Godzilla (2014) Movie Review 1 2165

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Ever since he first appeared on the big-screen in Ishiro Honda’s 1954 classic film Godzilla, the giant monstrous lizard has featured in dozens of films as well as comics and video games, generally becoming a Japanese cultural icon. Western audiences will probably know him best from the disastrous (no pun intended) 1998 film directed by Roland Emmerich, one that was equal parts silly as it was boring. But now we have a new Hollywood blockbuster telling of the iconic character from director Gareth Edwards who previously made, rather fittingly, the low-budget hit Monsters. What results isn’t the giant monster movie, or even the Godzilla incarnation, to end them all as you might hope for but nevertheless an entertaining experience of spectacle.

Fifteen years on from a tragic incident at a nuclear power plant in Japan, we follow Lieutenant Ford Brody (Aaron Taylor-Johnson), a soldier happily married to his wife Elle (Elizabeth Olsen) with whom he has a five year-old son. Just after arriving home from duty he is called away again, this time to Japan where he has to bail his father Joe (Bryan Cranston) out of jail after he arrested for trespassing. His father is convinced that the nuclear incident wasn’t the accident the government says it was and that they’re hiding something big from everyone.

Believing that his father is just being paranoid at first, Ford and the rest of the world soon discover there are giant creatures out there, dubbed “Mutos,” threatening humanity. As he tries to get back home to his family amidst the chaos, the government try to figure out how to deal with the dangerous creatures at the same time as the return of Godzilla, a giant lizard which the government tried to destroy decades prior.

Given his experience in creating impressive visual effects on a small scale, convincing us of a monster-filled world that wasn’t really there, Edwards is well placed to throw that creativity onto an even bigger canvas. And he, indeed, proves a shrewd choice of director for this American reboot of the famous behemoth, delivering just the right kind of monstrous spectacle you’d want from such a film. This particular incarnation is gone the ultra-serious route popularised in blockbusters by Christopher Nolan and his Dark Knight trilogy. And while some may find that sucks the over-the-top silly fun out of it – evidently Pacific Rim stole all the funny bones for its giants vs. giants carnage last year – it nevertheless takes the film down a different, perhaps more interesting route of placing it in a real world context.

Absurd as both the timelessly ludicrous premise and specific plot are, its serious take on the idea helps you to be able to invest in what’s going on in context, even if it may make less sense the more you think about it afterwards. It places the imminent disasters it presents in a threatening and believable way, making it a world event in which we don’t always see the titular monster in full-view but maybe just catch glimpses of him on a TV in the background or the slight glance of his tail as he walks between two buildings. It also provides an interesting perspective on the eponymous “villain,” shaping him somewhat in the misunderstand monster mould while never going so far as to crudely anthropomorphize him.

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Father and son – Bryan Cranston and Aaron Taylor-Johnson

The visual effects and sound and creature design are stellar, seamlessly and convincingly creating a truly awe-inspiring 350-feet tall gargantuan monster with that all-important, ear-splitting roar that’s become so instantly recognisable. While the pace of the film is erratic at best, with long-stretches of monster-less waiting with sudden bursts of action, when the action does kick in it is equal parts entertaining, breathtaking and technically stunning. There’s a sense of momentum to the film – even in its slower moments that regrettably fall onto the shoulders of characters that simply aren’t that well written (more on that soon) – that builds until the typically outlandish finale which gives Man of Steel a run for its money in terms of sheer city-wide damage. It’s in the climactic battle, and the action beats peppered throughout the film before it, that finds all the most important elements of a film such as this aligning together to bold brilliance.

Unfortunately, the screenplay by Max Borenstein doesn’t allow for much characterization and so in between the spectacular action set-pieces we have to rely on a talented cast left out in the cold by paper-thin characters. Taylor-Johnson is bland in the lead human role, unable to carry the film whenever the action isn’t taking place, lacking the emotional depth for us to truly invest in his storyline to get back to his wife, a wasted Elizabeth Olsen, and daughter; Cranston is all shouty and over-the-top without the gravitas of Breaking Bad’s Walter White; Juliette Binoche redefines the term blink and you’ll miss her; Sally Hawkins only seems to be there to input every so often with info about seismic shifts and the like; and her scientist co-partner Ken Watanabe does little more than provide apocalyptic one-liners about humanity not being in control of nature and how we don’t know what we’re up against. There’s little character development to be found in the gaps between the action and it’s generally a shame to see such a talented cast criminally under and misused.

Very much a product of a post-Nolan blockbuster world, the latest Godzilla is the brooding one in the corner to Pacific Rim’s more hyperactive cousin. But they’re different beasts, so to speak, and Edwards’ serious take on the titular monumental creature provides a weightier blockbuster experience with as much as to enjoy on a pure visual and action level as in the way it places things into a global nuclear paranoia context. It’s not exactly a roaring success what with its inconsistent pace and lacking characterization but it provides old school monster action and spectacle on a fittingly massive scale and in the end that’s what really matters most.

Godzilla is released in UK cinemas on May 15th.

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I'm a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features. I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Tolkien Biopic to Be Released in May 0 5287

10th May, 2019 is when Tolkien will be released to the world, an autobiographical film that will revolve around the early days of legendary author J.R.R. Tolkien before he became the literary giant that he is today.

Here on Thoughts on Film we are big fans of his work and the recent films made by Peter Jackson. The Hobbit and The Lord of the Rings (LOTR), are responsible for originating a universe that has gone on to inspire movies, animation, fiction, and modern media interpretations.



