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Eyebrows had understandably been raised upon learning of a new venture into the treasured, cinematic territory of Godzilla, as something of a common stomping ground, that has seen a variety of filmic imaginings on the big screen, going all the way back to 1954. Given the seemingly inflexible narrative you could be excused for being somewhat underwhelmed at the news of a reboot – yet when the source material is handled quite as expertly as director Gareth Edwards has managed in this instance, using modern technology to tell this tale in a way that was never before possible, any initial apprehensions seem rather unfounded.
When waking up for his birthday, scientist Joe Brody (Bryan Cranston) had no idea this was going to be the day that changes his life. Obsessed by unnatural seismic activity going on, disaster strikes as the nuclear plant where he works in Japan crumbles to the ground, killing his wife (Juliette Binoche) in the process. 15 years later on, we meet his son Ford (Aaron Taylor-Johnson), who arrives home from serving his country to his wife Elle (Elizabeth Olsen) and young son, only to pack up and leave again when he finds out his father has been arrested.Heading back to Japan to bail his father out, Joe is adamant that the same shockwaves he had felt all those years before have come back – and the conspiracy theorist is certain that the government are covering something up.
It soon transpires that he’s right, and the secret they’re hiding is that of a ginormous, seemingly infallible monster, and one that had been dormant, dwelling patiently in the ocean for decades – until now. When the hysterical doctor Ichiro Serizawa (Ken Watanabe) believes that Godzilla is still alive,(Download Godzilla) he predicts that it may be able to restore the balance, and defeat the malevolent creatures that are threatening the human race.Relentlessly entertaining from the word go, Edwards begins much as he means to carry on, as a fast-paced, unremitting blockbuster that offers the viewer little respite. The special effects are simply incredible in this title too, not only of the creature itself and the breathtaking set-pieces that ensue, but the destruction caused is so shatteringly realistic, as every frame following the monster’s resurgence, offers a harrowing portrayal of society facing complete annihilation, with helpless people running around like ants, and buildings torn to shreds.
The tale has been brought into the real world with a minimum contrivance, and considering this story is about a gigantic monster, it’s handled as naturalistically as the material will allow, as the way the human race reacts to the cataclysmic events is particularly well-judged. Much of that comes down to Edwards ability to find intimacy admit the surreal and grandiose environment,(Download Godzilla) and the immensity of the narrative. His modest background has certainly helped, with his only previous film credit being that of low-budget sci-fi Monsters, and he brings that intricacy to this too, as his sincere depiction of family dynamic and loss is one seldom seen in films of this scale.That distinct vulnerability of the characters is one that extends to Godzilla too, as there’s a real graciousness to the way the creature moves and glides through the water, and we somehow manage to maintain a level of empathy towards it.
Nonetheless, Cranston steals every single scene he is in, as rarely do you see an actor display such raw human emotion in big, Hollywood blockbusters. Conversely, Taylor-Johnson struggles in that very department, and though there’s an authoritative nature about his role, and you certainly put your faith in him – he remains mostly vacant and dispassionate throughout.Thankfully given the exhilarating,(Download Godzilla) unforgiving nature of this production, any such misgivings can be forgiven, as when you sit back and simply enjoy this picture for what it’s worth, it’s impossible to not become completely immersed in this world and taken with this fantastical tale. So, you may now lower those eyebrows, because this seemingly superfluous reboot, is something of a triumph.These are times when we prefer our cultural junk dark and realistic — even Leprechaun, in a forthcoming reboot.
But it makes sense for Godzilla. The original 1954 film is brutal and brooding, not campy and loopy like the films it wrought. Despite being very serious, the new one doesn’t have the drive of the first, which exorcised the demons of Hiroshima and Nagasaki from only nine years before. It’s not even terribly original: Cities being destroyed on screens every other week (this one mucks up San Francisco and others) while portraying giant, rampaging monsters realistically, from the point of view of puny,(Download Godzilla) often smashed humans has been in since “Cloverfield.”But if there’s no burning reason it need exist, beyond the age-old anxiety over nature striking back, this “Godzilla” at least has craft. It’s sometimes disarming how calm and sophisticated it is at doing something ambitious and atypical. It’s an origin story, of a kind, following the paths of a pair of winged behemoths, dubbed MUTOs, as well as the title mega-reptile himself, who decide to use the planet’s urban pockets as their battlegrounds.
(If they were nice, they’d do it in a desert.) It’s very respectful of what it portrays, dwelling on very real displacement and terror. It’s the opposite, in other words, of “Man of Steel,” where both villain and hero seemed blithe about all the buildings they messed up.Its focus is tight, even narrow, and sometimes to a fault. It doesn’t have the broad stereotyped characters of most disaster movies,(Download Godzilla) including Roland Emmerich’s 1998 goof on the same material. In fact, its characters aren’t particularly interesting, save Bryan Cranston’s traumatized, frenzied scientist, driven by the death of his wife (Juliette Binoche) to investigate the possibility of giant behemoths lurking under the surface, ready to break free. Otherwise the people are barely even types: the soldier (Aaron Taylor-Johnson), his wife (Elizabeth Olsen), the military honcho (David Strathairn), two other scientists (Ken Watanabe and Sally Hawkins). The overqualified cast doesn’t really have time to fill them out as people. But it doesn’t waste them; they bring gravitas to standing around staring, jaws hopelessly slack.
