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.
Clark Kent, one of the last of an extinguished race disguised as an unremarkable human, is forced to reveal his identity when Earth is invaded by an army of survivors who threaten to bring the planet to the brink of destruction.
In a world divided by factions based on virtues, Tris learns she's Divergent and won't fit in. When she discovers a plot to destroy Divergents, Tris and the mysterious Four must find out what makes Divergents dangerous before it's too late.
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)
One scene shows a downed airplane on fire, with a Tower Ladder suppressing the fire with a master stream. The Tower Ladder does not have its outriggers deployed, nor is it receiving water via supply lines. A truck with its ladder raised and outriggers in would tip over. If it has a water tank, it would run dry in less than a minute. 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 »
Requiem for Soprano, Mezzo-Soprano, 2 Mixed Choirs and Orchestra
Written by Gyorgy Ligeti
Performed by the Frankfurt Radio Symphony Orchestra conducted by Micheal Gielen & Bavaraian Radio Chorus conducted by Wolfgang Schubert
Courtesy of Wergo/Schott
By arrangement with Source/Q 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 is possible - if only just - and the name of the movie is 'Godzilla'. 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). Director Gareth 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 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 that was left to decay for 15 years, overgrown with plants and with packs of wild dogs running in the streets).
The creature design - when we do get a first glimpse 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 dialogues and the acting decreases. Which is a bit of a problem, because although there is one great creature scene after the other, 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. There are virtually no interesting moments when the protagonists interact, let alone lingering scenes where the human characters get to talk long enough to one another 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', which seems to have been an inspiration for the director, 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. Showing 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!"