Godzilla (2014) 3D Review

Rated PG-13 (Intense Sequences of Destruction, Mayhem and Creature Violence)

Running Time: 2 Hours & 3 Minutes

Cast-

Aaron Taylor-Johnson-Lieutenant Ford Brody

Elizabeth Olsen-Elle Brody

Bryan Cranston-Joseph Brody

Juliette Binoche-Sandra Brody

Ken Watanabe-Dr. Ichiro Serizawa

Sally Hawkins-Dr. Vivienne Graham

David Strathairn-Admiral William Stenz

Carson Bolde-Sam Brody

Cameron John Adams-Young Ford Brody

Richard T. Jones-Captain Russell Hampton

Victor Rasuk-Sergeant Tre Morales

Patrick Sabongui-Lieutenant Commander Marcus Waltz

Directed by Gareth Edwards

Bryan Cranston and Aaron Taylor-Johnson star in "Godzilla," Gareth Edwards' contemporary reimagining of the 1954 classic.

Note: Screened on Monday, May 5, 2014 at Regal E-Walk Stadium 13.

'They called it grotesque junk, and said it looked like something you'd spit up. I felt sorry for my crew because they had worked so hard!' When director Ishirō Honda released his now-seminal kaiju film "Godzilla" (In Japanese: "ゴジラ," "Gojira") on November 3, 1954, the response from Japanese critics ranged from mixed to negative, with many accusing the picture of exploiting the widespread devastation that the country had suffered during World War II. Audiences, however, reacted differently as the experience of watching Honda's film proved to be emotionally cathartic for them. As the monster indiscriminately rampaged through the city of Tokyo, Japanese viewers watched 'in somber silence, broken[only] by periodic weeping.' Barely nine years ago, the United States dropped two atomic bombs—one on Hiroshima and the other on Nagasaki—in an effort to force the Japanese to surrender and end World War II. I'm not here to debate whether it was right or wrong to use these weapons of mass destruction but there's no denying that it left a long-lasting scar on Japan's cultural psyche. Honda's "Godzilla" was a warning against the use of nuclear weapons as the eponymous prehistoric creature was mutated and awakened from its centuries-long slumber by Japan's errant nuclear testing. In order to defeat it, an even more destructive weapon dubbed the 'Oxygen Destroyer' is invented but the device kills all life in the sea as well as the creature itself. For Japanese viewers, "Godzilla" wasn't spectacle; it was their collective fear of the atomic bomb personified.

Although Godzilla went on to become a worldwide pop culture icon, with Honda's film spawning twenty-seven sequels (and a much-reviled American remake in 1998 from director Roland Emmerich), the so-called 'King of the Monsters' has unfortunately become something of a punchline over the years due to the franchise's notoriously cheesy special effects and acting. That's all about to change as Gareth Edwards, director of the 2010 sci-fi cult hit "Monsters," is returning Toho's famous kaiju to its destructive roots in the simply-titled "Godzilla," set to be released this Friday. A co-production between Warner Brothers and Legendary Pictures, Edwards' contemporary reimagining of Honda's classic is one of my most anticipated films of the summer and I really must commend both studios for waging such an effective marketing campaign, doling out just enough footage to whet the appetites of moviegoers while still keeping the majority of the film under wraps. Sony could learn a thing or two from them when it comes time to promote "The Amazing Spider-Man 3." Despite the impressive trailers and talented cast, there's still some trepidation among fans. After all, they've already been burned once before by the 1998 film. Emmerich's remake was so reviled that Toho, after acquiring the rights to the design in 2003, renamed the American Godzilla as 'Zilla' and pitted him against the genuine article in the most one-sided fight ever in 2004's "Godzilla: Final Wars," which served as a swan song to the long-running franchise. The only question that remains is whether Edwards' film delivers. The answer: oh, yes it does!

Joseph Brody (Bryan Cranston), an engineer at Japan's Janjira nuclear power plant, has been sounding the alarm on some strange seismic activity that he's detected but his warnings have so far been ignored. When the nuclear power plant suffers a sudden catastrophic 'meltdown' that tragically claims the life of his co-worker and wife Sandra (Juliette Binoche), Joseph spirals into a deep depression and spends the next fifteen years investigating the disaster, refusing to believe that it was natural. When he is caught snooping around in the irradiated quarantine zone, his estranged son Ford (Aaron Taylor-Johnson)—now a Lieutenant in the United States military—is forced to travel to Japan in order to bail him out. After studying sonic sound and Richter scale readings, Joseph tells Ford that the seismic pattern from fifteen years ago has started up again and convinces his son to come with him to the quarantine zone to investigate. While there, they witness the birth of a gigantic prehistoric monster. The trail of destruction that it leaves behind prompts another ancient creature to rise from the ocean depths: GODZILLA.

