'Toy Story 4' Review

Apologies for the delay on this review. I was out of town last week and have been preoccupied since returning. However, I've now seen Toy Story 4, Child's Play (2019), and
Yesterday (2019), and anticipate reviewing those films this weekend in addition to Spider-Man: Far From Home and Midsommar early next week.

'Toy Story 4' Review

Nominated For: Best Animated Feature and Best Original Song "I Can't Let You Throw Yourself Away" (written by Randy Newman).
Won: Best Animated Feature.

Synopsis: Woody and the rest of the gang embark on a road trip with Bonnie and a new toy named Forky. The adventurous journey turns into an unexpected reunion as Woody's detour leads him to his long lost friend Bo Peep. As Woody and Bo realize they're worlds apart when it comes to life as a toy, they soon find that's the least of their worries.

Runtime: 100 minutes

MPAA Rating: G

Who should see it? Fans of Pixar and the Toy Story franchise.

Toy Story 4 exists as the fourth entry in a nearly twenty-five-year-old Pixar franchise and director Josh Cooley's first feature film. Throughout its development, various screenwriters were charged with reviving the series, but the screenplay ultimately was penned by Andrew Stanton and Stephany Folsom with story credits shared between John Lasseter, Valerie LaPointe, Rashida Jones, Will McCormack, and Martin Hynes as well as Cooley, Stanton, and Folsom. It would be an understatement to say I was skeptical about a continuation of Pixar's touchstone franchise. 

Though unwise to underestimate Pixar, Toy Story 4 seemed to be an unnecessary series extension, and the marketing material didn't inspire confidence. Pixar's recent sequel craze has resulted in a series of entertaining, but fairly forgettable franchise additions and I was worried Toy Story 4 may fall victim to that, tarnishing the legacy of what I consider a perfect trilogy. The ending of Toy Story 3 carried a bitter-sweet sense of finality, and I doubted the premiere animation studio could justify another installment. Thankfully, I was proven wrong. Toy Story 4 is an ideal epilogue to one of the greatest cinematic trilogies which maintains the series' sense of hilarity, heart, and adventure. 

Every Toy Story installment grapples with what it means to be a toy, exploring that existential thematic ground through a different perspective, time and time again. Though Toy Story 3 seemingly resolved the toy's connection with Andy, Woody requires further closure. Woody' fulfilled his life purpose, so what now? That's the question at the core of Toy Story 4, which can be interpreted as meta-commentary about the franchise itself. This story ended with the third one, right? Why continue? Are creatives and audiences willing to say goodbye to these iconic animated characters? These are questions many will ask concerning this fourth chapter, and they're deeply embedded in the narrative.

As audiences expect from a Pixar production, Toy Story 4 features phenomenal photo-realistic animation with exquisite attention to detail. The textured porcelain, plastic, vinyl, felt, and fabric toy components are particularly well-rendered while character motion is authentically articulated. Beneath it all, Randy Newman's music is the beating heart and soul behind the toy's latest adventure. "You've Got a Friend in Me" is incorporated in a nostalgic montage while "I Can't Let You Throw Yourself Away" and "The Ballad of the Lonesome Cowboy" are charming, old-fashioned earworms. Regarding the score, Newman peppers in familiar franchise motifs along with some excellent new arrangements. 

Carrying over from the previous films, Tom Hanks, Tim Allen, Annie Potts, Joan Cusack, Wallace Shawn, John Ratzenberger, Blake Clark, Don Rickles, Estelle Harris, Jeff Pidgeon, Bonnie Hunt, Kristen Schaal, and Jeff Garlin reprise their respective roles of Woody, Buzz, Bo Peep, and the rest of the gang. Meanwhile, Tony Hale, Keanu Reeves, Keegan-Michael Key, and Jordan Peele are charming, scene-stealing additions to the cast as Forky, Duke Kaboom, Ducky, and Bunny while Christina Hendricks' Gabby Gabby turned out to be a more layered antagonist than expected. The entire voice cast offers ideal interpretations of these characters, but Hanks turns in one of his best vocal performances yet as Woody finds closure amidst whacky shenanigans in an RV, carnival, and antique shop.

One quibble I have is that the original grouping of toys were mostly sidelined in favor of the new characters. Toy Story 4 is Woody's story first and foremost, so this is a logical storytelling choice, but I wish Buzz, Jessie, and the gang were more involved. Otherwise, there were a few gags which quickly wore thin and were a little too repetitive for my liking.

