In an interview with Mike Dougherty, he revealed that even though he thinks the crew did a great job revamping Godzilla's roar, he pushed them further to bring it even closer to the original 1954 Godzilla's roar.
Cranial scans indicate each of Ghidorah's heads possess different levels of cognitive function and possible independent thought. The middle head is the most intelligent, acting as the alpha, while the left and right heads are more akin to its lackeys.
Godzilla was designed to have a personality that would evoke the "last samurai" archetype, and be a lone, ancient warrior content with solitude and preferring not to be a part of the world but has to resurface when certain types of events force him to appear and set things right. Godzilla also apparently has some degree of rivalry with Ghidorah, as he is depicted fighting with him in a cave painting. His relationships with the other kaiju are unknown.
King Ghidorah was the antagonist in an early draft of the script in Godzilla (2014), having crashed in the Arctic during the last Ice Age and being kept frozen in the Yucca Mountain Nuclear Waste Depository (a cover by MONARCH), before escaping and fighting Godzilla in San Francisco. He was removed by Gareth Edwards, who felt that Ghidorah (being extraterrestrial) did not fit the film's "wrath of nature" theme, and to avoid similarities with the popular alien film Transformers (2007). Ghidorah will, however, appear in this film.
Godzilla received a slight revamp with his dorsal fins changing in shape, rather than being jagged and straighter in design, the new design features more protrusions, and looks more like the maple leaf design akin to earlier Godzilla incarnations, the director states that his eye color also changes when he uses his atomic breath (a bright blue hue) much like his attack.
In one interview, Mike Dougherty likened Ghidorah's three heads to conjoined siblings. Additionally, when designing Ghidorah, he wanted to create a "unique" design that still resembled Ghidorah and worked closely with Toho to make sure the new design respected past incarnations; he also studied various animals, specifically king cobras, in order to add a sense of realism to the design. He also told the design team to maintain an Eastern Dragon influence, and to avoid any Western Dragon influences, stating "They're not traditional western dragons. So those were marching orders from the beginning... We don't want it to look like Game of Thrones' dragons."
In the film, King Ghidorah stands at 521 feet (158.8 meters) tall, making him 128 feet taller than Godzilla, who stands at 393 feet (119.8 meters). This is the largest American incarnation of the monster in history, and also the second largest incarnation of the monster ever, being almost 62 feet taller than Toho's Heisei version, which stood at 460 feet (140.2 meters).
Michael Dougherty created Behemoth (which is also a biblical reference) as a companion mammal for Kong, feeling that too many Toho monsters were reptiles or insects. A mammoth was chosen because of Dougherty's fascination with woolly mammoths and because he wanted a big, furry creature that looked like it could have "survived during the Ice Age", elements of sloth and primate were also added to make Behemoth look more than just being a giant mammoth. Early in production, Behemoth was a giant six-tusked mammoth with vegetation-like growths on his legs, and he appeared to have a wilder and more crazed disposition.
When asked if the "hollow Earth" civilization that prays at Godzilla's altar was new to the mythology, or was it an inversion of something he found going back to the Toho films, co-writer and director Michael Dougherty stated: "If you do go back and look at the entire library, there are sort of occasional references to lost civilizations. I mean, Mothra's followers are a perfect example, and so are Kong's followers. Mothra's egg tends to be housed in a mysterious temple surrounded by a singing and dancing troupe that's always trying to get her to hatch. So these creatures have a long history of being perceived as gods and deities. So it made sense to me that the Alpha of the group himself would also have a history, a deeper connection, to some ancient civilization that figured out how to spark and maintain a sort of symbiotic relationship with him, probably for their own protection. The same way that there are small fish that swim underneath a shark, or the tiny bird that pecks insects off elephants or rhinoceroses, human beings would be the tiny animals that seek protection under a much larger animal that simply puts up with their presence."
Rodan's origins are unclear, but he is presumably an ancient creature, due to being depicted in what appears to be an ancient cave painting. Similar paintings exist of Godzilla, Mothra and King Ghidorah, suggesting Rodan either appeared alongside them in the past or is prophesied to appear alongside them in the future. According to Monarch, Rodan is spoken of in legends, with his name referenced within many ancient temples in volcanically active regions. In 1991, Rodan was discovered by Monarch in pyrostasis in the magma inside the Isla de Mara volcano in Mexico.
Michael Dougherty later revealed that the name "Godzilla" is not the primary name of the monster, but a nickname, with the scientific name used within the film's universe being "Gojira". The resulting scientific dubbing of Titanus Gojira comes from the Latin term "Titanus", meaning "Titan", and "Gojira", meaning "Godzilla" in Japanese.
Kyle Chandler said Godzilla is his favorite kaju, while both Vera Farmiga and Millie Bobby Brown favorite is Mothra, Charles Dance stated in an IGN video that his favourite is Mothra when responding to Godzilla-related comments, "Look at Mothra spread her big wings. Female beauty at its peak."
One of the main criticisms of Godzilla (2014) was the lack of Godzilla himself, despite it having over twelve minutes of screentime (this is one of the highest amounts of screentimes for Godzilla in a Godzilla movie). Many people criticized this "teasing" as boring and unfulfilling, while others praised its holding back of the monster as references to how the shark from Jaws (1975) was teased until the end. Nevertheless, Director Michael Dougherty later confirmed that Godzilla will appear much more in this film.
During a slideshow montage of all the numerous Titans that Monarch knows about, the scientific name shown for Kong is Megaprimatus Kong, which was his scientific name in supplementary material of King Kong (2005).
As stated by Michael Dougherty, when King Ghidorah's head is severed and a new one grows, the newly-grown head retains the original head's memories and personality. This occurs because Ghidorah's neurons are scattered throughout his body, similar to an octopus.
Michael Dougherty revealed in an interview that Dr. Ilene and her twin are very much the Shobijin. And this would would have been revealed in a credits scene - that unfortunately didn't get made because they ran out of time - where the the adult twins would enter an ancient temple where a new set of five-year-old twins would be singing to the new Mothra egg that was mentioned in the credits.
Monarch's cryptid profile describes Mothra's origins as follows: "From erased Nazca lines to the hidden Temple of the Moth, the name "Mothra" is woven throughout the most secret mythologies of our planet. The folklore and fairy tales tell of a winged creature of blinding light, an angel of the clouds whose god-like luminescence has the power to shatter the sky. Ancient spirit tablets discovered in the mountain jungles of the Yunnan Province portray a giant winged alpha of the Lepidoptera order. In all of our findings, human civilization is pictographically shown in poses that imply deification of the so-called "Queen of the Monsters", suggesting that the creature was once a benign part of the natural order. When Monarch containment crews discovered the live Titan chrysalis within the Chinese myth site, Dr. Emma Russell was quickly dispatched to closely monitor the creature that lay dormant within it. A quickening sonar pulse suggests the creature is awakening. If she ever emerges from her ancient slumber, a superspecies that once illuminated the sky will be reborn as Mothra. Pupal DNA samples suggest a remarkable, multi-stage evolution. On reaching adulthood, Mothra's gigantic thorax is capable of emitting beta-wave bioluminescence which can be projected through the intricate patterns on its wings and weaponized into blinding "god rays". As one of the deadliest and most beautiful natural phenomena in Earth's history, no wonder this devastating guardian angel was worshipped as a goddess by the ancient human civilization blessed to witness her."
In the official Monarch timeline posted on the Facebook page for, "Kong: Skull Island, the label given to Ghidorah is " Monster Zero", which was the name given to him by the Xiliens in Invasion of Astro-Monster (1965).
Michael Dougherty knew from the beginning that King Ghidorah origin should be off planet. There was a little bit more to the scene where they discover his name and his origin, where it was sort of debated whether he was from space or whether he was created by man. "So originally in that scene it was sort of more open ended, the idea that they still weren't 100 percent sure what the records they discovered were pointing to, but ultimately, we decided to sort of plant our flag in the extraterrestrial concept because I think that's the concept that most Godzilla fans love and embrace. The notion that he is extraterrestrial means that he could be potentially be more disruptive to our ecosystem".
Mike Dougherty revaled that the right head of Ghidorah is the most-aggressive and bloodthirsty of the three, though that doesn't quite come across. Likely he's the most eager to fight and the smartest in combat. When the middle head roars out a challenge to Godzilla the right head's Quizzical Tilt can be seen as him sizing up his opponent and trying to analyze the situation, and later before Ghidorah flees the Antarctica battle, the right head can be seen spitefully shaking his head. He's also the first to notice important things in battle, such as the speakers in Fenway Park or the electrical transformer.
Godzilla's sauropod-like feet with stubby toes in the first film was actually not very plausible for a biped, as much of his weight would be supported by the front of the foot, as with humans and bipedal dinosaurs. As such, him having longer toes in the sequel would actually make more sense in supporting his massive bulk.
Mothra arrives later to the Final Battle despite being last seen around Godzilla's location and being capable of flight. The credits reveal at some point she laid an egg before joining the final battle. This was confirmed by Doughty on twitter to be the case.
According to Monarch Sciences, Ghidorah (like his arch-rival Godzilla) has been alive for centuries and influenced the depiction of numerous mythological creatures (such as the Rainbow Serpent and the Hydra) which were in fact sightings of him. This trait where monsters had inspired humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. There are more claims of similarities between his works and monsters in the previous film. An idea for Ghidorah to battle Godzilla underwater, as seen in the concept arts released at Tokyo Comic-Con, was also originally introduced to the series within Kaneko's work.
One news article shown during the film's end credits montage indicates that Monarch is constructing a "mechanized giant" to keep order on Skull Island following failed attempts to create organic Titans of its own. This could be an allusion to Mechagodzilla, which in many of its appearances is an artificial kaiju created by humanity to combat other monsters. Another article during the credits montage discussing ancient accounts of Godzilla battling members of Kong's species contains the headline "What's a King to a God?," a phrase popular among the Godzilla fanbase ever since Godzilla vs. Kong was announced.
For the roars, the director felt it was important to "getting the noises right" and gave the sound designers a "super cut" of the monster roars from the Showa Godzilla films and had them start from there. He confirmed that the monsters would have new roars that will resemble the original incarnations. Dougherty used the Showa roars on a massive speaker system to use on-set for scenes where actors had to run from or react to the monsters.
Mothra is also more in line with her Showa counterpart where she rivaled Godzilla in power, rather than later versions who often needed help to do the same. She's even referred to as the "Queen of the Monsters." Notably, advertising refers to her as an 'Alpha', a term also used to describe Ghidorah and Godzilla. She's capable of defeating Rodan one on one, finishing the fight by impaling him with her stinger.
The director instructed the designers to look at the original designs from every era and "distill those silhouettes and those key traits into something more modern." It was important for the director that the Titans were not just simply treated as monsters but "very large animals with a distinct thought process."
Michael Dougherty said the epilogue means establishing that the end of the film wasn't apocalyptic, but the start of something new and exciting. The teases in the credits allow the audience to "see that the world isn't ending as much as it's being born, ideally in a better form," Dougherty explained. "The end of the film represents a world I would gladly bring about if ever given the opportunity, the idea of monsters roaming the planet, just part of our natural ecosystem." Much like Vera Farmiga's anti-hero, Dougherty said he would "bring about that world without hesitation."
Godzilla is noticeably taller than he was in the first movie, which leads to the belief that he is truly evolving. In this film, he stands at 393 feet (119.8 meters) tall, while in Godzilla (2014), he stood at 355 feet (108.2 meters) tall. This makes Legendary Studios' Godzilla the largest live-action incarnation of all time, being nearly two meters taller than the Shin Gojira (2016) version, and eleven meters taller than he was in 2014.
This Mothra's bioluminescence-based abilities are similar to a special ability of the male MUTO, originally dubbed 'Hokmuto', in an early version of the 2014 film, Godzilla. Said ability was said to be a lightning-like "shockwave" that created aurora-like lights. Furthermore, some scenes of Mothra (MA) is similar to the description of this Mothra's bioluminescence.
Unlike the MUTOs and Skull Crawlers, who were simply animals (if intelligent ones) acting on instinct, King Ghidorah is genuinely malevolent and sadistic, and ultimately acting on a plan with an actual endgame rather than simple instinct.
Steve Martin is credited as the author of one of the articles seen in the end credits montage, referencing the reporter character Steve Martin who was added into the American version of the original Godzilla film, Godzilla, King of the Monsters!, and later returned in Godzilla 1985.
According to Godzilla (2014) art book, The Art of Destruction, the Godzilla corpse found in the beginning of that movie would have been discovered frozen somewhere in Siberia instead of the Philippines. It was changed because Man of Steel, a film from the year prior, had a very similar scene of Clark finding the Kryptonian ship frozen in ice. This film appears to rework it, this time King Ghidorah is found frozen in Antarctica.
For Mothra, Dougherty wanted to create something that was "beautiful, and feminine, and elegant, and looked like a true goddess, but also dangerous if she had to be". He attempted to remain faithful to the color palette of the original 1961 incarnation and retaining the eye-spots on her wings. The eye-spots were designed to resemble Godzilla's eyes in order to create a connection between Mothra and Godzilla. Mothra was designed to resemble real moths and given longer legs in order to defend herself against other monsters, another attribute inspired by real moths.
After going uncredited in the 2014 film, Godzilla's motion capture actor TJ Storm is credited for reprising the role in this film. Jason Liles, Alan Maxson, and Richard Dorton are all credited for their performance as King Ghidorah. However, they are all listed among the crew, while the cast list states that Godzilla, King Ghidorah, Mothra, and Rodan were all portrayed by themselves.
The question that Godzilla fans might be asking is, why create so many new monsters when the Godzilla franchise has so many to choose from, it turns out it's not as simple as all that. "I wish I could have brought in a few more of the classic Toho creatures but they all come at a price. They've all got their fees, and so it was a choice. Do I want to shell out money to use a Toho creature by name or do I want to actually put that money on-screen in a visual effects shot?" Michael Dougherty explained.
Ghidorah is malevolent in nature, which is supported by the skulls depicted surrounding him in the cave painting and a footnote in Vivienne Graham's notes that refers to him as "the devil". His sadistic and ruthless nature is elaborated when he willingly obliterates soldiers with his gravity beams instead of ignoring them. His middle head also appears to have a fairly large degree of intelligence and sentience while his other two heads act more akin to trained attack dogs. Ghidorah is depicted fighting with Godzilla in a cave painting, suggesting that the two have a history (he is even referred to as "a rival alpha to Godzilla").
Speaking to io9 and other members of the press at a recent event in Tokyo, Dougherty touched on Serizawa's calls for balance in the movie--and the world we start to see take shape over the course of King of the Monsters' Blue-Öyster-Cult-soundtracked end titles--and how it called back to a kind of fantastical storytelling he felt had gone out of style in modern movies: I've always loved Jules Verne style adventures. I feel like movies don't have enough of that anymore. I personally love theories about lost civilizations and growing up, I'll never forget the disappointment felt when I found out that mankind and dinosaur did not live together. You know? That decades of Ray Harryhausen movies lied to me. This seemed like a natural fit. Personally, I loved the concept that there was a previous civilization that figured out how to live with the kaiju, that cracked that code and figured out how to form a symbiotic relationship for their own survival. And that some cataclysm broke that relationship. And so, while human beings went off and forgot about their connection to the monsters, and chalked up the monsters to fairy tales and legends, Godzilla never forgot. You know, which is why he has some weird distant memory of these tiny, little squeaky creatures. And maybe there is some sort of affection there, which is why Serizawa is all 'we would be like his pets,' because maybe that's how he views us.
For the film's ending, the biggest reveals were saved for the film's credits sequence, where easter eggs and hints pointing towards Godzilla vs. Kong. "It does lay the groundwork for the next chapter, for Godzilla vs Kong," said Dougherty, who also co-wrote the script for Adam Wingard's upcoming showdown of the monster icons. But it turns out those credits weren't originally mean to be end credits at all. "Initially, that was an opening credits sequence," Dougherty said. "It was traditional main titles and then it became main on ends, which is the latest trend. You no longer get to have opening title sequences because we don't have the attention for those anymore So for a while, all the sort of news stories and headlines were setting up the world and when we realized it was becoming main on ends, I thought this was an opportunity to create an epilogue of sorts. Because the film ends on such a weird cliffhanger where all the genies are out of the bottle, so to speak, that I thought it made sense to at least tell the story of the immediate aftermath of what happened."
The previsualization team for Godzilla: King of the Monsters based Madison Russell's face on Millie Bobby Brown's before she was cast. According to director Michael Dougherty, "We got so used to seeing her face that we just kind of said, 'Well... why don't we make her the offer?'"
Ghidorah will be portrayed through a mix of motion capture and CGI. It was confirmed that Jason Liles, who starred in Rampage (2018), will mo-cap Ghidorah's middle head, with Alan Maxson and Richard Dorton portraying the other two, while unnamed colleagues play the monster's body.
The Art Book for the movie shows concept art of Gigan, a titan resembling Kumonga, and most noticeably, a turtle titan that bears close resemblance to Gamera. None of them make any appearances in the movie.
Serizawa's death isn't just a character moment, it ties into King of the Monsters larger themes of finding a way to respect and co-exist with the forces of nature. "To me, the whole movie about us trying to understand Godzilla and even potentially form a relationship with him," Dougherty said. "The concept of having a lion and the mouse moment between a human being and Godzilla where a tiny, little theoretically insignificant human being would b the one save Godzilla, it just seemed really appropriate thematically." The location of Serizawa's death also ties in thematically look closely enough at the markings on the walls and you'll see evidence of a primitive society that worked with Godzilla. "In this mythology, man and monster co-existed," Dougherty said. "We figured out how to bridge that gap, and we smartly formed alliances with Godzilla, Mothra, Kong, and maybe a few other more benevolent monsters and they helped ensure our survival." The message, Dougherty explained, was "to say that, if this existed in the past, if there was a civilization that learned how to peacefully coexist with Kaiju/nature, then hopefully, if we smarten up finally, then hopefully we can do the same thing."
This is the first incarnation of Mothra that is not a literal divine creature. However, she is still worshiped as a deity by a primitive culture. This incarnation of Mothra to have long forelegs resembles Mothra's pre-production designs by Toho.
Two of the Monarch soldiers, Barnes and Griffin, have quite a bit of screen time, a decent amount of lines between them, and actually survive the whole film despite being in the thick of virtually every single battle and disaster that happens. Griffin also averts being a Disposable Pilot while she's at it.
Dr. Vivienne Graham's death is so quick that even if you were paying attention you might not have been sure what happened or who it happened to. Ghidorah, seeing a group of less than a dozen humans running for their lives, arbitrarily targets her out of the crowd, and in a flash devours the ice upon which she was standing whole. A few minutes later Serizawa is shown sitting in front of a monitor listing her as deceased, just to make sure the audience knows it was her that died.
