One of the interesting aspects of last month’s theatrical release of GODZILLA (2014) was the critical reaction, which turned out to be both gratifying and frustrating. How did it manage to be both? Well, let me explain…
On the one hand, it was gratifying to see GODZILLA taken seriously by the mainstream press. Yes, many of these critics disliked the film; however, their criticisms were, by and large, based on dramatic shortcomings, not on the mere fact of its being a monster movie. For good or bad, they assessed what was on the screen, and did not mock the filmmakers’ efforts to craft a somber, more realistic version of a character often (if unfairly) associated with camp.
On the other hand, it was frustrating to see GODZILLA summarily dismissed by critics who specialize in cinefantastique. Yes, some of these viewers liked the film; however, their criticism was sometimes based less on actual flaws than on the fact of seeing an unfamiliar adult rendition of a familiar, childhood icon. They were less interested in what the film actually achieved than in faulting it for not conforming to their mental template of what a new-millennium Godzilla film should have been.
That’s right: as counter-intuitive as it seems, the famous radioactive reptile got a fairer shake from mainstream critics than from genre specialists. Many viewers with a Sense of Wonder seem to have checked that sensibility at the door, replacing it with symptoms of Early Onset Grumpy Old Man Syndrome (also known as: All You Kids Get Off Of My Lawn Syndrome).
Of course I’m over-generalizing here, and I don’t want to pretend I’ve done a statistical analysis of every critical comment, fair or foul, lobbed at GODZILLA. Nevertheless, I am interested in the sensibilities underlying these reactions, which I see as another example of the Tribalism that permeates modern film-going, in which the actual quality of the film is frequently less important than how well the film acts as a Tribal Identifier that helps “Us” define ourselves as different from “Them.”
GODZILLA FILM COMMENTARY – THEN AND NOW
Before delving into those murky depths, it might be instructive to look at the reactions to the previous Americanized adaptation of Japan’s most famous monster: Sony Pictures’ GODZILLA (1998), from Dean Devlin and Rolland Emmerich (the team who brought you INDEPENDENCE DAY). Back then, we were still at the dawn of the Internet era, and Hollywood, with its lock on old media, thought it could sell audiences anything by keeping a lid on it so that viewers would purchase tickets before realizing they had been hoodwinked.
In this case, Sony kept the Godzilla design under wraps, lied about it when it was leaked online, and avoided press screenings. Nevertheless, within minutes after the premiere at Madison Square Gardens, word was out on message boards and forums, informing fandom that their hopes and dreams had been betrayed.
Mainstream critics were in agreement about GODZILLA’s low quality, though for different reasons. For instance, Owen Gleiberman, who gave the film a mixed but mildly positive review in Entertainment Weekly, dismissed the the subject matter as a “$120 million epic of reconstituted Atomic Age trash,” suggesting that the very concept of Godzilla, as much as the handling, was at fault.
This is what Hollywood has come to, the Disgruntled Critics seemed to say: Spending hundreds of millions of dollars on a movie about a giant monster destroying a city. Which rather overlooks the fact that to do a film like GODZILLA well, would require a substantially larger budget than that of SEX, LIES AND VIDEOTAPE.
With this kind of attitude, it is understandable that fans might have looked elsewhere for insightful critical commentary, from people who actually knew and understood the subject matter as something more than Saturday matinee kiddie fare. I like to think we provided a little bit of that in Cinefantasitque magazine (thanks to a review written by Steve Ryfle, author of Japan’s Favorite Mon-Star), but there were other venues available, thanks to that new-fangled world wide web thingy, where you could find such site as Barry’s Temple of Godzilla and Monster Zero News (lamentably gone since web-master Aaron Smith passed away in 2006).
Sixteen years later, we are in a very different landscape. Critics at major print outlets no longer have a lock on the national conversation; insightful voices are everywhere on the Internet – on websites, on YouTube, and on social media such as Facebook. If you want to read a review of the new GODZILLA, written by a confirmed Godzilla Geek or at least a dedicated sci-fi fan, you have a multitude of choices.
Unfortunately, this advantage is somewhat mitigated by another shift in the cultural landscape: the rise of Film Tribalism. I date this phenomenon to the release of STAR WARS, EPISODE ONE: THE PHANTOM MENACE, a film that was obviously awful to everyone who saw it and yet earned billions of dollars anyway, because the faithful Lucasoids bought tickets again and again, to prove their fealty to their Tribal Leader, George Lucas.
