Who says a big Hollywood monster movie has to be dumb? Godzilla is a terrific piece of
entertainment that doesn’t insult its audience and gives us more than our
money’s worth. Fans can rest assured that this easily eclipses the last American
remake, from 1998, and builds on the established mythology of the fabled post-atomic
monster who debuted in 1954. He is even referred to by his original Japanese
name, Gojira. Screenwriter Max Borenstein and director Gareth Edwards generate
a compelling premise, with credible characters, and build suspense every step
of the way toward the movie’s spectacular conclusion.
That doesn’t mean they’ve tried to reinvent the wheel: the
new Godzilla functions comfortably
within the traditional playbook for films of this genre. Bryan Cranston plays
an American scientist who’s obsessed with uncovering the truth behind a nuclear
accident that occurred on his watch in Japan, fifteen years ago. Ken Watanabe
and Sally Hawkins are researchers who may have some of the answers he seeks,
although they work in secret. Aaron Taylor-Johnson plays Cranston’s son, who
remembers the disaster that shook his world when he was just a boy, and thinks
his father is crazy. Elizabeth Olsen is his loving wife. And David Strathairn
is the military commander who seeks the most expedient way of dispatching the
monstrous threat to civilization that has arisen.
While some of these characters are genre archetypes, I’m
happy to say that the writing and acting never sinks to the level of cliché. In
the same vein, director Edwards (a former visual effects whiz whose previous
film, Monster, was made on a much
smaller scale) knows how to stage and edit a scary scene where characters are
in peril. He never loses the human touch, even in spectacular scenes of destruction,
and as the unfolding drama reaches its climax, the character of Godzilla even
manages to generate empathy. What’s more, because the film is rated PG-13 and
aims to reach the broadest possible audience, the violent action stops short of
graphic gore, which suits me fine.
The visual effects are staggering, especially in IMAX,
although I didn’t feel that 3-D added much to the experience. Alexandre
Desplat’s supportive score is a much more tangible asset.
contemporizes a traditional brand of pop movie, and does it well. It deserves
to be a monster hit.