Godzilla II: King of the Monsters, Atomized Grand Bazaar [critique]

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Warner Bros. France / Warner Bros. / Legendary Pictures

The battle royale between Godzilla and a ton of Titans is weighed down by its writing and editing. Nothing is going well, and that’s a shame.

First unencrypted broadcast of Godzilla II: King of the Monsters tonight on TF1, just after Pokemon, Detective Pikachu. Unfortunately, this sequel to Godzilla of 2014 is not really successful … Here is our review, published in First in May 2019:

Earth is threatened by a horde of Titans, creatures … er, titanic skyscrapers tall, endowed with cosmic powers and a destructive mood. Monarch, a military-scientific company, uses the giant lizard Godzilla to stop the Titans from destroying Earth. No question of blaming a millisecond on Godzilla II: King of the Monsters this highly improbable pitch, in love that we are gigantic blockbusters with a summer scent. The pity is that the film almost at no time fails to live up to its promise to battle royale gigantic and generous. A big writing problem plagues the film, at all levels: whether it is the writing of the characters (none exists), the dramaturgy (no character makes a reasonable decision for the whole film, some say one thing and then its opposite the following scene), or finally and worst of all, at the level of the assembly, nothing goes. Godzilla ii films giant monsters: at no time is this gigantism felt on the screen, because the staging proves incapable of conveying the difference in scale between human beings and the Titans. The least transformers by Michael Bay knew perfectly well how to manage this question of scale, and to go from micro to macro. Godzilla II is a blockbuster on a global scale in which we jump from China to Boston via Antarctica with no respect for spatial integrity. Without ramping up, not a moment’s respite to breathe between two money shots – and there are a ton of them, as the very, very nice trailer below shows, but they get stuck in the footage without being thought about. within a structure. A three-headed dragon sits on a volcano: beautiful image, but in the service of what? In what story? Without context, the beautiful image is no longer useful. Except to make a nice trailer.

Detail, this lack of writing? No, because this relaxation leaves a serious fundamental problem: the Titans of Godzilla ii ravage the planet to purify it, like a planetary reaction to the horrible pollution that the human presence on the globe constitutes. Irritating and recurring speech (Thanos says much the same thing in Infinity war) which deviates the ecological discourse of the film – rather than destroying a Latin American city, the kaijus Better work Silicon Valley or Trump Tower. Normal, under these conditions, that Monarch, this military-industrial incarnation of pseudo-science, places himself above the law, and overrides the Senate commission of inquiry at the beginning of the film to make their own law against politicians. soft knee (democracy, decidedly, is not used much). We might ask ourselves what does politics do in Godzilla : It is, however, from the first film of 1954, in the DNA of the franchise to make a large radioactive lizard the embodiment of a colossal and overwhelming fear. As long as we make sense of the film by kaiju, Godzilla Resurgence (Shin godzilla), written and co-directed by the immense Hideaki Anno (Evangelion), is a dizzying and entertaining, political and radically current film, constantly astonishing. In short, all that Godzilla II: King of the Monsters is not. Too bad it still hasn’t been released in France.

Juliette Binoche in Godzilla made Quentin Tarantino cry

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