30.12.23
Just like the titular kaiju, Godzilla Minus One came out of nowhere in 2023, and it does three things exceedingly well. Firstly, it evokes the original spirit of the 1954 classic with the king of the monsters acting as a metaphor for nuclear war in post-imperial Japan. Secondly, it is both culturally respectful of Japanese norms and customs whilst also appealing to Western audiences and beyond. Thirdly, and most impressively, it’s a fantastic blockbuster with an incredibly threatening aberration taking nearly all of the limelight.
The film features a reluctant, dishonourable hero lead along with a modern, against-tradition love story that adds ample human heart. The beautiful acting from the young Sae Nagatani in a prominent role tugs at the heartstrings. This is the best on-screen Godzilla ever I would say, and I loved it because it does something never seen in a movie like this before – we see the creature evolve like Charmander becoming Charizard in Pokemon. It’s exciting and activates the childhood nostalgia in me from other adored Japanese shows and films.
However, there is a cynical and predictable final shot which alludes to inevitable sequels, which slightly took off the shine for me as part of me hopes this is just a stand-alone film unlike other Godzilla films and huge monster franchises. Why is that? Well because it’s the rare kaiju movie that delves so profoundly into the inner turmoil and driving motivations of the human characters, desperately fleeing for their lives from the earth-shattering ginormous A-hole rampaging through Japan. It inspires awe with its modern take whilst simultaneously making me yearn to revisit the groundbreaking 1954 original that started it all.