Released in 1992 by Marvel Comics, Uncanny X-Men #289 was written by Scott Lobdell and drawn by Whilce Portacio (with ink work by Scott Williams). Its concept focused on the Gold Team of the X-Men (composed of Jean Grey, Storm, Colossus, Ice Man and Archangel) dealing with Bishop who at the time was still a newcomer.
It begins when Bishop looks at a framed picture of the original X-Men followed by Storm telling him every student who graduated to the role of an X-Man remains dedicated to the ideal of peaceful coexistence between mutants and humans.
As the Gold Team X-Men enjoy their peaceful time at the mansion of Xavier, elsewhere someone spies on William and Maddy Drake who talk about Bobby (Iceman). Back at the mansion, Archangel encounters a spitting image of his younger self (as Angel and with normal skin color) which raises tension attracting the attention of Storm, Bishop and Forge.
To describe Uncanny X-Men #289 clearly, the comic book is more focused on character development as it lacks a strong conflict between good and evil. Anyone craving for superhero action will most likely feel unsatisfied here. However, if you want to know the X-Men more passionately and watch the romance between Storm and Forge develop, then this comic book will be engaging.
Scott Lobdell did a good job developing the characters through drama and Whilce Portacio’s art really brought the script to life. I enjoyed reading the interaction between Jean Grey and Charles Xavier who realizes that as he led the X-Men, he took a bit of something from their respective lives.
Take note of the following exchange of dialogue.
Charles Xavier: Jean, did you ever hate me for having taken away your childhood?
Jean Grey: Professor, please. What child is given the opportunity to fly to the stars? How many children battle alongside Asgardian thunder gods or super soldiers? You gave me…all of us…more than you took away.
That was really nice writing there by Lobdell. There was drama and harmony between the two characters.
Overall, Uncanny X-Men #289 is recommended. Think of it as a comic book that will help you – the reader – get to know the characters more closely.
Every great movie franchise starts small and as the decades pass by, its place in history will be marked and revisited.
This is my review of the first-ever James Bond movie Dr. No.
Released in 1962 based on the sixth novel written by James Bond creator Ian Fleming, Dr. No brought Agent 007 to the big screen worldwide and its success led to a series of big moneymaking sequels, merchandise, novels, comic books, video games and other forms of contributions to pop culture. This movie also marked the beginning of Sean Connery’s journey towards becoming a cinematic icon as, arguably, the best cinematic James Bond ever.
The movie begins when British agents in Jamaica get killed off by henchmen who eventually retrieved highly confidential files. In England, the secret service sends Agent 007 to Jamaica to do detective work and he gets armed with a Walter PPK. Once in Jamaica, Bond starts talking to people, gathering clues and traveled to different places to find out who is responsible for killing his fellow British intelligence operatives. If you want to know more, you just have to watch the movie.
If you are a newcomer to the James Bond franchise or if you never saw this movie before, then you have to keep in mind that this very old movie is NOT an action film but rather it is a detective story laced with suspense and some action that follows James Bond performing his mission for Queen and Country.
Chances are, you must have seen many other James Bond movies that are heavy on action, stunts and explosions. As it was the first of the film franchise, Dr. No is nothing like those other movies of Agent 007.
Being a detective story, Dr. No is character-driven and laced with mystery and suspense. To describe it without spoiling the story, the narrative shows Bond searching for answers and as the suspense builds up, something or someone gets revealed which adds to the deepening of the plot. There is some action, stunts and explosions to spice up the movie which were pretty enjoyable for the early 1960s. However the car chase is very outdated and never believable. Naturally, the spectacle is tame by today’s standards but still, this movie is not boring at all for me.
The movie is nicely paced and makes clear what is going on. There is sufficient build-up leading to the next revelation or the next part of the chain of mystery or the next twist. By the time James Bond encounters Dr. No himself well after the 60-minute mark into the movie, I became oriented with both characters as their conflict finally starts. This will work for you if you take time with the movie’s pace and pay close attention to details.
Sean Connery as Agent 007 is charming, cool and cruel. The filmmakers and Ian Fleming himself really oriented the actor on how to portray the literary Bond in cinematic form. Connery’s Bond is charming and the filmmakers make it very believable on-screen that ladies would fall for his charm which in turn would give him the opportunity to advance in his pursuit of accomplishing his goals in the line of duty.
