Godzilla Movie Reviews

Viewers looking for wall-to-wall mayhem along the lines of Roland Emmerich’s bloated 1998 version will be disappointed. But those who savour an immersive visual spectacle will likely go ooh-aah in the presence of the freshly-minted Godzilla.

Those who have seen previous avatars of this scaly beast will immediately reconnect with that sense of speechlessness and rapt awe they felt when they saw Godzilla in their childhood. Godzilla’s roar is not for the faint-hearted. This is a fantastic homage to monster movies of yore and is bound to go down as a modern classic. Go Godzilla!

The battle scenes are terrific. The scale is massive, the CGI is super detailed and the Kaiju artwork is really fucking cool. The 3D isn’t the best, but the super wide shots are superbly choreographed to show how puny humans are, and you’ll get the best experience in 2D.

Director Gareth Edwards delivers a satisfactory reboot of the iconic monster movie!

Godzilla is a smashing summer blockbuster and it holds not qualms about playing up that card.

If you are an ardent fan of Godzilla, you wouldn’t mind dropping everything to see him roar and annihilate his foes.

There is only so much you can do if you are going to make film like Godzilla and Edwards vision is as good as it can get. As a Godzilla film, it gives you enough bangs for your bucks.

Giftwrapped in an emotional father-son and family bonding story that hooks you on the sensitivity graph, “Godzilla” doesn’t give anybody time to be endearing or sarcastic or human in any way. It is a conundrum of a techno-thriller and a fabled nightmare put together.

A film that is about Godzilla needs no more reasons. Watch it for the reboot and the changes that have been brought in the film, and the resized monster.

Godzilla himself has weight, literally and figuratively. Can someone give this force of nature the film he deserves?

…a film whose only redeeming feature is that Binoche and Cranston shoulder part of its acting line-up – but just partly. Taylor-Johnson and Olsen cringingly pale before the big man, and that is despite the fact that Godzilla is nowhere in the picture (literally) in the first half.

Fans of the original (the 1954 one and the Japanese iterations) will find much to enjoy and appreciate about how many elements this movie manages to sneak in from there. However those new to ride, might be left scratching their heads as to all the hoopla. It’s a handsomely mounted spectacle filled with visceral razzle-dazzle but lacking cohesion and logic.

We’re not bombarded with excessive CGI here. Godzilla isn’t oversold, although for some, his lack of screentime won’t be satisfying enough. However, the balance between the family-focused story line and intense action sequences is bound to please others.

While the predictable sequel has not yet been confirmed, one thing is clear: Edwards’ version of Godzilla remains the ultimate monster movie. The legacy has been upheld.

You’ve got a film about a giant mutated lizard walking on twos and supposedly this biped super reptilian is to fight EMP firing monsters to save the day for humanity. A film with that story can’t take itself so seriously.

Godzilla has long deserved a movie like this Godzilla. It’s not a typical monster movie and is possibly the best of its kind in recent times. But don’t go in expecting all-out action. If you are willing to enjoy the tension, the slow burning build-up before the action-packed climax and are willing to see a fresher take on the subject, you will want to watch this one, possibly more than once.

Strikingly shot by Seamus McGarvey to maximize the movie’s Imax potential (it’s hard to imagine the scale and depth of the gritty visuals on anything smaller), Godzilla demands, and often achieves, a sense of awe.