In 1933 New York, an overly ambitious movie producer coerces his cast and hired ship crew to travel to the mysterious Skull Island, where they encounter Kong, a giant ape who is immediately smitten with leading lady Ann Darrow.
As a war between humankind and monstrous sea creatures wages on, a former pilot and a trainee are paired up to drive a seemingly obsolete special weapon in a desperate effort to save the world from the apocalypse.
A giant, reptilian monster surfaces, leaving destruction in its wake. To stop the monster (and its babies), an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city.
After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.
In the year 2154, the very wealthy live on a man-made space station while the rest of the population resides on a ruined Earth. A man takes on a mission that could bring equality to the polarized worlds.
In 1999, the Janjira nuclear plant was mysteriously destroyed with most hands lost including supervisor Joe Brody's colleague and wife, Sandra. Years later, Joe's son, Ford, a US Navy ordnance disposal officer, must go to Japan to help his estranged father who obsessively searches for the truth of the incident. In doing so, father and son discover the disaster's secret cause on the wreck's very grounds. This enables them to witness the reawakening of a terrible threat to all of Humanity, which is made all the worse with a second secret revival elsewhere. Against this cataclysm, the only hope for the world may be Godzilla, but the challenge for the King of the Monsters will be great even as Humanity struggles to understand the destructive ally they have. Written by
Kenneth Chisholm (email@example.com)
When Godzilla swims under the bridge, he is able to swim under the boats. When he stands up in the water, it comes to about his knees. The level of water in the second shot would've been too shallow for him to submerge completely. See more »
Dr. Serizawa? Jerry Boyd. I'm warning you, it's a mess. It's just a total mess. Monarch set me in this morning. Took a look around but I told them we need you.
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The opening credits are a montage of Monarch documents and 1950s videos. All text on these documents are blacked out except for the names cast/crew members. The montage ends with a nuclear bomb going off, which causes a white-out in which the film title appears. See more »
Remember 'Jaws'? Remember the way you only got to see little glimpses of the shark or just the remains of his victims for nearly half the movie? Instead, you got to meet half the town first and all the main characters while fear and paranoia slowly spread across the whole community, and when the great white guy finally did make his entrance boy, what an impact he had. Now, that was 40 years ago but would it be possible to make that kind of movie today? To show restraint despite a budget of 160+ million dollars and all the latest state of the art CGI-effects the blockbuster factory has to offer?
As it turns out, it's not quite possible; at least not as far as this latest version of 'Godzilla' is concerned - but that's probably not for lack of trying on director Gareth Edwards' part. The young director ('Monsters') has stated many times that 'Jaws' was a huge inspiration for him on this movie, and it is hardly a coincidence that the (human) hero in 'Godzilla' shares the same name with the hero in Spielberg's masterpiece (they're both called Brody). Edwards made it very clear that he wanted to take an "old school" approach and as far as the beautiful, haunting build-up of the first half of the movie is concerned, he actually succeeds. The atmosphere of mystery and dread is tangible; the human element is there, the acting and the dialogues are solid, and the production design is breathtaking (especially the apocalyptic images of an evacuated city in Japan which was left to decay for 15 years, overgrown with plants and with packs of wild dogs running in the streets).
The "muto" design - when we do get a first glimpse at a creature is otherworldly and frightening (as good monsters should be), but as the movie progresses into the second half and the creature-action increases, the quality of the pacing, the dialogues and the acting inexplicably decreases. The movie sadly starts to feel flat, and although there is one great creature scene after another, and although those scenes get more and more intense as the storyline steers towards the inevitable showdown, it's hard to stay invested in the human side of the story. After the first act (when there was actually still some real acting required from the actors), there are virtually no interesting moments anymore when the human protagonists interact, let alone lingering scenes where the characters get to talk long enough to one another to even try to build such a thing as chemistry. So when the finale does arrive (which looks absolutely beautiful, by the way), you admire its epic scale, but since there is nobody to care about, it's hard to feel thrilled. Sure, you kind of root for Godzilla, but since you only just met the guy, you don't feel too much attached.
Ultimately despite a great build-up and a fantastic looking finale 'Godzilla' is a valid effort but only rarely a thrilling one. Unlike in 'Jaws', there are no interesting human characters here who could help create the kind of tension-heavy atmosphere or sense of impending doom the way Chief Brody, Hooper and Quint could 40 years ago. Trying to show restraint alone is not enough to create a sense of wonder the way seventies cinema did you also need the kind of character-driven scenes where someone says: "We're gonna need a bigger boat!"
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