The presence of two gigantic destructive monsters competitively reawakens the mighty Godzilla, perviously resting in his or her oceanic layer, content and comfortable, in its overflowing radioactive abundance.
Secrets have been kept from the people of Japan, and one man's overwhelming quest to ecolocute them, sets his son on the path to heroic indentation.
Project Monarch has known about the existence of these ancient beasts for decades and has been assiduously researching their origins, attempting to understanding what might be their purpose.
When it becomes clear that aspects of said purpose threaten the longevity of prosperous American cities, the characters hear the kitschy call.
Pinnacled to pressure.
If at one time in your life you found yourself watching every Godzilla film you could find, Gareth Edwards's Godzilla doesn't disappoint.
It's, pretty awful, intermixing enough cheesy sentimentality to settle anyone's disputes concerning the hyperactivity of microwaved plutonics.
But this is what's to be expected from a film respectfully paying homage to its amusingly light predecessors, like a refreshing glass of chilled mountain dew, stricken yet satisfying, all the way through.
Dr. Ishiro Serizawa (Ken Watanabe) impresses.
Some of the best deliveries I've heard in a blockbuster for a while.
How I looked forward to his next line with unfiltered anticipation.
The scene where the troops skydive into San Francisco is incredible.
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