As seen on Monarch Sciences website, Monarch Outpost 61-where Mothra is located, homages 1961,the year Mothra premiered. Based on the fact that the Nazca Lines are mentioned in her description, it can be assumed she has some ties to Nazca culture. Mothras connection to the Latin American continent is similar to that of her AniGoji counterpart.
Visual effects for the film were provided by Moving Picture Company, DNEG, Method Studios, Raynault VFX, Rodeo FX and Ollin VFX. Guillaume Rocheron was the main visual effects supervisor. In November 2018, post-production on the film officially ended. Dougherty said that an earlier cut of the film was three hours long. Dougherty affectionately referred to the three-hour cut as Godzilla: The Miniseries. He considered splitting the film into two parts but decided against it, feeling that the final cut is faithful to the core of his original vision.
This is the second american movie to use the original Godzilla theme by Akira Ifukube, after Ready Player One (2018). Although that movie is not part of the MonsterVerse, the soundtrack plays when Mecha Godzilla is formed.
O'Shea Jackson Jr. made it very clear that he is a huge Godzilla fan in every interview he has had for the film, even expressing that Gigan is his favorite villain. He felt extremely excited to join the project and even acknowledges the coincidence of his friends and Straight Outta Compton co-stars Corey Hawkins and Jason Mitchell previous involvement in Kong: Skull Island.
In the novelization, Mothra is stated to be worshipped under the name "Mosura" on an Indonesian island a reference to Birth Island; and that some myths about her depict similar but destructive moth deities, a reference to Battra. Ling Chen and her twin sister are a reference to the Shobijin, sharing a mystical connection to the moth goddess and being directly descended from a lineage of Mothra's priestesses.
Doughtery researched various moth species and discovered some looked "scary" and "predatory". He wished to maintain a sense of realism for Mothra, stating, "So the approach for Mothra is to create an insectoid, huge creature that looks believable from every angle, and especially in motion." The director found Mothra the most difficult Titan to design because he wished to avoid making Mothra look like a blown up moth. Legacy Effects provided the design for Mothra.
The basic shape of the Oxygen Destroyer itself is evidently mostly unchanged, as seen on a digital schematic. However, the Oxygen Destroyer is now fired while attached to a missile. Upon striking the water, rather than simply causing a violent chemical reaction, the Oxygen Destroyer produces a powerful explosion that creates a mushroom cloud. The blast does not reduce its victims to skeletons, though it effectively kills all sea life nonetheless. The explosion given off by the device was sufficient to seriously injure and weaken Godzilla, while the extraterrestrial King Ghidorah proved immune to both the blast and the chemical itself.
The Monarch outpost Castle Bravo is named after the first thermonuclear device detonated as part of the nuclear bomb tests at Bikini Atoll. Castle Bravo was detonated on March 1, 1954, and its energy release was 2.5 times the predicted amount. That same morning, a Japanese fishing vessel known as the Daigo Fukuryu Maru (No. 5 Lucky Dragon) sailed into radiation poisoned waters and unknowingly brought back with it contaminated tuna to be sold at market; leading to multiple deaths and devastating Japan's tuna market. These events formed one of the primary influences behind the first Godzilla movie, Godzilla (1954), released later that same year in Japan.
Michael Doughertys said that Mothra was "daunting" he wasn't sure if there was a cool way to portray her as shes a giant moth with good vibes, so he watched for inspiration Tarantula (1955) and Starship Troopers (1997) so he approached her more as a deity almost more of a spiritual presence than a typical straight up giant monster.
While King Ghidorah has never been exactly stupid, previous versions' plans amounted to 'kill everything by spamming it with gravity beams' (with the Rebirth version adding a mass kidnapping to that plan) or are the minion of alien invaders. This version is the mastermind leading the invasion, has a more complex plan (use Earth's Kaiju to terraform the planet in his own image), and shows more complex strategic thinking in combat than his previous counterparts (such as keeping Rodan close so he has back up if he needs it or absorbing the entirety of Boston's power supply to power himself up to get the upperhand on Godzilla).
In 2016, Vivienne Graham (Sally Hawkins) led an effort to build a containment and research facility around an extraordinary, but dormant creature in the Antarctic. Her classified field notes contained the mysterious footnote, "The devil has three heads", referring to King Ghidorah.
A recurring theme with the Titans. When Godzilla charges his atomic breath, his back spines glow blue. When Mothra uses her "god rays," her wings glow with blinding white light. And, in a new twist, Ghidorah's necks visibly glow with yellow light as he charges up his gravity beams. Godzilla's blue glow gets more and more pronounced as the final fight with Ghidorah progresses, with Rick counting down Exact Time to Failure before Godzilla goes nuclear thanks to the excess energy of the nuke used to jump-start his regeneration. When this combined with Mothra's Heroic Sacrifice causes him to enter Fire mode, his whole body glows red with firey atomic heat.
When Dougherty came on board to direct, Legendary already did the hard work of securing the rights of Mothra, Rodan and King Ghidorah, which they did shortly after the success of the 2014 film, as they felt they were the "all stars and crown jewels" of the film.
Originally Godzilla: King of the Monsters was going to be released on the same day, June 8, 2018 as Bumblebee (2018). Now, the release date has been pushed farther for March 22, 2019 and later delayed once more to May 31, 2019, following Avengers: Endgame (2019), Aladdin (2019), Pokémon: Detective Pikachu (2019), and John Wick 3: Parabellum (2019).
King Ghidorah was already bad in other versions, but this version is capable of generating a cataclysmic storm simply by flapping his wings and is the largest Ghidorah in live action film. He has an incredible Healing Factor to the point it takes being completely atomized to kill him. Also, whereas every Ghidorah since the original except the Rebirth incarnation has been The Dragon to someone else, this Ghidorah is the one giving the orders to other monsters.
After Godzilla emerges post-nuking, he regards everyone on the deck of the sub with some interest for a few seconds, then leaves to go after Ghidorah. While it could be that he simply didn't see them as a threat, considering that he saw Serizawa in his lair, and Serizawa got close enough to touch his jaw just before the nuke detonated, it's quite possible that he could smell Serizawa's scent on the others and realized that they helped heal him.
Godzilla's Super Mode is him covered in flames and glowing red lines in his skin whilst radiating super-intense heat, akin to his meltdown form from Godzilla vs. Destoroyah. Said super mode is also referred to as Godzilla entering "critical mass", a nod to the game Godzilla Unleashed where monsters could undergo a similar transformation of the same name.
The Titans Scylla and Methuselah are based on Toho kaiju Kumonga and Anguirus respectively. In the case of Scylla this is given an even bigger nod by having her emerge in Arizona, which is where Kumonga appeared in Godzilla: Final Wars.
Godzilla's new design in King of the Monsters has his tail somewhat smaller and thinner, and his dorsal spines much bigger. real-life lizards store energy-rich fat in their tails as a source of energy during lean times, so it's possible that similar to this, Godzilla's been using up more of his stores due to increased activity since the Muto incident. His claws and spines being bigger may also be similar to him entering a hormonal cycle where he becomes more aggressive and territorial, like an elephant on musth or bucks during breeding season.
The reason Ghidorah shrugged off the Oxygen Destroyer without a scratch is because he's an alien creature, whose biology is inherently different even to earthly Titans. Plus, it's hinted that, like his counterparts from other continuities, he's capable of independent space-flight. His body doesn't use oxygen in its processes. So there's nothing in his system for the Destroyer to set off.
Rather than resembling an actual moth, Mothra combines features of wasps and praying mantises, giving her a more intimidating appearance than previous incarnations. Rodan also combines aspects of birds of prey to go with his pterosaur-based look. Behavior-wise Ghidorah displays a mix of various animals as well: his twin tails rattle like a rattlesnake, his wing-spreading posture is a threat display of many birds of prey, and the dominant and submissive behavior of his three heads is similar to pack behavior in wolves. One of the new Titans, named Behemoth, resembles a cross between a woolly mammoth, a sloth, and an ape. Another of the new Titans, Scylla, resembles a cross between a spider and a crab with a squid-like face.
Ghidorahs jarring roar is a little similar to his GMK incarntation, but far more intense and without a trace of tinkling sounds. The unique point of this incarntation's roar is that sometimes Ghidorah's heads will roar one by one continuously three times. Ghidorah also growls, and they are similar to a lion's growl.
Despite the rather sketchy nature of Dr. Serizawa's claims, it turns out that he was actually right that awakening the Titans would be good for the world; the epilogue credits depicts a number of news articles explaining how the radioactive emanations of the Titans has had massive ecological restorative effects on the world - ranging from deforested and depopulated areas bouncing back with endangered species, the Saharan desert turning into a lush jungle, and extremely durable and plentiful 'superfoods' appearing in areas where monsters passed through.
Dougherty always fantasized about the idea of Rodan emerging from a volcano, as he was heartbroken at the end of the 1956 film where both the male and female Rodan perish, and had the idea that "the Rodan couple laid an egg up there and after thousands of years had come to life as it was gestating inside the volcano", which was a no-brainer in the end.
Ghidorah's name is likely based on Zmey Gorynych from the 1956 Soviet film Ilya Muromets, the inspiration source of the monster and was called "King Dragon" in Japan. Ghidorah is likely based on a direct translation of the pronunciation of Hydra in Russian language.
Dr. Emma Russell has discovered a way to communicate with the Titans, which may be a reference to Miki Sagusa and the Psychic program in the Heisei series. She also mentioned that said communication involves a bioacoustic process, much like how the Hanna-Barbera cartoon had the crew of the Calico summon Godzilla using a sonar device.
When Ghidorah regenerates his left head after it got ripped off, as it grows back there's a few seconds where his lower jaw is split before it fuses. In some concept art of Ghidorah for Rebirth of Mothra 3, he was portrayed with a split jaw.
When Burning Godzilla unleashes his first nuclear pulse, we hear Mothra's roar and faintly see her outline in the flaming burst. Because she sacrificed her life to power up Godzilla, her essence now flows through him, and in a way she is still fighting alongside him, in spirit at least.
According to the novelization, Mothra's species name, Mosura, means "giver of life" in the language on this universe's version of Infant Island. Given her benevolent and protective nature, she lives up to it.
Michael Doughertys first attempt at directing a Godzilla film happened when he was around ten years old, taking his family betamax camcorder and have his pet-box tortise rampage through his Star Wars and Hot-Wheel toys or use his Shogun Warrior Godzilla and make "crude looking stop motion movies"
Dougherty and his writing partner Zach Shields ran a writers room of 10-12 writers for about 10 days, bouncing things around and revisiting some of the old movies, stating "it was like throwing a Godzilla party that has been raging ever since."
Mothra was confirmed to be appearing in Godzilla: King of the Monsters, along with Rodan and King Ghidorah, on July 26, 2014. A Monarch timeline video uploaded to Kong: Skull Island social media accounts describes a giant cocoon with a "quickening heartbeat" discovered by Monarch in China's Yunnan province, within an ancient structure called the Temple of the Moth.
On July 21, 2018, Dougherty revealed that Bear McCreary will compose the film's score, incorporating themes from Akira Ifukube's previous Godzilla scores. Regarding his involvement, McCreary stated, "I am thrilled to be the composer for Godzilla: King of the Monsters, and honored beyond words to have the opportunity to contribute to one of cinema's longest-running musical legacies." The first trailer featured a rearrangement of Claude Debussy's Clair de Lune by Michael Afanasyev for Imagine Music. McCreary further expanded on his plans and involvement, stating, "I've known Michael Dougherty for a long time, as we both run in the same film-nerd circles. I have always appreciated his love of film music, chatting with him for hours on end over the years about the scores we both love. I was thrilled for him when he landed the gig to direct Godzilla, because I knew what it meant to him. When he later asked me to join the project, I was overwhelmed with excitement, and awe, grateful for the chance to join him in contributing to the legacy of our favorite monster. We knew from the beginning that we wanted to incorporate classic [Akira] Ifukube themes, and yet I think fans will be excited to hear how they have evolved. There are some fun surprises in store. Fitting the material and Michael's visionary film, this score is the most massive I have ever written, and I can't wait for fans to experience it!" In November 2018, a sample of McCreary's Godzilla theme was leaked online after it was used during a panel at Tokyo Comic Con.
Mark Russell perpetuates the outdated theory that wolf packs in the wild are dominated by an Alpha, who earns the position through fighting and physical intimidation. As it turns out, Titans follow that same dynamic. Godzilla is the Titan pack's rightful Alpha (with Mothra as another Alpha in a symbiotic relationship with him). King Ghidorah is a rival Alpha, who does command the other Titans' loyalty after defeating and apparently killing Godzilla.
Michael Dougherty told the design team to maintain an Eastern dragon influence for Ghidorah and to avoid any Western dragon influence, stating, "They're not traditional western dragons. So those were marching orders from the beginning... We don't want it to look like Game of Thrones' dragons." Legacy Effects also provided the design for Ghidorah.
The device Emma Russell created was called "ORCA", which is another name for a killer whale, a reference to the etymology of Godzillas namesake as Gojira is a portmanteau of the Japanese words: gorira ("gorilla") and kujira ("whale"), owing to the fact that in one planning stage, Godzilla was described as "a cross between a gorilla and a whale."
The moth cocoon aquarium in the previous film labeled 'Mothra' makes sense when you read that Mothra worship was widespread in this universe, especially in the East where she lives. Calling it Mothra is akin to naming a pet after a god like Zeus or Hades.
Mothra's design in the Monsterverse is reminiscent of the Male MUTO: she has a pair of curved front legs, digitigrade hind legs, a set of smaller arms on her chest and a pair of elongated membranous wings. This may be more than just coincidence: it's likely that Mothra's species is actually related to the MUTO, being in the same family just like how wasps and bees are, sharing common traits but being distinct in terms of behavior. Notably, both the MUTO species and, apparently, Mothra's species are symbiotic with Godzilla's, just different kinds of symbiosis (the MUTOs are parasitic and Mothra appears to be mutualistic, eg. what is colloquially referred to as symbiotic), and it is not unknown for evolution to cause jumps from one kind of symbiosis to another, or have speciation happen through specialising in different kinds of symbiosis. Alternatively, Mothra and the MUTO might not be related at all, but the MUTO evolved a similar appearance as a form of deceptive mimicry. This is similar to the real life fish called the saber-toothed blenny, that mimics the appearance of the beneficial cleaner wrasse, luring in unsuspecting fish for a grooming, only to attack them when they come close. It's possible that the male MUTO evolved a similar appearance to Mothra's species, to lure unsuspecting, inexperienced members of Godzilla's species over to their nest where the larger and stronger female would be lying in wait.
If one look looks closely at Mothra's face, notice that she has mouthparts more similar to her original design rather than a proboscis like real moths despite the Monsterverse going for more realistic designs, however most moths are small enough that they feed from flowers of which there aren't any large enough for a creature Mothra's size to drink from. This is likely a form of neoteny that allows her to retain her larvae form's mandibles so she can feed from more accessible food sources. She also seems to have retained the silk glands she had as a larva, allowing her to web her opponents in battle.
It's revealed that Ghidorah can regenerate his heads after Godzilla bites his left head off, which makes sense as he is said to have inspired the legends of the Greek Hydra. Godzilla kills the middle head by incinerating it with his nuclear pulses in his Burning Form, just like how Hercules slew the Hydra by burning off its heads so they couldn't regenerate. And even after Godzilla vaporizes the rest of his body, the center head is shown still alive and struggling in Godzilla's jaws, just like how the mythical Hydra had one immortal head that lived even after Hercules severed it and forced him to bury it beneath a rock.
The female MUTO who woke with the rest of the Titans bowing before Godzilla seems to make no sense. They're natural enemies, if the MUTO eggs in one of Godzilla's fellows is any indication. But perhaps MUTOs are only hostile to Godzilla and his kind when in mating pairs. If this is the last MUTO in existence, then she has no possibility of finding a mate, and would submit to the superior Alpha to preserve her own existence. Indeed, since Godzilla easily handled the MUTOs one-on-one in the first film, only really being threatened when they could work as a pair, might imply the relationship between these species is a lot more complicated than predator-prey or rival predators. Considering the plot of the Aftershock comic, it could also be inferred that the animosity between the MUTOs and Godzilla was being driven by the presence of the MUTO Prime, which might well have been another competing alpha, one that specifically targeted members of Godzilla's species as a host for reproduction. With the MUTO Prime out of the way, any remaining MUTOs would be subservient to the only remaining alpha.
The map of the Monarch facilities around the world shows that the one in Peru is underneath Machu Picchu and that the Titan contained there is Quetzalcoatl. The only problem with this is that Machu Picchu is the most well known Inca ruin, while Quetzalcoatl is a deity from Aztec Mythology.
The mythology-inspired names of the other Titans are quite fitting, but it's rather strange that the name "Scylla" would be given to a spider-like desert creature, since in mythology Scylla was a six-headed serpentine sea monster that was once a beautiful sea nymph cursed by a sorceress. That said, The Stinger has a newspaper headline stating that the Titan Scylla is Greek in origin.
Behemoth is slightly more prominently featured in the novelization than the film itself. One of the researchers at his outpost, believing he is "the most interesting Titan," sets Behemoth free herself before Monarch can preemptively destroy him, and is killed in Behemoth's escape.
Several fans in Japan have noted similarities between the head of Methuselah and a rejected head design for Godzilla from the 2014 film, which was displayed at San Diego Comic-Con in 2013. These similarities include the shape of their lower jaws and the protruding fangs which are visible when their mouths are closed.
The MonsterVerse King Ghidorah shares some characteristics with the incarnation of the character from Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. For example, his feet are bird-like with three large claws and a smaller fourth digit, while his wings have visible phalanges which connect to his body, and can be folded at his sides when not in use. He also possesses electrical abilities in addition to his traditional Gravity Beams, much like the GMK incarnation of the character. Like the GMK King Ghidorah, this version of the character is initially discovered frozen in ice.
The Monarch timeline videos posted to Kong: Skull Island social media accounts in 2017 state that Monarch discovered King Ghidorah in 2016. Godzilla: Aftershock, set in 2014, shows a containment facility already built around him.
While its predecessor Godzilla was noted by some for similarities with the 1995 film Gamera: Guardian of the Universe, Godzilla: King of the Monsters also features some parallels with the other films of director Shusuke Kaneko. Godzilla's physical appearance has changed since the last film, much like how Gamera's appearance evolved in each film of the Heisei trilogy. The film also incorporates the idea that the kaiju have inspired creatures from real-world mythologies, a concept featured in both Gamera 3: Revenge of Iris and Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. Both Mothra and King Ghidorah's new designs in this film share some traits with their revamped designs from GMK. After seeing the film, Kaneko himself acknowledged the similarities between Godzilla: King of the Monsters and GMK. There are many parallels between Godzilla: King of the Monsters and Gamera 2: Attack of the Legion. Both films have humanity deciding to join forces with the heroic monster against a much greater threat. Both of the antagonistic kaiju are extraterrestrial monsters who want to reshape the earth to fit their needs with an army of minions at their disposal. The heroic kaiju is nearly killed before his final encounter with his enemy, but comes back to life. With the assistance of humanity and a powerful final attack, the heroic monster is victorious in his final clash with his foe. At the end of the film, both humanity and the heroic monster are in an uneasy alliance, but many question how long it will last. The film also shares some similarities with Gamera 3: Revenge of Iris, with human villains aiming to unleash the antagonist monster in order to drastically reduce the human population. It also features a lead young female character who had a previous traumatic experience with the main monster.
