Darke Reviews | Godzilla: King of the Monsters (2019)


So everyone and their mother complained about how there was too much human action going on in Godzilla (2014). How they only teased the main event through the movie or how you only got to see it through a TV report or partial shots. Oddly a few people complained about how chonky the new take on Godzilla was. I can firmly tell you these people are wrong. I am here for the absolute unit that is Godzilla in 2014 and again in 2019.  The trailers promised us a lot more monster on monster action and introducing Rodan, Mothra, and King Ghidorah. They promised us cities getting laid to waste as these titans went about their business with humans stuck in the middle and looking pretty helpless.

Did they keep their promise?

We have three writers on the story here, so we invoke the Darke Three Writer rule for quality, or do we? Starting with Zach Shields, who worked on the beautifully twisted Krampus (2015), we then move to Max Borenstein who brought us Kong: Skull Island and the 2014 Godzilla, which marks him as the man behind the inter-connectivity. Finally we land with the man who has story, screenplay, and director credit Michael Doughtery. I’ve been a massive fan of Dougherty since 2009 with Trick R Treat and with his clear love of Mythos and myth I felt he was the perfect director when I heard he was attached. The three of them on story, with Daugherty and Shields on screenplay delivered on the promise of more monsters, but at the cost of any sense of logic or reality. The movie entirely embraces the ridiculous premise of the Kaiju and runs with it as far as you can run and still stay even remotely grounded. Is the science good? Not even close. Is the Technology believable? Hah.  Is the plot armor on despite the wanton destruction? Spoilers. Do I care? No.

We’re talking about a movie series in which there’s an ultra secret private company who has been studying these things for decades. Visited Skull Island in the 70s’, but no one heard anything about it. Then watched as Godzilla and the Muto’s broke Hawaii, Vegas, and San Francisco. Now we continue four years later with that same agency still being called to task by the government, who knew about them all along anyway. We find out more and more of them are waking up, some who will fight for us, others against. Who will stand as king?

The cast is of course serviceable. Ken Watanabe (The Last Samurai, Inception) doesn’t get anything as good as Let them Fight, but it works. Kyle Chandler (Super 8, Zero Dark Thirty) is our leading man who is a member of Monarch trying to save his family. Vera Farmiga (Bates Motel, The Conjuring franchise) and Millie Bobby Brown (Stranger Things) are said family. The three of them are the more or less emotional core of the movie that are to keep us grounded between the monster smack downs. It works and isn’t nearly as overwrought as it was in 2014 as in this case they are chasing the creatures rather than constantly happening to be in the wrong place and the wrong time. The rest of the cast is a whose who of character actors from Ziyi Zhang (Crouching Tiger Hidden Dragon), Bradley Whitford (Get Out), Sally Hawkins (The Shape of Water), and Charles friggin Dance (Game of Thrones). I have a distinct feeling in some of the cases, even those not mentioned here, someone went “do you want to be in a Godzilla movie?” and the only correct answer was given.

Visually the movie was gorgeous. So many of the shots were something you could freeze frame, get printed, then put on a wall and be happy. Dougherty and cinematographer Lawrence Sher knew how to frame the camera for maximum effect. The trailer does it’s job by only hinting at the many many shots that are just awe inspiring when you consider the scale of them and the events that are unfolding because of them. The kaiju of this movie live up to the name of Titan as each and everyone is made to feel massive and terrifying in scale and scope. The creature design is top notch on all of them and you are given ample opportunity to appreciate each one of the designs. The music does it’s job, but that’s hardly a surprise with Bear McCreary on that and fans of the original Toho will notice more than a few musical cues that hearken back to the originals.

TL;DR?

I enjoyed myself with this movie. The Dark Princess of the night and myself just enjoyed gushing about all the things done so well here. Every logical extreme was taken here for the audiences pleasure. They knew the movie they wanted to make, they listened to their audience, and they made it. We are all the better for it and in days of emotional weight in our action movies or movies with such dance like precision this is a breath of fresh air that says to hell with the rules; we’re going big and we’re not going home. It absolutely knows what it is and doesn’t try to be more. Some of the dialogue is cheesy and I didn’t care.

Godzilla: King of Monsters is the movie that was promised and I am looking forward to Godzilla vs Kong.

Ok so I guess we should watch it?

Buy a beer. Buy some popcorn or pretzels. Sit back. Make sure you have a great sound system in the theatre.

Are you buying it?

Yes. Yes I am. You should to.

Ok, but I liked the 2014 and didn’t want more monsters?

I like the 2014 Godzilla. I really do. I get what they went for and appreciate it with holding the monster back. That said, the cat is out of the bag. We’ve had the big reveal, so now we get the rest of the story as it were. Yes, this is more action driven than person driven but it’s not without the person.

Which one is better?

Not answering that. Depends what you want out of the movie. Thats up to the person. I enjoy they both and unlike Ken Watanabe’s character, I see no reason to let them fight.

 

I loved the look and feel of Godzilla King of the Monsters. It pays off on its promises and build up. I have no regrets here and I don’t think you will either.

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