Running Time: 123 minutes
Rating (out of 5): 3.5
When I was much younger, I was a massive fan of Godzilla; I had two toys of this triumphant lizard, two Mothras, three Rodans, three Hydras, two members of Godzilla force, a Godzilla force fighter jet, and a set of trading cards, not to mention several pairs of clothing depicting this massive creation.
Where Roland Emmerich’s Godzilla failed, due to repetitive action sequences, immature dialogue, and certain aspects of the storyline which were unable to make coherent sense, I was hoping this particular reboot would find a way of telling a far superior story.
Now, if a feature happens to be named after one of the major characters (Riddick, the Bourne franchise, etc) you expect said character to play an incredibly pivotal role. Although many in Godzilla believed this terrific behemoth was the only hope in stopping other ancient predators, his entire screen presence lasted probably ten minutes (excluding the moments you see his fins as he swims through the oceans).
Much like in Alien Vs Predator Requiem, the human characters have the more significant roles, and although at the beginning this was of little concern, for the remainder of the film was still yet to transpire, by the end, there is this disgruntled sense of unquenched entertainment that settles over the cinema, as you come to realize the shocking absence of this tyrannical monstrosity.
Joe Brody (Bryan Cranston) was a scientist at a Japanese power plant when it was inexplicably destroyed by an unexplainable force of unparallelled proportions. 15 years later, and his son, Lieutenant Ford Brody (Araon Taylor-Johnson) who has discovered a career for himself in the Navy, is officially over his father’s wild conspiracy theories that lead him back to Japan.
There, Dr. Daisuke Serizawa (Ken Watanabe) and his team of scientists who have existed since before the events of the Japanese power plant, have been running experiments on an unidentified creature located at the epicenter of the destroyed reactor. But when the creature is released from its egg-sack and begins to run, or more aptly, fly rampantly across the terrain in search of food, the military, including Jason Strathairn as an Admiral and Richard T. Jones as a fellow high ranking commander, are brought in to help bring an end to the chaos that is only escalating.
This particular version of Godzilla returns the frachise back to its origins, with these triumphant ancient beasts having a high tolerance, and general appetite, for all things nuclear, the male Rodan-esque creature released from the egg thus making its way from one potential source of radiation to another in the hopes of finding food. When another creature of the same species eventually erupts out from its burial chamber, this particular creature identified as a female, you can begin to imagine what their intentions are, which can only spell further catastrophic trouble for humanity, unless something of equal strength can fight them. Some believe nuclear arsenals are the answer, whilst others, especially Dr. Serizawa, believe firmly in Godzilla.
Although the Rodan like creatures, which are initially introduced as some kind of ancient monstrous parasite, receive considerably more face time with the audience than Godzilla does, it is still not nearly enough to satisfy one’s thirst for special effects. These creatures look almost robotic, with rather square block heads and a red nuclear light pulsating across the underside of their bodies, and along the tips of their elongated clawed fingers. This is no criticism however, the special effects being exceptional in this creature feature; I only wish that the creatures had a far greater screen presence.
What further fails to fill my appetite are the fight scenes between the monsters, a number of them being cut short; at one point the fight scene takes place over a couple of incredibly quick frames on a television screen hundreds of miles away, Moreover, on the occasions when you are in the thick of it, the blanket of night fall does all manner of annoyances. Although you can often make out what is happening, daylight would have been preferable in illustrating these magnificent creatures in their truest form.
A story of family at heart, it seems the developers of this particular feature on occasion forgot that Godzilla was supposed to play a paramount role, and for this reason the audience suffers greatly. If this studio plans on making a sequel, which may prove unlikely (think what happened last time America decided to create a spinoff), hopefully the creators may consider having any further incursions taking place during the day.