A scary and emotional kaiju movie – The Hollywood Reporter

“Godzilla minus one”

Toho International/Courtesy Everett Collection

Let’s face it, Godzilla wasn’t much of a looker at all.

But 70 years and dozens of films later, Japan’s favorite kaiju roar louder than ever in its latest big-screen incarnation, which may be one of the best Godzilla films ever made. Arriving after seven years Shin GodzillaJapanese made Godzilla minus one Puts American efforts in recent years to shame (I’m looking at you, 1998 Godzilla) with its blend of incredible monster-movie thrills and real emotion. This may be the only Godzilla movie that will make you feel that way verklempt by the time you finish.

The film is written and directed by Takashi Yamazaki, who is also credited for visual effects, and serves as a reboot. The story begins in the final days of World War II, when kamikaze pilot Koichi (Ryunokuki Kamiki, wonderful) makes the decision not to die for his country but to feign engine trouble and land on a military base on the island. Unfortunately, he chose the wrong moment, because shortly after his arrival Godzilla appeared and laid waste to everyone there, and the only survivors were Koichi and the mechanic (Munetaka Aoki).

Months later, Koichi returns to Tokyo to discover that his parents have been murdered and their home is in ruins. He befriends a young woman, Noriko (Minami Hamabi), who is fostering an orphan girl, and the three form a makeshift family, with a friendly neighbor (Sakura Ando from… Monster And the thieves) Providing moral support and babysitting. Despite the happiness of his new relationships, Koichi is plagued by guilt over abandoning his suicide mission and surviving the massacre on the island.

Meanwhile, thanks to a nuclear test conducted by the US Army at Bikini Atoll, Godzilla proves to be more powerful and indestructible than ever, with the ability to fire deadly heat rays adding to his already formidable giant lizard arsenal. He quickly invaded the mainland, devastating Tokyo’s Ginza district, and in the process, seemingly killing Noriko, leaving the little girl without a mother once again. Koichi becomes determined to help eliminate Godzilla once and for all, offering his flying skills to a team of scientists who come up with the idea of ​​encasing the creature in bubble wrap and sinking it to the bottom of the sea (sounds ideal). Reliable when they describe it).

Godzilla has long been seen as a symbolic representation of the nuclear devastation that Japan suffered, and that theme is evident here as well. but Godzilla minus one It adds a more personal dimension in the form of Koichi’s ongoing trauma, since the only way he believes he will be able to atone for his guilt is by destroying the monster. To this end, he is willing to engage in the kind of suicide mission from which he was previously saved.

In addition to the human drama that characterizes this effort, there is no shortage of stunning set pieces, including a thrilling sequence in which Godzilla chases a boat with the ferocity of a determined shark from Jaw. Despite a stated budget of only $15 million, the scenes in which Godzilla goes on a rampage are so exquisitely executed, that it makes one think that major Hollywood studios, who wouldn’t think to spend ten times that amount for similar efforts, should go the extra mile. Immediately to Japan. And take some lessons.

The dialogue, at least as translated, doesn’t sound elegant, containing lines like “Godzilla looks really moody!” Being a typical example. But there are also clever touches throughout, such as Godzilla’s impending arrival signaled by clumps of dead fish surfacing. Writer-director Yamazaki has absolutely succeeded in making a Godzilla film that is as emotional as it is genuinely scary, something I never thought I would ever write. With this kind of tender, loving care, Godzilla may still be rampaging in Tokyo for another 70 years.