Английская Википедия:Godzilla Minus One

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Шаблон:Redirect Шаблон:Use American English Шаблон:Use mdy dates Шаблон:Infobox film Шаблон:Nihongo is a 2023 Japanese epicШаблон:Efn kaiju film directed, written, and with visual effects by Takashi Yamazaki. Produced by Toho Studios and Robot Communications and distributed by Toho,[1] it is the 37th film in the Godzilla franchise, Toho's 33rd Godzilla film, and the fifth film in the franchise's Reiwa era.Шаблон:Efn The film stars Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando and Kuranosuke Sasaki. Set in postwar Japan, the film follows a former kamikaze pilot who suffers from post-traumatic stress disorder after encountering a giant monster known as "Godzilla".

After finishing his film The Great War of Archimedes (2019), Yamazaki was appointed to make a Godzilla film. He spent three years writing the script, taking influence from Godzilla (1954), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Shin Godzilla (2016), and the films of Steven Spielberg and Hayao Miyazaki. Yamazaki previously depicted Godzilla in Always: Sunset on Third Street 2 (2007) and a 2021 amusement park ride at Seibu-en. In February 2022, Robot publicized that Yamazaki would soon begin directing a kaiju film. Filming occurred primarily in Kantō and Chūbu from March to June 2022. The visual effects were created by Shirogumi's Chōfu studio over eight months.

Godzilla Minus One premiered at the Shinjuku Toho Building on October 18, 2023, and was released in Japan on November 3, to celebrate the franchise's 70th anniversary.Шаблон:Efn Toho International later released it in North America on December 1. The film has grossed Шаблон:USD worldwide against an estimated Шаблон:USD budget, becoming the fifth-highest-grossing Japanese film of 2023 and surpassing Shin Godzilla as the most successful Japanese Godzilla film. It received critical acclaim abroad for its visual effects, direction, story, characters, musical score, and social commentary, and was hailed as one of the best films of 2023 and the greatest in the Godzilla franchise. The film also attained numerous accolades, including winning Best Visual Effects at the 96th Academy Awards, a leading 12 nominations at the 47th Japan Academy Film Prize (winning eight) and three nominations at the 17th Asian Film Awards (winning two).

Plot

In 1945, near the end of World War II, kamikaze pilot Kōichi Shikishima lands his Mitsubishi A6M Zero at the Japanese base on Odo Island. Lead mechanic Sōsaku Tachibana deduces that Shikishima had fled from his duty by feigning technical issues. That night, Godzilla, a large dinosaur-like creature, attacks the garrison. Shikishima freezes up and cannot bring himself to shoot the monster from his plane and is knocked unconscious. Tachibana, the only other survivor of the attack, blames Shikishima for failing to act.

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The Operation Crossroads nuclear test that is depicted as resulting in the mutation of Godzilla in the film

Shikishima returns home to find his parents were killed in the bombing of Tokyo. Plagued by survivor's guilt, he begins supporting a woman, Noriko Ōishi, whose parents also died in the bombing, and an orphaned baby, Akiko, whom Noriko rescued, and finds employment aboard a minesweeper tasked with disposing of naval mines from World War II. Meanwhile, Godzilla is mutated and empowered by the United States' nuclear tests at Bikini Atoll; it sinks USS Redfish and destroys several other ships en route to Japan. Owing to tensions with the Soviet Union, the U.S. offers no help save for a few decommissioned Imperial Japanese Navy vessels approved by General Douglas MacArthur. The Japanese government, concerned about inducing panic, does not notify the public about the danger.

In May 1947, Shikishima and his minesweeper crew travel to the Ogasawara Islands and are tasked with stalling Godzilla's approach to Japan. They release a mine into Godzilla's mouth and detonate it, causing significant damage, but it quickly regenerates. The heavy cruiser Takao then engages Godzilla, but is subsequently destroyed when Godzilla unleashes its heat ray. After returning to Tokyo, Shikishima opens up to Noriko about his encounters with Godzilla. Days later, Godzilla makes landfall in Japan and attacks Ginza, where Noriko works. Noriko narrowly survives the initial attack and reunites with Shikishima. Enraged by tank fire, Godzilla obliterates much of the district with its heat ray, killing tens of thousands. Noriko is caught in the blast and presumed dead. Devastated by the loss, Shikishima vows revenge.

Frustrated by the government's inaction, one of the minesweeper's crew, former naval engineer Kenji Noda, devises a plan to destroy Godzilla by luring it out to Sagami Bay before surrounding it with Freon tanks and rupturing them, lowering the water's buoyancy and sinking it, letting the resultant water pressure crush it. Should the plan fail, balloons will be inflated under Godzilla to force it back up, killing it through explosive decompression. To enact his plan, Noda has recruited navy veterans to crew disarmed IJN destroyers. Shikishima recruits Tachibana to repair a broken-down Kyushu J7W Shinden fighter. He plans to kill Godzilla in a suicide attack by flying into its mouth and detonating the explosive charges on board. He leaves Akiko in the care of his neighbor Sumiko before Godzilla resurfaces.

