“The Boy and the Heron” stars Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shōhei Hino, Ko Shibasaki, and Takuya Kimura. Released in Japan on July 14, 2023, the film has a boy discovering a fantastical world inside an abandoned tower. The film was written and directed by Hayao Miyazaki, who also directed films such as “The Castle of Cagliostro,” “My Neighbor Totoro,” “Spirited Away,” and “The Wind Rises.” Regarding the art of animation, we have several filmmakers who understand the medium better than anyone, especially during the recent years with Spider-Man and Puss in Boots. They know that animation is more than just a distraction for kids with its zany characters and energetic slapstick. It’s a tool to bring creative storytelling and three-dimensional characters to life through its visual style and unique identity. One of those filmmakers is someone who never fails to impress their audience with their sublime visuals, memorable characters, and breathtaking narratives, and they reside in Japan. I’m referring to Hayao Miyazaki, one of the most influential and highly-praised directors to grace the animated cinematic lands. Even by today’s standards, his films prove that traditional animation can coexist with CGI animation in modern Hollywood. This year, the filmmaker is coming out of retirement again to further prove that theory with another movie that combines mature themes with awe-inspiring fantasy elements. Was it able to successfully continue Miyazaki’s legacy in the animation world? Let’s soar into the skies and find out. The story follows Mahito Maki (Santoki), a 12-year-old boy who recently lost his mother, Hisako, in a hospital fire during the Pacific War. When his father, Shoichi (Takuya Kimura), an air munitions factory owner, remarries Hisako’s younger sister, Natsuko (Yoshino Kimura), the family moves to her estate in the countryside to start a new life. While struggling with his new surroundings and remaining distant from Natsuko, Mahito discovers a mysterious grey heron (Suda) that leads him to a ruined and sealed tower in the woods. When Natsuko suddenly disappears, Mahito and the Grey Heron embark on a dangerous quest to rescue her inside the seemingly abandoned building, which houses an alternate world full of magic. Amid his journey, Mahito discovers that his mother might be alive inside the mysterious realm. Aside from Disney, I grew up watching Studio Ghibli movies from Miyazaki, mainly “Castle in the Sky” and “Spirited Away”. As I gained more experience with animation and filmmaking throughout the years, I appreciated those films even more for their themes, visuals, and storytelling. They even got me to watch the other movies from Studio Ghibli, not just from Miyazaki. So I wasn’t surprised that I was super excited to see Miyazaki’s first project since coming out of retirement…again. More importantly, it’s my first time seeing a new Studio Ghibli film in the theater since Miyazaki’s previous movie, “The Wind Rises,” almost a decade ago. Yes, it has been that long since I saw something that beautiful on the big screen. But I’m not writing this review to discuss my finest theatrical anime memories. I did it to talk about “The Boy and the Heron”, a gorgeously sublime and subtly thoughtful display of animation brilliance that only Miyazaki knows how to make. Hayao Miyazaki is known for delivering animated movies involving mature themes like environmentalism, pacifism, feminism, and family. They may seem kid-friendly based on their animation covers and fantasy elements, but within their diverting colors are metaphoric poems that are inspiring and relatable to older viewers. “The Boy and the Heron” is no different, as it portrays Mahito’s coming-of-age journey of surviving a heart-aching world surrounded by grief, loss, conflict, and malice. It also happens to take inspiration from the director’s childhood, in which he lost his own mother in a tragic accident. These themes have been explored before in other movies and television shows, but how they’re displayed in this film is simple, subtle, and, more importantly, beautiful. Would I say it’s the best thing Miyazaki has directed? Not really. However, he still proves to be the master of animation cinema through his direction and screenplay, both of which offer metaphoric and imaginative creativities that happen to have a bunch of talking birds. There were a couple of concerns that may not sit well with specific moviegoers compared to my experience. Much of the first half is spent on the film’s dramatic side, showcasing Mahito’s struggle with significant changes regarding having Natsuko as his new mother. People wanting to witness the movie’s magical dream-like world, including kids, may have to be patient with the first half’s build-up. Thankfully, the pacing and compelling drama