"Live and Fight. Survive and Resist."
In postwar Japan, Godzilla brings new devastation to an already scorched landscape. With no military intervention or government help in sight, the survivors must join together in the face of despair and fight back against an unrelenting horror.
Ryunosuke Kamiki
Koichi Shikishima
Minami Hamabe
Noriko Oishi
Yuki Yamada
Shiro Mizushima
Munetaka Aoki
Sosaku Tachibana
Hidetaka Yoshioka
Kenji Noda
Sakura Ando
Sumiko Ota
Kuranosuke Sasaki
Yoji Akitsu
Sae Nagatani
Akiko
Miou Tanaka
Captain Tatsuo Hotta
In postwar Japan, Godzilla brings new devastation to an already scorched landscape. With no military intervention or government help in sight, the survivors must join together in the face of despair and fight back against an unrelenting horror.
This is one of the very best Godzilla movies ever made. There's a really good human story and every moment that Godzilla is on-screen is great. The post-WWII setting absolutely adds to the desperation of the main characters and the dread of having to once again survive an attacking force, this time in the form of a beast that isn't protecting the Earth or any such nonsense. Godzilla is a force of nature (or science) that doesn't care about anything or anyone. The only drawbacks of this movie are an irritatingly manipulative moment (tugboats) and a couple of unbelievably coincidental reunions.
Godzilla Minus One, is a poignant anti war film as much as it is a monster flick. I agree with other reviewers that this is by far and away the best Godzilla film I have seen, bar none. What makes it work is a genuinely moving back story of a man broken by war, redeemed through an act of courage in the service of love, the bonds of family and ultimately life itself. Acting is superb, with flawlessly honest, very human performances, from the entire cast. Godzilla effects are well done too. The destruction and the misery the monster brings to Japanese cities and their populace, is genuinely disturbing. In summary, I loved this film more for its back story than its monster tale. Indeed, in the context of this film, Godzilla feels like a metaphor of sorts, for the real monster, which is war and the destruction it brings both physical and psychological, to innocent lives.
The best Godzilla movie ever and one of the best movies of 2023? Eh, maybe. I don't have the long sordid history of watching every Godzilla movie to ever exist. My first exposure to Godzilla was Godzilla 1998. Yep, I loved watching that sleek reptilian dinosaur tear through Manhattan and to this day I am still envious of the cab driver with that 6 inch Godzilla action figure hanging from his rearview mirror. What can I say, I love dinosaurs! Compared to Godzilla 2014 and the sequels, this at least has a coherent plot with not that many stupid characters doing the stupid. It has some silly dialog and "the plan" is kinda dumb and requires Godzilla to lack any spatial awareness but OK, 2014 did more stupid with that nuclear warhead so, I'll give you that. We've got characters jumping to conclusions, overreacting and under-reacting, but overall this might be the best Godzilla movie ever however I feel like that a low bar considering the other Godzilla movies I've seen. Maybe with a bigger budget. Under 15M? Okay, yeah. It's the best Godzilla movie. The monster CGI is not good. For 15M it's good. Compared to other Godzilla movies, the Hollywood Godzilla movies, it ain't good. Compared to Pacific Rim, it ain't good. 7/10 from me. I quite enjoyed the very WOKE anti-authoritarianism themes. I suppose Go Woke, Go Broke don't always apply since everything I've heard about this movie is positive even though the very WOKE anti-authoritarianism is shoved in our faces multiple times, but who can really expect consistency from that lot.
