Godzilla has always been a silver-screen icon. The giant lizard is an inherently cinematic creation — a walking disaster who never fails to dazzle, whether the film around him is good or bad. Still, it was something of a surprise when Godzilla Minus One, a more personal and intimate take on the tale from writer, director and visual-effects artist Takashi Yamazaki, became the best-reviewed film in the franchise’s history — and an Oscar winner. Three years later, Yamazaki returns with Godzilla Minus Zero, a dazzling, if less lingering, follow-up.
In New Movie Godzilla Minus Zero, the Kaiju Meets a Rival
Godzilla Minus One was set amidst the immediate aftermath of World War II, with the monster serving as a vehicle for a complex story about survivors’ guilt and national trauma. Godzilla Minus Zero is set just a few years later; the country is struggling to grapple with the crushing effects of war and the devastation perpetrated by Godzilla, who was defeated (or was he?) at the end of the first film.
Wouldn’t you know it, there’s another monster on the scene: Ghidorah, a flying, dragon-like beast that commands electricity. After the new beast rampages through Matsumoto City, some of the scientists and soldiers who survived Godzilla’s attack unite to stop the new foe.
That includes the fighter pilot Kōichi Shikishima (Ryunosuke Kamiki), whose heroism sank Godzilla a few years back; he’s formed a ragtag family with a pair of fellow survivors and is disinclined to get back in the sky.
After a series of failures, someone suggests the plan that all Godzilla sequels eventually get around to: They’ve gotta get a good old-fashioned monster brawl going.
Filmed for IMAX, Godzilla Minus Zero Dazzles — Even If It’s a Bit More Dull
Perhaps the heightened expectations engendered by Godzilla Minus One make the sequel look lukewarm by comparison — or perhaps this script, written somewhat hastily after the success of the previous film, simply isn’t as good. There’s still some reflection on trauma in this film — and certainly an unflinching depiction of the terrors of war. Those moments, however, don’t feel like the main focus; it’s as though they were sprinkled in later, like croutons on a salad.
So: Why are we here? Spectacle — and there’s plenty of it. Godzilla Minus Zero is the first Japanese film production shot entirely in IMAX, with sweeping vistas crowded out of frame by giant beasts and crashing buildings. It’s a feast for the eyes, particularly when the monsters get around to fisticuffs; the confrontation between Godzilla and (King) Ghidorah puts every previous kaiju prize fight to shame. And the sound is, if anything, even more impressive; I think this is the loudest movie I’ve ever seen, but I was too impressed by the sonic landscape to worry about my ears.
In that respect, Godzilla Minus Zero is like most Godzilla pictures: The story isn’t going to linger, but the action is worth wading through the dialogue. It’s not the achievement its predecessor was, but you’ll certainly get your money’s worth.
Top Oscar Contender La Bola Negra Arrives, Plus More in Theaters This Weekend
The sprawling drama La Bola Negra weaves history and romance into an epic tale of creation and desire denied; small wonder that it’s already seen as a top contender for this year’s Academy Awards. Co-directed by Javier Ambrossi and Javier Calvo — who wrote the script with playwright Alberto Conejero — the film borrows the name and subject matter of a lost play by Federico García Lorca to tell a trio of stories intimately linked by the Spanish Civil War. The film gives itself a challenging narrative task and slowly, deliberately excels; it’s like watching a tightrope walker maneuver, with achingly slow progress, from one platform to another.
With scale as grand as its ambitions, La Bola Negra is a must-see film; it also demands to be seen in the cinema, and there’s an unfortunately short window to do so in North America. It plays in select theaters today for a limited run before debuting on Netflix on December 4.
Also in theaters today: Another take on The Cat in the Hat, the first big-screen adaptation of the iconic Dr. Seuss book since the disastrously received live-action version starring Mike Myers. (This one, thankfully, is animated.) Bill Hader stars as the titular feline; Matt Berry, Quinta Brunson, America Ferrera, Bowen Yang and Paula Pell are among a loaded supporting cast. Early reviews are mixed, but you’ll at least get your money’s worth; the film is accompanied by a Looney Tunes short, Daffy Season.
Check Out Sean’s Previous Reviews
It’s a good time to go to the multiplex. In addition to Godzilla Minus Zero and La Bola Negra, last week’s box-office winner, You Can See Everything, is still going strong; if you haven’t yet joined the conversation about the remarkable, beguiling Elizabeth Holmes documentary, now is the time. Wild Horse Nine, which debuted in a one-night preview last week, gets a full release this week. I gave warm reviews to all four movies — and also loved the dark-fantasy comedy Wicker, which I didn’t get a chance to review — so you have plenty to choose from this weekend.
Read more of Sean Collier’s movie reviews in our guide to the arts, culture, and entertainment.
About the Author
Sean Collier is the editor-in-chief of Shady Ave and the arts and culture editor of TABLE Magazine. Before joining the TABLE Media team, he spent nearly 15 years as a writer, editor and columnist at Pittsburgh Magazine. As the in-house film critic for the top-rated WDVE Morning Show since 2009, he’s been Pittsburgh’s most widely heard voice on movies for nearly two decades. A Pittsburgh native, Sean has since 2020 appeared weekly on KDKA-TV’s popular Pittsburgh Today Live talk show. He’s the co-founder of Vigilance Theater Group and an active stand-up comedian and event host. He can be found on Instagram and Twitter at @seancollierpgh.
Photo Courtesy of GKIDS
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