Against all the odds, Toy Story 4 managed to be just as charming, hilarious, and heartfelt as its predecessors. Whether Toy Story 4 concludes the Toy Story series or not, I'm willing to follow this franchise to infinity and beyond.

Film Assessment: A

'Late Night' Review

Synopsis: A late-night talk show host's world is turned upside down when she hires her first and only female staff writer. Originally intended to smooth over diversity concerns, her decision brings about unexpected consequences as the two women who are separated by culture and generation become united by their love of a biting punchline.

Runtime: 102 minutes

MPAA Rating: R (for language throughout and some sexual references)

Who should see it? Teenage and adult fans of comedies.

Mindy Kaling's been a rising star in Hollywood since her days on The Office, but Late Night is her first feature-length screenplay despite her numerous credits as an actress, writer, and producer. Aside from writing Late Night, Kaling co-starred and produced Amazon Studios' latest comedy which tackles diversity in the workplace and cancel culture among other relevant topics. Directed by Nisha Ganatra, Late Night is plenty topical. Though some may perceive it as "too woke," Ganatra and Kaling tastefully navigate the subject matter, and it was refreshing to glimpse these issues from the perspective of women of color. Obviously, I am neither of those things, so credit to Ganatra and Kaling for successfully immersing me in this story so that I'd be more sympathetic to their outlook. Kaling doesn't omit other viewpoints though. Some of the other late-night show writers push back against her character Molly, but not always in an antagonistic manner. Kaling doesn't reduce these nuanced conversations to black-and-white discrepancies.

The story itself is relatively simple and lighthearted but handled with such sincerity that you can't help but be swept up by it all. There's an authenticity to the situations Molly encounters as she tries to navigate an unfamiliar, merciless work environment, and the dialogue feels genuine rather than an implementation of forced humor for the sake of cracking a joke. Despite its classification as a comedy, Late Night includes some hard-hitting emotional beats and doesn't stray away from the reality of these situations though. Kaling's script is honest and profound, which is why I deemed the superficial epilogue a tad disappointing. The last few minutes simply provided an unrealistic, optimistic outcome.

As Katherine Newbury, Emma Thompson presents a convincing and layered portrayal of a late-night television personality. Thompson demonstrates an exuberance whenever Newbury's in the public eye, a fierce tenacity in the workplace, and tender vulnerability in her time alone. Playing Newbury's husband diagnosed with Parkinson's disease, John Lithgow turns in an excellent supporting turn, and his scenes shared with Thompson are wonderfully sincere.

Opposite Thompson, Mindy Kaling's Molly is a warm, endearing presence. Kaling strikes an ideal balance between a timid new hire and persistent, hard-working individual. Viewers see her respond to harsh surroundings with both apprehension and an emboldened spirit, but Kaling's depiction of these seemingly contradictory traits feels true to the character and situations she finds herself in. Meanwhile, Hugh Dancy, Reid Scott, Denis O'Hare, Max Casella, Paul Walter Hauser, and Ike Barinholtz each are charming additions to the cast as a series of secondary characters.

Late Night casts its spotlight on a marginalized perspective to tell a tale full of laughs, social commentary, and sincerity. In an unexpected turn of events, Late Night is one of the year's most delightful films. I'd advise staying up and tuning in!

Film Assessment: A-

'Men in Black: International' Review

Synopsis: The Men in Black have always protected the Earth from the scum of the universe. In this new adventure, they tackle their biggest threat to date: a mole in the Men in Black organization.

Runtime: 114 minutes

MPAA Rating: PG-13 (for sci-fi action, some language and suggestive material)

Who should see it? Passionate fans of the Men in Black franchise.

Directed by F. Gary Gray with a screenplay by Art Marcum and Matt Holloway, Men in Black: International seeks to rejuvenate the series as a globe-trotting spy adventure on the heels of the three Will Smith/Tommy Lee Jones-led Men in Black features. Sony Pictures is a notoriously money-hungry studio, and it's been seven years since MIB 3, so it makes sense that the studio would be keen to prolong the series via a soft-reboot. On paper, you'd even expect that the talent involved would be able to produce something satisfactory. Gray's a successful filmmaker while Thor: Ragnarok co-stars Chris Hemsworth and Tessa Thompson are a promising pair with a pre-existing rapport.