Now, I know what you’re saying: This “Film Tribalism” thing is just another term for Fandom. But it’s not. Fans watch movies because those movies satisfy their love for and devotion to particular styles, genres, or artists. These movies may not be very good, but at least they deliver what is expected of them, whether it’s amazing special effects, exciting action, or beloved performances.
Film Tribalism does not demand such satisfaction. It’s all about proving one’s bona fides as a card carrying tribe member. In fact, there is a certain advantage to an unsatisfying film, because it helps weed out the fair-weather friends from the true believers. What better way is there to prove your Geek Cred than to dismiss someone who dislikes a film by insisting, condescendingly, “You just don’t get it”?
The flip side of Films Tribalism is that, whereas it absolves all flaws in a film that adheres to Tribal Orthodoxy, Tribalism reviles perceived iconoclasm and even minor doctrinal deviation. Being a “Good Film” is less important than being “Our Kind of Film,” the latter determination usually based on whether the filmmaker is considered “One of Us.” Thus, fair to middling works such as THE AVENGERS and PACIFIC RIM are embraced because directors Joss Whedon and Guillermo Del Toro, respectively, are deemed Fans Like Us (making Films For Us), whereas the superior STAR TREK INTO DARKNESS is dismissed because director J.J. Abrams is regarded as an Outsider Who Does Not Adhere to the True Meaning of Star Trek.
All of which, brings us, in a roundabout way, to the new GODZILLA from Warner Brothers and Legendary Pictures, which has provoked a critical response somewhat the opposite of that which greeted the 1998 film.
MAINSTREAM GODZILLA REVIEWS
After months of anticipation, including an effective advertising campaign, fans were eager to find out whether they would be burned again, as they had been by the 1998 GODZILLA fiasco. Would the early reviews confirm their hopes or reinforce their fears? Would mainstream critics give the film a chance or dismiss it as a second attempt at something not worth doing the first time?
The “Bottom Line” assessment from Todd McCarthy’s review in Hollywood Reporter succinctly states: “On a second try, Hollywood does the behemoth justice. Almost.” The review itself sums up the film’s strength’s and weaknesses: great production values, good pacing, serious tone, on the one hand; and ho-hum characters and performances, on the other. McCarthy praises director Edwards for not over-exposing Godzilla but does suggest that the film could have used just a bit more of its star on screen. If you want the basics, McCarthy tells you what you need to know, and really, none of the negative reviews have much more to say on the subject, other than to emphasize flaws already noted by McCarthy.
Likewise, Chicago Tribune’s Michael Phillips is aware of GODZILLA’s shortcomings but manages to look past them, giving an even more positive assessment:
There are weaknesses, starting and ending with Taylor-Johnson, who’s dull in a crucial but dull role. I find the screenplay’s attempts to make us care about the humans rather touching, which isn’t the same as saying the characters’ crises are dramatically vital. But so much of “Godzilla” works on a sensory, atmospheric level, the workmanlike material can’t kill it.
Wow. Two mainstream critics, one for a trade publication and one for a consumer publication, think GODZILLA is a good movie, flawed but well-made and entertaining. Who would have believed it? These are not fan boy gushings but sober reviews by professionals. Considering how much ill will and disrespect fantasy and science fiction films have received over the years, this is rather impressive.
You would think we could all sit back, relax, and enjoy the radioactive glow of a good Godzilla movie. But not quite…
As a transition into the response from science fiction specialists, I next want to mention “Waiting for Godzilla,” by Christopher Orr of the Atlantic Monthly. Although writing for a mainstream publication, Orr claims (in a response in the comments section) to have loved the Toho Godzilla movies for forty years, and his article has been approvingly linked by Godzilla experts disappointed with the film, so presumably it expresses their opinions.
Essentially, Orr complains of Godzilla’s limited screen time, without giving the film credit for carefully building up to the the monster’s revelation or pacing the action to increase its impact (unlike Phillips, who noted that director Edward gave his creatures “room to breath and bide their time between clashes”).
In a follow-up article, Orr clarifies his first response, noting in the headline: “It’s not the Screen Time; It’s the Focus.” Here, Orr expresses sympathy for Edwards’ stated strategy of attempting a slow revelation of the monster, a la JAWS, ALIEN, or the original GODZILLA (1954), but faults the director for focusing too much attention on the MUTOS (Massive Unidentified Terrestrial Organisms), which drive the plot – a criticism endorsed by my esteemed colleagues Steve Ryfle and Tim Lucas (of Video Watchdog), who sarcastically called the film “The MUTO Movie” and “MUTO Love Song,” respectively.