Ursula Andress, who had to be dubbed in post-production due to her accent, caught the world’s attention wearing the bikini on the big screen (in color, no less) as Honey Ryder who came out from the water with her equipment and sea shells. This was a daring scene to show back in the early 1960s. Of course, Honey is not just a pretty face but also a brave lady with a history of adventure and exploring. This makes her believable as a Bond girl who has what it takes to keep up with Agent 007 in the story, even going face to face with Dr. No.
Joseph Wiseman‘s performance as Dr. No is subtle and yet he remains creepy as a cinematic villain. When compared to other villains in the James Bond film franchise, he does not do much action but his portrayal as a very powerful sinister human being who controls a loyal group of personnel still makes him a competent franchise villain in by today’s standards. Having seen all the James Bond movies, I find Wiseman’s Dr. No a more engaging villain compared to Col. Moon (the dreadful Die Another Day), Hugo Drax (Moonraker), Kamal Khan (Octopussy), Alec Trevelyan (GoldenEye) and the 21st century Ernst Blofeld (Spectre) to name some.
In terms of production values, Dr. No is a mixed bag. There are some props that looked fake and cheap. The rear projection in the car chase is so fake looking. Ironically, the film shines with the sets designed by Ken Adams. The big room visited by Professor Dent to communicate with Dr. No, the hotel-like lair of the villain (where Honey and Bond are treated like special guests) and the elaborate room of the table meeting with Dr. No all are visually striking.
When it comes to presentation, Dr. No marked the beginning of many things that would later become cinematic traditions – the gun barrel opening, “Bond, James Bond”, the James Bond theme music, the mission meeting between Bond and M. (plus the nice chat between Bond and Moneypenny), the appearance of Felix Leiter during the mission etc.
The screenplay written by Richard Maibaum, Johanna Harwood and Berkley Mather has quality in it not just with the narrative but also with the dialogue.
I love this exchange of words between Bond and Dr. No.
Dr. No: I’m a member of SPECTRE.
James Bond: SPECTRE?
Dr. No: SPECTRE – Special Executive for Counter Intelligence, Terrorism, Revenge, Extortion. The four great cornerstones of power headed by the greatest brains in the world.
James Bond: Correction – criminal brains.
And there was also this exchange.
Dr. No: The Americans are fools. I offered my services; they refused. So did the East. Now they can both pay for their mistake.
James Bond: World domination. The same old dream. Our asylums are full of people who think they’re Naploeon. Or God.
Overall, Dr. No is a classic movie and it is the kind of film that filmmakers today don’t make anymore because they know people won’t be satisfied without excessive action and spectacle. It is a James Bond flick in the form of a detective story which has a good amount of mystery, suspense and some action.
For sure, people who have gotten used to action-heavy James Bond movies won’t feel engaged with Dr. No. The best way to enjoy this film is to treat it the way it is meant to be – a piece of cinematic history that built the James Bond film franchise in the very first place.
When it comes to the Ultraverse, there is often something enjoyable to read. I enjoy reading about superhero teams, specifically X-Men from Marvel Comics and Justice League from DC Comics to name a few. I also enjoyed Freex and UltraForce from the Ultraverse. What I like about superhero teams is that I get to discover varied characters (the good, the evil and the ones in between), witness how they develop and act when something big or problematic happens.
With The Strangers #1, published by Malibu Comics in 1993 as one of the launch books of the Ultraverse, I experienced another bout of enjoyment and engagement but in a rather unique way.
Written by Steven Englehart with illustration done by Rick Hoberg (whose work was inked by Tom Burgard), the story begins with a shot of life going on in San Francisco. Several characters riding a jammed cable car get distracted when a man and a pretty lady (both seated) do the “wild thang”.
Because of the disturbance, three guys grab the arrogant guy (separating him from the lady) threw him out of the cable car. Immediately after that, the cable car suddenly gets hit by a bolt of energy (perceived as lightning) from the clear sky causing the vehicle to start slipping downwards until it hits a car and its passenger.
Then a series of things begin to happen. Candy (the lady earlier) acted strangely as the arrogant guy called her attention. Art students Bob and Hugh witnessed the sudden formation of a bag of apples. The kid Leon discovers his new ability to run fast and make sudden turns. Dave witnesses a momentary transformation of himself. Fashion designer Elena gets inspired to create something heroic.
You must be wondering – how is the quality of this old comic book?
In terms of storytelling and characterization, this is pretty good work done by Steve Englehart. The way I see it, this is a story about strangers (truly living up to the title) who got changed as a result of a single incident that affected them. Each of the members of The Strangers were nicely and efficiently introduced. A creative approach was used to present their respective abilities which made sense as the events unfolded. By the end of the comic book, I really felt very engaged and excited to anticipate the next issue.