It is unknown which Titan killed Margygr in the novelization, and even Monarch are unaware. It was likely one of the aquatic or amphibious Titans (Godzilla, Scylla, Leviathan, Methuselah, or Kraken), as Margygr died in the sea, but it is also mentioned that Margygr has scorch marks on her scales; this makes Godzilla himself the likely candidate, as only he would have been capable of causing this damage out of the aquatic Titans. Another candidate is Rodan, as the novel mentions him to be capable of killing sea creatures, and he is also one of the few Titans capable of causing scorch marks.
Sharp viewers recognized the return of a species from Kong: Skull Island (2017), Dougherty revealed. "So do you remember the tiny little bat-like creatures that swarm around and pick off the characters?" Dougherty asked. "So they're present in the final scene of the film. So I like the idea that once the earth opened up and these creatures started to emerge out of the hollow earth, some of these other Skull Island-type creatures flew out."
Godzilla and the MUTOs were living natural disasters, but Ghidorahs a living extinction event. While not exactly light beforehand, the moment he appears onscreen everything takes a much darker turn and he kills a named character within minutes of being released. Whereas the MUTOs may have been capable of sending humanity back to the Stone Age, Ghidorah actively desires humanity's destruction and is definitely capable of carrying that desire .
One of the Titans, Leviathan, is in Loch Ness, implying that it's the origin of the Loch Ness Monster legend. Toho actually nearly made a kaiju film staring Nessie in 1978 in co-production with Hammer Horror and got far enough into production for posters to be made.
Houston Brooks' "Hollow Earth" theory is proven true when the Monarch submarine finds an undersea trench that leads deep into the planet which is the route Godzilla used to travel across the globe and avoid human detection.
At one point in the movie, the Monarch ship travels through the underwater ruins of a vast, ancient metropolis, which could be a tip of the hat to Seatopia, the advanced underground civilization that unleashes the title monster in Godzilla vs. Megalon (1973), or an even more obscure reference to Mu, the legendary lost continent that was portrayed in the 1963 Toho film Atragon (which also introduced the giant serpent Manda).
Jonah, having survived the events of the film, collecting Ghidorah's head from a fisherman for reasons unknown. The novelization even has a character posit that Ghidorah could regenerate a new body from dismembered pieces, leaving it possible that he could return.
One reason why Ghidorah is thought of as Godzilla's greatest enemy is that Ghidorah is one of only two villains -- the other being Mechagodzilla -- who Godzilla has needed help to beat. In all the times they've fought in Toho movies, only twice has Godzilla defeated King Ghidorah in one-on-one matchups. In Destroy All Monsters (1968), it took the combined efforts of several giant monsters to bring down the three-headed dragon.
As soon as he was accepted the directors chair, Dougherty immediately went home and started brainstorming by jumpstarting many childhood dreams and wish-lists, "I literally went crazy" he also started rewatching all the old Godzilla films to reignite his passion.
Interspecies Romance is joked about twice in the film, when Mark states that Ghidorah is going to Isla de Mara to eat, fight, or mate with Rodan; and when Barnes asks if Godzilla and Mothra are mates despite one being a giant reptile and the other being a giant insect.
Upon hearing the Alpha Frequency the first time, Mothra reacts more with curiosity rather than with intimidation or submission. Not only is Mothra unaffected by it because she is an Alpha by her own right, it's also revealed that humans used Godzilla's calls to create the Alpha Frequency, mixed with some human vocals as well. She calmed down because she was hearing something that was similar to her male counterpart.
Godzilla intercepts Ghidorah midway through the film and drags him underwater to continue their fight. He ends up curb stomping the dragon, ripping off its left head. Ghidorah's not meant for underwater fighting as his massive wings only get in the way, whereas Godzilla is fully amphibious.
Mothra arrives later in the final battle than Godzilla despite being capable of flight and having been around the same area as him. The credits reveal she'd laid an egg somewhere before her death, explaining why that would be the case.
In the first film, the military tries to initiate a plan to use a nuke to kill the MUTOs and Godzilla, but failed because the MUTOs saw it as food. Serizawa voluntarily detonates a nuclear warhead on Godzilla to charge him up, but it works too well as too much radiation made him a literal nuclear weapon. Meaning if that plan even worked at all, Godzilla would have been a walking nuke that might destroy half of the United States because of his size.
The novelization make several allusions to the Cthulhu Mythos, with Monarch discovering the existence of an ancient Titan-worshipping civilization predating recorded history, the G-Team expressing horror at how unnatural the Titans and their abilities are following Rodan's awakening, Godzilla's lair being a sunken prehistoric cyclopean city, and King Ghidorah even being described as eldritch.
There are several monster scenes in Godzilla: King of the Monsters that mirror those in past films. *King Ghidorah is initially found frozen in ice, which also occurs in GMK. "During Godzilla and King Ghidorah's first confrontation in Antarctica, there is a wide shot of them facing off that is framed similarly to a shot from Godzilla vs. King Ghidorah just before the monsters' first battle. *Rodan emerges from the crater of a volcano, which occurs in Ghidorah, the Three-Headed Monster. *Rodan engages in a high-speed dogfight with fighter jets over a body of water, which also happened in the character's debut film. *Rodan and King Ghidorah's fight includes a midair collision, as did their first battle in Ghidorah, the Three-Headed Monster. *Godzilla and King Ghidorah engage in an underwater battle. The military intervenes by firing the Oxygen Destroyer missile at the two, only for it to incapacitate Godzilla but leave Ghidorah otherwise unharmed. This is a subversion of the final battle in GMK, in which the *JSDF tries to hit Godzilla with a D-03 Missile as he battles with King Ghidorah underwater, only for the missile to accidentally strike King Ghidorah instead. *During the final battle, as Ghidorah lifts Godzilla into the sky, he constricts his middle neck around Godzilla's throat and strangles him, an attack he also used in Godzilla vs. King Ghidorah. Ghidorah restraining Godzilla and lifting him into the air is also reflective of their most recent battle in GODZILLA: The Planet Eater. *Mothra is annihilated by a direct blast from Ghidorah's gravity beams in an attempt to defend Godzilla. This is reminiscent of both GMK and Godzilla: Tokyo S.O.S., in which she is destroyed in a similar manner by Godzilla's atomic breath while attempting to defend either human characters (in GMK) or her larvae (in S.O.S.). *Before her death, the seriously wounded Mothra crawls onto Godzilla as he is left nearly dead following Ghidorah's most recent attack. After Ghidorah kills her, Mothra's energy flows into Godzilla, ultimately providing him with the power he needs to triumph over Ghidorah. A similar scenario plays out in the climax of Godzilla vs. Mechagodzilla II, in which the mortally wounded Fire Rodan lands on top of the crippled Godzilla and in his dying act transfers his energy into him. The revived Godzilla begins emitting intense heat and radiation and goes on to easily destroy Super Mechagodzilla. *Mothra's revival of Godzilla also echoes the climactic battle of GMK, in which after being destroyed by Godzilla's atomic breath, Mothra's energy flows into the unconscious Ghidorah and revives him as King Ghidorah so that he can continue the battle against Godzilla. *Ghidorah bites down on Godzilla with his three heads and lifts him into the air, draining his energy which is shown visibly passing through his necks. Keizer Ghidorah does the same thing to Godzilla in the final battle of Godzilla: Final Wars. *Godzilla becomes overloaded with nuclear energy to the point characters fear he may explode. Eventually, the energy builds to critical levels and Godzilla's skin becomes covered in glowing red patterns as he emits a tremendously high temperature. This same thing occurs in Godzilla vs. Destoroyah. *Godzilla defeats Ghidorah with a series of nuclear pulses that each deal devastating damage to him. This is reminiscent of both Godzilla vs. King Ghidorah, in which Godzilla frees himself from King Ghidorah's grip and gains the upper hand with a well-timed nuclear pulse, and Godzilla vs. Destoroyah where Godzilla bombards Destoroyah with a series of intense nuclear pulses that force him to try to flee. "The end credit scene where Alan Jonah observes the recovered severed head of King Ghidorah is framed very similarly to the opening scene of Godzilla vs. Mechagodzilla II in which G-Force salvages the severed central head of Mecha-King Ghidorah.
Originally, the Mexican volcano in which Monarch discovered Rodan was named Isla de Mona, which is the name of a real island in the Puerto Rican archipelago. The name was eventually changed to Isla de Mara.
The concept of eco-terrorists unleashing King Ghidorah (and the main female member of the team having a change of heart) calls back to Godzilla vs. King Ghidorah, though with a more faithful-to-the-original version of Ghidorah (and without the time travel).
Misanthropic humans (or at least humanoids) seeking to use the monsters to terraform Earth to their liking connects with the Xiliens, similarly misanthropic humanoids who use kaiju to wreak havoc on humanity in preparation for terraforming.
For Rodan, elements of volcanic rock were added to the scales and skin color to make Rodan look capable of living inside of a volcano. Dougherty wanted Rodan's design to resemble something that "Mother Nature could have created". The designers were instructed to not just look at Pteranodons but at various birds such as vultures, eagles, and hawks due to birds being similar to dinosaurs. The director further described Rodan as a "massive A-bomb" that brings "speed and ferocity". Tom Woodruff Jr. and Amalgamated Dynamics provided the design for Rodan.
For the monsters, Dougherty wanted their designs to emit a godly presence and evoke a sense of worship, stating, "Primitive man saw these creatures, and you want to give them a presence that would make him drop to his knees and bow to this god...It can't just look like big dinosaurs. Jurassic Park has that covered. These have to be distinct. They have to be their own thing. They're Titans."
For King Ghidorah, Dougherty wanted to create a "unique" design that still resembled Ghidorah and worked closely with Toho to make sure the new design respected past incarnations. Each head was given its own personality, with the center being the alpha and the others beings its lackeys. He studied various animals, specifically king cobras, in order to add a sense of realism to the design. The designers were instructed to look at different scales from various reptiles to avoid having Ghidorah's scales looking similar to Godzilla or the original Ghidorah.
Matthew E. Cunningham was hired as a Senior Illustrator during the research and development stage. Cunningham designed most of the vehicles after the storyboard artist worked with Dougherty. Senior conceptual designer George Hull provided a series of concept paintings of vehicles and monster imagery. Production designer Scott Chambliss managed all the art directors. Artists would sometimes show concept art to the writers, producers, and director however, Chambliss had final say on what would be shown to Dougherty and the producers. After the illustrations were approved, they were delivered for pre-vis. The visual effects used concept art and pre-vis as a reference. Legacy Effects, who worked on Edwards' Godzilla, were brought back to provide additional concept art.
Took first place at the box office this weekend, grossing $49 million domestically and a little lower than initial projections which pegged the film to open between $55-65 million. In comparison, the 2014 "Godzilla" grossed $93.1 million in its opening weekend, and "Kong: Skull Island" ended up with a $61 million opening in March 2017. Overseas, the $170 million-budgeted movie took in $130 million which is again under the $140 million international gross for the 2014 film.
In the United States and Canada, the film was released alongside Rocketman and Ma, and was projected to gross $55-65 million from 4,108 theaters in its opening weekend. The film made $19.6 million on its first day, including $6.3 million from Thursday night previews, which was lower than the $9.3 million made by the 2014 film but more than Kong: Skull Island's $3.7 million. It went on to debut to $47.8 million, finishing first at the box office but below expectations. Deadline Hollywood said the film "lacked urgency", having released the first trailer over a year before the film came out, and not separating its appearance from previous Godzilla films.
Worldwide the film was initially projected to earn around $180 million from 75 other territories in its opening weekend, for a global total of $230-235 million. It was speculated that the amount could go higher if the film overperformed in China, where it was projected to debut to $75-90 million. The film held early previews in China on May 25, 2019, where it grossed $2.5 million. King of the Monsters made $12.7 million from 51 countries on Thursday and $31.4 million from 75 countries on Friday, for a cume of $48.2 million through Friday. In China, the film grossed $54.15 million through Friday and Saturday. The film ended up grossing a total of $130 million internationally and $177.8 million globally, far below projections. Its largest markets were China ($70 million), the United Kingdom ($4.4 million), France ($2.6 million) and South Korea ($2.2 million).
This Mothra's bioluminescence-based abilities are similar to a special ability of the male MUTO, originally dubbed 'Hokmuto', in an early version of the 2014 film, Godzilla. Said ability was said to be a lightning-like "shockwave" that created aurora-like lights. Furthermore, some scenes of Mothra (MA) are similar to the description of this Mothra's bioluminescence.
The scene where Ghidorah awakens in Antarctica is filmed very similarly to the male MUTO's awakening in Janjira in the previous film. Both feature a wide shot of fleeing people in the foreground while the monster climbs out of its prison in the background, and both scenes end with a primary human character fading into unconsciousness as the monster takes flight.
Five minor military characters in the film are each named after a noted special effects artist. *Lieutenant Bottin is named after special make-up effect creator Rob Bottin, who worked on films such as The Thing (1982), RoboCop (1987), Total Recall (1990), and the 1976 remake of King Kong. "Corporal Winston is named after late special make-up effect creator Stan Winston, known for his work on the Terminator films, Jurassic Park films, Aliens (1986), and many more. Winston and his studio were also set to handle the monster effects for the original 1994 incarnation of TriStar Pictures' GODZILLA before Terry Rossio and Ted Elliot's script was replaced by Roland Emmerich and Dean Devlin's version. *Sergeant Baker is named after retired special make-up effect creator Rick Baker, who designed and portrayed King Kong in the 1976 remake and is also widely regarded for his effects work in An American Werewolf in London (1981). Baker also had a cameo in the 2005 version of King Kong, and is a good friend of longtime Godzilla series suit modeler Shinichi Wakasa. *G-Team Officer Tippett is named after director and visual effects supervisor Phil Tippett, whose work includes the original Star Wars trilogy, RoboCop, and Jurassic Park. *G-Team Officer Harryhausen is named after late stop-motion animation pioneer Ray Harryhausen, who worked on films such as The 7th Voyage of Sinbad, Jason and the Argonauts, and Clash of the Titans.
The film's opening emulates the opening of the original Godzilla film from 1954, beginning with the sound of Godzilla's footsteps followed by his roar. Shin Godzilla also opened similarly, although it used the same sound effects from the 1954 film.
While in the 2014 film Godzilla's roars were entirely new, Godzilla: King of the Monsters incorporates his classic roars from the Showa series at several points. In addition, Mothra's roars include some of her classic chirping sound effects.
Concept Artist Ken Barthelmey was tasked to do some concept artwork of Ghidorah, and the designer gave Ghidorah a straight-up terrifying look. The film ended up using a traditional look for Ghidorah based more so on dragons, but Barthelmey began his original design with a more aquatic look in mind, Ghiodrah's heads are way more streamlined in this artwork. The design makes the monster's eyes real beady, and their red hue is nightmare fodder. This look is only compounded by the spikes coming from Ghidorah's head, and its head has an elongated mouth which looks downright horrifying.
King Ghidorah. As hinted at in Kong: Skull Island, he's been around a long time - enough that his existence is noted in the mythologies of all the world's oldest civilizations, but in hushed terms, as if they were actively trying to forget him. He's also genuinely evil and malevolent.
"It was really cool to work with [director] Michael [Dougherty] because he's a very big fan, obviously, of Godzilla and the whole universe behind it. So, that was really cool to work with someone who was paying so much attention to detail," Alejandro Diego, a producer at Ollin VFX, said. "We actually were told that there are some Easter eggs that are in the movie, so it was kind of fun for us to try to find them. We found one, I think, but we don't know" Not only was this a fun little exercise for the crew helping bring this colossal story to life, it was also a learning experience for Alejandro, who was more than happy to add fresh intel to his growing mental database of the Godzilla mythos. "Like most people, I knew about Godzilla and had seen some of the movies when I was a kid. I'd seen some other ones, the Japanese versions. Nowadays you look at them and you laugh at how fake they look. That was really about it," he said. "It was nice to learn a lot more about it. It's a great franchise and I think they've done a good job of staying true to the background of it while, at the same time, making a modern movie that audiences of today will like. I didn't realize that there were so many Titans. In the older versions, I had always seen Godzilla and maybe one or two [others]. This time around, there's a lot more [monsters]. I really liked the fact that [while Godzilla is] the king at the end of the day, there's a lot of others, much more than I certainly knew about before. " Based in Mexico City and one of the biggest special effects vendors in Mexico, Ollin is mainly responsible for the more subtle aspects of feature films such as environment enhancement, atmospheric construction, and set extension. While these tasks are smaller in the grand scheme of things (especially when compared to the giant kaiju and their epic battles seen in King of the Monsters), it does not mean that the work they do is any less important. Indeed, it's often those minute details that wrap up the fantastic illusion into a tight and neat bow that then transports the viewer into another world of believable impossibility. When all was said and done, Diego and his team had worked on over 500 VFX shots, a staggering amount, for this blockbuster project. For example, Ollin was in charge of crafting the skies through which the specialized military/Monarch aircraft carries the main characters from Point A to Point B. "We had to create the whole exterior clouds, sky, sun, to make it look like they're basically flying," Diego added. "Originally, they were gonna rent a plane and shoot that footage of outside skies and clouds. [Michael] was a little doubtful about whether or not it could really be done in CG and if it would look real and right. That was the first thing he asked [from us; he said], 'It has to be photoreal.' That was quite a test and he liked it very much when he saw it; the ability, of course, of being able to then being always able to digitally change the lighting to make it look like it's another time of day. If you wanna change the shape of a cloud or how quickly you're passing through it, all those things, of course, give you a lot more control when you're doing it with a computer. When the look was right, [Michael] was very happy that he could play around with that environment and make it look exactly like he wanted." Other Ollin duties included the extension of the underwater base from which Monarch tracks the movements of Godzilla; adding more snow to the scene where Ghidorah breaks free from his frozen prison in Antarctica (this involves taking light fragmentation and the stickiness of snow into account); and creating the time lapses in Las Vegas and San Francisco where the radiation given off by the Titans has sparked rapid plant growth. Despite only appearing for a few seconds onscreen, this last responsibility proved to be one of the most challenging CG undertakings for the Mexico City-based VFX house. "There were thousands of trees and plants," Diego said. "We couldn't afford to manually put in each one one-by-one and then tweaking them in order for them not to look like they were all replicated from one another Some of them started larger, some of them started thinner, some of them had one branch, two branches, four branches, and then the way they grew was also at different speeds and different directions and different ways to make it look natural. If you look at a forest of trees, even though they're similar, each one is unique. Your eye and your mind is very well-trained if they're all the same, you might not be able to actually pinpoint that, but an alarm will go off in your brain to tell you that something's off and that this is not real We ended up having them make it look really natural, but we had to also get a computer programmer to basically help us out because there were so many elements.
