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“Godzilla: King of the Monsters” is filled with awe-inspiring moments. As soon as I walked out of the theater late at night and onto a dark city street at nearly one a.m., I wanted to look up rather than straight ahead in case Ghidorah the three-headed dragon or Rodan the giant pterodactyl swooped down from the clouds. That is not the same as saying that this is a perfect film in every way. That is far from the case. However, its flaws are primarily categorized as a failure to get out of one’s own way, and its imperfections are outweighed by its magnificence, which makes up for its shortcomings.
In addition to being directed and cowritten by Michael Dougherty (“Krampus”), the film is a sequel to the 2014 film “Godzilla” as well as the 2017 film “Kong: Skull Island.” There are several stories that intertwine and build towards an eventual climax (the first of which will be “Godzilla vs. Kong” in 2020), and it’s conceived as part of a shamelessly Marvel-inspired “shared cinematic universe.” Known only as the Monarch Initiative, the human heroes are a part of a top-secret government project. These monsters, along with other giant monsters made famous by Toho studios, such as Ghidorah, Rodan and Mothra (a Japanese creation that was folded into the Toho universe), are seen as part of an ancient ecosystem of long-hibernating giant monsters that predate the dinosaurs in this re-imagining of Japanese mythology. These extraterrestrials have the ability to travel quickly from one part of the world to another, thanks to tunnels that run through the center of the planet (this is known as “Hollow Earth theory”). They are emerging now in response to humanity’s despoiling of the environment through atomic testing, nuclear and chemical waste-dumping, mountaintop demolition mining, and other assaults on Mother Earth, among other things.
It is a Hollywood-financed American series that is an internationalization of the original Toho Studios-produced Godzilla films, with a cast that is equally international in its representation of the monster problem, whatever that may be. In addition to a couple of Monarch monster specialists played by Ken Watanabe and Sally Hawkins from the 2014 film, the film’s main characters are a fractured nuclear family, consisting of two Monarch project scientists, Doctors Mark and Emma Russell (Kyle Chandler and Vera Farmiga), as well as their teenage daughter Madison (Kylie Chandler) (“Stranger Things” star Millie Bobby Brown). Five years earlier, they had lost the fourth member of their family, Madison’s older brother, during Godzilla’s battle with the MUTOs in San Francisco, and the parents were forced to divorce. After a while, it becomes clear that their separation was caused by both grief and a philosophical disagreement about how to deal with Godzilla and his ilk—the father believes they should all be exterminated, while the mother believes they can be manipulated through the use of a special sonar device that mimics the dynamics of whale song.
We have a strong impression of the mother, but everyone in the family (and, by extension, everyone on the planet) is dealing with the monster problem in their own powerfully emotional way, and some are secretly or not-so secretly destructive in their coping mechanisms. Colonel Alan Jonah, played by Charles Dance, is a former British Special Forces veteran who has turned into an eco-terrorist. He represents the openly destructive contingent. The US military (represented by David Straithairn’s admiral Stenz) believes Jonah is a war profiteer seeking to extract and sell monster DNA to hostile governments; however, Jonah believes the monsters are punishment for humanity’s crimes against the environment and is working to awaken as many as possible in order to hasten the extinction of the human herd. Because of Jonah’s point of view, Emma is on board with him from the beginning of the film (and has been since the first teaser and trailer). Emma is actively involved in reawakening the creatures, including Ghidorah, a lightning-spitting dragon who represents the only serious threat to Godzilla’s position as the Hollow Earth’s boss predator.
An intriguing aspect of the film is the way it treats the monsters as outward manifestations of the characters’ personal issues, at times as enormous doppelgängers or golems symbolizing their grief and trauma, for example. Nevertheless, in addition to expressing empathy for the personal suffering of individuals, “King of the Monsters” is tinged with a sense of foreboding about the possible extinction of human civilization as a whole, which is now a scientific certainty if we do not reverse our environmental course over the next century or so, beginning immediately.
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Jonah and Emma are quite explicit (perhaps a little too explicit; this is a talky film when it isn’t blowing stuff up) in their belief that humanity has, through inattention and greed, become bystanders in the drama of its own extinction—and that we should go ahead and speed things up with help from Godzilla, Ghidorah, and company, since that is what the planet requires and what humans deserve. This is a film about a couple of teenagers who believe that humanity has Emma even compares human civilization to a virus, and the monsters to a “fever,” which she believes has the potential to wipe out the majority of humanity and restore biological equilibrium. A sort of compressed TED Talk in the middle of the film even reveals that once the monsters have finished fighting and have left the ruins of a city, the radiation they leave behind acts as a biological accelerant, causing the rapid growth of plant and animal life that had previously been restrained or destroyed by the concrete, glass, and steel.