Unfortunately, MIB: International never amounts to being anything more than a cookie-cutter summer blockbuster which was clearly made to cash in on an established franchise. Most sequels and spin-offs are developed with the intent of securing a healthy financial return, and there's nothing wrong with that in-of-itself. However, MIB: International is devoid of style, spirit, and personality. I take no issue with watching something formulaic, so long as it successfully implements said "formula," but MIB: International can't even do that. While MIB: International is inoffensive and competently made, I doubt I'll ever have an urge to rewatch due to its lacking entertainment value. 

The worst thing I can really say about MIB: International is that I deemed it bland and boring, which is blasphemy for a MIB entry. Men in Black isn't a sacred franchise by any means, but something is endearing about how weird and over-the-top those first three films were. Even the worst ones captured the ludicrous nature and nonsensical tone of it all. A universe in which aliens secretly inhabit Earth and are policed by a government agency is one that's ripe for expansion. MIB: International strives to do just that by introducing the London branch and visiting other international locales. These backdrops prove to be very inconsequential though, lending little of interest to the onscreen affairs.

Redeeming qualities are few and far between for MIB: International, but I did appreciate Marcum and Holloway's efforts to differentiate from the previous installments. Most notably, the dynamic between Agents M and H heavily contrasts J and K. M is a headstrong, knowledgable rookie while H is a top agent who lost his mojo. I considered that change-up refreshing, as MIB: International could have easily been a retread of its predecessors. In keeping with their onscreen personas, Thompson and Hemsworth offer their characters a degree of charm and likability. Kumail Nanjiani's Pawny was a pleasant addition while Liam Neeson, Emma Thompson, and Rebecca Ferguson hardly register due to lacking screen-time. Ultimately, the entire ensemble is restricted by a subpar script as characters dilly-dally for two hours.

If interested in seeing Men in Black: International, I'd recommend you break out your neuralyzer and forget that idea. Though well-intentioned and competently made, MIB: International joins this summer's expanding blockbuster roster of studio-mandated mediocrity. Your time and money would be better spent seeing Late Night, the other movie starring Emma Thompson which expands into theaters nationwide this weekend, and I'll soon share a review for it.

Film Assessment: C

'The Dead Don't Die' Review

Synopsis: The peaceful town of Centerville finds itself battling a zombie horde as the dead rise from their graves.

Runtime: 105 minutes

MPAA Rating: R (for zombie violence/gore and language)

Who should see it? Adult fans of zombie movies and comedies.

Written and directed by Jim Jarmusch, The Dead Don't Die is an absurdist comedy set at the start of a zombie apocalypse. In Jarmusch's film, there's a discernible degree of self-awareness. Characters frequently break the fourth wall to comment on their surroundings and the recurring use of a single Sturgill Simpson song. The dialogue is hysterical and usually spoken in deadpan, but the undead invasion is surprisingly sluggish. Jarmusch slowly introduces his sprawling, star-studded ensemble of survivalists, and this laidback, deliberate approach wears thin fairly quickly.

Zombie fodder is a necessity, but Jarmusch's divided attention prevents him from meaningfully fleshing out these eccentric personalities. Jarmusch whittles down his cast to narrow his focus on select individuals, but it doesn't amount to much. The town residents are merely vessels to impart Jarmusch's message that our society has become far too fixated on material possessions. These zombies are more concerned with finding the products they enjoyed in their past life than eating brains, and the undead mutter the names of these commodities as they stroll around Centerville.

As the poster's tagline suggests, Jarmusch has amassed a respectable grouping of A-listers to portray this collection of quirky characters. Bill Murray, Adam Driver, Tilda Swinton, Chloë Sevigny, Steve Buscemi, Danny Glover, Caleb Landry Jones, Selena Gomez, and Tom Waits are among those most prominently featured in the film, and each actor lends sufficient personality to their respective role. Murray and Driver carry an amusing rapport as police partners while Swinton's strange Scottish mortician Zelda Winston is a sure-fire scene-stealer on account of an off-kilter attitude.

Though it's a low-energy affair, the film remains enjoyable as celebrities engage in wacky antics and deliver side-splitting lines. Jarmusch succeeded in making a unique zombie comedy, but The Dead Don't Die never comes alive.

Film Assessment: B-

'Dark Phoenix' Review

Synopsis: During a life-threatening space rescue mission, Jean Grey is hit by a cosmic force that transforms her into one of the most powerful mutants of all. Wrestling with an increasingly unstable power as well as her personal demons, Jean spirals out of control, tearing the X-Men family apart and threatening to destroy the very fabric of our planet.

