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Godzilla King of the Monsters 4K 2019 Ultra HD
+2
rating
2

Godzilla King of the Monsters 4K 2019 Ultra HD

Country: USA | Japan
Genre: Action
IMDB: 6.3
Producer: Michael Dougherty
Cast: Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Ziyi Zhang, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds, O'Shea Jackson Jr., David Strathairn, Anthony Ramos, Elizabeth Faith Ludlow, Jonathan Howard.
Godzilla King of the Monsters 4K 2019 Ultra HD


Godzilla King of the Monsters 4k trailer download. In the new part of MonstroUniverse from Warner Bros. and Legendary, we are waiting for the return of the participants of the crypto-zoological organization "Monarch" and the mighty Godzilla, united in the fight against Motra, Rodan and the three-headed King of Hydora. Together, these three resurrected representatives of ancient supervisions crave to become the dominant form of life, leaving the fate of the human race hanging in the balance.

Godzilla King of the Monsters 4K 2019 Review
5 years have passed since the last appearance of Godzilla. Since then, the Monarch Corporation, which has been studying huge prehistoric monsters, has found more than a hundred such creatures and built a whole network of institutions and bases to contain them. Dr. Emma Russell (Vera Farmiga) works for one of these - she is developing a system that will help restrain kaiju and communicate with them. On the day that the unit first works as it should, an ecoterrorist squad attacks the base and kidnaps Emma and her daughter Maddison (Millie Bobby Brown). They want to free all kaiju so that they establish a new order on earth and erase human civilization that pollutes nature. Now the “Monarch" needs to find a doctor and her apparatus to prevent a catastrophe - for this they call her husband Mark (Kyle Chandler), who has not recovered from the tragedy five years ago.

In 2014, Gareth Edwards launched MonsterVerse with his "Godzilla King of the Monsters 4K" - a new ambitious film universe that threatens to unite all the stories about huge mythical monsters, gigantic monsters and other kaiju. The film itself, however, hardly met those ambitions - unlike previous iterations, he preferred to stay on the ground, instead of the heroic pathos of the conditional “Pacific Frontier” and Roland Emmerich’s blockbuster kitsch, he built almost Spielberg suspense, where Godzilla lived most of the time in the background, in excerpts of memories and television shows. Edwards filmed the gigantic reptile mainly from subjective perspectives, tried to identify the viewer and the heroes, to make the monster scary again, which has not caused any trepidation for a long time - it is too familiar, familiar, "poppin". And sometimes he even succeeded.

The audience, however, did not appreciate the efforts too much - instead of your human drama and boring suspense, they demanded bread, circuses and so that there were more fights. To satisfy their insatiable attraction, the appetite should have been a sequel, whose synopsis looks like the dream of any adult child: a bunch of monsters collide their foreheads to finally find out which of them is the most monstrous. Only one thing really confused in all this disgrace: Michael Dougherty, the director with, to put it mildly, not the most expressive filmography, set the film (before Godzilla, he made two not-so-outstanding horror films and wrote scripts for two not-so-good parts of People X").

Daugherty, as it turned out, was really far from Guillermo Del Toro, not Rolland Emmerich, and not even Gareth Edwards. Forgive me, my God, the director managed to collect almost all the sins of post-Lanov blockbusters that have gone out of fashion, who suddenly decided that the action should be shot with the most complex facial expressions and exclusively in dark tones (and even the daytime action scenes were made too dark here). Godzilla almost never succeeds in standing up to his full height - he was imprisoned in claustrophobic close-ups of a shaking, motion-picture camera, a dull slide show of details, faces and color flashes. More precisely, as color: in the film world, in principle, there are only two colors - orange and blue, as well as all fifty shades of nasty brown between them.

At certain moments, the installation reaches such epileptic heights that the kaiju battles turn into a confrontation of these very colors, a clash of a contrasting daub, in the strobe of which you can’t make out (or rather you don’t really want to make it out), whose limbs fly off and whose ribbed scales just restless camera buried his nose. Such a color dramaturgy would surely be envied by some Balagov, but she, unfortunately, does not paint the second “Godzilla” at all (ha!). Locked in tight frames, the epic suddenly loses its entire scale, and its entire, in fact, epic.

But, unlike the first part, Dougherty relies precisely on visual expressiveness - which his film, however, does not have. He, of course, pays much attention to human characters (in his case, too much), but their drama is mechanical: the characters have two emotions per film, instead of motivation - boring eco-fascism. Overwhelming fear gave way to idolatrous awe of the king of monsters - Ken Watanabe seems the most convincing in this regard, as a small child rejoicing at every appearance of the "Godzilla King of the Monsters UHD" - his inadvertently comical story of a reunion with the subject of fanaticism is one hundred times more interesting than the central storyline. This manipulative family tragedy, which does not really influence anything and operates on absolutely unicellular levers of pressure: a dead child, parental disorder and other sentimental joys. One gets the feeling that Dougherty does not trust his own material, is afraid that the fights of killer dinosaurs are so uninteresting in themselves that they absolutely need this simple dramatic superstructure. He does not trust Godzilla himself - and the kings do not forgive this.

File size: 63.29 GB


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Trailer Godzilla King of the Monsters 4K 2019 Ultra HD
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