TrueJoshNight Truly Dreadful Film

Redwarmin This movie is the proof that the world is becoming a sick and dumb place

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Maleeha Vincent It's funny, it's tense, it features two great performances from two actors and the director expertly creates a web of odd tension where you actually don't know what is happening for the majority of the run time.

camalexmurray This is like that one episode of Evangelion, where Misato has to convince everyone to let her shut down Neo-Tokyo to power her missile, but for 2 hours. Not complaining I love it.Love the more political heavy scenes while the actual Godzilla scenes drag a bit to me... It's really good, Anno. ... This film is sure a satire of bureaucracy, but what I like about that is that they still won't paint a direct "Bad Guy" (other than Godzilla himself of course) like so many other similar films would just point fingers to the ones on top. Everyone is clearly a guy just doing what they think is best even if it's short-sighted and poorly planned.Also kind of amusing that the guys who solve the problem, in the end, are the reject autists. Not saying that to be mean, Hideaki Anno is autistic (he is on record saying anyone who works in Animation (where he mainly works) almost has to be autistic.) and you can see these kinds of parallels in his characters. Look at Evangelion's Shinji, Rei, and Asuka for example.When push comes to shove those are the kind of guys who are probably going to find the answers, the kind of obsessed people who NEED to find the answers, not for any personal gain but because they won't be satisfied without it. --- Really hard not to sound mean when saying that, so apologies in advance.

ckszajner I won't do much to describe the plot, but this movie does the monster genre justice.A creepy monster, unexpected turns and a wonderful soundtrack all compliment this movie. So many talented individuals went to work on this movie and it shows. Any monster fan should get a kick from the new real installment from Toho.

alexatkinson-73988 Those who watch this film expecting Godzilla to just blow up buildings will be disappointed with this film, however, those who wish to see a smart, challenging and satirical flick will get more than what they asked for.Most of the movie unfortunately takes place in meeting rooms with mostly uninteresting characters, which is the point. These scenes speak of how many politics in Japan just have a lot of meetings without taking action and immediately try to resolve the situation. Just like their nationwide earthquake that killed thousands of lives a few years before the film's release. The mostly bland characters emphasize how many of Japan's politics don't try to do or say anythings different and are just a bunch of "yes-men".The wooden characters were the only problem I had with this film. Everything else was perfection. The special effects are unbelievable. Godzilla is one of the best CGI effects in cinema, I could not believe that wasn't a man in a suit. It was so realistic.The score is pure bliss, the camerawork is gorgeous, the lighting is much better than the mess of a climax of the 2014 film. The final shot of these mutant Godzilla-like humanoids is perfect, they climb up his tail towards the tip of it. This is all up the fan speculation but I and many others like to think that this once again shows the humanity is the real monster. This is further supported by the song "Who will know" and the main poster of the film (not one currently shown on the IMDb website). "Who will know" takes place from the point of view of Godzilla, and from that we learn that he's afraid of us, of what we could do. He feels as if he has no choice to wipe us out as it is all he knows how to do. Most of the posters of Godzilla show him destroying something or fighting a monster of roaring in a very proud manner. Shin's main poster just shows a dark image of Godzilla looking down with a red background, that's it. He kind of looks depressed as if he doesn't want to do this but he also feels as if he'll die if he doesn't since humanity would probably find out about his existence one way or another. (I'm probably just looking way to deep into this).Most Godzilla fans have already seen and loved it so I would recommend this to anyone looking for a political satire or a film that depicts us as the enemy. Those who want to see Godzilla do cool stuff, you get that its just after some time of people talking about how should stop him. Just decide for yourself. But as for me, I dare say: Shin Godzilla is perhaps even better than the original. I know plenty of people will disagree but I overall just had more enjoyment watching it and loved the deeper messages than the original. It doesn't take much to realize why this won the Japanese Academy award for 2016's best picture last year.

JLRVancouver A sign of the times, there is no longer a man in a rubber suit . This iteration of everyone's favorite kaiju is all CGI. In the past, Godzilla has been a metaphor American militarism, environmental catastrophism, GM-Oblivion, Japanese war-guilt, etc., and now, in a very political "Shin Godzilla", he appears to have been recruited as an endlessly adapting existential threat designed to deride a stultified, stratified, inefficient, and timid bureaucracy. The movie is long on governmental procrastinating, hand-wringing, and buck-passing, and short on monster mayhem, but all-in-all, it's an interesting addition to the canon. Briefly, a somewhat embryonic (but still immense) bug-eyed, proto-Godzilla drags itself out of the water and levels part of Tokyo before metamorphosing into a bipedal form that flattens more of the city before returning to the bay. Eventually a colossal 'mature' morph emerges from the bay and returns to continue obliterating Tokyo. Not-surprisingly, man-kind's puny weapons have little effect on the monster, who has now 'evolved' highly efficient defense mechanisms that make short work of the sacrificial planes and tanks sent to torment it. After much pseudo-scientific discussion, freezing him with anti-coagulants (?!) is proposed and the race against the clock begins: if the locals can't stop the monster, the Americans intend, for a third time, to rain nuclear fire down upon Japan. The movie pays homage to the original: - the CGI monster still 'could' have a man inside (unlike Emmerich's much maligned 1998 version), the classic roar is heard, and effective use is made of Akira Ifukube's iconic score from the 1954 original. Not a film for everyone - probably not even for all Godzilla fans - but (IMO) a worthy addition to the long running and constantly evolving series (this is film number 31 not counting Merv Newland's 1969 "Bambi Meets Godzilla"). note: watched in Japanese with English sub-titles