How did a monster movie end up being so kino?

How did a monster movie end up being so kino?

It wasn't

Movie fucking sucked.

Cuts away right when anything exiting is about to happen.

Shin would fuck this Zilla up

Wasn't Godzilla in this movie for only like ten minutes

it was trash

This movie is a 2/5 at best. Lackluster character drama, nonsensical plot, excessive runtime, ill-advised teasing, and what few special effects sequences there are barely visible.

only the red smoke flares jump were kino and it had nothing to do with godzilla

gareth edwards should be banned from making films

monsters sucked as well

>gareth edwards
what's his best?

ITT: Heisei and anime-ruined soyboys who have never seen the original godzilla and only watch them to see destruction porn and giant rubber monsters fight

Because of based boobs Olsen.

Godzilla '54 has a reasonable running time, engaging characters, a meaningful narrative, and a fitting score. Nice try tho.

Perfectly captured how immensely small people are compared to the monsters.

>In the junkyard sale that is the new Godzilla movie, you’ll find the discarded remains of Pop — adolescent cultural souvenirs, sci-fi mythology, ecological allegory, military defense scenarios, and almost camp genre-movie totems. If you think about it, this resonant junk can still matter to our well-being.

>Like all movie monsters, Godzilla is a projection of our fears. He doesn’t have to appear on screen a lot, but when he does it must feel like a revelation, which is one of the pleasing tricks in the newly remade Godzilla by British director Gareth Edwards. The monster’s appearance is held back, although his existence is felt throughout the dystopian preliminaries where international scientists (played by “serious” actors Bryan Cranston, Juliette Binoche, Sally Hawkins, Watanabe Ken) go to Japan to investigate seismic shifts, sinkholes, and electromagnetic pulses from deep within the earth.

>Godzilla finally turns up after two “ancient alpha predators,” Massive Unidentified Terrestrial Organisms (MUTOs), ravage cities in search of power plants and nuclear energy for food. His entrance has been prepared for, as grandly showcased as King Kong’s. He’s the realization of atom-bomb dread, a self-conscious political anxiety that goes back at least as far as nuclear-disarmament controversy (which the new film’s prologue originates with the bombing of Hiroshima and Nagasaki). And the credit sequence’s timeline graphic, spotlighting Charles Darwin, suggests even earlier mysteries surrounding creation, evolution, and mutations brought about by mankind’s interference with nature.

None, Gareth Edwards is fucking awful and all these films were shit.

>Post-A-bomb Godzilla is something outside time; he resembles an enormous, scaly, squat-bodied, snub-headed dinosaur who exhales gas-blue flames. While he fights off the MUTOs who threaten the human populace, his single-minded wrath, though not necessarily benevolent, proves convenient — especially for us running, cowering human spectators. Laugh if you want, but the very idea of Godzilla grapples with secular disbelief.

>Consider how the purely instinctive Godzilla always made a perfect doll figure for boys going through impudent/heroic adolescence. (That is, until the Jaws shark and extraterrestrial Alien offered grislier, more implacable icons for cynical, post–Vietnam War generations.) Old-fashioned ambivalence about Godzilla gives Edwards’s film an up-to-date concept; it successfully extrapolates the spectacle of modern-age horror, whether natural disaster or war. Wonders of industrialization and technology are reduced by the monster uprisings and their corny pitched battles to scenes of ruined, quarantined Tokyo, San Francisco, Las Vegas, and New York, almost unthinkable vistas of destruction that we can’t help comparing to 9/11 nightmares. By now, Hollywood’s surfeit of horror films and comic-book movies has accustomed us to CGI apocalypse, but this wholesale 3D extravaganza will surprise even the jaded. Director Edwards shows special skill for panoramic compositions. His camera travels across wide spaces or lifts up and up to terror-filled skies with anticipatory momentum; you might goofily crane your neck in awed expectation. Edwards uses contrast of scale to impress our perception of dilapidated buildings, shattered windows, or ever-bigger screens as satellites and TV cameras capture the ongoing chaos. (Spielberg’s terrifying War of the Worlds seems an obvious influence, just as the ironic image of a wrecked nuclear submarine in a tree recalls the tree-stuck helicopter in Apocalypse Now.)

>Edwards brings the legacy of modern war movies into his own, original epiphany depicting a military action that starts with a paratrooper praying via his tablet’s Bible app. Then the skydivers descend into earthly hell with red flares attached to their ankles. The atmospheric miasma is striped like the flag, illuminated by desperate human will, a roiling vision worthy of J. M. W. Turner.

