GODZILLA: KING OF THE MONSTERS – WONDERFULLY POLITICIALLY INCORRECT COMIC BOOK-STYLE CREATURE FEATURE

SHORT TAKE:

If you are a fan of Godzilla then you will love this contribution to the now 65 year old franchise.

WHO SHOULD GO:

At youngest, younger teens, for: frightening and extensively violent images of city-wide destruction, human peril and cataclysmic fight scenes with other monsters. There is also some language including one “f” word and blasphemy. And while there is no sexuality shown, there are a small handful of sexual innuendos spoken, which will probably go over the head of most younger teens. There is also a confusing mish mash of paganism and Christian religious symbols and references which could confuse a spiritually immature child.

LONG TAKE:

In 1954 Godzilla inexplicably and emphatically became a cult hit. A rubber suited man emitting a now iconic shriek (created by Akira Ifukube rubbing a resin coated leather glove across the strings of a double bass) wrecks havoc, clumping awkwardly as he lazer-breathes his way through towns and countrysides behind fleeing crowds of (mostly) Japanese victims.

35 films later (all but 3 made by Toho, a Japanese-based film company), the franchise is still going strong. The latest, Godzilla: King of the Monsters, is a loose sequel to the 2014 Hollywood film which firmly established Godzilla to mainstream American audiences as a “good guy” ally to humanity. In point of fact, some Japanese philosophies even see Godzilla as an indifferent “god” of destruction in a cycle of death and rebirth.

At one point a scientist, upon seeing the monster in full, interjects the name of the Lord, to which Rick Stanton (Bradley Whitford – Get Out, Saving Mr. Banks, Cabin in the Woods) punnily follows up with “zilla”. In fact the name Godzilla was never meant to refer to our Creator. It was actually a Europeanized mispronunciation of the Japanese, Gojira, which, in turn refers to an animal which is akin to both a whale and a gorilla.

SPOILERS – but, I mean, come on, this is Godzilla and there’s not that much plot to spoil.

In this outing, Godzilla is a bit of both ally and destructo-machine, as he tromps over the Earth with 16 other “Titans”. The human subplot, which is supposed to keep us grounded to the big critters, involves scientists Mark and Emma Russell, (Kyle Chandler – Game Night, Argo, King Kong and Vera Farmiga – The Nun, Conjuring 2) who lost their son in the first Godzilla movie, (flashback) then divorced. Emma is now brainwashing, I mean raising, their remaining child Madison (the clearly talented Millie Bobby Brown who is the amazing “11” from Stranger Things) to follow in her tunnel vision footsteps, putting her research of the Titans above everything (and I mean EVERYTHING) else.

Rounding out the cast is Ken Watanabe (Inception, Last Samurai, previous Godzilla, Pokémon Detective Pickachu), Charles Dance (staple in film and TV for 45 years, bringing a wicked class and style to everything from Game of Thrones to Shakespeare and a villain in the James Bond franchise), Sally Hawkins (in both the offensively awful Shape of Water and the extremely delightful Paddington movies), and Joe Morton, (whose career dates all the way back to 1951 including the innovative cult sci fi Brother From Another Planet and the classic Terminator 2: Judgement Day).

The rest of the run time is spent watching CGI monsters destroy each other in admittedly spectacular fashion, although a lot of cheating is done in the details by holding all the fights at night, under water or in a Cat 6 (???) hurricane manufactured by one of the “bad guy” Titans.

It occurred to me as I perused a Youtube which did a quick survey of all the Godzilla movies, that the phenomenon of Godzilla has much in common with the Lego movies. Aside from the 1998 Matthew Broderick contribution, which envisioned Godzilla as a more “realistic” mountain-sized Komodo Dragon, Godzilla reminds me of an action figure. Despite all the CGI available, the director, Michael Doughtery, (Superman Returns and a couple of X-Men movies) chose to stick with the stilted, squat, awkwardly moving Godzilla instead of the 1998 lithe, quick and sinuous monster which chased Matthew Broderick through New York City. Similarly to the Lego Movie, which sees the world from the point of view of the toys, Godzilla strikes me as inspired by the imaginations of every child who had a monster toy with which they liked to terrorize their surroundings. The traditional Godzilla MOVES like an action figure with an inverted triangle body, whippy tail with which to bludgeon objects, and tiny useless arms, clumping from side to side as it stomps forward crushing everything under foot in its path – except the “important” actors. The end credits even camp it up, featuring a cover by Bear McCreary of the 1977 Blue Oyster Cult novelty song “Godzilla”.

