Godzilla, that tall, irradiated, irritable frenemy of humankind, has starred in more films over the last 60 years than James Bond. The latest, subtitled King of the Monsters, is a sequel to 2014's punctuation-free reboot Godzilla, a city-block-buster that conjured tension and a gathering sense of dread—enough, at least, to give its dynamic correction of San Francisco real estate prices some emotional heft. It was thoughtful and somber about its high, mostly offscreen body count in ways films of this sort frequently are not.