ゴジラ-1.0

In postwar Japan, Godzilla brings new devastation to an already scorched landscape. With no military intervention or government help in sight, the survivors must join together in the face of despair and fight back against an unrelenting horror.

Credits: TheMovieDb.
ゴジラ-1.0
Overview:
In postwar Japan, Godzilla brings new devastation to an already scorched landscape. With no military intervention or government help in sight, the survivors must join together in the face of despair and fight back against an unrelenting horror.
Cast:

• Koichi Shikishima: Ryunosuke Kamiki
• Noriko Oishi: Minami Hamabe
• Shiro Mizushima: Yuki Yamada
• Sosaku Tachibana: Munetaka Aoki
• Kenji Noda: Hidetaka Yoshioka
• Sumiko Ota: Sakura Ando
• Yoji Akitsu: Kuranosuke Sasaki
• Akiko: Saki Nakatani
• Captain Tatsuo Hotta: Mio Tanaka
• Tadayuki Saito: Yuya Endo
• Akio Itagaki: Kisuke Iida
• …: Kenji Anan
• …: Kenji Mizuhashi
• …: Kunihiro Suda
• …: Shota Taniguchi
• …: Akio Nakadai
• …: Ippei Sasaki
• …: Ozuno Nakamura
• …: Masaichi Wanibuchi
• …: Sho Nishigaki
• …: Fuma Sasaki
• …: Tsutomu Osabe
• …: Yuji Komatsu
• …: Yosuke Minokawa
• …: Sentarou Kusakabe
• …: Kota Kawabata
• …: Genki Furugen
• …: Yuto Yoshikawa
• …: Yuya Oshima
• …: Hirotaka Akatsuma
• …: Ryo Hamanaka
• …: Kiyomi Aratani
• …: Yukio Tsukamoto
• …: Shoji Omiya
• …: Michael Arias
• …: Masataka Matsubara
• …: Kentaro Furuyama
• …: Takumi Matsui
• …: Tetsu Hirahara
• …: Hiroyuki Toritani
• …: Seitaro Chiba
• …: Tatsuki Oguma
• …: Hidemasa Mase
• …: Jun Ohnishi
• …: Yuho Mochinaga
• …: Daiki Ichikawa
• …: Yasunori Ota
• …: Ryota Tsuchihashi
• …: Atsushi Saitou
• …: Masayuki Yamada
• …: Goro Sato
• …: Keisuke Fujita
• …: Yuta Wakabayashi
• …: Koya Fukuda
• …: Shunpeter Sugisaki
• …: Yuki Takao
• …: Yusuke Karita
• …: Makoto Matsumoto
• …: Shinji Nagashima
• …: Akihiro Yamamoto
• …: Hidehiko Yamada
• …: Atomu Ito
• …: Django Yamada
• …: Gomez Hori
• …: Shohei Abe
• …: Gen Shimada
• …: Masatoshi Kihara
• …: Masaru Yahagi
• …: Touta Tawaragi
• …: Etsuji Harada
• …: Senji Nakagi
• …: Tetsunori Akira
• …: Mao Ohno
• …: Ami Kitamikado
• …: Yoka
• …: Mami Tokuda
• …: Yukihide Ueda
• …: Sho Tsuruta
• …: Makoto Araki
• …: Yamato Aizawa
• …: Mizuki Hasegawa
• …: Kisuke Inoue
• …: Miki Mirai
• …: Daichi Abe
• …: Rikako Miura
• …: Gohshuu
• …: Yuko Onose
• …: Seiji Okuda
• (voice): Eisuke Sasai
• (voice): Shinsuke Kasai
• (voice): Saori
• (voice): Takato Yonemoto
• (voice): Yoshiyo Naka
• (voice): Ikumu Shigeta
• (voice): Keita Chiba
• (voice): Masato Nakano
• (voice): Kiyoshi Uchida
• (voice): Aya Sakura
• (voice): Ayane Kamoi
• (voice): Risa Miyake
• (voice): Mami Aoki

Crew:

• Screenplay: Takashi Yamazaki
• Music Arranger: Naoki Sato
• Director of Photography: Kōzō Shibazaki
• Editor: Ryuji Miyajima
• Executive Producer: Minami Ichikawa
• Casting: Tsuyoshi Sugino
• Hairstylist: Michiyo Miyauchi
• Costume Design: Aiko Mizushima
• Assistant Director: Kohei Adachi
• Production Design: Anri Jojo
• Producer: Kenji Yamada
• Visual Effects Supervisor: Kiyoko Shibuya
• Producer: Go Abe
• Producer: Keiichiro Moriya
• Gaffer: Nariyuki Ueda
• Executive Producer: Shuji Abe
• Producer: Kazuaki Kishida
• Executive Producer: Hisashi Usui
• VFX Artist: Tatsuji Nojima
• Line Producer: Hiroshi Sakurai
• CG Supervisor: Masaki Takahashi
• Dialogue Editor: Hisafumi Takeuchi
• Colorist: Masahiro Ishiyama
• Co-Producer: Taichi Ueda
• Co-Producer: Akihiro Yamauchi
• Foley Artist: Natsuko Inoue
• Props: Tetsuji Tatsuta
• CG Artist: Michael Arias
• Production Supervisor: Nozomu Aida
• VFX Artist: Junya Ando
• 3D Artist: Kaito Hasegawa
• Production Supervisor: Yoshihito Yokoi
• Original Music Composer: Akira Ifukube
• Modeling: Takafumi Iwata
• Props: Sakurako Morita
• Matte Painter: Sachiko Eba
• Compositing Artist: Koji Busaka
• Quality Control Supervisor: Fay Kanagy
• VFX Artist: Tatsuya Hayasaki
• Compositing Artist: Mika Emura
• VFX Artist: Makoto Kazamaki
• VFX Artist: Katsumi Suzuki
• Animation: Yûki Kawahara
• Digital Compositor: Eisin Okubo
• Compositing Artist: Shôichirô Satô
• Script Supervisor: Chikako Aho
• Matte Painter: Takeyuki Shirahama
• Modeling: Tomoyuki Miyake
• Musician: Masamichi Sasazaki
• Musician: Reo Yoshida
• Compositing Artist: Shinya Suzuki
• Musician: Keisuke Sumikawa
• Modeling: Motohiro Yamada
• Musician: Ken’ichi Tsujimoto
• Modeling: Junpei Sakô
• Modeling: Kosuke Taguchi
• Musician: Kazuhiro Kajihara
• Conductor: Atsushi Takahashi
• CG Artist: Takayuki Ueki
• Compositing Artist: Ryô Matsumoto
• VFX Artist: Shinji Miyake
• Key Grip: Satoru Okuda
• Musician: Masami Iwasa
• Musician: Yuto Kamei
• Musician: Takayuki Mogami
• Musician: Shunji Yamaguchi
• Compositing Artist: Yoshihito Odaka
• VFX Artist: Masaaki Tokaji
• CG Artist: Takushi Yamaguchi
• Musician: Tomoki Andô
• Musician: Toshitsugu Inoue
• Musician: Naoki Ishiyama
• Music Coordinator: Sayoko Narukawa
• Musician: Jun’ichirô Taku
• Music Programmer: Takumi Hasegawa
• Musician: Hidehito Naka
• Musician: Kôichi Nonoshita
• Modeling: Takuya Uenishi
• Music Producer: Kôzô Araki
• Musician: Shun Itô
• Musician: Yoshiyuki Uema
• Musician: Mina Muranaka
• Musician: Koichiro Muroya
• Musician: Mizuki Ogura
• Musician: Shinsuke Tomizuka
• Rotoscoping Artist: Khitish Shekhar Karua
• Animation: Toshihiko Masaki
• Modeling: Kazutaka Sugiyama
• Musician: Tadayori Matsumoto
• Musician: Shinpei Tsugita
• Musician: Hitoshi Imai
• Musician: Hikaru Koga

Catogories:
Science Fiction,Horror,Action
These modules are glamorous!

Postwar Japan. From zero to minus.
Language:
English,日本語
Production:
Japan
Company:
TOHO,TOHO Studios,Robot Communications
Popularity:
120.388
Date:
2023-11-03
Year:
2023

• Leno: **Go watch as soon as it releases in your country!**

  I was privileged enough to be in Tokyo the day they released this movie with English subtitles and I have to say that if you enjoy “monster” movies there is no way you won’t like this Godzilla.

  The movie is set from the last days of WW2 to the early post-war. The nuclear bombs used in the Pacific gave Godzilla its super powers, and in the post war it decides to swim towards Tokyo, which of course results in a desperate attempt of stopping the monster. A former kamikaze pilot that had a previous traumatic encounter with Godzilla sees this as an opportunity to get revenge. Apart from a few dialogs and actions from the authors that are more suitable to the Japanese than the American audience, this movie has it all, romance, drama, loss, existencial crisis, and a gory and unstoppable monster.

  Whether you are an old Godzilla fan or a curious newcomer to this type of movie, Godzilla is one of the best movies released this year.

• Manuel São Bento: FULL SPOILER-FREE REVIEW @ https://fandomwire.com/godzilla-minus-one-review/

  “Godzilla Minus One strikes an outstanding balance between compelling character building, a thematically rich narrative, and two hours of gargantuan entertainment, ultimately becoming a noteworthy addition to the monster film subgenre.