In the interest of full disclosure, I’ve never been a fan of Japanese monster movies, and, considering how many times the Godzilla story has been told so far, I’ve never been particularly interested in seeing any of them (after all, how many different variations can realistically be incorporated into the big guy’s single-minded mythos?). In any event, I relented in this case, because I was admittedly curious to see the film’s Oscar-winning visual effects, which, in all honesty, weren’t bad (though definitely not outstanding – how this picture bested the far-superior visuals of “The Creator” truly baffles me). However, capable special effects and production design considerations aside (the basis for the generous ratings I’ve given to this title), this release has little else to offer that hasn’t already been depicted countless times before. What’s more, the film’s attempts at trying to incorporate post-World War II political commentary and to be more than just a simplistic monster movie are fairly lame. Its non-devastation story threads are frequently predictable, heavy-handed, slowly paced, occasionally corny, often implausible, and, above all, boring. I frankly couldn’t wait for these segments to end and get back to the supposed “it” factor – the monster’s destructive hijinks (of which, to be perfectly honest, there were too few, given that this is supposed to be this offering’s primary drawing card). Even the title of this production needs work; any picture that requires a Google search to find out what it’s supposed to mean has inherent issues in my book. To its credit, writer-director Takashi Yamazaki’s effort to elevate the Godzilla narrative above the B movie camp fest level genuinely seems sincere, but the end product is little more than the standard item with better visuals and a well-intentioned (but largely failed) aim at infusing the story with more substantive content. In light of the many iterations of this saga that have been filmed over the years, I think it’s high time to give the persecuted sea monster a well-deserved rest for a while – a long while – and get on with the business of making movies that aren’t tiresome retreads and that at last give Tokyo a chance to rebuild.
**Contain Spoilers** "Gojira -1.0" is a visually stunning film that rightfully earned its Academy Award for Best Visual Effects. The movie's impressive sound design and solid acting further elevate its entertainment value. However, it falls short in some key areas, particularly in its direction and emotional payoff. The visual effects in "Gojira -1.0" are nothing short of spectacular. From the realistic physics to the terrifyingly detailed explosions caused by Gojira's atomic breath, every frame is crafted with precision. The depiction of Gojira itself is a highlight, staying true to the original bulky yet menacing design without appearing comical. This attention to detail creates a believable and immersive experience that keeps you engaged throughout. The sound design and music, while not as groundbreaking as the visual effects, complement the movie well. They enhance the tension and atmosphere, making the scenes more impactful. The acting is another strong point, with Japanese actors delivering powerful and emotional performances that resonate deeply. Their portrayal of honor and shame, especially in the context of post-WWII Japan, adds a layer of depth to the story. The writing of "Gojira -1.0" is intriguing, presenting a fresh take on the origins of Gojira with a strong emphasis on the historical context of Japan after World War II. The decision to show events through the eyes of a 'failed' kamikaze soldier is an interesting angle, though it doesn't fully deliver on its potential. The survival of the main character, while logically sound, feels anticlimactic and predictable. This resolution undercuts the emotional investment built up throughout the film, leaving a sense of dissatisfaction. One aspect that could have been better addressed is the radiation from Gojira. The monster emits radiation and can fire atomic blasts, yet the film doesn't explore the devastating effects this should have on the surrounding environment and people. The radiation is merely used as a plot device to track Gojira, missing an opportunity to add another layer of realism and tension to the story. In conclusion, "Gojira -1.0" is a visually and technically impressive film that provides solid entertainment and remarkable detail. However, it falls short in delivering a satisfying emotional payoff and leaves some aspects underexplored. Despite these shortcomings, it remains a worthwhile watch for its exceptional visual effects and the nostalgic yet fresh portrayal of Gojira.
30+ years ago I might have found this movie to be a good one but today I cannot help but wondering why this movie is so hyped up? To me this was a rather mediocre movie. The good parts of this movie is that the camera handling, acting and other aspects of film making is quite good. In that aspects it outshines most things Hollywood seems to be capable of producing these days. And it is not filled with agenda driven nonsense which of course is a plus. However, the movie, taking place in postwar Japan is quite melancholic during large parts of it. The choice of a main protagonist being a Kamikaze pilot that chickened out and then goes around and mopes about it all the time was, in my personal opinion, not the best choice. The story is also somewhat far fetched and ludicrous, even if we ignore the entire giant nuclear lizard part of it. First, that other nations should just leave Japan to fend for itself with disarmed destroyers when a huge monster with nuclear breath, that could attach anywhere, goes on a rampage is not plausible. Second, the overcomplicated plan to kill it was just plain ludicrous. Yes the physics for causing something to sink in salt water by blowing bubbles around it exists but such a overcomplicated plan to execute is more suited for a Roadrunner & Coyote short. I could have lived with these shortcomings if it would have been a good FX movie but it is not unfortunately. The FX is mediocre at best. First, the disproportionate anatomy of Godzilla with his huge fat legs and large belly makes him look more like a toy for children than a monster menace. Yes, it might be somewhat in line with the original Godzilla but you would not really make the Mummy look like Boris Karloff if making a new Mummy movie today would you? Second his movements are just weird and almost makes him look like he was done by Ray Harryhausen back in the days. A lot of the times the forearms are just dangling there not being animated at all. When he walks he takes one step forward, then pauses, then takes another step forward and so one. Also, in the final battle he is literally standing still in water that was supposed to be over a thousand meter deep like his feet were planted on solid ground. Overall a bit of a disappointment given how much hype this movie have received.
