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.

DARKEST MINDS – DERIVATIVE TEEN ROMANCE DRESSED UP AS WEAK DEPRESSING SCI FI

SHORT TAKE:

Paint-by-numbers teen-romance/sci-fi full of plot holes and borrowed ideas.

WHO SHOULD GO:

Mid to older teens only, for language, X-Men style violence and a couple of aggressive advances by pervy bad guys.

AND IF YOU LIKE THESE REVIEWS PLEASE SUBSCRIBE! THEN YOU'LL GET     EVERY NEW REVIEW SENT STRAIGHT TO YOUR E-MAIL!!

GO TO THE BOTTOM OF THE LEFT HAND SIDE AND TYPE YOUR E-MAIL IN – IT (SHOULD BE) THAT EASY. ANY PROBLEMS PLEASE SEND ME A COMMENT AND I'LL DO MY BEST TO RESOLVE YOUR ISSUE.

LONG TAKE:

Combine Divergent with the new/retro X-Men then flavor with a teaspoon of Children of Men and you have Darkest Minds.

Based on a series of books by Alexandra Reagan, the premise is that a virus infects all children. Most die but the survivors are left with superpowers. The government is afraid of them so, on the pretext of looking for a cure, rounds them up into prison-like camps, where they are overseen by abusive soldiers, given menial tasks to do and occasionally euthanized. One of the internees, Ruby, (Amandla Stenberg from Hunger Games) gifted with mind control, escapes with the help of a sympathetic doctor, Cate (Mandy Moore) and seeks sanctuary with other runaways.

There are so many weak, illogical and unappealing features to this movie that I will only hit upon the highlights.

The two favorite whipping boys of the lazy liberal screenwriters are corporate CEOs and the military. Our military are the scapegoats in this one. All are seen as cruel and abusive to the last remaining children on the planet. Not only is this stupid, but would be an enormous waste of incredible powers displayed by the children. For example, heightened intelligence children are sent to polish shoes. Why? Why are they not put to work creating super gizmos?

Set ups are never paid off. In one scene, our protagonist is cornered by a pervy-acting soldier and another girl deliberately makes him angry to distract him. She is taken away, presumably for punishment, but we never see her again.

Ruby sends a bounty hunter off into the woods to walk herself to death. Then the kids walk off into the same woods without ever mentioning her again. Also, this is almost exactly the punishment Wolverine's dying girlfriend, Kayla, metes out to Stryker at the end of X-Men Origins: Wolverine.

Along with enhanced intelligence, powers of other children in the camp include telekinesis and the ability to control electricity.

Children who demonstrate more powerful abilities such as mind control or fire breathing are euthanized.

If a corrupt military had access to this kind of firepower, the idea that these children would be either killed or corralled and simply housed is ludicrous. Why would they not at least weaponize them?

There is no reveal as to what was going on in the rest of the world. If it was only in the United States, we would have a significant advantage with a race of super children. Was the virus a pandemic? Where did the virus come from? Was it manufactured ? of alien origin? Was it supposed to be a natural part of humans' development? The writers seem more interested in making the military look inherently evil and jumping right to the teen drama than writing a solid coherent story.

The performances of the children are adequate but fairly banal and what you might expect in a teen romance film dressed up as a Sci-Fi.

It's a shame because they had the skeleton ideas for a really good movie. One thread they could have followed was when the runaways come upon an abandoned farm and one of the older kids mentions simply but insightfully: no children, no economy.

This is common sense the global warming cultists and the abortion mentality fanatics fail to grasp. Putting aside the Holocaust level atrocity of the philosophy that there are too many of us and that children, thereby, are at best an inconvenience and at worst a plague to be minimized or eliminated, it is a basic fundamental of economics that a population does not grow also does not thrive.  This is a concept that the far superior Children of Mendid not just glance at but understood and embraced.

The devastated and abandoned areas in Darkest Minds the children come across are one of the few accurate portrayals of the outcome of the loss of our next generation. To do a crossover moment, this is the landscape that Thanos and those others who believe in overpopulation, would create. Darkest Minds could have been a kind of Children of Men spinoff but this point was never followed up.

Another really good idea which was little utilized was Watership Down, a brilliant story by Richard Adams seen from the point of view of a group of adventuring rabbits. The idea of a group of intrepid outcasts, wandering from one dysfunctional society to another in the wake of a massive catastrophe, rejecting them all, seeking sanctuary and finding it in family would have been a real upgrade to this plot. Instead, Ruby, the main protagonist, finds this book to read to the youngest child in their group. The blessing that God gives to rabbits is quoted: "All the world will be your enemy, Prince with a Thousand Enemies, and whenever they catch you, they will kill you.But first they must catch you, digger, listener, runner, prince with the swift warning." Ruby applies it to her love interest, Liam (Harris Dickinsen), but this is unearned. "The Prince with A Thousand Enemies" is a clever trickster leader who brings his family through a series of dangerous adventures. Liam, while a nice young man, is merely one of a group of kids trying to survive. He's not an especially strong leader, nor shown to be particularly adept at thinking outside the box. If they wanted to make this Watership Down analogy work they should have set it up properly, instead of just throwing it in hoping it would stick by virtue of having been mentioned. This tactic does not work.

Ruby kills somewhat randomly, though not without reason.  She forces soldiers to shoot into an opposing group, gets a helicopter pilot to do a suicide dive, and makes the pervy soldier shoot himself in the head. I only bring this up because elsewhere in the movie the group she is with objects to the idea of joining an anti-government group call the Children's League. They are afraid the League would train them to be soldiers and kill people. Seems a bit inconsistent without at least some espoused rationalization. The screenwriters need to pick a side and stick to it. Is it okay to use these powers lethally or not?

Essentially, this is a so-so forgettable teen romance with about as much originality as Eragon, set against a background of sci-fi which plays out like a first treatment idea instead of a fully fleshed-out screenplay.

Finally, I must wonder why screenwriters almost always see the future as dystopian. Granted a conflict is useful in the creation of an interesting story, but there's no reason a functioning healthy society couldn't be challenged, instead of starting from the assumption that life sucks. Star Trek, Dr. Who and the Avengers – three of the most profitable and long lasting frachises in all of cinematic history – all celebrate more often than not, the advances, achievements, creativity and essential goodness of humanity – and that sentient life is the most valuable thing in the material Universe. You'd think the writers of such depressing movies as Hunger Games, Divergent, Ready Player One, The Road, Book of Eli, 12 Monkeys, Blade Runner, Fahrenheit 451, Clockwork Orange, and Brazil would start from a more optimistic threshold. After all, what is the point of fighting for a world which will not get any better? Not that these are all bad  movies – on the contrary many on the list are classics. It's just you'd think the truly creative might come up with a more positive outlook on life and our future. As Trek and Who, in particular, have shown, it is possible to have conflict and even make intelligent social commentary and still have a more optimistic view of life. Just sayin'.

WARNING: A little bit of language, some X-Men style violence of gunshots, fire breathing, explosions and people being thrown around, along with the pervy antagonist scenes, makes this suitable really for older teens and up only. If you were comfortable with your kids seeing X-Men, this would likely be fine.