GODZILLA – The Review

Writer’s note – I specifically chose not to give a formal synopsis of the plot as I do with most reviews since much of the film’s story hasn’t been discussed in the film’s previously released commercials and trailers.

When Gareth Edwards first decided to venture out into the land of giant monsters with his 2010 film MONSTERS, it wasn’t so much a kid’s game with plastic toys in a sandbox (see last year’s PACIFIC RIM for that) but more of a metaphorical journey of strangers connecting with one another amidst unforeseen circumstances (aka – a few giant squid-like monsters). A few years later and with $160 million more than what his previous budget allowed, Edwards is still intrigued by the idea of the journey even if his target audience isn’t the arthouse crowd anymore. That being said, he clearly has a firm grasp on what his audience wants… and eventually he gives in to the pressure. Yes, given the May release date and the marketing budget the size of… well, you get the idea… GODZILLA seems to be aimed at the summer-movie going audience. And even though the main character played by Aaron Taylor-Johnson is literally on a journey trekking across continents, the journey is aimed specifically for fans of the title character. GODZILLA fans will enjoy the journey – for the most part – but unlike MONSTERS that came before it, it’s not necessarily a journey for a journey’s sake, but more of a journey to get to the destination. As in the case with GODZILLA, what an entertaining and applause-worthy destination it is.

Right from the opening credits, the film’s score kicks into high-gear as old government papers and black and white undercover photos are quickly revealed giving the audience their first clue that this may be more of a sequel than a reboot. The spectacular score that perfectly blends a “classic” sound with modern flourishes is just one clear example of how much of a departure this film is to the 1998 film atrocity that last featured the king of the monsters on the big-screen. For better and for worse, Edwards’ approach to the film leans heavily towards the original Toho Company films. Gone is any form of campiness to the point that the film feels a little too serious. A small injection of comedy or lighter moments would have gone a long way to soften the dryness. That’s not to say that the drama doesn’t work. In fact, Bryan Cranston – no surprise of course to fans of BREAKING BAD – is exceptional in the emotional story arc he’s given. The same can’t be said for Aaron Taylor-Johnson. His failed attempt at developing a character the audience can connect with seems inferior to even the big, scaly CGI character. This wouldn’t have been as much of an issue if he weren’t the main character for 2/3 of the film. Sequence after sequence of Johnson coincidentally stuck in peril is used to try to mask Johnson’s cold and detached character. These set-pieces also serve to coyly reveal glimpses of the creature(s), and occasionally they standout as inventive scenes that help ratchet the tension as we wait for the big showdown. An army mission on a train bridge is especially nerve-wracking, and the extended sequence frequently seen in the trailers of the skydivers leaping into action is atmospheric and even a little surreal. It is moments like these that make the film more than just a long wait to get to the big finale. But let’s be honest . . . the showdown is incredible and indeed worth the wait. Unlike last year’s PACIFIC RIM, the action can be easily comprehended and not a mess of flailing limbs and flashes of color in the dark; even if the finale also takes place at night. Don’t be surprised if fans of the title character applaud at several moments as they did in the screening I attended.

At the risk of repeating myself, those unfamiliar with Edwards’ previous venture MONSTERS might be doing themselves a disservice. Much like his previous creature feature, a slow unveiling of the creature(s) takes place to the point that some audiences might wonder when the main character is going to stomp onto the screen. Still, his presence is always felt as he is constantly the subject of discussions and pointed to on tracking monitors thanks to Ken Watanabe and other absent-minded scientists. Like a master poker player, a deliberate approach is in place by the director to wait to reveal his whole hand until the end. For the final thirty minutes, pedestrians run and scream, buildings crumble, missiles are launched, giant tails whip around, and beasts roar (lots of loud roaring in fact). The finale ignites the screen in a mega battle that can barely be contained on the screen. It only seems appropriate to see this on the biggest screen you can find.

Given the size of the creature itself, you would expect a mega-sized blockbuster filled from beginning to end with Michael Bay-esque explosions, carnage, and monster mayhem. For me, it’s a relief to see someone approach the summer blockbuster film in a “less is more” way. Much of the action early on is left for the audience to imagine. We are frequently shown only the aftermath; which in and of itself is often a sight to behold thanks to some spectacular aerial shots. Some of the post-WWII themes that were explored in the 1954 sci-fi classic are touched upon here without feeling cheap or forced. Subtext though doesn’t play as big of a part as does a desire to bring GODZILLA back in a faithful and entertaining way. However, for those looking for more than just thrills, the film may spark a conversation or two about if we ever truly know or understand what we think is our “enemy.” Most importantly though, fans can rejoice – GODZILLA feels like an atomic breath of fresh air that is stomping towards a bright future without completely leaving the Toho building blocks behind in the rubble.

4 out of 5