GODZILLA: KING OF THE MONSTERS (2019) – Mixed Bag of A-List Actors and Mediocre Giant Monster Battles

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GODZILLA: KING OF THE MONSTERS (2019), the latest American made Godzilla film and sequel to Warner Bros.’ GODZILLA (2014), is a well-acted action-filled monster movie that somehow in spite of these strengths is sadly underwhelming.

And that’s because this movie contains an odd mix of often ridiculous plot points combined with a tone that simply takes itself way too seriously. Instead, the film should have gone for one or the other. A campier tone would have aligned itself better with the goofy superficial plot points. Likewise, a much more realistic and gritty storyline would have fit in better with the film’s serious feel. As it stands, the movie mixes both, and it just doesn’t work.

Following the 2014 Godzilla attacks which left the world a different place, the secret organization Monarch is in charge of monitoring all the new giant monsters which have been discovered in various places around the globe (silly plot point #1), but the U.S. government and military want to shut down Monarch so they can destroy the monsters and save the Earth. But the Monarch scientists argue that the monsters really aren’t here to destroy the Earth but to save it from its worst enemy: humankind.

Top Monarch scientist Dr. Emma Russell (Vera Farmiga) and her husband Mark (Kyle Chandler) lost their son in the previous Godzilla attack, and his death caused them to separate, and Emma alone is raising their daughter Madison (Millie Bobby Brown). It also caused Emma to have extreme ideas about these monsters, and so she aligns herself with the dubious Jonah Alan (Charles Dance)— cue evil villain music!— and the two plan to release the giant monsters so they can unleash their wrath on the world and “cleanse” it of its human cancer.  Hmm. Where have I heard this before? Is that Thanos I see whispering into Dr. Russell’s ear?

But Dr. Russell isn’t arguing a la Thanos that half the population has to be wiped out by the monsters, only some of it, and that at the end of it all there will be new growth and the planet will be greener for it.  Come again? 

Of course, when this starts happening, the rest of Monarch and the U.S. military go ballistic, and they not only form an uncomfortable alliance to thwart Emma’s efforts, but they also call in Mark Russell to help them. Mark is mostly interested in finding and saving his daughter, and speaking of Madison, once she learns what her mom has planned, she changes her tune about which parent she wants to be spending time with.

Things grow more complicated when one of the monsters, King Ghidorah, is discovered to be from another planet, and he decides that he’s going to control and lead all the monsters in a battle against Godzilla for supremacy of the Earth.

Godzilla? That’s right! This is a Godzilla movie!  Funny how I haven’t mentioned him yet. Real funny. Not. Which is to say more Godzilla in this story and less elaborate saving-the-world-nonsense would have been most welcome.

Anyway, it’s up to Godzilla to take on King Ghidorah and ultimately save the world.

But as you may surmise from this plot summary, it’s a helluva convoluted way to tell a story about everyone’s favorite fire-breathing radioactive giant lizard!

Poor Godzilla. He was supposed to appear in this movie more than he did in the last one, the 2014 film, and while that may have been the case, it sure didn’t feel like it. For a movie that’s called GODZILLA: KING OF THE MONSTERS it sure seemed like he took a back seat to the other monsters in this one..

The best thing that GODZILLA: KING OF THE MONSTERS has going for it is its cast. It boasts a really strong cast of actors, led by its three principal leads.

Vera Farmiga as Dr. Emma Russell and Millie Bobby Brown as daughter Madison were both excellent. This is Millie Bobby Brown’s film debut. Brown, of course, plays Eleven on the hit TV series STRANGER THINGS (2016-19) so her effective performance in this movie is no surprise.

Vera Farmiga is one of my favorite actresses working today, and while her movie performances have all been superb, it’s her work on the TV series BATES MOTEL (2013-17) based on PSYCHO (1960) where she played Norma Bates that I think is among her best stuff. Her interpretation of Norma Bates was much more nuanced and three-dimensional than the character ever was before in both the Hitchcock movie and Robert Bloch’s original novel.