Orr notes that JAWS is always about the shark, even before the audience sees the lethal creature, and the same goes for other films that sought to keep their monsters under wraps till late in the running time. This is true more or less, but when you think about it, even ALIEN isn’t about the Alien from start to finish. It’s initially a rescue operation, responding to what the crew of the Nostromo believes to be a distress call; and the early sequences are filled with sights of other creatures: the famous and mysterious Space Jockey; and the Face Hugger, which is not the alien per se but its progenitor. Which leads to my next question:
Haven’t Orr and others who share his outlook ever heard of an opening act? One that primes the audience for the headliner, who stays backstage as long as possible, building anticipation to the point where the audience erupts with joyful applause when he finally takes the stage? This is the strategy that Edwards uses, and it is not exactly new. In fact, Godzilla’s flying cousin gets similar treatment in RODAN (1956), which focused its first half on over-sized insects attacking miners, before eventually revealing the titular terror midway through.
Orr at least notes that the new GODZILLA is not so different structurally from the monster-battle sequels he enjoyed in the past, but he loves those films for their “campy grandeur,” suggesting that nostalgia has blurred his vision and that he is holding the new film to a different standard. He is not exactly a Grumpy Old Man complaining “they don’t make ’em like the used to,” but you do get the feeling that for him GODZILLA is failing to live up to some illusory yardstick that mis-measures the current film’s qualities while inflating the virtues of its antecedents.
I suppose this is all a matter of opinion, so I should cut Orr and his acolytes some slack, but Orr’s initial review displays a symptom plaguing other negative commentary: mis-statements of fact that make the film sound worse than it is. In this case, Orr claims:
Indeed, Godzilla is a film in which no deed or decision made by any human character seems to have the slightest impact on the inexorable mechanics of the plot.
Apparently, Orr missed the sequence in which Ford Brody (Aaron Taylor-Johnson) fries the MUTO’s egg sack, saving San Francisco from being overrun by monstrous insectoid off-spring. Not only that, the explosion distracts the female MUTO, who along with her mate has been double-teaming Godzilla. This distraction allows Godzilla, who has been on the ropes, to make a comeback, besting his male opponent with a well aimed tale-strike. And as if that were not enough…Ford gets the ticking nuclear bomb (a bungled strategy by the military to defeat the monsters) onto a boat headed out to sea, before it can detonate in downtown, where it would kill tens of thousands of people and irradiate countless more. I’d say Ford has more than a little impact on the mechanics of the plot.
My point here is not to diss Orr (who is actually quite complimentary to those who disagree with him in the comments section of his review). Rather, it is to express my surprise that genre experts, especially those with an appreciation for Godzilla, would point to his review as if it perfectly articulated flaws to which the rest of us were blinded by our overwhelming fan adoration.
As we will see, there is blindness involved, but it’s mostly on the other side of the aisle.
THE GENRE PRESS AND GODZILLA
Okay, we’re finally getting closer to my point, such as it is. But first, a brief recap: A major Hollywood blockbuster, based on a beloved genre icon not usually taken seriously by mainstream audiences and critics, marches into theatres to the tune of a $93-million opening weekend while simultaneously earning a 73% Fresh Rating on Rotten Tomatoes from critics (72% from audiences). It seems, for once, that viewers and reviewers are in accord, and everyone is happy if not ecstatic.
Everyone except for the Godzilla Experts, that is. Their reactions are a bit peculiar – unless you recognize Tribal Film Criticism when you see it.
I’ll start with “Why Godzilla Kicked Pacific Rim’s Ass at the Box Office,” by Annalee Newitz at io9, which despite the implication of the title is actually a Tribal Shout-Out to Guillermo Del Toro’s disappointing and inferior film from last year. Newitz’s essential point is that PACIFIC RIM is “arguably a more original and complex movie than GODZILLA,” the latter of which “succeeded because it treated its audience like kids.”
Yes, you read that right. According to Newitz, GODZILLA’s success is really a symptom of its inferiority; in this case, “inferiority” roughly translates as “accessibility to a mainstream audience.” The alleged superiority of PACIFIC RIM lies precisely in the fact that many viewers didn’t like it or didn’t get it – which suggests that those who did get it are smarter and more perceptive, able to appreciate a film that is “more interesting” and “complicated.”
