum character exposition and a total lack of family interaction throughout shows through the seams here, and the result is a collection of people who we the audience find great difficulty in grabbing onto, especially considering the thoughtless, selfish decisions that they are making for the rest of us. For my money, I could’ve accepted losing any of these characters, and it not having one ounce of heft on my conscience towards the story, and that’s a problem when you’re thrusting these humans in a situation so unlike anything that they’ve ever experienced before, and asking us the audience to invest in them because big bad monsters are everywhere. Godzilla is in this movie maybe a collective twenty minutes, and I cared more for him when he suffered pain of any kind. He’s a computer generated lizard who is a constant danger to anyone beneath him. Yep, that’s the kind of fleshing out that we get in this film.
– Messy editing. Mainly on the value of continuity in scene-to-scene transition, the film fumbles in cohesive visual storytelling, that otherwise makes for unintentionally humorous scenes of shattered continuity that prove more directing incompetence. There are scenes of Brown’s hair being tied one second, and down in the next, scenes where character’s magically transport from one part of a ship to the other in the next frame, and an overall consistency in splicing that feels far too intrusive at all of the wrong moments. The fight scenes in a particular have far too many cuts, especially considering this is the Godzilla franchise, a series known for its long takes of choreography during fight sequences. The post production on this film is underwhelming to say the least, and proves that no care went into the consistency of the film, for which there is none with regards to gaining momentum to carry over the pacing of the film’s two hour plus run time.
My Grade: 3/10 or F+