I feel oddly honoured you would name a giant terrifying lizard after me Teague. I'm getting all choked up.

Will post actual ideas later, once cogitated upon.

I read Teague's post this morning and it's been stewing in my head ever since. I haven't seen the Roland Emmerich Godzilla, or the Gareth Edwards one yet, though I'm kind of excited to do so sometime next week. I honestly kind of think the ship has sailed on Godzilla being truly scary to a degree. Godzilla and his monster battles break buildings, and we've made ourselves immune to that by doing it so much in the past decade. Unfortunately that seems to be kind of all he can be.

My first thought, and this is just sort of flow of consciousness at the moment, is to take it as far away from that as possible. If we can't frighten people with the spectacle of large scale destruction anymore, then I think it should be the fear of isolation. I've struggled to come up with a way to do that with Godzilla, this is the best I have so far.

A group of scientists are exploring these previously uncharted caverns. This is kind of a typical place to start one of these movies, where they either find Godzilla and he breaks free to go cause his mayhem, but we're going to be here for the entire movie. After we set-up our characters and their mission, an "earthquake" very quickly shuts off the only known exit. They can't contact anybody on the outside, so they decide the only thing to do is to go deeper into the caverns and look for a way out.

One of them has been 127 Hoursed by the cave-in, so they leave one of their group with him. There's no cell reception, but they have walkie talkies. The majority of the group goes out and explores the caverns, occasionally thinking they hear roars and such, but it's so quiet and indistinct they can't be certain. The two back at the cave-in site maintain a constant presence by asking questions and making jokes over the radio. The healthy one will report on the deteriorating status of the James Franco now and again. Probably the group finds some unexplainable goo, because that's the kind of thing you do in these movies. Then there's another earthquake, and they hear largely unintelligible screaming and exclamations over the walkie talkies.

The group at large returns to the cave-in site, and finds nothing of their two companions but the crushed arm or leg still pinned under the rock. So now they know there's a creature in here with them and they need to make their way out post-haste. The location would be this collection of vast caverns connected by tunnels of various sizes, ranging from small enough that our heroes have to crawl through to fucking massive.

The tension comes from the sound of roars growing more pronounced in the distance, the sound of footsteps, the recurring "earthquakes." The occasional run-in with Godzilla consists of an arm or a jaw struggling and snapping at them in the smaller tunnels from one of the larger caverns. They can catch site of the occasional tussle through a crack or something. But we never get a good look, we never see Godzilla or what he's fighting.

Until the third act, where the shit hits the fan and we meet our action quota. The explorer team makes it into this MASSIVE, beautiful cavern. Shortly thereafter Godzilla and his enemy appear, the enemy being this gigantic prehistoric hornet-type creature. So they're duking it out, and our heroes can see this dim shaft of light at the top of the cavern, that's of course their way out. They have to rock climb their way up to this opening WHILE Godzilla's fighting Hornet Mothra, so the walls are crumbling, they're constantly falling and slipping and losing purchase, all connected so one will drag others with them, in this crazy vertical action sequence with a monster battle as a backdrop/instigating force.

They finally make it into the opening, only to realize they're not out of the woods yet, this is just the hornet monster's labyrinthine, honeycomb-esque home base. He's seen them entering and isn't having it, so they have to make it up this series of winding, narrow tunnels WHILE being pursued by hornet monster, who is in turn pursued by Godzilla, whose actions are constantly threatening to bring the whole house down.

It's hard to succinctly explain the third act, but it looks hella cool in my head.

That's all I've got at the moment and I totally made most of it up as I went along. I know I don't have characters or theme, and probably I'm violating everything Godzilla has ever stood for, but that was the first
thing to come to mind.

EDIT: Couple of thoughts I had as I turned this over in my head after posting. Probably they should notice the opening and start their climb BEFORE the monsters show up fighting, because you'd be crazy to not wait them out. This also gets you a moment where they can be halfway up and they hear the approaching roars and footsteps and they're like "Seriously with this?" But now they're committed and HAVE to continue during the fight.

Also possibly, the Hornet monster could come OUT of the hole to establish it as his home that he's defending from Godzilla. And if the pudding wanted to be really overegged, the nest could have baby hornet monsters in it that the humans have to fight off with pickaxes and whatnot as they make their escape. Like the whatevers in Cloverfield.

We tell the story from Godzilla's point of view.

Godzilla is on an island, just chilling. He has his son, Minilla, with him. One day, Godzilla senses some other monster intruding on his territory so goes off to fry the insolent fuckers. While he's gone, a team of humans show up and capture little Minilla, taking him back with them.

Godzilla is furious. He's never bothered the humans. Never even paid much attention to the little creatures. Now they have his SON? This is war! He sets off to get his kid back.

The humans are truly evil. They try and stop him with things which float, things which fly, all of which throw exploding fire at him. It hurts, but not as much as he hurts them. The weapons used get bigger and bigger. Godzilla begins to slow. He's injured. Seriously. The idea he might not survive crosses his mind. If he can save his son, though. If he can get him back to the sea. Minilla will live. That is all that matters. With another heroic push, Godzilla makes it to the prison where they were holding Minilla. Godzilla rips open the cell.

Minilla is dead. Dissected. As are a baby Rodan and Mothra.

Oh, Humanity is so dead. Godzilla lets out a cry unheard since the dawn of Man. From the far corners of the Earth, the other creatures respond. As the screen fades out, we see a Godzilla, rejuvenated with a Holy Purpose, marching across the countryside towards a city. The cries of other monsters come to us, louder.

It is the end of Humanity.

Pop quiz hotshot: your kid just jumped onto a fire ant nest. What do...well you know.

So, you're talking about a new version of King Kong or Mothra vs Godzilla, basically. Human greed brings monster destruction on a city.

CHRIS exists to take from the poor and give to the rich. He's under their control in an oligarchic economic collaptocalipse. CHRIS is a clever acronym denoting the legions of evil-Robocop-Voltrons our masters want to impose over us, but we're not going to let them! An unlikely alliance of cool teens, hacker geeks and lame adults conspire to commandeer enough CHRISes to form their own giant CHRISTOPHER and protect freedom and liberty by robo-punching the bad guys into submission.