are strong enough to maintain my interest in its characters and the bizarre situation they wind up in, including Mahito. The other thing that may turn off some viewers is that “The Boy and the Heron” is the director’s most complex movie he made, mainly due to its world-building and narrative. While some moments can get a bit confusing at first, they rarely detract from my experience, as the film's breathtaking backgrounds and sentimental nuances successfully distract me from its complexity. Plus, I understood its thematic undertones straightaway, but it doesn’t hurt to have repeat viewings to fully grasp its gentler meaning. Aside from those concerns, “The Boy and the Heron” is still another excellent and heartwarming portrayal of animation art that reminds me why I love Miyazaki, Studio Ghibli, and even the medium. I couldn’t find the time to watch the English dub version of the film, which I heard has an impressive selection of actors. However, that hardly matters to me, as the Japanese cast did very well with their performances to make me not regret my choice of seeing the original dub. Soma Santoki was solid as the quiet yet internally lost Mahito and Masaki Suda offers plenty of humor and mischievous charm to his role as the Grey Heron. Aimyon was also decent as Lady Himi, a young woman in the alternate world who shares a history with Mahito. Maybe someday, if I decide to see the movie again, I will try to watch the English dub and see how its all-star lineup compares to the original dub’s cast. Until that happens, consider me impressed with the Japanese actors they chose to envision its characters. Finally, we have the film’s animation. Amid its barrage of CGI family-friendly fluff, it’s always a joy to relive the nostalgia of watching a 2D animated movie in the theater, especially one made by Studio Ghibli, and this is no exception. Like Miyazaki’s previous works, the animation style in “The Boy and the Heron” reflects the majesty and serenity of its painting-like settings and fantastical elements without missing a beat in its visual narrative. Additionally, it provides plenty of fluidity and detail in the character designs that are impossible to resist, whether they’re a human or a bird-like creature. The way Miyazaki envisions this world and his story through his art of hand-drawn animation proves that a 2D animated movie is possible in today’s culture. The studios just need to start taking chances of making more of them again, especially Disney. But, of course, I can’t forget about Joe Hisaishi’s music, which never fails to soothe my ears with its hypnotic melodies. It’s far from his best, but Hisaishi’s score in the film is still pleasant to listen to. Overall, “The Boy and the Heron” is a subtly beautiful and fantastical display of grief and acceptance in a tragic reality that relies on the strengths of Hayao Miyazaki’s brilliant mind. It may not have soared as high as some of my all-time favorite films from the director, like “Spirited Away”. Regardless, it’s a welcoming and thoughtfully animated work of art that’s also Miyazaki’s personal film to date. From its delicately metaphoric storytelling to its fantastic animation, the movie successfully flies its way into my heart with its dream-like imagination and mature themes. If you’re a massive fan of animation and Studio Ghibli, mainly Miyazaki’s works, it is definitely worth checking out. A
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“Napoleon” stars Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Ben Miles, and Rupert Everett. Released on November 22, 2023, the film chronicles Napoleon Bonaparte and his rise to power. The film was directed by Ridley Scott, who also directed films such as “Blade Runner,” “Gladiator,” “American Gangster,” “The Last Duel,” and “House of Gucci.” Many figures throughout history seek to rule a country for several reasons. Some do it to help their people live better lives, while others do it for power, greed, and themselves. For the latter, none of these rulers were more ruthless and determined to conquer the lands than the French leader himself, Napoleon Bonaparte. Napoleon may be well-known for being one of the greatest military commanders in history, but he’s also not without his controversial choices that made him a tyrant. What better way to explore this side of Bonaparte than through the eyes of Ridley Scott, who’s no stranger to providing epic historical dramas? Nothing wrong with gaining some historical knowledge during the holidays, if I do say so myself. So, does it offer a thrilling depiction of one of France’s infamous rulers, or does it deserve to be shamed along with the titular commander? Let’s find out. The movie follows the life of Napoleon Bonaparte (Phoenix), an army officer seeking to conquer France. Amid his battles, Napoleon