Godzilla: King of the Monsters - A Review

****THIS IS A SPOILER FREE REVIEW! THIS REVIEW CONTAINS ZERO SPOILERS!!****

My Rating: 2 out of 5 stars

Popcorn Rating: 2.75 out of 5 stars

My Recommendation: SKIP IT. It isn’t awful, but unless you are an avid Godzilla and monster movie fan like me, there is really no need to make the effort to see this one in the theatre.

Godzilla: King of the Monsters, directed by Michael Dougherty and written by Dougherty and Zach Shields, is the story of the Russell family, Mark, Emma and Madison, as they come to grips with their grief and with famed monster Godzilla. The film stars Kyle Chandler, Vera Farmiga and Millie Bobby Brown as Mark, Emma and Madison respectively, with supporting turns from a cavalcade of actors such as Ziyi Zhang, Ken Watanabe, Charles Dance, Sally Hawkins, Bradley Whitford and O’Shea Jackson, to name just a few. Godzilla: King of the Monsters is the 35th film in the Godzilla franchise and is the third film in Legendary Entertainment’s Monsterverse (Godzilla 2014, Kong: Skull Island 2017).

As I have stated before, I am a confirmed Godzilla fan. As a kid growing up, as all the other kids were going crazy for Star Wars…I was obsessed with Godzilla and Planet of the Apes. During my childhood, if on a Saturday one of the local UHF channels just happened to be showing a Godzilla movie, it felt like Christmas. As a kid I also maintained a treasure trove of Godzilla toys and that compulsion has stayed with me well into adulthood. As a young and eligible bachelor living the high life in Brooklyn in the 90’s and 00’s, I had a circular table in my living room that was covered with Godzilla action figures which I proudly dubbed “Monster Island”. As you can imagine it was a huge attraction that brought many ladies into my lair and acted as a powerful aphrodisiac upon them. Nothing gets panties to drop quicker than a prominent display of Godzilla figurines.

It was during this time that Hollywood ventured into the Godzilla waters with Roland Emmerich’s accurately titled Godzilla (1998). Being the idiot fan that I am I rushed out to see this Godzilla reboot as fast as I could. The film, which I’ve since re-named Ferris Bueller’s Godzilla because it starred Matthew Broderick of all godforsaken people, was atrociously bad.

It took another 16 years, but Hollywood got back in the Godzilla business with 2014’s also aptly titled, Godzilla, directed by Gareth Edwards. Once again I rushed out to theatres to see my favorite monster and once again I left the theatre deflated after suffering through a truly terrible monster movie.

For further proof of my Godzilla nerd-dom bona fides, one need look no further than the fact that I actually wrote a very controversial and polarizing piece of Godzilla fan fiction and posted it to this website to coincide with the release of Godzilla (2014). This piece was so culturally radioactive it was met with an avalanche derision and scorn, up to and including death threats.

In 2016, much to my relief the Japanese studio and originator of the Godzilla franchise, Toho, released Shin Godzilla. I am such a fan of Godzilla (and Toho), that I actually waited in line early on a Sunday morning outside the Royal Laemmle Theatre to get tickets to see it. Thankfully, this was an enjoyable Godzilla movie experience.

In terms of the recent Hollywood Godzilla franchise, the 2014 Godzilla was the first film in Legendary Entertainment’s Monsterverse, and it definitely got that franchise off on the wrong foot. It was followed by Kong: Skull Island, starring the dead-eyed and empty-headed Brie Larson, which was so awful it made my teeth hurt. Kong: Skull Island was so bad it did the impossible, it made Godzilla (2014) look like Citizen Kane in comparison. Which brings us to the most recent film in the Legendary Monsterverse…Godzilla: King of the Monsters.

After my checkered Godzilla movie-going past, you might have thought I'd be hesitant to rush out and see Godzilla: King of the Monsters, well…you greatly over-estimate my intelligence. While I certainly did not have high expectations, in fact, my expectations were incredibly low, that didn’t stop me from going to see the very first showing of the film on opening day…which ended up being a 4 pm show on Thursday afternoon.

