GODZILLA: KING OF THE MONSTERS (2019)

In 2019, the King of the Monsters, Godzilla, made his return to the silver screen, after five years away—at a time when the real world was reeling from its own worrisome monster: the Covid-19 pandemic. In the five years since the King had left silver screens, a new challenger in the Kaiju verse had emerged for film fans, the great Kong in Jordan-Vogt Roberts, KONG: SKULL ISLAND, the great ape even gets a brief cameo on in this new entry into Legendary pictures Monsterverse, GODZILLA: KING OF THE MONSTERS. It was a good time to be a Kaiju fan, if watching monsters mercilessly pummel each other is your idea of a good time.

Taking over in the director’s chair from Gareth Evans who helmed 2014’s GODZILLA was Michael Dougherty, who made his name helming pictures TRICK’ R TREAT and KRAMPUS, both well received horror pictures, both of which I am a fan. His choice as director for this latest Kaiju effort was a validation of the good work he had previously put in. Dougherty acquits himself admirably in wrangling together the many elements involved in bringing such an effects-heavy production to fruition. The finished movie is a testament to his talent.

Dougherty’s motion picture opens with a decimated San Francisco in the aftermath of a rampage through its streets by the titular beast from Evans’ film. We meet Kyle Chandler’s Mark Russell, searching through the devastation for his beloved wife, Emma, and his young daughter, Madison, and finds them hiding in the rubble, left behind by the battle and rampage of the great beast. We see it as a vision in Emma Russell’s mind played by the formidable and uber talented Vera Farmiga. We are then introduced to their preteen daughter Madison played with the same sense of ominous wonder that she brings to Stranger Things, Millie Bobby Brown. The strain of losing another child has separated the elder Russells as they each tackle their grief from the loss of their first child, Andrew, in their own way. It’s the give and take in the Russells contentious relationship that gives us human beings to root for, which is a wise move by Dougherty and co-writer Zach Shields. It is easy for large budget extravaganzas to lose the human side of the story in favour of the bluster of too many action set pieces, but Dougherty’s picture wisely grounds the action with the Russells. These three are the film’s core and GODZILLA: KING OF THE MONSTERS is wise to return to them, like grounding rods.

The supporting cast also acquit themselves well. David Stratharin reprises his role of Admiral William Stentz. Ken Watanabe also returning as Dr. Ishiro Serizawa, who sadly doesn’t get to say anything as iconic as his “Let them fight” line in the previous film. Sally Hawkins rounds out the returning actors from Evans’ movie as Dr. Vivienne Graham. New editions to lend their support are Thomas Middleditch, Zhang Ziyi, and Bradley Whitford—all part of the stable scientists of Monarch (the clandestine organization monitoring Kaiju). Middleditch does his best while Whitford seems to be having a hoot in the role, and Ziyi brings her steady hand to the proceedings. Charles Dance is a welcome addition to the cast, bringing an air of menace to the proceedings as an ecoterrorist who kidnaps the Russell women, which is the driving force that incites the action. On the military side of things, we have the welcome additions of O’Shea Jackson, Jr. and Aisha Hinds, playing Chief Warrant Officer Barnes and Colonel Diane Foster, respectively. Both are excellent and believable in their roles, even if at times there does not seem to be enough screen time, which is a bit of a recurring issue. It is however worth noting that once again Dougherty ensures everyone gets moments on screen to let their talent shine through. 

To my mind, the most important element in any film is the script. Honestly it is the most important element in the quality of any film, but ones with solid bones usually end up translating well on the big screen. I do not buy into the notion that just because it’s an action film the viewer should have to settle for a subpar story for the proceedings. Much like in 1998’s GODZILLA if the film has a weak point, it is in the script. However I also believe that while Dougherty and Shields didn’t keep the script as simple as they could have, it isn’t the same jumbled mess in the same way as the bones of the ‘98 film. The logic behind some of the decisions the script asks the characters to make, and the audience to buy, occasionally don’t pass mustard. Emma is tasked with justifying her actions of letting Monster Zero (King Ghidorah for those in the know) and the rest of the “Titans” (the Monsterverse term for Kaiju) free on the world that, without Farmiga absolutely selling the words, would be a laughingstock and derail the entire movie. But it is because of her passion and conviction that the audience continues to suspend its disbelief, as she utters her lunatic screed of motivations for the terrorist group for whom she is now working.

GODZILLA: KING OF THE MONSTERS also succeeds in the effects department, with Godzilla looking much more like the creature of Toho studio productions, than that of the ill-fated ‘98 film. The effects crew, supervised by Guillaume Rocheron with many effects houses, bring not just the king of the monsters and King Ghidorah to the screen but also showcase Mothra and Rodan. The monsters of the film all look amazing, especially at the film’s climax, with the aptly named Titans all kneeling to the victorious Godzilla.

By the time the credits roll, the conclusion and the two hours and change of run time ultimately are worth it. GODZILLA KING OF THE MONSTERS is a satisfying continuation of the Legendary Monsterverse. While there may be some detractors, the film left me saying, “long live the king.”