goes through many accomplishments outside the battlefield, including marrying Joséphine de Beauharnais (Kirby), an aristocratic widow, and being crowned Emperor of the French. As his quest for power develops throughout the years, Napoleon faces complicated challenges that could damper his chances at success, including his toxic relationship with Joséphine. Considering my appreciation for some of Ridley Scott’s works, I was surprised that I was one of several people late to Bonaparte’s bloody party. Obviously, it was due to me getting ready for the holidays, and I was a bit swamped with other movies that caught my attention. It’s a small price to pay for being a responsible adult with a career in reviewing films. Fortunately, I was able to make time to check out Scott’s latest historical drama before we head into the final busy weeks of 2023. This film was on my watch list because of Ridley Scott, despite his recent works being hit-and-miss, and even Joaquin Phoenix, who’s hoping to join the awards race again this year following his Oscar win for “Joker”. These two people seemed like a promising combination to properly envision the French officer’s rise to power in cinematic form. Unfortunately, even with its star power, the film struggles to deliver a historical lesson as ruthless and powerful as its titular figure. The narrative in “Napoleon” consists of a series of events depicting Bonaparte’s obsession with power through his battles and relationship with Joséphine. His desire resulted in Napoleon realizing he’s gone over his head. If you’ve read about his history at school or college, you’d know exactly how his reign ended, and you’d probably like the film for bringing these historical events to life on the big screen. However, if you’re hoping for an accurate depiction of Napoleon’s rise and downfall, you might be disappointed with the final result. It plays off like the other biopics of years past, in which they took inspiration from their real-life events to craft traditional Hollywoodized stories instead of depicting them accurately. I was aware of this before watching the film, but I shrugged it off because I knew it had happened many times before. Understandably, its inaccuracies harm the film’s chances of exceeding its traditional biopic standards and impressing the French. However, what matters most is the story’s execution and whether it’s engaging enough to match its immersive scale. After experiencing the movie, I can finally say that it’s as epic as I anticipated, but its middling screenplay struggles to reach that same height as its grimly gorgeous presentation. This is writer David Scarpa’s second collaboration with Ridley Scott, following 2017’s “All the Money in the World”, which I thought was superb. Scarpa’s script for “Napoleon” has some promising moments that could’ve made for another fantastic character study of a person’s desire to rule, along with a few unexpected chuckles. Sadly, those moments lack the proper oomph in its narrative and dialogue to keep its army alive in enemy territory. It’s not boring, as it relies on its cast and technical aspects to keep me awake. It’s that the story lacks the emotional impact of its dialogue-driven sequences and themes to make the film as attention-grabbing as Napoleon’s victorious battles. It also doesn’t help that it’s plagued by its uneven pacing. Even with the film’s two-and-a-half-hour runtime, it felt like it left out something important for its character growth and made specific scenes drag out a bit too long for me. It definitely has several sequences that could work well in its favor, but they surprisingly don’t click for me. Let’s hope Scarpa can redeem himself with his screenplay for Scott’s “Gladiator” sequel. Thankfully, Ridley Scott still hasn’t lost his touch in envisioning world history on an epic and gratifying scale. What “Napoleon” lacks in character and powerful storytelling easily compensates with its presentation and Scott’s direction. In case you aren’t familiar with his works, Scott has a profound way of bringing even the most devastating parts of history to life. He even doesn’t shy away from showcasing the grotesque realism of historical violence and sex. It’s one of the reasons why I adored “The Last Duel”. “Napoleon” is unsurprisingly no different, with his visionary skills portraying its brilliant battle sequences and the blood they left behind. These scenes make the reenactments from actors in a historical-based park look like elementary school plays. The Battle of Austerlitz is my best example of how superb the film’s action scenes were. Regarding Dariusz Wolski’s stellar cinematography and the editing by Claire Simpson and Sam Restivo, that scene perfectly portrays the unsettling horror of Napoleon’s clever mind, especially when his enemies drown in the frozen