Takashi Yamazaki is here to set the record straight, though. Three years ago, the Matsumoto-born writer and director was the man behind Godzilla Minus One, a new story set in 1940s Japan that received international acclaim and a visual effects Oscar on its way to becoming the highest-grossing Japanese-language film of all time in the US.
Proceedings begin in 1949, two years after the events of the last outing, with the population endeavouring to rebuild their lives while much of Tokyo is a restricted zone after being wrecked by Godzilla, who they hope has gone for ever.
Predictably, though, a new threat arrives and despite only being teased in the trailer, it is no spoiler to reveal that the beast is longtime Godzilla nemesis Ghidorah, as the film’s opening sees the multi-headed dragon lay waste to yet more civilisation.
View Green Video on the source websiteOnce again, the fight against the creatures that see cities like nothing more than Lego is characterised by elaborate and innovative schemes from lab-coated civilians, with Yamazaki continuing to be masterful at building momentum while clearly laying out how the plucky scientists intend to slay the beast. Last time it involved balloons and water pressure; on this occasion they look to weaponise the weather.
There is an old-school melodrama sensibility to the script and some of the performances, which doesn’t always avoid cliché, but Yamazaki’s dedication to social commentary is to be commended.
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As Ghidorah’s gravity beams lift entire towns and Godzilla reduces cities to dust and concrete slurry, the spectacle and visual-effects excellence is visceral enough to melt the faces off audiences looking up at the big screen.
There have been no fewer than 39 Godzilla films to date (34 from Japanese distributor Toho and five American productions) and Godzilla Minus Zero, the first Japanese production of any genre filmed for IMAX, is another blockbuster of the highest order. In Yamazaki's safe and skilled hands, there is plenty of life left in the nuclear lizard.
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