In his first feature film Monsters (2010), director Gareth Edwards focused on an unlikely romance in a world full of strange Giants. A technical triumph of the low-budget film, the Film won over Fans by focusing more on the dedicated human drama than on the spectacles of destruction of cities. Like the “host” Bong Joon Ho a few years earlier, it was a breath of fresh air in a Genre usually hampered by rehearsals and formulas. But this formula represents the livelihoods of legions of devoted G fans who still remember that Godzilla’s first foray into Tokyo was more disastrous than mannered, and by making Great Lizard a small player in his long-awaited update (this Godzilla would be better called a Soldier), Edwards could not succeed. after all, it’s not about paying for the monster’s inheritance.
As the story takes place in Japan, we discover that Joe Brody (Bryan Cranston), the dedicated director of a nuclear power plant, is so passionate about his job that he forgets it’s his birthday. After sending his young son Ford to school before heading to the factory with his wife Sandra (Juliette Binoche), who works on the reactor, Joe begins to doubt that the suspicious seismic activity could be something more sinister than the displacement of the tectonic plates. He’s also right: when the factory goes into Meltdown mode and Sandra is on the wrong side of the security door, a massive cover-up ensues.
Fifteen years after Ford (Aaron Taylor-Johnson), he became a bomb disposal expert in the US army. He has just returned home with his wife Elle (Elizabeth Olsen) and their son Sam (Carson Bold) when he learns that Joe has been confiscated. Long separated from his father, whom he called a conspirator for his unsuccessful attempts to prove that the Japanese government is hiding something related to the disaster, Ford nevertheless travels to Japan to get him out of the cage and agrees to accompany him on a trip to their former home in the quarantine zone. Subsequently taken into custody, the two men find themselves exactly in the factory where Joe worked and where the scientists Dr. Ichiro Serizawa (Ken Watanabe) and Vivien Graham (Sally Hawkins) study a massive cocoon-shaped structure that seems to be powered by radiation. The situation becomes critical when the events of the present begin to reflect the past and a terrible winged creature nicknamed “Muto” breaks out. Meanwhile, as the army tries to come up with a Plan to finish off the beast, there is evidence that they demanded something before they could free themselves. It turns out that Muto has awakened an imposing and divine Leviathan that has been dormant for centuries, and this recent creature could be humanity’s only hope of restoring balance in nature.
From the very beginning, with Cranston at the helm, Edwards’ Godzilla starts off quite promisingly; although the characters are loosely drawn, there is an overwhelming sense of tension in the process, and the “Breaking Bad” veteran makes a reluctant sacrifice that is apparently heartbreaking. Unfortunately, then the plot is postponed in the past, because Ford’s character comes to the fore, and Taylor-Johnson simply does not have enough strength to create a resonance in the drama.
Similarly, the aspiring screenwriter Max Borenstein shows little valuable Inspiration when it comes to character development and plot, lazily identifying everyone in the Film by their profession (including monsters) and returning to the cliché of separating a family in Chaos. Maybe if the characters had said or done something interesting here (a disappearing act worthy of David Copperfield when it comes to the doctor. The flaws in the plot can be forgiven to Borenstein, but when the plot moves away from the monstrous Chaos the first time Godzilla experiences Muto, it becomes clear that neither the writer nor the director show much respect for the Fans or the legacy of this series.
In fact, from his position behind the camera, Edwards seems to have a sadistic pleasure in hiding his creatures for most of the film. While high-profile viewers will no doubt praise him for this unique and unobtrusive approach, the sad truth is that it’s just not a particularly exciting night in the Movie, especially considering the flat characters and Performances that dominate the deadly midsection of the film. (Most of them are not that interesting, of course). including a little with a lost child, she could have been easily circumcised). Even the instructive commentary on the perils of nuclear weapons is overshadowed by Borenstein, who predictably uses the army’s arguable Plan to disperse the creatures as an excuse to create a plot against the very moment when the Film needs it the least.
Once the ground starts shaking in the final action, Edwards offers an absolutely exciting prospect — especially when it comes to a high-profile parachute series – but it’s too after, and the abrupt Finale unknowingly reveals his desire to finish everything as quickly as possible. the human drama is resolved. Most likely, you will want to wake up much earlier, and if you do, you will unfortunately miss the images of Godzilla in action, for which you paid dearly.