![Minus Color Official Netflix Trailer [Subtitled]](https://i.ytimg.com/vi_webp/MSp68m8OJus/hqdefault.webp)
![Official Netflix Trailer [Subtitled]](https://i.ytimg.com/vi_webp/nAYKaslCXPc/hqdefault.webp)
![Minus Color Official Trailer [Subtitled]](https://i.ytimg.com/vi_webp/g4nR1BI_33Y/hqdefault.webp)
![Final Trailer [Subtitled]](https://i.ytimg.com/vi_webp/OPIKfDGmNaM/hqdefault.webp)
![Official Trailer 2 [Subtitled]](https://i.ytimg.com/vi_webp/VvSrHIX5a-0/hqdefault.webp)
In an alternate timeline the original Godzilla is never defeated and repeatedly reemerges to feed on Japan's energy sources. A new inter-dimensional weapon called the Dimension Tide is created with the intent of eliminating Godzilla. However, the new weapon might also serve as a gateway to something far more sinister.
With no means for defeating Godzilla Earth, mankind watches as King Ghidorah, clad in a golden light, descends on the planet. The heavens and earth shake once again as the war moves to a higher dimension.
During WWII, Germans obtain the immortal heart of Frankenstein's monster and transport it to Japan to prevent it being seized by the Allies. Kept in a Hiroshima laboratory, it is seeming lost when the United States destroys the city with the atomic bomb. Years later a wild boy is discovered wandering the streets of the city alone, born of the immortal heart.
An independent group of researchers called the Godzilla Prediction Network (GPN) actively track Godzilla as he makes landfall in Nemuro. Matters are further complicated when a giant meteor is discovered in the Ibaragi Prefecture. The mysterious rock begins to levitate as it's true intentions for the world and Godzilla are revealed.
After an earthquake destroys their underwater station, six researchers must navigate two miles along the dangerous, unknown depths of the ocean floor to make it to safety in a race against time.
Using massive piloted robots to combat the alien threat, earth's survivors take the fight to the invading alien force lurking in the depths of the Pacific Ocean. Nearly defenseless in the face of the relentless enemy, the forces of mankind have no choice but to turn to two unlikely heroes who now stand as earth's final hope against the mounting apocalypse.
After the previous Godzilla attack, a miniature arms race ensues to collect his cells. Concerned over Godzilla's possible return, the Japanese government uses the cells to create a new bio-weapon, ANEB (Anti-Nuclear Energy Bacteria). They seeks the aid of geneticist Genshiro Shiragami, who's experiments result in a new mutation.
An ever evolving alien life-form arrives on a comet from the Dark Gaseous Nebula and proceeds to consume pollution. Spewing mists of sulfuric acid and corrosive sludge, neither humanity nor Godzilla may be able to defeat this toxic menace.
JSDF pilot Akane has a fateful encounter when a new Godzilla emerges in Tateyama. As a countermeasure, a cyborg named Kiryu is constructed from the remains of the original. The machine is discovered to harbor the restless soul of the original monster as Akane must learn to find value in her own life as well.
With the Gyaos re-emerging, Gamera's ties to humanity have been severed with his bond to Asagi broken. Nagamine and Asagi investigate while an orphaned girl named Ayana discovers a new creature she names Iris. Nagamine and Asagi must reach Ayana before she takes her revenge on Gamera, who she blames for the death of her family.