There is a scene in Gareth Edwards' "Godzilla" that made my skin crawl. It is the HALO jump sequence, promoted heavily in the teaser trailer, accompanied by György Ligeti's hair-curling orchestral piece "Requiem", made famous in Kubrick's "2001: A Space Odyssey" when Dave Bowman entered that portal. The sight of minuscule soldiers falling down into apocalyptic clouds as they see destruction all around them with gigantic, moving shadows is a work of terrifying, spectacular beauty; one of the best recent film sequences I've seen and heard. To experience it in IMAX 3D adds to the nightmare fuel.
Some other startling bits involve numerous disaster sequences that so closely echoes various natural disasters of the past decade. Viewers may be reminded of terrible events like the tsunamis and earthquakes of 2004 and 2011 and the Fukushima nuclear disaster. Scenes like these will definitely strike a chord in those who fear mother nature's wrath, but of course they play second fiddle to the real star of the show, who like Colonel Kurtz in "Apocalypse Now", doesn't show up until the latter half of the film, but one can definitely sense its brooding, commanding presence.
Yes, 60 Years since it laid waste to Tokyo, the King of the Monsters triumphantly returns to the big screen after a 10-year sabbatical in this mammoth-sized entertainment that shifts the Big G into summer blockbuster territory, obliterating Roland Emmerich's turkey into smithereens.
Like last summer's "Pacific Rim", "Godzilla" features gigantic-scale action set-pieces and crowd-pleasing moments, though in large part due to Edwards' skillful and intelligent direction, it entirely eclipses the latter film. Edwards (in only his second directorial feature following the 2010 microbudget "Monster") probably felt the same thing a lot of people did in "Pacific Rim" - too much action sequences that were dragged out for the purpose of pleasing its core audience. He is wise to limit Godzilla's appearance until the second half of the film, and even so limit his presence until the explosively entertaining climax, taking a page or two from Hitchcock and Spielberg's "Jaws" about restraint. The film was made with a "spectator" point of view - the audience sees Godzilla as if they were really seeing him, be it the TV screen or while avoiding the unrelenting chaos around them. Edwards didn't just learn from Spielberg as much as he pays a glowing tribute ala J.J. Abrams' "Super 8". See if you can spot the references to "Jaws" and "Close Encounters" in this review. There's even references to "War of the Worlds" and "Saving Private Ryan", among other movies.
Not that it isn't a real film. Whilst "Pacific Rim" is a film tailor-made for fans of the kaiju/mecha genre, in the same mold that most Marvel superhero films and 'Expendables' films cater to their target audiences, "Godzilla" is made like an old-fashioned blockbuster, down from its gripping, foreboding opening to its doom-shrouded action-packed climax that provides a well-earned catharsis to the ominous buildup from the previous 90-minutes. The action sequences are a combination of the classic kaiju franchise with the ominous Biblical paintings of Gustave Doré, especially in the final 30 minutes. Seamus McGarvey's tactful cinematography and Alexandre Desplat's brooding, wildly unleashing orchestral score complement some truly awesome visual effects perfectly to make for the most visually stunning outing of the King yet.
Not that there isn't a plot. Max Borenstein's screenplay details something too spoiler that even the mere mention of the basic plot will give away too much, so I won't But the trailers do a damn good job about hiding the true plot of the film, which I must say is formulaic on the human characters' side, but pretty well-written and frenetic for the most part.
Oh right, there are other cast members in the film too, all A-listers, ranging from a brief Bryan Cranston giving a combination of Roy Neary and Walter White, Ken Watanabe looking as wise and mournful as the great Takashi Shimura in the original, and a military David Strathairn giving heavy-duty exposition as usual. Add Juliette Binoche, Sally Hawkins and Elizabeth Olsen as obligatory female characters and we have ourselves a heck of a cast that is severely underused. But we didn't come to see a Godzilla movie for a cast surely deserving of an Oscar Bait film. Pretty much the only human who takes center stage is tough, stoic military vet Ford Brody (Aaron Taylor-Johnson of "Kick-Ass" fame), who defiantly holds his own against all odds and comes off as a character who demands attention as to what his next plan of action is as chaos rumbles all around him.
