Special Effects: C
When I saw Godzilla back in 2014, I had high hopes for director Gareth Edwards, who had in 2010 made a name for himself with the indie alien mystery Monsters. That film revealed a director with real potential, which made Godzilla all the more disappointing. That movie spent its first half being static and lifeless before turning into an even worse disaster movie than 2012.
Godzilla: King of the Monsters, now, overcompensates for that previous lifelessness by jumping right into the action — although I use “action” loosely here, as it would be more accurate to call this film a “mess of chaos.”
Why did I even bother seeing this movie, you might wonder? I’m wondering the same thing. I literally went to it thinking to myself, These movies are never very good, I don’t know why I keep coming back. My only defense is that I held on to the idea that I knew full well it would be dumb, but the spectacle might me fun on its own terms. Some blockbuster special effects extravaganzas do work that way.
Well, not this one. This movie has not one redeeming quality. The closest it gets is that some parts of it are merely average — the acting, for instance — rather than terrible.
Otherwise, I hardly know where to begin. I found myself thinking, Why the hell would that happen? so many times, I can’t think of any specific examples. Maybe when Godzilla bites off one of the heads of the three-headed rival “alpha predator” that was reawakened in Antarctica, then that head literally grows right back in a matter of seconds, and this is explained away by somehow figuring out that it’s the one monster that is an alien, whereas all the others are actually native to Earth? That ridiculousness is just the tip of the iceberg here.
If I were Kyle Chandler, Vera Farmiga, Ken Watanabe, Ziyi Zhang, Bradley Whitford, Charles Dance, Bradley Whitford, Thomas Middleditch, Sally Hawkins, Aisha Hinds, O’Shea Jackson Jr., or David Strathairn, I would be embarrassed to be in this movie, but apparently none of them are. I guess they’re all happy to act proud of this mess since they got a nice paycheck? Presumably they got paid up front: King of the Monsters made half in its opening weekend what the previous Godzilla did. And trust me, no word of mouth is going to save this one: you might think that earning $80 million so far is nothing to shake a stick at, except it cost $170 million to make!
What a colossal waste of money. The special effects are subpar, the lighting is almost always too dark to get a visual handle on what the hell is going on, the editing makes it impossible to get any real sense of continuity, and this is in action set piece after action set piece that make up about 80% of the movie. Director and co-writer Michael Dougherty (Krampus) never takes things down a notch long enough to allow any time for the story to breathe. On the few occasions things do slow down, it’s apparently just to insult our intelligence.
At the beginning of our “story,” such as it is, it’s been five years ago since “the attacks” on San Francisco, and for reasons no one can explain, Godzilla has been in hiding all this time. We find Kyle Chandler’s Mark Russell off somewhere studying wolves — which evidently involves taking pictures of a pack feeding on a carcass, using a long lens from behind a nearby log otherwise exposed in a massive field. This is the “foundation” for which we learn about “apex predator” behaviors later applied to Godzilla, and the three-headed monster, and how all the other long-dormant monsters frozen in time suddenly wake up and answer their calls in one way or another.
Vera Formiga’s Dr. Emma Russell has devised an audio contraption that apes these so-called apex predator commands and somehow can render them docile — if used correctly and in the right hands. All sorts of wrong hands come into play, the one exception being Mark and Emma’s daughter Madison (Millie Bobby Brown), who of course has more brains and logic than any of the adults around her, which in this movie isn’t saying much.
We do get brief shots of other “massive unidentified terrestrial organisms” (MUTOs, they actually call them that), by the way, with three or four very quick shots and/or references to “Kong.” This is a transparent attempt at laying the foundation for the next film in this “cinematic universe,” Godzilla vs. Kong, also co-written by Dougherty and already in post-production. I’m exhausted already. At this rate, no one is going to care what Kong or Godzilla are doing by next year. I already don’t.
I’d be tempted to say that at least this time around you get to see Boston get destroyed, but . . . honestly, it hardly matters. You can barely see the city at any given time. And it’s just the same shit in a different movie, with no characters you feel any need to get emotionally invested in. This movie is supposed to be a thrill ride but I lost my patience with it within fifteen minutes and soon after became so numb to the onslaught of nonsensical carnage that it literally made me drowsy. Maybe that’s this movie’s best defense: Godzilla: King of the Monsters works if you have insomnia!