Netflix surprised with the best monster movie in years, the latest in a classic franchise.

A few months ago, it took all of us by surprise, and after a few months of being in limbo, it is finally available to stream.

It was unclear whether it would be made available on Prime Video, a platform where it had previously been launched in some countries; nevertheless, it was finally Netflix that took the initiative: “Godzilla Minus One,” the most recent episode of the Japanese incarnation of the huge radioactive lizard, is now available for viewing on our screens. A movie that demonstrates that the American version of the monster, which is referred to as the trotting and shameless version, is really good; nevertheless, if you are looking for a Godzilla that is frightening, terrifying, and profound, Japan is the only country that can produce it.

In point of fact, the previous Japanese Godzilla film, titled ” Shin Godzilla,” was already an absolute masterpiece within the monster’s filmography. It was a combination of oversized neocarnic horror and satire of the behavior of administrations in the face of massive disasters. We do not count here the four animated films and series that came later, which are also highly recommended. A true masterpiece that was directed by Hideaki Anno, the man responsible for the creation of Evangelion, which has remained a singular and singular work due to the fact that this installment of the franchise takes a different path.

‘Japan Under the Terror of the Monster’ is the first film in the history of the Godzilla character, and it is connected to the spectacular opera of mutations and destruction that is transformed into a classic Godzilla picture. Godzilla, just like in that other film, depicts the sheer horror that it means for a nation to be confronted with the unimaginable force of atomic bombs through his actions. Here, once more, we witness the most devastating repercussions of the Second World War, but this time we do it at the ground level: cities that have been completely destroyed, families that have been shattered, soldiers who have been scarred… In addition to being a representation of the explosion of the bomb itself, Godzilla is also a symbol of post-traumatic stress disorder.

All of this was accomplished on a budget of twelve million dollars, which is around one tenth of what it would cost to produce a Marvel picture. The result was the highest-grossing Japanese film of all time in the United States, and it also won the Academy Award for outstanding special effects. The most pleasant aspect of all is that Toho has not immediately begun to exploit its renowned monster. Instead, the company is carefully considering what its next step will be in order to guarantee that the next Godzilla movie will be just as notable and memorable as the two movies that came before it.

With the exception of yelling each other’s names, the young actors who play the leads in the film Monster directed by Rako Prijanto hardly ever speak a word. What they are going through is something that the audience is responsible for interpreting. They are being kidnapped and carried to a deserted house, where they are required to defend themselves against their vile captor and escape by any means necessary. Anantya Kirana, Sultan Hamonangan, and Alex Abbad are the actors who star in the Indonesian film, which is a reworking of the American horror film The Boy Behind the Door, which is scheduled to be released in 2020.

Alana (Kirana) and Rabin (Hamonangan), two of the best friends in the world, are spending their time together after school, riding their bikes about town and playing video games in an arcade. A suspicious figure, who is eventually revealed to be Jack (Abbad), is following closely behind in a black sedan, but they are unaware of his close proximity. After turning a corner, Alana goes in search of Rabin, who has moved on ahead of her. The noise of hammering can be heard coming from the trunk of the unknown car, which she notices.

A Rabin? Jack quickly seizes her, places her in the back seat next to Rabin, and then accelerates away from the scene. A house in the middle of nowhere is where Jack brings them, blindfolded and with their hands bound behind their backs. After locking Rabin in one of the rooms, he leaves Alana confined to the trunk of the vehicle. She is successful in emancipating herself and escaping… up until the point where she understands that she cannot abandon her friend. Alana makes a return trip in an effort to save Rabin. But how much longer can their terrible captor remain oblivious to her presence?

For the very first time, the Monsterverse portrays humans as nothing more than troupes of what we have paid to see or experience. Strangely enough, until recently, classic’s Monsterverse, which has been working since 2014 to establish (with remarkable success so far) a shared world of huge monsters whose origins stretch back to both the classic Godzilla films for Toho and the fabled American ‘King Kong,’ was missing a component. This is because the Monsterverse has been lacking a piece. Convert the antagonists into the protagonists.

