Total destruction movie helped by good cinematography, effects and it respects it's roots and origin story, but all the big names are underused (only there to pull you in) and the laughable screen time of Juliette Binoche is so lousy that she deserved so much better. The main family plot and characters ruin the film and are boring while that little Hawaiian girl and family running from a tsunami leaves an impression.
The CGI for The King of the Monsters is fantastic and Edwards' is great at delivering a sense of scale in his monster movie, but it's not great. The characters are unfortunately pretty flat and the pacing is brutally slow. However, when Godzilla finally gets to fight the monsters, it is absolutely thrilling. This movie sets the standard for what a giant monster fight should look like. Too bad it wasn't a better film.
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 part quelques trucages bienvenus, rien à retenir de cette pénible production américaine, traversée de personnages sans aucune densité psychologique réelle, s'agitant dans de fallacieuses situations ineptes et stupides, échafaudées par un scénariste perclus dans une insondable bêtise et une galopante débilité. www.cinefiches.com
On paper I understand why hiring Gareth Edwards made sense but I think his make-a-monster-movie-into-a-character-study approach was a tactical error here. This isn't a nameless, faceless monster in the distance - it's friggin' Godzilla. Not focusing on the big guy is (part of) what made Godzilla 98 a shitshow. This was significantly better but still nothing more than action schlock. Nice seeing Ken Watanabe though.
Reverence to techniques popularized by JAWS that audiences have had 40 years to grow tired of and a catastrophic bumbling of the POV character leaves this movie feeling like a feature length teaser trailer. But my audience cheered when Godzilla merked MUTO with the atomic breath so...
I'm not one to dismiss some mindless, CGI fun then and again, and this was a really fun flick, back in the day. Although a few traces of Honda's original vision remain, long gone is the ominous subtext that warns about the horrors of nuclear war and humanity's folly of playing with nature. No sir, nature is badass, nukes are too, and you should get some popcorn and watch them do all the job.
The writers go back to 1954 Ground Zero, following a regular (GI) Joe on a windy parallel course with Godzilla until all kaiju hell breaks loose & both offer themselves as sacrifice. In that way the structure is perfect, with subtext & a dramatic focus on human characters. But somehow, what makes it good also makes it 'meh'. Is human life at stake? Is freedom? The answer is: meh. We probably don't care anymore.
As an ever-suffering Godzilla fan, I appreciate its strict adherence to the usual Godzilla formula (especially the fantastic monster sound design), but by sticking so closely to Toho's style, it suffers the same weaknesses so many previous Godzilla films do. Legendary/Warner's $160 million budget buys you great CGI and camerawork, but the same old undeveloped characters and story with nothing to say.
El homenaje que le hicieron a Godzilla en esta entrega es fantástico, como lo hacen parecer misterioso, el manejo de sombras y luces empleadas es mravilloso, algo digno de admirar, sin embargo hay pequeños bajones dentro de la película que te llegan a aburrir un poco. Muchos se quejan de lo forma en que Godzilla fue tomado, sin embargo así es como era el verdadero Rey de los monstruos, el protegía a los humanos.