#KYLE CHANDLER AND ZHANG ZIYI ARE V PRETTY PEOPLE

[dragonzair]

Ilene Chen (the Chen twins, really) has been living rent free in my head and I don't think it'll rest until Legendary does announce a Mothra movie this July during her 60th anniversary

[geek-gem]

More Thoughts On Godzilla KOTM 2019

At the end I mention a little spoiler and just beware of that.

Edit I forgot to mention the title of this film makes perfect sense when you watch this movie.

Even though my first reaction seemed a bit crazy. But I wanted to get it out of the way because I was gonna meet a friend after the movie. So I wanted to make something where I talk more a little more about the movie.

I'm not gonna spoil anything but at the end I'll mention a little spoiler and it's about Ghidorah.

1: While I feel and told my friend Simonxriley that it seemed slow at first or something and it was building up to stuff. But I really like the fight scenes between the monsters. Especially how the fought and sometimes it was surprising as all hell.

2: I love the interpretations of Ghidorah, Mothra, and Rodan. With Ghidorah being my favorite of the three that were brought in. Yet all three were well done and respected the original designs and legacy of all three. While trying to bring them into a new generation.

While I feel Rodan didn't get much more love like screentime or whatever. I still love how how they handled Ghidorah, Mothra, and Rodan.

3: I actually think the human cast did a pretty good job. While I guess it was more simple and I guess starts slow at first. It's at least engaging. My favorites were Millie Bobby Brown, Kyle Chandler, Vera Farmiga, Zhang Ziyi, Ken Watanabe(who comes back from the 2014 film), O'Shea Jackson Jr. Everyone did a excellent job even if some roles were small. But while I see there is a theme going on in this movie. The focus is on the monsters a lot more. But I didn't mind the humans anyway.

4: The score is wonderful especially on new takes of familiar themes of certain monsters.

5: I honestly liked there was humor sprinkled throughout the film. Whether I just giggled a little but I didn't laugh out loud if I recall. From what I saw the crew seemed to enjoy making the movie as well.

6: There are quite a lot of easter eggs and some references to not just the Monsterverse but even older Godzilla films.

Especially when I said I got emotional during some parts that I actually cried. One or two scenes seemed like they were some what referencing certain scenes from older movies.

I'm not gonna spoil anything but I wanna tell you this, you may laugh at me. I cried over a Kaiju....if you've seen the movie you'll probably know what I'm talking about because the way it was handled was beautiful.

Let's say I'm reminded of Godzilla Tokyo SOS.

Including one scene with a human character I felt was some sort of a reference to the ending of the original Godzilla but it's a different twist basically backwards. Especially it's a emotional sendoff for a character.

7: Gonna be honest there were some surprises I wasn't expecting.

I just wanna say this. It may sound stupid but I'm a person that likes certain flawed films like Jurassic World Fallen Kingdom (Which is the movie I've been thinking about that seems to have a similar reaction in some ways to this film), Batman V Superman, Venom 2018, Rampage 2018, and some others. Mainly because those films I feel I like for weird personal reasons.

To me I feel Godzilla King Of The Monsters 2019 is one of them.

8: So I'm leaving that last thing as it's own well thing. But this is where I get into the spoiler about Ghidorah.

Spoilers in case but I'd rather have fans and others experience and see this confirmation first because I was happy.

In the Monsterverse it's confirmed Ghidorah is a literal alien. Even with the Monsterverse at first trying to be some what realistic and it still is. It's seriously awesome of how they portrayed Ghidorah and they went with the route he's an alien.

Mostly from what I noticed in the direction Ghidorah The Three Headed Monster first interpreted the Kaiju as.

The fact they went with that direction and Legendary doesn't give a fuck. I've seen a guy on DeviantArt liked my first reaction of the movie and he gave out an idea of Mechagodzilla.

