Godzilla II – King of the Monsters Michael Dougherty | Review


Published on May 29, 2019


We live in a period of historical-social-political-climate difficult and audiovisual media seems not to know forget.

If in the Avengers Infinity War the solution of Thanos for the planet was to eliminate 50% of the world's population to restore the natural balance, and to combat overpopulation and the problems it caused, in Godzilla II – King of the Monsters director Michael Dougherty wants to remind us that humanity seems to be the disease and not the cure, the problem and not the solution, and that the remedy may prove to be these Titans, these First Gods, these Monsters that inhabited the Earth before us and who now claim to have it. In the japanese tradition of kaijū their “(re)birth” is related to radiation and nuclear war as a metaphor to denounce the sins of man, so that it is used now in the MonsterVerse, Warner Bros. and Legendary Pictures is certainly not a case.

Just like in the Godzilla of Gareth Edwards in 2014, the story unfolds around a family nucleus. If there was composed of the “triad” of Juliette Binoche, Bryan Cranston and Aaron Taylor-Johnson, this time we have Kyle Chandler (that someone will be seeing on tv in the role of the terrribile commander in Catch-22), Vera Farmiga (which we will review in the role of Lorraine Warren in the third chapter of Annabelle always to Warner) and Billie Bobby Brown (Eleven of Stranger Things). Also there, the family was divided because of the monsters, but as said above, the same could reunite her. Maddie (Brown), a much more protagonist than it would have been any other actress in the same role) says to his mother (Farmiga) at a certain point, “You're a monster”. Are we humans really the monsters?

The most successful part of Godzilla II is – paradoxically for a film from the huge stage like this - not the CGI, which seems to be a few steps below that of the films of 2014, but rather the human part, so dear to the genre of sci-fi because that is closer to the viewer. And’ in the messages, and in the subtexts, in the metaphors, in open dialogues, in the character of Vera Farmiga that the humanity of today is summed up, clashes and questions from the difficult answers. Scientist, mother, woman ready to do anything. It is precisely in women than in men of the film (Chandler, a found Ken Watanabe) which seems to be kept the key, the answer, the cure, the solution.

The stage remains, however, far from poor, pays homage to and expands the genre, staged in a gigantic and monstrous that seeks to raise more and more of the shot in the action scenes and to show the muscles, in the fields, the long and the long of the devastation in contrast to the early plans and to the details of the parts of the body (such as eyes) of the Titans. Presents and develops other Monsters that are part of the MonsterVerse (in 2019 if you do not have a shared universe in the blockbuster movie, you're nobody), waiting for the climax next year in a fight between King Kong and Godzilla, the two Titans of the most representative.

Where can this sequel is also in his subtitle – that brings all the Monsters together to fight – and then bow? – the supreme King of the Monsters. In each pack there is an Alpha, which manages and controls the other: the saga of the Dragon Trainer, has taught us that in the world of Dragons it was Toothless, not for tonnage, but for power, while in the other universe, you win for size and power, which go hand in hand at Godzilla and make him the solution, not the problem. The cure, not the disease. Maybe.

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