Godzilla: King of the Monsters Ending Explained

Spoilers Alert:

In the new monster blockbuster GODZILLA II: KING OF MONSTERS There is no shortage of one thing: monsters! And that’s exactly how the film will appeal to enthusiasts of the genre. We reveal what the film has in store for everyone else in our review.

The Plot Summary

The young son of paleo-biologist Emma Russell (Vera Farmiga) once died in a Godzilla attack. Since then, she has thrown herself into research even more ambitiously and even found a way to communicate with the monsters. Their tough daughter Madison (Millie Bobby Brown) is also fascinated by them. But while the Monarch employees are tinkering with the Kaijus, several gigantic beings arise that are about to destroy people’s living space forever: Ghidorah, a three-headed dragon, the giant moth Mothra and Rodan, a kind of prehistoric bird are all around the globe into the urban turmoil and threaten to kill millions upon millions of people. But Emma has an idea to stop this catastrophe: She and her ex-husband Mark (Kyle Chandler) want to summon Godzilla and team up with him.

Explanation of the Ending

Many studio bosses want to set a coherent film cosmos in motion, but only a few of these attempts work. Universal Pictures scrapped its ‘Dark Universe’ after just a single part. Another film universe, also based on monsters, is slowly but reliably taking shape: the franchise from the production company Legendary called ‘MonsterVerse’. While the Marvel Cinematic Universe has made 22 films in eleven years, “Godzilla II: King of the Monsters” is now only the third MonsterVerse part in five years to hit the big screen. It all started with Gareth Edwards’ highly atmospheric monster film “Godzilla,” which generated over $529 million at the worldwide box office on a budget of $160 million. In 2017, Jordan Vogt-Roberts followed up with “Kong: Skull Island,” an action-packed reinterpretation of the giant gorilla King Kong. The film did a little better with $566.7 million, but the budget was also a little larger at $185 million. Before the gigantic lizard Godzilla and the oversized ape fight in “Godzilla vs. Kong” in March 2020, there will now be a reunion with the scaly beast, who has been one of the cult figures of Japanese cinema for decades and after a failed attempt in 1998 now also has a popular US incarnation. And while some fans of monster cinema accuse Edward’s “Godzilla” of taking too much time until you actually see and hear something about the titular animal, Michael Dougherty’s sequel throws these Kaijū friends a bone during the opening title fade-in – in the form of a long, long, long Godzilla scream.

Vera Farmiga and Millie Bobby Brown play an exploratory mother-daughter team in “Godzilla II”.

And so begins the approximately 130-minute attempt at a balancing act between the predecessor films of “Godzilla II: King of the Monsters,” which function in such opposite directions. Writer/director Dougherty and fellow screenwriter Zach Shields work hard to make Godzilla II: King of the Monsters both in part similar to Edwards’ Jaws-structured Godzilla Part in the video game-esque “monsters, monsters, monsters and monster action everywhere!” film “Kong: Skull Island”. And this balancing act is only achieved very awkwardly in this 200 million dollar project: “Godzilla II: King of the Monsters”, similar to Edwards’ “Godzilla”, remains narratively focused on the human characters for a long time. But while Bryan Cranston delivers a magnetic performance in “Godzilla” and Aaron Taylor-Johnson offers at least a handful of striking acting moments as the soldier through whose eyes we largely follow the monstrous events, the human actors in the sequel remain consistently pale. The fact that the script degenerates all of them (except for “Stranger Things” star Millie Bobby Brown as a low-profile but coherent teenager) into complete turncoats prevents the passages about the scientists Dr. Mark Russell, Dr. Emma Russell and the MonsterVerse returnees Sally Hawkins and Ken Watanabe also: It’s almost impossible to root for the characters or internally rail against them because their decisions seem like they were thrown out during the writing process.

“Yeah, but who cares about people in a monster movie?”, some will now ask. An objection that is understandable in theory, but in the case of “Godzilla II: King of the Monsters” it is crushed by the sheer mass of meandering sequences about human roles deliberating, betraying and self-contradicting. Edwards’ “Godzilla” was also close to the people, but created atmospherically densely filmed, grippingly staged action passages in which the sometimes low-profile characters flee from destruction. Further tension was fueled by the fact that Edwards’ film gradually developed from “What is happening here?” to “We see the monster action in all its glory”. Dougherty, on the other hand, talks about the human actors in “Godzilla II: King of the Monsters” at length, but then shoves Godzilla and other monsters from the illustrious ranks of giant creatures from the Toho studios in the audience’s face instead of mystifying them . However, where “Kong: Skull Island” delights in destruction and carnage, “Godzilla II: King of the Monsters” often cuts around those aspects. A large portion of the action sequences simply consist of Dougherty showing Godzilla and his ilk roaring, screaming, spewing flames or beams, and rearing up. But neither the devastation of entire areas of land nor the clash of monsters against monsters is a focus in the design of these action scenes.

Godzilla is far from the only monster in “Godzilla II”…

This undoubtedly leads (especially for fans of the Kaijū) to individual brilliant moments, such as when Dougherty shows in slow motion how the mega monster moth Mothra spreads her colorful, shimmering wings. In general, the digital tricks in “Godzilla II: King of the Monsters” are more stable than in “Kong: Skull Island,” which vacillates between pseudo-realism and stylized artificiality. Nevertheless, the illuminated close-ups and medium shots of computer-animated sparks, dust clouds and monster scales become monotonous over time. Dougherty’s direction is targeted enough that you rarely lose track of what’s happening, but that doesn’t change the fact that it would be more effective to see more of what’s actually happening – regardless of whether it’s in the “Godzilla” disaster movie style or in the style of “Kong: Skull Island” monster exploitation. “Godzilla II: King of the Monsters”, on the other hand, despite clever musical ideas from composer Bear McCreary, is content for long stretches with aimless chatter from the human characters, lightened up only by a handful of gags, and the monsters rearing up, rearing back up and rearing up again. In the final act there is finally some more straightforward monster-on-monster action, sometimes even excitingly choreographed, but even then the surrounding dust, sparks and rays remain in the foreground at times. It can be done, but exactly which nerve should it hit? Let’s hope that “Godzilla vs. Kong” has more oomph…

“Let’s face it: if you’re a monster movie enthusiast, “Godzilla II: King of the Monsters” is great fun. But apart from the brilliantly tricked Kaiju tricks, Michael Dougherty allows himself too many blockbuster cliché moments, the characters are uninteresting and the characters’ attitudes change so frequently that despite the clear story, you eventually lose track of things.” (Conclusion by Antje Wessels)

Conclusion: “Godzilla 2: King of the Monsters” places more emphasis on the roar than on the devastation – whoever likes it…

“Godzilla II: King of the Monsters” can be seen in USA cinemas nationwide from May 30th.

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