'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-

'Paddington 2' Review

Paddington 2 finds Paddington well adjusted to his new home and overjoyed to now be a part of the Brown family after the events of Paddington. With his Aunt Lucy's 100th birthday on the horizon, Paddington decides he ought to search far and wide for the perfect present. While perusing Mr. Gruber's antique shop, Paddington settles on a unique pop-up book, but the book's out of his price range... Paddington then takes on a series of odd jobs to afford the precious present, but it's all for naught when the gift is stolen and Paddington is framed for the crime. It's then up to Paddington and the Browns to prove Paddington's innocence by uncovering the culprit truly responsible.

Paddington 2 bears witness to the return of Paul King as writer and directer, although King does receive some screenwriting assistance from Simon Farnaby this time around. King steps right back into his roles with relative ease as he's able to station audiences right back in the whimsical world they last left at the end of the fantastic first film. Oftentimes, sequels promise to deliver more of what viewers enjoyed about the original in their attempt to franchise a single commercial hit into a string of sequels and spin-offs. While Paddington 2 certainly follows that formula by keeping the charming characters and sentimental story up at the forefront, King successfully freshens things up a bit.

For one, the mild-mannered, marmalade enthusiast winds up in the slammer after a massive mishap. Perhaps, that may seem like an excuse for a series of silly shenanigans, but King utilizes the barren big house to emphasize how an infectiously upbeat attitude can turn an awful situation around. Obviously, this shouldn't be taken TOO literally. If you are imprisoned and attempt to befriend the hardened criminals surrounding you, you likely won't be as lucky as Paddington was. The films can be quite silly and unrealistic after all. However, King's messages are a cheerful source of encouragement to children that a positive outlook on life will always come in handy, even in the worst of times. 

It's well-intentioned moral lessons like this that are scarcely found among family-friendly fare these days. Sure, there are occasional animated ventures that stand above the rest. Last year, it was Coco and The LEGO Batman Movie, but for each of those exceptional examples, there were countless cash grabs to be found including the likes of Despicable Me 3, The Emoji Movie, and Ferdinand. I don't bring this topic up in order to drag those movies through the mud again, but rather to point out a greater problem in Hollywood. In an effort to make a quick buck, studios hardly pay attention to the importance of story, character, and worthwhile messages in their family-friendly content, which is precisely why it's reassuring to see such a sweet sequel as Paddington 2. I don't say this with the mindset that you won't find another quality family film released this year, because I'm sure there will be at least a couple, but merely to implore how genuinely goodnatured Paddington 2 is in comparison to other entertainment today.

Now I'm sure many of you reading this review have "100%" running through your mind because that's the current Rotten Tomatoes critic rating for Paddington 2... You may have come for further validation that this film is deserving of such a distinguished honor or because you think it's impossible that Paddington 2 of all things has a 100%. I personally believe the general public have begun to place way too much emphasis on this number, but that's a discussion I'd like to have another day with a post detailing why Rotten Tomatoes really doesn't matter. So to go ahead and quickly address this, I'll quickly explain the mechanics of Rotten Tomatoes (if you know how it works, go ahead and skip over this). A 100% rating does not mean every critic rated Paddington 2 with a perfect score. It actually means every Rotten Tomatoes certified critic gave the film a "fresh" review (meaning they liked the film). The Rotten Tomatoes score is set up as an aggregate compilation of the results of a binary choice, "fresh" or "rotten." A certified critic determines one or the other when linking their trade review to the site. The mass conspiracy that the site is rigged in favor of particular films is absurd and incorrect. It's as simple as the critic liked it or they didn't. That's all there is to it.

