Godzilla (2014) Toho Kingdom User Review Thread (SPOILERS)

[NewBloodGodz]

https://youtu.be/VC7H_Q3-0Jg - Part 3

Note: If some have noticed that I posted the wrong link prior, I would like to apologize in advance. Another friend of mine linked the other video to me and I copied the wrong link by accident. That being said, I hope this does not hinder anyone's enjoyment of the third part.

[KaijuFiend]

^Still good stuff!

[NewBloodGodz]

https://youtu.be/zDDkxae_jb8

^ The second to last part. Updated due to a busy schedule on my friend's part.

Added in 5 hours 13 minutes 25 seconds:
https://www.youtube.com/watch?v=wvrvlKaehZw <--- The last part by my friend.

https://www.youtube.com/watch?v=NTbEqUPIykE <-- A parody by my friend.

[Zarm]

The 2014 Godzilla film is a movie of unique and commendable vision, giving the big-budget treatment to our favorite kaiju in a way that was, to me, both respectful and innovative. This is a clever film (for instance, the EMP attack leading to an analogue timer, whose abduction leads to a ticking bomb mission; each item leads logically into the next), and also a film with very thoughtful, original spectacle (for instance, the pilot parachuting out of the fog, followed by the planes falling out of the sky; the reveal of the MUTO with the L-train track lights, the HALO jump, or the use of railroad track slats to see the MUTO underneath). In both elements, it really impressed me- the film seemed to be chock-full of ideas I’d never considered, and unique takes on the incidental effects of a kaiju attack. It showed me things I’d neither seen nor thought of before, something increasingly-rare in this spectacle-filled era of Hollywood.

It is also excellent at conveying scale- in the Hawaii scenes in particular (I just love the airport shot!), and some wonderful moments of spectacle that just strike an admirably-impressive tone, such as the reveal of bright light streaming out of the vault-window, which turns out to be daylight and leads to the bigger reveal. Add to that a great atomic breath reveal moment- they play it up because they knew we’d be waiting for it- and some great coup-de-graces (cementing the 21st century notion that when Godzilla starts bringing the tail into play, it’s all over)- this film definitely has its ‘moments’ down pat.

Thankfully, it’s got more than that, too. A nicely-linear, uncomplicated human plot with characters that- if not the deepest in the world- at least have compelling relationships and motivations to drive us on… this is a film firing on all cylinders. I’m not really going to compare it to the Toho films- or my level of enjoyment and engagement for the respective pictures- any more than I’d debate the merits of Father of the Bride vs. Return of the Jedi. The two simply scratch very different kinds of itches. This film is neither better nor worse than any of Toho’s offerings, in my book (and has the unfair advantage of cultural stylistic compatibility with me, as an American viewer, not to mention a far-greater budget, skewing any comparison); suffice to say, I think that as an American production, this captures the spirit of Godzilla about as well as it could possibly be hoped-for in a non-Toho production. A fitting tribute to the King of the Monsters from a non-domestic source.

Not to say the film is perfect. Ford, as a main protagonist, was better this time around that I remember him, but still a bit flat. Joe, a much-more relatable protagonist, leaves the film too soon- vindicated, but ultimately tragic. He doesn’t get the joy or catharsis you’d hope for, even if he gets the closure, and is too quickly forgotten. (Also, the duo due have an uncanny coincidence-proclivity for always being five feet in front of or behind where a large group of people are about to be smashed, over and over again- from falling cranes to smashed railroad trestles to smashed dockside-platoons and more. The sheer number of times this happens is almost distracting, as everyone around them dies. I would attribute such probability-based skills to the Scarlet Witch, but that’s not really how the screen incarnation works anyhow.)

Speaking of which, Elizabeth Olsen sells the HECK out of her few brief scenes with a fantastic performance… but again, is not given a whole lot to work with. Likewise, the inestimable Ken Watanabe does great with his sparse scenes as Dr. Serizawa (and I love the fan-theory that in this timeline, because the 1954 attack never happened, the original Dr. Serizawa survived, and this may well be his son), but they are still thin. Even the US General manages to avoid the ‘blowhard’ stereotype and appear both reasonable and sympathetic- but, beating a dead horse, he doesn’t get much characterization. In short, few of the characters are well-developed. They are likable enough to carry the film, but the supporting cast is hardly developed enough to count as ‘characters,’ with only the performances saving them… and as decent a fellow as he is, our main protagonist is probably the least interesting of the bunch.

