It’s strange to think that we now live in the far off future of the 2020s. But with that new and strange future waiting for us, we also leave behind a decade filled with some of the best movies we have ever known. While there are a lot of negative and overwhelming things about the 2010s that we’ll always remember, whether we want to or not, I believe it is safe to say that this past decade was one of the best for cinema. It allowed the widest range of filmmakers to tell their unique and awe-inspiring stories that forever changed the landscape. From “Get Out” and “Moonlight” to “Lady Bird” and “Roma,” this was the decade of imaginative storytelling.
For me, I got to see far more wonderful movies than I can count. Not only did I get to see nearly every major release in my small town from 2014 onward, but this was a decade that significantly expanded my world view and tastes in cinema, allowing me to see pictures I would have never expected and now I can’t imagine a world without movies like “Spotlight” or “The Social Network.” But there are so many of those stunning films that forever changed cinema that it’s daunting to even narrow them all down to one list.
So rather than talk about the best movies that changed the decade and movies forever, I’m going to stick with what I know and talk about the movies that changed me. The movies that I will remember forever from the 2010s and ones that I could watch again and again. I also couldn’t do any of these films justice with a short description here, though I do have full length reviews for nearly all of them elsewhere on my blog, so links to those will be included for each of them. These are not necessarily my picks for the best films of the decade (though some of these would be on that list too), but rather these are my absolute favorite and most memorable films of the 2010s (in no particular order…except for the last one).
“The Artist” (2011)
Out of all these picks, “The Artist” is the only one I haven’t talked about at length. But to get to the heart of it, “The Artist” is cinema at its purest. Raw, emotional, visual storytelling at its finest, celebrating how beautiful and tragic cinema can be by crafting a tale that hasn’t been told for nearly 80 years. It’s one thing to make a silent movie in 2011, but it’s another thing entirely to make about the story of how silent cinema faded and the lives that were crushed by that transition. At times, it evokes the whimsy and energy of “Singin’ in the Rain,” while other times the tragedy of being lost in an ever-evolving world like Norma Desmond in “Sunset Boulevard.” It is a timeless tale about why we love movies so much and why they’ll always be relevant, a love letter not just to silent cinema but cinema in general.
“Her” (2013)
http://gotengoxgodzilla.blogspot.com/2014/01/the-hopper-8.html
Simple, yet innovative. This is a science fiction piece that understands technology in cinema is not just fiction, but can be relatable and logical yet still fascinating and imaginative. I found myself just as invested in the futuristic Los Angeles as I was in the romance between Theodore and Samantha, finding a love story set in a world not too different from our own. A world where technology might have advanced further than us, and has replaced us in many capacities. Yet “Her” finds a middle ground where humans and technology make each other more desirable. That we wouldn’t be complete without the other. With the same quirky, off-the-wall craziness you can only get out of a Spike Jones film, “Her is one of the most creative and heart-warming films of the decade.
“La La Land” (2016) and “Whiplash” (2014)
http://gotengoxgodzilla.blogspot.com/2017/01/movie-review-la-la-land-2016.html
http://gotengoxgodzilla.blogspot.com/2015/02/movie-review-whiplash-2014-does-he-want.html
After a lot of consideration, I’ve come to the decision that I cannot decide which of Damien Chazelle’s masterpieces I love more. So rather than pick one, why not just include both in one spot? Though both films do tell me the same thing – that the musical is not dead. Chazelle’s take on the genre uses music more as an emotion or a state of mind that is complimented by a passion for why music, moving music, needs to be shared with the world. In “Whiplash,” this is taken to its most extreme through J.K. Simmons’ character and his anger at a world that doesn’t share his enthusiasm for music and can’t understand why his students don’t care about it as much as he does. While in “La La Land,” that passion is splashed all over the screen through vibrant colors, long shots of stunning choreography that demonstrates why musicals are beautifully unique without ever sacrificing that same harsh reality that “Whiplash” started. While both films are joyous in their own way, they never sugar-coat anything and often show just how cruel and unforgiving the world can be, but also why that passion is something worth fighting for.
“The Lego Movie” (2014)
http://gotengoxgodzilla.blogspot.com/2014/02/movie-review-lego-movie-2014.html
There were a large amount of noteworthy animated movies over the last decade – “Inside Out,” “How to Train Your Dragon,” “Spider-Man: Into the Spider-verse,” “Kung Fu Panda 2,” “Zootopia,” “The Wind Rises,” “Kubo and the Two Strings” just to name a few. But none of them made quite as much of an impact on me as “The Lego Movie.” As strange as this is to say about a film meant to sell tiny bricks of plastic that are a pain to step on, “The Lego Movie” might have been the most creative, heartfelt, nostalgic and visually-striking film of the decade. Say what you will about some of the best cinematography of the decade, none of those movies were made up entirely of legos. But beyond the vast cast of characters that seems to cover nearly every franchise in existence and makes it all feel connected, what makes this so important is the twist near the end and the message that comes from it. No other animated movie hit me nearly as hard as that moment when you find out who has really been pulling all the strings and how it fits right at home with the imagination of legos. I didn’t know that I ever wanted a movie about yellow bricks that has Batman, Shaquille O’Neal and Charlie Day playing a crazy astronaut obsessed with spaceships, but now I can’t imagine a world without “The Lego Movie.”
“Mad Max: Fury Road” (2015)
http://gotengoxgodzilla.blogspot.com/2015/05/movie-review-mad-max-fury-road-2015.html
This film still blows me away. So much is conveyed with little dialogue and visually-rich imagery, creating this hellscape built on madness and cars. It is not only the most high-octane movie of the decade, but also the most authentic action movie of the decade too, with little CGI and epic level action sequences that would make David Lean blush with jealousy. This is what every action movie should aspire to be like – beautiful, detailed in its simplicity, deliciously hand-crafted and satisfying. Any day with “Mad Max: Fury Road” is a lovely day indeed.
“The Martian” (2015)
http://gotengoxgodzilla.blogspot.com/2015/10/movie-review-martian-2015-best-mars.html
As time has passed, the more I have fallen in love with “The Martian.” I’d describe it now as a comedy that laughs in the face of certain death and takes delight in the small moments of happiness, anything to remind us why it’s wonderful to be alive. Despite films like “Gravity” or “Interstellar” taking giant leaps for exploring the universe in new and creative ways, it’s the heart and honesty of “The Martian” that wins me over every time. Matt Damon gives the best performance of his career, perfectly capturing the highs and lows of having a planet to yourself while refusing to succumb to the dread of dying and working towards another chance to live. “The Martian” is as uplifting as it is hilarious, striking the perfect balance between crisis and serenity.
“Nightcrawler” (2014)
http://gotengoxgodzilla.blogspot.com/2014/11/movie-review-nightcrawler-2014.html
If I had to include one gritty and unsettling film from the 2010s, I’d certainly go with the irresistible “Nightcrawler.” Jake Gyllenhaal’s performance might be my second favorite of the decade, as a man so engrossed in his own uncaring and unsympathetic world that he has to go out to prove his worth in any meaningful way. The way he treats others like his pawns or tools yet how it plays so well into the world he creates for himself and the “Man bites dog” mentality of journalism is so highly captivating. Watching this man try to conquer the world in his own way is a treat all on its own, especially once he starts to succeed at it.
“Parasite” (2019)
http://gotengoxgodzilla.blogspot.com/2019/12/movie-review-parasite-2019.html
While I tried to stay away from more recent films that haven’t had as much time for reflection as the other films on this list, I keep coming back to Bong-Joon Ho’s immensely captivating genre-bender. Not only is the film able to effortlessly bounce between being a thriller, comedy and social commentary, but it is the most unpredictable experience of the decade. With each scene, it feels like the film could spring off a million different ways, always keeping the audience guessing as to which path it will take, and yet Bong-Joon Ho often picks none of those million possibilities and goes off in a completely different and yet still fascinating path no one could have expected. “Parasite” makes storytelling as creative and original as it was when we first heard stories and reminds me why cinematic storytelling can be so fun in the first place.
“Shin Godzilla” (2016)
http://gotengoxgodzilla.blogspot.com/2016/10/movie-review-shin-godzilla-2016.html
I tried desperately to think of a movie that I loved more than “Shin Godzilla” from the 2010s, and I could only come with a few movies, and certainly no other kaiju films. When I think of a modern monster movie, one that portrays a honest depiction of what would happen if there ever was a giant monster running around, “Shin Godzilla” captures that perfectly. The dread and uncertainty of a creature that defies all the laws of nature and the cold reality that scared, tired and confused men are in charge of dealing with that creature is terrifying in its own right. Democracy was not meant to handle a nearly indestructible monster that destroys everything in its path. And even beyond that, this version of Godzilla is the most terrifying since the original monster, leading to monster scenes that are just as intense and gripping as the scenes with the government, and helped by wonderfully dynamic cinematography. Lastly, there’s the national identity of Japan on full display as the film makes Japan the main character with its demeanor, ideals and fears bared for everyone, leading to a climax that is triumphant as it is exhilarating.
“The Shape of Water” (2017)
http://gotengoxgodzilla.blogspot.com/2018/01/movie-review-shape-of-water-2017.html
Despite everything else being in no particular order, “The Shape of Water” is, without a doubt, my favorite movie of the 2010s. From the opening scenes of finding joy in the small moments of happiness like the smell of chocolate in the air to tap dancing after watching in on TV, to the transparently wicked Michael Shannon soaking up every minute he has a chance to assert his authority, to the hauntingly beautiful dream dance sequence that brings me to tears every time, there is no shortage of wonder and awe in this movie. But what really brings it all together is Sally Hawkins giving my favorite performance of the decade, so raw and emotionally gripping as she acts her heart out in every scene without ever saying a word. She commands the screen, not like Michael Shannon’s intensity, but through her vulnerability. “The Shape of Water” is joy in its purest form, capturing the majesty and imagination that cinema can offer without ever shying away from the darker, more horrific sides of that imagination that leads to powerful emotional moments that I’ll never forget. And it is because of Guillermo del Toro’s passion for filmmaking, passion for the fantastical and passion for life that makes “The Shape of Water” the most rewarding movie of the decade.
This has been a decade of so many wonderful movies that I’m sure there’s a bunch that I missed or left out or possibly some that I didn’t even see. So if you have any of those, be sure to let me know what your favorite movies of the 2010s were!
When I first saw the negative reviews coming in for "Godzilla: King of the Monsters," I was dismissive and disregarded critics saying the film was bland and didn't deliver the goods. I thought these critics didn't know what they were talking about and that they weren't true Godzilla fans so they couldn't fully appreciate it like I could. How could any movie with a $200 million budget that has Godzilla, Rodan, Mothra and King Ghidorah be as bad as they were making it out to be?
But the truth of the matter is that I was letting my fanboy giddiness override my common sense. Most of the time, when critics universally bash a movie like "King of the Monsters," it is for good reason. But I refused to believe that anything that brought back my childhood nostalgia with a big budget and people who loved the classic Godzilla films as much as I do could be anything but awesome. There was never a doubt in my mind that this wouldn't be the best movie-going experience of the year...that is until our "characters" start forcefully explaining their emotional baggage to the audience like we're a bunch of toddlers who have to told every little detail.
Even for weeks after the film came out, I was in denial about the whole affair, doing my best to convince myself that there is something of merit in "King of the Monsters." Anything to justify the awe of seeing King Ghidorah and Godzilla fighting with all the weight and impact they've always deserved. After all, we live in a wonderful technological age where we can make a talking, violent raccoon who is best friends with a walking tree and make it look convincing enough to care about their bizarre but oddly heart-warming friendship. So of course I'd want nothing more than for a film that makes King Ghidorah more lively and deadly than he's ever been. It would not only satiate my deepest childhood dream of a big budget Godzilla movie that has loads of monster fighting, but it would get people as interested in the classic Godzilla movies as I am.
But now that enough time as past and I've re-watched the film at home, I can understand what those critics were originally talking about. I can only imagine this is the same feeling many Star Wars fans had coming out of "The Last Jedi" or the prequels - disappointment.
Frankly, that is the most apt word to describe "King of the Monsters." It's not the worst Godzilla movie, but I can't think of another film in the franchise that leaves a worst taste in my mouth. This film could have been something special, something that pleases both fans of the franchise and the general audience and reignited the love for giant monster movies that films like "Pacific Rim" and 2014's "Godzilla" have been trying to do for over five years. Instead, it's a mess of a film, confused in so many different ways and it's difficult to point a finger at exactly one thing and say that's what the filmmakers did wrong. What should have been the height of giant monster fights feels like a downgrade from those American films that came before it. There's even part of me that feels like the 1998 "Godzilla" is a better monster movie than this...until I remember how that film makes no sense and tell myself that both films have that in common.
So what exactly doesn't work about "King of the Monsters"? To be honest, I wasn't exactly sure for a while. So many problems all over the place, like trying to fix a house that no one has lived in for twenty years. There doesn't seem to be a root that connects all the problems of the film to one source, it's just spread out like shrapnel from a massive bomb. It was easy to point to the problems of the 2014 "Godzilla" - the bland and unemotional acting does not support the intense and suspenseful monster moments through the film, leading to a forgettable experience when Bryan Cranston or the monsters aren't around. But "King of the Monsters" doesn't really something like that.
Until I thought about the presentation of the movie and its structure and came to a more definitive conclusion - "King of the Monsters" is a bloated, over-the-top action movie, but Godzilla is not an action-based franchise.
"King of the Monsters" has more in common with the "Fast and Furious" franchise than it does with Godzilla. They're both loud, often obnoxious, replace any semblance of logical and intelligence with explosions and fast-paced action sequences and every character is either a walking cliché or stereotype or spouts nothing but clichéd one-liners that you only hear in an action movie. Everything is dumbed down to its most basic elements, like forgoing the inner battle between the U.S. government and Monarch about the secrets of the titans and the conflict of what should be done with them for the sake of humanity, or even the more primal conflict of realizing that mankind has so little control over nature and world when there's monsters out there that can destroy us without even a second thought. Just replace the fast-paced car chases with giant monsters, and that's "King of the Monsters" in a nutshell.
But the problem with this is that Godzilla was never solely about the action. Sure, monsters fighting monsters counts as action, but there's so much more to Godzilla than just kaiju brawls. The 1954 "Godzilla" is an allegory, not just for the horrors of the atomic bomb and nuclear testing, but the turmoil and pain of an entire nation after losing their identity and honor following World War II. "Mothra vs. Godzilla" isn't just about its titular monsters duking it out, but a message about distrust and hatred consuming mankind to the point of destruction and how easily greed can ruin not only one man's life but so many lives. This is what Godzilla is about, it is not an action franchise, but a monster franchise.
Or more specifically, a daikaiju franchise. This is a genre that is steeped in many other genres - monster films of old, like "Dracula," "Frankenstein" and "King Kong," horror, science fiction (in the same way as many 1950s sci-fi movies like "The Day the Earth Stood Still" or "War of the Worlds") and a dash of comedy every now and then. Throw in a bit more action than you'd see in other monster movies and a good helping of Japanese ideologies and you've got the daikaiju genre. I certainly wouldn't classify the Godzilla movies as strictly action or horror or sci-fi, but as a combination of all of them. Much like the debate that Star Wars isn't science fiction, I've come to the same conclusion in both cases - both Godzilla and Star Wars are so many genres that they create their own new genre.
So to see Godzilla reduced to nothing more than a dumb, brainless action movie that has nothing to say other than "giant monsters are cool" is more aggravating than I care to admit.
The filmmakers don't seem to think that the monsters are any more than vehicles to get to the next action sequence. Sure, the monsters have personalities, but they don't do anything other fight or get us closer to fighting. The biggest example of this is Mothra, who starts out fighting Monarch as they try to contain her for study, while introducing us to our plot MacGuffin, the Orca, and then does nothing until the third act when she's needed again. She then guides our "heroes" to the lost Godzilla, despite having never met Godzilla before, and then doesn't show up again until Godzilla needs help fighting King Ghidorah.