So with that insight, I wouldn't say the 100% necessarily reflects the film's quality, but it'd be especially difficult to find anyone who wouldn't be won over by Paddington 2's winsome charm. Paddington 2 is just as quirky, cute, and colorful as the original in every way imaginable. The cinematography ranges from simple and subtle-to-sweeping and grandiose while the editing enabled plenty of smooth transitions for almost two hours of well-paced pleasantries. The effort that went into the costume/production design, set decoration, and art direction is also quite apparent as the picturesque handicraft shines stupendously and Paddington once again looks extraordinary as a credible CG-creature in the live action setting, so hats off the vfx team as well! In regards to music, Dario Marianelli steps in as the sequel's new composer and manages to string together a swell accompaniment full of heart and character all on its own.

As for the film's illustrious ensemble, those brilliant Brits have done it again! Voicing the polite Peruvian bear, Ben Whishaw exceptionally articulates Paddington's goodnatured, naive intentions once more. Newcomer Brendan Gleeson steals a great many scenes as Knuckles McGinty, the prisons's hardened chef who's quickly won over by the courteous, cuddly teddy. The other inmates offer ample comedic relief, but none were necessarily stand-outs.

Sally Hawkins, Hugh Bonneville, Madeleine Harris, Samuel Joslin, and Julie Walters all return as the respective members of the Brown family including the compassionate mother Mary, fervent father Henry, headstrong Judy, insecure Jonathan, and fiery Ms. Bird. Each has their moment in the limelight, but Hawkins and Bonneville are allotted the most screen-time as the peculiar parents. Other familiar faces (and voices) found among the distinguished ensemble are Peter Capaldi, Imelda Staunton, and Jim Broadbent who excel with the material provided to them.

Taking the place of Nicole Kidman's campy antagonist, Hugh Grant plays an array of kooky caricatures as formerly well-renowned character actor Phoenix Buchanan. He doesn't quite relish in his malevolence like most villains... Instead, Grant delightfully soaks in the glory of Buchanan's ego, acting abilities, and a bit of Sondheim (stick around through the first half end credits to see an utterly delightful song and dance number). 

Paddington 2 is a family-friendly film that best bears resemblance to its titular marmalade-obsessed Ursidae. It's a sequel that's cute, kind, full of wholesome values, and well worth spending an afternoon alongside.

Film Assessment: A

Throwback Thursday Review: 'Paddington'

This week I'm reviewing Paddington to coincide with American release of its sequel this weekend. I hadn't seen the film prior to last Saturday, but it's on Netflix for those interested. Reviews you can expect for the remainder of the month include Throwback Thursday Reviews of The World's End and The Shining, reviews of new releases Paddington 2, The Commuter, Proud Mary, 12 Strong, and Maze Runner: The Death Cure. I'll be reviewing any films from 2017 that I missed out on as I watch them so look forward to seeing some of those reviews up sometime soon as well. 

'Paddington' Review

Paddington journeys alongside a young bear after the devastating destruction of his quaint home in the Peruvian rain forest forces him to seek shelter and solace in London. Through circumstance, the altruistic bear meets the considerate Brown family while waiting at London Paddington station. The Browns then temporarily extend their home and hospitality in addition to bestowing the bear with an English name, "Paddington."

Paddington is a feature length film written and directed by Paul King that adapts Michael Bond's classic Paddington Bear children's book series. Beloved children's stories are regularly adapted to film nowadays, so the fact Paddington joined the pack wasn't too surprising. However, these modern adaptations typically lose sight of the source material's wholesome family-friendly angle. Instead, audiences are treated to crass, tasteless humor catered way too heavily towards children... Thankfully though, Paddington never found itself ensnared by such absurdity. 

King's script can sure be silly at times, but the humor is genuinely funny and well thought out. King could easily have appeased to younger audiences with stupid, purposeless jokes encompassing flatulence, but Paddington rises above every opportunity to tell a charming, virtuous tale about a marmalade-loving bear from Peru. 

