Godzilla has been resurrected over the years, but rarely so inventively as in writer-director Takashi Yamazaki’s 2023 stunner Godzilla Minus One, in which a kamikaze pilot, Ryunosuke Kamiki’s Koichi Shikishima, tries to return to normal life in his shattered country, even as he feels shame over his own failure to take action in the war's last days. Godzilla Minus One wasn’t just a showcase for a magnificent monster; it was a thoughtful, beautifully paced picture, one that took its time to unfold, and its focus on human redemption was as delicate as its star kaiju was grand. Godzilla Minus One might have been a tough act to follow. But Yamazaki’s new Godzilla Minus Zero doesn’t so much try to surpass its predecessor as to cap it like a protective bookend. It’s a magnificent entertainment with a melancholy heart.
Before Ghidorah even shows up, it’s clear that no one has recovered from Godzilla’s earlier rampage. Noda (Hidetaka Yoshioka), the brainy, principled naval weapons engineer who figured so prominently in the earlier film, heads up a bureau whose chief aim is to deal with giant marauding creatures. He once again needs Koichi’s help, and also enlists some new talent, including ace meteorologist Aoyama (Masami Nagasawa) and Professor Murakami (Min Tanaka), a respected science whiz who lost his family in the bombing of Hiroshima and who harbors, not so secretly, a simmering resentment toward the U.S. military.
Min Tanaka in Godzilla Minus Zero —Courtesy of GKidsAnd what about the creatures, the metaphorical vessels invented to carry so many undefinable feelings? They are—unsurprisingly, given the majestic special effects of the earlier movie—superb. The plot involves some wackadoodle science that doesn’t make much sense, but you needn't worry about that. Ghidorah, having flown into town from God-knows-where, is a displaced ball of anger. Wherever home is, he’s far away from it, and deeply unhappy. His golden breath has electromagnetic powers—at one point it uproots both structures and people, Wizard of Oz-style, and whirls them in the air, only to later smash them to the ground. There’s nothing nice about him, but in his somber, unruly rage, he is beautiful.
And then there’s Godzilla himself, who appears to be—and must ever remain—unkillable. His enormous, unmanageable tail swings to and fro as he once again clomps through Tokyo, a city that has had no time to recover from his previous visit. Tossing his proportionately tiny head, he roars with anguish and frustration. When he gets really mad, gorgeous but deadly blue radioactive spines sprout from his back. He has the body of a tyrant and the mind of a toddler. No wonder we both fear him and feel protective of him. He’s both our villain and our destiny, a vessel for incompatible ideas that we can’t always resolve with human logic. He’s not just coming for us; he is us. In Godzilla Minus Zero, we're again invited to tremble before him—but, once again, not without tenderness.
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