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.
A giant, reptilian monster surfaces, leaving destruction in its wake as it strides into New York City. To stop it, an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city.
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.
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 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 (firstname.lastname@example.org)
Strangely for Godzilla villains, the MUTO are portrayed with a hint of sympathy for their plight: they are not outright evil or malicious creatures, merely animals trying to survive and raise a family in a strange hostile world, a fact emphasized by scenes of the affectionate courtship and the mother MUTO mourning the destruction of her young. See more »
The school bus is leaving San Francisco across the Golden Gate Bridge. However their destination is Oakland (which they do get to we see later), is normally more directly accessed across the Bay Bridge. It would make no sense to take the Golden Gate Bridge then the San Rafael-Richmond the long way around. 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.
See more »
Played in slow motion the opening credits on the DVD show the blacked-out portions are actually a series of jokes wrapped around the remaining information. See more »
Although effects and sound are technically impressive, it is quite unsatisfying and superficial
I'm no great fan of summer blockbusters and for sure am resistant to the idea of paying over the odds to sit in a crowded room and be disappointed. This usually sees me picking up with such films when they are cheaper to get on rental and just watch in my own home. With Godzilla I will admit I was tempted to join for the spectacle because in addition to this the film had the appeal of quite a starry cast list in addition to being from Gareth Edwards, the man who famously made Monsters in his bedroom and on the fly. This suggested that perhaps there would be more to it than just effects and big money shots. That said, I had heard negative things and I did approach it with low expectations because after all, it is just a Godzilla movie.
The film does try to create a human story to ground the audience and it casts wisely with Cranston, Binoche, Watanabe, Hawkins and others – all people who have a good presence in front of the camera. I was not to know that so many of the names that drew me to the project would be removed from the film pretty early on – a device that has impact for sure, but doesn't seem particularly brave since one suspects that the reason people like Cranston got onboard was that they were promised a lot for only relatively small parts. This leaves us with Taylor- Johnson and his quest to get home; a quest that never really interested me but at the same time is constantly pushed into the middle of the action no matter what or where it is. This saw my interest in the human side waning as the film progressed, leaving just the action.
On this front the film pushes things as hard as it can. The makers clearly know their action genre because this is a film that understands that soldiers running with guns and speaking in tough military dialogue while music pumps in the background, can grab an audience – so it does it, lots. Considering I didn't care two hoots for them, I was surprised by how much time I spent watching soldiers sweeping areas with guns pointed – it did start to bore after a while. The monsters and their destruction is nicely hinted at first, but eventually the film plays all its cards and we have lots of action and knocking down of buildings. Unfortunately much of it plays out in darkness – something which helps the atmosphere but limits how much can be seen. Technically it looks good and the money is all up on the screen (in the darkness) but it is probably the noise that makes the most impact and even on a lesser system the roars and thuds of the monsters are engagingly meaty.
Unfortunately this is really all that the film does, and it is quite uninvolving and unsatisfying. There is a lot of very good noise and big spectacle, but we have to experience through the human characters who we increasingly do not care about, and when the action really ramps up, it is detached from any sort of reality and I found myself appreciating the technical work rather than getting lost in what could have been dramatic and thrilling. As a blockbuster it probably has enough noise about it to be a distracting two hours if you have a good enough home entertainment value.
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