For a truly satisfying experience, check out the 1954 original

Rating: 6/10 (3 September 2014)

Flicking the memory of Roland Emmerich's disastrous 1998 Godzilla movie away with it's mighty finger, Gareth Edwards' 2014 re-imagining is an altogether mightier and maturer beast. The biggest question stemming from message boards and critic reviews alike, is whether the colossal lizard is seen, or even glimpsed, enough. Anyone who saw 2013's incredibly dull monster/machine pile-up Pacific Rim will surely be aware that more is not necessarily better, and CGI is soulless without a heart. So my answer to that question would be a yes, as although Edwards teases us perhaps one time too many, when the beast finally roars, it's spine-tingling.
The screenplay by Max Borenstein, based on a story by Dave Callaham, opts not to have the King of the Monsters the result of nuclear testing, but one of many ancient creatures laying low, feeding on the energy from the Earth's core. In 1999, scientists Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins) discover the skeleton of a giant creature in a collapsed mine, and two pods. One pod has broken open and left a trail leading into the sea, and the other remains dormant. In Japan, unusual seismic activity causes a nuclear power plant to leak radioactive steam, killing the wife of plant supervisor Joe Brody (Bryan Cranston). Fifteen years later, Joe's son, bomb disposal expert Ford (Aaron Taylor-Johnson), returns to Japan to find his father still obsessing over the unexplained events that led to his wife's death.
This sounds like a lot of plot for a movie primarily about giant, rampaging creatures. The director previously made Monsters (2010), a low-budget, very human drama about a world facing an alien invasion, only the focus was on the romantic relationship between it's two leads. Edwards clearly isn't interested in simply blowing s**t up for our amusement, he wants us to care for the people dodging the flying cars and falling skyscrapers. It's an admirable approach, and is careful not to serve up stock chin-stroking villains or supporting characters you are waiting for to croak, but does make the mistake of offering one- dimensional archetypes as our protagonists. We have our square-jawed lead, our brilliant but possibly mad scientist, and even an expository ethnic character to make sure we're keeping up with the plot.
There's also the problem of Taylor-Johnson, who although is a perfectly likable actor, does not have leading-man chops. This combined with his thinly-written character makes it incredibly difficult to get caught up in his long journey back to his loving wife (Elizabeth Olsen) and child (Carson Bolde). But while the film may often move at a snail's pace, it is never boring. Though the titular giant takes his time before popping his head up out of the water, there's two other bat-like creatures causing havoc, usually seen from the ground-up or on news reports, heightening the tension by creating a sense of realism. It's a very modern-day Gojira, developing it's own mythology yet appeasing fans of the beast's many incarnations, and no doubt frustrating those wanting to see an epic CGI smack-down. For a truly satisfying experience, just check out Ishiro Honda's 1954 original.
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