Bottom line is, I liked what I saw, and Edwards has done a truly bang-up job resurrecting the King of the Monsters from cult fascination. If possible, watch it in IMAX 3D to savor the visual effects and sheer scale, and to hear that famous, mighty roar in terrifying rumbles. It's been a long time coming, but the King is back, and the monster movie is replenished with a vengeance. Would Toho/Legendary mind if I request a future outing?
Some other startling bits involve numerous disaster sequences that so closely echoes various natural disasters of the past decade. Viewers may be reminded of terrible events like the tsunamis and earthquakes of 2004 and 2011 and the Fukushima nuclear disaster. Scenes like these will definitely strike a chord in those who fear mother nature's wrath, but of course they play second fiddle to the real star of the show, who like Colonel Kurtz in "Apocalypse Now", doesn't show up until the latter half of the film, but one can definitely sense its brooding, commanding presence.
Yes, 60 Years since it laid waste to Tokyo, the King of the Monsters triumphantly returns to the big screen after a 10-year sabbatical in this mammoth-sized entertainment that shifts the Big G into summer blockbuster territory, obliterating Roland Emmerich's turkey into smithereens.
Like last summer's "Pacific Rim", "Godzilla" features gigantic-scale action set-pieces and crowd-pleasing moments, though in large part due to Edwards' skillful and intelligent direction, it entirely eclipses the latter film. Edwards (in only his second directorial feature following the 2010 microbudget "Monster") probably felt the same thing a lot of people did in "Pacific Rim" - too much action sequences that were dragged out for the purpose of pleasing its core audience. He is wise to limit Godzilla's appearance until the second half of the film, and even so limit his presence until the explosively entertaining climax, taking a page or two from Hitchcock and Spielberg's "Jaws" about restraint. The film was made with a "spectator" point of view - the audience sees Godzilla as if they were really seeing him, be it the TV screen or while avoiding the unrelenting chaos around them. Edwards didn't just learn from Spielberg as much as he pays a glowing tribute ala J.J. Abrams' "Super 8". See if you can spot the references to "Jaws" and "Close Encounters" in this review. There's even references to "War of the Worlds" and "Saving Private Ryan", among other movies.
Not that it isn't a real film. Whilst "Pacific Rim" is a film tailor-made for fans of the kaiju/mecha genre, in the same mold that most Marvel superhero films and 'Expendables' films cater to their target audiences, "Godzilla" is made like an old-fashioned blockbuster, down from its gripping, foreboding opening to its doom-shrouded action-packed climax that provides a well-earned catharsis to the ominous buildup from the previous 90-minutes. The action sequences are a combination of the classic kaiju franchise with the ominous Biblical paintings of Gustave Doré, especially in the final 30 minutes. Seamus McGarvey's tactful cinematography and Alexandre Desplat's brooding, wildly unleashing orchestral score complement some truly awesome visual effects perfectly to make for the most visually stunning outing of the King yet.
Not that there isn't a plot. Max Borenstein's screenplay details something too spoiler that even the mere mention of the basic plot will give away too much, so I won't But the trailers do a damn good job about hiding the true plot of the film, which I must say is formulaic on the human characters' side, but pretty well-written and frenetic for the most part.
Oh right, there are other cast members in the film too, all A-listers, ranging from a brief Bryan Cranston giving a combination of Roy Neary and Walter White, Ken Watanabe looking as wise and mournful as the great Takashi Shimura in the original, and a military David Strathairn giving heavy-duty exposition as usual. Add Juliette Binoche, Sally Hawkins and Elizabeth Olsen as obligatory female characters and we have ourselves a heck of a cast that is severely underused. But we didn't come to see a Godzilla movie for a cast surely deserving of an Oscar Bait film. Pretty much the only human who takes center stage is tough, stoic military vet Ford Brody (Aaron Taylor-Johnson of "Kick-Ass" fame), who defiantly holds his own against all odds and comes off as a character who demands attention as to what his next plan of action is as chaos rumbles all around him.
Bottom line is, I liked what I saw, and Edwards has done a truly bang-up job resurrecting the King of the Monsters from cult fascination. If possible, watch it in IMAX 3D to savor the visual effects and sheer scale, and to hear that famous, mighty roar in terrifying rumbles. It's been a long time coming, but the King is back, and the monster movie is replenished with a vengeance. Would Toho/Legendary mind if I request a future outing?