To be fair, Newitz’s analysis of the difference between the two films is accurate and even insightful, and she does use the word “mistake” to refer to some of PACIFIC RIM’s elements, but it is clear from her description that these mistakes are actually not bugs but features that appeal to a more sophisticated science-fiction-savvy audience
Yes, My Tribe is smarter than Your Tribe.1
Less overtly tribal, but still telling, is Evan Dickson’s “How Does Godzilla Stack Up Against Pacific Rim” at Bloody Disgusting. Having given GODZILLA a straight-down-the-middle review (2.5 out of 5 stars), Dickson returns to answer readers seeking a comparative evaluation of the two films. Evans notes a few ways in which GODZILLA is superior but winds up proclaiming “As it stands now, PACIFIC RIM beats it out for me as a movie” – without offering a tangible reason.
Ironically, the combined impact of the i09 and Bloody Disgusting articles is to convince me that GODZILLA is the superior film precisely because it does not provide fan-service at the expense of good filmmaking. Instead, it plays against expectations, synthesizing elements familiar to fans but using them as if for the first time – in other words, working them into the story so that they fit, instead of simply throwing them up on screen so that the Tribal Members can feel validated when they recognize their favorite tropes. That reluctance to offer nothing but dedicated fealty to Tribal Orthodoxy is what diminishes Godzilla in the eyes of True Believers.
PACIFIC RIM, on the other hand, gets a pass, precisely because it pays homage to the Tribe. Sure, the film has intriguing ideas, such as “The Drift,” but those ideas are drowned in a repetitive series of mindless monster battles, and ultimately Del Toro’s film hews closer to the Hollywood blockbuster formula, right down to giving the Idris Elba character a rather weak variation on President Whitmore’s rousing pre-battle speech from INDEPENDENCE DAY (1996). But you won’t see that acknowledged by either Newitz or Dickson.
GODZILLA, on the other hand, lets Dr. Serizawa (Ken Watanabe) say all that needs to be said in three simple words: “Let them fight.” Let’s award a few points for a level of understatment that avoids hokey melodrama. And while we’re at it, for all of GODZILLA’s dramatic faults, let’s note that PACIFIC RIM is not exactly loaded with credible characters. The two scientists (rendered in hammy performances) are less characters than on-screen avatars for geeks in the audience, and the male lead in is even more forgettable than the one in GODZILLA; in fact, he embodies one of the worst cliches in the history of cinema: the reluctant hero who drags his heels while we wait for the inevitable plot device that will finally motivate him to fight, which is what we know he’s going to do eventually if we just wait long enough. It’s a colossal and stupid waste of screen time – the kind of nonsense that GODZILLA wisely avoids.
In “Godzilla Whitewashed: A Special Report,” which posted at World Cinema Paradise a couple days after GODZILLA opened, Steve Ryfle takes the film to task for subverting the metaphor of the original GODZILLA, directed by Ishiro Honda, which presented its beast as a walking embodiment of the horrors of the nuclear age. Unlike the other negative reviewers I’ve mentioned, Ryfle has a point worth considering, and truth be told, I too would have preferred a new film hewing closer to the powerful and dramatic original, one that boldly confronted our legacy as the only country to use nuclear bombs in warfare (on a civilian population, no less).
However, Ryfle’s justifiable concern leads him to underestimate the extent to which the film does question the wisdom of America’s nuclear arsenal, which is portrayed as ineffective at best and counter-productive at worse (to put it mildly). The scenario tells us that nuclear testing in the Pacific in the 1950s was a covert attempt to destroy Godzilla – an attempt that failed. When the MUTOS and Godzilla converge on San Francisco, the military, in the form of General Stenz (David Strathairn), concoct a plan to eliminate all three radiation-hungry beasts by luring them out to sea with an atomic warhead, which will then be detonated. Dr. Serizawa points out that this tactic failed repeatedly in the past, and his colleague Vivienne Graham (Sally Hawkins) storms out in frustration over the futility of the plan, leading to a key moment.
Serizawa then tries to spur Stenz’s conscience by displaying a watch that belonged to his father – a watch that stopped when his father died in the blast at Hiroshima, its hands frozen forever like a fateful reminder of that terrible day. Stenz understands the point but proceeds anyway, for lack of a better (or indead any other) military option. Even so, in a later scene, Serizawa begs him again not to go through with the use of a nuclear warhead.
Despite this, Ryfle conclueds that Serizawa and Stenz “share a hope that it never happens again, tacitly accepting the gospel of Hiroshima as necessary evil.” Having seen GODZILLA a second time, I can say with certainty that no such scene exists in the film, which in no way pushes that message that Ryfle attributes to it. In fact, the watch scene is a far more direct indictment of the Hiroshima bombing than anything in Honda’s GODZILLA, which was more focused on H-Bomb testing in the Pacific than on the A-Bomb attacks on Japanese soil.