lakes. I will also credit the film for its immersive set designs and costumes, as they’re some of the things that are more accurate than its depiction. Along with the technical aspects envisioned by Scott, the film also compensates for its shortcomings with its cast. While I wouldn’t call some of their performances Oscar-worthy, the actors still provide enough gravitas in their characters to help them have a fighting chance. Joaquin Phoenix was suitably captivating as the infamous army officer seeking power, which is enough to bypass some of his sluggish scenes. It’s not the best performance I’ve seen from the award-winning actor, but what he brought to the subtly demanding and heartless character convinced me to look forward to his future projects. Vanessa Kirby also did a solid job with her performance as Joséphine, Napoleon’s wife who’s as internally complex as her fiancee. Tahar Rahim and Rupert Everett were also decent as Paul Barras and Arthur Wellesley, respectively. Overall, “Napoleon” doesn’t rank as high in Hollywood’s list of historical epics as I anticipated, but the grandness in its presentation helped it survive most of its onslaught. It’s not without a few moments relying on Ridley Scott’s filmmaking strengths, and Phoenix continues to prove himself as an actor worth watching regarding his performance. Unfortunately, they’re not enough to truly honor the accomplishments set by the power-hungry ruler due to its middling script, historical inaccuracies, and uneven pacing. It’s not the worst film I’ve seen from Ridley Scott, but I wouldn’t call it historic like some of his other classics. It’s worth checking out if you’re a fan of the people involved. But if you don’t like lengthy historical dramas, you might want to wait for the film to arrive on Apple TV+. C+“Silent Night” stars Joel Kinnaman, Scott Mescudi, Harold Torres, and Catalina Sandino Moreno. Released on December 1, 2023, the film has a father avenging his young son’s death on Christmas Eve. The film was directed by John Woo, who also directed films such as “The Dragon Tamers”, “A Better Tomorrow”, “Face/Off”, and “Paycheck”. Celebrating the holidays means spending time with the family peacefully without worrying about the stupidity and chaos spreading across the country. Unfortunately, the people who spoil the festivities for everyone don’t get the memo. If getting a lump of coal or getting mauled by Santa Claus isn’t enough to punish the holiday-ruining grinches this season, Hollywood has come up with something else that can: a father whose actions literally speak louder than words. The first weekend of the Christmas season is spreading holiday joy for us adults as we got another R-rated Christmas film that's hoping to become the next holiday movie tradition for teens and grownups. This latest action thriller sees the return of John Woo, who’s been absent from the American film business for two decades. He’s still active in directing movies during that time, but only for his home country. Now, he’s returned to the United States to give us an early Christmas gift that would leave his fans speechless. Let’s jump into the action and see if it proves that silence is golden. The story follows Brian Godluck (Kinnaman), a loving family man and electrician living with his wife, Saya (Moreno), and their young son in California. Unfortunately, their lives suddenly changed when a horrid act of violence between two gangs occurred right by their house. As a result, Brian’s son was tragically killed in the crossfire, and his injury left him without a voice. With vengeance his top priority, a heartbroken Brian attempts to avenge his son on Christmas Eve by getting even with the gang, including the leader Playa (Torres), while being tailed by Detective Dennis Vassel (Mescudi). I’m not exactly a massive follower of John Woo’s works. In fact, the only movie from him I’ve ever watched in my life was “Mission: Impossible 2”. That movie didn’t get as much love as the other installments, but I thought it was a decent installment in the recently popular spy series. It’s not as groundbreaking as its recent sequels, but it’s entertaining regardless. All I knew from that film was that Woo is another filmmaker who brings pizazz in his stylized presentation, slow-motion shots, and action scenes. So this makes “Silent Night” the second movie from Woo I’ve watched. Was it my right choice to experience the director’s signature style again? Well, yes and no. It isn’t without a few admirable moments to maintain my interest in its concept, but it’s far from a perfect gift that keeps on giving. The main draw of “Silent Night” isn’t just the set pieces and John Woo’s direction. It’s the “silent” part. This is another movie that doesn’t feature any dialogue from the characters. There were a few instances that