‘Godzilla Minus One’ Review: Long Live the King of Monsters
There is no fictional character whose resume can match the King of the Monsters. Over the course of 70 years and 37 films (and counting), Godzilla went from laying waste to human civilization to drop kicking insect creatures, from embodying the fear of nuclear holocaust to representing the pride of a nation on the world stage. Ask a group of Godzilla fans about their favorite movie in the franchise and you would get different answers – maybe it’s the one where Godzilla does a victory dance in space (Invasion of Astro-Monster) or the one where he uses his atomic breath to propel himself into the air to fly (Godzilla vs. Hedorah).
Even Legendary’s take on the monster has been an overall success in my eye. I admired Gareth Edwards’ restrained approach with the 2014 Godzilla and I had the biggest grin on my face throughout most of Godzilla vs. Kong. Of the many American attempts at bringing Godzilla onto the big screen, Adam Wingard understood how to make a monster rumble.
But a new Godzilla movie from Japan will always spark my interest. Toho has reinvented this character time and time again. It is the place to go to find a new interpretation of this cinematic icon. After all, the last Godzilla movie made by Toho (2016’s Shin Godzilla) won Best Picture at the Japan Academy. Rightfully so, as I have expressed in great detail why Shin Godzilla is the best of the franchise since the 1954 original.
In the case of Godzilla Minus One, writer and director Takashi Yamazaki is less interested in a sophisticated deconstruction of government. If Hideaki Anno tackles bureaucratic red tape in Shin Godzilla like it’s Dr. Strangelove, Yamazaki delivers Godzilla Minus One like it’s Japan’s Dunkirk – centering on a few human characters through a war/action movie, with Godzilla on the side.
The biggest departure for Minus One is the decision to have the story take place immediately after the events of WWII, in a clear throwback to the original 1954 classic. But instead of having its cast of characters come from the Japanese government, the script instead rallies around a group of veterans and private citizens who are combating their trauma during the war. Ryunosuke Kamiki is excellent as the lead protagonist Kōichi Shikishima, a runaway kamikaze pilot struggling with his survivor’s guilt and the abandoning of his post. Most importantly, the film takes its time for us to get to know the human characters, as multiple title cards show the years pass and Shikishima attempts to rebuild a life with a group of survivors. It’s even telling for this kind of movie that Shikishima’s job after the war is to join a minesweeper crew to “clean the ocean” and be rid of any remnants of the war.
Though the human drama is much appreciated, it does occasionally stumble. A line of dialogue can seem too on-the-nose or a particular performance can feel a bit too theatrical that the film can start to feel like a soap opera at times. Thankfully, not only does the script fully commit to these emotional moments, but Yamazaki even finds clever ways to tie them back to a grand central message in the story, with some satisfying surprises and payoffs along the way.
Connecting all of this drama together is the looming cloud of fear and trauma, and that’s where Godzilla comes in. Fans will find countless things to point to and admire about Godzilla’s design here. His classic roar from the 1954 original film is largely kept here, and his overall appearance feels like a clear throwback to his look in the Heisei Era (specifically the films from 1984-1995). He thunders ahead slowly, indestructible as always, but with some extra work done to his eyes, Godzilla just seems more expressive and mean this time. For the traditional rubber suit fans, he may be fully CGI (there’s a couple shots where he’s a tad weightless) but he retains that “big bully” energy here. It’s a grand return to form, especially for audiences who struggle with Shin Godzilla’s mutated grotesque look.
Though Godzilla Minus One is clearly a much less sophisticated film, it has a lot on its mind and it wears its heart on its sleeve. It jumps back and forth between being grim and solemn over the mass casualties while still feeling natural in the more humorous moments, thanks to some much-needed human camaraderie or some good ol’ dramatic irony. Most Godzilla movies struggle with their human cast, but the human characters this time around are not only likable, they’re memorable and well-acted.
Where Shin Godzilla excelled was having its protagonist be the country of Japan, as it critiques every nook and cranny of its bureaucratic government while laying out the groundwork on how it can do better, so Japan can rebuild and stand with pride. Godzilla Minus One takes the opposite approach, acting as the perfect companion piece. By keeping itself firmly grounded to just veterans and private citizens who have experienced great loss during the war, the film speaks of the government as an apathetic entity. Characters talk about how human life was never valued during the war – tanks were designed with poor armor, planes had no ejection seats, and pilots were ordered to fight with kamikaze tactics, just like our protagonist Shikishima.
As melodramatic as it is, Godzilla Minus One is powerful at the right moments, when we see normal citizens rally together to fight Godzilla. It’s not about national pride, or fighting one last battle because the war was lost. It’s about ensuring there is a better tomorrow for the next generation. All of that comes together in a heart-pumping third act that will put a lot of smiles on people’s faces. The iconic theme from Akira Ifukube is thoughtfully used, the visual effects and destruction sequences are jaw-dropping, whether it is Godzilla’s tail “accidentally” destroying a building as he turns around or Godzilla tossing a ship into the mainland like it’s a toy. But nothing will prepare you for his atomic breath. For Godzilla’s most famous and most destructive ability, his atomic heat beam is beautifully realized – the cinematography and deafening sound will take your breath away. Even when this is the nth time we’ve seen a Godzilla movie, the presentation makes it feel new, providing a genuine sense of danger and suspense.
Godzilla has been the King of the Monsters for 70 years now. Whether you love him as a metaphor for nuclear destruction or as Japan’s tourism ambassador, his versatility is his greatest strength. With Godzilla Minus One, I am happy to report that the franchise is still alive and well. Long live the King, and may his reign continue.
Grade: A-
Godzilla Minus One will be released in the U.S. on December 1.
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