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Young reporter Emilie and Godzilla: King of Monsters director Michael Dougherty discuss the collaborative nature of filmmaking, his personal filmmaking challenges and watching Godzilla on the big screen.
Watch the interview below and check out the rest of our fun Godzilla interviews here.
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.
Emilie reviews Godzilla: King of the Monsters
The long awaited sequel to the 2014 Godzilla reboot has fallen short of critical expectation, yet provides, for the most part, an entertaining and enjoyable cinema experience for fans. Director Michael Dougherty, a hardcore Godzilla fan himself, frames the beloved reptilian guardian with numerous equally legendary mythical beasts - leading the gargantuan monsters to battle amidst uniquely relevant commentary on environmental destruction. Perhaps where the film falls short however, is in its execution. Whilst the intent is clearly full of integrity and heart, at times, the direction of the simplistic plot was lost and overshadowed by the dramatic flash-bang of explosive action and overexcited VFX.
Despite the shortcomings, performances from the main cast were strong, particularly that of Millie Bobby Brown, who shines in her feature film debut performance, with every line emoted clearly with laser-like precision. In this role, she proves herself to be a powerhouse of an actress with a career that can be safely said to be on an optimistic upwards trajectory of expansion.
The standout element of 2019's Godzilla: King of the Monsters, however, lies with the impressive and masterful use of VFX in the creation of the monsters. Each movement was intricate and naturalistic, and while the stunning detail was perhaps at times a little overwhelming, the film's visual effects team delivers the audience with scenes that are outstanding and undeniably breathtaking. Furthermore, the cinematography was noteworthy, particularly the use of the blue colour palette, carefully interspersed with bright orange notes with deliberate care - giving Godzilla: King of Monsters a bold sense of aesthetic cohesion.
In this film, Godzilla's New York is further enriched by sound design, used to its maximum capacity - quiet moments were rare, and when they were present, it was often to build up to a larger sonic explosion. Fundamentally, the cultural worth of Godzilla supersedes its flaws, making Dougherty's directorial endeavour a love-letter to the legendary monster - perhaps a film more suited for Godzilla's fans than for the casual action aficionado.