As Shikishima lures Godzilla to the trap set by two destroyers, Sumiko receives a telegram intended for Shikishima. Godzilla survives the initial plunge and then breaks free before being forced back up, sustaining serious injuries from the resultant decompression-induced barotrauma. With the help of a fleet of tugboats, the ships haul Godzilla to the surface. An enraged Godzilla prepares to destroy all the vessels with its heat ray, but Shikishima crashes the plane into Godzilla's mouth and destroys its head, causing the energy of the heat ray to tear its body apart. The crew celebrates as Shikishima ejects before the explosion and parachutes to safety, having remembered that Tachibana showed him an ejection seat that he installed in the Shinden, imploring him to let go of his guilt to live again.

Upon returning home, Sumiko gives Shikishima the telegram, which leads him to a hospital where he reunites with Noriko, who survived the destruction but has a black bruise creeping up her neck.Шаблон:Efn Meanwhile, a chunk of Godzilla's flesh begins to regenerate as it sinks into the ocean.

Cast

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The cast listing is sourced from Kinema Junpo.[2]

Production

Crew

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Development

In July 2016, Toho Co., Ltd. released a reboot of the Godzilla franchise, entitled Shin Godzilla. It became critically and commercially successful, leading director Hideaki Anno to create two other tokusatsu reboot films: Shin Ultraman (2022) and Shin Kamen Rider (2023).[4] According to Godzilla Minus One producer Kenji Yamada, Toho had planned several live-action Godzilla films in the wake of Shin Godzilla's success, but all were canceled as they felt none of them were worthy follow-ups.[5] In 2017, Shin Godzilla co-director Shinji Higuchi stated at the American fan convention G-Fest that Toho would not be able to produce another Godzilla film until after 2020; this was due to their contract with Legendary Pictures, who were producing their own Godzilla films, that forbade Toho from releasing their potential Godzilla films in the same year as Legendary's films.[6] In 2018, Toho executive Keiji Ota revealed that Shin Godzilla would not receive a sequel and expressed interest in a potential shared universe Godzilla series akin to the Marvel Cinematic Universe.[7]

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Takashi Yamazaki, the director, writer and visual effects supervisor of Godzilla Minus One

In 2019, Toho began a "Godzilla Room" division, devoted to planning new Godzilla projects.[8] Following the completion of his film The Great War of Archimedes that same year, producer Minami Ichikawa appointed renowned filmmaker Takashi Yamazaki to make a Godzilla film.[8][9] He began preparing the project and initially spent one year developing the script. However, the COVID-19 pandemic forced the crew to postpone filming for a few years,[8] leading to the script being rewritten several times over the course of three years.[9]

Godzilla Minus One is Yamazaki's third time working on a production utilizing Godzilla. His first is Always: Sunset on Third Street 2 (2007), which features the monster in a dream-like opening. During preproduction on Godzilla Minus One, he also directed and created the effects for Seibu-en Amusement Park's motion simulator attraction Godzilla the Ride: Giant Monsters Ultimate Battle (2021).[10][11]

On February 18, 2022, Robot Communications announced the film, with the working title Шаблон:Nihongo, via a casting call on their official website.[12][13] Robot stated Yamazaki would direct and that the film would be presented by Toho.[12] The next day, HuffPost writer Kenji Ando mentioned the conjecture from fans on social media whether the film would be a remake of the 1954 film. Ando also noted that it is a period piece set in postwar Japan between 1945 and 1947, citing Yamazaki's comments from an interview regarding his depiction of Godzilla in Always: Sunset on Third Street 2: "You can't have Godzilla unless it's the Shōwa era."[13]

Toho declared that Yamazaki's unnamed kaiju project is a Godzilla film on November 3, 2022, at an event celebrating the franchise's 68th anniversary known as "Godzilla Day". The company also revealed that the film had completed filming and had entered post-production with a targeted release date of November 3, 2023. Yamazaki was named the film's writer and visual effects supervisor.[14] During a press conference on December 13, 2022, Toho's head of planning Hisashi Usui implied that the new film is connected to the 1954 film.[15] In the July 2023 press release that also revealed the film's title, teaser, and poster, Yamazaki regaled his pitch and vision for the film:

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Toho filed a trademark for the Japanese title on the same day as the press release, also registering its various alternative readings such as Шаблон:Nihongo.[16] The English-Japanese title for Godzilla Minus One was conceived by producer Shūji Abe, and Yamazaki believes Abe took influence from Шаблон:Ill's science fiction novel Шаблон:Ill.[17] The title, according to the director, has multiple meanings, explicitly referring to how Godzilla's destruction changed Japan's position from a "post-war zero situation" to a "minus"; when mentioning other possible reasons for the title, Yamazaki mentioned that the film takes place before the original 1954 Godzilla film and that it emphasizes the theme of loss throughout.[9]