It feels pretty degrading when one of the most beautiful and poetic monsters of all time is nothing more than a plot device.
Part of the problem is dumbing everything down, almost like the filmmakers don't think that the general audience will enjoy a monster movie and just made a cliche action movie with lots of monsters instead. There is so much patronizing and condescending treatment of the audience that there's no room for the monsters to be anything other than action vehicles and plot devices. The previously mentioned scene of our lead mother and her daughter explaining their backstory and summarizing the emotional pathos of the movie is in extremely poor taste, since a lot of this information could come later in the movie in the more quiet moments. But instead, everything has to be spoon-fed to the audience, which only serves to make us seem like we can't appreciate more subtle moments and makes these characters unlikable assholes who talk down to everyone.
Speaking of characters, I don't think there's a single good character in this movie. Not that these actors don't do a good job, it's just that the material they have to work with is poorly written and contrived. Our main lead, Mark (Kyle Chandler), spends most of the movie hating Godzilla for killing his son and yet is eager to get back into helping Monarch track down these monsters and seems to know a lot of about Godzilla's behavior for someone who hates him. He often seems surprised by the presence of monsters, despite the fact that he made a device that allows humans to communicate with monsters. He goes back and forth between despising monsters and being curious about them that it makes him annoying.
Our "villain" is Mark's wife Emma (Vera Farmiga). She was also disturbed by the death of her son and decides to go the psychotic route and unleash all the monsters so that the world can be returned to a peaceful state where humans and monsters can exist together...except that the first monster she frees, King Ghidorah, is set on destroying the entire planet and has no regards for humans or monsters. Naturally, this causes me to raise a few questions, for example, why the hell did you release King Ghidorah, the only other alpha titan, first? Emma was supposed to know more about Ghidorah than anyone else, and yet she overlooked the fact that Ghidorah would bring about chaos and panic around the globe. Also, her plan of releasing all the monsters could have gone wrong so easily, like Monarch changing all her pass codes or locking her own or sending the military to each titan site to make sure she can't get in. But of course, this follows dumb movie logic and the only one who can stop Emma is Mark. Still, she has no fore-thought, just a dumb plan brought on by grief that she has no guarantee will work and a small band of mercenaries that aren't too keen on following her orders. Behold the definition of incompetent.
The third character stuck in the middle of Mark and Emma's awful characterization is their daughter Madison (Millie Bobby Brown), who is superfluous to the story and is only there to stare and yell at the giant monsters and be an annoying twelve year old. She's supposed to be her mother's emotional compass and point out when she screws up...except that the only time she does this is after King Ghidorah starts to change Earth's ecosystem and make all the other monsters serve him. At this point, Emma already knows how much she screwed up, so she doesn't need her daughter to tell her that she's a monster. Not only does this make Emma an even less effective villain, but it shows that Madison served to no purpose to the story. Mark could have gone to stop Emma without Madison around, and Emma's grief was fueled by the death of her other child, leaving Madison with nothing. The only thing she gets to do is be the annoying, bratty kid that only gets more annoying as the film progresses. She is this movie's equivalent of Miki Seguesa.
But those aren't the only awfully written characters. The honor of "worst character of the year" goes to Dr. Rick Stanton (Bradley Whitford), a character designed only to spew terrible, unfunny one-liners such as "My God...zilla!" The guy even has the gall to make a joke out of his colleagues sacrifice when he says that he got Godzilla "juiced." But the worst part of this character is just how gross he comes across, like he's getting turned on by all this monster stuff and makes the worst comment of the movie when Mark asks he's recording the arrival of Mothra and responds with "I record everything...EVERYTHING!" It's one thing to have a character who likes monsters more than other people, but it's another thing entirely when that same character subtly hints that he has hidden cameras in the bathroom and everyone's bedrooms. The fact Whitford said that he modeled his character after Rick from "Rick and Morty" says a lot about how unlikable and disgusting his character is.
Then there are small character things that really bother me, like Sally Hawkins character unceremoniously dying halfway through the movie. It's not even given the same gravitas as Bryan Cranston's death in "Godzilla" because they never bring up her character after she dies. And for Sally Hawkins to get treated like that after that emotionally beautiful performance in "Shape of Water" is just insulting. There's O'Shea Jackson Jr., who basically plays an even more dumbed down role of Will Smith's character in "Independence Day," reduced to just giving over-the-top reactions to all the crazy monster moments and has maybe two lines that he doesn't scream at the top of his lungs. Charles Dance plays the lead mercenary who has some interesting quirks, namely seeing humans as the evil ones destroying the planet while also selling titan DNA for his own benefits, but it's too bad he has about three minutes of screen time and he spends most of that making funny faces at Madison.
But here's the most damning thing of all, I could forgive all of these confused, poorly written and ill-conceived characters if they weren't the main focus of the movie. After all, this is a Godzilla movie that brings back three of his classic foes and allies, so surely that would be most of the focus...right? Nope, we follow these annoying, infuriating characters for about 90% of the movie. This is what those critics were talking about - the characterization is so terrible that it makes most of the movie hard to watch. We spend so much more time with this awful people that even the monster scenes aren't satisfying anymore.
To be fair, the reason the monster scenes in past Godzilla movies work so well is because of the balance between the monsters, the humans and the emotions. If it was all about the monsters, they wouldn't pack any sort of punch. Monster scenes work better when you know about the people those monsters are stepping on. But the flip side of that coin is that if I don't care about these characters, then I don't really care if they die or not. If the movie is going to do such a poor job of making them decent people, then at least give us some good monster action. After all, you've already got the templates for great monsters thanks to dozens of classic monster movies, it really shouldn't be hard to make monsters like Rodan, Mothra and King Ghidorah look amazing.
And yet, somehow, they screw that up too.
How they screw this up is incredibly simple - even when the monsters are trying to rip each other apart, the movie always puts these unlikable douches at the center of everything. We never really get a good moment of just Godzilla and King Ghidorah fighting without cutting back to what our "heroes" are doing, whether that's trying to escape, trying to find someone, spout more stupid one-liners or making comments on the fight. For example, the moment Godzilla and King Ghidorah meet is shown almost entirely from within the helicopter our characters are trapped in and how more difficult their survival gets when Godzilla kicks them aside and Mark gets trapped in a bunch of cables. Very little of the fight is shown because we spend more time watching Mark try to untangle himself.
Why do they spend so much time with Mark trapped in the helicopter? There's two classic monsters fighting each other not even a few yards away! Show that instead!
This gets even worse during the final battle in Boston. After nearly every punch from Godzilla or a bite from Ghidorah, they have to cut back to the humans so they can make some snarky comments. For every ten seconds the movie spends on the monsters fighting, there's another minute of Mark and Emma either running away from the action or trying to find Maddie. Hell, the city is in ruins and it looks like Hell is breaking through the streets, but they're practically driving through the neighborhood like they're out for a Sunday drive while O'Shea Jackson Jr. makes more comments about how he's glad Mark and Emma aren't his parents. Because that's why people came to see a Godzilla movie - for poorly written characters to bicker like a dysfunctional family.
None of the final battle feels rewarding or epic, because it continually cuts back to the human characters at the worst possible moments, never letting the cool moments play out. It never feels like a monster movie because it never spends enough time with the monsters. The only standout moment in the movie with a monster is when Rodan is chasing down the air force while they desperately try to get to King Ghidorah before Rodan kills them all. It is tense, atmospheric, plays up Rodan's size and speed, and might be the most visually pleasing moment of the movie, with little to no dialogue from our main characters. For once, everyone shuts up and lets the monsters be monsters.
If "King of the Monsters" had more scenes like that, I wouldn't be writing about why this movie doesn't work.
I should also point out another reason why most of the monster scenes lack the proper impact - they're unpleasant to look at. The primary colors of this movie are yellow and bright orange, mostly because of the fires from the smoking buildings and the storm that is always around King Ghidorah. While that is an interesting concept, it makes the movie hard to watch because of all the flashing lightning and swirling storm clouds. And if it isn't the unpleasantly colored storm, then the fights are always in the dark. I don't know why, but every American Godzilla movie has pretty much always been set at night. Why can't we see Godzilla in the daylight? Because that might make his fights easier to watch? Because then it wouldn't look like there's a piss-filter over the entire movie?
Due to the poor lighting and lack of focus during the fight scenes, we never get any good moments to take in the designs of Rodan, Mothra and King Ghidorah. We get a vague idea of what they look like, but nothing concrete. Mothra's design is hidden for most of the movie behind clouds and waterfalls, while Ghidorah's wings are always curled back like a dragon (something he never did in the Japanese movies). You never really get the impression that Ghidorah is bigger than Godzilla in this movie because he's always hunched over. While Godzilla's design is certainly improved from the 2014 film and they give him a nice aesthetic with his spines always glowing blue, they didn't do as well with the other monsters.
One thing that I'm on the fence about is the music. Bear McCreary scores the film and he uses the classic Godzilla theme song from the Japanese movies, as well as some older Mothra songs. This really does bring some extra weight and excitement to some scenes, mostly because Akira Ifukube's music fits so well with these monsters, whether they're suits or CGI. I can tell you most of the because moments with Godzila in this movie were because of the classic Godzilla theme playing in the background, making Godzilla seem even more grand in scale. However, not only did McCreary do nothing for the old Rodan or Ghidorah themes (which do exist in the Japanese movies), but there's one thing that often ruins the music - the choir chanting. For some strange reason, McCreary added a choir to the Godzilla theme song and it is the most distracting thing in the movie. It feels like they're cheering for Godzilla or trying to motivate the giant lizard who has no concept of cheering. His music would be phenomenal...if the choir was removed. There's a reason Ifukube never needed a choir for the Japanese Godzilla films, because the music alone carried Godzilla's weight.
But one of the more difficult problems to explain about "King of the Monsters" can only be described as Godzilla's impact being lost in translation. In this movie, and the 2014 film, while Godzilla is portrayed as an unstoppable force of nature, the impression is that he either fights for humanity or is a benevolent god that sympathizes with mankind. This was never the case in the Japanese films. Godzilla was many things in the Japanese films, but he never sided with the military or was ever effectively a pawn of the U.S. government like he is in "King of the Monsters." The implication is that, if we can't kill Godzilla then the government might as well try to recruit him and that is nothing like Godzilla. He's been a symbol of the unbelievable power of nature, an allegory for the atomic bomb, the turmoil and pain of those forgotten in World War II and even a protector, but he is not some ultimate weapon when all else fails. That is reducing Godzilla to nothing more than a plot contrivance.
It's one thing to make Godzilla a guardian of mankind and even a hero, but it's another thing entirely to make him a pawn of these awfully written characters. This is something that would never happen in the Japanese films, but has happened multiple times in the American films because of our pride and bravado - there certainly can't be something out there stronger than us or make us look bad, and even if there was then we can use that for our own benefit!
This is what I mean by "lost in translation." How American filmmakers interpret Godzilla and how he interacts with mankind is vastly different (and inferior) to how Japanese filmmakers interpret Godzilla. Because Japanese filmmakers respect the source material and have felt the weight of how much Godzilla has changed cinema in Japan. Even the more recent "Shin Godzilla" understood this and made a film that not only paid respect to the source material, but upped the size, scale and power to more modern sensibilities, and all to great effect. American filmmakers just see him as an icon of nostalgia at best, and dollar signs at worst. The respect for what Godzilla stands for is lost on American filmmakers.
Case in point - "King of the Monsters" is in love with the atomic bomb. A lot of problems in this movie are solved thanks to the atomic bomb, like bringing Godzilla back to life after being mortally wounded. Even an old reference to something even more powerful than the bomb is used, the Oxygen Destroyer, and that is heralded as a saving grace. I think this might be the most disrespectful thing about "King of the Monsters," the fact that our heroes never bat an eye over using atomic bombs, or something worse than the bomb, to save the day and sing the praises of the bomb and never once think anything bad about the ultimate killing machine. It comes across as the filmmakers being blind to the ultimate moral of the Godzilla franchise about the horrors of atomic bombs and nuclear testing.
This philosophy of the atomic bomb being a good thing in a Godzilla movie is unacceptable. We don't even get a moment of quiet reflection where anyone asks if this is the right thing to do, just diving straight into it. They might as well play the clip from "Dr. Strangelove" and have Godzilla riding a nuclear missile. Even in the 2014 "Godzilla," though they also used an atomic bomb, it was handled with the proper weight and emotion that it deserves, with everyone cowering in fear over what might happen if it goes off and Dr. Serizawa giving a speech about how they're courting with disaster. That film understood that the bomb isn't something that should be handled lightly, but here it's practically used as a joke or another plot macguffin, like all the other macguffins throughout the film.
It's easy for me to say that the filmmakers just didn't "get" Godzilla. The genre is wrong, the focus is wrong, the music is (sometimes) wrong, Godzilla's impact on the story world is wrong, the message is wrong. But the thing is that sometimes they did understand Godzilla. They wouldn't have made a movie with Mothra, King Ghidorah and Rodan if they didn't know about the legacy of these monsters. The basic designs of these monsters are translated well, especially with Ghidorah and Rodan and their mythologies remain intact for the most part. The filmmakers gave enough attention to detail with the monsters to show that they do care about showing why these monsters are so iconic to so many people.
Which is why "King of the Monsters" is such a big disappointment. This could have been the greatest Godzilla film, one that honors the legacy of so many classic kaijus and made them bigger than they've ever been. They had more money than probably every Japanese Godzilla film combined and filmmakers who love the source material, in an age where we can bring anything we could possibly imagine to the big screen. They had no excuse not to turn in something that would make long time fans pee their pants in excitement and the general audience love giant monster movies again.
But what did we get? A mess. A confused, uninteresting, poorly written, tonally mixed up, hard to watch mess that has more in common with cliché action movies from the 1990s than it does with any Godzilla movie. Anything of value is undermined by all these inept and inappropriate decisions to make Godzilla as American as possible. In an attempt to make a Godzilla movie that would appeal to the widest audience possible, they lost sight of what makes Godzilla the true King of the Monsters.
Number 5 - "The Ballad of Buster Scruggs" (2018)
I can't remember a film that encapsulates so many of the wonders and horrors of the old west quite as well as "The Ballad of Buster Scruggs." There is a love for the old west that is unparalleled, showcasing why so many people braved the harsh and unforgiving landscape and the joys and tragedies that came with it, like going out for buried treasure. Every vignette is crafted so meticulously with that classic Coen style that I can't help but love every part of this movie.
Number 4 - "The Big Lebowski" (1998)
More than anything, I think I love the philosophy of "The Big Lebowski." One could argue that the film is about nothing and yet is about everything at the same time. It has no meaning, and yet that gives it a purpose. It is both genius and idiotic. All of this is accomplished through the character of the Dude, who encapsulates a generation of people trying to find meaning in a harsh and unforgiving world by making peace with themselves before anything else. The Dude might be one of the most likable characters in cinema history and his lifestyle is certainly the most memorable thing about this movie.
Number 3 - "O Brother, Where Art Thou" (2000)
There's such a simple charm to "O Brother, Where Art Thou" that I can't help but love. There's something about taking the tale of the Odyssey and setting in the deep south while filling the air with catchy blue grass music that feel so heartwarming. It feels familiar and oh-so simple, and yet just fantastical enough to get engrossed in these hyper-active characters. The film is so vibrant and lovable that I can't help but say it's one of the Coens best films.
Number 2 - "No Country For Old Men" (2007)
For most people, it's always a toss-up for the best Coen brothers film between two choices. And while those two are my top two, it is always a difficult choice for me as to which is better. But if I had to pick, I'd put "No Country for Old Men" in the second spot. This is probably the best modern thriller, playing up the silence and loneliness of its three main characters as it delves into the unpredictable mind of a psychopath. Javier Bardem plays one of the greatest villains of all time, while Tommy Lee Jones brings it all back down to Earth by showing just how much people have changed and whether or not we can reason with this new breed of criminal. One of the most well-shot, suspenseful and terrifying movies I have ever seen.