Second film where a family deals with the death of a love one the Russell's son Andrew who was killed during the 2014 Muto attack in the previous film it was Ford Brody's mother who was killed at the Janjira power plant.
Ghidorah has always been regarded as one of Godzilla best adversaries First appearing in 1964's Ghidorah, the Three-Headed Monster, the alien menace known as King Ghidorah has been a thorn in Godzilla's side for 50 years. In his first movie appearance, King Ghidorah was portrayed as a destructive force who came to Earth after wiping out all of civilization on the planet Venus. In his first heroic role, Godzilla teamed up with Mothra and Rodan to defeat Ghidorah. Ghidorah returned as the main antagonist in several Toho movies, including Godzilla vs. Monster Zero, Destroy All Monsters, Rebirth of Mothra III, and more. King Ghidorah's multiple appearances in Godzilla movies has cemented his spot at the top of the list of Godzilla villains. Prior to the release of King of the Monsters, Ghidorah and Godzilla have clashed a total of six times, which means that Godzilla has fought the alien invader more than any other monster.
Michael Dougherty gave each monster a sequence of where they're discovered reflecting their personality in a way. Mothra- Rainforest full of mystery, beauty and nature Ghidorah- Antarctica, desolate and cold. Rodan- Volcano, somewhere tropical where the primal world made sense.
The test screening was "nerve-wracking" as Dougherty had his AppleWatch on the whole time told him his heart rate had been elevated for the last fifteen minutes, as he felt it was like standing naked in front of a criticizing audience.
Michael Dougherty still has his Shogun Warrior Godzilla figure from when he was a kid which he keeps in his bedroom, having been part of his life acting like his sentry for monsters under the bed or closet.
Michael Dougherty felt that eschewing the slow burn approach of Godzilla was not a reaction to criticism, but simply the natural progression of the story and he looked to other iconic sequels for inspiration. As he explained: "Once you have established your monster, you need to up the ante a little bit in the next one. I used Wrath of Khan, T2, and Aliens as really good references of second chapters that built upon what was established in the first film to create a sequel that ideally is considered just as good, if not better, than the first entry."
Behemoth's other name, Mapinguary, is an ape-sloth Bigfoot-like cryptid in South American folklore with mammoth fur - Behemoth resembles this, but with tusks, and without the one eye or second mouth on his stomach that the Mapinguary has. It is strongly implied that sightings of the Mapinguary in South America are actually sightings of Behemoth, which is why the locals call him Mapinguary.
On the touch screen guide to the locations of the Titans, the Titan in Australia is listed as being located at Ayers Rock. The name was officially changed to Uluru in 2002. The name comes from the Pitjantjatjara Anangu, the Aboriginal people of the area who are the traditional landowners of Uluru.
Godzilla in this was nicknamed DougheGoji combining the last name of the directors Michael Dougherty with Godzilla largely which fans also did for the 2014 film, nicknaming Godzilla GareGoji due to it being directed by Gareth Edwards.
Several of the Titans are named after, or might actually be the basis of, legendary deities. Of particular note are Leviathan, an unseen Titan which emerges from the Loch Ness, the Mokele-mbembe (described in the novelization as having a mammoth-like trunk, glowing horn, and very large tail), and elephant-like Behemoth (which may or may not be the actual Behemoth). In the tie-in comic prequel, Godzilla: Aftershock, one individual of Godzilla's species was known as Dagon by ancient Phoenicians (although the interpretation of Dagon as a sea god is questioned nowadays). Chen says this word-for-word after seeing the ancient, underwater reliefs depicting Godzilla, Ghidorah, and other kaiju.
During the senate hearing, Dr. Graham references the fable of "The Lion and the Mouse" as an example of man living in peace with the Titans. In Kong: Skull Island (2017), the fable is also mentioned, by Cole who was told the story wrong and thought the mouse kills the lion with the thorn.
The ending credits for the movie mimic the the opening credits for the previous movie, including the white-out of various words that obscure the credits and scientific journal articles with photographs and headlines about the Kaiju.
During Ghidorah and Godzilla's first battle, Maddie is in a helicopter with her mother, flying away from her father who is on the ground. In their last battle, she is yet again on a chopper, this time flying with her father and watching her mother.
Rodan's Japanese name, Radon, is a truncation of "Pteranodon." It may also have been chosen to suggest radiation. The name was changed to "Rodan" in English-speaking markets, possibly to avoid confusion with the element Radon. Toho eventually trademarked the name "Rodan," making it the monster's official English name. According to Monarch, Rodan is referred to in some legends as the "Fire Demon" and "The One Born of Fire." Monarch's Titan designation for Rodan is Titanus Rodan, which unlike the designations for Godzilla and Mothra utilizes his English name rather than his Japanese name.
This film is a sequel to Godzilla (2014) and will be the thirty third Godzilla film, the third film in Legendary's MonsterVerse, and the third Godzilla film to be completely produced by a Hollywood studio.
The truth about Emma's plan and the fact Madison was already on board when we first meet her is hinted at several times in the opening act. Madison nervously asks her mother if her father will be safe, Emma seemingly nonchalantly asks her co-worker if he wants to take the morning off (on the day their Titan is being born). Subtle hints that with hindsight tie into her involvement in what's to come. In a more subtle example, the opening logos are stylized to look like ancient stone carvings, and depict the unawakened Titans on either side of them. After the prologue, Mark is first shown taking pictures of wolves eating a carcass. Later, he's the first to notice the Titans are moving "like a pack" in response to an Alpha.
In the official Monarch timeline posted on the Facebook page for Kong: Skull Island, the label given to Ghidorah is "Monster Zero", which was the name given to him by the Xiliens in Kaijû daisensô (1965).
Monarch scientists theorize that King Ghidorah's scales are gilded with trace amounts of aurum which act as conductors, capable of carrying bio-electrical currents throughout his body. This allows Ghidorah to conduct electricity through his body and project it in different ways, either through the gravity beams he spits from his mouth or the lightning bolts he fires from his wings
The concept of an "alpha" as frequently mentioned in merchandise is reflected in the behavior of Ghidorah's heads as seen in the Shazam trailer. The middle head is most vocal and aggressive of the three, rearing higher up in the air in a dominant posture, while the other two heads are more bowed down and look up toward the middle head, reflecting a submissive posture similar to dogs and wolves.
The film's logo involves Mesopotamian art, because the old Mesopotamians and Sumerians were one of the first peoples to construct a pantheon of divine beings. This fits with the "ancient", "godly" aspect of the creatures, and ultimately links to the sunken sanctuary the characters come across.
The Titans were once worshipped by a widespread semi-subterranian civilization that existed roughly 20 000 years ago and possessed technology comparable to the Romans; implied to have been annihilated by Ghidorah's arrival. It's also indicated this civilization is the precursor of all other civilizations and cultures due to containing elements of other prehistoric cultures -- Egyptian, Mesopotamian, Mayan, etc. While this is only briefly discussed in the film, the novelization goes into more detail about it.
The 200 Clarendon building in Boston--the city's most prominent and distinctive tower--becomes a very handy wall for Mothra to ensnare two of Ghidorah's heads with her silk, and the alien dragon barely has time to react before Godzilla puts him through it.
Mike Dougherty got the job of directing after having a "general catch-up dinner" meeting with long-time friend producer Alex Garcia who produced Dougherty films, Trick 'r Treat (2007) and Krampus (2015), mentioning to him that Gareth Edwards wasn't returning to direct, he excitingly accepted the directors chair before Garcia could finish asking him.
The shift of showing more screentime of Godzilla and other monsters could be interpreted as a reaction to the criticism of the first film, but that was not the case, as King of the Monsters director Michael Dougherty explained: "I think that even if there weren't criticisms about the lack of Godzilla screen time with that film, we still would have taken the path that we took with this one. Even if you do a slow burn movie and it's well received, you kind of only get a chance to do that once."
Ghidorah, one creature, is played by three different actors, via motion capture. As Dougherty explained, in the same EW article: "It was important to me that each of Ghidorah's heads have a slightly different personality than the other. Just imagine if you had three dogs, all of the same species. I mean, it's subtle. I used to have three dogs, and you sort of learn that they have very different ways of expressing themselves, even if they look alike. I loved the idea that each head did sort of have its own personality and quirks, with the center head being the alpha of the three. He's the one who's sort of the big brother and the most serious. And then, the other two are just a little bit different. One head is slightly more aggressive and tenacious. The other one displays signs of curiosity. So, in a lot of ways, they're just like three triplets. You know, they have a lot of traits in common, but they all have their own unique way of reacting to a situation. Ghidorah, he's a singular character with three distinct personalities and doing the mocap, the facial capture, that way just seemed to make the most sense. And it was a ton of fun too."
Worldwide. The other two have earned about as much in North America as many of WB's biggest 2017 releases only to fall well short in China. Detective Pikachu and Shazam! have both earned $139 million in North American grosses. The Pokémon movie passed Tomb Raider ($131 million in 2001) to become the biggest video game movie ever in unadjusted domestic totals. Both films will end up between Ready Player One ($137 million) and The Meg ($145 million). Even Lego Movie 2 and Godzilla 2 will earn more here than Rampage ($101 million). What's different is that none of these films did all that well in China. If given a choice between breaking big in China and doing relatively well in North America, with the market where the studio gets back 50% of the ticket price and not 25%. For example, Rampage earned $101 million domestic and $428 million on a $120 million budget, but $156 million of that came from China. If Detective Pikachu, currently at $413 million worldwide, fails to pass Rampage and Warcraft ($433 million, including $218 million in China) as the biggest video game movie ever worldwide, it'll be mostly because it merely did okay ($93 million) in China. Had it pulled even Rampage numbers there, another over/under $63 million, it'd be looking at a $475 million finish, or well above its $150 million budget and well above Warcraft. That would only mean an additional $15 million in revenue for WB and Legendary. However, $475 million looks shinier than $420 million.
Dougherty teased what was cut and what will be presented on home video. "The director's cut was around 2 [hours], 40-45 [minutes]. I called it Godzilla the mini-series," Dougherty explained. "There weren't a lot of whole scenes that got lifted out. There were a few, and they'll end up on the Blu-ray. But a lot of it was trimming moments within each scene. We had a large ensemble cast, so there was a tendency to give each character a moment and that adds up." He continued, speaking about those full scenes, "I don't have a tally; I want to say that there's roughly six to eight scenes, like actual, legit full scenes. And they're a fun watch. I mean, listen, if we were doing Godzilla: The TV Series, they would be perfectly great scenes. But when you're trying to make a 2-hour+ movie, pacing is a very important consideration." "It was too front-loaded. Too much set up. The first act was dragging," Dougherty added.
Monarch's underwater HQ, Castle Bravo, is named after the codename for the first in the original series of atom bomb tests in the Bikini Atoll. In the film continuity, these tests were intended to kill Godzilla, but instead woke him from his millennia-long slumber.
Was the highest-grossing movie of the weekend when it opened on May 31, but its $48 million take is subpar by summer blockbuster standards. It dropped to fourth place the following weekend and took in only $15 million, a 68% drop from just one week earlier. The movies that pushed it from the top spot didn't fare any better. The latest entry in the "X-Men" franchise, "Dark Phoenix," debuted at number two with a take of $33 million, the worst box office performance in "X-Men" history. It was denied the top spot by "The Secret Life of Pets 2," which earned $47 million, less than half of the $104 million that the 2016 original made during its opening weekend.
The Asylum, an American studio specializing in knock-offs of blockbuster films, produced Monster Island to capitalize on Godzilla: King of the Monsters. It premiered on SyFy on June 1, a day after Godzilla: King of the Monsters was released in American theaters
The MUTO in this is not MUTO Prime from 'Godzilla Aftershocks' as Godzilla killed her, "MUTO Prime travels to the bunker to feed on the nuclear material stored there. As she approaches the bunker, Godzilla arrives and rams her to the ground. She quickly rises to her feet, and the two Titans proceed to violently pummel and wrestle each other. While fighting, MUTO Prime releases a sonic roar so powerful that it shatters some of Godzilla's dorsal plates. Emma and Tarkan rush into the bunker, and activate a device that blares the sonic pulses, which effectively distracts Prime. With the massive parasite distracted, Godzilla grabs and lifts her onto his back before releasing a massive nuclear pulse from his dorsal plates, sending her soaring into the air and causing limbs to break off. MUTO Prime falls from the sky and slams back onto the ground, heavily wounded. Before she can react, Godzilla crushes her head with a devastating stomp, killing her. With his ancient rival finally defeated, Godzilla makes his way back into the ocean, radiating a pure nuclear energy cloud from his back.
Pushed its ticket sales in foreign markets to $245.8 million it's third week of release, which surpasses the 1998 Godzilla's total of $242.7 million. this is somewhat celebratory for King of the Monsters, as its $47.8 million opening weekend was considered a huge failure (especially given its $170 million budget). Before this weekend, it had yet to pass the two other Hollywood versions of Godzilla at the box office. However, King of the Monsters has yet to match the 1998 version's worldwide total. King of the Monsters' domestic total only stands at $93.7, which will probably never reach the $136.3 million the 1998 version accrued. That means King of the Monsters' worldwide total of $339.5 million is still well behind the 1998 version's grand total of $379 million. Things get worse for the new Godzilla when we consider ticket price inflation. The 1998 version's domestic total stretches to $261.9 million, which is absolutely unattainable for King of the Monsters.
The U.S. occupation of Japan ended in 1952, but that same year, the first test of a full-scale thermonuclear bomb took place on an island in the Pacific Ocean at a distance that was probably still too close for Japanese citizens. Still bearing the physical and mental scars of two atomic bombs dropped on their cities in 1945, this 10-megaton H-bomb was 1000 times more powerful than Hiroshima. Two years later, a 15-megaton H-bomb was dropped on Bikini Atoll (a total of 23 explosions were carried out in this area), inadvertently exposing military personnel and Marshall Islanders to high radiation levels. A Japanese fishing trawler by the name of Daigo Fukuryu Maru (Lucky Dragon No. 5) was hit by the nuclear fallout, causing acute radiation syndrome and killing the boat's chief radioman, Aikichi Kuboyama, who succumbed to his injuries six months after the blast. Japanese film producer Tomoyuki Tanaka said this event inspired the monster called Gojira, spawning 35 movies across 65 years, making Godzilla the longest continuously running franchise (as per Guinness World Records).
Concept art shows that Methuselah appears to have trees on his armoured back, which may be smaller spines. However, the King of the Monsters novelization mentions that the forest grows on Methuselah's shell.
Mothras larval state is much more insectoid in appearance compared to other incarnations and has a bluish-green coloration to it as opposed to the traditional brown and baby blue eyes. Her imago state possesses large wings with red, orange, yellow, and black coloration which give off a blue/orange glow with eye patterns akin to her Showa era, Heisei era, and Godzilla: Tokyo S.O.S. designs. She also possesses raptorial front and mid-legs and toed hind-legs akin to the male MUTO. Her wings are much narrower than most incarnations. She sports a stockier head than most other interpretations but retains the classic blue eyes. Her abdomen is shaped like a wasp's, much like her 2001 portrayal. Her body still retains her classic white fur though her mouth is vertical as opposed to the usual horizontal position.
Rodan has a larger wingspan compared to any of his interpretations, with a fiery glow coating the bottom edge. His physique and general appearance bear a strong resemblance to a bird of prey, with dark-red skin, a v-split crest with the ends curling inward. He lacks teeth, much like the Showa and Millenium incarnations, though his beak has a serrated look to it, giving the illusion of teeth. He retains the spade-shaped tail from his 1956, Showa, and 2004 incarnations. His eyes are yellow and rather cat-like. He still retains spikes on his chest, though, compared to other incarnations, they are smaller and less defined.
Methuselah was a Biblical figure known for living a long time, a trait shared with almost all other uses of the word "Methuselah", including the oldest planet, the oldest star, and proteins that extend the lifespan of insects. This would suggest that Methuselah is ancient, even more so than the other Titans, but the significance of the name remains unknown.
Rodan's wingspan is 871 feet wide, nearly six times his own body height (154 feet). This is similar with Mothra, who has a height of 52 feet and a wingspan of 803 feet, which is nearly 16 times her own height.
The reveal image for Mothra reads "Terrasearch #63061: Yucca Province". June 30, 1961 (6-30-61) was the date the original Mothra film released. However, Yucca is a typo as it's supposed to be "Yunnan", and there is no such place as the Yucca Province.
According to a cave painting, Ghidorah, much like his previous incarnations in Toho's pre-MonsterVerse films, is shown to be much larger than Godzilla. Also like his previous incarnations, each neck has row of spines going down but the middle neck has two rows of spines while the left and right necks have one. The middle head's horns are notably straighter and longer than those of its peripheral heads. Ghidorah's wings are also larger and more bat-like in appearance than most incarnations, and they can also act as forelimbs to support his massive body. Each of his heads have a crown of horns similar to the Heisei incarnation, but each horn is longer and more curved. The horns also tend to flare depending on Ghidorah's current mood. Ghidorah still has his traditional twin tails with spiked bludgeons at their tips that can rattle as an intimidation display. His legs are digitigrade with avian-like feet, similar to the 2001 incarnation. Ghidorah's eyes are fiery red which seem to glow whenever he charges up his gravity beams.
At 521 feet (158.8 meters) tall, King Ghidorah is the tallest and largest monster in the film, dwarfing Godzilla (393 feet / 119.8 meters), Rodan (154 feet / 46.9 meters) and Mothra (52 feet / 15.8 meters).
Rodan is capable of lasting two minutes alone with Ghidorah, and has a long drag out fight with Mothra, making him considerably stronger than his Heisei and Millennium incarnations (who were largely manhandled by their opponents in short order) and the strongest incarnation since the Showa Era.
of the 17 known Titans on Earth, 8 are mentioned but never actually shown onscreen (Leviathan, Baphomet, Abaddon, Typhoon, Tiamat, Mokele Mbembe, Sargon, and Bunyip). Kong isn't seen in this film either, but he appeared previously in Kong: Skull Island.
