Godzilla is the only thing good about “Godzilla” (2014). The Guardian's Paul Mainnes etches it brilliantly when he writes "at least they got the monster right" for his opening line. The trailer teased; the film teased even more. Too many times we were taken to the edge of the cliff, always at the cusp of glimpsing the legendary kaiju, and then forced to look away into darkness. Seductive is the spectacle’s enormity, and the anticipation of the gaze. The larger-than-life scale of the movie, with a budget of over $160M, commands a mouth-opening awe from gawkers like us: the tiny individual tots that look up greedily with necks craned like wide-eyed New York City tourists bewildered only by greatness.
Thick in the point-of-view filming, there is so much of veiled storytelling it’s almost as if the movie is concealing him till the very end—which both works and frustrates. Most of what we get to see are from the eyewitness accounts of the characters. For audiences who only want to see the beast all the time—prepare to be left hungry and shivering in the cold. For viewers wishing to be titillated a bit more by multiple moving pieces of the movie, they will find this rendition to be entirely fulfilling, an all you can eat buffet of kaiju destruction.
Kick Ass’s Taylor-Johnson on the other hand gives a somewhat mediocre performance. Not extraordinary but nothing to be too reproachful of. He does what he is told to. Some heroes drag us through their movies to ensure we meet the rolling credits at the end, and other heroes step beyond our expectations by immersing us in novel experiences, broadening our understandings while accompanying us to the end. This was the former.