At first it doesn't seem reasonable to bring in Mechagodzilla. But now with Ghidorah being an confirmed alien. It makes me think now of other Kaiju like Mechagodzilla, Gigan, and some others might be possible.

But I don't know because from what I remember reading getting the rights to Ghidorah, Mothra, and Rodan were expensive to Legendary or Warner Bros whoever bought them. It depends on who they want to get unless they have them already.

I would like to see Destoroyah, and some others. Also Gigan would be cool as hell. I weirdly want Jet Jaguar but I don't know if Legendary would want him.

But I don't think we should expect space apes(the aliens from the third planet from the black hole wow that's a lot or call them Simians)controlling Mechagodzilla. I'm sorry I'm mostly a fan of the original Mechagodzilla but I do like the other two.

Or maybe terrorists control Mechagodzilla I'm just giving out ideas people. Especially what characters were introduced in this film just I don't wanna spoil more.

Other than that I really enjoyed the movie. I weirdly want Monster X but that sounds a bit ridiculous. If more aliens are introduced and I wouldn't mind Orga too. I feel the interpretations would be...I guess similar to American sci fi like aliens I don't know. It depends but I think I shouldn't expect them go all crazy because Legendary seems to be trying to be careful with their universe. I do want Biollante now see I'm rambling. But also Anguirus please too.

[downinfront]

“Godzilla: King of the Monsters”: Just go with it, people

The new Godzilla should come with a disclaimer at the beginning asking you to turn off your brain along with your cell phone, and I mean that as a compliment. But also kind of as an insult. But mainly a compliment. Unless it's an insult. Which makes me think that it's more of a compliment.

Look, point is, when the big guy himself is onscreen, brawling against or alongside the scores of hairy, scaly, winged creatures that have risen to ravage our worthless asses, Godzilla: King of the Monsters is frankly spectacular summer entertainment on par with anything the final battle of Avengers: Endgame cooks up. But when the film turns its gaze towards the hapless humans scurrying around in the lizard king's wake, it turns into a different kind of stupid, where paper-thin characters shift motivations seemingly at random, profanely talented actors stare ponderously into the middle distance (better to do the math on the zeroes in the paychecks) and a crew of military jocks/science dorks sprout impenetrable jargon that serves as exposition. Ultimately, whether this movie is worth your while will depend on where you land with respect to that dichotomy: Is numbingly silly human drama worth sitting through to get to the endorphin high of a monster rumble?

In fairness, this movie has not been remotely shy about what it's selling us. Gareth Edwards' 2014 Godzilla, which this movie serves as a sequel to, teased the monster as a malevolent natural force and pump-faked him into a surly protector of humanity, albeit one with a conspicuous disregard for collateral damage. This one, from jump, has been marketed as a four-way showdown featuring Godzilla and three of his most notorious frenemies: The glowing insect Mothra, fiery pteranodon Rodan, and three-headed dragon, King Ghidorah. It shares a central thesis with its predecessor — long story short, humans are wasteful, horrible creatures who've ruined the planet, and we deserve what's coming to us — but to its credit, has no patience for the ponderousness with which Edwards approached the subject. Instead, it settles for a blunt-force, here's-what-I'm-doing-and-why speech by a scientist (Vera Farmiga) who seeks to use the monsters to restart the earth alongside someone the script has seen fit to designate as an "eco-terrorist" (a harrumphing, underused Charles Dance). What earned him that reputation is left mostly to the imagination; he is quiet, British, speaks in monosyllables and shoots a lot of extras, ergo, he is bad.

Along for the ride is Farmiga's daughter, Eleven — err, Madison (Millie Bobbie Brown from Stranger Things), who has been drawn into her mother's plan as ... a co-conspirator, I think? She seems oddly willing to go along with the extinction of humanity in principle, though her mom's execution of the plan leaves a lot to be desired. On the other end of the spectrum is her father (Kyle Chandler), another scientist of sorts who is trying to repair his own relationship with Madison -- her brother was lost in the events of the previous film, as established in a prologue that recalls Batman v Superman, of all things -- while also reconciling his own feelings about ... Godzilla? I think?

