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Godzilla Minus One Reaction! (Patreon)

Published:
2024-10-29 17:00:07
Imported:
2024-11
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Godzilla Minus One (2023)

Full Reaction You can either stream the Full reaction below using the embedded video player, otherwise you can click the 'Download' button which will take you directly to Google Drive, enabling you to save the video to your computer instead. You must provide your own footage to watch alongside the full reactions.

Comments

TokuBLWhovian

FACTS: 1. Yuki Yamada (Shiro) is best known for playing Joe/Gokai Blue in Kaizoku Sentai Gokaiger (the 35th season of Super Sentai) 2. Eiji Tsuburaya (one of three Godzilla creators) went on to create the Ultraman franchise.

Paul Mason

I've been looking forward to this one :)

Thomas Corp

Sharing the beer with you for this, well, it is lunchtime when the reaction got uploaded, not that that’s stopped me before, particularly after workdays this time of year especially. Also, “Time is an illusion, lunchtime, doubly so.” so why not? Oh, yeah, this film got hyped up something fierce, and it did not disappoint. Not a problem watching the film in Japanese with the subtitles as I did the same. For some reason, Netflix defaulted to the English dub when I clicked play. I yelled, “What the fuck, Netflix!?” whilst correcting the issue. We made different choices with the visual, as I was advised to see the film in black and white, so I did. Mind you, even if I was any good at syncing picture-in-picture, that wouldn’t have been an issue anyway. I’m on the side of pushing for people to see this in black and white as it had such a fantastic retro feel to it. Especially with the cgi for Godzilla, even with the advances that we’ve made in making Godzilla more impressive, we still can’t help making him look a little old school, special effects-wise. The black and white just adds to that, and therefore, makes it look all the more perfect. I am very happy that you adored this film. The big strength of this as you, and from what I’ve heard everyone has observed, is the human element of all of this. Chief amongst that is Kōichi and his torment and trauma of what he endured, and then contended with following the end of World War II. The heart breaks for him when he shoulders the blame for the opening, even though he likely could not have made a difference. Quick sidenote about your reaction to that opening. I think you and I might be two of the last people on the planet that still use the word “Golly” from time to time. I get the anger and need to blame the poor guy, especially after it’s all said and done, and you have the excuse of the guy could have done something. Realistically though, short of “giving him a little pinchy” as you put it, what the fuck was shooting at Godzilla going to do? Beyond getting Big Boy pissed, like you said. Knowing you, and knowing past reactions, with that, past commentaries and analyses, I knew that you would gravitate toward Kōichi and his story. And like you said, it is quite easy for one to judge or condemn when one hasn’t seen the horrors up close, and the entire film tackles it all superbly beautifully well. I would not have minded if you spoke more on that subject than you did, Jess. It says something when people are perfectly fine if the whole movie was just about that. I can’t say I disagree. That all was phenomenal. Godzilla happens to be the icing on the cake. You and me both on the apprehension of being just handed a baby. I’d have yelled, “Ma’am! No, Ma’am! I don’t even know how to change a diaper!” Likewise, shared assessments on how despite our severe discomfort with kids or babies, just leaving one behind unattended isn’t NICE, and it’s not something either of us would do. I shared your assessment on the scene where Kōichi just finally gives voice to his traumas. As you say, it won’t heal anything, but he lets it out, and in doing so to Noriko, it exhibits trust and comfort in her that he can be that vulnerable. A terrific scene. And there is the strong found family aspect of this, both with his home family and the team he is part of. Great team dynamic of the core quartet. My favorite was probably Dr. Noda. You mentioned about his fabulous hair. ...His hair is quite fabulous, yes. He put in the work in coming up with the plan to take on Godzilla. Shared thing of defending Dr. Noda. And respect to him for freely admitting that the plan had no guarantee of success, yet like he, you, and I note: Anybody else have any better suggestions? In Dr. Noda’s place of being asked if he can keep his word on the success of the operation, I’d note, “Oh, I’ve given you no word to keep in this matter. I freely admit that this is a Hail Mary we’re talking about, and it could very well fail. In my judgment, however, I don’t see we have any alternatives. Unless anyone cares to volunteer any?” It gives you chills when Godzilla reaches the mainland, and his iconic theme just blares on the soundtrack. A man takes it all in, and says with tears in his eyes, “Oh, it’s beautiful.” Everyone comes together and then some at the end. Loved how the scene of Captain Akitsu trying to dissuade the kid by saying, “Not having seen war... It is something to be proud of.” got to you as much as it got to me. Likewise, we both had a strong reaction to the kid coming through. You have a sharper eye than I, Jess, when it comes to seeing Kōichi eject. Funny thing too is that the idea did cross my mind in advance, though I questioned would he have the time to do that and drop the bombs down Godzilla’s gullet. It got us both. And it is such an emotional moment when Tachibana who has every reason to be completely resentful toward Kōichi, points out the ejector seat, and encourages him to live. Bringing us to Noriko. It got me hearing you say you love her. Made me dread your reaction to the one big scene. Said reaction was something. With Noriko, and the immediate scene after the attack, you held it together much better than I should have expected. There was the pain in your eyes and voice, yet you held it together very well, I thought. I caught her survival by the telegram as that seemed the only thing it could be, and it made me dread the heartbreak of what I foresaw being a senseless sacrifice. That did not come to pass, and you overwhelmed me with your reaction to Noriko’s survival. Though it may or may not be entirely hunky-dory given the rather concerning mark on her neck. Not to mention how the final shot provides one last detail about Godzilla’s death. It LOOKS like Godzilla is dead, but due to international sequel laws, namely the sub-sections concerning beloved villains somehow returning, he’s NOT. Still, our heroes celebrate their victory as if Godzilla IS dead. (Though he isn’t.) All in all, a tremendous film, and now a just as tremendous reaction, Jess, thank you so much.