  It breaks the formulaic barriers of generic creature flicks by delivering a layered story that explores themes of redemption, forgiveness, and the aftermath of war. The memorable score, powerful sound design, and exquisite visuals contribute to a cinematic experience that is both thrilling and emotionally resonant.

  While the lead acting occasionally falters into melodrama, it does little to diminish the overall impact of a movie that has undoubtedly earned its place among the top-tier entries in the Godzilla franchise.”

  Rating: A-

• Chris Sawin: _Godzilla Minus One_ is not only one of the best films out of the 30-plus in the series, but also one of the best films of the year. The acting is superb, the destruction is immense and incredible, and the gnarly Godzilla design is fantastic. It’s ridiculous, if true, that this film only has a budget of $15 million because it looks better than most Hollywood blockbusters.

  Full review: bit.ly/kamikaiju

• CinemaSerf: “Shikishima” (Ryunosuke Kamiki) is a man with some guilt. He was a kamikaze pilot towards the end of WWII who feigned some technical problems with his plane and so landed and survived! Now, Japan is defeated and in ruins and he is feels a deep sense if shame. He manages to find a job in a wooden-hulled boat trying to collect up from the sea all the mines laid by the Allies and the Japanese alike, and it’s whilst they are at sea they discover a toxic creature that has been born out of the ashes of the atom bomb. This creature is bent on destruction and nothing mankind has in it’s arsenal can even dent this leviathan that possesses a deadly blue ray than can obliterate all in it’s path. It heads to the land wreaking devastation and so the scientists must come up with a plan before the country is laid waste. It’s really two stories. One of the man with all of his demons, his burgeoning romance with a homeless girl and her child and of his gradual realisation that maybe his life isn’t quite over yet. The remainder is the standard “Godzilla” style special effects fest that I must admit to preferring to the more recent Hollywood versions. The style of animation here is grittier, the monster knobblier and angrier and the immediately post-war timeframe allows the photography to present us with a more attractively bleak film to look at. The ending is predictable, sure, but at least it tries to solve the problem of this marauding beastie in a little more of an innovatory fashion. Not much original here, but I still quite enjoyed it.
• Sweet0Girl: **So good!**

  I have been watching Godzilla movies as long as I can remember. Most are enjoyable and enteretaining except the 1998 American made one. It’s one of the worse movies I have ever seen.

  This movie has no right to be as good as it is! But it is good. Very good and a great movie to celebrate the 70th anniversay of the most well known kaiju in the world. Must be seen on the big screen.

  I didn’t know a Godzilla movie could pack an emotional punch the way this film did. It’s a testament to the writing and acting in this film. Kamiki Ryunosuke, Hamabe Minami, Yamada Yuki, Aoki Munetaka, Yoshioka Hidetaka, Ando Sakura and Sasaki Kuranosuke. I’m listing all the actotrs here b/c everyone played their roles well. I also, must shout out the little girl actress. I don’t know her name but she was magnificent and I think she was only 3 or 4 years old. I can’t give much away but the film explores survivors guilt, shame and forgiveness.

• whitsbrain: This is one of the very best Godzilla movies ever made. There’s a really good human story and every moment that Godzilla is on-screen is great. The post-WWII setting absolutely adds to the desperation of the main characters and the dread of having to once again survive an attacking force, this time in the form of a beast that isn’t protecting the Earth or any such nonsense. Godzilla is a force of nature (or science) that doesn’t care about anything or anyone.

  The only drawbacks of this movie are an irritatingly manipulative moment (tugboats) and a couple of unbelievably coincidental reunions.

• MovieGuys: Godzilla Minus One, is a poignant anti war film as much as it is a monster flick.

  I agree with other reviewers that this is by far and away the best Godzilla film I have seen, bar none. What makes it work is a genuinely moving back story of a man broken by war, redeemed through an act of courage in the service of love, the bonds of family and ultimately life itself.

  Acting is superb, with flawlessly honest, very human performances, from the entire cast.

  Godzilla effects are well done too. The destruction and the misery the monster brings to Japanese cities and their populace, is genuinely disturbing.

  In summary, I loved this film more for its back story than its monster tale. Indeed, in the context of this film, Godzilla feels like a metaphor of sorts, for the real monster, which is war and the destruction it brings both physical and psychological, to innocent lives.

• Sejian: The best Godzilla movie ever and one of the best movies of 2023? Eh, maybe.

  I don’t have the long sordid history of watching every Godzilla movie to ever exist. My first exposure to Godzilla was Godzilla 1998. Yep, I loved watching that sleek reptilian dinosaur tear through Manhattan and to this day I am still envious of the cab driver with that 6 inch Godzilla action figure hanging from his rearview mirror. What can I say, I love dinosaurs!