Kyle Chandler is always enjoyable in nearly every movie he’s in, and he’s been in a lot, from light fare like GAME NIGHT (2018) to more serious stuff like MANCHESTER BY THE SEA (2016) to small supporting roles like in THE WOLF OF WALL STREET (2013), Chandler always makes a lasting impression. His work here in GODZILLA: KING OF THE MONSTERS is no exception.

When these three actors are on-screen, the movie is at its best and most watchable, and the good news is they’re on screen a lot, but the problem is they are stuck in a ridiculous storyline and are often uttering some very superficial and god-awful dialogue that really detracts from the seriousness of their performances.

Incidentally, Kyle Chandler also appeared in Peter Jackson’s KING KONG (2005) which is not part of the current Warner Bros. giant monster universe, and he’s set to appear in the next film, GODZILLA VS. KONG.

The supporting cast is every bit as good as the three leads.

You have Ken Watanabe, Sally Hawkins (THE SHAPE OF WATER [2017]), Ziyi Zhang, and Bradley Whitford as fellow Monarch scientists. Watanabe and Hawkis are reprising their roles from the previous Godzilla movie, and in Watanabe’s case, he’s playing Dr. Serizawa, a name that goes back to the original GODZILLA film from 1954.

Bradley Whitford gets the liveliest lines in the movie, but strangely, his frequent attempts at humor seem to misfire repeatedly. Again, it’s that odd mix, and his campy lines seem out-of-place with the serious tone surrounding him.

David Strathairn plays Admiral William Stenz, another character back from the 2014 film, and Charles Dance does his villainous best at bad guy Jonah Alan, although at the end of the day the character is pretty much all talk and no action. In short, he does very little here.

The true villain is King Ghidorah, which brings us finally, to the monsters. After all, you don’t see a Godzilla film for the actors. You see it for the monsters. So, how do the monsters fare here?

Well, the main monsters here are Godzilla, King Ghidorah, Rodan, and Mothra, and while they are all given modern-day looks, I can’t say I was all that impressed. It sounds strange to say this, but with all our current CGI technology, I find that I prefer the old-fashioned man-in-suit monsters from Toho’s glory days. These monsters all look okay, but nothing about them I find special nor memorable.

In the Toho films, for better or for worse, the monsters, both good and bad, had personality. The monsters here have no personality. They are quite simply generic and not at all cinematic, which is a major knock against this movie, and quite frankly against the other Warner Bros. monster universe films. If the Marvel superheroes lacked similar charisma that series would have never gotten off the ground.

Also, I did not like the look of this movie at all. Most of the action takes place during various weather events and storms, and so it’s always difficult to see what the heck is going on. For example, the film’s climax takes place in Boston, and at Fenway Park specifically, and I have to say it’s one of the poorest and most fake looking interpretations of Boston I’ve ever seen in a movie. What could have been iconic and devastating is instead cartoonish and superficial.

GODZILLA: KING OF THE MONSTERS was directed by Michael Dougherty, and he also wrote the screenplay with some help from Zach Shields. This is the same creative team that gave us the horror movie KRAMPUS (2015), a film I actually liked quite a bit. In fact, I enjoyed KRAMPUS more than I enjoyed GODZILLA: KING OF THE MONSTERS.

Dougherty gives us plenty of monsters and monster battles, but since 1) the monsters didn’t look outstanding, and 2) the settings of these battles were often in storms and difficult to see, as presented here, the monsters’ presence didn’t really lift this one to great heights.

The screenplay is superficial at best. It never gives us real terror— real people are noticeably absent here—- other than the scientists and a few military types, we see no one else reacting to the monsters. The film lacks real world emotion big time.

While it attempts to be an homage to earlier films at times, like the use of the Oxygen Destroyer, a weapon from the 1954 GODZILLA, it does it all in a fleeting manner that never really gets to the heart of the matter.

Dougherty has a cast of seasoned and talented actors that make this movie better than it is,  but he doesn’t really help them out. They are in few cinematic scenes and more often than not are uttering lines of dialogue that are pretty bad.

So, where do I stand on GODZILLA: KING OF THE MONSTERS? For the most part, I did enjoy this movie, especially when watching Vera Farmiga, Millie Bobby Brown, and Kyle Chandler, but whenever Godzilla and his fellow monsters showed up, I would lose interest, and for a Godzilla movie, this is NOT a good thing.

The film is a mixed bag to be sure, and while I enjoyed it more than GODZILLA (2014), I still prefer the Toho films of old, from the 1950s, 60s, and 70s.  Now, Toho continued the Godzilla series into the 1980s, 1990s, and early 2000s, even making the critically acclaimed SHIN GODZILLA (2016), and while those films in general are okay—I like the aforementioned older ones more—, they’re about on par with this current Warner Bros. series.

The next film, GODZILLA VS. KONG, slated for release in 2020, is one that while I’m definitely interested in, based upon the Warner Bros. films so far, I can’t say I’m excited about.

So, GODZILLA: KING OF THE MONSTERS is okay, but since the best part about it is NOT Godzilla, I don’t think Godzilla himself would approve, and for me, that’s all you need to know about this one.

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STRONGER (2017) – Gripping Tale Is Incredibly Fresh and Honest

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I often have pre-conceived notions about movies.  So, when I hear that a film tells an inspiring story about a real life hero, I have an idea as to what that movie is going to be like.

Sometimes I’m wrong.

Such is the case with STRONGER (2017),  which tells the true story of Jeff Bauman, the man who lost his legs in the Boston Marathon bombing in 2013 and later became a symbol of hope for an entire city as he fought back to regain both his life and his ability to walk.

I expected it to be good, but STRONGER is better than all of my pre-conceived notions about it.

Why?  For one thing, Jeff Bauman had no interest in being a model of hope to an entire city.  He had no interest in getting his life back, mostly because he saw himself as a loser. So, when these things ultimately happen, they’re not just examples of teary-eyed sentimental storytelling.  The story here is real, gripping, and incredibly fresh and honest.  Jeff Bauman doesn’t just rise up and decide to become an inspirational human being.  If anything, he pushes back against the notion. His is a truly heroic journey, one that takes him down into the depths of despair and darkness before he ultimately rebounds and climbs his way back to the road to humanity.

Jeff Bauman (Jake Gyllenhaal) is at the finish line at the Boston Marathon to cheer on his girlfriend Erin Hurley (Tatiana Maslany) who’s running in the race that day.  Jeff and Erin are in an on-again off-again romance, which lately had been off-again.  The irony of Jeff’s being at the finish line that day is that he is notorious for not showing up or being where he is supposed to be, which is why Erin continually gets frustrated with him.  But on this day, Jeff shows up, and he’s there at the finish line when the bombs go off.

The film kicks into high gear when Jeff’s extended family arrives at the hospital. This is not a scene where there is a group of folks sitting and sobbing, while sad music plays in the background.  No, the minute we see these people they are shouting and arguing and hurling accusations like it’s nobody’s business. It’s a refreshingly honest scene showing people who are scared and angry that their son has had his legs blown off by a terrorist on their home turf in Boston.

In fact, this is one of the best parts of the movie, the dynamic of Jeff’s family.  They are a dysfunctional group, but they always have Jeff’s back, and he swears by them, at one point saying after cussing them out that he still wouldn’t trade them for anything.  They are exactly the way many families are:  flawed but united.

Jeff returns home to the small apartment he shares with his mother Patty (Miranda Richardson), who spends most of her time drunk or hung over.  Jeff soon asks Erin to move in with him, and she does, which is a good thing because he needs her help to recover.

But Jeff is struggling with everything.  Everyone keeps reminding him what a big hero and inspiration he is, but he can’t see it.  He still drinks way too much and slowly begins to distance himself from Erin once more.

It’s not until he finally agrees to meet with the man who saved him, the man in the cowboy hat, Carlos (Carlos Sanz), that things change.  Up until that moment, Jeff had only been able to see things through his own eyes, but when he hears Carlos’ story and learns the reason Carlos was there that day in the first place, and what it meant to Carlos to save him, Jeff’s eyes are opened.  It’s a telling moment in the film, a reminder that all too often we only see things through our own prisms and perspectives, and we forget that others we interact with have their own issues and agendas.