When it comes to dialogue, I like this exchange between Bob and Hugh.
“You know what I think?”
“No, what do you think?”
“I think it must have something to do with the lightning that hit us!”
“Nonsense! Lightning does not work like that!”
“You got a better idea?”
As for the visuals, Rick Hoberg’s art (inked by Burgard) combined with the color design by Paul Mounts is still very wonderful to look at. The facial expressions are convincing, the action has impact, the visualization of the super powers is pretty creative and there are lots of small details on the backgrounds (people, city environment, etc.) that are worth examining.
Overall, The Strangers #1 is a fun and engaging old comic book to read. Never mind the financial value it carries right now. Focus more on its story and art, as well as the other details that reflect the talents of its creators. More importantly, the experiences of discovering something fresh and getting to know brand new characters really defined this comic book.
If there is anything I like most about Marvel Comics’ True Believers line of comic books, it’s that I get to read reprints of past stories without having to pay a whole lot of money to buy the original comic books or those pricey paperbacks.
A few years ago, out of curiosity, I bought a copy of True Believers which reprinted the first appearance of Deadpool in New Mutants #98.
This time around I got to check on the first-ever encounter between Spider-Man and the vicious supervillain Carnage with True Believers: Absolute Carnage – Carnage #1 which is currently available for for only $1.
The comic book is a reprint of Amazing Spider-Man #361 which was released in 1992 just months before Marvel’s official celebration of the 30th anniversary of Spider-Man happened.
The story begins when Carnage causes trouble at the Agro-Lab Empire State University. He messes with a man named Chip (who claims to have done nothing wrong), cause property damage using his symbiote and eventually kills. This opening scene clearly shows that Carnage is a more troubling than Venom (who in turn was being turned into an anti-hero figure by Marvel’s creators).
Peter Parker/Spider-Man meanwhile spends quality time at home with his Aunt May. Unsurprisingly, a telephone call interrupts his private life causing him to go to the university to determine, secretly in costume, what happened. Peter personally knows Chip and the guy’s death only adds to his concern about the rise of brutal murders.
“Chip’s dead. And I’m worried that these serial killings may partly be my fault,” Peter told Mary Jane.
Using his access as a freelance photographer, Peter conducts computer research at the office of the Daily Bugle and discovers Cletus Kasady’s prison profile. Knowing that Kasady (Carnage) was a cellmate of Eddie Brock/Venom, he digs deeper and goes around the city to investigate. This sets up his first encounter with Carnage. What exactly happened between them? You just have to read to find out.
Even by today’s standards, the story remains gripping, intriguing and entertaining at the same time. David Michelinie really knows how to balance spectacle, exposition and suspense with the Spidey-Carnage conflict as the highlight. Michelinie also showed Kasady’s insanity clearly and, even by his look, the villain is clearly a creative rip-off of DC Comics’ insane villain The Joker. Artist Mark Bagley’s art is still good to look at and he managed to pull off the daunting task of visualizing the present along with drawing images from Spidey’s past with original symbiote and Venom. The action scenes still have good visual impact.
Overall, if you are even a bit interested in Spider-Man, Carnage and 1990s comic book culture, then True Believers: Absolute Carnage – Carnage #1 is recommended. For only $1, this is one engaging and entertaining comic book to read.
Take note that there is a chance that Carnage will become the next popular supervillain in the movies once the character appears fully in the sequel to 2018’s Venom movie. Remember the mid-credits scene in Venom? Carnage could literally rise in pop culture.
“I’m not who I was any more! I’m not who I’m going to be! I am the Night Man.”
The above words were from the vigilante called the Night Man, a character co-created by comic industry veteran Steve Englehart (Avengers) and Darick Robertson for Malibu Comics’ Ultraverse franchise. Those words formally opened The Night Man #1 which I’m reviewing here.
To put things in perspective, a vigilante is described as a member of a volunteer committee organized to suppress and punish crime summarily (as when the processes of law are viewed as inadequate) according to Merriam-Webster dictionary. To put it broadly, the vigilante is a self-appointed doer of justice.
Published in 1993 by Malibu Comics, The Night Man #1 tells the story of Johnny Domingo, a jazz player whose life changed in the pages of The Strangers #1 (also written by Englehart) in which he (while driving a vehicle) got by a cable car (that was just hit by an energy burst from the sky) resulting a piece of shrapnel embedding into his head.
