A failure by conventional standards, Gareth Edward’s Godzilla is fascinating in the degree to which it goes against the grain of the Hollywood disaster movie. Entirely spectacle-driven, to the point that it has next to no interest in building blocks of narrative storytelling like plot and character, Edwards has created a film that works only on the level of mood and tone, conjuring up ethereal, almost serene images over and over out of the mass destruction of major cities, out of monsters beating the crap out of each other, out of countless lives being lost.
As it’s been noted elsewhere, Edwards was an interesting choice for this project from the get-go. His first film, the modest indie-hit Monsters (2010), demonstrated his ability to tell a story featuring giant monsters, sure, but it was nothing like a summer blockbuster, telling as it did a small-scale, character-based allegorical story against a larger-than-life, alien creature-filled backdrop. It didn’t quite work – its characters were never quite interesting enough to follow them around for 90 minutes – but it was easy to warmly recommend due to its atmosphere, its palpable tension tempered with a sense of wonder and awe. Godzilla both fails and works for the same reasons, only here both sides of the coin are magnified – the characters are wafer-thin, the plotting is harebrained, but it may be the most visually ravishing big-budget monster movie in recent memory.