When you get the production of a Hollywood megablockbuster you have to make a simple choice: what does it matter, the character building or the special effects? The answer is always the same because the simplest is to spend a lot of money on special effects. Godzilla: King of the Monsters is no exception: characters are lost in dubious scenario choices and tables replicate, and monsters take their eyes to their shocks that rock the earth (and the cinema seat). Here’s what you might like about the new production of the MonsterVerse franchise of Warner Bros. Studios.
Five years after the Godzilla events, Monarch manages dozens of locations around the world where giant kaiju hibernators have been identified. We are witnessing the return of one of them and seeing researcher Emma Russell (Vera Farmiga) using for the first time ORCA, an audio system invented by her and former husband Mark (Kyle Chandler) to calm and control the creature. Only the lab is attacked by an eco-terrorist (Charles Dance) whose purpose soon becomes clear: the re-life of all monsters and resetting the position occupied by the human race in the food chain. It will not be long and the Earth will shake because of their all-destructive actions.
What we can boast at Godzilla II is that it offers exactly what it promises: tensile muscles and spectacular faces between creatures ready to fill the screen and make dozens of miles around. The blockbuster looks gorgeous and somehow fails to exhaust its audience, finding a balance between destruction scenes and those in which human characters are doing their best to make sure the film’s events do not cause us to extinction. Without memorable 3D moments, Godzilla II does not disappoint visually with its inventive confrontations between monsters, each with its own features and enough to fill a nightmare of the nightmare.
Unfortunately, the script seems to be written by a slut and a gogoman. The story takes so many freedoms and refuses so many times to obey any logic (even in such an unrealistic film, the laws of physics must be respected) that it gets amused and sometimes even annoyed. The human characters seem to have invented the teleportation because now they are in Antarctica and immediately after that Mexico is flying over into a global go-around that completely cancels distances. It is incredible how human beings survive agonizing among the giant monsters’ feet, whose struggle destroys an entire city, but only kills a human character and then so quickly that the public does not realize it.
It also disturbs bombastic replies such as “I will not be in vain as the world is rummaging around us,” pounded over the course of the film, and the insistence with which the characters explain what they already know, helping with the unsophisticated but seemingly imaging, and even the most limited viewers to understand the fanciful mythology of kaiju. The thick layer of obvious explanations shows the lack of confidence of the screenwriters in the audience’s intelligence, which gets everything dying in the mouth, as in the volumes of the well-known series “for you.” The Godzilla vs Kong’s loose backfalls and Godzilla’s false death (good people, we all know that Godzilla vs. Kong is launching this year!), Which seems to seal the fate of humanity, is added to the disappointment of the film.
Perhaps Godzilla 2 offers what promises even more than most people who appreciate the genre will not regret the money on the ticket, but does this premiere on Friday make a good movie? Our first answer would be that the sequel joins the mindless blockbusters that Hollywood so often overwhelms us. At least Godzilla 2 looks much better than his other competitors.