Gareth Edwards' 2014 "Godzilla" takes its cues from that great sequence, and from the 1954 original's Hiroshima-and-Nagasaki inspired tracking shot past a row of bloodied hospital patients, and the camcordered immediacy of "Cloverfield," and the gas station sequence in Alfred Hitchcock's "The Birds," and the Do Lung Bridge sequence of "Apocalypse Now," in which American soldiers' enemies were portrayed as faraway shadows, shooting flares and yelling obscenities. These movie moments are all about perspective and point-of-view—not just what you're seeing but how much, and under what circumstances. "Godzilla" is about those things, too. It's less interested in a giant monster's rampage than in what it might feel like to be a tiny human watching it close up, or far away, or on TV. It is not about Godzilla or the beasts he fights (and I feel safe not putting a spoiler warning in front of that sentence because the trailers make it clear that the big guy's not on a solo rampage). Like the 1954 original, it's a combination epic horror film and parable of nature in revolt, filled with odd ellipses and surprising but appropriate storytelling choices, such as an early monster duel that plays out mainly on CNN.