If I had to describe Gareth Edwards' "Godzilla" in two words, it would be 'exhilarating' and 'reverent.' That last word is especially important given the monster's place in pop culture history and it's clear that the creators for this contemporary reimagining have only the utmost respect for Ishirō Honda's 1954 classic. Not only do they return Godzilla to his destructive roots, they also manage to honor the various incarnations of the monster, blending them together into something exciting and new. I love how the film weaves the 1954 original into its narrative as it is revealed that scientists like Ken Watanabe's Dr. Ichiro Serizawa (this name should be very familiar to fans) are fully aware of Godzilla but have covered up its existence. In a nice nod to the plethora of monsters that Toho had introduced to the "Godzilla" franchise over its fifty-year run, Edwards also makes the planet home to various other gigantic prehistoric beasts that feed on radiation. As the story unfolds, we learn that Serizawa and his partner Vivienne Graham (Sally Hawkins) are part of a group called MONARCH, which was formed for the sole purpose of studying these seemingly dead monsters but the scientists' curiosity gets the better of them as it results in one of the beasts suddenly awakening from its slumber. 

Toho's famous kaiju is reborn for the twenty-first century.

Honda's classic had a potent environmentalism theme, where Japan's errant nuclear testing rouses Godzilla from hibernation. There's a bit of karmic justice in the creature's appearance as it was the country's irresponsible actions that led to Godzilla wreaking havoc on the Japanese populace. Since Godzilla was born of nature, Japan would have to commit a horrifying act against nature to destroy it. In Edwards' film, this theme is tweaked as the scientists' aforementioned curiosity lead to nature becoming unbalanced. At one point, Serizawa remarks that 'the arrogance of man is thinking nature is in our control…and not the other way around.' Godzilla is that balancing force and functions as Mother Nature's warrior. The monster's job is to restore equilibrium to the world and doesn't go out of its way to protect humans but it doesn't actively go after them either. There's actually a tragic undertone to Godzilla's task as humans attack the creature wherever it goes. They see Godzilla as a threat when it is only doing its job. Edwards' film not only makes viewers root for Godzilla, it manages to humanize the monster as well, which is something that Emmerich's film seriously bungled.

Of course, moviegoers who aren't hardcore fans of Toho's franchise to begin with won't care about all this. They just want to see lots and lots of destruction. Edwards absolutely delivers on that front but like the 1954 original, he holds back on showing the titular monster for quite some time. By doing this, he allows the anticipation for Godzilla's full reveal to steadily build so that when the creature finally appears, it is a truly awe-inspiring moment. In fact, Godzilla's first full appearance in the film literally left me with chills shooting down my spine. The visual effects are nothing short of spectacular, with Godzilla's design and sense of movement having a real, organic quality. There's a scene where Godzilla is facing off against one the MUTOs, which vaguely resemble Mothra and stands for 'Massive Unidentified Terrestrial Organism.' As the MUTO flies in for the kill, Edwards cuts to a shot of Godzilla staring the creature down, almost as if it's taunting its opponent. Right when the MUTO is about to deliver the killing blow, Godzilla dodges at the last minute, swinging its massive tail around and slamming the MUTO into a nearby building. It's a crowd-pleasing moment and further emphasizes Godzilla's status as nature's mightiest warrior. The score from Alexandre Desplat is excellent as well, evoking an eerie B-movie vibe one moment and going bold and bombastic the next. As for the 3D, it's fine but much of the film takes place at night so I'd recommend just going for the 2D version instead.

If there's one thing Edwards' "Godzilla" doesn't quite succeed at, it's the human element. Despite his limited screen-time, Bryan Cranston manages to deliver a gut-wrenching performance full of intense, heartbreaking passion. His character's tearful good-bye to his wife—played by an equally strong Juliette Binoche—registers as the film's biggest emotional moment. Unfortunately, it's something that Edwards has trouble recapturing. Although the story goes to great lengths to show that Aaron Taylor-Johnson's Ford is desperate to reunite with his wife and son, that sense of emotional urgency is not reflected in his performance. He's not bad in the role but he comes off as bit flat when compared to Cranston. Elizabeth Olsen fares even worse, with the talented actress saddled with a go-nowhere part as the worried wife of Taylor-Johnson's character. On the other hand, Ken Watanabe, Sally Hawkins, and David Strathairn manage to bring a sense of gravitas to their thinly-written roles, adding some much-needed weight to the often-ridiculous exposition. Watanabe in particular is wonderful as Dr. Ichiro Serizawa and its clear the actor strongly respects the material with his grounded performance.

To be released on May 16, 2014, "Godzilla" has received positive reviews so far with a strong 88% on Rotten Tomatoes. The most common complaint I've encountered from critics is that the human element is not as compelling compared to the visual spectacle on display but overall, many are in agreement that Edwards' film is a wildly successful reimagining of the titular pop culture icon. Audience reception at the advance screening was highly enthusiastic and it's currently tracking for a $60 million opening weekend debut. I have a feeling that this film will have long legs at the domestic box office. Its human characters aren't the most nuanced but Gareth Edwards' "Godzilla" is summer blockbuster entertainment done right and reaffirms why Toho's famous kaiju is called the 'King of the Monsters.'

Final Rating: 4.5 out of 5

"The arrogance of man is thinking nature is in our control…and not the other way around."