Write a review of Godzilla 2019 in 200 words
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Explanation:
Godzilla: King of the Monsters” has a sense of wonder. After I left the screening late at night and emerged onto a dark city street at nearly one a.m., I wanted to look up rather than straight ahead, just in case Ghidorah the three-headed dragon or Rodan the giant pterodactyl came screaming down from the clouds. That's not the same thing as saying this is a perfect movie. It's far from that. But its errors fall mainly under the heading of failing to get out of its own way, and its imperfections are compensated by magnificence.
Directed and cowritten by Michael Dougherty ("Krampus"), the movie follows on the heels of the 2014 "Godzilla" and the 2017 "Kong: Skull Island." It's conceived as part of a shamelessly Marvel-styled "shared cinematic universe" of stories that interlink and build towards a series of peaks (the first of which is 2020's "Godzilla vs. Kong"). The human heroes are part of a top-secret project called the Monarch Initiative. This mythology re-imagines Godzilla and the other giant monsters made famous by Toho studios, including Ghidorah, Rodan, Mothra, and King Kong (an American creation folded into Japan's universe) as part of an ancient ecosystem of long-hibernating giant monsters that predate the dinosaurs. They can travel from one part of the globe to the other quickly via tunnels through the center of the planet (this is what's known as "Hollow Earth theory") and are emerging now in response to humanity's despoiling of the environment through atomic testing, nuclear and chemical waste-dumping, mountaintop demolition mining, and other assaults on Mother Earth.
This Hollywood-financed American series is an internationalization of original Toho Studios-produced Godzilla pictures, with a correspondingly international cast, all representing different takes on the monster problem, such as it is. There are appearances by characters from the 2014 film, including a couple of Monarch monster specialists played by Ken Watanabe and Sally Hawkins, but the main characters are a fractured nuclear family, consisting of two Monarch project scientists, Doctors Mark and Emma Russell (Kyle Chandler and Vera Farmiga) and their teenage daughter Madison ("Stranger Things" star Millie Bobby Brown). They lost the fourth member of their family, Madison's older brother, five years earlier during Godzilla's battle with the MUTOs in San Francisco, and the parents ultimately separated. It soon becomes clear that their split was equally due to grief and a philosophical disagreement over how to deal with Godzilla and his ilk—the father thinks they should all be exterminated, while mom believes they can be manipulated through a special sonar device that mimics the dynamics of whale songs.
At least that's our impression of the mother, but everyone in the family (and by implication, everyone on the planet) is dealing with the monster problem in their own powerfully emotional way, and some are secretly or not-so-secretly destructive in their coping. The openly destructive contingent is defined by Charles Dance's Colonel Alan Jonah, a former British Special Forces veteran turned eco-terrorist. Although the US military (represented by David Straithairn's admiral Stenz) insists that Jonah is a war profiteer looking to extract and sell monster DNA to hostile governments, Jonah is a radical ideologue, a true believer who thinks the monsters are punishment for humanity's sins against the environment and is working to awaken as many as possible, the better to hasten the thinning of the human herd. As revealed early in the film (as well as in all the teasers and trailers), Emma is on board with Jonah's take on things, and actively participates in waking up the creatures—including Ghidorah, a lightning-spitting dragon who represents the only serious threat to Godzilla's position as the Hollow Earth's boss predator.
One of the film's fascinations is the way it treats the monsters as outward manifestations of the characters' personal issues, a