had ambient noise and background chatter, but aside from that, the movie allows the characters to speak with their actions instead of their words. It’s another case of telling a story through visuals, music, and the character’s actions, which I always find fascinating. In this case, “Silent Night” depicts a tale of revenge and grief, in which Brian struggles with the loss of his son, who’s seen as the light in his soul. When his son is taken away by gang violence, it signifies the light fading away from Brian’s body, leaving him broken and obsessed with revenge. It’s what you’d expect from a revenge thriller involving an ordinary person taking extreme measures, which doesn’t surprise me at all, considering how popular the genre is. It may not have done anything with its formulaic script to make it stand out from the rest. However, the efforts to provide an emotional connection for its characters amid the action were surprisingly solid. Woo may be known for providing style in the action sequences, but his approach to drama is something that I would also admire, even though it’s far from outstanding. Through his stylized transitions, close-up maneuvers, and slow-motion shots, Woo displayed the dialogue-free drama as a ballet. The scenes involving the characters communicating through their actions and facial expressions are graceful without missing a single step. Again, it’s not groundbreaking or anything, but the effort was there, which is enough to forgive its pacing in the first act. But what about the action scenes, you ask? Well, I can admit that I was mildly impressed with how they looked. They’re stylistically diverting and brutally entertaining due to Woo’s direction and editing. Were they enough to leave an everlasting impact? Surprisingly, no. The action lost plenty of steam in the second half, and some of the movie’s CGI effects were pretty ugly. Thankfully, they didn’t detract from the film’s attention-grabbing style completely. With the film having no dialogue, the cast had to provide physical performances to compensate for the lack of speech. “Silent Night” is one of the films showcasing that the art of acting doesn’t just come from speech delivery. It also comes from the actions and expressions told through the actors’ faces and body movements. If they provide something captivating with those physical expressions without speaking a single word, that means they succeed in making me care for the silent characters. Fortunately, that’s what the cast in “Silent Night” accomplished, mainly Joel Kinnaman. Kinnaman was mesmerizing as a father without a voice, showcasing the physical pain and trauma he endured with sheer intensity and dread. Scott Mescudi and Catalina Sandino Moreno were also impressive in their performances as Detective Dennis Vassel and Saya, respectively. Besides that, the movie is basically the Joel Kinnaman show, and it is a compelling watch despite the execution being hit-and-miss. Overall, “Silent Night” basks in the glory of adult-rated violence and dialogue-free scenarios, but it offers little to nothing else in its holiday-themed killing spree besides those elements. Regarding the action scenes, John Woo still proves himself capable of delivering slick, entertaining, and stylistic presentations, which should satisfy many, if not all, of the director’s fans. Additionally, Joel Kinnaman is still a talented actor whose physical performance helped drive some of the film’s emotional beats. Unfortunately, they’re not enough to overcome its familiar narrative, which lost its creative steam halfway through. Along with a couple of pacing issues and rough CGI effects, the film is a welcoming return to Hollywood for John Woo that falls short of being more than what is offered. Regardless, I enjoyed watching it, and I think action fans would feel the same way about Woo’s early holiday gift. C+“Dream Scenario” stars Nicolas Cage, Julianne Nicholson, Michael Cera, Tim Meadows, Dylan Gelula, and Dylan Baker. Released on November 10, 2023, the film has a biology professor discovering he’s been appearing in people’s dreams. The film was written and directed by Kristoffer Borgli, known for directing “DRIB” and “Sick of Myself”. Dreams are gateways to one’s wildest imaginations. Most of them lead people to create inspiring and creative ideas, while others are so bizarre and unpredictable that they wonder what the heck is going on in their brains while they sleep. However, none of those dreams is as weird as sharing the same one involving the one stranger as everyone else. If that stranger happens to be Nicolas Cage, you should consider yourself lucky. I know that I’m supposed to get into the holiday season at this point, but A24 was like, “Hey! We got a new original movie out this weekend. Please watch it.” Considering my immense appreciation