"Godzilla" Review

It's been 16 years since the last American version of Godzilla was released in theaters, and with the new one finally here, I know people are going to want to compare the two. So, let me get this out of the way. If I can point your attention here:

Shown above is a scene from 2004's "Godzilla: Final Wars" where Godzilla thrusts Zilla (the 1998 American version) into the Sydney Opera House, proceeding to fry him with his atomic breath. Needless to say, it's a short fight. Consider the comparison made.

When an ancient Japanese monster resurfaces, wreaking havoc on the surrounding population, nature calls on the King of the Monsters, Godzilla, to restore balance. A seismologist (Bryan Cranston) and his son (Aaron Taylor-Johnson) lead the way, trying to figure out how to get rid of both monsters, as the creatures chase each other down and duke it out in a battle to end the ages.

I don't recall a recent film so heavily dependent on the power of a theater's sound as "Godzilla". The bass echoes through the seats when Godzilla roars. The orchestra swells like a wave, carrying weight and atmosphere. Alexandre Desplat's score immediately sets a grand and haunting mood; from the opening credits, the tension rises, strong and monstrous.

Taking its cues from the 1954 original, "Godzilla" is dark, less campy than many of the other films. The cinematography plays with perspective, shadow, and light: the monsters are covered in fog, revealed part by part, casting immense shadows over soldiers and civilians alike. 

Now, the movie doesn't take itself as seriously as the original; that film was a reaction to the terror plaguing Japan after World War II. They lived the horrors of nuclear destruction, conveying the panic settling in society at the time. The grave tone of the original never found its way across the ocean. When shown in the U.S., the original was seen as just another B-movie sci-fi picture. The new version carries American sensibilities; there are quite a bit of campy moments throughout. I wouldn't say they're welcome inclusions, but I wasn't bothered too much.

The main issue critics, fans, and my friends point out is the buildup. The middle of the movie drags on; we interact a bit too much with the human cast, who in no way, are bad, but given a choice between watching an Olsen sister or a 400 foot monster...you see my point. The comparison I make is to "Jaws". 

"Jaws" waited an hour and a half before showing the monster; before then, suspense was delivered in careful doses through fantastic dialogue and performances. The three-man crew carried the movie well, one almost wouldn't mind if the shark never showed up. However, when the shark DID show up, the entire movie's focus shifted from the camaraderie to the shark hunt.  

In "Godzilla", the suspense is dealt extraordinarily: Bryan Cranston carries so much passion and conviction, he builds dread perfectly. Every line he says is bought: hook, line and sinker. However, after we see Godzilla for the first time, the movie jumps back and forth, attempting to rebuild suspense for the next battle. Granted, these action scenes are a lot of fun, but the cat has been let out of the bag already. One scene can promise an intense fight between the monsters, and immediately cut away to the humans! Does the film not know where its priorities should lie? This jumping rope between plots is the biggest fault; I would be lying if I said it didn't suck me away from the story for a while.

However, when "Godzilla" delivers, it excels. The monsters are designed beautifully! Of course, the monsters are computer-generated, but their textures look unbelievably lifelike. (It also helps to have a movie mostly shot in shadows.) The creatures have personalities: from their cries to body language, they become their own characters, even carrying some of the more emotional scenes of the film.

Fight scenes are choreographed with both styles in mind: there are moments when I feel the ideas were taken from the motion of two men in rubber suits (like in earlier movies), and others where the creatures swat, hit and bite like real animals would. Each style is subtle and blends well to create exciting, satisfying brawls, resulting in a climax that got my theater clapping and cheering.

For all the boring scenes in the middle, the film's bookends have atmospheric, haunting suspense and payoffs that exceed every expectation. The effort director Gareth Edwards and crew put into this project is immense, creating an exciting, worthy addition to the King of the Monsters' legacy. This is a movie that needs to be seen with a crowd and thunderous speaker system as soon as possible, and I know I'm ready to go right back for a couple more viewings. Thank you all for reading, I'm the Man Without A Plan, signing off.

"Godzilla" trailer: