In the next movie, I’d like to see Godzilla and his nemeses fight in conditions other than driving rainstorms, but even though there isn’t a wide variety of weather in “Godzilla: King of the Monsters,” this is a top-shelf monster spectacle. The titular creature from the 2014 movie is back, and director/co-writer Michael Daugherty and his team throw a smorgasbord of beasts at the screen to take him on, notably the three-headed dragon Monster Zero, who has a fascinating mythology behind him.
The Terror” was one of the most gripping series of 2018, a rare horror TV show that maintains a creepy aura even with the escape provided by commercial breaks. It’s slow-paced, and it doesn’t stick the landing, so it barely missed my end-of-year list. But I’m happy to return for “The Terror: Infamy” (Mondays on AMC).
Ididn’t know if we needed another “King Kong” reboot per se, especially since Peter Jackson’s 2005 version was pretty great. And there are indeed some been-there, done-that moments in “Kong: Skull Island,” which hit theaters in March and is now on HBO. But darn it, this is such an amazing-looking movie that I have been won over. It’s even better-looking than “Alien: Covenant,” which was likewise filmed in seemingly untouched areas of Australia, and it also shot in Vietnam and Hawaii.
Watching the pilot episode of “Minority Report” (9 p.m. Eastern Mondays on Fox) really makes me want to do a rewatch of “Almost Human,” “Century City” and “Dollhouse.” Set in 2065, this series that continues from the 2002 Steven Spielberg film – which was itself adapted from a Philip K. Dick short story – looks gorgeous, like those other future-set shows.
Although it’s been only 16 years since Godzilla moved into the modern age of digital effects, the handlers of the franchise felt it was due for a reboot. Maybe even overdue. 2014’s version of “Godzilla” feels almost like a conscious apology for the ’98 film.