for the studio, more so now than the other greedy modern distributors, how could I say no to that request? Plus, it’s got Nicolas Cage invading people’s minds, which is enough to grab my attention. The question now is whether this bizarre idea makes its dream of maintaining A24’s winning streak a reality. Let’s find out. The story follows Paul Matthews (Cage), a mild-mannered professor living with his wife Janet (Nicholson) and their daughters Hannah (Jessica Clement) and Sophie (Lily Bird). One day, he comes across his ex-girlfriend Claire (Marnie McPhail), a journalist who tells him he’s constantly appearing in her dreams. After agreeing to let Claire write about her occurrences, Paul discovers that hundreds of people have been dreaming about him, although he appears as a passive and emotionless bystander. As Paul revels in the strange, newfound success, he encounters many setbacks that could alter his life as a dream celebrity. This is one of the few movies I watched without knowing much about them. I didn’t see the trailers or any television commercials for this movie. I just looked at the film’s synopsis and first-look photos, and that’s about it. Those two things immediately got me interested in “Dream Scenario”, showing that a small amount of marketing can make a difference in people’s interest. Of course, as I mentioned before, I’m a respectable fan of Nicolas Cage, especially for his recent works. So seeing him in something as surreal as his unhinged performances in the 2000s was enough to convince me to watch it as soon as I saw it playing at my closest cinema. Unsurprisingly, it’s as bizarre as the plot suggests, which is uncommon by A24’s creative quality standards. However, what makes it truly stand out is what it’s trying to say about society as a whole, resulting in a metaphoric and amusingly weird experience worthy of the talents of its director and star. The thing to know about “Dream Scenario” is its tone. It’s marketed as a black comedy with fantasy elements, mainly from Nicolas Cage unintentionally invading people’s dreams. This would’ve come out as a harmless and bizarrely funny comedy, with Cage being completely nuts every few minutes. However, it turns out to be more than just a showcase of Cage doing what he does best. As this strange movie heads into its second half, it gradually heads into darker and even horrific territory regarding its themes, which is equivalent to going from a dream to an unsettling nightmare. Through his screenplay and direction, Borgli used this seemingly harmless concept to portray a convincing and depressing metaphor of fame and cancel culture in today’s society. We see Paul attempting to use his newfound popularity to make himself known, only for that fame to unexpectedly flip itself over, resulting in him being shunned by society. Its tone can be misleading and even alienating for some viewers. Fortunately, “Dream Scenario” took advantage of this opportunity to deliver a bold and often provocative reflection on the pros and cons of fame that’s entertaining and thought-provoking. Borgli’s screenplay effectively resembles its themes and characters in an honest and distressing manner. Although, it can be a bit confusing as to how this unexplainable phenomenon works. On the other hand, it fits A24’s logic of the unknown being frightening, which this film did well in checking out that box. I will also credit Borgli for his direction and style. With dreams being the film’s concept, it’s hard not to admire his attempt to resemble the aesthetics of people’s random dreams. The dream sequences have a grainy cinematic look resembling a 70s exploitation movie, creating an outlook of visual hallucinations that are both surreal and unsettling. It’s hard not to look away from these sequences, meaning that Borgli, the editor, and the cinematographer have accomplished their goal. The only flaw I have that dragged the film down a bit is its humor. As mentioned earlier, the movie is marketed as a black comedy, even though it’s more dramatic and dark than fun and endearing. It has a few humorous moments involving the dreams Paul’s students share and Cage that make me chuckle with delight and confusion. However, it also has some bits of comedy that don’t work as well as those that do. It’s not enough to detract from my experience, thankfully, not just because of its well-told story but also because of its cast. Nicolas Cage is undoubtedly terrific as Paul, further showcasing his magnetic charm and proving himself to be a compelling dramatic actor. Julianne Nicholson was also stellar as Janet, and Michael Cera was surprisingly impressive as Trent. It’s nice to see Cera getting more attention recently, especially since I mainly know him from “Superbad” and “Scott Pilgrim”. Overall, “Dream Scenario” is as bizarre and