Ryan
>>153733834

I'm reminded quite a bit of the Star Trek episode Obsession, where the key to Kirk being able to let go of his grief is the solid confirmation that nothing he did differently could possibly have helped any more than he did. Not everyone can be Debbie Grayson, and it's very well judged in giving us just enough of their experienced neighbor giving them pointers so we can buy they'd be able to keep the kid alive. Even if her artwork isn't exactly Will Byers level. I'd definitely recommend sticking with the subtitles for at least the first viewing, though the English dub really is pretty decent. At the least, there's no spots where it looks like they're saying things that are dirty. Or just raving about I'm In Love With My Car.

Ryan

The film got several nominations at the Dead Meat Horror Awards, so that's plenty for me to include it in the genre. And I couldn't be happier to see you discover it, since as I'm sure I've said several times already, I consider it one of the all time great movies. Citizen Kane, Casablanca, The Godfather, Godzilla Minus One. I distinctly remember the moment it dawned on me that I was watching something really special, when half an hour in we get the Bikini Atoll tests waking Godzilla up, and I found myself thinking "Do we really need to do this? Because I would be perfectly fine with a whole movie of just the regular lives of these people." It's especially impressive because how many times has the main complaint about this franchise been that literally no one cares about the human characters so they shouldn't spend so much time on them? But this one actually pulls off Godzilla crashing into a perfectly good domestic drama, and elevates everything about it. There was a ton of outrage, from myself very much included, when the movie only got a single Oscar nomination for its visual effects. To paraphrase Logan Roy, everyone who didn't vote to give it a Best Picture nomination needs to leave the job, because they are not serious people. Though the movie that's essentially its prequel ended up winning anyway. That visual effects award was the first nomination ever for any Godzilla film, and it won, very much deserved. Much has been made of how the budget was so much lower than in Hollywood blockbusters, but I don't put much stock in that since it seems to indicate more that at least someone got seriously shafted on their paycheck. The effects are a real marvel, even including what may be the best case since Jaws of making their limitations into an asset. The way this version of Godzilla moves, taking one very deliberate step at a time and mostly keeping his upper body frozen in place, is clearly a way to take some weight off the effects team, but it also adds a ton of personality to him, and the feeling that his very existence is wrong. The big meta backstory to the film is that Takashi Yamazaki had earlier made a film called The Eternal Zero about kamikaze pilots, which got a ton of controversy and accusations of glorifying them (as you might imagine, the morality of it is a HUGELY contentious subject in Japan to this day, especially when different generations get to talking about it). He was quick to say he didn't intend that at all, but admitted he could very much see how people without access to his inner thoughts and intentions could get that idea, and this movie very much comes off as a corrective to that, showing his true feelings and the message he wants to send. The part I was most anxious to see was if you'd catch the split-second glimpse of Shikishima ejecting, which about 50% of the reactions I've seen do. I totally missed it the first time, so that was a lovely surprise on the second. And somehow the usual dipshits came to herald the film as a prime example of a great "non-political" story, because they just couldn't handle how much they liked something that did the things they've been told to hate. I was of course worried you'd get some Ilsa Faust PTSD over Noriko's apparent death, but luckily it seems you were able to engage with the second half very well until it's revealed she survived. Some were upset at this, saying it comes out of nowhere, but this is one of those times where I'll definitely take the emotional catharsis over pure logic. Plus, with Godzilla having apparently infected her somehow, who's to say some of his healing ability didn't come with it? Minami Hamabe has said with questionable seriousness that she'd love to become a kaiju in the sequel. Now that you've seen the film in color, I highly recommend the black and white version which is also on Netflix, both for how it gives such a retro feel to the whole thing, and how it hides the rare times when the effects slip a bit (rather than simply put a filter over the movie, every frame was painstakingly de-colored so that it looked the best it could). I'll even say you should check out the English dub at least once, since most of it does a pretty good job. The only questionable parts are Shikishima's actor trying to replicate his scream after Noriko's "death" (they honestly should have just left in the original there) and Tachibana saying he put in the ejection seat himself rather than the plane already having it. Yamazaki has said he'd definitely like to do some more in the series, though at 60 years old it's a serious question of how much of his remaining time he'd like to devote to them versus more original films like he first made his name on. Either way, I'll definitely be keeping an eye on him.

