Godzilla
Image via WB

Godzilla (2014) Review: The King is Back

The cultural impact of Godzilla is something that has stretched far beyond that of Japanese pop culture. Since his debut in Ishiro Honda’s 1954 classic of the same name, Godzilla has appeared in over 30 film adaptations, sequels, and remakes, along with a myriad of other pop culture crossovers. Despite Godzilla’s lasting cultural impact throughout the world, the prominence of the character, especially in western culture, has seemingly dissipated, due in part to the atrocious 1998 Roland Emmerich “interpretation” (if you want to call it that) of the character. In the new Gareth Edwards reboot, however, the director reminds us why Godzilla has and will continue to hold relevance in our society, while still crafting a thoroughly engaging experience that audiences will not soon forget.

For those that are unaware, the plot of 2014’s Godzilla is relatively simple. It follows Ford Brody (Aaron Taylor-Johnson), a bomb disposal expert for the U.S Navy who, after learning that his father has been arrested for trespassing in a quarantine zone near Tokyo, Japan, must travel to bail out his estranged father, Joe Brody (Brian Cranston). Joe believes that the quarantine zone is not a quarantine zone at all, but rather a cover-up by the government to hide something massive. As they grow closer to uncovering the secret behind the cover-up, Ford and his father stumble onto something that has further reaching implications than they could have ever thought: the destruction of humanity.

Godzilla
Image via WB

What impresses me most about Godzilla is the amount of restraint that the director was able to employ when making the film. Rather than focusing on the grandeur that the subject matter is inherently privy to, Evans and Screenwriter Max Borenstein decide to concentrate their efforts on the human element, while simultaneously holding a slow burn mentality that pays loving tribute to what makes the giant Kaiju such a fascinating cultural icon, to begin with. By focusing on the mystery surrounding Godzilla’s origins, the film e what the character ultimately represents: the misplaced hubris of humanity. Godzilla has always toted the line between hero and villain, and this film strikes a perfect balance between what makes him terrifying and endearing all at the same time (in the movie he explores referred to as a ‘god’ sent to restore balance to nature).

Visually, Godzilla (both the creature and the film) is truly a sight to behold. We have never really seen Godzilla like he is presented here, and the scale at which Edwards composes his frame only emphasizes the enormous nature of the character. Edwards also proves with this film that he is uniquely talented with creating suspenseful, tension-filled moments with every shot. There is always a sense of anticipation, mostly because Edwards has the wherewithal to realize that sometimes less is more, especially when you understand Godzilla’s presence is a constant one, even if we don’t see him on screen. More so than this, the thing that I loved the most about Edwards’ approach to the material is how he and Borenstein can subvert expectations at the turn of a dime, even furthering the anticipation we feel throughout the film.

Godzilla
Image via WB

Despite all of the great things that Godzilla manages to do right, there is still a glaring misstep: Aaron Taylor Johnson. The problem with casting Johnson as the lead is that his performance is as bland the name of his character. More so than this, Johnson is completely miscast. The issue is not that he is terrible in the film; it’s that all I could think about while watching his performance was how Dave Lizewsky managed to make it into this picture. The supporting cast are passable with what they are given, but that’s often the issue, most of the characters besides the principals are so flat and bland that they essentially become “monster hunter,” “scientist 1”, and “scientist 2”. Luckily though, there is enough from the supporting Principals (mainly Cranston and Binoche) to make me care when the shit hits the fan. Although there are some casting missteps the film, Godzilla looks like a masterpiece of characterization when compared to more recent American Kaiju films (Pacific Rim, Cloverfield). More importantly, Edwards achieves what is seemingly unattainable – I care for Godzilla in this film.

It is evident to me that Edwards has a love for the source material, and he was able to translate that love into a film that not only pays tribute to what makes Godzilla such a wonderful character, while still putting his spin on the material. Most importantly, Godzilla never forgets to be entertaining, because after all, without a sense of fun, there would be no point to a film like this. Terrifying, fascinating, and exhilarating, Godzilla is a return to form for the King of the Monsters.

Rating: 4/5

About Taylor Salan

Taylor Salan is a independent filmmaker who currently resides in the San Fernando Valley. Since childhood, Taylor Salan had a fascination with movies. Although he was an avid fan of film as a child, it wasn’t until his years as a young adult that his passion for the art of filmmaking truly came to fruition. A current student of the film production program at California State University Northridge, Taylor studies Cinematography but ultimately has plans to direct full time if afforded the opportunity. In his spare time, Taylor produces audio podcasts and blogs about film for ageofthenerd.com. He is also a longtime musician, playing drums for over 8 years.

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