STRONGER has a superior screenplay by John Pollono, based on the book “Stronger” by Jeff Bauman and Bret Witter. The dialogue is first-rate, natural, cutting and incisive, and at times laugh-out loud funny.   The combination of the writing and acting brings Jeff’s family to life.

I’ve always been a fan of Jake Gyllenhaal, and while he has delivered a lot of memorable performances over the years, his work here as Jeff Bauman ranks as one of his best. Sure, he captures the obvious pain the man went through after losing his legs, but more so, he shows what it’s like to be a guy who didn’t really want to be in the limelight, who didn’t want to be a hero, a guy who really struggles when people cheer for him, because he feels he doesn’t deserve it, because he knows he’d rather be out drinking with his friends or at home playing video games.

Tatiana Maslany is just as good as Jeff’s girlfriend Erin. She feels incredibly guilty that Jeff was there that day because of her, and she really loves Jeff and is more than willing to move in with him and help him, even with her reservations that he so often drops the ball and leaves her hanging.  I really enjoyed Maslany’s performance, and she has some of the more emotional scenes in the movie.

Miranda Richardson is excellent as Jeff’s mother, Patty.  She makes Patty more than just a down and out drunken mother.  She really cares for her son.  More often than not she screws things up, but she always puts her son’s needs first.  For example, soon after Erin moves in, Patty catches her leaving Jeff’s room wearing just a nightshirt, and she glares at Erin and asks her, “Did you sleep with my son?”  To which Erin casually replies, “Yes.” And that’s that.  No insane Norma Bates ravings.  Sure, later there is a messy painful argument in front of Jeff between Erin and Patty in their car, and Patty shrieks “You’re off the team!” but later when Jeff decides he can’t live without Erin and meets with her to get her back, it’s Patty who drives him there.

All the actors who play Jeff’s family members stand out.

Veteran actor Clancy Brown plays Jeff’s father Big Jeff, who’s no longer with Patty.  In that first scene in the hospital, it’s Big Jeff who’s aggressively arguing with nearly everyone.

And longtime Boston comic  and RESCUE ME (2004-11) star Lenny Clarke delivers a scene-stealing performance as Uncle Bob.  He has humorous lines in nearly every scene he’s in, and he serves as that much-needed comic relief as the family scenes are often very tense. It’s a memorable performance.

Danny McCarthy has some fine moments as Jeff’s former Cotsco manager Kevin, and Carlos Sanz delivers a sensitive, moving performance as Carlos, the man who saved Jeff’s life that day at the finish line, whose own story is just as emotional and inspirational.

Director David Gordon Green does an excellent job here.  I especially liked the way he handled the bombing scene.  When the bombs first go off, there’s minimal coverage in the movie.  It isn’t until much later, when Jeff looks back at the moment and remembers what happened, that we get in close and see firsthand what Jeff saw shortly after the bombs exploded.  The images are not easily forgotten.

There’s also an effective scene where the doctors are removing the dressings from Jeff’s legs that really give the audience the idea of just how much pain Jeff was experiencing at the time.

The film is not slow, nor overbearing, nor syrupy-sweet inspirational.  It’s nicely paced, funny and hard-hitting at the same time, and most importantly, brutally honest.

STRONGER is one of the best movies I’ve seen this year, and I definitely recommend it.

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FRANCONA- THE RED SOX YEARS Fun Unfiltered Read By Former Red Sox Manager

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Francona The Red Sox YearsWhat I’m Reading – Francona:  The Red Sox Years By Terry Francona and Dan Shaughnessy

Book Review by MICHAEL ARRUDA

 

 

As a lifelong Boston Red Sox fan, who endured years of misery watching the team lose big games on the national stage in the most excruciating of fashions (“Bucky bleepin Dent,” Aaron “who?” Boone) I was among the ecstatic members of Red Sox Nation in 2004 and 2007 when they finally did the unthinkable and discovered the Holy Grail of Baseball, winning the World Series, not once, but twice.