This is a pulp funny book brought to full Technicolor life with all of the shallowness of plot, disjointed explanations, magic-style “science”, inconsistent character motivations, and single note personalities of a comic book and its denizens. Even so, this is not meant as a criticism or failure of the movie. I suspect this is what the film makers were after. And it succeeds, as such, admirably, throwing in a little wry humor dialogue now and again just to keep things “real”.

As a matter of fact, there is one special reason why I, personally, like this movie. In a delightfully refreshing turn of events, a truth is demonstrated. The monsters have been deliberately set forth to destroy mankind by a recognizably legitimate force for evil, one which wrecks havoc on us in the real world on a daily basis – the Environmental Wacko. The bad guys here boldly state that humans are a “virus” on the Earth which must be scoured off, in their way of thinking, to allow the world to return to its “natural” state. But, of course, in true and honestly portrayed, narcissistic liberal hypocritical fashion, the villain, after murdering tens of thousand of men, women and children with these behemoths, she willing puts all her plans on hold when it is her child at risk. No one else’s child is important though, only hers and hers alone.

Her insane scheme to find and release the Titans upon the Earth is understood by the rest of the characters in the movie as: ridiculous, evil, short sighted, cruel, and – ultimately, flat out wrong. This, of course, can sum up the entire mentality of the extreme environmentalist movement, which wants to put animals above people, prefers human suffering for OTHERS (who are not members of their extreme club) to widespread use of modern inventions, ignores common sense science (like the fact that carbon dioxide is GOOD for the environment as plants LOVE it), proposes hoaxes which further their agenda with NO verifiable evidence (like human caused climate change) but continue to jet around the world using up fossil fuels at a rate the rest of us can only dream about. It’s nice to see the blame placed at the feet of those to which it really belongs for a change.

Godzilla also leans heavily on paganism, reverencing and even calling to some worship of the monsters. That being said there is also some comparisons of Godzilla to Christian motifs – that he died trying to save us, descended to the depths of the Earth and was reborn to arise and defeat an evil monster (well two if you count the environmental wacko). While this has been done appropriately and respectfully in stories like Narnia (NOT that Godzilla even belongs in the same solar system with Aslan), it is a fair point to say not all of Godzilla is pagan, but that there are at least some superficial nods to a Christ-like theology, though it is obvious that the writers neither understand it nor fully embrace it.

So if you are familiar with and are a fan of the mythos of Godzilla then you will not be disappointed in Godzilla: King of the Monsters. But while you should be advised of the heavily pagan-favored worldview, it will at least provide a breath of politically incorrect but common sense-accurate fresh air.

JUSTICE LEAGUE: DC v. MARVEL – It’s a COMIC book not Kafka…..so be nice

SHORT TAKE:

Justice League is an amusing and entertaining excuse to unite the DC comic book characters into their version of Marvel's Avengers but requires some parental supervision because of two short but poorly chosen off hand political and anti-Christian polemics which should require discussion between younger viewers and their parents.

LONG TAKE:

Writing an origin story isn’t easy. You have to deal with a lot of exposition and expectation all while trying to find a new way to tell an established or sometimes even cliched story line. Sometimes it works spectacularly well – like the Chris Reeves’ Superman or this year’s Wonder Woman. Sometimes not so well, like Wolverine or Eric Bana’s Hulk. And when you’re trying to do a team effort that issue becomes exponentially more difficult.

Such is the challenge facing Justice League, especially when three of the characters have only appeared in cameos in Batman V Superman: Flash/Barry Allen (Ezra "Fantastic Beasts" Miller), Cyborg/Victor Stone (Ray Fisher), and Aquaman/Arthur Curry (Jason "Drogo from Game of Thrones" Momoa).

The premise is that Bruce Wayne/Batman, in the wake of Superman’s untimely demise, has discovered that the void left by his super-colleague is attracting very ugly aliens called parademons who look an awful lot like larger flying version of the dwergers from Hugh Jackman’s Van Helsing.

To prepare for the invasion by the parademons master, Steppenwolf (super villain, not the ‘60's band) who seeks to remake the world in his own image, Bruce and Wonder Woman/Diana set out to recruit other supers.  Bruce to seek the Flash and Aquaman, Diana to convince Cyborg. All three of the newbies have troubled pasts (Cyborg, Flash and Aquaman can put their baggage in the closet with the steam trunks from the traumatized Batman and grieving Wonder Woman) but eventually agree, only to find out that their considerable combined efforts will not be quite enough to even create a stalemate with Steppenwolf.