Number 1 - "Fargo" (1996)
But after a lot of thinking, I can safely say that I prefer "Fargo" over "No Country for Old Men" for one very simple reason - Marge Gunderson. Not only one of my favorite film characters ever, but one of the most greatest characters in cinema history. Without her, "Fargo" is about a bunch of losers and morons desperately seeking something that they hope will bring them happiness. And yet, Marge reminds the audience what true happiness looks like. The film is a cautionary tale, while reminding the audience what really matters in life. It is uplifting, comforting and very funny in how pathetic some of its characters can be. Throw in some spectacular cinematography and feeling right at home with its Minnesotian charm, and you get one of the greatest black comedies of all time.
The quality of movies in 2018 came as a surprise to me. While I shouldn't be shocked that filmmakers are creating better works of art with each passing year, I didn't think too highly of the films released this year for a long time. Sure, there were many solid movies, including "Ant-Man and the Wasp" and "Incredibles 2" but very few films that stood out for me.
But as the year came to an end and I took the time to reflect on the best films of the year, I started to realize just how many standout movies came out in 2018. There were so many that I guess I lost track of some. Most years, I only do a top five list of the best films, but this is the first year where I need to do a top ten to cover everything I loved.
So, with all of that being said, let's start with the same question I ask at the end of every year - Was 2018 a good year for movies?
I will remember 2018 for a few things, but the main thing will be Hollywood, not only accepting diversity, but embracing it. It no longer feels like we live in a world where every major movie has to have a straight white male in the lead role in order to succeed, but just having people in the leads and making them far more relatable than I can ever remember movie characters being in the past. It's not just about tellling those often overlooked stories, but making them so rich, vibrant and entertaining that everyone needs to see it to believe it. For this reason alone, I'd say 2018 is an important year for film.
But beyond this, my typical criteria is that there needs to be three standout movies released over the course of the year. Ones that will be remembered long after its time in the theater is done and yet people are still talking about it, and watch it not just for the nostalgia, but because it's just as entertainment value either hasn't diminished or has increased. To me, three standouts make it a good year, less than that means it was a bad year, and five or more means it was a great year. 2017, for example, now has over six movies that I love now just as much as I did when I first saw them, making it a great yaer.
And in this regard, 2018 is a great year for films, possibly even better than 2017. There are so many films that I can't recommend enough to everyone reading this. And while I don't think there was a film that I loved nearly as much as 2017's "The Shape of Water," that does not diminish the personal touch of 2018, a year filled with smart, authentic and imaginative movies that should never be overlooked.
So yes, I do think 2018 was a great year for film. And to prove that, here are just some of the best films this last year had to offer and ones that I won't be forgetting any time soon.
10. "Mission: Impossible - Fallout"
While the quality of the "Mission: Impossible" movies should never be questioned at this point, "Fallout" manages to out-do, not only the other films in the franchise, but any other big blockbuster in terms of thrilling stunts and effects. This is a nail-biting, thrill ride that never lets up, highlighted by some of the best acting in the series and stunts that somehow one-up each other in each scene. Some of the most fun I had in the theaters in 2018.
9. "Eighth Grade"
On the opposite end of the spectrum from "Fallout," we have "Eighth Grade," a comedy that excels at capturing that awkward moment we've all had. A time we'd all like to forget, but one that probably defined who we are. It is the most honest movie the year, with perfect casting and a sense of humor that is as unique as it is awkward.
8. "Free Solo"
2018 was a stunning year for documentaries. On top of films like "Won't You Be My Neighbor," "Three Identical Strangers" and "They Will Never Grow Old," we also had the most thrilling, thoughtful and meta documentary with "Free Solo." Not only is this the most stunning and beautiful documentary I've ever seen, making us feel like we're rock climbing along with these people, but the tale of the documentary crew is just as entertaining as the main story, asking themselves questions about what they're doing and if it's ethical to film someone in such a dangerous profession that relies so heavily on their finesse. In a year filled with amazing documentaries, "Free Solo" is the one I keep coming back to.
7. "Spider-Man: Into the Spider-Verse"
Speaking of films I keep coming back to "Into the Spider-Verse" continues to fascinate me with its breathtaking artstyle, unique cinematography and animation, its love of Spider-Man's history and lore, and its mutl-layered story about redemption and overcoming tragedy. It is not only the best animated film of the year, but possibly the best animated film since "The Lego Movie." It is everything that is great about animation and so much more.
6. "BlacKkKlansmen"
"BlacKkKlansmen" is the most sobering, bold and stylish movie of the year. It is overflowing with unbridled energy, showcasing the hate in the hate in the world and how it is still very much alive and needs to be addressed, all while giving us that brilliant Spike Lee style that we've come to know and love. On top of that, it is a brilliant thriller that teeters between mystery, suspense and comedy, making this just as timeless as Spike Lee's other classics.
5. "Roma"
Continuing the theme that films like "BlacKkKlansmen" and "Sorry to Bother You" started, "Roma" is a daring, deeply personal told through a perspective that is often overlooked. The film often feels we're looking back at Alfonso Cuaron's memories and nostalgia for his childhood, but told with the clarity and percise details of a master storyteller. And even though this has the best cinematography of the year, the true highlight is the emotional performances throughout this hauntingly beautiful movie.
4. "Halloween"
I'm surprised that I'm not seeing this film on more "Best of 2018" lists, because "Halloween" is the best slasher movie since the original "Halloween." It elevates the genre far beyond the blood and gore, giving us a gripping, intense film about coping with trauma, survivor's guilt and the psychology of a psychopath. Add in a complex yet emotionally gripping performance from Jamie Lee Curtis that brings in another level of menace and reflection and you get one of the best horror movies in years.
3. "The Favourite"
I was blown away by the elaborate detail in "The Favourite" but was just as easily impressed by the way the story balances comedy, intrigue, romance and thrills, all while coming across as so Victorian and so modern at the same time. In a strange way, it is timeless in its style and that goes a long way. The three stellar performances of its leads elevates this above nearly every other period piece I can think of, taking a genre that is known mostly for its production design and giving it some much needed life in the story and acting department.
2. "Searching"
Another film I'm surprised isn't getting more attention right now is "Searching," the most unique and thrilling movie of the year. Like Hitchcock so masterfully delved into our socital fears, "Searching" delves into the fears of social media and questionable choices we make in the age of Twitter and regret. It's visual style compliments this perfectly while presenting a "Gone Girl"-like thriller that always had me on the edge of my seat, always blurring the line between the digital world we want to inhabit and the real world that we should be in. This is the movie I'll always remember from 2018, for being unlike anything else I saw this year.
1. "If Beale Street Could Talk"
I had a very difficult time deciding what deserves to be on this top ten list, but there was no doubt in my mind that Barry Jenkin's "If Beale Street Could Talk" deserved to be the number one. This is the most important movie of the year, a film that transcends boundaries to tell a timeless tale of love in all of its wonderful forms. In a year filled with personal films about flawed, broken people, this is the one that feels the most authentic, the most heartfelt and the most uplfiting. If you haven't seen "If Beale Street Could Talk" yet, do yourself a favor and go see the best film of 2018.
Honorable Mentions -
-Game Night
-Avengers: Infinity War
-Green Book
-The Ballad of Buster Scruggs
-Won't You Be My Neighbor?
While 2018 may not have been the most productive year on this blog for me, it was one of the more productive years of my life outside of this blog. I've allowed myself more time to pursue some of my other passions while still sharing my thoughts and opinions on each of the movies I watched. And even though my reviews are getting shorter, I also like to think that's allowed me to come to a more thorough and precise point in my reviews.
I learned a lot about film reviewing in 2018, probably the most I've learned since I started this blog, about making my points as clear and memorable as I can. I will carry these lessons forward with me as I do my best to continue providing quality reviews that others enjoy reading.
