The crypto-zoological agency Monarch faces off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. (IMDb)
The massive scope of the worldwide adventure plot and the monster lot is great and it’s pretty cool rooting for Godzilla as the film’s superhero of sorts–a reclusive and proud personality taking on all the big bads even when he seems down and out. The human side of things is a harder to engage; props for effort but the family drama is a bit convoluted, the environmental discussion is one and done, and overall it bloats the film. Dr. Serizawa’s emotional monster moment was a nice touch though.
A thief, who steals corporate secrets through use of dream-sharing technology, is given the inverse task of planting an idea into the mind of a CEO. (IMDb)
The (literal) levels to which Nolan expounds upon his (literally) mind-bending premise are extraordinary, and his resulting film is nothing short of spectacular, as he (mostly) tactfully exposits his fascinating concepts through two complimentary and converging tracks: One action-oriented and exciting; the other character-focused and emotional. Brilliant cinematography (Arthur’s hotel fight is one highlight), engaging turns, and excellent music decorate this exhilarating and exquisite thriller.
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.