A fizzy concoction of twisty mystery, genuine relationships (see Kimura and father; the citrus brothers), well-choreographed combat, and tanks of humour that occasionally go off the rails (the dark comedic takes on death go a bit too far at times–see The Hornet fight), all within a fun flashback-filled script framework built around Brad’s bad-luck (or should I say ill-fated?) ‘Bug. Loses steam in the third act though, with its shift from wild multi-party conflict to straight forward team-up.
Couldn’t hear half the dialogue and only understood half of the rest, but it’s a testament to Nolan’s ambitious and undeniably exciting brand of filmmaking that I was on the edge of my seat throughout regardless: the espionage plot and sci-fi concept are both confusing but compelling, the action is brilliant, the technical aspects top notch. It’s a shame the only emotion is found in yet another Russian villain and a simply modernized damsel-in-distress (Debicki’s turn remains excellent though).
The world is beset by the appearance of monstrous creatures, but one of them may be the only one who can save humanity. (IMDb)
Cranston’s passionate Joe Brody is a solid protagonist in the first act here but as the focus shifts to his son the film loses most of its emotional edge; Taylor-Johnson is wooden and Olson isn’t given much to work with. The monster/disaster plot is engaging, and it looks great (Godzilla’s dissonant piano-backed reveal is awesome) but without any interesting characters amongst the pure plot-movers (the military, the scientists), the film struggles to be more than just your typical monster movie.