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Godzilla: King of the Monsters brought the MonsterVerse to its critical and especially financial nadir just before that big Godzilla vs. Kong showdown.
What Went Wrong With Godzilla: King of the Monsters?

Godzilla: King of the Monsters is no misunderstood misfire in the history of the MonsterVerse. While no post-2017 entry in the saga has hit the creative heights of either Godzilla or Kong: Skull Island, King of the Monsters is an especially misguided affair. Writer/director Michael Dougherty does pack the script with more monsters, seemingly as a response to all the complaints of Godzilla’s minimal screentime in 2014’s Godzilla. However, he constantly cuts away from any of the carnage involving Rodan, Mothra, and King Ghidorah to an even more plentiful cast of humans than Godzilla’s human characters.
This abundance of flesh-and-blood Earthlings all talk in irritating quips, making any screentime spent with them insufferable. Meanwhile, Ken Watanabe’s Ishiro Serizawa’s storyline eventually dovetails into a self-sacrifice scene that somehow paints nuclear weaponry as “heroic” in a Godzilla movie. It’s a misguided decision exemplifying how little thought has gone into the grating humans populating King of the Monsters. Whenever those big beasties are on-screen, meanwhile, Dougherty frames them through strangely busy framing and jumpy editing.
The crisp, awe-inspiring imagery of the Gareth Edwards Godzilla (which truly made Godzilla and the MUTOs feel towering) is gone. In its place is an excessively crowded visual scheme, drowning Godzilla and his foes in busy snowstorms and buckets of rain. It’s a decision that left viewers uttering “what just happened?” rather than “whoa!” That alone exemplifies why King of the Monsters couldn’t click with audiences. Even other weaker MonsterVerse titles like Godzilla x Kong: The New Empire at least made the monster fight scenes visually coherent.