The storytelling is muddled, but intentionally: No one’s sure what these monsters want, and Godzilla can be both villain and savior, laying waste to humans one sequence then sparing them the next. He’s not, as feared, an emo giant reptile. He’s nature red in tooth and claw personified, unknowable and imposing. The film follows suit. Despite following people, it’s detached, more primal than personable, more animal than human.The lack of meaty drama — everyone’s primary concern is survival and reuniting with their families — gives it a certain detachment.(Download Godzilla) It also, on a more base level, would presumably leave plenty of room for monster smackdowns. But director Gareth Edwards delights in playing coy, hiding his monsters for the first half and keeping the cameras at a remove and on the ground (or, most terrifyingly, in an el train). He actually goes too far: The first time he cuts out on a punch-out between Godzilla and one of the MUTOs just as it begins, it’s a familiar but effective move. The second time, it’s infuriating.
Edwards still fares worlds better than he did with his debut, “Monsters,” an indie creature feature — Edwards, originally an F/X guy, designed all the aliens himself on his computer — where the balance between nifty sights and depressingly cliched romance was lopsided almost all the way towards the latter. He knows to deliver the goods this time, and he kills with a handful of carefully executed set pieces,(Download Godzilla) where he uses the dark, muddled palette — usually at night, sometimes in the rain — to heighten tension, milking scares out of what we can’t see clearly.It’s probably a crime that Edwards ditches the ground level shooting shtick for one monster tussle, though it helps that it features a piece of hurtin’ that is likely something you always wanted to see but never knew it — a moment that singlehandedly shows up “Pacific Rim” as the visually incoherent, failed volley for badassery it was. Sometimes “Godzilla” is easier to admire than it is to enjoy, but on the occasions it goes into full-on entertainment mode, it’s nearly as awesome (that is, causing awe, not cool) as Godzilla himself.
At least they get the monster right. Towering over America's pacific coast, Godzilla looks the real deal. His body-type is pear; small head, big bottom, ginormous paws. His back is covered in spines that in profile resemble a stage of the Tour de France. His tail smashes readily through internationally recognisable tourist locations. His roar is louder than Barbra Streisand. Most importantly, you can identify with the dude; his baleful eyes, his thankless role as nature's last line of defence.(Download Godzilla) Sadly for this film, the two-miles-tall lizard is the only sympathetic character in it. The latest update on the Japanese cinematic behemoth that last came to America in 1998 as a light stomp romp starring Matthew Broderick, this earnest reboot has been sweatily anticipated in some quarters. It's directed by Gareth Edwards, the 38-year-old Brit whose previous film, Monsters, identified him as an aficionado of the genre and a special-effects whiz to boot.
That film was handmade on a budget of $500,000; this one cost an estimated $160m and was ordered by Warner Brothers. The result is a clash between massive, lovingly recreated reptiles and the appetites of a corporate vampire squid. The squid wins.So while many people might want to go to the cinema to see Godzilla, what they get instead is a load of homosapiens desperately trying to put a human face on the drama.(Download Godzilla) They don't really succeed. A line of actual acting talent – from Bryan Cranston to Sally Hawkins, Juliette Binoche and Ken Watanabe – is reduced to a series of B-movie tropes, from crazed eccentric to rumpled scientist. Aaron Taylor-Johnson plays the hero Ford Brody, yet another all-American beefcake whose only discernible character trait is his ability to talk gently to children. The kids themselves, no doubt intended as a point of identification for a young audience, are really just a procession of glass-eyed, floppy-haired bores.
The story has been told so many times that you can call it with your eyes closed. America is living happily, America is in peril, America confidently thinks it can solve its problem with guns, America can't, America panics, America is saved by a single bloke. America has now been under existential threat so many times, and from so many adversaries, that you wonder why anyone even bothers trying to assemble a military response any more. Just ask that plucky individual to do it by himself,(Download Godzilla) it tends to work.As well as draining the film of any true suspense, the dramatic premise of Godzilla is delivered entirely po-faced. There's some kind of subtext about the abuse of nuclear power, perhaps an environmentalist thread too. It's all a bit muddled. But whatever the message is, it's delivered at the expense of humour. Even Cranston, who in his role as eccentric whistleblower is channeling the spirit of Malcolm in the Middle, gets just one joke to deliver. "I don't get many visitors," he says when Taylor-Johnson pays a visit to his conspiracy pit. Even that comes over as sad.
Predictable and two-dimensional, Godzilla is still not without moments of beauty. Alexandre Desplat's score is restrained and evocative with hints of kaiji movies past. Not only is the titular beast sympathetic, he has a sense of style, emerging elegantly through clouds of smoke to take out another adversary.(Watch Godzilla Online HQ) There's a tsunami that crashes through the middle of the film like a cascade, its glassy waters filled to bursting with the effects of civilisation, suddenly just so much detritus. And the "quarantine zone", an abandoned city in Japan that may or may not recall Fukushima, is an imaginative visual rendering of what humanity might leave behind should we finally blow our time on earth. Compressed together, those moments take up about five minutes of viewing time. The rest you can miss.
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