In 2010, Gareth Edwards unleashed the ultra-low budget flick “Monsters” on the world. It was a striking debut, and it also wound up serving as an audition tape for the job of reenergizing the “Godzilla” franchise. Indeed, if there was anyone to scoop up from the world of independent cinema for large-scale filmmaking, Edwards seemed like a natural due to the way he emphasized human relationships over flashy computer graphics.
Sadly, what ultimately hits the screen in “Godzilla” is something far more in the mold of Marvel than Edwards’ own “Monsters.” The plot structure resembles the paradigm perpetuated by films like “The Avengers;” I’d like to call this formula “30-40-50.” The first 30 minutes of the film introduce us briefly to the characters and cap off with an inciting event that sets up a climactic clash with an opposing villainous force. The next 40 minutes vamp up to this giant conclusion, showing the various heroes and their preparations. And it all caps off with 50 minutes of destructions, explosions, collapsing buildings … you know the drill.
The scariest part of “Godzilla” is not the monster; it’s realizing how quickly the art of screenwriting has transmuted into an engineered science. It favors empty computer graphics over real suspense and rewarding characterization. Edwards’ penchant for thrilling action goes woefully underutilized as he settles to provide a standard entry in the genre “Monsters” so ably defies. He gets to be somewhat ironic on occasion but never subtle.
Actors can often rescue movies that sag under the weight of a bloated effects budget, but no such salvation is available for “Godzilla.” Here, Bryan Cranston is forced to play a Walter White-lite variety and acclaimed actresses such as Elizabeth Olsen, Sally Hawkins, and Juliette Binoche are relegated to serve perfunctory roles on the sidelines. But don’t worry, Aaron Taylor-Johnson fruitlessly channels Mark Wahlberg trying to save the day, an archetype he’s ill-equipped to play.
But hey, who needs actors when you can watch a giant lizard destroy the Golden Gate Bridge and the rest of San Francisco? Not like we got to see it terrorized in “Rise of the Planet of the Apes.” Or the “Star Trek” movies. (Heck, even the animated “Monsters vs. Aliens” got in on the action.) Sure, it’s probably more extensive here in “Godzilla,” but it all just feels so familiar and generic. No better way to sit through the threat of near-apocalyptic extinction than comfortably numb, right? C+ / 
Marshall and the Movies 
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