One of the things I would NOT count as a problem, however, is the oft-cited complaint about Godzilla’s screentime. For one, I can appreciate the necessity of lessening due to the use of CGI; every shot costs money, and they have to make ‘em count. But within the film, I also appreciate the pacing… the slow build of suspense, the real effort to make this a kaiju movie as seen through human eyes. We aren’t the omniscient camera of the Toho series; the only things we see are what the characters see, and I think that is very effective at giving a scope, scale, and involvement to the battles that other films can lack. Do I want to see more Godzilla? Of course. But you know what? I wanted to know more about the backstories of Darth Vader and Boba Fett at one point, too- and when I got it, it didn’t prove to do the story any favors. Sometimes the wanting is more effective than the having- hence the phrase ‘always leave ‘em wanting more.’ This film does that, and thus never outstays its welcome. We eat up every bit of kaiju combat we can get because its scarcity made it precious… and to once again use a Star Wars metaphor, the glut of ships, aliens, and planets in the Star Wars prequels taught me that lesson. The original Star Wars was fascinating; as a kid, I used to pore over every blueprint, seek out the backstory for every alien, memorize every planet… because they were finite, and precious, and interesting. Get too many (the same disconnect I have with the Pokemon franchise after Gen 2) and they lose their meaning.

Which is my rambling way of saying, sometimes a tease is what the story needs; sometimes a scarcity makes what you do get better. I think we saw Godzilla exactly as much as served this particular story; and after a decade of films like the Star Wars prequels, seeing a film use a little restraint in CGI and spectacle and only do what actually serves he story is pretty refreshing.

And that just makes me think of the streets of chinatown, and Ford’s close encounter, and Godzilla’s roar blowing the lanterns, and… man, this film is awesome!

Godzilla himself is not my favorite design (though it’s my wife’s second-favorite, after the Heisei look), but I think it works well. He looks muscular, powerful, agent, weary… a veteran of many battles. He’s an older Godzilla than we’ve ever seen, and I think the look works for him. (I can agree with her complaint about the tree-stump feet, though). We get a proper- if different- nuclear breath, too; after the last American debacle, I don’t think any of us was sure… but boy, can he use it to good effect! The increased mobility for the fights is a definite high-point here, along with the more agile foe. And the ‘gorilla’ aspect of this gorilla-whale is very evident in a muscular, barrel chest that really makes it look as if he can dish out- and take- the hits.

That male MUTO is certainly extra-creepy to us, after we woke up with a bat flying around our room in the middle of the night last week! Both the male and female have a nice, otherworldly design, with a hint of insectoid in the long, spindly limbs, and of a gyaos in the head, but generally, something that resembles no particular creature in nature. Both resemble each other just enough for the visual language to click, but have unique and divergent designs… yeah, it all works. They lack a bit of personality, perhaps, compared to most of the Toho foes; these are mere animals, it seems, rather than sapient beings (or at least, closer to animals than the average Japanese daijaiju). But they fill their role as antagonists well, and just keep gobbling up those nukes. Don’t feed the MUTOs, indeed.

Not a lot to say about the effects in this one since everything’s CGI. The overgrown exclusion zone is a particular highlight, though- that looks great. The compositing of various scale-shots really sells the size of the kaiju wonderfully throughout; that’s a major treat. This is a visually-striking film, rich with memorable imagery, and I love that.

The score is subdued and imposing, but works in a great theme for Godzilla using pieces of the classic score, as well as a number of effective motifs of its own. I bought it; that’s the best recommendation I have.

I don’t think there’s a lot to sum up, really, as most of it’s been said throughout the review. Comparisons are apples-and-oranges, and to my mind, it’s not a competition anyway; until we get more in the Legendary series, this is a stand-alone and deserves to be treated as such. It complements Toho’s output nicely, but in no way diminishes the hunger for new Japanese Godzilla… which makes the slowly-approaching release of Shin Godzilla in American theaters so exciting. This film whets my appetite for more- both from its own series, and from the original studio… between that, and captivating me for pretty much its entire 2-hour runtime, I can’t ask for anything more from a film!

[Mechagigan]

I feel like the lack of personality beyond 'intimidating' between the MUTOs was meant to play up Godzilla's role; weathered, tired, but still as ready as ever to fight. The MUTOs are naturally malevolent creatures, wreaking unsolicited havoc in their name of their survival alone - Godzilla parallels that, only "waking up" to get these damn kids off his lawn.