Runtime: 113 minutes

MPAA Rating: PG-13 (for intense sequences of sci-fi violence and action, including some gunplay, disturbing images, and brief strong language)

Who should see it? Marvel fans who are eager to see the end of Fox's X-Men Saga.

Written and directed by longtime X-Men writer/producer Simon Kinberg as his feature directorial debut, Dark Phoenix is the twelfth and, presumably, final entry in 20th Century Fox's X-Men universe. In nineteen years, there have been six prior X-features, three spin-offs starring Wolverine, and two Deadpool side-adventures. Though the studio delivered a series of superhero installments with inconsistent quality and jumbled continuity, there were genuine gems among the bunch, and Bryan Singer's X-Men was at the forefront of the comic-book movie craze alongside Sam Raimi's Spider-Man in the early 2000s. Those films were largely responsible for driving interest in the cinematic superhero offerings seen today, so it's bitter-sweet to see the franchise come to an end on account of Disney's recent Fox acquisition.

One notable implication regarding the Disney/Fox merger is that Marvel Studios will finally have creative control over the Fantastic Four, X-Men, and other related comic entities. Free to integrate these popular comic characters into their cinematic universe, I imagine we'll see rebooted incarnations from Marvel and Disney soon enough. Of course, there are plenty of troubling concerns and silver linings pertaining to the merger, but that's a discussion for another day. Between numerous release delays and extensive reshoots, Dark Phoenix experienced a troubled production and many wondered if Dark Phoenix and The New Mutants would ever see the light of day under Disney's dominion. While the jury's still out on The New Mutants, Dark Phoenix finally flew into cinemas this weekend but is looking to crash and burn with the lowest respective Rotten Tomatoes score and opening weekend box office gross of the entire franchise.

Honestly, Dark Phoenix is far from the worst X-Men film though. X-Men Origins: Wolverine, X-Men: The Last Stand, and X-Men: Apocalypse are each more deserving of that distinction in my mind. Dark Phoenix contains plenty of interesting ideas which are unfortunately fumbled in execution and will be overlooked due to some cheesy moments and awful dialogue. However, the bad is balanced out by moderately engaging action, a gifted ensemble, and another astounding score from Hans Zimmer. I genuinely appreciated the opening fifteen-twenty minutes, but the film teeters out and loses steam in the second act's sea of angsty melodrama. Above all, the biggest issue facing Dark Phoenix is that we barely know this younger iteration of the X-Men, and Kinberg's narrative depends on audience investment.

Jean Grey, Cyclops, Nightcrawler, and Storm were all briefly introduced and scarcely developed as supporting presences in X-Men: Apocalypse. Apocalypse was overcrowded with characters, so barely anyone did anything remotely consequential in that movie or much less experienced character growth, but there needed to be at least one other film between Apocalypse and Dark Phoenix to flesh them out as individuals. Instead, the development occurs off-screen. As a result, I didn't really care about the team's melodrama because they'd barely been defined as characters.

As for the cast, most everyone gets a moment to shine in-spite of thin characterization. Sophie Turner never reaches her full potential as Jean Grey but does the best with what she's given and lends weight to the dramatic, under-written heel turn of her character. Turner sells Jean's conflicted and complex emotional state, as well as her menacing qualities when faced against her fellow mutants. On the other hand, Jessica Chastain portrays Vuk as an uninspired alien antagonist void of all personality. The character's meant to be detached, and her motivation's clearly laid out, but Vuk fails to resonate as a person of interest because it may as well be played by a cardboard cut-out of Chastain.

The First Class crew of James McAvoy, Michael Fassbender, Nicholas Hoult, and Jennifer Lawrence reprise their roles for the fourth time, finally ready to bow out as Professor X, Magneto, Beast and Mystique. Fassbender and McAvoy continue to be series MVPs, lending further nuance to the ongoing debate between Charles Xavier and Erik Lehnsherr, while Hoult's Hank McCoy grapples with an emotional dilemma and Lawrence arrives to set caked in cheaper-looking blue make-up to collect her paycheck and fulfill the remainder of her contract. Carrying over from Apocalypse, Tye Sheridan's Cyclops, Alexandra Shipp's Storm, Kodi Smit-McPhee's Nightcrawler, and Evan Peters' Quicksilver are unfortunately relegated to meager supporting roles with the occasional impressive display of their abilities. Their narrative contributions are inconsequential, and it's a shame that these characters were side-lined once more.

