GODZILLA MINUS ZERO
Running time: 135 minutes. Rated R (some violent content and bloody images). In Japanese with subtitles. In theaters Nov. 6.
The thrilling “Godzilla Minus Zero” made its world debut at the New York Film Festival, adhering to a tradition familiar to longtime fans: the classic Godzilla comes back to triumph over the new menace, King Ghidora.
This latest installment in the “Minus” series brings a fresh perspective. Instead of a lengthy, CGI-laden battle, the narrative is intricate and surprising. And, much like in “Godzilla Minus One,” the human characters manage to be just as compelling as the gigantic monsters. Who would have thought?
It’s been over two decades since Japan showcased two colossal creatures clashing on screen. Meanwhile, the American studio Legendary Entertainment, which owns the rights to characters from Toho, released “Godzilla x Kong: The New Empire” last year—a film that fell flat.
“Zero” is here to wash that disappointing experience away.
It seems rather evident that Japan has a knack for portraying Godzilla in a more impactful way, particularly under the direction of Takashi Yamazaki, who is also the writer and special effects creator.
This sequel picks up just after the previous one, set in 1949, where a kamikaze pilot named Koichi (Ryunosuke Kamiki) and his wife Noriko (Minami Hamabe) believe Godzilla to be extinct.
But the old adage rings true: when one threat fades, another rises. Enter the terrifying Ghidora, a creature that seems to have extraterrestrial connections.
Dr. Noda (Hidetaka Yoshioka) from the Disaster Response Bureau returns to work alongside meteorologist Makoto (Masami Nagasawa) to uncover the mystery behind this ominous being and devise a plan to tackle it.
Koichi, reluctantly, is pulled into action, with the U.S. Military offering their support—perhaps a bit too eagerly.
Each character has a complex and engaging backstory. Noda suffers guilt for not preventing more destruction during the last encounter with Godzilla, while Makoto grapples with regret over a weather mishap that had dire consequences. Noriko bears the scars from previous events.
The specter of World War II looms large, with Hiroshima’s bombing playing a significant role in shaping their emotional landscape. The weariness from continuous conflict manifests in various ways, as their battles evolve from human to monstrous.
There’s also a new character, Kanji (Kin Tanaka), a peculiar biologist hiding significant secrets, and Akiko (Sae Nagatani), the couple’s adopted daughter, who adds emotional depth to the narrative. Her intense crying is quite disturbing at times.
This film, while having its share of somewhat absurd dialogue, might just lead viewers to shed a tear or two—something unique for a “Godzilla” story.
For those who are primarily drawn to the franchise for action, the battles are superbly executed. The creatures are vividly designed and convey a weight that leaves an impression. As Godzilla and Ghidora clash with ferocity, the audience genuinely feels their pain—an impressive feat given the level of 3D animation.
The film’s 1940s backdrop enhances the visuals, with distinctively ornate buildings that crumble during the havoc, a welcome change from the mundane glass-and-steel aesthetics seen in some other monster movies.
This setting compels the clever characters to use wit rather than relying on modern technology to face these cold-blooded foes. There are no distracting social media references or random scenes involving frantic typing on laptops. The characters communicate effectively about the monsters without overwhelming us with tedious explanations. “Zero” feels refreshingly classic and gritty.
This stands in stark contrast to “The New Empire,” which, let’s not forget, included a main character whose sole role involved podcasting.
The film culminates in an exhilarating yet impactful ending. However, it doesn’t quite provide the definitive closure that I—perhaps naively—expected. The trailer hinted at a finality, stating, “There is no third time.”
But, really? The finale hints at possibilities. With 38 past Godzilla films since 1954, it seems reasonable to assume that another installment is within reach. And I certainly am not referring to the upcoming “Godzilla x Kong: Supernova” in 2027.