My basic takeaway from King of the Monsters is this…it isn’t good…but with that said I also must admit… it could have been a hell of a lot worse. The biggest problem with the Hollywood Godzilla movies is that they use Godzilla as a prop for human drama as opposed to using humans as a prop for Godzilla drama. These movies spend so much time trying to get us to care about stupid people doing stupid things instead of just giving us what we came to see…Godzilla. I mean, Godzilla’s name isn’t above the title…IT IS THE TITLE.

To King of the Monsters credit, it does give us much more Godzilla than its predecessor did…but that isn’t exactly a high bar as Godzilla (2014) had so little Godzilla it should have been titled Waiting for Godzilla. Why studios need to stick to the usual formula of spending time trying to get audiences attached to second rate actors like Kyle Chandler or Vera Formiga is beyond me. You can show them, and spend a wee bit of time developing them, but then just leave them to try and survive the ultimate god encounter…namely…Godzilla.

King of the Monsters goes through the motions of trying to be a real drama, and uses certain cliched narrative devices…over and over and over and over again…in an effort to give deeper meaning to the monster festivities, but this all rings monotonous and hollow. It is like the film gets stuck in a plot loop and can’t get out of it so it simply repeats the same dramatic pattern every half hour except with different characters.

The cast are all fine I guess. I mean, I totally get how difficult it is to act in such an absurd movie with such terrible dialogue, so I cut the cast excessive amounts of slack. That said…the ever-awful Bradley Whitford does his very best to ruin the movie all by himself. Whitford is so repellent a screen presence he needs to be thrown into a volcano and sacrificed to Rodan for the good of all humanity.

On the bright side, 15 year old Millie Bobbie Brown is a really good actress. Brown has hit it big after her captivating work on Netflix’s break out hit Stranger Things. Brown’s greatest asset is that she is alive on screen and pulsates with a palpable humanity. She is also very beautiful, and I have to admit I find myself very concerned for her well-being, as Hollywood is a tough town for anyone, nevermind young people, and it is riddled with predators who use their power to prey upon the young and the weak. It is disconcerting to see Brown being “sexxed-up” by the industry and her handlers, and I only hope she can keep her wits about her as success can be very disorienting at such a young age.

Another plus is seeing Ziyi Zhang in a prominent supporting role. Zhang, who you may remember from Crouching Tiger, Hidden Dragon, is a beguiling beauty and formidable actress and it is a shame she has been missing from American cinema for so long.

As for the monsters…well…the results are mixed. Godzilla looks great, really great, and we do get to see more of him and his rampages than we did in Godzilla (2014), but not enough of him. The other monsters, King Ghidorah, Rodan and Mothra are all just ok. I actually thought Ghidorah was pretty underwhelming visually especially compared to the dragons on Game of Thrones, which surprised me as you’d expect a feature film to have better effects than a tv show. Rodan also felt a bit off visually and that was a disappointment as he has historically been a good foil for Godzilla.

Mothra makes an appearance and is also not the most captivating visual presence. To be fair though, I have never liked Mothra at all. I always thought it was moronic to have a moth be this powerful being…I mean…it is a fucking moth for goodness sake.

The visuals of King of the Monsters are, much like its predecessor, decidedly dark, although this time around there is a higher level of clarity and coherence with the cinematography. We do get to see some clear shots of Godzilla and have a better idea of what is happening during his big fights, but I could use a hell of a lot more of it.

There are a few notable shots in the movie as well…including the usual iconic posing from Godzilla himself. There is one gorgeous shot of Ghidorah that is bursting with symbolic and thematic power, where Ghidorah spreads his wings atop a mountain with a cross in the foreground, that is really well executed. But then the impact of that shot was diluted when the filmmakers made the curious decision to literally show it about four more times.

The plot of King of the Monsters is riddled with illogic and inconsistencies and makes little to no sense. The movie also has little sense of time and space which can make it somewhat dizzying affair. The reality is that the film needlessly tries to explain everything and by doing so just confuses things even more.

In conclusion, if you love Godzilla movies you will find this one to be passable but not particularly great. If you are lukewarm on Godzilla movies and are looking for some mindless fun…stay away from this one as it is a little too mindless and a little short on fun. At the end of the day, Godzilla: King of the Monsters isn’t good enough to do anything more than preach to the most adamant of the Kaiju faithful.