Viewers are ultimately left with a watchable superhero flick, but those are now a dime a dozen. The Fox X-Men franchise finally burnt out, but I'm looking forward to seeing what rises from the ashes in the capable hands of Kevin Feige and Marvel Studios. Hopefully, Marvel can reignite audience interest in these classic comic characters.

Film Assessment: C

'Rocketman' Review

Nominated For: Best Original Song "(I'm Gonna) Love Me Again" (written by Elton John and Bernie Taupin).

Won: Best Original Song "(I'm Gonna) Love Me Again" (written by Elton John and Bernie Taupin).

Synopsis: A musical fantasy about the fantastical human story of Sir Elton John's breakthrough years.

Runtime: 121 minutes

MPAA Rating: R (for language throughout, some drug use and sexual content,)

Who should see it? Teenagers and adults who are interested in the story and music of Elton John.

Directed by Dexter Fletcher with a screenplay written by Lee Hall, Rocketman is a musical biographical picture which details the highs and lows of Elton John's upbringing and rockstar career. Last year, Fletcher swooped in to complete production on Bohemian Rhapsody after director Bryan Singer was removed from the project, and the Queen biopic was championed by general audiences and the industry alike as it somehow managed to secure four Oscars, a Best Picture nomination, and a healthy box office haul against all odds. Those of you who read my BoRhap review and 2019 Oscar coverage are aware that I wasn't particularly fond of said film, so it's easy to see why I'd be concerned that Rocketman would be made in a similar generic musical biopic mold... Well, I'm DELIGHTED to say that's not the case! 

Rocketman doesn't completely break the mold, but Fletcher's method of retelling Elton John's life story as a non-chronological, fantastical jukebox musical is a refreshing creative choice. Many of John's greatest hits are included to relay major life events rather than serve purely as the basis for staged concert recreations. Though the narrative's thoroughly grounded in the tragic elements of Elton John's various additions, the dreamlike musical numbers carry an over the top bravado befitting of the exuberant musician. Fletcher alternates between dramatic reality and psychedelic song and dance numbers with relative ease and assuredness, so the switches flow naturally within the narrative.

Screenwriter Lee Hall frames the events as unreliable recollections from John during an Alcoholic Anonymous meeting in rehab. Though Elton admits to being an alcoholic, drug and sex addict, shopaholic, narcissistic, and a tad temperamental, he withholds key details about his life from the support group and presents a glitzy version of his experiences which are soon revealed to be a facade for the audience. As Elton reminisces on the life and upbringing of Reginald Dwight (his birth name), the story shown doesn't always align with his spoken iteration, but the production doesn't skimp on sharing the darker details of the pop star's life. The truth of it all may up for debate (especially considering the fantastical nature of the musical numbers), but I believe Fletcher and Hall crafted an honest, harrowing portrait of the ups and downs of Elton John's breakthrough years. Fortunately, Elton John served as an executive producer on the project, so he endorsed the film's depiction of said events through his substantial involvement.

Nevertheless, the script still falls into the rut of exploring tired genre clichés and breezing by some pivotal moments in the musician's memoir. Though the technical execution compensates for these shortcomings, as colorful costuming, vibrant production design, inspired choreography, and a committed cast helps Rocketman maintain its upbeat vitality. 

Front and center, Taron Egerton encapsulates the Elton John persona to a tee, voice and all. Egerton easily could have sunk into an exaggerated caricature of Elton, but the rising actor wholeheartedly throws himself into the role. Egerton replicates John's disposition and mannerisms but also imbues the necessary nuance to avoid an impressionistic portrayal. Taron Egerton ironically sang an Elton tune as a talking gorilla in the animated jukebox musical Sing ("I'm Still Standing" is reprised here) and recently starred alongside Elton John in Kingsman: The Golden Circle, so it'd seem he was fated to take on this part. Thankfully, he's got the pipes for it, and he echoes Elton's vocals to great effect!

Jamie Bell, Richard Madden, and Bryce Dallas Howard depict prominent individuals in Elton's life as his respective lyricist and best friend Bernie Taupin, manager and former flame John Reid, and wishy-washy mother, Sheila. Bell's a kindred spirit while Madden accentuates Reid's manipulative, cruel qualities, with Howard fluctuating in-between.

All in all, Rocketman blasts off as an extravagant musical bonanza which honors the respected rockstar's rich legacy and is also unafraid to explore the darker side of Elton John's history. Fletcher's unique approach to the material and a distinguished lead performance from Taron Egerton ensures Rocketman will bring the house down.