Perceived by others to be doomed, Domino strangely survived and was well enough to resume his normal life. The difference is that the incident made his eyes dilated permanently which forces him to shield them from bright light.
Just as Johnny walks down the street, he learned he gained an uncanny ability when he hears, for the first time, the evil thoughts of a man (wearing a coat and a hat) planning to kill a lady on Saturday night.
Knowing what heard, Johnny wondered if he was crazy and what if some woman would truly be in danger. He then decides to follow the man with evil thoughts and watch his moves. Eventually Johnny followed the man to a restaurant by the beach and saw him talk with a pretty waitress named Ginger who agreed to a Saturday night date.
Carelessly Johnny approached the man too closely and got noticed, forcing him to run away and got chased until he got into a taxi that drove him away.
A short time later, Johnny starts his new career as a vigilante as the Night Man.
In terms of storytelling, The Night Man #1 was nicely paced and never felt dragging. Within its twenty-eight pages of story, the comic book took gradual steps on introducing Johnny, how the incident with the cable car impacted him, how he became a vigilante for the first time and what went on in his mind as he became the Night Man. Given his rich experience as a writer, it is no surprise that Steve Englehart delivered a solid script.
It was also engaging to see Night Man being a determined yet very vulnerable vigilante. During his first mission in costume, he managed to beat a few bad guys but ended up getting hurt. This kinda reminds me of the vulnerability seen in the cinematic icon John McClane in 1988’s Die Hard.
The art by Darick Robertson, with ink work done by Andrew Pepoy, was nicely crafted. The civilian and vigilante looks of Night Man were well defined. The visualization of action nice and when Night Man gets hurt, he really looks in pain.
Going beyond Night Man, this comic book has a short preview (five pages, including credits) of Rune, a character created by Barry Windsor-Smith. Rune is described to be a voracious killer whose prey is all humanity and he is an alien leech who despoils the flesh of victims, culling their lifeblood into the essence of power. Rune is also a dying creature fighting for survival against the malignant disease burning inside of him.
Overall, The Night Man #1 is a worthy addition to your comic collection if you are interested in the Ultraverse (which is still kept in limbo by Marvel which acquired Malibu Comics in the mid-1990s) or are interested in vigilante-type superheroes. If you are obsessed with whatever Barry Windsor-Smith created, then the Rune stuff is a must-get.
When I was in high school, Marvel Comics launched the comic book X-Men #1(Volume 2, 1991) which sold an estimated eight million copies worldwide. The times back then were very exciting as the comic book had great art by Jim Lee (inked by Scott Williams and colored by Joe Rosas) combined with the writing of Chris Claremont.
For this retro review, I have the gatefold cover edition of X-Men #1 which has the complete set of covers and a cover price of $3.95. The comic book used high-quality paper (or glossy paper) for its content. To put things in perspective, X-Men #1 was released with multiple editions. The comic books carrying cover prices of $1.50 had individual covers and lower quality paper.
So what was X-Men #1 all about? Was it deserving of the tremendous sales success it achieved for Marvel? Did the combined talents of Claremont and Lee create something super special?
To begin with, X-Men #1 marked the beginning of a new chapter of the X-Men. In the events that happened prior to this comic book, the X-Men founder Charles Xavier had been away for many years and along the way the team went through several changes with its members. At one point, the classic villain Magneto even became the head of the X-Men. The pioneering X-Men members of Jean Grey, Cyclops, Iceman and Beast meanwhile found their temporary place outside by forming X-Factor. Eventually the Muir Island saga which incidentally reunited Xavier with his mutants.
So in this comic book, the X-Men got reformed and Xavier returned to his mansion for the first time in many years. The stakes are much higher this time because Xavier needs to adjust to the dynamics of the X-Men whose membership has grown so much two teams (Gold and Blue) had to be used. As if that was not challenging enough, the world, as Xavier noticed, is more hostile towards mutants than ever before.
In out space, two groups of people engaged in a spaceships chase which triggered Magneto (now living in a new headquarters orbiting Earth) to take action. He tells them he is no longer interested in their cause and simply wanted to be left alone.
Because he made his presence felt (his energy signature was detected and so was his floating headquarters), authorities on Earth had no choice but to launch the first stage of the Magneto Protocols.
In Washington DC, Col. Nick Fury meets with the President of the United States who expressed his concern about the incident in outer space which involved American shuttles that got destroyed.
US President: It’s my understanding, in fact, that the terrorists who hijacked our vehicle look to him (Magneto) as their inspiration. Suppose he makes their cause his own?