With a very clear hook in the title, it is true that they have always had a relevant presence in the films and series of the Monsterverse. However, despite the fact that they have given rise to films as notable as Gareth Edwards’ Godzilla (2014) or Kong: Skull Island (2014), they have always been disasters in the background, titans that the human protagonists have either challenged or allied themselves with. However, the formula did not start to shift until “Godzilla vs. Kong,” despite the fact that the results up to that point had been noteworthy (with the probable exception of the much inferior “Godzilla: King of the Monsters,” which, oddly, was the one with the most monsters on board).

It was there that the series recognized clearly what each viewer who has seen a Japanese Godzilla film since the seventies till today knows perfectly well: what we want to see is colossi of unimaginable species having fun. Adam Wingard was the director at the time, and the franchise saw this clearly. very small hands placed on the faces. When the monsters in “Godzilla vs. Kong” were not merely reactions or witnesses of what the human characters did, but rather interacted with each other and had their own agendas (so to speak), the film made a hesitant attempt to gesture in that direction.

Wingard was also able to put sufficient effort into sequences such as the battle that took place at sea next to the aircraft carriers or the finale that was so overwhelming with Mechagodzilla that it made it abundantly evident that the series needed to move in that direction. And so it has been: ‘Godzilla and Kong: The New Empire’ is nothing more nor less than a succession of fights between monsters, and humans are mere witnesses of their grandeur: in fact, all the plots that humans manage are mere consequences and reactions of the phenomena, disasters and conflicts that monsters generate.

Is the video game ‘Rampage’ something that you remember? An arcade adaptation of the kaiju films, in which a werewolf, a lizard, and an ape of monstrous proportions attacked various cities to take control of them. ‘Project: Rampage’ was an adaptation that was popular but made the error of putting the human in the spotlight while the monsters barely got the opportunity to show off their immense attractions. The Rock appeared in the adaption, which was titled ‘Project: Rampage‘ here.

‘Godzilla and Kong’ has a tendency to give the impression that it is an adaptation of ‘Rampage’ that was kept from us a few years ago due to Dwayne Johnson’s desire to be a divo. There are surprises that have been carefully hidden from the trailers, but the climax is possibly the highlight of the franchise. It is a monumental monster fight that occupies the final quarter of the film, and it is a fight that has room for humor (the fang!), for excess (monsters perform wrestling duplexes), and for the best choreography and combinations of bugs in the entire saga. We are not going to reveal the details here because we are not going to reveal the details.

And, of course, for the tremendous amount of destruction that had previously been mentioned in the culmination of the “Godzilla vs. Kong” trilogy. Godzilla sleeping like a kitten curled up in the Roman Colosseum, the final madness in Rio de Janeiro, a walk through Malaga, and the best moment of monster tourism: Godzilla and Kong roaring, one from Egypt and the other from the damn rock of Gibraltar are just some of the glorious moments that provide us with the opportunity to travel from one part of the world to another. This is made possible by the resource of the pits that send the monsters to the Hollow Earth and back to the surface of the planet from the Hollow Earth.

This picture, “Godzilla and Kong,” is filled to the brim with a delightful sense of humor that is not intended to be a far-off parody, which would have been detrimental to the movie, but rather as a joyful awareness that we are at a party. On the other hand, the movie takes both itself and its monsters very seriously, which enables it to have great excesses such as an almost dialogue-free half-hour centerpiece in which Kong explores new regions of the Hollow Earth and encounters his new adversary. Alternatively, the exciting beginning of the movie, which depicts an initial adventure of Kong, and the titles, which include a portrayal of Godzilla in action, both of which keep the viewer completely hooked to their seat.

Netflix surprised with the best monster movie in years, the latest in a classic franchise.

By nr39r

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