Run time: 123mins Certificate: 12A
Director: Gareth Edwards
Cast: Aaron Taylor-Johnson, Bryan Cranston, Ken Watanabe.
Release Date: October 27, 2014 (DVD)
Please let them fight.
Godzilla is back and arguably better than ever, but under Gareth Edwards direction he’s both a towering beast looming in the backdrop and an incredible spectacle that’s craving more of the spotlight. It doesn’t help that the human side of the story (the spotlight hog) doesn’t measure up either, offering some mild intrigue but ultimately failing to sell its characters plights. Gareth Edwards does however approach the film intelligently, effectively evoking the atmosphere of the original Japanese Godzilla films whilst throwing a fresh Western twist on it. Its all presented brilliantly as well, with some awe inspiring effects and jaw dropping designs that really add tangible scale to each and every monster scene. It may not be a triumphant return to Western cinema for Godzilla, but the strength of the titular monster and the world he’s introduced in make this iteration one worth checking out for fans of the big guy.
The plot is effectively simple, introducing the main cast of humans and monsters as they’re needed without inundating the viewer with excessive back stories or origins. There’s a lot at play here so its good to see Gareth Edwards focusing on the present action to ensure the viewers are never at a loss as to where things are headed. The origins of these beasts are explained (or potentially kept vague in Godzilla’s case) enough for us to understand them and their motivations in the first half of the film, and with Bryan Cranston and Ken Watanabe’s science types there to add weight to these revelations the intrigue is kept genuinely engaging. Its when the plot shifts its focus from those trying to deal with the monsters to Aaron Taylor-Johnson’s soldier trying to reach his wife and child that things begin to fall apart. Its a mission we’ve seen played out countless times before, and the lack of energy behind the performances and its set pieces put a stop to all the momentum the film had built in its opening act. The fact that this run of the mill human drama often steals the spotlight from Godzilla and his adversaries much of the time only emphasises the fact that its the weakest aspect of the film.
The titular monster may be criminally shunned, but when Godzilla is given the stage he’s a sight to behold. Bigger and louder than ever he always impresses, and the stellar effects afford the beast a colossal presence. One scene that sees Godzilla crashing through the Golden Gate Bridge is particularly impressive; when Gareth Edwards does decide to show us the destruction first hand he certainly delivers. His direction ensures some jaw dropping visuals, whether you’re watching Godzilla swim alongside warships or crash through buildings, each and every shot has an ominous sense of scale to it. The fact that the monsters seem unconcerned with humanity, simply causing destruction by walking through cities, is a novel approach that also spares viewers many of the usual ‘army fruitlessly shooting monsters’ shots that seem to plague blockbusters of this scale. His MUTO adversaries, the new monsters on the block, aren’t as impressive however. While they’re given plenty of great moments both just aren’t awfully memorable, looking as if they could wander into any generic sci-fi film and be right at home.
Its odd then that the MUTO’s receive even more screen time than Godzilla himself, but all three are at odds with the human players when the camera’s focus is concerned. The most damming example of this is when Godzilla is first revealed in full and challenges one of these MUTO’s, a moment that is built up to painstakingly, but is then cut away from in order to focus on a hospital scene where we see the tail end of the fight on a TV screen in the backdrop. Cutting the battle with the hospital scene could have been effective, but omitting it completely seems unnecessary and detrimental to the build up for the final battle given that this first battle is pushed aside. Its not so much a case of the monsters not getting enough screen time however, but more an issue of their not getting the attention they deserve when they are there. When the big brawl does finally arrive however it more than delivers with some fan pleasing moments and striking visuals against the night sky of San Francisco, its just a shame the pacing stumbles so often getting there.
Bryan Cranston’s conspiracy theorist Joe Brody is arguably the strongest character in the film, selling some genuine paranoia about the covered up events that have plagued his life. Like Ken Watanabe’s Dr. Ishiro Serizawa, there’s enough energy behind the performance to sell the grand spectacles they’re tackling. Its a shame they’re set aside for much of the film in favour of Aaron Taylor-Johnson’s Ford who lacks that energy to sell his personal plight, his sombre protagonist failing to engage on a personal level as intended. His performance isn’t all to blame however, as his unoriginal mission and uninspiring dialogue present him with little to make his own. The same drawbacks prevent Elizabeth Olsen’s Elle from ever impressing as well, again letting the human element of the film down in its second half. Lastly the soundtrack both impresses and deters, electrifying the action whilst also becoming almost overbearing in some of the subtler scenes. But the sound effects are however incredible across the board, and Godzilla’s roar will stay with you for quite some time.
Verdict
Godzilla is back and better than ever in a world that’s as equally well crafted. After an opening act that’s made by the likes of Bryan Cranston and Ken Watanabe the focus is unfortunately misplaced on a far less interesting human struggle, but under Edwards’ direction the looming presence of these beasts is always felt without the need for constant action. Astounding effects and design bring the towering monsters roaring to life, lets just hope that Godzilla is given the love he deserves the next time we need to let him fight.
Hits
+Godzilla is brilliantly realised in every sense
+Effective camera work emphasises scale
+Great scene setting sold by Cranston and Watanabe
+Finale does deliver
Misses
–Underdeveloped human element
–Reluctance to showcase Godzilla betrays the tension
–Aaron Taylor-Johnson fails to drive the films second half
Overall Rating
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