attractively alienating as one would expect from their own dreams, creating a well-portrayed character study of the price of celebratory fame. Its misleading tone and hit-and-miss humor put a damper on its dream of being a perfect movie, but its intentions are strong enough to fulfill my expectations of A24’s storytelling quality and presentation. The film is a distressing and often amusing reflection that uses its bizarre plot to provide a unique voice resembling today’s society. It showcases Borgli as another talented filmmaker worth watching regarding his direction and screenplay. Additionally, Nicolas Cage never fails to impress me with his attention-grabbing roles, with his performance in “Dream Scenario” being one of them. If it’s showing at a theater near you, and you’re a fan of Nicolas Cage, it’s worth checking out. Just don’t expect this dream to be as overly pleasant as your erotic ones. B+“Godzilla Minus One” stars Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki. Released in Japan on November 3, 2023, followed by a U.S. release on December 1, 2023, the film has the citizens of postwar Japan encountering the emergence of Godzilla. The film was written and directed by Takashi Yamazaki, who also directed films such as “Juvenile,” “Always: Sunset on Third Street,” “The Eternal Zero,” and “The Great War of Archimedes.” It is the 37th film in the Godzilla franchise. With the holidays approaching, it would’ve been fitting for me to sit by the fire, drink some hot chocolate, and watch many Christmas-themed movies and specials. But that’s not the case, at least for this year. Instead, I’m celebrating the Christmas season with the iconic atomic-breathing lizard known for destroying countless buildings and delightfully terrorizing civilians and movie audiences. While Godzilla has had its recent success in America thanks to the 2014 reboot and the MonsterVerse, that didn’t mean Japan wouldn’t continue making its own films featuring the famous kaiju. Enter the franchise’s “Reiwa” era, which has the series reverting to Godzilla just destroying stuff, starting with 2016’s “Shin Godzilla”. Since we’re not getting another Americanized Godzilla film until next year, and this latest Reiwa installment is showing at my closest cinema, I decided to take the opportunity to experience a Japanese-dub Godzilla movie on the big screen for the first time. What a way to celebrate the franchise’s 70th anniversary. Does it live up to the expectations as massive as the titular character, or does it deserve a score lower than a minus one? Let’s find out. The story takes place in post-World War II Japan. It follows Kōichi Shikishima (Kamiki), a former kamikaze pilot plagued by survivor’s guilt following his close encounter with a massive creature called Godzilla. Kōichi has started a relationship with Noriko Ōishi (Hamabe), and they’ve adopted a child named Akiko (Sae Nagatani), whose parents were killed during the war. Kōichi’s new life was suddenly altered by the reappearance of Godzilla, who’s mutated by the United States’ nuclear tests. As the monster seeks to destroy Japan, Kōichi and the other private citizens join forces to protect their country from a fate worse than the war they fought. When it comes to the Godzilla franchise, I only know it through the Hollywood iterations of the titular creature, especially the MonsterVerse installments. Yes, that also includes the infamous 1998 film from Roland Emmerich. Sorry, not sorry. However, I recently came around and watched one of the Godzilla films from Toho, “Godzilla: Final Wars”. I even watched the previous films in the Reiwa era, including the 2016 reboot “Shin Godzilla,” which I thought was good despite being a bit long and periodically goofy. So, while my experience with Toho’s Godzilla is more diminutive than America’s take on the creature, my knowledge overall is enough to experience another round of kaiju chaos early. That’s right, I managed to be one of the lucky folks to see “Godzilla Minus One” early before it hits American theaters this weekend, and guess what? I’m pleased that I took that chance. Many of the Godzilla movies have been known for relying on the spectacle of Godzilla destroying cities, people, and other kaiju over a human-focused narrative. They’re not without their crowd-pleasing moments that’ll satisfy plenty of fans. However, those can only take them so far if they don’t have characters worth caring about amid the destruction, at least for general moviegoers. “Godzilla Minus One” did the impossible by being the exception to that 70-year-old tradition. On paper, it had the makings of a classic Godzilla movie with the titular kaiju laying waste to Tokyo. However, it’s also accompanied by the human soul that surprisingly works well with the monster-sized action, more so than the MonsterVerse