Godzilla we have lost

Godzilla goes ashore. Godzilla dissects the night darkness, scaring random passers -by. Godzilla beats with radioactive winged Muto monsters. Godzilla saves the American nuclear power plant. Godzilla is preparing to sacrifice himself. So it is tempting to add “for our sins”-especially since the main character of the new Hollywood version of Godzilla (Aaron Taylor-Johnson, who was pumped by Vronsky from Anna Karenina, Joe Wright and Tom Stoppard) is just erasing tears from his face. Yes, the main character of the new Godzilla is not a giant lizard (for the first time in the frame she appears a minute on the fortieth). The main content of the film Gareth Edwards is not at all the wrestling of the Titanes-Kaju.

Of course, the Mostzilla monsters can not do without the fighting - moreover, the monsters really succeeded in the director of the blockbuster of this scale of the Monster microbus science fiction. Gumming with fluorescent in the night of Godzilla and muto, skyscrapers, phobos and deimos are falling in full height. All this, however, happens in the background - in every sense. Firstly, the fighting scenes themselves were shot for the most part either literally from an ant point of view of people, or from a strange position behind the monsters-kaizu. Secondly, the Queen of Monsters here is more often commemorated in conversations than appear on the advance, and the true heroes of the film are one unfortunate family.

The peaceful atom made this family unhappy: Godzilla begins with a prologue in which the extravagant nuclear physicist Joe Brody, who works at the Japanese nuclear power plant, is in the nabate-the terrain around the nuclear power plant is shaken by strange tremors. These tremors will turn out to be a stomp of Monster Muto Monster, who was worshiped in the Filipinsky, who feeds on radioactive energy (and is already going to the station). The nuclear power plant will collapse, the muto will be isolated and classified - but after the wife of Brody will die during the disaster. Fifteen years later, he, already in the status of the unemployed, will scour around the closed area around the station in search of a solution. When Brody once again detain the authorities, his grown up and received by the army son Ford (Taylor-Johnson) will be forced to sacrifice a vacation in order to pull his father out of the Tokyo prison. It was then that the apocalypse will really play-and the director Edwards will lead the film after the throwing of the family of Brody in the light: Japan, Hawaii, San Francisco. Of course, these points on the map will, of course, will coincide with the places of kaizu's appearance.

Listen to the names of the actors playing the Brody clan: Brian Cranston, who became a superstar after the series “In the Great”, Oscar Laureta Jules Binosh, Hollywood stars Taylor-Johnson and Elizabeth Olsen. It is clear why Edwards and his scriptwriters make such an emphasis on this family drama - as well as in such detail, verbose repeatedly repeated, tell the history of the difficult relations of the local monsters with atomic energy. They are moving as if the desire for realism, the credibility of plot situations - which, however, is more like a distrust of the viewer. The screenwriter here as if considers a modern visitor a breeze-overflow, who is not able to just enjoy the spectacle of large-scale disasters on the screen (however, are the most dissatisfied reviewers of “youth” Hollywood cinema?). The more often the authors are talking about radiation and atomic threat, the less you believe. The more screen time Brody and other representatives of mankind gets (a pair of “specialists” in monsters performed by Ken Vatanabe and Sally Hawkins also flickers in the frame, the more the local stars act, the more clearly the banality of the characters they got, the better the intolerable cliches fall on them. A nuclear physicist is an obsessed madman. Soldat son is an obsessed family man. His wife is an obsessed housewife. The character of Juliette Binosh is not subjected to such a simplification - but she also gets from the strength for three minutes of timing.

And, of course, the more people are in the frame, the less years old. She began her film career as a mythical and inexplicable, embodied rock, punishment of humanity for sinful flirting with a nuclear bomb. Now this supernatural creature is reduced to the level of the mask of the ecological movement, a kind of panda with a twinkle - Godzilla is simple, understandable and, most terrible, sympathetic. It is not surprising-after all, it is involved here rather as an additional narrative device that helps the authors of the film establish the life of Brody's family who once went down. The god of rebellious nature, the great god Pan turned into a cardboard god from a car. Live well, Godzilla. Never come back.