By portraying his 'opposite' as mindlessly antagonistic and borderline animalistic in it's ways, we see that Godzilla's intelligence isn't that of a sympathetic beast; it's that of a Gamera-esque defender, keeping his territory safe.

I find this film's use of "King of the Monsters" entertaining; he's not the King of destruction and terror, he's simply the top dog. He's not going to let anyone boss him around, lest they have a death wish. It's fun to see a Godzilla so determined in such a brutish way.

[Gojira18]

After 2 years, I'll FINALLY share my thoughts on Godzilla 2014.

First, what I didn't like. First off, Bryan Cranston being killed off in the first 45 minutes. That is my biggest criticism. That is just bad narrative, you can't just kill off your best human character in the 1st act! It's just the worst way you could make a movie. Second off, the cutting-away approach when the monsters appeared, I'll admit, didn't bother me the first time. Or even the second time. But the third time was when it started to get annoying. Also, the underdeveloped characters. Aside from Cranston, Binoche, Wantanabe, and arguably Olsen and Straihairn, these characters just aren't the most interesting. They aren't given enough material to work with. Especially ATJ, who I think is the weakest link in the chain. He's a great actor, but this was far from his A game. Finally, while I don't mind Godzilla's screenntime, my big problem is the lack of focus on him. For a movie called "Godzilla", they seem to focus a lot more on the MUTO's.

Now for what I did like. First off, Edwards did a great job directing this film. Despite the underwhelming writing, he did the best he could, he knew what he was doing, and his passion for the film is admirable. The visual effects are AMAZING! They're actually better then most effects that most movies today have, which is pretty significant when it's a GODZILLA movie! The musical score was great. Desplat did a good job making it feel like a "Godzilla" soundtrack. It's no Ifukube, but it's the next best thing. Cranston, Binoche, Wantanabe, Strahairn, and Olsen were pretty good. They were the most interesting characters and their performances were pretty good, especially Cranston, who was AMAZING!!! The cinematography was amazing, all the POV shots and monster shots made these creatures look that much bigger and feel that more powerful. The creature designs were really good. Godzilla's design was amazing, one of my top 3 favorites, and I thought the MUTO's were pretty cool. The monsters themselves were badass, especially Godzilla. They actually have personality and I actually feel for these creatures. They took elements of other monsters and still looked badass. The sound design was awesome. The monster roars and background noise were incredible and shook the whole theater and still makes my tv at my house shake a bit. I think my biggest praise for the film is the respect it had to the source material. This is a true Godzilla movie. It feels like Godzilla, looks like Godzilla, it just has that presence that Godzilla movies have.

All-in-all, despite some big flaws, I really like this film, even to this day. I'm actually going out of my way to say this is my 3rd favorite Godzilla film of all time. All I wanted from this was a good american Godzilla film, and I got it. I CANNOT wait for the sequels!

Final score: 7.5-8/10

[Rodan]

I'm bumping this like a talkback thread.

So, I'm rewatching this for the first time since 2014, and 1) It strikes me just how expositional every. single. bit. of dialogue is. It's major schlock territory, and not in fun, good way. Even Joe is all exposition, which came as a surprise, as I remembered him feeling like a much more fleshed out character. The conversation he has with Ford when they enter his apartment in Japan, in which they both quickly reference their jobs, which they should already know, is borderline hysterical. A tea kettle even goes off to punctuate a moment of tension, which he ... set as soon as he walked in the door? While he was putting his stuff down? They don't even drink the tea afterward. If it were any more-on the-nose, it would be nostrils.

But what I really want to talk about is 2) In the scene in which Admiral Stenz is introduced, he's talking aloud to the room about the overall situation with the MUTO: "This is our target. This is a MUTO. This is what MUTO stands for. The official story is an earthquake, and we would prefer it stays that way. It is now airborne. We will catch it," etc. Who is he talking to? Everyone else in the room is already staring intently at their work stations, so they must already be aware of the situation. They certainly don't pause to even look at the screen when he shows clips of the MUTO, so it can't be breaking news to them. No one even looks up as he talks. There are two new arrivals from Janjira behind him, but ... he doesn't face them when he talks at all, so ... it's not news to them either? Who is he addressing? Is he talking to himself? The scene is just nonsensically constructed.