So with all that said, as always, I like to take a look back at all the movies I watched this last year as a quick reminder for everyone, including myself. This also gives me a chance to go back and change the grades on films that I might like more now or like even less than I did the first time. There will also be a few movies on this list that I didn't review for one reason or another. So let's take a look back at what 2018 brought me and what I'd grade each of those films.
1. "The Poseidon Adventure" (1972) - B+
2. "It's A Gift" (1934) - B+
3. "Lady Bird" (2017) - A
4. "Three Billboards Outside Ebbing, Missouri" (2017) - A
5. "The Post" (2017) - B
6. "Godzilla: Planet of the Monsters" (2017) - D
7. "Apollo 13" (1995) - A-
8. "The Sheik" (1921) - C
9. "Son of the Sheik" (1926) - C-
10. "Darkest Hour" (2017) - C+
11. "Phantom Thread" (2017) - B+
12. "Call Me By Your Name" (2017) - B
13. "The Shape of Water" (2017) - A+
14. "Lord of the Flies" (1963) - C+
15. "All the King's Men" (1949) - C
16. "Rififi" (1955) - B+
17. "Flight of the Phoenix" (1965) - B+
18. "Jumanji: Welcome to the Jungle" (2017) - C+
19. "Black Narcissus" (1947) - B+
20. "In Cold Blood" (1967) - B+
21. "Dersu Uzala" (1975) - B+
22. "The Pianist" (2002) - C+
23. "Black Panther" (2018) - B+
24. "The Best Man" (1964) - C+
25. "Annihilation" (2018) - C+
26. "Game Night" (2018) - A-
27. "Field of Dreams" (1989) - B
28. "The Ox-Bow Incident" (1943) - A
29. "Born Yesterday" (1950) - B+
30. "Pacific Rim: Uprising" (2018) - D-
31. "Jailhouse Rock" (1957) - C
32. "Lust for Life" (1956) - C-
33. "Ready Player One" (2018) - B
34. "All the President's Men" (1976) - A-
35. "A Night to Remember" (1958) - A
36. "The Philadelphia Story" (1940) - A+
37. "Wings" (1927) - A-
38. "Fanny and Alexander" (1982) - D+
39. "Dark Victory" (1939) - C
40. "A Man Escaped" (1956) - B
41. "Captain Blood" (1935) - B+
42. "Blockers" (2018) - B
43. "A Quiet Place" (2018) - A-
44. "Isle of Dogs" (2018) - A-
45. "Ocean's Eleven" (1960) - C
46. "Avengers: Infinity War" (2018) - A-
47. "Deadpool 2" (2018) - B
48. "Gamera: The Brave" (2006) - F
49. "My Fair Lady" (1964) - B+
50. "Solo: A Star Wars Story" (2018) - B-
51. "Mildred Pierce" (1945) - A
52. "No Time for Sergeants" (1958) - B
53. "Jezebel" (1939) - C
54. "Hereditary" (2018) - A-
55. "Upgrade" (2018) - B
56. "Ocean's Eight" (2018) - C-
57. "Island of Lost Souls" (1932) - C+
58. "Incredibles 2" (2018) - B-
59. "Tag" (2018) - D+
60. "Please Don't Eat the Daisies" (1960) - B+
61. "Won't You Be My Neighbor" (2018) - A
62. "Jurassic World: Fallen Kingdom" (2018) - D
63. "The Courtship of Eddie's Father" (1963) - A-
64. "Cheyenne Autumn" (1964) - D+
65. "Ant-Man and the Wasp" (2018) - B+
66. "The Blob" (1958) - C+
67. "Sorry to Bother You" (2018) - A-
68. "Fail Safe" (1964) - A-
69. "Godzilla: City on the Edge of Battle" (2018) - F+
70. "Unfriended: Dark Web" (2018) - D+
71. "Mission: Impossible - Fallout" (2018) - A-
72. "The Taking of Pelham One Two Three" (1947) - A
73. "Eighth Grade" (2018) - A-
74. "The Spy Who Dumped Me" (2018) - D+
75. "The Postman Always Rings Twice" (1946) - A-
76. "From Here to Eternity" (1953) - A
77. "BlacKkKlansmen" (2018) - A
78. "The Pirate" (1948) - C-
79. "Pillow Talk" (1959) - B+
80. "Searching" (2018) - A
81. "Midnight Lace" (1960) - C+
82. "Johnny Belinda" (1948) - C
83. "The Predator" (2018) - D+
84. "Crazy Rich Asians" (2018) - B-
85. "A Simple Favor" (2018) - B+
86. "Christopher Robin" (2018) - C+
87. "Mamma Mia! Here We Go Again" (2018) - B-
88. "Pride of the Yankees" (1942) - B-
89. "Funny Girl" (1968) - C-
90. "8 1/2" (1963) - A-
91. "Mandy" (2018) - B+
92. "Murder On the Orient Express" (1974) - A-
93. "A Star Is Born" (2018) - B-
94. "Venom" (2018) - D+
95. "The Charge of the Light Brigade" (1936) - C
96. "Bad Times at the El Royale" (2018) - B+
97. "The Sisters Brothers" (2018) - C+
98. "The Old Man and the Gun" (2018) - B+
99. "First Man" (2018) - B+
100. "Halloween" (2018) - A
101. "Frankenstein Must Be Destroyed" (1969) - B+
102. "The Hate U Give" (2018) - B-
103. "Free Solo" (2018) - B
104. "Mid90s" (2018) - C-
105. "Bohemian Rhapsody" (2018) - C
106. "The Last Man on Earth" (1964) - B-
107. "Overlord" (2018) - B+
108. "Fantastic Beasts: The Crimes of Grindelwald" (2018) - D+
109. "Widows" (2018) - C+
110. "Boy Erased" (2018) - B-
111. "Green Book" (2018) - B+
112. "Creed II" (2018) - B+
113. "Ralph Breaks the Internet" (2018) - B
114. "Spider-Man: Into the Spider-Verse" (2018) - A-
115. "The Mule" (2018) - C+
116. "The Favourite" (2018) - A-
117. "The Ballad of Buster Scruggs" (2018) - A-
118. "Roma" (2018) - A
119. "Mary Poppins Returns" (2018) - F+
120. "Holiday Inn" (1942) - C-
121. "Bumblebee" (2018) - B-
It should be no surprise at this point that I adore monster movies. But if there's one particular subgenre of monster movies that I love the most, it has to be Japanese giant monster movies, or daikaiju movies. And what better way to pay respect to this subgenre than to look at the best it has to offer? So here are my top ten daikaiju films of all time.
To clarify the difference between a giant monster film and a daikaiju film, these ones have to have a monster that's bigger than any animal on the planet, whether it's in the film for an hour or a minute, and it has to be produced, owned and released by a Japanese film studio. This means that films like the original "King Kong" or "Pacific Rim" cannot make this list, even though they are great monster movies. We're looking at those monsters from the land of the rising sun. The ones that transcend their genre and conventional stories to become an enjoyable experience, even for those who aren't a fan of the genre. So to start things off with, here is...
Number 10
To kick off this countdown, let's look at those movies use giant monsters in a more minor key. Ones that aren't so verbose or upfront about the presence of monsters. These are the ones that just so happen to have giant monsters in a story that could otherwise be a serviceable film without them, but is amplified by their presence. And these ones could be telling tales from entirely different genres to showcase the diversity of the kaiju genre, saying that these monsters aren't all alike.
Some of the prime examples of this include the gangster-monster fusion of "Dogora," the end of the world scenario that becomes even more complicated with a giant monster in "Gorath," weirdly mysterious and supernatural films like "The H-Man" and "Matango," and the feudal Japan-era "Daimajin" trilogy. And while I was very tempted to give this slot to "Atragon" for its adventurous scope and size, it can't quite hold a candle to the 1965 classic "Invasion of Astro-Monster."
"Invasion of Astro-Monster" (aka "Monster Zero") (1965) - Monster(s) in a minor role
Directed by Ishiro Honda and Released by Toho Co.
