‘Godzilla Minus One’ Review #2
Stars: Minami Hamabe, Ryunosuke Kamiki, Sakura Ando, Kuranosuke Sasaki, Munetaka Aoki, Hidetaka Yoshioka, Yuki Yamada, Yuya Endo, Kisuke Iida, Sae Nagatani, Ozuno Nakamura | Written and Directed by Takashi Yamazaki
Nearly 70 years since Godzilla first appeared on-screen, the king of the monsters has headlined almost 40 feature films along with a few TV shows. Initially conceived as a metaphor for nuclear weapons, the atomic dinosaur has since battled numerous monsters on-screen, something that has driven Warner Bros’ recent adaptations while they build a Monsterverse. A different approach has been taken by writer/director Takashi Yamazaki, taking the icon back to its post-war roots for an outstanding work that is among the franchise’s best.
As World War II nears its end, kamikaze pilot Kōichi Shikishima (Ryunosuke Kamiki) runs from his orders by claiming that his aircraft is faulty. His arrival on Odo Island coincides with the attack of Godzilla which kills all but a handful on the island. As he returns home plagued by survivor’s guilt, Shikishima takes in a homeless woman, Noriko Ōishi (Minami Hamabe), and an orphaned baby she rescued, Akiko (Sae Nagatani). As life begins treating them well, matters are shaken by Godzilla’s destructive return.
A common criticism of the English-language adaptions regards the human characters, with some claiming that a Godzilla film would work better without such inclusions. Godzilla Minus One proves why such an idea is laughable, as the feature focuses on building audience investment with exceptional characterization before throwing them into the destructive nightmare. Despite being part of a family unit united by wartime devastation, Shikishima feels undeserving of happiness due to his survivor’s guilt and prevents himself from achieving the happiness that he truly wants. Sticking in the memory is a scene where he opens up to Noriko about his inner struggles, with the performers powerfully capturing this insight into the lead’s inner turmoil.
Complimenting this character work is the use of the titular kaiju, as Godzilla and the horrifying devastation left in its wake reflect trauma in ways more effective than David Gordon Green’s Halloween trilogy managed. The tension builds as viewers catch little glimpses of the titular monster, similar to how Steven Spielberg used the shark in Jaws to similarly terrifying degrees. When it comes time for the monster to rise up and wreak havoc on humanity, it makes for some of the year’s most exceptional sights.
The conveyed scale and scope of such attacks pack an atomic punch, ensuring the impact is felt in horrifying fashion as these people try to survive against such a destructive force. The most exceptional addition is the use of Godzilla’s signature atomic breath, charging up in gorgeously visual ways before unleashing its fury. While the attack may last a second, the impact is deafening in this nail-biting work. What makes it even more impressive is how the visual effects put to shame Hollywood’s blockbuster output, besting the works costing at least $200 million with an impressive budget of less than $15 million.
Within the work is young crewman Shirō Mizushima (Yuki Yamada), whose idealisation of war and putting his life at risk clashes with his captain, Yōji Akitsu (Kuranosuke Sasaki), whose wartime experiences left him to realise the folly of such nationalist ideas. This relationship magnificently tackles the imagined noble sacrifice of one’s life for their country, rejecting it to instead value human life and the right to live. This is signified in a late moment which should feel contrived, yet the well-established character work instead made it a tear-worthy moment within this impressive kaiju movie. For anybody who thought their “Best of 2023” list was all sorted, Godzilla Minus One is ready to decimate that feeling in an instant.
***** 5/5
Godzilla Minus One is in cinemas now.