Nick Fury: If the Soviets act like hotheads, Mister President, they could make things worse.
US President: You have an alternative?
Meanwhile at the Xavier mansion, the X-Men participate in an training session with Cyclops (blue team leader) and Storm (gold team leader) watching and coordinating from the control room. Charles Xavier, who is still adjusting upon returning, closely watches the large team.
Of course, with the team so large, conflicting personalities and problems with bonding with each other was inevitable. Clearly the newly revamped X-Men had a long way to go before achieving true solidarity.
And then Nick Fury contacted the X-Men with the Magneto situation…
For a comic book released in 1991, this one was quite a grand product. Sure it did not have a gimmick cover of foil nor hologram nor chromium but having a gatefold cover with art of the X-Men and Magneto drawn by the great Jim Lee was itself a big luxury at the time.
Very clearly, Jim Lee and Scott Williams did their best ensuring great art for the comic book. The X-Men all look very fit (as if they all regularly spent time in the gym), their redesigned costumes were meant to look cool (although the many pouches and “suspender” of Cyclops’ costume look really silly), Magneto looks ageless and the Acolytes were designed to be the new nemesis of the X-Men.
And then there was the action…..
Jim Lee has a great vision for high-octane action designed to show impact while at the same time give readers something great to look at. In my view, Lee was influenced by action movies and he developed ways to not only make comic book action flow nicely but also deliver impact.
This comic book has a lot of action and Jim Lee cleverly visualized the capabilities of the X-Men with striking visuals. The way Wolverine looked striking at an enemy was pretty intense. Cyclops’ use of his Optic Blast to separate Magneto from Wolverine showed a lot of power. Psylocke’s physical strike against Magneto reminds me hard action scenes from Hollywood flicks.
With regards to the writing, Chris Claremont managed to redefine the X-Men for the new age while at the same time did his best to balance the story, establish the threat and build up the tension for the inevitable conflict with Magneto. In this particular comic book, it is the blue team taking on the classic villain.
Apart from the main story, X-Men #1 also came with extra stuff like behind-the-scenes sketches by Jim Lee, a preview of things to come (notably the post-Claremont concepts), a 2-page image of the X-Men enjoying the pool side of the mansion, and a villains gallery! All these extras were drawn by Jim Lee!
Overall, X-Men #1 is still a compelling comic book to read even by today’s standards. The comic book speculator boom has long been over but if you are looking for the modernizing of the X-Men for the 1990s, this one really is a milestone. Clearly, X-Men #1 was made to start the new age of the mutants with the 1990s in mind while at the same time it took the bold move of gathering Xavier and the pioneering X-Men members and putting them back into Xavier’s mansion forming a much larger team than ever. This move of mixing classic X-Men members with newer ones resulted a nice variety of personalities.
When it comes to getting this for your collection focused on Marvel’s mutants, X-Men #1 is highly recommended. Remember, you should look at this comic book as a piece of X-Men history and don’t focus on making a profit with it. Just enjoy it for what it is.
I can declare it out loud that this new giant monsters movie, even though it has some notable flaws, is indeed a more enjoyable cinematic experience than the 2014 Godzilla movie (directed by Gareth Edwards). What I like about it is that the movie studio and the filmmakers responded to people’s complaints about the 2014 movie.
I will start with the strong points of the film with comparisons to the previous film. In the 2014 movie, people I talked with complained that there was not enough of Godzilla and the grand final battle was barely enough to make up for the monster’s lack of presence. This movie solves that with a lot more of Godzilla on screen and the final battle is grander! As sentimentalism was thrown out, the film also concludes a lot stronger as well!
Some people complained of the lack of giant monsters action in the 2014 film which had lots of slow scenes, a reliance on in-story news media coverage of disasters and an over-emphasis on building up suspense. Godzilla: King of the Monsters solves all of that by ramping up the giant monsters action (lots of monster battles with more than enough action to satisfy moviegoers), established a faster pace on storytelling (as a result, the movie never dragged and did not feel like a 131-minute movie at all), and noticeably reduced the news media focus as well as the suspense build-up.
In the 2014, Monarch’s purpose on monitoring the global presence of giant monsters was established and this sequel raised the stakes further pushing the organization on doing what it was established to do. Ken Watanabe’s Dr. Serizawa has noticeably less screen time due to “competition” for spotlight with the many other characters but the filmmakers managed to make the most out of him.
