As Steve Rogers struggles to embrace his role in the modern world, he teams up with another super soldier, the black widow, to battle a new threat from old history: an assassin known as the Winter Soldier.
Samuel L. Jackson,
A military officer is brought into an alien war against an extraterrestrial enemy who can reset the day and know the future. When this officer is enabled with the same power, he teams up with a Special Forces warrior to try and end the war.
In 2028 Detroit, when Alex Murphy - a loving husband, father and good cop - is critically injured in the line of duty, the multinational conglomerate OmniCorp sees their chance for a part-man, part-robot police officer.
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.
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)
Gareth Edwards and the design group reviewed all the previous incarnations of Godzilla's design for inspiration on the final design. "The way I tried to view it was: imagine Godzilla was a real creature and someone from Toho saw him in the 1950s and ran back to the studio to make a movie about the creature and was trying their best to remember and draw it... and in our film you get to see him for real. It was important that this felt like a Toho Godzilla." See more »
Just after the tsunami siren sounds in Hawaii, a U.S. Navy helicopter pilot radios the warning "Bravo, Bravo, target spotted offshore. Two knots due East of your position." A knot is a unit of speed, not a unit of distance. See more »
Dr. Serizawa? Jerry Boyd. Just to warn you, it's a mess. A total mess.
See more »
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 »
Scenario 1: If you are going to see this film because you really enjoy classic Godzilla movies and you hope the music and campy theme of those films are represented in this one, you absolutely should go see it. Godzilla here looks much more like the beloved behemoth than it did in the '98 movie, the music hearkens to the classic Japanese overtures of the old Gojira film era, and the camera work has the comically silly nature of Sam Rami's Spiderman series.
Scenario 2: If you are really excited to see a deep, human film with camera angles and writing that really tell a story that is thematically transcendent such as "District 9" and the Korean film "The Host," this is not your film. The script is filled with overtly simplistic rhetoric and one dimensional characters (intentionally,) the scenes somehow manage to have very little tension (even for me, the pilot episodes for most sitcoms seem more tense than Gozilla,) and as stated above, the camera-work is intentionally hammy. It should also be noted that to add a human element, the director overuses children to the point that it ends up feeling very obvious, as though he did it to be intentionally campy.
Scenario 3: If you are one of those people who really just want a fun popcorn flick such as Pacific Rim, with some solidly choreographed action like in the over-the-top bulletfest Battle:LA, I would say proceed with caution. The fight scenes are less intense and more majestic, like any classic monster movie, and as such the human aspect of the combat is relatively insignificant, less so than any other monster movie I've ever seen. There are no little monsters for anyone to shoot at, if that's your thing.
Scenario 4: If you are interested in this film because you love the talented work of Bryan Cranston, Ken Watanabe, and/or Aaron Taylor- Johnson (three of my favorite actors) and are excited to see what they bring to the table, you should probably sit this one out. Bryan Cranston's role in this film garners far less screen time than advertised, Ken Watanabe spends literally every second walking through the scenes with the pained expression of someone who just walked in on their parents, and all three of the actors give off the vibe that they are very much aware of how cheesy their lines are. Everyone else's performance was similarly forgettable.
Honestly, I'm a stickler for deep, human storytelling, but I've also had a softspot for the classic, silly fun of many Godzilla movies, including my favorite, Godzilla vs. Destroyah. All told, depending on which camp you fall under, this will be an entirely different movie for you. As Godzilla movies go, I'd give it a B. As darker, more serious monster movies go, I'd give it a D+.
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