While the highlights of this one are the fights between Godzilla, Rodan and King Ghidorah, "Invasion of Astro-Monster" is more so about what it would be like if explored the cosmos and found alien life. The special effects from Eiji Tsuburaya have never been better and atmospheric, while the slow start gives the film an creepy edge that shouldn't be understated. Even the aliens are given their own mythology and culture that serves as a great development throughout the later half of the film. The monsters just serve as a powerful backdrop to an otherwise great science fiction experience.
Even if Godzilla, King Ghidorah and Rodan weren't in this movie, it'd still be a captivating and tense piece, especially when they're on Planet X. But with those monsters in it, the film expertly melds two genres together, giving us some great use of miniatures and that classic Akira Ifukube score. This is the combination of Honda, Tsuburaya, Tanaka and Ifukube at their best and most creative, which is why it deserves to be on this list.
Number Nine
Now that we've got monsters in a minor role covered, let's step it up a bit and showcase the films that have monsters in even bigger roles. These are ones where the monsters build off of an already escalating plot and feel like an organic part of the story, like an orchestra building up to its bigger and bolder pieces of music. These films don't necessarily have to start with the monster attacking, or have everyone fighting to stop the monster, but use the monster as the engine to the whole movie.
The best examples of this include the somber and personal "Frankenstein Conquers the World," the mythological "Varan the Unbelievable," and would certainly include impressive and vast scale of "Rodan." There's always the comical and ludicrous "X From Outer-Space." But for my number nine pick, I can't think of a better example than the elegant look at Capitalism, "Mothra."
"Mothra" (1961) - Monster in a major role
Directed by Ishiro Honda and Released by Toho Co.
On the surface, "Mothra" may not seem like an interesting concept - a giant worm rampaging through Tokyo. But then the film throws in many subtleties and complexities that breathe far more life into it. The film is strange mix of ancient mythologies about religion and how that effects modern society, especially when confronted by men who are selfish and greedy. This battle between old and new rages on alongside the fight against Mothra.
Yet the whole movie has a very elegant and sophisticated approach to everything, from the kind and whimsical twin fairies, to Yuji Koseki's fantastical score, to the more upscale effects on Mothra's rampage. I can't recall ever seeing such detail and nuances in the effects of a kaiju film and it plays well into the whimsy of the movie, especially as Mothra's rampage escalates and evolves, showcasing that elegant mythology that we've come to know and love about Mothra.
Number Eight
Now that we've seen monsters in minor and major roles, what better way to escalate that further than by having two monsters? There are lots of different ways to tell these types of tales, including having the monsters team up or pitting them against one another, but the main focus is typically on how humanity has to rally together to combat two powerful threats and what risks they take to bring the monsters down.
This would include a large number of Godzilla movies, including the first example of two monsters fighting each other with "Godzilla Raids Again," or the far more memorable and epic "King Kong vs. Godzilla." "Space Amoeba" is a campy, cheesy example of this, as is "King Kong Escapes." But for my number eight spot, there really isn't anything quite like 1966's "War of the Gargantuas."
"War of the Garganutas" (1966) - Two monsters for One
Directed by Ishiro Honda and Released by Toho Co.
Like "Invasion of Astro-Monster," this film came out at the height of kaiju popularity in Japan and took things a slightly different direction than that film. Rather than going bigger and more epic, "War of the Garganutas" feels scaled down, focusing on the minute and personal rather than the grand scheme. The two monsters in this movie have far more personality and inner conflicts going on than any other previous monster, all without saying any words, which makes their brotherly battle feel so more real and passionate than most other monster battles before or after it.
These monsters are smaller than many of the other ones on this list, which allows for more attention to detail on the effects and sets. Even watching one of the garganutas falling into the side of building feels more intense and harmful than most effects in these other entries. This is probably why "War of the Gargantuas" feels so much more brutal and raw than other kaiju films, which is why it deserves to be amongst the greats.
Number Seven
Of course, not all kaiju films involve the fate of the world or the destruction of major cities. Some of them can surprisingly tug at the heart strings or make us laugh, so let's take a moment to look at those that do both effectively. These are films that put sentiment and comedy above anything else and treat their monsters more as the butt of a joke than you'd see in films like "Mothra" and "War of the Gargantuas."
Think something like the outrageous and ludicrous plot of "Ebirah, Horror of the Deep" or the child-like imagination of "All Monsters Attack." Nearly every campy or cheesy kaiju film would fall into this category, which includes nearly every Godzilla film from the 1970s and all of the early Gamera movies. But I'm looking for one that is both sentimental and funny, which is why my number seven pick is 1967's "Son of Godzilla."
"Son of Godzilla" (1967) - Sentimental/Comedy Kaiju
Directed by Jun Fukuda and Released by Toho Co.
"Son of Godzilla" excels by doing the exact opposite of what a kaiju film should be doing. Rather than offering commentary on the problems the world faces and monsters destroying cities, this film thrives on giving its monsters rich character development and making you care for Godzilla and his adopted son. Minilla serves as a contrast to any other monster by behaving and acting like a precocious and intrigued child, while Godzilla begrudgingly puts up with his behavior and ends up being the butt of a lot of jokes. Like the Garganutas in the last entry, all of this is communicated without the two ever saying a word.
But the true reason this film stands out is because of how surprisingly touching and heartwarming the film can be. There's a genuine love that develops between these two that becomes infectious, which is no easy feat for two actors in rubber lizard suits. This culminates in the most heartfelt and honest moments in monster history, making stand out as possibly the most unique kaiju film ever made.
Number Six
But not all of the best monsters come from Earth. Some have been terrorizing planets just like ours for thousands of years, so let's talk about a modified version of the "Monsters vs. Monsters" concept and look at monsters fighting aliens. Films that showcase two different worlds colliding in a struggle between the best both worlds have to offer.
This could include the trippy yet surprisingly poignant "Godzilla vs. Hedorah," or the first film to give us our favorite three-headed golden space dragon in "Ghidorah, the Three-Headed Monster," or even the first incarnation of Godzilla's mechanical doppelganger with "Godzilla vs. MechaGodzilla." But just for a change of face, I think it's appropriate to mention an often underrated kaiju film with 1996's "Gamera 2: Advent of Legion."
"Gamera 2: Advent of Legion" (1996) - Monster vs. Aliens
Directed by Shusuke Kaneko and Released by Daiei
Coming directly off the success of the surprising "Gamera: Guardian of the Universe," "Advent of Legion" ups everything the first film established while expanding on the mythos, better emotional acting and of course some of the best practical effects of any Japanese monster movie. As the film explores the biology and desires of the alien Legion, a large swarm of bugs that feed off of silicon, the more terrifying and horrible they become, again without the aliens ever saying a word. It's amazing how this film breaks down how this swarm ticks in such elaborate detail without removing any of the mystery and menace.
But one thing I've learned that gives this 1990s Gamera trilogy its staying power is the brutal struggle Gamera has to endure in each movie, getting holes blasted in his shell, parts of his body getting mutilated and more of his green blood than I'd care to admit - and yet Gamera fights through all of this, always showing his discomfort and pain, but never willing to give up. This is on full display here, as Gamera goes through a horrendous journey to fight a foe he can never hope to understand, shown to us through some stunning effects that give Gamera a full range of emotions. Even the defense force gets some great moments and development, taking an active role in preventing the destruction of the planet, which is often unheard of in this situation. While it may be overshadowed by another film in this trilogy, there's no doubt that "Gamera 2" is one of the best looks at an tenacious monster fights a cold swarm of aliens.
Number 5
One of the biggest fears in these movies is if a monster suddenly showed up in the real world. What if Mothra did start rampaging through Tokyo? Or if a swarm of Legion invaded the planet? How would we react to this? This is a question brought up fairly often in a subgenre I like to call realistic interpretations. These kaiju films thrive on taking the political and sociological landscapes of our world and throwing a giant monster into the mix, making it less about the monster and more about how the world interprets such a creature, how it exists, why its here now and what we do to stop it.