Speaking of giant monsters, this movie heavily outclassed its predecessor! Apart from Godzilla are other notable kaijus from the long-running Japanese Godzilla film franchise like the 3-headed dragon King Ghidorah, the deadly Rodan and the grand looking Mothra!
It is clear that director Michael Dougherty and the team made sure that each of those iconic monsters from Japanese cinema not only got sufficient screen time but also honored them with spectacular scenes! King Ghidorah really looks terrifying and even horrific. Rodan alone made the high-speed flying sequence in the film memorable while Mothra was a giant monster that very few people would wish to destroy.
Apart from the giant monsters action, the film’s action sequences are a big improvement over its predecessor even though there were some common action cinema elements recycled (note: tough guys with guns). There the definitely are a lot more thrills now that the suspense build-up has been reduced. Godzilla: King of the Monsters was clearly made to entertain and prevent moviegoers from getting bored.
The movie obviously is not perfect. I never expected it to be perfect at all and as I suspected, the film’s biggest weakness is, again, its human characters. Like the 2014 film, this one has a cast of many people who were created to make moviegoers care for them as the story moves on. Clearly the filmmakers and the actors failed to deliver the goods but in fairness, the cast is more interesting compared with that of the 2014 movie.
In the 2014 Godzilla, the cast was weak, the characters were mostly not worth caring for and there were so many scenes with them. There were times back then I wished the character “development” scenes were cut to speed up the pace. In this sequel, the cast was nowhere as boring as their 2014 counterparts but their dialogue was either weak or had too much exposition (I felt like the characters explaining this and that were talking to the moviegoers).
Speaking of the script, the film failed to justify its concept of the Russell family which first appeared in a short scene (that took place during the 2014 film’s story). The family focus started decently with Vera Farmiga as Mrs. Russell (with her daughter living with her) working with a device that could help humanity gain some control over the giant monsters. As the story went on, the spotlight had to be divided by the large cast of characters and the monsters which ultimately made the Russell family less relevant. Kyle Chandler’s entry into the film as Mr. Russell did not save the family aspect of the story even though he proved to be the “instant resourceful and knowledgeable” character of them all.
While the cast had mostly one-dimensional characters, at least Charles Dance’s performance as the human villain proved to be interesting. Apart from being the leader of a team of armed personnel and having a history of being disillusioned with humanity which led him to becoming an anarchist eco-terrorist, there is still this element of mystery about him. Although he leads a group, could he be working discreetly for some sort of secret society or a group of elite people with sinister intentions for reforming the world? We won’t find out until the next movie.
Charles Dance casting in this film seems inspired. I remember how good he was in playing the villain in 1993’s Last Action Hero. His role is not very loud but still his presence in this movie is the best thing of the weak cast.
Other problems? As great as the giant monsters spectacle were, there were these camera framing problems. There were many monster action strikes that were “filmed” too close to the camera. I felt that the filmmakers tried too hard to deliver moviegoers the “in your face” action with the monsters and ultimately those efforts ended up being an annoying experience. With regards to storytelling, the plot is serviceable at best but, then again, we cannot expect a very engaging story with Godzilla so this is not a surprise. At the very least, this sequel’s plot works better than that of its predecessor. The plot here does not drag mainly because the filmmakers put heavy emphasis on spectacle and speed.
If there is an advantage the 2014 movie has over the sequel, it’s the sense of scale. The giant monsters are indeed gigantic but they moved rather fast for their size and this breaks the sense of scale for moviegoers. They looked gigantic but they don’t feel gigantic when in motion.
As for Milly Bobby Brown’s character, the scenes in which she escaped from the secret facility going into Boston and then entering the baseball stadium’s operation room without even being detected or prevented by security measures were just unbelievable. And I thought the concept of poor security in Terminator Salvation was bad. Oh yes, Bradley Whitford’s attempts on providing humor ended in failure. He was more annoying and never funny.
Overall, Godzilla: King of the Monsters is indeed highly entertaining and anyone who loves on-screen battles between giant monsters will surely enjoy it a lot. Its cast is weak (although nowhere as weak as the 2014 film), its storytelling is flawed and there were some parts that made the 2014 look better but still the good stuff outweighed the bad stuff. As far as Hollywood-made giant monster movies go, Godzilla: King of the Monsters is indeed the best!
Oh yes! One last thing! The playing of threads from the theme music from the 1954 Godzilla movie was a very nice touch and will resonate with any moviegoer who enjoyed the Japanese Godzilla films. Clearly the MonsterVerse continues to deliver the fun and greatness!