©2019

The Shape of Water: A Review

****THIS IS A SPOILER FREE REVIEW!!! THIS REVIEW CONTAINS ZERO SPOILERS!!!****

My Rating: 4.65 out of 5 stars

My Recommendation: SEE IT IN THEATRE

The Shape of Water, written and directed by Guillermo del Toro, tells the tale of Elisa, a mute janitor, and her relationship with a mysterious humanoid-amphibian creature being held in a secret government facility in Baltimore in 1962. The film stars Sally Hawkins and boasts supporting performances from Octavia Spencer, Richard Jenkins, Michael Shannon and Michael Stuhlberg. 

I had zero expectation when I went to see The Shape of Water. I really enjoyed director Guillermo del Toro's earlier film Pan's Labyrinth, which was a dark and hypnotic fever dream of a film, but had not ventured to see his more Hollywood friendly, commercial films like Hellboy or Pacific Rim, as they held no interest for me. All I knew of The Shape of Water was what I had seen in the trailer, which was that it was some weird inter-species romance movie. Having seen the film, I can attest that it is that…but it is also so much more. 

The Shape of Water is a glorious film and is easily one of the best movies of the year. Director Guillermo del Toro has created a truly original and unique piece of cinematic art that drips with rich religious, political and mythological symbolism. Del Toro masterfully delivers a deliciously subversive take on an unconventional love story by paying homage to the storytelling conventions of Old Hollywood by turning them on their ear.

Del Toro is well-known as a visual virtuoso and The Shape of Water is no exception. His collaboration with Danish cinematographer Dan Laustsen results in a cinematic symphony where nearly every shot could be hung in an art museum. Del Toro and Laustsen's delicate use of color and shadow create a lush texture for the film that is palpable. Laustsen's brilliant use of varying shades of green and a sparing but vibrant red do not just create a visual feast but also convey the deeper psychological and political sub-text of the film.

Del Toro also coaxes outstanding performances from his noteworthy cast. Sally Hawkins gives an exquisitely sublime and bravura performance as del Toro's mute leading lady. While Ms. Hawkins character Elisa never utters a single line of dialogue, she speaks volumes with her entire being, never wasting a single moment of screen time. Ms. Hawkins uses specificity and intentionality to imbue Elisa with a tangible yearning that is breathtaking in its earnestness and tenderness. To Hawkins (and del Toro's) great credit, Elisa is never reduced to a child-like state of innocence where the audience would pity her, but instead she is a capable and sexually aware full-fledged woman struggling to find her voice, which makes the film very topical if not downright prescient.  

Richard Jenkins gives an absolutely magnificent performance as Giles, Elisa's friend and next door neighbor. Giles is at once both pathetic and defiant, ferocious and forlorn. Jenkins is a consistently fantastic actor and his work as Giles is a testament to his extraordinary talent, skill and commitment to craft. 

The rest of the cast, Octavia Spencer, Michael Stuhlberg and Michael Shannon all do exceptional work in their supporting roles. It is difficult to single one of them out above the others, but if forced to I would only mention that Michael Stuhlberg's work as Dr. Hoffstetler is a complex and subtle piece of genius that is a pleasure to behold. Stuhlberg is an often overlooked actor but he is devastatingly good.

Ms. Spencer and Mr. Shannon are two great actors as well and their work in The Shape of Water is, as always, stellar. Ms. Spencer is such a master craftswoman that her acting always feels like it is entirely effortless and so it is with her portrayal of Elisa's friend Zelda. And Michael Shannon, who plays Colonel Strickland, is like a volcano on screen, even when he is dormant, he emanates a dynamic combustibility that is unnerving. It was a true pleasure to watch such a superior ensemble work their magic in The Shape of Water.

The Shape of Water isn't just an entertaining and moving film, it also surreptitiously and masterfully comments on American capitalism, empire, Russo-phobia, McCarthyism, the feminine, love, psychological and spiritual evolution and the human urge to know God and thyself. (see Addendum below - warning it has spoilers in it). Del Toro and his superb cast are all able to tell multiple layers of the same story without ever being obvious or preachy. Watching the myriad of themes and layers of the film be expertly woven together is a joy to behold and makes for a  compelling and magnetic movie going experience. 