But at what point does the price balance? That is the most important question, the Thanos of all questions. With its massive body of ice frozen in a deep underground Monarch facility in Antarctica and appearing as the world’s largest, baddest art installation of all time, the great Ghidorah represents the equivalent of an extinction-level threat, the fever bomb destined to burn through the human virus. Especially impressive is Dougherty’s creation of Ghidorah as an ancient and unstoppable evil force, one whose name fills the heart with dread, even envisioning him as a Voldemort-like threat: the dragon whose name can’t be spoken (he’s also known as Monster Zero, a nod to Patient Zero), and whose true image must be altered or distorted, as if to picture him precisely is to summon him. (Among the works of art that have been claimed to depict Ghidorah are William Blake’s painting The Great Red Dragon and Woman Clothed in Sun, which has also appeared in Hannibal Lecter stories.)
The franchise-launching film “Godzilla,” directed by Gareth Edwards, was a huge international hit, but it was met with mixed reactions from audiences because of its flat, action figure-like characterizations, its meticulous, almost “Jaws”-like unveiling of Godzilla and the two Massive Unidentified Terrestrial Object (MUTO) that he ended up fighting, and its relative lack of actual Godzilla footage (about seven minutes). The film also placed the big fella in the context of a larger ecosystem that included wolves, snakes, birds, and other creatures. More nature footage than you might expect to see in a city-stomping kaiju epic, to the point where you half-expected Terrence Malick-style shots of honey-tinted fields and perhaps a Godzilla narration (“Fire… water… why do you wrestle inside me?”) to be included. There were fears (among those who adored the original) and hopes (among those who despised it) that future films would offer less philosophizing and atmospheric indulgences and more footage of giant monsters beating the tar out of each other, and the Vietnam-era period piece “Kong: Skull Island” delivered plenty of footage of giant monsters beating the tar out of each other, pitting the now super-sized ape against a series of Lovecraftian giants that appeared to
Godzilla King Of The Monsters Quiz
“King of the Monsters” attempts to combine the two approaches, though it is not always successful, and it suffers from its inability to place faith in the audience’s ability to comprehend both the substance and the implications of the action that is presented so forcefully onscreen. Despite the fact that the core trio of Chandler, Farmiga, and Brown perform admirably and frequently inject genuine notes of affection and anguish into their scenes, the sheer number of supporting characters, some of whom are intriguing but many of whom are forgettable, prevents the film from focusing on a fantastical domestic drama that theoretically could’ve been on par with the central stories of “Close Encounters of the Third Kind” and “The Babadook.” Too many characters appear to be there to explain (allegedly) complex plot points in layman’s terms or crack wise during tense scenes, serving as cliched “audience surrogates” in the degraded spirit of the ones that used to infest American horror and science fiction films in the 1990s and early 2000s, serving as cliched “audience surrogates.” (Bradley Whitford’s character, a doctor who works for the Monarch organization, is the most irritating of the bunch; the character appears to believe he is starring in his own solo spinoff of “Mystery Science Theater 3000.”) )
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The monster cast is also overabundant in this film. We don’t get to know the supporting monsters as well as we do Godzilla, Ghidorah, Rodan, and Mothra, who is the subject of some of the film’s most breathtaking images, including a mural-like shot of the transformed creature unfolding its glowing wings behind a translucent curtain of a waterfall in “Batman vs. Superman.” And, as with the too-hurried introduction of the future Justice League members in “Batman vs. Superman
That said, this is a consistently impressive film on a technical level—a succession of miracles and cursed disasters, unfurled onscreen with dazzling showmanship and over-scaled grace notes, from the way Rodan bites off the nose cone of a fighter jet like a hawk beheading a sparrow, to the shot of Godzilla shimmy-swimming towards the display window of an undersea research lab while flashing his spine-light to intimidate (The middle head is named Moe, and the other two are named Larry and Curly.)
The film, for all of its crashing and splattering action, is a genuine science fiction film that takes the trouble of not only creating a world, but also delving into the implications of the images and predicaments contained within it. It is concerned with how the people in it must be feeling and thinking about their situation, as well as how it may be affecting them even when they are not speaking about it directly. Moreover, it is imbued with a spiritual/theological awareness, and treats it with the same seriousness with which recent DC films have treated their allusions to figures from the Old Testament and ancient mythology. After seeing this film with another friend, a friend of mine told me that they debated which of the monsters most resembled Jesus and realized that they could make an equally convincing case for several of them.
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It’s like a two-headed pop-intellectual kaiju at times, but the film’s determination to be both an authentic science fiction film and a religious film puts it at odds with itself at other times. However, there are times when the two impulses come together beautifully, particularly in kitschy images such as the shot of Ghidorah atop an erupting Mexican volcano, its necks and heads snaking in triumph as an enormous crucifix looms in the foreground. In fact, it looks like something that would have appeared on the cover of a 1980s heavy metal album, by a band looking to trigger parents who believed that playing D&D was an entry point to Satanism.)
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“Godzilla: King of the Monsters” is a frequently brilliant film that earnestly grapples with the material it presents, and it is also a religious film about faith and spirituality, sin and redemption, where monsters die for our mistakes so that humankind will not suffer as a result of those mistakes. It makes use of cutting-edge filmmaking techniques in an attempt to transport audiences back to a state of childlike terror and delight. According to Arthur C. Clarke, any sufficiently advanced technology is indistinguishable from magic at a certain point in time. This film is a work of magic.
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