A good example of this would be the 2014 American "Godzilla" and how it analyzes the situation from the perspective of a soldier. But that one wasn't made by a Japanese company, so it doesn't count. One of the best examples is "The Return of Godzilla" and its take on how Godzilla would escalate the Cold War and tensions around the globe. But for my pick, I feel it'd be criminal to go with anything other than 2016's "Shin Godzilla."
"Shin Godzilla" (2016) - Realistic interpretation
Directed by Hideaki Anno and Shinji Higuchi and Released by Toho Co.
"Shin Godzilla" stands out, not because of its radical changes to the Godzilla structure, but because of its style and commentary. Unlike many other kaiju films in 2000s, the scenes with the Japanese government interpreting and reacting to the monster are just as enjoyable as the destruction and monster evolution. It helps that the fear and confusion of the government is on full display, leading to them making some baffling and cold responses to show that Democracy is unequipped to handle an unexpected crisis like this.
Of course, it helps that "Shin Godzilla" doesn't have one main character, but instead makes Japan its main character. Rather than hearing one perspective, we're given countless points of view, even from ordinary citizens and those who aren't fighting the monster. This gives the movie an unprecedented national perspective to an event that should be seen that way. These elements, combined with a terrifying new design for Godzilla that only gets more haunting as the film goes on and a breath-taking cinematic approach that adds to an already impressive size and scope, and you get a modern kaiju classic that easily competes with the founders of the genre.
Number Four
Now that we've covered so many different story possibilities within the kaiju genre, let's discuss the main reason people generally watch these movies - to watch giant monsters beat each other up. Let's not pretend that we all don't love this s*it. This is the Japanese equivalent of action movies, the ones that get our blood pumping and excitement at the ensuing mayhem and destruction. But just like action movies, this can be done poorly, but also done so well that it stands out, not just as a great monster movies but as genuinely great entertainment.
Some of the best examples include the low-budget yet dark "Terror of MechaGodzilla," the equally low-budget "Gamera: Guardian of the Universe," the thought-provoking and beautiful "Godzilla vs. Biollante," and one of my guilty pleasures in "Godzilla vs. MechaGodzilla II." But I've always felt the most entertaining and rewarding clash between giant monsters has to be 1964's "Mothra vs. Godzilla."
"Mothra vs. Godzilla" (1964) - Monster vs. Monster
Directed by Ishiro Honda and Released by Toho Co.
This one makes it so high on the list because this is the team of Honda, Tsuburaya, Tanaka and Ifukube at their peak, creating a piece that is not only highly entertaining and stunningly beautiful, but rich with character and world development. It takes the themes of its two leading monsters and has them clash, not just physically but also psychologically, as a creature worshipped as a god faces a man-made monstrosity. Even without the monsters, the acting and script carry this story about distrust and greed that remains as interesting as its monster scenes.
Which is saying a lot, because this is the best use of scale and perspective of any Toho monster film, making every scene with Godzilla feel like he's about to devour the world. The soundtrack serves as the perfect emotional compliment to the effects while breathing even more life into these action sequences, which themselves are some of the most tense and suspenseful of any monster movie. Which is why it absolutely deserves to be on this list.
Number Three
But one step up from monsters fighting other monsters is throwing as many monsters as possible at the screen. If one monster is great, then why not throw in all of them? And Japan loves to do this more often than you'd think. These are the films that are addicted to monsters like caffeine and want to share that love and admiration with the audience, creating as many insane scenes as possible with a large roster of monsters. These are, what I like to call, the all-out extravaganza's, films that throw caution to the wind and go all-in on the monster scenes.
The previously mentioned "Ghidorah, the Three-Headed Monster" is probably the first example of this, while "Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack" is one of the more recent examples. Cheesy films like "Godzilla vs. Gigan" and "Godzilla vs. Megalon" do this to varying degrees. But I think we can all agree that no kaiju film has ever done it quite like 1968's "Destroy All Monsters."
"Destroy All Monsters" (1968) - All-Out Extravaganza
Directed by Ishiro Honda and Released by Toho Co.
What was supposed to serve as the end to Toho's kaiju films instead becomes a love letter to everything that is grand and epic about these movies, bringing in as many monsters as possible and setting them loose on the world. This film is nonstop madness, always throwing everything it can at the screen and loving its vast range of monsters and massive sets and destruction, culminating in quite possibly the greatest scene involving guys in rubber monster suits.
Not only that, but it serves as a capstone to Ishiro Honda's legacy, following his many themes of brotherhood amongst all citizens, exploration for the benefit of mankind, and man's struggles against the monsters of the past to its logical and futuristic conclusion. This ultimately gives us Honda's vision of utopia, which is a perfect way to end a series of movies about mankind overcoming all these monsters. Even though we're clearly here to watch some insane monster action, Honda's interpretation of the future gives "Destroy All Monsters" its staying power.
Number Two
As this list winds down, I feel it's appropriate to look at those films that see monsters from an entirely different perspective. The ones that take a more personal look at these giant monsters that could crush us without even blinking an eye. Think of this is as the opposite of something like "Shin Godzilla," where rather than looking at it from a national perspective, it's just one person and their struggle in the face of impossible massive threats.
This could be as simple as a fight for survival in a crumbling city, or someone trying their best to live their lives while a monster is around. But the most common type of this example is the revenge tale, where someone feels an overwhelming desire to make the monster pay for their terrible acts. Many of the Millennium Godzilla are a prime example of this, but it was never done quite as well as my number two pick, 1999's "Gamera 3: Revenge of Iris."
"Gamera 3: Revenge of Iris" (1999) - Monsters' impact on the human psyche
Directed by Shusuke Kaneko and Released by Daiei and Toho Co.
This is one of the most beautiful and powerful kaiju films, not just because of its visuals and special effects, but because of its perspective. Can we really ever consider monsters as our saviors when they are, by their nature, creatures of destruction? The Gamera in this film blurs the line between good and evil, but its the points of view that puts Gamera's actions into question, both from a teenage girl whose family was killed by Gamera and two leaders of a cult see Gamera as standing in the way of letting nature run its course.
This makes "Gamera 3" more of a meditation how people can interpret giant monsters and what we should do to remain in control while facing such a threat. The film doesn't have an easy answer to this question, leaving a lot of its ending up to interpretation. But beyond this, "Gamera 3" has some of the most impressive effects ever put in a Japanese movie, especially in its climax where two monsters fit inside of a train station, while still serving as a fitting conclusion to the endless, brutal battle of the Guardian of the Universe.
Number One
And finally, for my number one spot, let's look at the most commonly used trope of in Japanese monster movies - the allegory. Of course, monsters are never just there to be lumbering abominations. They've always had subtle context or meanings behind their actions, trying to make a statement about the troubles or fears of our world. In Japan, these monsters are typically allegories about the atomic bomb, radiation, pollution, or as something as simple as mankind's greed.
Many of Toho's earliest kaiju films are some of the best examples of this, but I'd be fooling myself if one didn't stick out above the others. The one that started it all and still remains the greatest achievement in kaiju filmmaking, and my number one pick, 1954's "Godzilla."
"Godzilla" (1954) - The Allegory
Directed by Ishiro Honda and Released by Toho Co.
As obvious as this number one pick is, this is the best example of Japanese monster filmmaking as it perfectly captures the hopes and fears of Post-World War II Japan, without ever losing sight of the emotional and personal factor. The effects are still just as jarring and horrific as they were in 1954, made even more terrifying by the cinematography always showing Godzilla from low angles while civilians run from the living atomic bomb as they struggle against something they cannot hope to conquer.
Yet, the whole movie remains intriguing from start to finish, going from a mystery that uses Godzilla like the shark in "Jaws," before making a statement about mankind's endless desire to create a better weapon and the destruction that brings. All while the filmmakers emphasis that, it's not just empty cardboard buildings being destroyed, but devastated people that are helpless to stop their homes from being destroyed. So many of the best shots in this film come from ordinary people facing down Godzilla and their demise, some do it with gusto, while others hold their children in their arms one last time. It is a powerful, emotional movie that believes less is more, with a profound statement about nuclear weapons that still resonates after 60 years. Which is why I feel it is the greatest kaiju film of all time.