This is why Tolkien is regarded by many as the greatest fantasy author of all time. His creative stamp can be seen nearly everywhere in modern media. There’s the direct reinterpretation of his work in the recently released action roleplaying game Middle Earth: Shadow of War, where players are thrust into a major role in Tolkien’s literary canon. George R.R. Martin, who originated the now globally-popular Game of Thrones series on HBO, openly reveres LOTR as the inspiration for his work, citing the early death of Gandalf in Fellowship of the Ring as having a profound effect on his “own willingness to kill characters at the drop of a hat.” On the web, more Tolkien-inspired work can be found on leading slot portal Slingo and its many online titles dedicated to the fantasy genre, including Amazon Queen, Fae Legend Warrior, and Magic Castle, all of which feature elements that can be traced back to the author’s massive body of work. Technically speaking, the same can be said of nearly every major fantasy brand out there today, from Dungeons & Dragons to Magic: the Gathering. In short, almost every type of entertainment that features western fantasy can be traced back to the works of Tolkien.

In the upcoming Tolkien movie, the man will be played by Nicholas Hoult, whom is best known for Mad Max: Fury Road and Hank McCoy in the most recent X-Men movies. And now, the actor’s versatility will be tested as he steps into the shoes of the most iconic fantasy writer of all time. Starring alongside Hoult will be the actress Lily Collins as Edith Bratt – the woman whom Tolkien loved above all and is reportedly the inspiration for all “elven princess characters” in the LOTR series.

Helming the film is director Dome Karukoski whose CV includes 2017’s Tom of Finland, a critically acclaimed chronicle of the life and works of the controversial artist of the same name. And while media outlets haven’t yet heard from either the cast, director, or crew of the film, an official synopsis of the movie has been released via Collider. “Tolkien explores the formative years of the orphaned author as he finds friendship, love and artistic inspiration among a group of fellow outcasts at school. This takes him into the outbreak of World War I, which threatens to tear the “Fellowship” apart. All of these experiences would inspire Tolkien to write his famous Middle-earth novels.” It sounds like a real treat for film, literature, and Middle Earth fans.

Feature: 2019 Oscar Predictions 0 4031

I think it’s fair to say that the run up to this year’s Oscars has been a little messier than usual, from unexpected and bizarre wins at other awards shows (Vice winning Best Editing at the BAFTAs, anyone?) to ridiculous decisions by the Academy to change the show around.

The latter has proved a particular point of contention with both those in the industry to onlookers on social media, with choices such as not letting all the songs be performed to introducing a Best Popular Film category (whatever that means) to not airing four categories live; Editing and Cinematography proved a particular issue, sending the folks of Film Twitter into a Hulk-like rage.

Thankfully all of these decisions except for the one to not have a main host have taken the walk-back of shame; I look forward to Clint Eastwood talking to an empty chair again. Of course there’s still the issue of plenty of thoroughly deserving films, filmmakers and performances not being up for any Oscars at all (*cough* Toni Collette! *cough*) but of course that’s not an issue unique to this year.

The show must go on, as they say, and I thought a week out from this year’s ceremony I’d throw my hat into the ring as far as predictions goes. Below I’ve listed what I think will win in each category, as well as what I personally would like to see pick up that little gold man come next Sunday evening.

Best Picture

Want to win: A Star is Born
Will win: Green Book

Lead Actor

Want to win: Bradley Cooper (A Star is Born)
Will win: Rami Malek (Bohemian Rhapsody)

Lead Actress

Want to win: Olivia Colman (The Favourite)
Will win: Olivia Colman (The Favourite)

Supporting Actor

Want to win: Richard E. Grant (Can You Ever Forgive Me?)
Will win: Mahershala Ali (Green Book)

Supporting Actress

Want to win: Emma Stone (The Favourite)
Will win: Regina King (If Beale Street Could Talk)

Director

Want to win: Alfonso Cuarón (Roma)
Will win: Alfonso Cuarón (Roma)

Animated Feature

Want to win: Spider-Man: Into the Spider-Verse
Will win: Spider-Man: Into the Spider-Verse

Adapted Screenplay

Want to win: BlacKkKlansman
Will win: BlacKkKlansman

Original Screenplay

Want to win: First Reformed
Will win: The Favourite

Cinematography

Want to win: Roma
Will win: Roma

Documentary Feature

Want to win: Free Solo
Will win: Minding the Gap

Foreign Language Film

Want to win: Roma
Will win: Roma

Film Editing

Want to win: BlacKkKlansman
Will win: Bohemian Rhapsody

Sound Editing

Want to win: A Quiet Place
Will win: Bohemian Rhapsody

Sound Mixing

Want to win: A Star is Born
Will win: Bohemian Rhapsody

Production Design

Want to win: Roma
Will win: The Favourite

Original Score

Want to win: If Beale Street Could Talk
Will win: Black Panther

Original Song

Want to win: Shallow (A Star is Born)
Will win: Shallow (A Star is Born)

Makeup and Hair

Want to win: Mary Queen of Scots
Will win: Vice

Costume Design

Want to win: Black Panther
Will win: The Favourite

Visual Effects

Want to win: Avengers: Infinity War
Will win: Ready Player One

Animated Short

Want to win: Bao
Will win: Bao

Live Action Short

Want to win: Marguerite
Will win: Marguerite

Documentary Short Subject

Want to win: Black Sheep
Will win: Lifeboat

Do you agree? Disagree? Feel free to leave your predictions/wishes for the winners below or tweet @TOF_UK or @rosstmiller.

Roll on Sunday!