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There’s something joyful about giant monster movies. They inspire a kind of glee, a sense of childlike wonder in the viewer. Sometimes, it can be nice to go to the movies and get swept away by sheer, unwavering bigness. Even when it is dorky and/or shoddy and/or low-rent, the sense of scale is always there.

Godzilla movies and their ilk have been the foundation of that particular niche. And in this current climate of cinematic universes, it’s no surprise that Hollywood has decided to shoehorn everyone’s favorite gigantic radioactive lizard into a franchise of his own.

“Godzilla: King of the Monsters” is a follow-up to 2014’s “Godzilla.” Those movies – along with 2017’s “Kong: Skull Island” – are the beginnings of what I’m going to go ahead and call the BAMCU (Big-Ass Monster Cinematic Universe). This latest installment is the one where the multi-film world-building begins in earnest, the one that strives to develop the connective tissue necessary to tie these blockbusters together.

But while “Godzilla: King of the Monsters” offers up a fair amount of monster-on-monster action and updated versions of some classic Toho creatures, it can’t quite deliver on the connectivity side of things. Balancing the stakes – skyscraper-sized reptiles shooting lasers at each other versus human beings trying to save both their families and the world – was always going to be a tricky task … and it’s a task that director Michael Dougherty and his team never quite manage.

Published in Movies
Tuesday, 20 May 2014 19:19

Here there be monsters Godzilla'

Hollywood attempts once more to reboot iconic creature

In the mid-1950s, the Japanese film studio Toho Films essentially invented the 'giant monster' genre when they introduced the world to Godzilla. This radioactive reptilian a reaction to both the burgeoning atomic age in general and Japan's own then-recent dealings with the destructive potential of nuclear energy became a mainstay on Japan's movie screens, with nearly 30 films starring the monster appearing over the past six decades.

Published in Buzz

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