In regards to the film's technical prowess, Paddington looks and sounds very much like a Wes Anderson production due to a quirky, colorful aesthetic and a breakneck score from Nick Urata, but I can assure you it's not one. King was clearly inspired by Anderson's work, but that's not the only influence on Paddington, as the Peruvian bear even tips his red hat to Raiders of the Lost Ark and Mission: Impossible in two distinct instances. Now, I probably couldn't finish writing this review without applauding the film's vfx team for the wonderful work on creating a convincing CG-Paddington. Oftentimes, CG-creatures found in live action family films aren't quite authentic in their appearance, instead seeming distinctly digital. However, the vfx department's fine craftsmanship here did not go unnoticed.  

Paddington's cast features the likes of abundant accomplished actors from Great Britain, and everyone turns in a fine performance. Front and center, Ben Whishaw bestows Paddington with a kindred spirit and naive nature through his sufficient voice work. Sally Hawkins makes for a calm, endearing presence as Mary Brown while Hugh Bonneville's Henry Brown is ill-tempered and uptight, and their troubled parental dynamic wound up being a plus for me! The Brown children, Judy and Jonathan, are portrayed by Madeleine Harris and Samuel Joslin respectively, who each offer up quality performances for their age. While I wouldn't say they quite fit into that upper echelon of young actors who have emerged lately, I'd still consider them the cream of the crop as far as child talent goes. 

In the antagonistic camp, Nicole Kidman plays Millicent as an over-the-top taxidermist, and it totally works due to Kidman's commitment and the sometimes cartoonish setting surrounding her. Peter Capaldi, who's probably best known as the last Doctor Who, steps into the shoes of the Brown family's nefarious neighbor Mr. Curry and manages to constantly complain about the beloved bear in astonishingly amusing ways. Also, there's a number of familiar faces from the Wizarding World to be found among the film's exceptional British ensemble including the likes of Julie Walters, Michael Gambon, Imelda Stanton, and Jim Broadbent in roles of varying size and substance. 

At its best, Paddington is a bear-y good example of something that doesn't come around too often these days... A loving, wholesome adaptation of a classic children's book that the entire family can enjoy.

Film Assessment: B

'The Shape of Water' Review

Nominated For: Best Picture, Best Director; Guillermo del Toro, Best Actress; Sally Hawkins, Best Supporting Actor; Richard Jenkins, Best Supporting Actress; Octavia Spencer, Best Original Screenplay, Best Film Editing, Best Cinematography, Best Costume Design, Best Production Design, Best Sound Editing, Best Sound Mixing, and Best Original Score.

Won: Best Picture, Best Director; Guillermo del Toro, Best Production Design, and Best Original Score.

The Shape of Water washes audiences ashore in the year 1962 to follow Elisa, a mute janitor currently cleaning a top secret research facility. One day, security officer Richard Strickland arrives to the government lab with a mysterious monster in tow from South America. As Elisa encounters the aquatic creature in her day-to-day work, she forms a bond with the beast and decides she must free the wrongfully imprisoned Amphibian Man for the sake of its survival. 

Guillermo del Toro dives into telling an unconventional story as both writer and director, receiving an assist from Vanessa Taylor in regards to screenplay. Del Toro is a visionary director who's perhaps most well known for writing and directing Hellboy, Pan's Labyrinth, Pacific Rim, and Crimson Peak. While I've only seen two of those films, I can say I'm quite familiar with hearing del Toro's name mentioned by cinephiles as a promising choice of director for countless peculiar projects. From the trailer alone, I could tell this film was coming from del Toro based on the picturesque production design and strange sensibilities of the story. My interest was peaked, but I didn't quite know what I was in for... Then the film stunned the festival circuit with standing ovations and took home many of the top audience awards... That was followed by a stream of critical acclaim and nominations out the wazoo in various critic circles and the Golden Globes... At that moment, I knew The Shape of Water had to be something special... and boy, was I right. 