Researchers Nathaniel Dominy and Ryan Calsbeek investigated why the already massive Godzilla has doubled in size since he first stomped Tokyo. There isn't one easy answer to why he shot up to a height of 164 feet. Turns out the dinosaur with atomic breath is more complicated than we thought. "[Godzilla] represents a sensational example of evolutionary stasis, second only to coelacanths among vertebrates," the authors said in a study recently published in Science. "Yet, the creature's recent morphological change has been dramatic." Say Godzilla was an actual dinosaur. Dominy and Calsbeek believe he would have been a ceratosaurid and a Lazarus taxon, or a supposedly extinct species that surfaces later (another thing he has in common with the coelacanth). There is no known dinosaur as immense as the latest iteration of the most famous kaiju ever in Godzilla: King of the Monsters. He could have only gotten that big in the wild if he underwent natural selection 30 times greater than usual. That means he grew 30 times faster than any creature that ever existed. That monster needs tons of food, which means...you know. Such a boom in size would have been just about impossible -- even over a hundred million years ago. As a product of our human imaginations, however, Godzilla probably blew up for entirely different reasons. We crave disaster films. All you have to do is look at box office stats any given week to prove that. Behind that is an epidemic of anxiety brought on by both natural and political forces. "Godzilla is evolving in response to a spike in humanity's collective anxiety," they said. "Whether reacting to geopolitical instability, a perceived threat from terrorists, or simply fear of "the other," many democracies are electing nationalist leaders, strengthening borders, and bolstering their military presence around the world."
Mike Dougherty has stated that, although King of the Monsters is not a comedy, he likened Ghidorah to Rip Van Winkle, having a sense of curiosity and cruelty. Additionally, producer Alex Garcia described Ghidorah as "not part of the natural order".
In an interview with Mike Dougherty, he revealed that even though he thinks the crew did a great job revamping Godzilla's roar, he pushed them further to bring it even closer to the original 1954 Godzilla's roar. The latest version of the roar measures 174 decibels. The final version of Godzilla's roar is overlaid with the roars from both the 1954 film and the roars used from 1962 onwards.
The turrets that G-Team commandeers when Godzilla approaches the Castle Bravo base are Maser Turrets. Maser Cannons are a recurring fictional anti-kaiju weapon in the Godzilla franchise first introduced in The War of the Gargantuas and featured in numerous films ever since.
Early in the film a news broadcast shows footage of protesters calling for the government to exterminate the Titans. One of the protesters carries a sign reading "Destroy All Monsters" - a nod to the 1968 film of the same name.
Godzilla's atomic breath in Godzilla (2014) is a more concentrated solid beam, that explodes like the 80's-2000's movies but more of a whispier heat wave, like the earlier Showa movies with him in it. In this film, the beam is more powerful and spread out.
Mothra's bioluminescent "God Ray" abilities, perhaps coincidentally, resemble an unused ability of the winged MUTO in the June 2012 screenplay for Godzilla (2014). In this version of the film's story, the male MUTO, originally dubbed "Hokmuto," had the ability to produce a lightning like "shockwave" that generated aurora-light lights similar to the ones Mothra gives off.
Rodan is found sleeping in a volcano. In Rodan, the two Rodans seemingly perish on the side of an erupting volcano, and one is revealed to have survived in Ghidorah, the Three-Headed Monster. In a similar vein, Rodan's being tied to fire basically makes him Fire Rodan from Godzilla vs. Mechagodzilla II (minus the Breath Weapon).
In order to save millions of lives, Serizawa must make a sacrifice by locating Godzilla under the ocean, and detonate a man-made superweapon at his location. The difference is that in the original film, it was to defeat Godzilla with the Oxygen Destroyer. In the film, it's to save him with a nuclear warhead.
Ghidorah's pose while roaring atop the volcano resembles Chernobog atop Bald Mountain. Fitting, considering both are analogs of the Devil. Rodan also bears a close resemblance to the Firebird in Fantasia 2000.
The Jakks Pacific Ghidorah action figure quite noticeably has a detachable left head, with a joint located higher up on the neck than the middle or right heads. Predictably, Ghidorah ends up losing his left head in the battle against Godzilla in Mexico, though he later grows it back.
For Godzilla, Dougherty wished to put back the "God in Godzilla". He liked the design that Gareth Edwards and Matt Allsopp conceived but wanted to tweak it by adding the dorsal plates of the 1954 iteration, as well as making the claws and feet bigger to make Godzilla look like a more powerful predator. The director had the sound design team expand on Godzilla's roar by making it sound closer to the roars of the 1954 incarnation, stating, "I think they did a great job with Godzilla's roar in the first movie. I pushed them a little bit further to bring it even closer to the (1954) original even more."
The outpost Scylla is contained in, Monarch Outpost 55, may be a reference to the 1955 Toho film Godzilla Raids Again, in a similar way to how Rodan and Mothra's Outposts are references to the years of the films they first appeared in.
Although it is known that Sargon attacked Mexico when Ghidorah was the alpha of the Titans, it is still unclear which Monarch Outpost belongs to it, as there are several within the vicinity of Mexico but none actually in it except for Monarch Outpost 56, which belongs to Rodan.
Rodan was still badly wounded after mothra stabbed him with her stinger, a glowing molten hole in his body from where Mothra stabbed him. And if you look at when it happens, Rodan is not implied to die, as we can see him flailing about in pain on the ground. Mothra has a stinger, so it may well inject venom like a bee or wasp. bees and wasps can kill similarly-sized creatures with their venom, but maybe Mothra's affects kaiju like bees and wasps do a human: nonfatal, but extremely painful, There's also the fact that Rodan didn't just get stung, he gets straight up impaled. While he survived, it's not unlikely that he blacked out from the sheer agony of that.
King Ghidorah genuinely becomes the King of the Monsters after Godzilla's apparent death and thus makes his name fitting. His title, the One Who Is Many, is also meaningful, given his three heads and being an Alpha Titan, able to make the rest of the world's Titans act as extensions of his will.
Godzilla is obviously known for stomping through cities and destroying everything in its path in the GODZILLA movies, but Godzilla vs. Hedorah (1971) suggests that all of this needless destruction could easily have been avoided, because, apparently, Godzilla can fly After receiving a vicious beating from Godzilla, the smog monster Hedorah morphed into its flying saucer form and escaped. However, the creature failed to realize that Godzilla, who had been struggling to find a way to defeat Hedorah, wouldn't give up so easily. To the shock of the Japanese military, Godzilla launched himself into the air with his atomic breath and chased after Hedorah through the air. Godzilla's breath was capable of propelling him upward. Everyone watching was in disbelief, as no one imagined that Godzilla could fly. Godzilla caught up to Hedorah, defeated him again, and took off a second time. This bizarre - but impressive - feat hasn't been repeated in any other Godzilla movie, though it has reappeared briefly in video games and comics. The fact that the only time it happens in live-action is in Godzilla vs. Hedorah makes this moment even more noteworthy. As for how it came together, Godzilla vs. Hedorah director Yoshimitsu Banno has explained (via Vantage Point Interviews) that Godzilla needed to fly in order to catch up with the smog monster. Also, the scene added a bit of levity to the movie, which was much darker than its predecessors. Alternate scenes were filmed with Godzilla chasing after Hedorah on foot, in case producer and Godzilla creator Tomiyuki Tanaka was opposed to the idea of Godzilla flying. Since Tanaka was in the hospital during filming, he was unable to personally monitor production. The movie was complete before Tanaka even saw the scene. After watching the movie, Tanaka was reportedly unhappy with Godzilla's newfound power. This is said to be the reason why Banno was never hired to make another Godzilla movie, and it also explains why Godzilla never flew again.
Michael Dougherty said the idea that this film would sort of establish the notion that Monarch has found a lot of these creatures hibernating under the planet. "That after the events of 2014 and their studies on Skull Island, Monarch smartly realized that the Earth was littered with these hibernating beasts and had become very good at locating them, thankfully before they woke up. Something I love about the original Toho movies is that's what exists. Those movies essentially are saying that we live in a world populated by sleeping monsters underneath our feet. So that was my way of teeing up that ticking time bomb. For a little while it was up in the air as to whether or not we'd be able to license some additional Toho creatures to fill out those brackets. Lo and behold, Toho is very smart. They're great at business and they put a price tag on every single one of their creatures. If you want to license King Caesar or Mechagodzilla or any of them, you've got to pay up. They've got a fee. So, ultimately, we chose, at least for the new creatures that we're depicting on screen, to add new and original creatures. Again, that falls in line with the long tradition of Toho monster movies. They're always adding new monsters as part of the appeal. Every movie is going to introduce a new opponent for [Godzilla] to face. So it was a privilege to kind of get to exercise those muscles and take off the shackles and design new creatures that would still feel at home with the existing roster of monsters. The one you described as a mammoth is called Behemoth and he's one of the few other mammals. It was important to me that we add a mammal to the mix because so many of the other Toho creatures tend to be reptiles, insects or some sort of hybrid of the two. I wanted a good companion mammal for Kong, and I've been fascinated with ice age wildlife for a very long time, and woolly mammoths in particular, but I didn't want to just make it a literal giant mammoth. If you actually study his anatomy, you'll see that he's sort of a hybrid of mammoth, a giant sloth and even some primate features".
This is the third movie in which King Ghidorah is not controlled by aliens, after Ghidorah: The Three Headed Monster (1964) and Godzilla, Mothra, King Ghidorah: Giant Monsters All Out Attack (2001). The rest of the films in the Toho series made aliens or similar advanced humanoids control him.
All four monsters appear to be associated with certain colors. Godzilla is associated with blue. Thanks in large part of living in the ocean and his atomic breath being blue. Rodan is associated with red. Being a creature of fire and was living in a volcano. Mothra's varies a bit, but the bioluminescent green seems to define her the most. This color showcases how much of a spectacle she is and gives a very warm presence. King Ghidorah's main color is golden yellow. But he is also fittingly associated with the darkness/black to suit his statues as the dreaded Big Bad.
The film's release date was initially sometime in June 2018, but was pushed back to March 22nd, 2019. It was subsequently pushed back again to May 30, 2019 to avoid competition with Disney's Captain Marvel (2019)
Principal photography began on June 19, 2017, in Atlanta, Georgia under the working title Fathom. Dougherty confirmed that the film would feature practical effects and creature designs by Tom Woodruff, Jr. Lawrence Sher had been confirmed as director of photography. Parts of the film were shot in the Historic Center of Mexico City between August 19-22, 2017. Dougherty announced the film had wrapped production on September 27, 2017.
Alan Jonah is the second human villain in the MonsterVerse, with the first being Preston Packard. Coincidentally, the two characters have military backgrounds. Alan Jonah's name is inverted as "Jonah Alan" on the Monarch timeline.
Several features of King Ghidorah were inspired by Smaug from the Hobbit desolation of Smaug (2013) specifically the foldable wings, similar facial structures, menacing facial expressions and their throats glow when using fire attacks, additionally both Smaug and MonsterVerse King Ghidorah were portrayed via motion captured. Weta Digital Workshop participated in the motion captured effects for both film series, the studio is known for their innovational introduction of motion capture into live action films and Andy Serkis known for his usage of motion capture of Smeagol aka Gollum in the Lord of the Rings and Hobbit trilogies played King Kong in the 2005 remake.
King Ghidorahs design is similar to the dragons from Reign of Fire (2002), the male bull dragon and the middle head of King Ghidorah have more curved horns and have both play the Alpha role, while the female dragons from Reign of Fire and the other heads of Ghidorah possess more linear horns and their heads are less built than their "Alpha".
Mothra's design in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack by Shusuke Kaneko shares many similarities with the Mothra in the King of the Monsters; much smaller in size comparing to Godzilla, more sharp and aggressive facial expressions, to have long hairless legs with a slender body. Both incarnations of Mothra don't originate from Infant Island, and gained new weapons/abilities in stead of the iconic poisonous scales. Monsters to inspire humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. Shusuke Kaneko confirmed multiple similarities between his GMK and King of the Monsters including Mothra to become "that".
Both Rodan and Methuselah contain traits of the monster Obsidius, a living bipedal volcano, from the game Godzilla Unleashed: Rodan has the "internal system is molten magma with glowing fissures on his body" aspect, while Methuselah has the "living moving mountain" aspect. King Ghidorah, Mothra, and Rodan are all composites of various aspects of their versions throughout the franchise, explained in detail in their character pages.
The Art Book for the movie shows concept art of Gigan, a titan resembling Kumonga, and most noticeably, a turtle titan that bears a close resemblance to Gamera. None of them make any appearances in the movie
The fate of each of Maddison's parents is hinted as far back as which monster they are associated with. Mark is associated with Godzilla because he left an an impact on him, even deeper than it did to his wife. Emma is associated with Mothra because she and her daughter were witness to her birth. Mothra's ultimate fate is to sacrifice her life for Godzilla. In the end, Emma does the same to protect her family. Mothra's always survived by her family. Likewise, Emma is survived by Madison.
In Godzilla Aftershock Jinshin Mushi AKA MUTO Prime made a powerful shout that was able to break apart all of Godzilla's dorsal fins, in this movie his dorsal fins are larger and look like the classic maple leaf shape, while it may be part of his of his evolution he basically regenerated a brand new row of them just like how a starfish can regenerate a whole arm after losing one.
Godzilla and Ghidorah both win one of their two fights before the final battle, where Godzilla still needs a supercharge from a nuke and from Mothra's heroic sacrifice before he can go Burning Godzilla. But that's because Ghidorah has the clear edge in the battleground for the first and third fight: he's larger and can fly, so give him solid ground and atmosphere, and he'll overpower or outmaneuver Godzilla. However, when ambushed over water and dragged beneath its surface, he's helpless: Godzilla is a true amphibious life-form who doesn't need air and easily manuevers through water, so he can manhandle Ghidorah there.
A Twitter user asked why Godzilla's dorsal plates changed, and the director answers that the lizard-like kaiju grows its spikes constantly. "His spikes are constantly growing, breaking, and changing shape, just like deer or elk antlers. Or your own hair," he answered.
King Ghidorah is explicitly a newer kaiju discovered by MONARCH, meaning they'd have killed the other Titans and due to King Ghidorah being nigh impossible to kill, likely only managed to release him and make him mad.
After Mothra sacrifices herself to protect Godzilla the dust from her wings triggers an orange glow in Godzilla. Did he absorb her radiation as she died? And why was Ghidorah trying to "leech" out this energy from him To the first question, it seems likely her scales did something. Fans seem divided on whether it was the nuke or Mothra that enabled Godzilla's burning form. As for why Ghidorah would drain Godzilla, he wants all the power he can get, plus he recognizes the danger that energy may pose. He may also simply have to weaken Godzilla via the draining before he can have a chance of killing him. Look closely at Godzilla's first nuclear pulse, you briefly hear Mothra's roar and see a faint outline of her wings in the fiery explosion, perhaps hinting that Mothra's essence lives on within Godzilla, and in a way she is still fighting alongside him
The temple that enshrines Mothra's egg is a classical Mayan step-pyramid--it would be a picture-perfect example of Tikal architecture if it didn't lack the castle at the top of the structure. The fact that it's in the middle of China is the movie's first hint that an ancient, far-reaching civilization from antiquity once lived in symbiosis with the Titans.
According to the military, the Titans responding to King Ghidorah's call are explicitly attacking capital cities--Washington, Moscow, Berlin, etc. While the military believes these attacks to be random and wild, the pattern is not lost on Monarch's scientists. Washington D.C. is completely wrecked, due to Ghidorah using it as a base of operations. One of the last wide shots we get to see of it shows only the Washington Monument and the Capitol Building standing as far as the eye can see, and the latter has chunks of it missing or on fire. Oh...and it's so completely flooded that battleships can run up close enough to fire on Ghidorah. In the Final Battle in Boston, Fenway Park is instantly flattened as it becomes ground zero for the festivities. Then Mothra webs up Ghidorah to the 200 Clarendon skyscraper (formerly John Hancock Tower) and Godzilla tackles him through it, miraculously leaving the iconic Prudential Tower unscathed... at least until the entire city is leveled by Godzilla's final Nuclear Pulse. At one point, the city's famous Paul Revere statue is flung all the way from the North End to somewhere in the Theater District. It's also implied that, by making landfall in Boston via the Charles, all of the city's iconic bridges must have been torn to bits by Big G.
This incarnation of Rodan has a larger wingspan compared to any of his interpretations, with a fiery glow coating the bottom edge. His physique and general appearance bear a strong resemblance to a bird of prey, with dark-red skin, a v-split crest with the ends curling inward. He lacks teeth, much like the Showa and Millenium incarnations, though his beak has a serrated look to it, giving the illusion of teeth. He retains the spade-shaped tail from his 1956, Showa, and 2004 incarnations. His eyes are yellow and rather cat-like. He still retains spikes on his chest, though, compared to other incarnations, they are smaller and less defined, his roar is more akin to a screech or a scream, and is quite different from the roars of his previous incarnations. He possesses an aggressive nature. He is seen destroying jets and other aircraft that fly near him, but whether this is done out of defense or pure malice is debatable. It is revealed that Rodan follows the Alpha Titan, regardless of the latter's intentions, which is shown when he submits to Ghidorah after the latter overpowers him. Rodan aids Ghidorah in his battle against Godzilla by fighting Mothra. When Godzilla destroys Ghidorah, Rodan acknowledges the former as the new Alpha Titan by bowing down to him.
Each of Ghidorah's head has a distinct personality. The middle head appears to be the leader, being the most intelligent, dominant one of the three, and seems to be the most genuinely malicious and malevolent among the heads. The right head is the middle one's loyal and obedient follower, and is also the most irritable and aggressive of them, as well as displaying a sense of pragmatism in battle. The left head seems to be the least intelligent of the heads, and is always easily distracted, often to the frustration of the middle head who sometimes has to forcibly get its companion back on task.
Like most of his past incarnations, Ghidorah is larger than Godzilla, and each of his neck has a row of spines going down but the middle neck has two rows of spines while the left and right necks have one. The middle head's horns are notably straighter and longer than those of its peripheral heads. Ghidorah's wings are also much larger and more bat-like in appearance than most incarnations, and they can also act as forelimbs to support his massive body. Each of his heads has a crown of horns similar to the Heisei incarnation, but each horn is longer and more curved. The horns also tend to flare depending on Ghidorah's current mood. Ghidorah still has his traditional twin tails with spiked bludgeons at their tips that can rattle as an intimidation display. His legs are digitigrade with avian-like feet, similar to the 2001 incarnation. Ghidorah's eyes are fiery red which seem to glow yellow whenever he charges up and fires his gravity beams, and his tongues are forked, similar to a snake's.
