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.
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200 stuntmen & 300 graphic artists in the credits & for the rest there isn't much to remember, maybe the classic ending shot of the Big Beast returning to the San Francisco Bay once its mission accomplished. == 200 cascadeurs & 300 artistes graphiques au générique, quant au reste peu à retenir, sinon le classique plan final de la Bébête qui s'en retourne dans la Baie de San Francisco, une fois sa mission accomplie.
A pointless reboot by someone who either didn't see or didn't get the point of the original. And what's the use of an A-list cast when they're so underutilized? Wouldn't have bothered if I wasn't among a captive audience on an 8-hour flight.
Despite a strong opening that starts to build a durable emotional center based around loss and survivor guilt in its first portion, Godzilla loses its ability to emote in its well-photographed, but non-suspenseful, nor engaging action scenes that take up the entirety of the final 2/3 of the picture, obviously meant to appeal to American-mainstream, fanboy audiences. Therefore, it becomes soulless in the process.
It's saving grace was how much fun the kaiju battles were at times, and the exceptional CGI. Otherwise it was very poorly written, over-acted, and annoyingly edited - with some sparse moments of monsters (rather than the monster-centric blockbuster we were all hoping for). Edwards shit the bed on this mess, though nobody seems to care, with the biggest eye roll being Godzilla making eye contact with the human. Gag.
A run-of-the-mill blockbuster tells us it wants to be something more. To that intent it gives the audiences Godzilla as a hero. And it fails because everything that led up to the "we shouldn't mess with nature ways" point was glamorized, doing exactly the same as every other forgettable big budget entertainment: downplaying the human drama to clichés instead of trying to establish a meaningful connection.
Best monster movie I've seen since Joon Ho's The Host; stand alone moments: Binoche saying goodbye to Cranston; Godzilla 'puking' blueish fire into MUTO's mouth (as if THE the kiss of death); MUTOs sharing a warhead as a token of love; the marines 'chuting down with the red "we're here" smoke scored by Ligeti's Requiem and the final glances exchanged between Ford & Godzilla. Sound design, editing & creatures were <3
Sympathetic performances from the esteemed and likeable cast elevate the proceedings to a surprising level. Director Gareth Edwards and cinematographer Seamus McGarvey also supplement the carnage with an assortment of artful images -- the skydiving sequence, with those blood-red flares peering through the clouds, is ridiculously pretty.
A plausible premise and good CGI finally got together for a decent but slightly disappointing Godzilla movie. Gareth Edwards treads a little too lightly to avoid a repeat of that still stinging trip to Emmerich Country from the late 90s. The people end of it got too big a piece of the cake but once Godzilla got his turn at the plate the good times rolled. The ending was oddly abrupt, too.