With the looming release of Kong: Skull Island, FrightFest’s screening of Shin Godzilla (the first Japanese Godzilla film since Godzilla: Final Wars in 2004) was the perfect time for its long overdue UK debut. Shin Godzilla (translated “New Godzilla”) is a wistful, bustling and scintillating visual onslaught, with the type of pioneering fantasy action absent from most mainstream monster movies.

Former Ghibli animator Hideaki Anno’s film (co-directed by Shinji Higuchi) welcomingly harks back to the Godzilla films of the 50s and 60s, integrating the podgy bottomed man in rubber suit for the creature’s CG guise with breath-taking scenes of annihilation. Yet sadly, its scrawny plot, lack of protagonist, unlikeable characters and stock, news-gram delivery makes Shin Godzilla a cold, un-engrossing hat-tip that is tragically often difficult to enjoy.

An explosion off of Tokyo Bay results in city-wide mayhem. The government’s crisis management departments meet to discuss the best cause of action in response to what is assumed to be an undersea thermal discharge. Phone captured footage soon arrives online to reveal a colossal creature rising from the ocean, cue further panic and an influx of surplus emergency meetings during which characters exchange information but don’t actually do anything. As Godzilla (Gojira: meaning “God incarnate”) shuffles to shore, the US military turn up and suggest hitting it with a thermal nuclear blast because “no creature can stand the million degree heat of a nuke”, as the Japanese Government deliberate further and Godzilla levels the city.

Shin Godzilla ReviewShin Godzilla’s clomping metaphor about the destructive power of regulation/ government red tape is an interesting concept to employ in a blockbuster but it’s so inelegantly applied. As a result the stocky political hoo-hah, which makes up the majority of the screen-time, is debilitating to the plot and monster mashing. Godzilla first emerges as a waddling, goggle-eyed, ostrich, bobbing about delirious in the ocean as though angry at being interrupted mid coitus. It then slumps on land and shuffles through the city like a radioactive slug that’s been shot with a tranquilliser dart before turning into the fire breathing Dino-bastard we all know and love then respectably crushing Tokyo.

Fast paced, shaky POV shots, abrupt editing and public filmed footage imposes a frenetic energy during the action scenes which combine for a bustling package of fantasy, eradication and dry political conflabs. Anno’s film sadly favours elongated negotiations over plot progression, character development and, for the better part, action. The “man is more frightening than Gojira” mantra is imposed in a different fashion to the US military’s more immediate/aggressive “let’s take action” MO and reiterated in various semblances throughout (the PM still moans about his noodles being soggy).

This results in Shin Godzilla feeling more like comprehensive news coverage instead of a monster movie with a linear storyline. Subsequently, it is often monotonous and lacks heart beneath its beautiful carnage. While characters coldly relay like newscasters and recurrently pontificate for our “viewing pleasure”, this runs the risk of disconnecting viewers, leaving them lost, indifferent and longing for Kong.

Shin Godzilla
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Daniel Goodwin is a prevalent film writer for multiple websites including HeyUGuys, Scream Horror Magazine, Little White Lies, i-D and Dazed. After studying Film, Media and Cultural Studies at university and Creative Writing at the London School of Journalism, Daniel went on to work in TV production for Hat Trick Productions, So Television and The London Studios. He has also worked at the Home Office, in the private office of Hilary Benn MP and the Coroner’s and Burials Department, as well as on the Movies on Pay TV market investigation for the Competition Commission.


    Couldn’t disagree with you more. This movie shows a creature who is a modern take on the lumbering atomic dread of the 1954 Godzilla, whose appearance and leisurely stroll through Tokyo cause mass panic and a confused/red tape constrained response from the powers that be. Not unlike how Japanese government officials and departments firstly reacted during the terrible events of the 2011 tsunami. This was primarily a Japanese Godzilla movie for a Japanese audience and all the more enjoyable for it. Thankfully not just me but a large ever growing number of international audiences think the same. I enjoyed the Gareth Edwards Hollywood version but this is the real true Godzilla,made in Japan!

  • Ryan Hawke

    Lee Johson is right. Godzilla was always political commentary and this movie was primarily about the politics Hideaki Anno is a highly subversive director in his own right and this movie tackles fundamental problems facing Japan now. The tsunami response was tepid and the government is pushing to overturn the nonagression clause in their constitution. Admidst this political landscape, Shin Godzilla finds itself as part of the commentary on the problems of modern Japan. Viewing Godzilla as a regular monster flick has been a mistake that Americans always make, and the 2014 version shows how incapable Hollywood is at making political commentary, instesd being ham fisted in its morals the entire way, the way this film excels.