Godzilla Minus One (2023) movie review

In the midst of the Warner Bros. Monsterverse movies, accomplished Japanese director and visual effects artist Takashi Yamazaki released Godzilla Minus One which follows the legacy of Japanese kaiju movies. Going back in history, before the time of the first Godzilla, the film is an epic story about post-war Japan and the human experience of rebuilding a demoralized society.

In 1945 at the Japanese base on Odo Island, Koichi Shikishima (Ryunosuke Kamiki) lands his plane feigning technical difficulties. Team leader Tachibana (Munetaka Aoki) correctly deduces Shikishima has evaded his duty as a kamikaze pilot. That very night, Odo Island is attacked by a mysterious beast. The locals call him Gojira. Gojira destroys the base leaving no one except Shikishima and Tachibana alive.

Returning to Tokyo, Shikishima is stricken by a serious case of survivor’s guilt. The bombing of Tokyo has left his neighbourhood devastated and his parents deceased. Shikishima is totally broken, having lost everything. Being a surviving kamikaze pilot, he believes he brought shame to his family name.

But just like his country, Shikishima must start over. He finds employment on a minesweeper, destroying mines left during World War II in the sea. It’s a risky job but pays well and helps him provide for a young woman, Noriko (Minami Hanabe) and a child he found scavenging for food at the local market. The production design and staging impress as normalcy returns to Shikishima’s life. His beautiful partner, Minami does a great job taking care of the kid and their home. But the life of a man who is angry with himself is no life at all.

Gojira’s entry in Tokyo couldn’t have come at a worse moment. As the city finds its footing, and the economy steadily rises, Gojira appears. The symmetrical cinematography and the practical effects give the film the grandeur of large Hollywood productions like Nolan’s movies. The scenes on the sea as Shikishima’s minesweeper is tasked to locate and hopefully obstruct Gojira are reminiscent of Jaws (that’s a high compliment). The scenes with the monster’s walk of fame across the city are nothing short of spectacular. Within minutes, the city turns to rubble; all hope being lost.

The problematic part is Kamiki’s performance. He lacks the depth to truly connect with the audience as he portrays Shikishima’s hero’s journey. The humans in the movie say the words and act out the scenes, but their performances don’t go beyond an average theatre production. The movie looks melodramatic as a result. It has a sombre tone throughout reflecting the post-war climate in Japan, but better actors would’ve helped in suspending our disbelief. Having said that, there is a great scene, beautifully delivered by Hidetaka Yoshioka (a formal naval engineer and Shikishima’s friend) when he speaks to the men to prepare them for their battle against Gojira. He talks about spending the night with your loved ones, cherishing the moments and fighting for life instead of fighting to death. This emotional speech is powerful because it went against the opinion in Japan during the war. 

 The beast itself looks menacing, with thick muscles and scales that can sharpen knives. His eyes are death and that’s what’ll come to you if you look into them. Yamazaki’s monster looks scarier than all previous versions as he spreads terror of biblical proportions. Godzilla Minus One is a melodramatic saga that delivers a human message with Gojira as a centrepiece.