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Godzilla Minus One Reaction! (Patreon)

Published:
2024-10-29 17:00:07
Imported:
2026-06
Tags:

Files

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

LatePaul

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

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.