All the dialogue so far has been super perfunctory, but this scene strikes me as being borderline comedic. I absolutely cannot believe no one in my original screening shouted "Who are you talking to?" at the screen, and it's actually so ridiculous when you notice it that it seems ripe for riffing.

I'm finding there's an even sharper divide here between the sense of scale and cinematography in the special effects scenes, which are good, and the dialogue scenes, which more than simply being bland are frequently inept to the point of being comical, than I'd remembered.

The scale in everything building up to the Hawaii face-off is great, though. I really do wish we got to see it. I'm a little more bothered by the cut-away this time than I was last time I watched it. We're nearly an hour in, and it feels like a little spectacle is earned, especially because everything surrounding it is so much stronger than the rest of the movie. I might feel otherwise if we had characters worth caring about.

[vibramrunner]

But what I really want to talk about is 2) In the scene in which Admiral Stenz is introduced, he's talking aloud to the room about the overall situation with the MUTO: "This is our target. This is a MUTO. This is what MUTO stands for. The official story is an earthquake, and we would prefer it stays that way. It is now airborne. We will catch it," etc. Who is he talking to? Everyone else in the room is already staring intently at their work stations, so they must already be aware of the situation. They certainly don't pause to even look at the screen when he shows clips of the MUTO, so it can't be breaking news to them. No one even looks up as he talks. There are two new arrivals from Janjira behind him, but ... he doesn't face them when he talks at all, so ... it's not news to them either? Who is he addressing? Is he talking to himself? The scene is just nonsensically constructed.

All the dialogue so far has been super perfunctory, but this scene strikes me as being borderline comedic. I absolutely cannot believe no one in my original screening shouted "Who are you talking to?" at the screen, and it's actually so ridiculous when you notice it that it seems ripe for riffing.

While unfortunately being in a position where I can't watch this scene, I'll just say from memory that the scene felt like pure pandemonium was going on. Everyone is trying to respond to this incomprehensible event and has about a million tasks they're trying to get to, everyone is ill-prepared and not trained for the situation. The commander in the middle of room is talking to basically nobody because he's effectively lost control of the situation, which tells "we the audience" that humankind is in big trouble.

[Rodan]

While unfortunately being in a position where I can't watch this scene, I'll just say from memory that the scene felt like pure pandemonium was going on. Everyone is trying to respond to this incomprehensible event and has about a million tasks they're trying to get to, everyone is ill-prepared and not trained for the situation. The commander in the middle of room is talking to basically nobody because he's effectively lost control of the situation, which tells "we the audience" that humankind is in big trouble.

I can see where you're coming from, but my feeling is that everyone around him is way too calm for that reading. The type of information he's delivering, in keeping with what I'm finding is the movie's biggest scripting pitfall in its truly comical reliance on expository dialogue, also makes no sense at a juncture in which everyone is already caught up in their roles and actively working toward a solution.

I think the intended reading of the scene is what you're describing, but none of the elements that make it to the screen mesh with each other at all. The result is an admiral delivering exposition to no one, in a room full of cool, collected people already aware of the situation who aren't listening.

[LockBite]

One thing I've noticed is that people tend to conflate Godzilla's lack of screen time with a lack of monster screen time in general, which I don't understand. If we include the MUTOs, there's plenty of kaiju action.

[CyberZilla]

One thing I've noticed is that people tend to conflate Godzilla's lack of screen time with a lack of monster screen time in general, which I don't understand. If we include the MUTOs, there's plenty of kaiju action.

Yes, I thought the film had plenty of monster screen time, accounting all of them. It's just that the main character was a bit bland for my tastes. Made it a bit of a slog to get to each plot point after the dad dies, but meh. Still love the film!

[Rodan]

One thing I've noticed is that people tend to conflate Godzilla's lack of screen time with a lack of monster screen time in general, which I don't understand. If we include the MUTOs, there's plenty of kaiju action.

Having finally finished my re-watch (which I had to string out over a number of days for time), I actually see where people are coming from a bit more now than I did back in 2014.