In the sea of cinematic brilliance that is The Shape of Water, what stood out to me the most though, is that this is a bit of a weird fantasy film, set in a different time period, and yet is pulsates with a genuine and tender humanity that is completely absent in other more contemporary and "reality-based" films like Three Billboards and Lady Bird. Those films are devoid of the true, genuine human experience that is the dramatic heart of The Shape of Water and that is a monument to the impeccable artistry of Guillermo del Toro and his superior cast.

In the final analysis, The Shape of Water is a lush and luscious film that is an artistic feast for the eyes and the psyche. This film speaks to both cinephiles and cine-peds (my new word for people with more pedestrian tastes in movies), I highly recommend you dive in deep into The Shape of Water and spend your hard earned money and invaluable free time to go see it in the theatre. 

©2017

ADDENDUM

****WARNING: THIS ADDENDUM CONTAINS SPOILERS!!****

The spoiler free review is above, but I had written a few thoughts in an earlier draft on the deeper meaning of the movie and realized they may constitute a violation of my claim that this was a spoiler free review, so I figured I would excise them from the review and haphazardly share them in an addendum for those who were interested. If you haven't seen the film yet, and want a "virgin" experience, then skip the following sections entirely. 

- The film's political and religious symbolism is there for those who wish to find it. The movie is again prescient in that it recalls the Russo-phobia of the early 1960's and the McCarthyist impulse which accompanies it and which is rearing its very ugly and dangerous head once again now. The film also subtly and gracefully reveals the moral rot at the core of American empire and American capitalism.

Del Toro masterfully exposes American capitalism as being a cancer on the soul of humanity (a great example is Colonel Strickland and his perfect yet loveless family and his new car which is green…with envy…and his hand which is gangrene…as he is, like America, rotting from within), and reveals the American dream to be the result of a fever that will eventually drown/suffocate us all. Like George Carlin says, "they call it the American dream because you have to be asleep to believe in it".  In the case of The Shape of Water, in order to awake from the nightmare of the American dream, one must evolve, or maybe the better word for it is…devolve…and return to the depths of our truer selves where we live from our heart and can become gods. 

- Not surprisingly due to the title of the film, the symbolism of water is throughout the movie. In a Jungian context, water is symbolic of the human psyche, and to dive into the deep waters is to explore our sub-concious. Keep this in mind whenever water is present in a scene in The Shape of Water. Understand that in order for the individual and the collective to evolve, dipping our toe into the pool of our minds is a must if we ever hope to dive into the depths of our deeper meaning and purpose. Integrating the knowledge found in the depths of our psyche occurs when we integrate with a creature from the depths. So in The Shape of Water, when Elisa is trying to understand the creature, she is really trying to understand herself. True integration…the melding together of the old knowledge with the new, occurs when Elisa and the creature have sex…in water. 

Also note that Elisa is only connected to her sexuality in water…her ritualistic bath and masturbation are her "dipping her toe" into the pool of her psyche. It is also, in a religious sense, like going to Mass. But Mass is only a simulation of the God experience, when Elisa is in the water with the creature and they have sex, that is the ultimate integration/God experience. Only with the God experience can humanity and/or Elisa's psyche develop. 

There are also obvious symbols of the creature being a Christ like figure. He has a wound on his side for example, and he is chained to a central spot, like a mandala, and is tortured and beaten by a guardian of the American/Roman Empire. The creature also has mysterious and miraculous healing powers for himself and others. 

The egg is also is a pretty interesting symbol in the film. Obviously the egg is a symbol of fertility and birth, and also of the universe. Elisa feeding the creature her egg is symbolic of her offering her feminine energy to him, he devours it and integrates it and thus is not just a male, but like a god is both male and female. This is also why the question of his genitals comes up and Elisa explains that it is contained within him but is revealed at the right moment, almost like his body is a tabernacle and his genitals the god housed within. 

If you look carefully throughout the film, you will see lots of religious Catholic symbolism. if you can, notice the shape and positions the characters are in when they are in water. There are mements when they look as if they are hung on a cross, or are in a Pieta pose. 

Alright…those are just some brief and scattered observations on the film. I really loved the movie and I wholly encourage you to see it, or to see it again. If you do see it again keep your eye out for the when, where and how del Toro uses the color red and the color green. And also take note of water!!

©2017