Heck, not only did the Sox win two World Series, they didn’t even lose a game!  They swept both Series!  They went 8-0!

It’s never been lost on me that the guy who guided both these teams, manager Terry Francona, was a pretty special manager.  In his years guiding the Red Sox, he became my favorite manager, not because he regularly displayed a Bill Belichick-like genius, but because he always got the most out of his players, constantly put them in the position to win, and in two trips to the World Series, never lost a game.  His Championship record is 8-0!  Not even Mr. Belichick can claim that record!

And yet, after the 2011 season, Francona was fired.

How do you fire a manager who owns an 8-0 record in the World Series, the very same Series that the Sox hadn’t won since 1918?  It made no sense to me.  Sure, the team had just endured a historic collapse in September 2011 and missed the playoffs, losing to the Baltimore Orioles on the last day of the season.  And sure the Sox under Francona hadn’t won a playoff game since 2008.  Still, if you’re the owner of this team, it seems to me you want the guy with the perfect World Series record leading your team.

Anyway, I was excited to read Francona’s memoir of his Red Sox years from 2004-2011, Francona:  The Red Sox Years ,written by Terry Francona himself and BOSTON GLOBE columnist Dan Shaughnessy.  For a Red Sox fan, it’s a fascinating read.

I wish video footage existed of some of the more lively situations depicted in the book, as Francona’s use of “colorful” language provides readers with an earful and had me laughing out loud frequently.  Such gems as the Red Sox trip to Japan, Francona’s growing frustrations over having to deal with Manny Ramirez, and the manager’s frequent run-ins with Red Sox ownership, especially Larry Lucchino.  I was struck by how rude Lucchino treated Francona during his tenure as Red Sox manager.

By far this was my favorite part of the book, getting a behind the scenes look at what went on during those years, years in which I watched most of the Red Sox games recounted here.    Things would happen with the team during the course of the season, and Francona would say something positive in his press conference, and I’d be at home wondering, “what’s really going on?”  Well, this book makes it clear what was really going on.

In doing so, it provides a lot of insight as to what it takes to be a big league manager these days.  You have to have thick skin, and you have to get the best out of players who really possess more power with ownership than you do.  Francona is a master at this, as he makes his players feel good about themselves, and they go out and play hard for him.

It was painful to read about the 2011 collapse, and it’s interesting to note that at the same time the team was falling apart, Francona was dealing with painful personal issues, a divorce and his own physical pain from his knee surgeries from his years as a player. It makes you wonder if he would have been able to handle things better if he hadn’t been dogged by personal demons.

I also enjoyed the description of Francona’s meeting with ownership after the historic collapse, a meeting in which it was clear to Francona that the owners didn’t want him back, yet no one in the room wanted to be the one responsible for firing the two-time World Series winning (and still very popular) manager.  And so he wasn’t officially fired.

Ownership said they didn’t want to fire Francona at that point, that they wanted him to take some time and think about his future with the team.  This certainly makes sense, since after any traumatic event, it usually is a good idea to take some time away to think and reflect on things before making a decision.  But Francona counters by saying no one in that room voiced any enthusiasm or support for him, and it was clear by what they said and their body language, that they no longer supported their manager.

Francona:  The Red Sox Years is an easy read, well suited for a summer day at the beach.  Dan Shaughnessy’s style is as accessible as it is comprehensive, and the writing is topnotch.  Francona remains as likeable behind the scenes as he was in front, before cameras and in the dugout, perhaps even more so, as here in the book he’s unfiltered, and his use of raw language— there are F-bombs flying everywhere— is both hilarious and refreshing.

It’s more than just the story of one of the Red Sox’ most successful managers ever.  It’s the story of what goes on behind closed doors when you’re manager of a major league ball club, how a manager is treated by his players and by ownership, and how it can be a very thankless job.

I’ve always liked Terry Francona, and after reading this book, I like and respect what he did with the Boston Red Sox even more.

Just be prepared for an earful.  Who knew baseball without a filter could be so much fun?

—Michael