Thomas Corp
>>153742633

There is the thing of this that reminds me of why we keep holding Jaws as such a masterpiece of a film even soon to be fifty years later. The human element. Yeah, we all talk about how scary the shark is, Spielberg directing the terrific suspense, and the legendary music by John Williams. But it’s the strong human connection with the characters, in that case, the entire second half of the film is just the three guys, that’s why we keep coming back to it. Similarly, the film critic Mark Kermode keeps championing The Exorcist as the greatest film ever made, and he always highlights the human element of it that makes us love it as much as we do. This film has that same feel, and more impressive as it is a Godzilla film where the recurring comment has often been how no one cares about the human characters, we’re just here to see Godzilla fuck shit up. I think I remember you saying that your sales pitch for this film as being “if Kurosawa made a Kaiju film” which upon seeing the film, said description fits like a glove. Can I borrow that description? I’m borrowing that description. I also recall you being especially upset over the film only getting the one nomination at the Oscars. There is the question of it being deserving to win best picture, especially as I was most in favor of either Killers of the Flower Moon or The Holdovers, and it is hard to contest Oppenheimer being the victor. But Godzilla most definitely earned at the very least the nomination; that alone would have been enough. Alas, no such nomination. Morons. The chatter about the effects budget, I recall the words of Roger Corman, when he said, “Generally, a lack of money hurts a picture. But every now and then, it forces you to be more creative.” Hadn’t heard that about Yamazaki’s previous film, though there was a really good message delivered here. I missed the ejection whilst as I said, I was also distracted by wondering could he have done it in time, and blow Godzilla to kingdom come. Yeah, well, the usual dipshits always seem to pop up. One thing within this year was the statements made of missing the days of non-leftist tv like M*A*S*H or All in the Family, making me bewildered, asking, “Hang about, hang about. You’re saying those shows WEREN’T leftist as all shit!?” When watching the film, the Ilsa thing didn’t occur, but when seeing the reaction, then it crossed my mind. I can see in equal measure the argument about Noriko’s fate. Yeah, logically, it is a stretch. The emotional catharsis, however, is fantastic. I was afraid, upon seeing the telegram delivered, that Kōichi would die never knowing about Noriko’s survival. So, when the result is a pure emotional relief, like you said, we’re willing to put the pure logic aside in this scenario. On paper, the idea of Noriko becoming a kaiju does sound slightly fun, I won’t lie. You said to watch the black and white version, so I made sure that that was the version I watched. It just adds to the effect. The spots where the cgi is iffy, the black and white makes it better. My one thought of you got to have a slight pulpy look to Godzilla; retain that charm. Concerning the English dub, I think I’d rather stick with the original Japanese, though say I’m with anybody, they put it on with the English dub, I wouldn’t protest. I’d just choose to watch it in the original Japanese myself. That is true that they should have left Kōichi’s scream as is, particularly as I’ve seen scenes of American films/films in English dubbed in other languages, and the non-verbal sounds are usually left alone. Don’t know why they just didn’t do that here, even if say there was some vocal dissonance between the voices. There has been enough groundwork laid for a continuation. Supposing it never happens, fine. The idea’s on the table. I’d be down for more. And if not, we already got this fantastic film.

Ryan
>>153742633

Yeah, the Kurasawa comparison is what popped in my head during my first viewing, in particular with the scenes of the family at home feeling very much like Ikiru even while watching in color.