A Godzilla movie that everyone can enjoy.
There have been many stories told of Godzilla on film. From the Japanese films to the Matthew Broderick mess to the Monsterverse movies (including the upcoming “Godzilla v. Kong: The New Empire”), there has to be a balance between special effects and emotional weight, all about the humanity and characteristics of the creature and the people who fear him. Sometimes in recent years, it gets messy in construction, other times, it can be campy fun, but in the case of “Godzilla Minus One,” there’s a well balance between those elements.
You know what. Let me be clear. This is a Godzilla movie that doesn’t care about big American stars, or reliance on wall-to-wall CGI effects, or commercialism. It cares about being a Godzilla movie with the kind of development that everyone can enjoy. Whether or not they’re into this specific genre, there’s something nostalgic and innovating about “Godzilla Minus One” from the score to the very loud roars to the characters to the visual effects of the giant dinosaur monster.
The time is the near the end of WWII, as we meet a Kamikaze pilot named Kōichi Shikishima (Ryunosuke Kamiki), who finds himself nearly killed by Godzilla. A few years later, after starting a family with Noriko Ōishi (Minami Hamabe) and an orphaned baby she found named Akiko (Sae Nagatani), he’s called into action to help stall Godzilla’s arrival into Japan.
Unfortunately, for them, this monster has been mutated enough to heal its wounds, and it’s making its way to Tokyo. And the Japanese government can’t inform the people without them causing a panic. But of course, when it comes, it’s gonna scare and chase people, and causing mass destruction and carnage all around.
I apologize if I’m late with this review, but the holidays can be stressful for me. Keeping schedules balanced and so forth can make the holiday season basically Tax Season for film critics. But I’m glad I was able to get a look at “Godzilla Minus One,” and I’m glad it won the Best Visual Effects Oscar. As a matter of fact, it’s the first Godzilla movie to win an Oscar. But even without the Oscar buzz, there’s a complexity in its story and action sequences that we try to find in American action films. This is a Japanese film that knows an entertaining Godzilla movie when it sees it.
When we’re not watching all the destruction and special effects, we’re acknowledging Kamiki’s performance, as his character breaks down because of the magnitudes of his choices. It’s impossible for us to imagine his turmoil, but we can sympathize with him. And when he must get into action, the movie doesn’t need to act all commercial and self-congratulatory. It knows some pretty good tricks, ones we can see coming and hope we’re right.
Some scenes feel routine, but most of the screenplay (written and directed by Takashi Yamazaki) allows us to really fear for the lives of the people and allows us to be tested by how much damage and carnage Godzilla can cause. This isn’t junk food entertainment; this is fresh entertainment.
Again, I’m sorry that I’m late with this review, but better late than never.