The classic themes for Godzilla and Mothra have been brought back, with new themes being composed for Ghidorah and Rodan. Keeping with a "Monster Opera" theme, each theme has different vocal characteristics. Godzilla has the Akira Ifukube theme accompanied by powerful kakegoe chanting provided by a taiko group from Tokyo Mothra's Song is performed by an ethereal female choir. Rodan's theme is brassy and loud, pushing the French horn section into piercing screams, emulating the monster's calls Ghidorah's theme is built around three-note phrases and groups while featuring chanting from Japanese Buddhist monks. In addition to the four kaiju themes, there is a general "Ancients" theme heard throughout the film, with an Ancient Babylonian poem about the days when humans worshipped monsters being chanted throughout.
Because of their size, Rodan and Ghidorah can cause massive damage from the shockwave and wind they generate by simply flapping their wings or flying at high speed. In older movies, barring Rodan's film debut, flying monsters can only create a small gust of wind that couldn't even uproot trees unless they put some effort into it. All of the flyers have gigantic wingspreads for their proportions. Anything as massive as they are would need an extremely large wingspread just to fly (even if in reality it'd be impossible for anything the size of kaiju to get off the ground by flapping no matter how large the wingspan).
The "Monarch" codename for the organization has a double meaning after this movie, associating with the 2 monsters that takes humanity's side. On one hand, they're the MONARCH organization. AKA, they're ruling over and monitoring the monsters like Godzilla does/will. On the other hand, their symbol is 2 triangles together. A shorthand for something else, or the symbolism of looking like a monarch butterfly, Similar to Mothra, in being the wingman for protecting the earth with Godzilla.
Though King Ghidorah is already considered to be Godzilla's greatest enemy, Godzilla: King of the Monsters makes him even better, taking their rivalry to the next level. Not only is Ghidorah a fearsome foe in Godzilla: King of the Monsters, but director Michael Dougherty succeeds in delivering the best version of King Ghidorah ever. Even though it hasn't been the huge, box office hit Legendary Pictures had hoped, and negative reviews from critics certainly haven't helped. However, reactions from fans have been extraordinarily positive, as many feel that King of the Monsters did exactly what was expected of it. The movie has been praised for capturing the spirit of Godzilla while also managing to change the meaning of Godzilla. Also, King of the Monsters' handling of Ghidorah proves that Godzilla isn't the only monster in the movie to receive a meaningful update.
Even though Ghidorah has such a long history as a Godzilla enemy, Toho movies with King Ghidorah as the main villain haven't actually given him an opportunity to show why he's Godzilla's greatest enemy. King of the Monsters achieves this perfectly by giving Godzilla the opponent he deserves.
Ghidorah's alien origins proves that Godzilla didn't just become the "King of the Monsters" in the movie - the crown had always belonged to him as the most powerful Titan. As an outsider, fallen from outer space, King Ghidorah never had a legitimate claim to the title. King Ghidorah was a pretender in a sense. Like his Toho counterpart, he was an alien invader who came to Earth. This means that Ghidorah was not part of the natural order. After awakening, he had an unusual effect on the planet's creatures. While Ghidorah may have been the supreme being of his own planet, as one character in the movie puts it, "This is Godzilla's world". This explains why Ghidorah is referred to as "The False King". Godzilla, on the other hand, is the natural alpha predator and Earth's one-and-only true King of the Monsters.
Godzilla is the kaiji Christ. He practically dies for Man's sins when the military tries to kill him and Ghidorah with an "oxygen destroyer" bomb (a callback to the original bomb from the 1954 movie). Then Dr. Serizawa (also named after the scientist who kills him in the 1954 movie) detonates a bomb to restore him to fight for humanity.
At one point in the movie, the MONARCH crew returns to Godzilla's nest, and finds themselves amidst an Advanced Ancient Acropolis filled with carvings of its former populace worshipping Godzilla and the other Titans. Considering Ghidorah and Godzilla once fought one another thousands of years ago, and considering a lack of any other landmass around the city, many fans believe that it was the intensity of their battle that Atlantis sank.
Near the end of the movie, you'll know exactly why Godzilla means "God incarnate": After Mothra supercharges and balances Godzilla's internal radiation properties, he becomes Fire Godzilla and No-Sell Ghidorah's Gravity Beams and dominates the evil space dragon., and finally finishes him off by destroying his still-living head. Truly a god incarnate indeed.
In order to firmly establish Ghidorah as synonymous with the Devil, one scene shows him rearing triumphantly on an erupting volcano under a burning sky while the cross atop a ruined steeple takes up the other half of the screen.
The film received a Rotten Tomatoes score of 39% and an audience score of 86%. The critics' consensus reads "Godzilla: King of the Monsters delivers spectacular kaiju action -- and reaffirms that cutting-edge effects are still no substitute for a good story".
Godzilla is 393 feet with a length of 582 ft. and weighs 99,634 tons. Rodans height is 46.9 meters high with a wingspan of 265.5 and weighs 30,043, Mothras height is 15.8 meters high and weighs 244.8, King Ghidorahs height is 158.8 meters high and weighs 141,056.
The eco-terrorists talk about humanity being the infection and responsible for the imminent global extinction. While they are clearly referring to us being irresponsible with the environment in general, the existence of Titans gives a darker context to some of the man-made disasters like atomic testings (which awakened Godzilla in the first place) and strip mining (which awakened the MUTOs). The most ominous is about humans' effect on global warming, which, just like in real life, has started to melt the polar ice caps. And where is King Ghidorah imprisoned? In Antarctica. Humanity was already (and inevitably) in the process of unleashing the greatest disaster upon the Earth.
Mark Russell when he is brought to Monarch's oceanic base, where he calls out Dr. Serizawa and his team that this entire plot could have been foiled preemptively by either not building the Orca, which he had in fact destroyed several years ago to prevent this exact same situation, or just killing the Titans whilst they were dormant. Given that Monarch's leaders practically worship the Titans, especially Godzilla, his arguments are brushed off. Played With, as killing the Titans would be extremely difficult, given their Nigh Invulnerable status and the fact a nuke would only make many of them stronger, and as shown in the last film with their attempt to kill the dormant Male MUTO very likely to only succeed in enraging them if they weren't actually capable of killing them.
Rodan, Mothra, and Ghidorah are all cited as having at least one elemental power base: Rodan is lava-based. Mothra has bioluminescent abilities she can weaponize into beams of deadly energy. King Ghidorah has electrical powers and can generate hurricane force winds with his wings. Combining both powers allows him to generate cataclysmic storms.
small arms fire isn't even felt by the Titans, but it's still the first response of any Monarch soldier that ends up in their path (as opposed to, say, running like hell). The only handheld arm to get a reaction was a high-powered taser against a relatively tiny Titan, and even that only pissed off the Mothra larva rather than have any real effect. However, while Titans do feel missile bombardment, it still annoys them more than actually hurt them in any way.
While King Ghidorah does attack people who shoot at him or are challenging him with the Orca, he also repeatedly attacks and kills people who just happened to be in the wrong place at the wrong time such as gobbling up Vivienne and trying to destroy the Argo after defeating Rodan, even though it was running away from him. Tellingly, he also tries to atomize Madison after she's thrown the Orca away and much closer to him, damaging and shutting it off in the process. He also several times does a Slasher Smile when about to do so, implying he genuinely enjoys it. The novelization takes it a step further by explicitly stating he enjoys killing and practically lives for it.
The film makes clear that Eco-Terrorist Alan Jonah's views of humanity - with all the wars, death, and destruction people bring about - aren't entirely wrong. It's his response to it all - letting the Ax-Crazy alien invader Ghidorah use the Titans to flatly obliterate humanity - that is presented as wrong, not the actions of humanity that left him so disillusioned in the first place.
Previously a top-secret government agency, Monarch has given up the game and gone fully public in the aftermath of Godzilla's fight with the two MUTOs, since it would be almost hilariously impossible to cover up the fact that three giant monsters destroyed a city, and there's now no reason for them to try. Their mission has now shifted from trying to keep the existence of Titans a secret to prevent a public panic, to trying to reassure a rightfully-terrified public that all possible action is being taken for a hypothetical resurgence.
Ghidorah, having three heads, has occasional disagreements between his heads, as would be expected of a creature with three separate minds controlling one body. This is most notable in the Antarctica scene when the left-hand head stoops down in seeming curiosity to examine the terrified Monarch soldiers as they shoot at it, with the centre head having to snap it back into focus before they start blasting.
It may be minor but the Katakana characters written on the wall of the ancient megalithic city looks out of place. The said writing did not come to the world until 794 - 1185 A.D. nor did the Japanese people in ancient history ever travel to the Atlantic Ocean and build a city there. Then again, an advanced civilization "much older" than Egypt on the other side of the world in and of itself is already an extreme example of deliberate anachronism, so the writing on the walls of the city are the least of its issues.
Came in below its estimated opening alongside Dark Phoenix, with an international box office opening of $103.7M in 53 markets, per the actuals. Combined with a heavily singed domestic bow, the global debut was $136.5M, lower than pre-weekend projections from the industry. The Simon Kinberg-helmed pic through Sunday was behind both of the last installments overseas, X-Men: Apocalypse (-30%) and X-Men: Days Of Future Past (-23%). It was No. 1 worldwide, and No. 1 in 36 offshore markets, but audiences essentially gave it the bird amid lousy reviews and social media reaction. An ultimate offshore cume looks to be in the low $200Ms for a possible $300M global final. China led all play this session with $45.6M which in today's rates is 28% bigger than Days Of Future Past, but 15% less than Apocalypse, each of which had three-day bows. Dark Phoenix opened in the Middle Kingdom on Thursday, looking to take advantage of the Dragon Boat Festival. It had a decent hike on Friday, the first full day of the holiday, but then saw a 30%+ drop on Saturday, and was down again Sunday, by about 39%, which resulted in a start below projections as we earlier wrote. The bird's Middle Kingdom trajectory was impacted by social scores with Maoyan at 7.7 and Douban at 6.1. During the course of the weekend, Maoyan lowered its final full-run China estimate for the Phoenix to a scorched $61M. China was the lead home for the last two X-Men, as well as Logan, but Dark Phoenix's wings were certainly clipped there. On Monday, local youth romance My Best Summer, overtook it at No. 1 for the day. Elsewhere, the numbers are low. Korea came in behind China, all the way down at $5.7M through Sunday (and against the continued success of Parasite and Aladdin there) with Mexico ($5M), the UK ($4.9M) and France ($3.8M) rounding out the Top 5. In IMAX, Dark Phoenix grossed $14.1M globally, including $9.1M from international where this is Fox's 2nd best opening weekend in the format. This is a competitive landscape, for sure, and in the summer a film needs to bring the goods in order to compete. But the expensive Dark Phoenix had been through reshoots and release date changes and ultimately resulted in a movie that drew the lowest RT score domestically for any X-Men title. Certainly, as Anthony has noted, franchise fatigue (like with Godzilla is a factor when the films aren't good or in high demand. After Apocalypse, which was not well-received, this can also be seen as a retaliatory reaction from moviegoers
When it was first announced that this would become the first Hollywood-produced Godzilla film to feature King Ghidorah, Rodan, and Mothra, fans were understandably concerned about how the three beloved kaiju would be portrayed. King of the Monsters was true to the legacy of the original characters by only making minor tweaks to their designs. Ghidorah's golden scales, three heads, two tails with bludgeoned tips, and gravity beams were all part of his original appearance, and each of them was carried over to the MonsterVerse. Among the things that were updated about Ghidorah's design were his legs, the size of his wings, and the shades of yellow on his scales. King of the Monsters also keeps Ghidorah's alien origins. Like his Toho counterpart, the MonsterVerse's Ghidorah is a powerful creature from outer space who lays waste to every civilization he comes across. At some point in the past, his travels brought him to Earth, where he remained for centuries in a block of ice in Antarctica. Ghidorah is the most sinister of all the Titans. Whereas Godzilla stomps through cities without intentionally bringing harm to innocent people, King Ghidorah purposively wreaks havoc on the people around him. Ghidorah's power is recognized by the other Titans. While Godzilla and Mothra don't regard him as the alpha, both are aware of the threat he poses to the world. This is the King Ghidorah that Godzilla fans are familiar with, and have been awaiting for decades.
For Godzilla fans, King of the Monsters delivers an accurate portrayal of Godzilla's biggest rival while also finding a way to improve him in more ways than one. First of all, King of the Monsters gives Ghidorah his best story. In the movie, Ghidorah's alien origin is what causes Emma (Vera Farmiga) and Jonah's scheme to fall apart. In waking up King Ghidorah, they unleashed a weapon they never truly understood to begin with, and for this reason, they nearly brought about the destruction of the planet. Their plan rested on the Titans battling and restarting civilization, but no one accounted for Ghidorah being an outsider and having plans of his own. Ghidorah woke up the other Titans and sought to terraform the Earth. Godzilla's epic battles with Ghidorah showcased another major improvement made to Monster Zero. In their final showdown, Ghidorah flies Godzilla high up into the sky and drops him, nearly killing Godzilla. Ghidorah pushed Godzilla to the edge throughout the fight, biting him, blasting him, and hitting him with everything he had. It took a sacrifice from Mothra to give Godzilla the advantage he needed to win.
Ghidorah in King of the Monsters threatened Godzilla in a way that previous versions never could, though to be fair, in several of these movies, Ghidorah was never allowed a fighting chance. Godzilla never had to make a miraculous comeback against Ghidorah because it was never necessary. It was three-against-one in Ghidorah, the Three-Headed Monster, and two-against-one in Godzilla vs. Monster Zero. After Godzilla and Anguirus dealt with Gigan in Godzilla vs. Gigan, the pair teamed up to take down Ghidorah. Ghidorah was vastly outnumbered in Destroy All Monsters when he had to face Godzilla, Mothra, Rodan, Gorosaurus, Spiga, and Anguirus, all at the same time.
Many fans thought that Charles Dance was playing Tom Hiddleston's Captain James Conrad (both military men, both British, the age difference is about right), and everyone went on with their lives. Until it was revealed that Dance was playing the villainous Alan Jonah and everyone lost their minds trying to work out who the crossover character was. To be fair, some people guessed Brooks would be the returner as he worked for Monarch, which is basically the SHIELD of this MonsterVerse. But what they couldn't possibly guess was how little the film would do with him. Joe Morton plays the character because we paid attention to the credits. You certainly wouldn't know it from the movie, which doesn't name him, and throws him away in a cameo that's eerily reminiscent of his Batman V Superman: Dawn Of Justice (2016) appearance.
Contrary to what the stark difference in the two films might suggest, King of the Monsters was in no way a response to Godzilla, nor did Michael Dougherty feel forced to up the monster factor in the sequel. As he told Polygon, he believes that the sequel would have always had more monsters and more Godzilla-- even if the first film had not been criticized for lacking enough of those elements. Although that's hypothetical, Michael Dougherty thinks that because you he wouldn't have wanted to repeat the same approach. The King of the Monsters director really liked what Gareth Edwards did with Godzilla in making it a slow burn monster movie, but doesn't think that's a method you can use twice and definitely not back to back.
Designer Ken Bathelmy created a new look for King Ghidorah, one of Godzilla's oldest foes, that has a much more demonic visage than that of a dragon. While the movie ultimately took a different direction, blending a union of the modern day Godzilla designs with that of the original Toho ones, these unused designs would have created a far more unsettling look to the past three headed king
There are a number of similarities in the characters that Kyle Chandler plays in both J.J. Abrams' 2011 nostalgia-fest Super 8 and this film: *Disney is fond of killing at least one parent (sometimes both) at the start of a movie, but this plot development extends beyond animated classics. A death often shapes the relationships in summer blockbusters, impacting not only the personal bonds but also how the impending disaster is dealt with. In Super 8 and Godzilla: King of the Monsters, Chandler plays a father emotionally estranged from his child after the loss of another family member. The arrival of a deadly outside force means he has to confront and break through the emotional barrier he has constructed around his heart. *As Deputy Jackson Lamb in Super 8, Chandler's role is to protect the town from not only the creature wreaking havoc but also the shady military clean-up operation. When the Sheriff disappears, Lamb is who the people turn to (and yell at). Amid the chaos caused by this extra-terrestrial, his already-imploding relationship with teen son Joe (Joel Courtney) is put the test. The opening of the movie isn't a world-changing event depicting how the alien came to this small Ohio town; instead, it is the aftermath of the factory accident that kills Lamb's wife, Elizabeth (Caitriona Balfe). The wake that follows indicates the emotional void that already exists between father and son, which will only continue to grow. *Set in 1979, rigid rules of masculinity are on display in the Lamb household. Four months after the accident, Joe comes home from school to find his dad crying in the bathroom, but instead of embracing this shared pain, Lamb shuts the door, telling him he will be out in a minute. They are strangers living in the same house, the emotional tether connecting them is frayed and Lamb can't cope with both his grief and his son's. His solution is to send Joe to baseball camp for the summer. "It's what we both need," Lamb explains, but this act of denial is only going to destroy this relationship. Sports are what Lamb understands; the artistic expression of making a zombie movie is alien to him. *Matters are complicated further when Lamb finds out Alice Dainard (Elle Fanning) is involved in this movie project. Alice's father is who Lamb blames for his wife's death, and a classic forbidden friendship follows. Lamb tells his son he can no longer hang out with Alice, but Joe refuses to obey, telling his dad, "You and I aren't clear about anything." The matter is left unresolved as Lamb has to go back to work, but his duty to the town also means he can temporarily ignore the emotional trauma he and his son are both experiencing. The alien of Super 8 is destructive, but all it wants to do is go home. *The real villain is the military, which has been conducting experiments on the extra-terrestrial since it crashlanded in 1958. Like Joe, the alien is feeling lost and scared and the teen connects with this creature from another world before his big reunion with his father. *Ultimately, Lamb doesn't need to save his son, but another rescue does bring some closure when he breaks Alice's dad out of the military hospital. Chandler is so good at playing stoic authority figures, but he isn't completely closed off as he makes peace with Louis (Ron Eldard) over the death of his wife. These catastrophic scenarios help reevaluate and confront past pain. *Forgiveness is also crucial in King of the Monsters, which follows on from Gareth Edwards' 2014 franchise reboot. The sequel opens on the attack in San Fransico, here the human toll is shown from a different perspective. The Russell family has lost their son in the destruction, a death that splinters them beyond repair. Chandler, as Mark, goes off into the wild to continue his work after boozing too hard as a coping mechanism, whereas his now ex-wife Emma (Vera Farmiga) continues her research into Godzilla and other Titans. Daughter Madison (Millie Bobby Brown), has stayed with her mom, mostly communicating with her dad over email (when she finds time to reply). Mark blames Godzilla for losing his son and isn't a fan of Monarch either, but he has to work with both when his estranged wife and daughter are kidnapped. *Chandler plays a father who finds it hard to express himself beyond bottled up anger. Mark isn't without empathy; he is incredulous, but there is something in the way he bitterly laughs at the ridiculous nature of these end-of-the-world scenarios. Whether he is a scientist or a sheriff's deputy, Chandler oozes reliability with his thick head of hero hair. He might be emotionally unavailable, but he will do anything for his kids including running into a dangerous situation armed only with a handgun facing down men with bigger weapons or a monster with three heads. *A glimpse of the past is shown through old home movies and photographs in both Godzilla: King of the Monsters and Super 8, calling back to a time before death tore these families apart. The only way to go back is through the magic of film, but in order to heal, the past is confronted via these extraordinary events that go way beyond typical therapy sessions. In Super 8, the alien is a stand-in for letting going, to acknowledge the pain and talk to each other. In Godzilla: King of the Monsters, Dr. Ishiro Serizawa (Ken Watanabe) sums it up before he sacrifices himself, saying to Mark, "Sometimes the only way to heal our wounds is to make peace with the demons who created them." *The true monster of these movies is the grief that turns into anger threatening to stomp all over the living. As Kyle Chandler proves in both Super 8 and Godzilla: King of the Monsters, a distant dad doesn't need to stay that way.