Rather than necessary evil, GODZILLA portrays the use of nuclear weapons as unnecessary insanity – a point driven home when the military’s plan goes horrible wrong, with the male MUTO2 hijacking the warhead and giving it to his mate as an offering, which she then uses as a “food” source for her eggs. Clearly, nuclear power is adding fuel to the fire, making a horrible situation exponentially more catastrophic.
Though Ryfle insists that GODZILLA “is about nothing” and that the film does not meaningfully comment upon its scenes of destruction, I find the meaning perfectly clear: nuclear proliferation has come back to bite the U.S. on the ass; the weapons that exist allegedly to protect us actually attract more trouble than they repel, and by creating and using them we have set in motion events that we are powerless to stop – unless we get a little assistance, in the form of Godzilla, to reset the balance.
Underscoring this theme, our hero Ford Brody is not a conventional warrior; his specialty is defusing bombs. The human story of GODZILLA’S third act (as opposed to the over-sized monster battle) focuses on his attempts to stop the bomb from detonating or, failing that, to get it safely out to sea, where it can do no harm to the inhabitants of San Francisco. This is definitely a movie that advises us to start worrying and stop loving the bomb
On another level, it is significant that only the combined efforts of Ford and Godzilla save San Francisco from nuclear annihilation.
Which brings us to…
JOE BRODY IS GODZILLA (SPOILERS)
One aspects of GODZILLA that seems to be universally disliked is the death of Joe Brody (Bryan Cranston), who is killed when the dormant MUTO hatches; ironically, Joe’s death confirms the conspiratorial ramblings that have alienated him from his son Ford but severs any possibility of father-son reconciliation. Or does it?
Cranston gives the best performance in the film, emerging as the most (some say only) memorable character. So why kill him off? Before advancing my argument, first let’s hear director Edwards on the subject:
[…] we tried versions in the screenplay where he survived. And in every one we did that with, there was nothing else that character could do without being silly. If he sticks with Ford, it becomes Indiana Jones And The Last Crusade, and the tone of the movie becomes fun, but not the tone we were trying to do. And if he sticks with the military guys, he’s like a fifth wheel. His job was done in the story line there.
“We did try to make it work. […] But as a story beat, he becomes redundant once he’s handed over the baton to the rest of the cast.
Edwards explanation is good as far as it goes, but he leaves deeper questions unexplored: Exactly why does Joe Brody become redundant, and to whom is he passing the baton?
As you may have guessed, I have a theory, and it goes like this:
Joe Brody is Godzilla.
Okay, I do not mean to be taken seriously – or at least not literally. Previously, the Toho production GODZILLA VS BIOLLANTE (1989) depicted a monster infused with a human spirit (through gene splicing). That is not what is happening here. Rather, Joe Brody has to disappear from the narrative because his role is being assumed by Godzilla; it is to the mysterious sea beast, rather than to the human characters, that he is passing the baton.
Unfortunately, the film does not do as much as it could to support this reading. I would like to have seen Joe perish by disappearing into the ocean shortly before Godzilla emerged from beneath the waves; perhaps a few familiar character tics – gestures, expressions – could have been imbued into Godzilla to drive the point home.
Nevertheless, there are a few hints:
- Joe makes his exit before Godzilla enters the picture. Except for brief news reel image of dorsal spines in the Pacific during a nuclear blast decades ago, Godzilla is off-screen until after Joe dies. Only then do we learn that Godzilla is hunting the MUTOS, which is not, I think a coincidence, because…
- The MUTOS are responsible not only for the death of Joe’s wife but also for the death of Godzilla’s ancestor. In the traditional action scenario, it is the hero’s duty to exact vengeance for this kind of thing. Godzilla takes out the MUTOs, doing what Joe would have done if he could.
- At one point, referring to his late wife, Joe tells his son that she is “still out there,” suggesting a continued spiritual presence even after her death. This hints that, even after his own death, Joe is “still out there,” though now embodied in Godzilla. Not literally in the sense of taking possession, with his intelligence intact, but metaphorically, his goals fused with those of the prehistoric apex predator.
- Ford and Godzilla share a strangely intriguing moment of eye-contact, suggesting some kind of bonding. Interestingly, Godzilla’s looming face disappears as it is engulfed in billowing clouds, almost as if the creature were de-materializing – a guardian angel evaporating into the ether.
