Even our apparent protagonist, bomb disposal expert Ford Brody (Aaron Taylor-Johnson), never gets the chance to use his primary skill of defusing bombs because the analog nuke’s busted seal casing won’t allow him access to it.Įvery attempt by humans to confront the creatures backfires spectacularly, to the point of rendering their presence utterly inconsequential.
The military’s plan to destroy the monsters is to detonate a nuclear bomb, despite already being told that they feed on radiation. Doctor Serizawa (Ken Watanabe) and his organization Monarch, whose sole purpose is to study and understand these creatures (and has been doing so for 15 years), didn’t realize the MUTO inside the chrysalis was communicating or that it could generate EMP blasts. Humanity gets the short end of the stick in this film in more ways than one: Not only are they easily upstaged by their massive co-stars, but they’re universally portrayed as useless or downright incompetent. He portrays them as lumbering titans, weighed down both by their sheer size and also the mythic importance they bear as ancient creatures who used to rule a world now occupied by humans, the same humans that might as well be mere specks of dust in comparison. The buildup to the monster climax is a slow burn, a deliberate choice by Gareth Edwards to give himself room to convey the truly colossal nature of these creatures.
What starts as a family drama, about an estranged father and son both shattered and given new purpose by the loss of the family’s mother, eventually unfolds to reveal a potential global catastrophe involving giant radioactive monsters battling each other in San Francisco.
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Godzilla: A Comedy of ErrorsGodzilla 2014 is a movie with a scope that slowly expands over its two hours.
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