GODZILLA, KING OF THE MONSTERS

US, 2019, 132 minutes, Colour.
Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Ziyi Zhang, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Asia Hinds, O' Shea Jackson Jr, David Strathairn.
Directed by Michael Dougherty.

Well, over the decades, we have become very used to Godzilla. In the olden days he came from Japan, then he appeared in Japanese- American coproductions, and, since the 1990s, he has been appearing in American blockbusters like this one – and already, a sequel has been announced, ominous for large battles, Godzilla versus Kong.

This adventure is definitely for the fans, others may find the experience too overwhelming – and, especially, too, too loud.

After the destruction of San Francisco where expert scientist, Dr Emma Russell (Vera Farmiga) lost her son but is now very protective of her daughter, Madison (Millie Bobby Brown), and alienated from her expert husband Mark (Kyle Chandler), has been working on a machine to control giant monsters.

And there are giant monsters around (or rather, underground) eager to emerge, Godzilla included.

The preoccupation is not on global warming but, rather, the havoc wrought on the planet by overdevelopment and a theory that humanity has almost destroyed itself but the re-awakening of the monsters and their being let loose will actually have the aftermath of regeneration of the earth and its productivity. Plenty of questions there!

Emma is a proponent of this theory. Mark, who has been called in to combat the monsters, thinks otherwise. Then, there is a large squad of scientists and technicians who travel around, try to control the monsters, and, of course, the American military is hostile to them and wants them destroyed. And that, more or less is what we see.

Perhaps it is more rather than less. Quite a number of the creatures come out from underground locations which had been supervised by a company called Monarch. As the monsters emerge, the humans are in conflict. And, to say the least, the monsters themselves are in conflict. There is the supervised emergence of Moth rather in China. There is also the emergence of the monster, Rodan. But, certainly fixing our attention is the extraordinary three headed monster, King Ghidorah.

As even more monsters emerge, they begin to fight with each other, the three headed monster definitely having too much advantage over the others! The battle sequences between the monsters go on and on, flailing, vicious attacks, destructive intent. And there were roars! Roars is something of an understatement given the technical means of amplifying and over-amplifying volume. Sitting in the cinema seat, one can’t avoid it – except by escaping.

And this is the setting for the monster saviour, Godzilla, to resurrect, to appear, to combat the other monsters, not without some self-sacrifice on the part of the humans, alienated husband and wife combining to find solutions as well as to save their daughter.

Quite a number of prominent actors in supporting roles, perhaps indulging their zest for Godzilla stories.

One for Godzilla fans, not one for Godzilla non-fans who would prefer an alternate, rather more restful, cinema outing.

1. The long tradition of the Godzilla films? The Japanese origins, the story of Godzilla, Godzilla and destruction, film showing Godzilla and alliances with humans? Godzilla sympathetic in this film – and the preparation for yet another film, with King Kong?

2. The explanations of the monsters, their variety, Monarch and their surveillance? The various locations around the world? Scientific observations? Technology to control the monsters? Seeing the technology in action?

3. The special effects, the variety of monsters, Moth rather, the three headed monster, spiders and variations on other species? Their emergence, size, interactions with humans, fights amongst themselves – the editing of the many fights, the long fights, the volume of sound that they emitted? The visualising of their energies, from within?

4. The human story, the focus on the destruction of San Francisco, the death of the son, Emma and Madison, working on the machines, their absent father, the aftermath of the death, his continued explorations and experiments? Alienation?

5. The intrusion of Jonah, his command, intentions, working with Emma, the machine, the control of the monsters?

6. Emma, her theories, human destruction of the earth, the monsters and there being able to renew the earth? Bypassing of issues of climate change? More apocalyptic experiences for eventual renewal?

7. The American military, the meetings, the officials, equipment, the destruction of the monsters?

8. The various scientists, their experience, finding Kyle, bringing him back, his desire to see his daughter, confrontations with Emma, his skills, knowledge, technology?

9. Seeming disasters, the emergence of the range of monsters, emerging from under the earth, conflicts? Trying to locate Godzilla?

10. The conflict between Emma and Kyle? Their conversations, Madison shown in siding with her mother?

11. The main action and the conflicts, the dangers, the human response? The professor, the international group on staff, their varied stances, the professor sacrificing himself? Encouraging Godzilla?

12. Madison, conflict between mother and father, her escaping back home, the machine? The threats? Her parents finding her, uniting?

13. Godzilla, confrontation of the of the monsters, destruction?

14. The information about the earth being renewed in the aftermath of the monsters? The role of Godzilla – and for the future?