Few films have given me the intense sadness that this film gives. As I grew bored watching it, I researched the troubled production and failed release. Its the perfect example of how not to make a film. But almost all tentpole Hollywood spectacles are reminiscent of this film. This bad movie might be superior to the 2014 reboot simply because its not as boring.
Thats not to say its not bland and boring in its own right. We have a bloated, past his prime Matthew Broderick surrounded by more C-list actors re-enacting scenes from Jaws, Independence Day and Jurassic Park. Its done in a heavy camp tone courtesy of openly gay German director Roland Emmerich, who sneaks in a lot of subversive images and ideas such as Godzilla being a pregnant male victim this time around and the many baby Godzilla's taking the place of black men in a large basketball stadium. Gay Nazi humor? I dunno. The film is a sick joke on immigration and a huge critique of American nationalism with a very communist slant.
You can argue "Zilla"is some kind of Luciferian metaphor as its a hermaphroditic animal god bent on depopulation. Emmerich's films are obsessed with normalizing depopulation: Independence Day, 2012, Day After Tomorrow. This film is maybe one of the earliest examples of an openly pro-NWO Hollywood blockbuster. Its offensive propaganda that will be a curio someday soon.
The film starts with a lot of good moments. The film looks good and Emmerich actually tells the story visually with a few memorable setpieces and action scenarios. Some moments are extremely disturbing in psycho-sexual ways. But we don't care about any of the annoying cartooned humans, the broad humor is very flat and Godzilla himself seems like an afterthought.
I recommend it as evidence of Hollywood's sick leftist capitalist agenda, depressed Y2K aestheticism and a sometimes amusing slice of poorly rendered schlock.
No comments:
Post a Comment