Godzilla: King of the Monsters (2019)

Godzilla: King of the Monsters has a three-headed dragon, a glowing moth the size of a stadium and a fire-winged pterodactyl, and it keeps cutting away from them to Kyle Chandler yelling into a headset. The human plot is a family drama glued to an eco-terror scheme, and Vera Farmiga’s master plan makes less sense every time someone explains it. Millie Bobby Brown mostly runs. The monster fights are huge but buried in rain, smoke and night, so half the time you’re squinting at silhouettes. And still, a few shots are pure poster art: Ghidorah perched on a volcano, Mothra spreading light over a wrecked city, Godzilla rising out of the sea like a mountain that woke up angry. Ken Watanabe gets the one human scene that truly lands. It made $387.3 million worldwide on a reported $170 to $200 million. A 4.4 because the monsters deserved a movie that let you see them. $136 says you crank your screen brightness all the way up for the first big fight and it does not help one bit.

What works: The monster designs and a handful of wide shots look like classic paintings, and the score brings back the old Godzilla theme with real thunder.

What doesn’t: The human story is muddled and loud, and the monster fights are so dark and rain-soaked that you can barely follow them.

Who it’s for: Kaiju fans who’ll forgive any amount of human nonsense for one shot of Godzilla roaring at a three-headed dragon.