Godzilla movies. It satisfies as an engaging back-to-basics monster movie and a well-acted and grounded war drama whose real-life themes and likable characters drive the narrative to sentimental heights. Of course, this also means this is another movie where the main focus is on the human characters, with Godzilla appearing in fewer scenes than the war veterans. For people who want to see Godzilla wreck stuff for two hours straight, it can be concerning to wait through the “boring” conversations to get back to the action. Fortunately, “Minus One” was able to make the human characters just as entertaining, tense, and emotional as the Godzilla sequences. One of those reasons is its themes. Amid the kaiju chaos, the film explores Kōichi’s inner conflict caused by PTSD and survivor’s guilt and the post-war effects on humanity, particularly in Japan. We see Kōichi struggling to face his phobia of Godzilla while attempting to find his inner courage to live his life. It reflects the human spirit shining through the tragedy and sorrow caused by war, anxiety, and violence, especially when they’re caused by a giant dinosaur-like creature. It can be a bit melodramatic at times, and the ending left me feeling a bit conflicted compared to the rest of the movie. However, “Minus One” effectively balanced the melodrama with realism to prevent it from being an uneven cheese-fest. Takashi Yamazaki is no stranger to historical war dramas, as he’s done “The Eternal Zero” and “The Great War of Archimedes” beforehand. However, I’m surprised to discover that the filmmaker also has experience with Godzilla, as he previously used the monster for 2007’s “Always: Sunset on Third Street 2” and “Godzilla: The Ride” at Seibu-en Amusement Park. Based on that interesting information, I assumed they had the right person for the job. After watching the film, I will gladly say my assumption was correct. Yamazaki did an impressive job honoring the brutal and menacing persona of Godzilla while also ensuring that the story and characters come first, mainly from his well-written screenplay. Yamazaki’s vision for the production designs and grim tone is a remarkable sight to behold, and the cinematography by Kōzō Shibasaki was sublime in capturing the incredible scope of the action, destruction, and even the human drama. These elements are why the film is worth seeing on the biggest screen possible, along with its sound mixing. The cast also did wonders in making the characters worth caring about through their performances. Ryunosuke Kamiki did a superb job resembling Kōichi as an internally broken man who blames himself for his cowardliness. Some of his emotional range can be a bit much, but Kamiki had a good amount of restraint in his portrayal that doesn’t stray into B-movie territory. Minami Hamabe was also effective as Noriko, Kōichi’s partner who helps him ease his pain and raise their adopted child. I will also credit the supporting actors playing the members of the minesweeper crew for delivering a solid mixture of humor and drama, including Hidetaka Yoshioka as Kenji Noda and Kuranosuke Sasaki as Yōji Akitsu, the crew’s captain. Finally, we have the film’s visual effects, which blew my mind from beginning to end. There’s no other way to describe how incredibly awe-inspiring the visuals looked. They’re just that amazing to witness, especially the design for Godzilla, which I admit looks badass and terrifying. What makes them even more impressive is that the film costs $15 million, excluding the marketing. The fact that a monster movie from Japan with a smaller budget looks better than the recent Hollywood blockbusters that cost millions of dollars to make is both amusing and embarrassing to me, mostly the former. It seems that Hollywood is still struggling to improve its quality since the pandemic. Overall, “Godzilla Minus One” is a satisfyingly massive feat in the 70-year-old kaiju franchise that combines classic monster action with a compelling and thoughtful human soul. Despite a couple of tiny issues with the story, including the ending, the film is a refreshing and highly engaging experience that honors the Godzilla lore and balances the blockbuster spectacle with heart. Something that many other blockbusters from Hollywood have struggled to capture recently. Thanks to its attention-grabbing cast, Yamazaki’s brilliant approach via his direction and script, and the incredible visuals, “Minus One” is the best Godzilla movie I’ve seen. With Warner Brothers and Disney concluding their anniversaries with little to no fanfare, it’s nice to see the iconic kaiju avoiding a similar fate by delivering the near-perfect movie to celebrate its milestone. Here’s to 70 more years of Godzilla wrecking its way to our kaiju-sized hearts! A- |
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