4.5 stars out of 5
It’s the waning days of war in Japan, and Koichi Shikishima is a failed kamikaze pilot; you’d think the situation couldn’t get any worse. Ah, but you forgot about Godzilla, didn’t you?
Frankly, no one would blame you. In 1998, the American film conglomerate tried to reboot the big scaly guy, and since 2014 they’ve been trying again (the Strathairn era), attempting to build a pseudo-Marvel Universe of Enormo Creatures with King Kong (whose own failed revivals date back to 1976), with generally underwhelming results… and more on the way. In my humble estimation, only 2019’s Godzilla: King of the Monsters was a genuinely good film.
Now, in steps Japan’s legendary Toho Studios — creator of Godzilla back in 1954 — to show us how it’s done. In a word: Wow.
By stripping away the wide-demographic-chasing touches of U.S. movies — Puff Daddy soundtrack contributions, teen-led groups of youngsters doing their own parallel investigation, etc. — we’re left with a film that’s both honestly terrifying and emotionally resonant. The script takes time to develop the human angle. Pilot Koichi (portrayed by Ryunosuke Kamiki) is dealing with some serious PTSD and crushing guilt; he failed the military and his country with disastrous results. Forget those zombie shows — Koichi is truly the walking dead. Yet some decency deep within him connects Koichi with Noriko (actress Minami Hamabe) and orphaned infant Akiko — and as their trust builds, one of the film’s major themes emerges. Family is where you find it.
With very few opportunities to earn money in post-stomped Tokyo, Koichi is drawn back to the military world, where another makeshift family awaits. And also, Godzilla.
When the monster comes ashore and attacks the city of Ginza — where Noriko has found office work — I actually gasped in horror. The unrelenting destruction and panic even evoked memories of 9/11.
As the people of Japan decide to fight back, there is some cheesiness-slash-corniness. And yet, it works! I dare say there’s a Capra-esque quality to the proceedings, with repeated displays of people caring for one another. At the same time, there’s a critique of the country’s WWII military philosophy, and even subtle acknowledgement of Japan’s participation in the Axis powers.
What a delight to be caught off-guard by such a thrilling, effecting film. Go go Godzilla!
being underrated is overrated
Jack Silbert, curator