A nice little theme of not putting your light under a bushel, of being able to overcome your fears of failure or worse, dread of the responsibility in leadership, is interwoven in the storyline, but only as light embroidery, not as sustaining warp and woof of this cinematic costume quality fabric.

Other reviewers have complained the story felt disjointed and somewhat disconnected. By necessity this is what happens when you try to introduce three major players into a five "man" mix with a story intended to propel them together and still try to keep the movie less than 15 hours long. A few things have to be cut and you have to edit down a bit.

While Justice League isn’t as lighthearted as Guardians of the Galaxy nor near the apex of the genre that is  The Avengers, or Wonder Woman, it’s an engaging enough flick. And isn’t that good enough?! I mean, come ON, it’s a live action comic book!! If you want Shakespeare then you could watch…..well, OK Branagh’s Thor….

But seriously, there are at least four compelling reasons why I liked Justice League and can forgive them a lot of plot and presentation weaknesses because of them:

1. We get the return of Wonder Woman in a vehicle which did not require a three year wait as many other sequels are glacially cranked out. It was very nice to see Gal Godot don the Amazonian one piece and watch as she balletically beats up bad guys again.

2. DC has managed, as with Wonder Woman, another transformation I would never have thought possible. As a kid Aquaman was on the top of the list for the lamest of super heroes. Mostly a Ken doll who could hold his breath for a very long time he didn’t even make a blip in my Superman-loving radar. But in Justice League Aquaman is a whiskey swilling, tatooed, long haired Norwegian-ey good ole boy who looks like a wrestler and acts like a rock star. This guy is just fun to watch as he exudes the kind of joy battling parademons we haven’t seen since Woody Harrelson’s delightful walking dead killing spree in Zombieland.

3. We see the return, albeit in cameos, of Jeremy irons as Alfred, JK Simmons as Commissioner Gordon, and Cyborg's father Silas Stone played by Joe Morton, whose pedigree with sci fi dates back a lot further than you might think – through a stint on Warehouse 13, to a key role in the Terminator franchise all the way back to 1984's quirky sci fi indie Brother from Another Planet.

4. And most importantly, which reason would have been enough to get me to see this movie all by itself……..well……I’m not going to tell you, but you’ll know it when you see it.

That being said, there are also three reasons I have to take exception to, which are largely unrelated  or at least unnecessary to the story or comic book characters per se:

1. GLOBAL WARMING PROPAGANDA:

Bruce shoehorns a throw away comment to Aquaman about global warming as though it is an established fact rather than the cock and bull fantasy of environmental wackos who want an excuse to tyrannically limit First World progress into the 21st century in order to feather their own Al Gore-jet flying coffers.

2. ANTI-CHRISTIAN CHEAP SHOT:

Lex Luther takes a gratuitous stab at Christianity which I, for one, didn’t appreciate. Granted, he is a bad guy, but his comment stepped right over offensive into blasphemy. When a statement is so over the top that it shocks you out of the suspension of disbelief it does nothing to promote the storytelling either. It neither served the plot or character well nor will endear it to any Christian audience members, and was just plain rude. I continue to be annoyed by the singular targeting of the Judeo-Christian faith by a Hollywood which used to produce movies like Going My Way and Schindler’s List.

3. As I have alluded to in the earlier part of this post there is an awful lot of derivatives, echoes and dopplegangers between the two rival comic book universes DC and Marvel. Along with the ones I have already mentioned like parademons, there is Steppenwolf (DC comics) who looks a LOT like a combination of the fire demon Surtur who appears at the beginning of Thor: Ragnarok (Marvel comics) and Thanos from Guardians of the Galaxy (Marvel). Further Steppenwolf’s goal is to bring together three "mother boxes" (DC) which are not explained well but when glowing look like red versions of  the blue Tesseract from The Avengers (Marvel), and when joined will reshape the Earth with tentacle transformers made of Element X (DC) which look an awful lot like the tentacles from Thor: The Dark World set loose by the Dark Elf Malekith from the Aether (Marvel).

See what I mean? After a while they all kind of blend together. In addition, the are a LOT of other counterparts in each world. I have made a short list below of the most noticeable ones. (And the years they first appeared in order to put to rest any debate about who predated whom. In short – DC and Marvel took turns being "first".)

DC vs Marvel

For the most part Justice League is an airy simple romp. Lots of cartoon violence, super powered heroics, and over the top demonic bad guys. Bringing the "old band back" is a hoot to watch and like the first Star Trek movie, or the first waffle off the griddle, they are entitled to "warm the pan up," so to speak, for future efforts. Besides, they should be able to pull off pretty much anything now that they have Wonder Woman and………you'll see.