The monster scenes are the absolute highlights of this film, and everything filling the gaps between them is so limp, and so transparent about only existing to fill those gaps, that it's understandable people feel a little shortchanged on the monster sequences. In a stronger movie, I think the amount we see them might feel perfectly fine. Even as it stands, it isn't one of my major misgivings with the film. But, yeah, by the hour mark, after realizing I have to spend the rest of the movie with Ford, with no bigger issues to consider, I really do feel hungry to get to watch Godzilla fight a MUTO at the airport, or to see a bit of the MUTO's destruction sequence in Vegas. The special effects sequences in the film are really a pleasure when we do get them—as engaging as the human scenes are dry.

I'm trying to organize my thoughts as a whole into a blog review, but this is definitely an entry that falls into the "Watch only for the monster sequences" section of my rankings/recommendations, which is ... not a great spot to occupy. That's probably the most unflattering assessment I can offer on a Godzilla/giant monster movie.

[HerryGrail]

But what I really want to talk about is 2) In the scene in which Admiral Stenz is introduced, he's talking aloud to the room about the overall situation with the MUTO: "This is our target. This is a MUTO. This is what MUTO stands for. The official story is an earthquake, and we would prefer it stays that way. It is now airborne. We will catch it," etc. Who is he talking to? Everyone else in the room is already staring intently at their work stations, so they must already be aware of the situation. They certainly don't pause to even look at the screen when he shows clips of the MUTO, so it can't be breaking news to them. No one even looks up as he talks. There are two new arrivals from Janjira behind him, but ... he doesn't face them when he talks at all, so ... it's not news to them either? Who is he addressing? Is he talking to himself? The scene is just nonsensically constructed.

This was one of my big problems with this film...for the story to be told on such a big scale, the near-solitary emphasis on a single military decision-maker made it seem much smaller, almost like watching a filmed play.

[Tyrant_Lizard_King]

The FX scenes looked cool but lacked real substance. Even when the monsters are on screen they actually do very little of interest.

[BARAGONBREH]

The FX scenes looked cool but lacked real substance. Even when the monsters are on screen they actually do very little of interest.

If only Godzilla had danced or made a karate pose amirite.

By far, the monsters were the best we've ever seen in a kaiju film. Watching those giant beasts battle like brutish animals was a spectacle, and combined with Edwards's camerawork, you felt as though you were actually witnessing this incredible event, especially in theaters on an IMAX screen.

[CyberZilla]

The FX scenes looked cool but lacked real substance. Even when the monsters are on screen they actually do very little of interest.

If only Godzilla had danced or made a karate pose amirite.

By far, the monsters were the best we've ever seen in a kaiju film. Watching those giant beasts battle like brutish animals was a spectacle, and combined with Edwards's camerawork, you felt as though you were actually witnessing this incredible event, especially in theaters on an IMAX screen.

That brings me back to watching G14 in IMAX. Man oh man that was a great experience!

[BARAGONBREH]

That brings me back to watching G14 in IMAX. Man oh man that was a great experience!

Agreed. Myself and the entire audience in that showing were in awe at watching the beasts go at it in the third act. And the skydiving scene? Amazing. I still think that's the best IMAX experience I've had to date. Godzilla is tailor-made for IMAX, and Edwards's film making just made it feel even bigger. Great memory.

[Tyrant_Lizard_King]

I thought the fights in KSI were far more compelling and memorable. Helps the fights were in broad daylight. I can understand what G14 was going for but I'm sick and tired of monster sequences being relegated to shadows and darkness all the time. It's almost a cliche.

[CyberZilla]

I thought the fights in KSI were far more compelling and memorable. Helps the fights were in broad daylight. I can understand what G14 was going for but I'm sick and tired of monster sequences being relegated to shadows and darkness all the time. It's almost a cliche.

I was very glad that KSI's major battle scenes were kept in the daylight, after the literal blackout battle of G14. Hell, I could only see the battle really well when Godzilla uses his atomic breath. Hard to enjoy a fight when you can't see half the punches thrown, so to speak.

[Dawsbfiremind]

I thought the fights in KSI were far more compelling and memorable. Helps the fights were in broad daylight. I can understand what G14 was going for but I'm sick and tired of monster sequences being relegated to shadows and darkness all the time. It's almost a cliche.

I was very glad that KSI's major battle scenes were kept in the daylight, after the literal blackout battle of G14. Hell, I could only see the battle really well when Godzilla uses his atomic breath. Hard to enjoy a fight when you can't see half the punches thrown, so to speak.

It's a pity too, because from what one can see, the fights are awesome (whenever Godzilla's not being beat down by the MUTO tag-team).