I’m almost embarrassed to admit that, of all the Godzilla films I’ve watched, I can recall the exact details of few. I cannot remember, just by looking at the title, which monsters were battling which. I need to look at the slipcase cover to see a picture to remind me which foe Godzilla was battling this time. Or foes, because there’s often more than one. In many ways, I prefer the original premise: a single Godzilla versus the world rather than Godzilla versus other monsters. Easier to keep track of the players that way. But that hasn’t happened in a Godzilla film since 1984. Until now, that is (I trust you have already read part one of this article).
In my previous post I wrote about the original Godzilla film, Toho’s 1954 Gojira. This post is about the last (or rather, the latest, not including the recent anime release) film in the franchise.
Toho Studio’s Shin Godzilla (aka Godzilla Resurgence) rebooted the series once more after a 12-year hiatus, again returning to the root story to start afresh. It quickly proved the highest-grossing Japanese film in the series and received critical acclaim in Japan when it was released. It even won Picture of the Year and six other awards from the Japanese film academy.
It didn’t fare as well in the west, where many critics were lukewarm and some even hostile. Indiewire called it Godzilla’s “weirdest movie ever” although it recognized it as “a story about the logistics of dealing with an unimaginable disaster, and how the infrastructure of our society is the last line of defense we have in the face of a real crisis.” Empire magazine called it, “A sometimes shonky mix of puppetry, model-work and performance capture, the creature is still awe-inspiring in its size and city-stomping, skyscraper-roasting fury. Sadly, it also wears itself out quickly and then goes to sleep for an hour.”
That last is mightily unfair, but predictable in a Western review, because the film switches from action to character and theme development, something many North American viewers either dislike or misunderstand (perhaps the days when critics gushed over non-action (aka art) flicks like My Dinner with Andre may be well past us, or maybe it’s just a new generation of online critics who think Bruce Willis or Jason Statham have to be in a film to make it worth watching). But that development is core to Shin Godzilla because it’s not just a monster movie. It’s a subtle political satire and commentary, too.
Okay, maybe not so subtle, but it’s not an in-your-face satire like The Thick of It.
Continue reading “Shin Godzilla: the reboot”