>The monster genre is rarely used so imaginatively that its camp qualities are sufficiently transformed to express our subconscious and connect with real-world experience. In Godzilla’s one joke, a mother tells her son “Turn that TV off!” unaware that the televised monster attack is a live event. Here’s where Edwards recognizes the witnessing of disaster as common post-9/11 experience. The most resonant character is not a scientist or reporter but Ford Brody (Aaron Taylor-Johnson), a U.S. Navy disarmament expert direct from duty, whose encounter with Godzilla and the MUTOs recall his childhood trauma; it complicates the carefully laid-out reunion with his wife and child (Elizabeth Olson and Carson Bolde) and his obsessive scientist-father (Cranston doing his blowhard hamming in a fright wig).

>Fortunately, Ford (whose boyhood toy is a soldier doll in fatigues that he passes on to the next generation) becomes Godzilla’s fascinating, humane counterpart, a principled anachronism. Taylor-Johnson is a projection of post-9/11 Western-alliance hopes with respect to Iraq and Afghanistan. (This British actor who trenchantly portrayed John Lennon in Nowhere Boy somehow looks American, like those soldiers we see in numerous homecoming PSAs.) What makes Godzilla more significant than just another summer blockbuster is Ford’s personal rectitude and his steadfast profile. The back of Taylor-Johnson’s neck and head are as unbowed as his spine. His wide eyes show a sensitive alertness the worried scientists lack. Courageous and daringly eager, he’s an action figure for a war-weary age, a more romantic representative of the Iraq-Afghanistan veteran than anything in The Hurt Locker, Redacted, or Zero Dark Thirty. Unfortunately, those movies were just newfangled monster flicks portraying American soldiers as monsters.

>Edwards gives Ford a moment of heroism reminiscent of Saving Private Ryan (which by now is also part of our pop-culture heritage): Ford aims his pistol for the last time, feeling both sacrificial and resolute. What happens next is reliably Pop. But this Godzilla is Pop with a good amount of post-9/11 conscience. “You can’t bury this in the past!” warns a scientist, so this Godzilla update applies the thrill of the supernatural to the mundane anxieties of war, terrorism, destruction, nihilism. Too many films are resigned to those anxieties — which the Hollywood Left regularly exploits under the guise of mindless entertainment. This wrathful, summary Godzilla isn’t entirely mindless; its vision of the ineffable delivers us from the junkyard of Pop detritus and moves toward catharsis.

Godzilla for sure

ITT:Annofags eating the same shit with a diferent coat of paint for the third/fourth time trying to talk shit about Kinozilla
Shin its all bark no bite...got beat by a bunch of japs
Cant wait to burgezilla be a sucess,killing capeshit soo you Annofags be BTFO like the DCucks

I remember really liking Monsters and then being excited for Godzilla. But then I was extremely disappointed by Godzilla and only Rogue One's last third was worthwhile. But he might not even actually be responsible for that because remember RO underwent extensive reshoots and allegedly Disney took the movie from him.

>imagine be so deluded that you fail to realize Godzilla '14 is literally your standard, substance-less summer flick with slightly above average cinematography and characters devoid of a personality (no quips)

At least it can be something diferent unlike Anno the hack that use the same methods over and over to the point whatever Message he want to pass loss his appeal.

>no quips is a bad thing
you have to go back

It didn't. If you want to make a monster movie revolving mainly around the characters on the ground, you need to make those characters compelling ones. The film completely failed to do that - it was the adventures of Dude McSoldierguy and the quest to get back to his family.

>most successful film of Anno's career
>most successful performance for a Godzilla film in four decades
>second most critically applauded Godzilla film ever
>merchandise is popular and various memes sprouted from the film
What was that about no longer having any appeal? And Anno's work is more diverse than detractors give him credit for.

Movie was ass

I don't think "critics" mean anything in a post-2007 world

What changed in 2008? The cultural warfare didn't really take root until Obama's second term in 2012.

...

Monster
Both Godzilla and Rogue One look really good but lack interesting characters.

How can one man be so BASED?

Wow. Many of the things that would dominate the next decade.

Every single one of them terrible terrible things

Godzilla fans are autistic as fuck and have absolutely bottom of the barrel taste.

I think it boiled down to something like 8 minutes screen time, which makes it one of the lowest Godzilla screen-time percentages. I think it is second only to the original Godzilla, but the latter had an actually engaging plot whereas 2014 had no redeeming value in any of its human characters besides the guy who dies instantly.

>have absolutely bottom of the barrel taste
This. Pic very much related.

nice bait my man

the movie is unmitigated shit, senpai