It may seem odd that Madison is defiant to the end when faced by Ghidorah in Fenway Park, but is reduced to a screaming wreck once she barricades herself inside her house. However, it makes sense that Godzilla's timely arrival gave her a hope spot: beforehand, she was 100% sure she was gonna die and decided to might as well give Ghidorah one last "screw you!" in retaliation, but now that she's got a fighting chance, she now wants to live to see her parents again.
headed for a $400 million worldwide haul from a production budget of $170 million. The 2014 Godzilla reboot grossed $529 million, while Kong: Skull Island finished its theaterical run at $566.6 million. King of the Monsters also debuted to the lowest Rotten Tomatoes score of all three MonsterVerse films at 40% (2014 Godzilla and Skull Island both scored 75%).
Earned an estimated US$8,105,000 to rank at #7 in the in the United States box office in its third weekend, a 48% drop from its second weekend. The film earned an estimated total of US245,800,00 in the foreign market, for an estimated total worldwide gross of US$339,488,172. earned US$49 million in the United States in its opening weekend.
Shaft, Men In Black: International, Dark Phoenix and Godzilla: King of the Monsters are underperforming right alongside The Secret Life of Pets 2 and The LEGO Movie 2. But we were here before three summers ago. Summer 2016 saw a flurry of late May-to-late-July sequels (Independence Day: Resurgence), reboots (Ghostbusters) and revamps (The Legend of Tarzan) that didn't click. At the time, I argued that the problem, aside from many of these films not being very good (or, in the case of Teenage Mutant Ninja Turtles: Out of the Shadows, was a superior sequel to a lousy reboot), was that a lot of them were franchises that once qualified as a big deal but now were merely that week's court-appointed franchise tentpole.
According to Gitesh Pandya, Godzilla: King of the Monsters is en route to hit a franchise-low worldwide cume. In a recent tweet from the Box Office Guru founder, the worldwide numbers were broken down, and they weren't exactly glowing. China $123.8M US/Canada $94.4M Japan $20.3M Mexico $9.3M UK $8.1M Indonesia $7.7M Taiwan $7.7M Malaysia $5.5M France $4.9M Russia $4.3M India $4.2M Germany $4M INTL: $247.6M GLOBAL: $341.9M Headed to $400M final.
The film begins with a flashback to 2014 with the Russells standing in the ruins of San Francisco as Mark screams out the name of one of his children that he's trying to find among the chaos. Close to the end he finds himself in a similar situation, screaming for Madison as Ghidorah and Godzilla battle in the background.
The Titans display various combat pragmatism: Godzilla jumps Ghidorah while he's distracted going for the Argo and drags him into an underwater fight the larger Titan (a massive flyer) has serious trouble with. Mothra attacks Ghidorah from behind while he's distracted by Godzilla when she's making her big entrance - and Rodan later attacks her this way. And however powerful he may be, Ghidorah has no trouble calling in other Titans for a numbers advantage when he's in trouble. Ghidorah's right head also shows shades of this, using a power generator as an Improvised Weapon to charge up a powerful lightning attack.
Long live the king." The first time it's said as a sarcastic quip by Alan Jonah, as they realize waking Ghidorah has upset their plans to wake the other Titans slowly, one at a time, since Ghidorah is waking them all up and summoning them (not that Jonah particularly minds). The second time, it's said as a "Facing the Bullets" One-Liner by Emma Russel before getting killed by Ghidorah, after she's bought enough time for Godzilla to get his Heroic Second Wind and activate his Super Mode, allowing him to destroy Ghidorah.
The new MUTO looks different from the other two (grey skin, different crest and two fewer legs) so it's probable that it's a different sub-species of MUTO that may lack the parasitic reproductive method of the other kind and has no animosity towards Godzilla's species. She doesn't have two fewer legs, she has four front legs, two hind legs and a pair of smaller arms, just like the orginal Femuto of 2014.
Despite delivering exactly what it advertised, Michael Dougherty's Godzilla: King of the Monsters isn't getting the box office love we all predicted it would. Now, the folks at Legendary may be getting cold feet about the next installment in their MonsterVerse, Godzilla vs Kong. Deadline is reporting that Warner Bros. Studio chairman Toby Emmerich is considering a delay stating "[Godzilla vs. Kong] will deliver for fans in the way they were looking for. It might come out later in the year, so we can deliver an A+ movie."
The trailer makes it seem Jonah's line "Long live the king" is referring to Godzilla and is some kind of badass one-liner or quip. He's actually referring to Ghidorah, and it's actually a moment of wistful realization that the Evil Plan is officially Off the Rails. Several shots in the trailers also seem to set Rodan up as the hero we know from the Toho films. While he's not exactly an outright villain, he's also a destructive sadist who spends a decent chunk of the film as Ghidorah's Dragon. The second trailer shows a scene of Emma contacting Monarch urging them to free Godzilla as it's their only chance, painting her in a heroic light. In the film itself, not only does she never once advocating freeing Godzilla to stop Ghidorah, as this happens after Godzilla is presumed dead due to the Oxygen Destroyer and Ghidorah awakening the Titans, this is where she fully reveals her Insane Troll Logic, her utter hypocrisy, and her increasingly feeble attempt to claim the moral high ground in front of Monarch and her husband, even it's already pretty clear at this point she's just full of it.
This is the first film in the MonsterVerse where there are no MCU actors casted in this film. where as Aaron Taylor Johnson and Elizabeth Olsen (Pietro and Wanda Maximoff) appeared in the 2014 Godzilla film, and Tom Hiddleston (Loki), Brie Larson (Carol Danvers), John C. Reilly (Rhomann Dey), and Samuel L. Jackson (Nick Fury) appeared in Kong: Skull Island (2017)
Gareth Edwards was originally set to return to the director's chair after taking a break from blockbusters, but he decided to take on Rogue One: A Star Wars Story (2016) in that time instead, meaning that his break was delayed to the point where it encompasses the time he could have directed this.
At one point Godzilla belches, Michael Dougherty stated, "A big reason Godzilla has this mysterious draw, this mysterious appeal, is that he does have human traits and elements and I think that's a lingering aspect of the fact that the Japanese executed him within man-in-suit process for decades. There were very humanistic expressions and body language that made us identify him a little bit more than we would have had he been executed with stop motion, let's say. so it was important to me to really embellish that and embrace that concept. Both the animators and the performance capture artists that we worked with became a fun team and were always pushing to add another close-up, add a squint of an eye, add a slight head tilt, anything to convey that Godzilla has a surprisingly large emotional range that we can connect to."
The governments plan to kill all the Titans while they slept becomes horrifying once you look at it through a mathematical lens. The people advocating for it seem to assume that the fact their targets are slumbering guarantees success (far from it, considering WHAT they are trying to kill) and don't seem to consider the consequences of failure (an awake, angry Titan). If the chance of failure for whatever method they use is any greater than 0%, then the odds are fairly good that at least one of the 17 monsters they planned to target would pay them back in kind, to illustrate this point, imagine that the governments chosen method (buried nukes or oxygen destroyers) had a 95% chance of killing or sufficently crippling a Titan and a 5% chance to fail and result in a rampaging Titan. Those odds are good for a single monster, but for 17, the odds of there being a very angry survivor jump to around 59%. Couple that with the unlikelihood that humankind can maintain those odds throughout all 17 of their attempts... This becomes even more so when you remember the one attempt we see at someone trying to kill a dormant Titan (the Male MUTO in the original film) via electrocution failed to so much as injure it, and the male MUTO is comparably physically frail for a Titan (with Godzilla only needing one solid hit to kill him), making it even more likely they'd only succeed in waking them up and making them mad. Think about the level of damage that the fight between Godzilla and the MUTOs, and the MUTOs in general, caused. This movie has four kaiju at minimum, all of which dwarf the MUTOs in power (the MUTOs only had one special ability that only caused indirect damage, Mothra, Rodan, and Ghidorah all have abilities capable of destroying entire cities) and if King Ghidorah is anything like his previous counterparts, just imagine the amount of damage they will cause. Remember how Gareth Edwards in the 2014 film said that humans are like ants to the kaiju, mostly ignoring us and swatting us away when we start stinging them? With that analogy, Ghidorah is the equivalent of a kid burning ants with a magnifying glass, reveling in their pain for his own twisted amusement.
This movie states that Ghidorah is a fairly recent discovery thus Monarch has had little time to study him. Except that the post-credit scene in Kong: Skull Island (2017), set in 1973, shows that Monarch knows about him along with Godzilla, Rodan, and Mothra.
In the finale Ghidorah targets Madison after working out she's connected to the Orca device. This isn't the first time Ghidorah was a bit of a child hater. In Rebirth of Mothra 3, he specifically kidnapped many children with the intention of eventually eating them.
The trailers usage of "Clair de Lune" astonishingly had fans looking up for the music. It wouldn't be inaccurate to say that no classical music fans actually minded it, with one YouTuber commenting: "I love how all the comments are about the beauty of the song or how it affects their lives through many ways, and than a bunch of Godzilla fans showed up screaming about being hyped for movie about four giant monsters fighting. And I don't mind at all."
In one TV spot, a character asks (presumably of Godzilla) "is it just me, or has he been working out?" Since Godzilla has been out and about more after awakening from his decades-long hibernation in the first movie, he would be getting plenty of exercise and working off any weight. So basically, yes, he has - although in the movie itself, the line refers to a boost he gets in-film.
Just how unhinged is Madison's mother (right down to Madison calling her a 'monster') a Well-Intentioned Extremist who is resorting to desperate measures to save the world, or a straight-up Omnicidal Maniac of an eco-terrorist who deliberately wants to destroy all humanity, writer Director Michael Dougherty said she's somewhere in between. She's a Monarch agent who not only took Dr. Serezawa's beliefs about the necessity of the Titans to preserving Earth's ecological balance to heart, but went radical, becoming convinced that only by releasing the Titans to "cleanse" Earth and forcibly push humanity out of its dominant role could she prevent humanity causing the mass extinction of all life. To this end, she allied herself with radical eco-terrorist Jonah Alan and betrayed Monarch to set them loose. Once the full impact of her plan actually hits home, though, she comes to realize how crazy her plan was and regrets it.
Emma Russell is similar to Joe Brody from the first film: someone dedicated to a cause and forcing it on people that they wrecked their family life, but eventually realize they were wrong about harming their family, though it comes near the end of their lives.
Director Michael Dougherty revaled that perhaps the center head is the "true" body of Ghidorah's species, the rest of it just an extension that grows from it. Or perhaps its simply a reference to how the first head of the hydra of Greek mythology was immortal. There are several possibilities.
Dr. Emma Russell and Alan Jonah want to awaken the Titans to wipe out humanity for what it's done to the planet as "parasites" and "give it back" to the Titans as the rightful rulers. The problem? The "champion" they awaken to lead the Titans, King Ghidorah, is all but outright stated to be an alien that wants to terraform the planet to his specific ideal, meaning he has even less rightful claim to the planet than humans do. That said, it's implied that they weren't completely aware of this, but Alan doesn't care anyway.
When Emma wants to go looking for her daughter Alan coldly tells her that the mission is more important than one life. Then she pulls a gun on him... and he instantly decides to let her go rather than risk HIS life. Played with in practice; he seems more vaguely amused by Emma's defiance than anything, and makes clear he's happy for her to leave as his group has what they came for anyway - the remaining head of Ghidorah.
Mark blames Godzilla for the death of his son Andrew in the incidents of the last moive, even though the MUTOs were to blame for the destruction of San Francisco and Godzilla was actually the one who stopped them.
Central Theme: Bearing grudges can carry long-term effects. Godzilla bears a very personal grudge against King Ghidorah and Mark Russel have a very personal vendetta against Godzilla since his battle in the previous film. Mark eventually lets it go upon realizing Godzilla is humanity's only hope to stand a chance against even bigger threats such as King Ghidorah. An old theme makes its return: Tragedy bears consequences, and consequences bear tragedy. Emma Russel is stricken with grief with the death of Andrew that she makes a deal with Alan Jonah to wake every dormant Titan on Earth. The consequence? A murderous three-headed monster plans to terraform the Earth to his liking, and does not give a damn if humans die.
According to a dossier on the Monarch Sciences website, and posters seen in Ford Brody's childhood bedroom in the last movie, monster movies are a real film genre in this universe that predates public knowledge of kaiju. Of course Kong and Godzilla, undisputed two of the most influential characters of the genre in real life, actually exist in this universe, so it really makes you wonder what the genre is like in this universe if many of the most iconic monster movies don't exist.
The Orca works by taking over the "alpha" role and communicating authority, rather than some magic that compels obedience. Despite this being her area of research and presumably agreeing with Monarch's thinking that "Monster Zero" is a rival alpha to Godzilla it doesn't occur to Emma that Ghidorah may have a "different" response than the Titans in general. Oh he hears and understands it, he just thinks it should be killed.
earned just $15.5 million in its second domestic weekend, dropping a brutal 68% from its disappointing $47.7 million debut frame. That gives the film a $78 million ten-day total and positions it for a $105 million domestic finish. Yes, it's doing better overseas (it may hit $130 million in China), but it still looks to end up over/under $415 million. That's well under Godzilla ($200 million domestic and $529 million worldwide) in 2014 and Kong: Skull Island ($168 million/$567 million) in 2017. It's not an exact match, but despite arguably "doing it right" with their MonsterVerse, WB (and Legendary) is now in a similar pickle. After Batman v Superman: Dawn of Justice underwhelmed critically and among general audiences (it earned $873 million worldwide from a $425 million global launch), Warner Bros. was stuck with the about-to-go-into-production Justice League and a November 17, 2017 release date. Regardless of whether Man of Steel was initially supposed to be a launching pad for DC Films, Batman v Superman was absolutely treated as such as thus its poor reception put WB in a precarious position.
Godzilla's appearance has slightly changed in comparison to Godzilla (2014). In the film, his dorsal spikes resemble the original look from Godzilla (1954), and his body is also bulked up and more muscular, resembling a powerlifter.
The radioactive emissions of the Titans are a good thing mean, helping plants grow, somehow, but isn't the radiation still, , really bad for humankind, Depends on how long the radiation stays at dangerous levels, and perhaps the radiation given off by the titans is distinct from radiation that we're used to, maybe after being processed by the titan it stimulates organic life without damaging it, and probably more complicated than that. Some of the Titans might actually be able to metabolize using pollutants like CO2 and oil. Scylla was found under an oil field, so that can't be a coincidence. After all, creatures their size need an ABSURD amount or energy just to STAY ALIVE , let alone move and fight. It's very likely the case that they turn 'negative' radiation into a 'positive' form as a byproduct of their biology. Keep in mind they eat radiation, it wouldn't make sense for them to emit the same thing they take in.
Given that the monster cast of this film is the same as that of Ghidorah the Three Headed Monster, it's actually quite fitting that this film (part of a cinematic universe) is a spiritual homage of that movie. Why? Because that film was one of the earliest examples of a cinematic universe, done in the 60s, since Godzilla, Rodan, and Mothra all appeared in their own individual movies, before being brought together in that movie to fight a common, greater enemy.
The Film's final trailer uses an instrumental version of the song, Somewhere Over the Rainbow. It makes perfect sense as both The Wizard of Oz and Godzilla are celebrating their respected anniversaries this year. (The Wizard of Oz is celebrating 80 years, while Godzilla is celebrating 65 years.)
The film one-ups the previous film's tone, and maybe even Shin Godzilla and the anime trilogy. Alan Jonah's endgame is to revive King Ghidorah, who is an alpha rival to Godzilla and his literal worst enemy compared to the MUTOs. Plus, there are far more casualties, and Anyone Can Die. Godzilla himself almost dies, and had to be resuscitated in order to save the world.
Alan, Emma and Mark form one towards Kaiju, with Mark pulling double duty as the Cynic and the Apathetic. Emma is the Optimist, viewing Kaiju with almost religious reverence believing them all to be protectors of earth. Alan is the Realist, as Unlike Emma who deluded herself as to what releasing the Titans would entail, Jonah was under no such illusions.
People are more than a little skeptical of Dr. Serizawa's claims that the Titans are ecologically necessary and should be reintroduced to the world... which you'd only expect, given the destruction and death caused by Godzilla and the Mutos five years previously.
Godzilla's Big Damn Heroes moment to save Madison from Ghidorah looks awesome, but he somehow hit a direct blast at him from some distance away? How far away can he use it effectively? And why not just fight Ghidorah from a distance, perhaps try to incapacitate him with his atomic breath from further away before moving in for the kill? Godzilla can fire from quite a distance (we don't know his max), but unless its a surprise attack then the further away he fires from the bigger the chance his opponent can just move out of the way (amounting to a vast waste of energy for Godzilla). And as we saw in their first fight, Ghidorah is quite capable of dodging if he sees the attack coming
In 2009, a team led by Monarch scientist Dr. Emma Russell (Vera Farmiga) followed a strange bio-acoustic signature to a previously undiscovered megalithic temple in the high-altitude jungles of China's Yunnan province. A giant cocoon was found within the temple, with a rapid heartbeat detected inside.
Rodan, whose internal temperature is so extreme he melts rock into lava and is therefore impervious to it. His heat does burn and heavily injure Mothra during their fight, visibly burning her. Then there's Dr. Serizawa, who goes into the massive heat and radiation of Godzilla's home, protected only by a radiation suit of unspecified grade, but doesn't burn up when he removes his gloves or helmet. And then there's Burning Godzilla, whose core temperature is so high he melts buildings, metal scaffolding, and even the pavement from dozens of meters away.
Monarch Outpost 32 where Ghidorah is contained, functions as a reference to Outpost 31 from The Thing (1982), this is backed up by its location which is in an Antarctic/Arctic region. Additionally, its a more subtle homage to 1964, the year that Ghidorah, The Three-Headed Monster was released (as 32 is half of 64).