  Compared to Godzilla 2014 and the sequels, this at least has a coherent plot with not that many stupid characters doing the stupid. It has some silly dialog and “the plan” is kinda dumb and requires Godzilla to lack any spatial awareness but OK, 2014 did more stupid with that nuclear warhead so, I’ll give you that. We’ve got characters jumping to conclusions, overreacting and under-reacting, but overall this might be the best Godzilla movie ever however I feel like that a low bar considering the other Godzilla movies I’ve seen. Maybe with a bigger budget. Under 15M? Okay, yeah. It’s the best Godzilla movie.

  The monster CGI is not good. For 15M it’s good. Compared to other Godzilla movies, the Hollywood Godzilla movies, it ain’t good. Compared to Pacific Rim, it ain’t good.

  7/10 from me. I quite enjoyed the very WOKE anti-authoritarianism themes. I suppose Go Woke, Go Broke don’t always apply since everything I’ve heard about this movie is positive even though the very WOKE anti-authoritarianism is shoved in our faces multiple times, but who can really expect consistency from that lot.

• Brent Marchant: In the interest of full disclosure, I’ve never been a fan of Japanese monster movies, and, considering how many times the Godzilla story has been told so far, I’ve never been particularly interested in seeing any of them (after all, how many different variations can realistically be incorporated into the big guy’s single-minded mythos?). In any event, I relented in this case, because I was admittedly curious to see the film’s Oscar-winning visual effects, which, in all honesty, weren’t bad (though definitely not outstanding – how this picture bested the far-superior visuals of “The Creator” truly baffles me). However, capable special effects and production design considerations aside (the basis for the generous ratings I’ve given to this title), this release has little else to offer that hasn’t already been depicted countless times before. What’s more, the film’s attempts at trying to incorporate post-World War II political commentary and to be more than just a simplistic monster movie are fairly lame. Its non-devastation story threads are frequently predictable, heavy-handed, slowly paced, occasionally corny, often implausible, and, above all, boring. I frankly couldn’t wait for these segments to end and get back to the supposed “it” factor – the monster’s destructive hijinks (of which, to be perfectly honest, there were too few, given that this is supposed to be this offering’s primary drawing card). Even the title of this production needs work; any picture that requires a Google search to find out what it’s supposed to mean has inherent issues in my book. To its credit, writer-director Takashi Yamazaki’s effort to elevate the Godzilla narrative above the B movie camp fest level genuinely seems sincere, but the end product is little more than the standard item with better visuals and a well-intentioned (but largely failed) aim at infusing the story with more substantive content. In light of the many iterations of this saga that have been filmed over the years, I think it’s high time to give the persecuted sea monster a well-deserved rest for a while – a long while – and get on with the business of making movies that aren’t tiresome retreads and that at last give Tokyo a chance to rebuild.
• oswaldovzki: **Contain Spoilers**

  “Gojira -1.0” is a visually stunning film that rightfully earned its Academy Award for Best Visual Effects. The movie’s impressive sound design and solid acting further elevate its entertainment value. However, it falls short in some key areas, particularly in its direction and emotional payoff.

  The visual effects in “Gojira -1.0” are nothing short of spectacular. From the realistic physics to the terrifyingly detailed explosions caused by Gojira’s atomic breath, every frame is crafted with precision. The depiction of Gojira itself is a highlight, staying true to the original bulky yet menacing design without appearing comical. This attention to detail creates a believable and immersive experience that keeps you engaged throughout.

  The sound design and music, while not as groundbreaking as the visual effects, complement the movie well. They enhance the tension and atmosphere, making the scenes more impactful. The acting is another strong point, with Japanese actors delivering powerful and emotional performances that resonate deeply. Their portrayal of honor and shame, especially in the context of post-WWII Japan, adds a layer of depth to the story.

  The writing of “Gojira -1.0” is intriguing, presenting a fresh take on the origins of Gojira with a strong emphasis on the historical context of Japan after World War II. The decision to show events through the eyes of a ‘failed’ kamikaze soldier is an interesting angle, though it doesn’t fully deliver on its potential. The survival of the main character, while logically sound, feels anticlimactic and predictable. This resolution undercuts the emotional investment built up throughout the film, leaving a sense of dissatisfaction.

  One aspect that could have been better addressed is the radiation from Gojira. The monster emits radiation and can fire atomic blasts, yet the film doesn’t explore the devastating effects this should have on the surrounding environment and people. The radiation is merely used as a plot device to track Gojira, missing an opportunity to add another layer of realism and tension to the story.

  In conclusion, “Gojira -1.0” is a visually and technically impressive film that provides solid entertainment and remarkable detail. However, it falls short in delivering a satisfying emotional payoff and leaves some aspects underexplored. Despite these shortcomings, it remains a worthwhile watch for its exceptional visual effects and the nostalgic yet fresh portrayal of Gojira.