Yes, it's all very silly. And the director, Michael Dougherty, is visibly lacking the personal touches he brought to his last feature, the nasty, nihilistic horror-comedy Krampus from 2015. (Worth a watch, by the way.) But to his credit, he also seems to realize that this is not the reason for whence you have come. And when it comes time to get to the smashy-smashy stuff, he excels. His King of the Monsters may have ditched Edwards' sense of seriousness, but it wisely retains that filmmaker's eye for sheer, awe-inspiring scale. He knows how to use it a little better, I think, lingering less on the shots emphasizing the monsters' enormity and using them more as beats in the kind of viciously streamlined action sequences Edwards never felt the need to attempt. (The scene where the military tries to bait Rodan away from the Mexican village he's nesting above is so thrilling it took me out of the movie for a bit.)

It's to Dougherty's credit the effect isn't diluted despite the movie's dumbing down: Even if some of the best shots have been spoiled in the trailers, there's still something primally majestic about the sight of these monsters among us and the merciless destruction they wreak in a battle that is revealed to be, quite literally, older than time and beyond the scope of our world. It makes you wish both movies had done away with the speechifying entirely; the imagery in them is, frankly, enough to speak for themselves, and the people speaking are blindingly puny in comparison anyway. (That's is no reflection on the actors, a talented bunch that brings back Ken Watanabe, Sally Hawkins and David Strathairn from the first movie and expands to include Ziyi Zhang, O'Shea Jackson, Jr., Bradley Whitford, Aisha Hinds and Thomas Middleditch. They all seem pretty happy to be in a Godzilla movie. Good for them.)

Like all good bad movies, King of the Monsters does contain one single germ of a good idea: That all these other monsters are the only thing stopping Godzilla from turning his attention to us, the reason he has to come back in the first place. Edwards reimagined Godzilla as a burly, glowering sort, but his movie didn't go far enough to establish any kind of relationship with the humans at his feet. Dougherty, again to his credit, at least tries to create a dynamic: This beefy, lumbering Godzilla has the air of a blue-collar dad who comes home to find his spoiled kids have trashed the joint and wearily resigns himself to setting things right. He lumbers from mess to mess, spewing fire and moving on to the next one before things get really out of hand. (As if to drive the point home, at one point in King of the Monsters, he actually takes a nap.) Unspoken in all of this is whether we as a species are worth this aggravation, save for a throwaway line at the end, and you wish the script, by Dougherty, Zach Shields and Max Borenstien, had made a little more room for the kind of existential query that would give this movie some urgency, especially in an age where climate change has become an existential question.

Alas, no time for that. There's cities to smash, some queasily so (Boston is completely disintegrated in a nuclear holocaust — go Yankees?), people to eat, overqualified actors to kill off and a hairy fellow glimpsed only in shadow on the periphery, patiently awaiting his own throwdown next year. (Stay through the very entertaining, creative credit sequence for some setup on that front.) Again, this isn't necessarily an insult. Godzilla may have begun as a metaphor for Hiroshima, but it's worth noting that his legacy is probably more in line with the cheesy, B-movie, man-in-suit movies that followed suit, so the movie isn't quite as out of line as you might think by choosing destruction over allegory. Nonetheless, even the most forgiving of viewers might be tested with its final sequence, a bombastic, ridiculous scene that is probably the dumbest thing ever put to film — unless it's your thing, in which case it's the coolest thing you've ever seen. (Full disclosure: It’s totally my thing.) It's to King of the Monsters' credit that it plants its flag, then and there, as to what kind of movie it's trying to be, and if I do say so myself, it's to your credit if you go along with it: You're allowed to like a dumb movie. But there's nothing wrong with quietly wishing that it was a little smarter, too.