- Godzilla very pointedly saves Ford’s life at the end – again, something Joe would have done if he could. This later point is particularly significant, because the film starts with a nuclear catastrophe that Joe fails to prevent, loosing his wife in the process; the conclusion neatly bookends the opening, with another nuclear disaster, this time averted without loss of life.
In effect, Godzilla takes on the mantle of protective parent after Joe’s demise. Earlier in the film, Vivienne Graham refers to Godzilla as “a god, for all intents and purposes,” which dove-tails nicely with a quote from Sigmund Freud, which I am going to paraphrase slightly to suit the occasion:
“A personal God[zilla] is nothing more than an exalted father-figure.”
In GODZILLA, the King of the Monsters assumes the father-figure role, but that role has greater resonance when you see him as the embodiment of Joe Brody’s need to protect his family, to succeed where he failed previously. Again, this is to be taken figuratively, not literally.
Generally, I think reviewers have not given the film enough credit for a solid structure that makes sense of elements like this, regardless of whether the dialogue and characterizations are as compelling as we might like. Joe Brody is a nuclear safety expert; his son attempts to diffuse a nuclear bomb at the end; individually, they fail, but united (at least insofar as Godzilla represents Joe), they succeed.
Sure, the getting-back-to-my-family story line is banal, but it serves a function as a microcosm of the larger problem: nuclear radiation has not only upset the balance of nature on a large scale, but also split the nuclear family; the reuniting of Ford’s family is a small scale symbol of the restoration of balance.
One last point (I can hear you sighing, “Finally!”). Ryfle objects to the conclusion of GODZILLA, which sees the purloined warhead detonating harmlessly out to sea, with no threat of sickness from what should be massive fall-out. This is clearly in line with America’s myopia about nuclear weapons, which we prefer to regard as high-yield explosives while we ignore the insidious effects of radiation poisoning, which continues to kill long after the smoke has cleared (a pointed made with disturbing poignancy in Honda’s film).
However, I am going to give the new film the benefit of the doubt, because it has laid the groundwork for an explanation. Earlier in the film, we learn that Dr. Serizawa and company have been nurturing the dormant MUTO because it has been absorbing the radiation from nuclear plant it destroyed; the surrounding area, which should be toxic, is actually clean.
Godzilla, like the MUTOs, feeds off radiation. After defeating his opponents, Godzilla collapses, exhausted and spent, apparently dead (in a nice touch, his fall to earth after a heroic victory mirrors Ford’s slipping into unconsciousness, the actions synchronized to once again emphasize the connection between Ford and Godzilla). The next morning, with people swarming the beach around the fallen titan, and Dr. Serizawa gazing in wonder upon what is for him the equivalent of the Holy Grail, Godzilla’s starts to breath again, rising in triumph to head back to the ocean.
I think this is why there is no danger of radiation poisoning: as the MUTO did with the radiation from the reactor, Godzilla has absorbed the fall-out from the warhead; this is what brought him back to life. As he returns to the depths from which he came, the implication is that a sort of symbiotic relationship exists between humanity and Godzilla. Just as plants live on the carbon dioxide that we exhale, purifying the atmosphere for us, Godzilla is taking our nuclear poison with him and leaving a purified world behind.
It’s not all that far removed from the ending of GODZILLA VS HEDORAH (a.k.a. GODZILLA VS THE SMOG MONSTER), whose writer-director, Yoshimitsu Banno, serves as executive producer here. The difference is that Edwards’ GODZILLA takes a potentially silly idea and presents it with a straight face, free of camp or irony. We may chuckle to ourselves after the curtain has dropped and the theatre lights go up, but while the film is actually unspooling we can enjoy the delicious experience of taking Godzilla seriously.
- I would be a little less snarky here if some of Newitz’s points were not so specious. For instance, she praises PACIFIC RIM’s “bold decisions,” such as starting the film ten years after the first appearance of the kaiju. Actually, this not so much bold as safe: it gives the film an excuse to start with monster mayhem from the very first frame, to capture audience attention before boring them with the exposition and “drama” that follow. GODZILLA is bolder in strategy, daring to tease its audience along, resisting the urge to go full-on monster mayhem from beginning to end.
- By the way, Ryfle objects to acronym, referring to the “laughably named M.U.T.O” and expressing pity that “the fine actor David Strathairn had to utter those words without chuckling.” I just want to say that MUTO sounds quite like UFO (Unidentified Flying Object, pronounced “YOU-FO”), a term coined by the U.S. military and used for decades (in official documents such as Project Bluebook) without provoking laughter.