Film Assessment: B+

'Godzilla: King of the Monsters' Review

Synopsis: 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. When these ancient super species rise, they all vie for supremacy, leaving humanity's very existence hanging in the balance.

Runtime: 131 minutes

MPAA Rating: PG-13 (for sequences of monster action, violence, and destruction, and for some language)

Who should see it? Godzilla fans.

Serving as the gargantuan sequel to 2014's Godzilla, Godzilla: King of the Monsters is directed by Michael Dougherty and features a screenplay co-written by Dougherty and Zach Shields with an additional story credit for Max Borenstein. Aside from furthering the exploits of our favorite gigantic lizard, King of the Monsters is tasked with setting the stage for next year's epic kaiju showdown between Kong and Godzilla. And the filmmakers sure do want audiences to know that Warner Bros. and Legendary's MonsterVerse is headed in that direction, as there are plenty of references to the fabled Skull Island and its towering primate. Occasionally, the nods happen too frequently, but the cinematic universe craze isn't slowing down anytime soon. On that note, stick through the credits for hints concerning this franchise's future. 

Most audience members flocking to the theater are seeing Godzilla: King of the Monsters due to the promise of grand kaiju action, and they'll be delighted to witness plenty of monstrous mayhem. Unlike the 2014 Godzilla, the titular titan is front-and-center more-often-than-not. The spectacle doesn't always match the grandeur and majesty of the trailer presentation, but Dougherty delivers some satisfying kaiju brawls full of striking imagery. Though these fights aren't without flaws. Sometimes, it's challenging to follow the action due to the weather, fluorescent lighting effects, shaky-cam, and quick cuts. It'd be a stretch to call the action incomprehensible, and these attributes didn't detract from my enjoyment, but I feel they're worth noting nevertheless. One detail which compensated for this was the varied color scheme for each monster and their abilities which assisted in differentiating the creatures from one another.  

As glimpsed in the trailers, there are some magnificent effects-heavy wide shots which I'd gleefully frame and display in my home. King of the Monsters touts impeccable creature design for its wide array of mythic monsters, and these beasts are wonderfully realized through breathtaking visual effects and Lawrence Sher's stunning cinematography. Lending additional gravitas to the grand spectacle, Bear McCreary's score contains many percussive, choral-heavy arrangements, and I'd be remiss to neglect the sound design which enabled the kaiju to roar their way onscreen.

Of course, there's more to this movie than monsters... The human component and narrative are severely lacking in comparison to the kaiju confrontations, but honestly, what else would you expect? I've seen King of the Monsters heavily scrutinized for that whereas I'd consider the characterization in this sequel to be an improvement over Godzilla (2014). The central splintered family dynamic presented here is far more compelling than what unfolded five years ago, largely thanks to the performances which I'll touch on momentarily. I was invested in the fate of the core family as well as Dr. Ishiro Serizawa, which already outweighs merely caring about Bryan Cranston in the first film.

Kyle Chandler's Mark Russell is the most prominent character in this super-sized sequel and Chandler does a fine job with the material given. Amongst the ensemble, O'Shea Jackson Jr., Ziyi Zhang, Aisha Hinds fill the stock scientists and military personnel while Bradley Whitford and Thomas Middleditch provide a decent dose of comedic relief.

Depicting the two carry-over characters from Godzilla (2014), Ken Watanabe and Sally Hawkins are utilized in vastly differing capacities. Watanabe is granted a poignant scene and continues to invoke a sense of gravitas for the franchise while Hawkins is sadly wasted with minimized contributions (she mostly delivers expositional dialogue). 

Separated from the rest of the cast for plot-related reasons, Millie Bobby Brown, Vera Farmiga, and Charles Dance each are sufficient series additions. It was nice to finally see Millie Bobby Brown transition to the big screen after her breakout turn as Eleven in Stranger Things, and her feature acting-debut offered a role befitting of her talent. Despite sharing the screen with so many seasoned actors, Brown holds her ground and manages to be a stand-out when all is said-and-done. Meanwhile, Vera Farmiga leaves a favorable impression in spite of her character's complex motivations, whereas Charles Dance's malevolent presence felt underutilized in the grand scheme of things. 

Godzilla: King of the Monsters is an unabashedly stupid popcorn flick that will surely rule the box office this weekend, but awe-inspiring kaiju confrontations compensate for its narrative shortcomings. Long live the king!

Film Assessment: B B-