Nama : Elaida Grace Ayu

NPM : 201812500532
KELAS : Y.5.E
PELAJARAN : INTENSIVE WRITING
NO TLP. : 087883596936
TANGGAL : Sabtu, 20 Februari 2021

1.
a) A great vacation : My summer vacation at my grandparents' farm was filled with hard work and
fun.
b) My Childhood : Childhood memories are the sweetest things in a human mind. Nobody can forget
one’s childhood memories whether pleasant or painful.
c) Fast Food : Many fast-food chains make their profits from adding a special ingredient called
“forget sauce” to their foods.
d) Music : Music is something that every person has his or her own specific opinion about.
e) Friendship : Friends are probably the only people who will understand the depth of our silence
than our words.
2.

Paragraph 1 Paragraph 2

Texting is a popular way for people to communicate.
They can keep in touch with many people this way.
People can simply type a message and click “send.”
(Supporting Sentence). Sending messages like this
is one way for people to stay in touch.
Our professor keeps a helpful blog for our class (The
Topic Sentence). We can log on to review
assignments. We can also read summaries of class
lectures. This blog makes it easy to know what is
happening in class.

3.
a) Talia has worked here for ten months. FACT
b) This is a great company. OPINION
c) The joke Dave told was very funny. OPINION
d) I had two other jobs before this one. FACT
e) We finish work at 5:30 pm. FACT
f) My boss is a very fair man. OPINION
g) More than 100 employees attended the office party. FACT
h) The company is on two floors. FACT
i) My boss moved here from Texas. FACT
j) The office party was a lot of fun. OPINION
4. GODZILLA : THE KING
OF MONSTER (2019)

THE MOST
MEMORABLE MOVIE

AMAZING,
FANTASTIC, AWSOME

Five years have passed since the devastation caused by Godzilla’s climactic battle in San Francisco. While
many have attempted to move on, mourning mother Dr. Emma Russell (Vera Farmiga) has committed
herself to her work on the Orca, a bio-acoustic sound wave system that may hold the key to controlling
Godzilla and other “titans.” When the doctor is kidnapped by Jonah Alan (Charles Dance) and his band
of eco-terrorists, Emma’s daughter Madison (Millie Bobby Brown) is dragged into the madman’s
dangerous scheme to release more behemoths being held by secretive monster-hunting organization
Monarch – led by Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins). Despite his
hatred for Godzilla, Madison’s father Mark (Kyle Chandler) agrees to assist Monarch in their quest to
locate and aid the gargantuan reptile against their mutual enemies – including a newly freed three-
headed abomination hell-bent on dominating the world.
“We must keep our faith in Godzilla!” The world’s most famous lizard monster has been, conveniently,
taking a five-year hiatus so that the events of this sequel can directly line up with the span of time
between films. Humanity hasn’t learned much during the break, once again building containment fields
that immediately fail to hold their prisoners, and devices of control that are unable to exhibit much
command over their targets. It’s certainly not an original idea to have humans quarrel over meaningless
authorities, yet that seems to be the major premise here; indeed, the first half-hour of “Godzilla: King of
the Monsters” rehashes themes from every monster movie of the last 20 years.
Further delaying the inevitable clash between Godzilla and longtime nemesis Ghidorah is a collection of
hackneyed personas. Every generic character blueprint appears, sometimes in multiples: a nerdy scientist
(Middleditch); a wise-cracking technician (Whitford); the precocious, headstrong child (Brown); the guilt-
ridden father running away from his family (Chandler); the grief-stricken mother consumed by her work
(Farmiga); the grimacing, stone-faced villain (Dance); and a wealth of military personnel (some barking
serious orders, others providing cynical utterances), researchers, and politicians. And the dialogue is
bland to match, from commonplace conversations to laboratory lingo to military mumbo-jumbo.
Far too many supporting players populate the picture, with not a one feeling fresh or necessary.
Fortunately, Monster Zero promises some excitement, though it’s the kind that probably won’t live up
to expectations. Special effects have come a long way since the man-in-a-suit gimmicks of the originals
or Harryhausen’s stop-motion derivations, so Ghidorah’s appearance is fairly amusing; the space
creature’s movements are mesmerizing, particularly as its three heads writhe in a natural, oscillating
cadence. But despite the sizable budget, there are still copious amounts of obfuscation pummeling the
screen; rapid cuts and camera angles, storms and environmental debris, and flickering lights paired with
nighttime shots all keep the kaiju combatants blurred and entangled. Specific choreography is impossible
to sort out.
“Godzilla: King of the Monsters” is an epitomic example of bombastic spectacle unable to overtake
terrible storytelling. Accidental hilarity finds its way into the film through candid lines from an
emotionless antagonist; ludicrous transportation conundrums as the main characters zip back and forth
across the globe; and the nonsensically-ignored physics of nuclear explosions and blast radii, oversized
stealth jets flying through violent tempests while miraculously pulling off complex rescues, and
submarines diving and surfacing from extreme depths with the ease of a toy in a bathtub. But the visuals
are the least of the problems; the narrative is more focused on motivational speeches, awestruck
expressions and commentary, phonily emotional sacrifices, artificial predicaments designed to inspire
last-minute heroism, and laughable stare-downs between man and titan.
The filmmakers opted to follow the techniques of the Transformers series rather than “Pacific Rim,”
resulting in massive amounts of destruction and collateral damage with very little substance. The
monster battles are intermittently enjoyable, but the humans and their trivial woes continually interrupt
them to ruin the momentum. For a film promoting the fine balance between mankind and nature,
“Godzilla: King of the Monsters” can’t seem to balance the petty people, the colossal kaiju, or the reasons
for all of them to exist in the same storyline.
I think this film is very cool, and very memorable in me. because this fil satisfies my love with
monstervers. On the one hand, I see that the main character in this film, Godzilla, tries to maintain the
balance of nature in a heroic way. and also a little touch of family films, which teaches us to forgive the
past and forget about the past, and also sacrifice for others.