The five-year period between the release date of Godzilla (2014) and this film is the second longest gap between the release of the first and second films in a new series of Godzilla films, after the five-year gap between the releases of the Return of Godzilla (1984) and Godzilla vs. Biollante (1989) to start the Heisei Series.
To date, this one of only three Godzilla films where Mothra is not accompanied by her twin fairies. The others are Destroy all Monsters (1968) and Godzilla, Mothra, and King Ghidorah: Giant Monsters All Out Attack (2001).
People are naturally terrified by the realization their world is actually populated by ancient, gigantic monsters so gigantic and powerful they can easily destroy a city just by strolling through it and are rightfully worried that more could awaken. People are also left to wonder if they are any out there even capable of peacefully co-existing with humans. Not everyone shares the sentiment that Godzilla is a hero. Mark Russo openly blames Godzilla for his son Andrew's death, and really wants him dead. At the same time, he's well aware just because he hates Godzilla, he's the only reason monsters don't go out and start rampaging.
Just as Godzilla (2014) featured characters that worked for Project Monarch and used the term M.U.T.O., so too does Kong: Skull Island (2017), tying both together in the MonsterVerse, which includes Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2020).
The film reveals that ancient humans had built a huge temple for Godzilla, where he still returns to for rest. This would explain why Godzilla has a softer spot for humanity and would go out of his way to avoid human casualties from the previous film. He had positive interaction with humans spanning thousands of years and he truly does not have any need to quarrel with them or cause intentional destruction to their homes.
A fan asked director Michael Dougherty on Twitter: "How did Ghidorah get trapped in the ice in Antarctica in King of the Monsters?" Dougherty replyed Godzilla! "Ghidorah and Godzilla fought for the crown in ancient Antarctica. Godzilla won," he tweeted.
Onn Twitter, one user asked straight-up: "which unknown kaiju would you bring to life if you had the opportunity to re-visit this universe?" To which Mike Dougherty responded with: "The Gargantuas. Those boys are so weird and freaky yet strangely sympathetic."
This film is the second of three proposed Godzilla films. However, Godzilla vs. Kong (2020) is not the third sequel, but more of a tie-in for the MonsterVerse (like DCEU's Batman v Superman: Dawn of Justice (2016)), and also serves as a continuation of Kong: Skull Island (2017).
Kyle Chandler was in King King (2005) and now 90 years later (in the movie universe) he is seeing Godzilla: King of The Monsters (2019) in present day. He will also star in Godzilla vs. Kong (2020) as the same character he plays in this film.
Near the end of the credits of Kong: Skull Island (2017), is a line that says: Characters of "Godzilla", "King Ghidorah", "Mothra", and "Rodan" created and owned by Toho Co., Ltd. This ties in with the MonsterVerse and could be a clue to kaijus appearing in future movies, including this film and Godzilla vs. Kong (2020).
The underwater civilization has drawn plenty of comparisons to the mythical lost city of Atlantis. While an exact location was never given for the movie's unnamed city, it's most likely in the Atlantic Ocean, since the Monarch ship was in Bermuda prior to traveling underground. The Atlantic Ocean is (for somewhat obvious reasons) depicted as the resting place of Atlantis, so it does seem reasonable that the city in King of the Monsters is the MonsterVerse's take on Atlantis. A connection between Godzilla and an underwater civilization - whether it be Atlantis or a completely original kingdom - is particularly interesting because of what it could mean for Legendary's cinematic universe. Here are some of the Toho monsters who could be linked to the MonsterVerse's Atlantis.
Gigan is widely regarded as a potential villain for Godzilla 3 due his popularity with fans, which includes Godzilla: King of the Monsters director Mike Dougherty. Gigan was featured in concept art for Godzilla: King of the Monsters, which reveals that Gigan was originally considered for one of the Titans who gathered around Godzilla in the movie's final scene.
In the Gamera trilogy from the 1990s, the Atlanteans were an ancient, advanced race who created a species called the Gyaos. When the Gyaos turned on them, the Atlanteans created Gamera, who was designed to be a force for good. Unfortunately, the Gyaos destroyed the Atlanteans, but Gamera defeated them and devoted himself to protecting the Earth. While certainly not a household name to Western audiences, Gamera has amassed a huge fan following in Japan. Gamera has served as the titular character in 12 movies, which arguably makes him one of the Japanese movie industry's most iconic monsters. Gamera was created by rival Toho company Daiei, but some of his films were distributed by Toho. Like Gigan, Gamera was one of the three previously established monsters included in concept art for the final scene. So it seems possible that Godzilla may not have been the only Titan worshiped as a god in Atlantis.
In Godzilla vs. Gigan, Godzilla vs. Mechagodzilla, and Destroys All Monsters, Anguirus was a faithful ally and companion of Godzilla who fought alongside him against villains such as King Ghidorah and Gigan. Dougherty's comment could suggest that Anguirus is - or was - a part of the MonsterVerse, and may have even co-existed with Godzilla in Atlantis. This would mean that in the past, Godzilla and Anguirus could have shared the same relationship that the two had in classic Toho movies. A movie that further explores Atlantis could reveal if Anguirus' species ever really lived there, or if one of them could still exist.
Director Mike Dougherty was born when Godzilla vs. Mechagodzilla (1974) came out, Kyle Chandler was born when Godzilla vs. Monster Zero (1965) came out, Vera Farminga was born when Godzilla vs. Megalon (1973) came out and Millie Bobby Brown was born when Godzilla Final Wars (2004) was released.
In the 1992 movie, Godzilla vs. Mothra, it was established that long ago an ancient culture invented a device that would allow them to manipulate the climate. The Earth, acting as a sentient being, created a monster called Battra to punish the people. Battra, often referred to as "The Black Mothra", was opposed by his righteous counterpart. The most notable difference between Battra and Mothra is that Mothra is the protector of the people of Earth, while Battra only cares about safeguarding the planet itself. Mothra defeated Battra, but at a great cost. The Earth was flooded, the civilization was destroyed, and was lost forever.
One the "articles" shown in the end titles credits Steve Martin as writing. This is most likely a nod to the character with the same name portrayed in the 1956 "Godzilla: King of the monsters" portrayed by Raymond Burr.
Even when frightened, Mothra in her larval form doesn't try to kill humans. Even when throwing them aside, she might knock them into webs or only a short distance away. Even from the start, she wasn't interested in seriously harming humans.
Michael Dougherty, co-writer Zach Shields, Dougherty's college roommate Jermaine Turner, Seth Green, Clare Grant, Eli Roth and Stephen Moyer all cameoed in the film through the sequence of the jet fighters flying alongside Rodan, even though their faces are obscured. Dougherty said about how this gathering came together: "I knew we were shooting this sequence where Rodan is escorted by these fighter pilots and so I thought, 'What a fun way? Do I just use extras or do I give friends who love Godzilla as much as I do a chance to be in a freakin' Godzilla movie?' So I chose 'Path B' and put out some calls." It would have been easy enough to get some extras to fill out the pilot roles, but Michael Dougherty instead decided to use the action sequence as an opportunity for him and some friends to collaborate. It did take some finagling and careful planning to pull off the cameos. Michael Dougherty said later in his interview with Fresh Fiction: "I knew that Stephen was shooting a TV show in Atlanta at the same time. He's married to Anna Paquin, so we were all buddies. I knew that Eli was in prep on a movie in Atlanta. Seth, Clare and Jermaine, I put out some text messages, 'Hey do you want to be in a Godzilla movie?' Given that it had its main shoot in Atlanta, Georgia, it sounds Michael Dougherty was able to arrange for most, if not all of these folks to actually come on set, rather than have them simply record their lines from other locations. Dougherty added that he likes when he's able to include friends in his projects, comparing it to playing Where's Waldo. Dougherty previously had James Marsden vocally cameo in 2007's Trick 'r Treat.
There are any number of reasons as to why the film stumbled, among them competition from Avengers: Endgame and Aladdin, the above-noted mixed reviews, the five-year-gap between installments (which did nothing for Pacific Rim: Uprising or The LEGO Movie 2), and the underestimation in audiences' interest in a "Godzilla versus monsters only your super-geek friends have heard of" sequel. But, just as Marvel (and DC Films) have allowed superhero movies to dominate by virtue of approximating rival genres, so too might Godzilla: King of the Monsters have ironically been stymied by five years' worth of buzzy successes within the specific realm of monster movies. King of the Monsters wasn't remotely the only game in town. In the five years between Gareth Edwards' Godzilla and Michael Dougherty's Godzilla: King of the Monsters, we've had two huge Jurassic World movies ($1.671 billion in 2015 and $1.31 billion in 2018) and one ill-received Pacific Rim sequel ($275 million in 2018, all from Universal and Legendary. But Warner Bros., both with and without Legendary, has also offered a handful of popular, well-liked and comparatively more crowd-pleasing monster movies within the last five years. Kong: Skull Island ($568 million in 2017), intended as a prequel to Godzilla and King of the Monsters, blended big movie stars (Tom Hiddleston, Sam Jackson and Brie Larson) with broad-daylight action and more conventional monster mash action. Warner Bros. and New Line Cinema's Rampage ($428 million in 2018) offered Dwayne Johnson and a host of colorful character actors facing off against three giant, city-destroying beasts (a giant gorilla, a giant crocodile and a giant wolf) amid a big-scale part-campy/part-scary (but in a kid-friendly fashion) action romp. And Warner Bros.' The Meg, arguably the first Hollywood/China co-production to score huge on both shores ($144 million domestic, $153 million in China and $530 million worldwide in 2018), offered Jason Statham and Li Bingbing doing battle with a giant shark in a kid-friendly action romp. To the extent King of the Monsters was merely "okay," it was outclassed by recent kajiu-type movies from its own studio. Prestigious cast (including Kyle Chandler as the ultimate Gary Stu, along with Ken Watanabe, Millie Bobby Brown, Vera Farmiga and Zhang Zyi) aside, it lacked the butts-in-the-seats/added-value element stars of The Meg, Rampage and Skull Island, while also lacking the IP value of a Jurassic Park movie. Nor did it have the colorful human characters (John C. Reilly's World War II vet in Skull Island, Jeffrey Dean Morgan's cowboy government agent in Rampage, Bryce Dallas Howard's "doing it backwards and in heels" heroine in Jurassic World, etc.) that provided entertainment value even when the monsters weren't mashing.
Given that Ghidorah was the alpha for most of Godzilla: King of the Monsters and how all of the other Titans gravitated towards him, it was believed that Ghidorah had always been the king of the monsters in this universe. However, that may not have been the case, at least not entirely. Ghidorah's origin story in the MonsterVerse made the alien creature a force to be reckoned with. And at some point, the three-headed dragon must have been defeated because Ghidorah was stuck in Antarctica until the sequel's story began. We now know why. It was theorized prior to Godzilla: King of the Monsters' release that Godzilla and Ghidorah had fought before and that their faceoff in the sequel was actually a rematch. As it turns out, that is true. Godzilla: King of the Monsters director Michael Dougherty confirmed on Twitter that Godzilla defeated Ghidorah before, which is why the alien was buried underneath the ice in Antarctica at the start of the film. What's more, Dougherty also says that Godzilla could've beaten Ghidorah if it wasn't for the humans interfering (with the Oxygen Destroyer). Godzilla's ancient battle with Ghidorah was first teased in the Kong: Skull Island post-credits scene, when Monarch scientists Houston Brooks (Corey Hawkins) and San Lin (Jing Tian) showed James Conrad (Tom Hiddleston) and Mason Weaver (Brie Larson) files they had on other creatures in the MonsterVerse - the last of which was a painting of Godzilla fighting Ghidorah. That painting could very well have been the depiction of Godzilla and Ghidorah's original battle, which Dougherty suggests, but then again, it could also be a visualization of a story that was passed down through generations. In the end, that painting was most likely Legendary's way of teasing the future without writing themselves into a corner. After all, who would have been around in Antarctica to witness a battle of this scale and survive? Regardless, it seems Godzilla remains undefeated in the MonsterVerse and is truly the king of the monsters (or alpha predator). Now it's a matter of retaining the crown when Adam Wingard's Godzilla vs. Kong releases in theaters in 2020, since the iconic kaiju is slated to go up against Kong, the king of the primates - and one of them will lose.
Mike Dougherty originally planned to use more of Toho's classic monsters in his movie, but the budget did not allow for any add ons. "Originally, I hoped to use other monsters from the Tohoverse, like Anguirus, Gigan, or Biollante, but every single Toho monster comes with a price tag -- something we didn't have the budget for. So instead of moping about it, I decided to embrace the opportunity and add new titans to the gallery," Dougherty said.
Alan Jonah's quote "Long live the king", is a nod to Charles Dance's role as Tywin Lannister in Game of Thrones. The novelization takes it further, where he has a soldier under him who is so large Madison calls him "The Mountain", a reference to Tywin Lannister's chief enforcer Gregor Clegane, who is known as "The Mountain that Rides" or simply "The Mountain".
The film's novelization goes deeper into Alan's character as it is revealed he had a daughter named Lindy who was kidnapped on her way home from school, killed, and left to rot in a storm drain for six days until her body was found. It is also shown Alan had a father-son relationship with Asher and his humanity was extinguished when his companion was killed by Diane Foster.
Mothra's design in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack by Shusuke Kaneko shares many similarities with the Mothra in the King of the Monsters; much smaller in size comparing to Godzilla, more sharp and aggressive facial expressions, to have long hairless legs with a slender body. Both incarnations of Mothra don't originate from Infant Island and gained new weapons/abilities instead of the iconic poisonous scales. Monsters to inspire humanity to create mystical creatures from the real world is very similar to the cases seen in Shusuke Kaneko's Gamera Trilogy and his Godzilla. Shusuke Kaneko confirmed multiple similarities between his GMK and King of the Monsters including Mothra to become "that".
Based on the fact that the Nazca Lines are mentioned in Monarch Sciences' description of Mothra, it can be assumed that she has some ties to Nazca culture. Mothra's connection to the Latin American continent is similar to that of her counterpart in the AniGoji continuity.
In 1973's Godzilla vs. Megalon, nuclear underground testing by the Japanese greatly angered the people of the subterranean kingdom known as Seatopia, a place that had existed for thousands of years. In retaliation, Seatopia summoned their god, Megalon, to take vengeance on the humans. Seatopia also managed to acquire the help of Gigan. It took the combined strength of Godzilla and Jet Jaguar to drive off the two monsters, forcing Seatopia to give up on their plans to defeat the surface world. Some have speculated that the underwater civilization in Godzilla: King of the Monsters is the MonsterVerse's Seatopia. If this were true, it would open the door for another movie in the series to introduce Megalon or Gigan. Megalon is a beetle-like kaiju capable of burrowing underground, while Gigan is an alien cyborg with hook-like blades for hands.
Reddit User decided to cleverly re-imagine the king kaiju as the Mad Titan in making this new meme. Reddit User HyLytez re-imagined the emotional scene where Scarlet Witch confronts Thanos during the final battle of Avengers: Endgame, but bringing in Godzilla and his human counterpart, Ishiro Serazawa: Both of these franchise juggernauts had more in common than you may think, meme aside, with both blockbusters featuring a multitude of characters, or in Godzilla's case kaiju, with both managing to juggle the protagonists and antagonists to an amazing extent. While the kaiju didn't manage to eliminate half of the overall population as Thanos did, they still managed to cause planetary destruction the likes of which few movies are able to compare.
The trivia items below may give away important plot points.
Ken Watanabe (Dr. Ishiro Serizawa), Sally Hawkins (Dr. Vivienne Graham) and David Strathairn (Admiral William Stenz) are the only cast members from Godzilla (2014) to return for this film, and out of the three only two die, Serizawa and Graham
It was hinted in Kong: Skull Island (2017)'s post-credits scene that Rodan, Mothra, and King Ghidorah may appear alongside Godzilla in this sequel, which would mark the first time they have appeared in a non-Japanese film.
There are monsters which were never seen, but their names appear on computer screens and in newspaper headlines. These include: Mokele-Mbembe, Baphomet, Tiamat, Typhoon, Abaddon, Leviathan, Sargon, and Bunyip.
Aside from the four monsters, many other kaijus appear in this film. These include: A third MUTO (who is awakened by King Ghidorah); Behemoth (AKA Titanus Behemoth is sort of a cross between a wooly mammoth and a gorilla); Scylla (the giant spider); and Methuselah (the "Mountain Titan" seen in the trailers).
According to director Michael Dougherty, "Rodan is a bit of a rogue...you never quite know where his loyalties lie." basically switches sides based on whoever's winning, but he shows no direct attempt to turn on Ghidorah.
The Oxygen Destroyer returns as a military-developed weapon that almost kills Godzilla. On top of that, though it's delivered by missile, a schematic shows that, within the missile, the Oxygen Destroyer consists of that same capsule with a central-sphere design that it sported in its original incarnation in Gojira (1954).
When all seems lost for Godzilla in his final battle against King Ghidorah, Mothra sacrifices herself so her atomized remains and life energy are absorbed into Godzilla's body, which revives him, grants him his "Burning" Super Mode, and provides him with the brand new Nuclear Pulse ability. In Godzilla vs. Mechagodzilla II, when Mechagodzilla has destroyed Godzilla's hind brain and paralized him, a fatally-injured Rodan sacrifices himself so Godzilla absorbs his lifeforce, which regenerates him and provides the brand new, red-colored, Spiral Heat Ray.
When Dr. Serizawa (Ken Watanabe) sets the nuclear device in Godzilla's sea subterranean 'recovery' location, he lastly glances at his old pocket-watch: it shows the time (almost) 8.15: this is the exact time that the first ever nuclear bomb exploded on Hiroshima in 1945. (Also see Nicholas Roeg's 'Insignificance')
The Oxygen Destroyer kills all the fish around Isla de Mara. The post credit scene reveals that Isla de Mara's fishermen have lost their livelihood and are desperate enough to take any offer Jonah makes for the severed head of Ghidorah they dredged up.
Mothra appears to be more friendly toward humanity than most of the other Titans, as all ancient pictograms show humans worshiping Mothra as a guardian angel goddess. In the trailer of the film, Mothra is seen approaching Madison and Emma Russell, and allowing the former to touch her, suggesting that Mothra will retain her gentle nature.
These are the seventeen titans that were seen and mentioned in the movie: Godzilla, Mothra, Rodan, King Ghidorah, King Kong (seen in footage and in a cave painting), MUTO 1 and 2 (from 2014's Godzilla), then a 3rd MUTO is awakened by King Ghidorah, Behemoth (AKA Titanus Behemoth is sort of a cross between a wooly mammoth and a gorilla), Scylla (the giant spider), and Methuselah (the "Mountain Titan" seen in the trailers). The Titans below were never seen, but their names appeared on computer screens and in newspaper headlines: Mokele-Mbembe, Baphomet, Tiamat, Typhoon, Abaddon, Leviathan, Sargon, and Bunyip.