Godzilla: The king of the monsters review: a turbocharged Kaiju Beatdown

Godzilla: The king of the monsters review
Godzilla: The king of the monsters review

Godzilla: King of the Monsters goes back to the beatings of Kaiju of the classic Japanese films of Toho. No more fleeting flashes of the radioactive reptile that puzzled everyone in the 2014 version. The turbo sequel loads the action on all fronts. It is a civilization that crushes the savagery when Godzilla and his adversaries hit humanity on a global scale. Faults are found in the cardboard characters and their weak subplots. Fortunately, they are not enough to ruin the monster buzz. Godzilla: The King of the Monsters is a summer popcorn show that is red meat for the fan base.

Five years after the destruction of San Francisco, Godzilla has disappeared. The government of the United States has had enough of the monarch and its secrets. A supervisory committee wants to put the military in charge of finding and killing the prehistoric monsters; now they are considered titans. The leading monarch scientist, Dr. Ishiro Serizawa (Ken Watanabe) warns that it is a big mistake. Titans are part of the natural order of the world. Humanity is responsible for awakening them.

Meanwhile, at a secret Monarch base, Dr. Emma Russell (Vera Farmiga) has made a critical breakthrough. She has discovered a way to communicate directly with the Titans. It is the culmination of a heartbreaking investigation. The San Francisco attack devastated his family. Advancement is not a secret for long. Emma and her daughter, Madison (Millie Bobby Brown), are kidnapped by shadow mercenaries with apocalyptic intentions. Dr. Mark Russell (Kyle Chandler) must overcome his hatred of Monarch to save his ex-wife and daughter.

The director / co-writer Michael Dougherty (Krampus) does not waste time to start. The presence of Godzilla is felt in the first minute. A few scenes later, the luminous Mothra and the terrifying King Ghidorah have joined the party of Kaiju. The monsters carnage starts strong and is fairly continuous. Their fierce terrestrial, marine and underwater battles dominate the film's execution time. Godzilla: King of the Monsters is a big-budget special effects attack that will make you do a duck and a CGI cover. The Titans wiped out anything and everyone in their paths.

I enjoyed the visual effects, but I understand those who have minor complaints. Most of the climate confrontation scenes take place at night during some kind of wet weather. These conditions hide minute details and are often used as a crutch for poor quality CGI. Godzilla: The king of the monsters could have been lightened for deeper inspection, but the battles of Kaiju do not disappoint remotely. There are a lot of monsters kicking in the rain and snow.

The characters of the set add unnecessary drama beyond the requirement to run and scream for their lives. The Russell family wallows in tragedy and divorce. Some of this is pertinent to the story, but above all, it feels like filler. Then you have another elegant character (Bradley Whitford) whose complete job is to count several timers for the Kaiju attacks and the impending explosions. Godzilla: The king of the monsters could have returned the melodrama and the secondary arguments without losing the rhythm.

The greatest success of Michael Dougherty is the scale of the film. Godzilla, Mothra, Rodan, and especially King Ghidorah fill the screen with epic destruction. Godzilla: King of monsters lives up to his premise of Kaiju. Each belly will feel monstrous when leaving the theater. Stay for the first part of the credits. Godzilla: The King of Monsters is produced by Legendary Pictures and distributed by Warner Bros.

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