The Shape of Water is simply a beautiful film in all regards. The sea-foam green and aqua blue color scheme evidenced in Dan Laustsen's striking cinematography and Paul D. Austerberry's attractive era-appropriate production design evokes the guise of an extraordinary underwater environment. The creature design in-of-itself is stupendous, while the make-up, prosthetics, and visual effects effectively integrated with one another to create a convincing creature. The film's not just visually arresting though, as del Toro pours out a story that is sweet, sometimes dark, and surprisingly timely in spite of an antiquated setting. All of which is then reflected in Alexandre Desplat's exquisite score as it's able to sweep you off your feet, strain itself in the tense moments, and even startle you when things get scary.

At the center of it all, del Toro explores a shared connection between a human and creature that's rather reminiscent of the romance in Beauty and the Beast. For some, that may seem a bit off-putting. I had my own doubts that I would actually be invested in such an unusual relationship, but was shocked to see del Toro fully fill that proverbial glass. However, I'm sure there will still be those weirded out by the very idea of such a thing, so it really depends on your willingness to suspend disbelief and reel in the fishy concept. On that note, I feel it's worth warning you that del Toro's grounded fairytale is probably more mature than you'll be expecting. I'm not providing further context than the fact it's rated "R" for sexual content, graphic nudity, violence, and language, so I don't want to hear that you weren't ready.

When it boils down to it, The Shape of Water is all about outcasts. Del Toro's story flows alongside a mute janitor, a merman, a closeted gay man, an African American woman, a kind-hearted scientist, and, sadly, the guy that fits in happens to be cruel, perverted, and racist. They each seek acceptance from others in their own unique way, and their longing looks for wish fulfillment can certainly be soul shattering at times. So naturally, it's comforting to see their desires realized in unique, unexpected ways. With that being said, some portions of the plot are pretty predictable because you've seen other fantasies elsewhere. However, del Toro and the crew have put so much love and care into their craft that the heart of The Shape of Water reverberates endlessly, and so the current still flows in their favor.

Leading the exceptional ensemble, Sally Hawkins works wonders in the role of the unspoken Elisa Esposito. Hawkins communicates an abundance of expression without uttering a word. Her physicality, mannerisms, and screen presence do all the talking, and I seriously think she'll earn an Oscar nomination and maybe even win so long as the tides remain in her favor. Opposite Hawkins, Doug Jones is caked in makeup and prosthetics as the Amphibian Man. Jones is basically the practical equivalent of Andy Serkis. Where Serkis rules the motion-capture acting arena, Jones has been known to impressively act under plenty of prosthetics in the past. Like Serkis utilizes the magic of mo-cap to strengthen his performances, Jones makes the most of his makeup and body suits to craft compelling creatures, and the Amphibian Man is no exception. The fact he and Hawkins were able to extract such a rich rapport from a relationship of a mute woman and a scale-covered creature speaks volumes to their astounding abilities as actors.

Playing Elisa's nice neighbor Giles, Richard Jenkins steals the spotlight in such subtle ways. Jenkins takes what could have purely been a cliché character and excellently imbues him with nuance and a rich essence, leading you to pity the man for facing appalling animosity on account of Giles' sexuality.  

Rounding out the endowed ensemble cast are Michael Stuhlbarg, Octavia Spencer, and Michael Shannon. Stuhlbarg's got another powerhouse performance in his unbelievable year as an actor (he's also been in The Post and Call Me By Your Name), playing the part of a tender, concerned scientist Dr. Robert Hoffstetler. Spencer is a swell supporting presence as Elisa's coworker and friend, Zelda Fuller, elevating an otherwise ordinary role. In my book, it's Michael Shannon who lights up the screen though. Shannon is scary good here, turning Richard Strickland from a scumbag security officer to a driven, malignant force of contempt. Shannon is totally terrifying as the true monster of the tale.

Just like H₂0, The Shape of Water has no definite shape. The Shape of Water takes many different forms as a riveting romance, a sinister creature feature, and an affectionate ode to cinema, but each phase is deeply satisfying on account of its own merit, so the spontaneous compound is quite captivating.

Film Assessment: A