Writing

Yamazaki said that the worldwide anxiety and government unreliability during the COVID-19 pandemic was one of his major inspirations for the story[18][19]Шаблон:Sfn and that he hopes these events are reflected clearly in the finished film.[18] He steered clear of setting the film in modern Japan and having to draw inspiration from the 2011 Fukushima nuclear disaster as he believed it would become too similar to Shin Godzilla (2016).[18][20][21] Instead, Yamazaki decided to set the film in postwar Japan,[21] allowing Godzilla Minus One to explore anti-nuclear and anti-war themes,[22] as well as the themes of trauma,[23] hope,[23] guilt,[24] and redemption.[24] He also stated that Godzilla symbolizes the Japanese perspective of nuclear holocaust, akin to the original 1954 Godzilla film.Шаблон:Efn Yamazaki decided to include the heavy cruiser Takao, Shinden fighter, destroyers Yukikaze and Hibiki because he likes military history and had never depicted them before.Шаблон:Sfn

Yamazaki was inspired by Shusuke Kaneko's Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)—which he has cited as one of his favorite Godzilla films[25]—while writing the screenplay for Godzilla Minus One.[26] At its screening, he reflected in a discussion with Kaneko: "I had forgotten the contents of GMK for a while, but it seems like I self-consciously thought about it when writing the scenario for -1.0. Without realizing it, I was under considerable influence".[26] He also stated that Godzilla Minus One was also heavily influenced by the 1954 film,[27][18][28] Shin Godzilla (2016),[28] Steven Spielberg's Jaws (1975)[29][30]Шаблон:Efn and War of the Worlds (2005),[29][31] and the films of Hayao Miyazaki.[32] Godzilla (2014) director Gareth Edwards identified Spielberg's films Close Encounters of the Third Kind (1977) and Jurassic Park (1993),Шаблон:Efn and Christopher Nolan's Dunkirk (2017) as other evident influences on the film.[32]

Regarding writing the film's ending, Yamazaki felt that "It's more cinematic if it doesn't end neatly and properly" and remarked, "It's not just so a sequel can be made, it's also so the characters are kept alive in the hearts of the audience."[33]

A novelization of the film, written by Yamazaki, was published in Japan by Shueisha on November 8, 2023.[34] According to Yamazaki, the novel features a scene set Odo Island he proposed for the film but was left unfilmed since Toho refused to allow him to do pick-ups.[35]

Casting

During preproduction, producer Minami Ichikawa offered Ryunosuke Kamiki and Minami Hamabe to play the film's leads, Kōichi Shikishima and Noriko Ōishi, prior to them playing similar roles in the NHK drama series Ranman (2023).[9] According to Yamazaki, the media criticized this casting, believing it would be too similar to their roles in Ranman, when announced the two would star in the film at a press conference on September 4, 2023.Шаблон:Sfn Yamazaki also revealed that he cast Kuranosuke Sasaki as Captain Yōji Akitsu because of his performances in Asadora such as Hiyokko (2017), which had a major influence on him.Шаблон:Sfn

Yamazaki sought to cast talented individuals who were able to give convincing performances of people living during the Shōwa period and could making Godzilla's presence in the film seem more realistic.Шаблон:SfnШаблон:Sfn His casting decisions were influenced little by the previous Godzilla films, since this movie was about the lives of ordinary Japanese in the 1940s rather than politicians, bureaucrats, scientists, and the Self-Defense Forces. The reason for this was that Yamazaki wanted audiences to empathize with and connect with the characters despite the post-war setting.Шаблон:Sfn

Ōishi and Shikishima's adopted daughter Akiko was originally planned to be a boy. After meeting two-year-old child actress Sae Nagatani, however, Yamazaki decided to change this in order for her to play the role. When questioned how he managed to get Nagatani to cry for some scenes, the director responded "I found a genius".[36]

Design

The design of Godzilla in Minus One is a variation of the one in Godzilla the Ride.[37][38] Inspired by the Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack design, Yamazaki initially envisioned his design having "half-moon shaped eyes", but modeling head Kosuke Taguchi gave it "almond-shaped" ones instead, with the final design having "golden, almond-shaped eyes".[38] Yamazaki also elaborate that since the crew created this Godzilla in digital form: "it allowed for much more detail than what was possible with any type of handcrafted version. So we were able to increase the resolution of the scales, for example, and make them feel really, really sharp and give it this aggressive texture. And in terms of the bottom half of Godzilla, we made it feel very heavy and dense in a way that made the viewer feel like this mountain and triangular silhouette was walking and moving through a space So imagine the [Imperial] Star Destroyer from Star Wars."[39]

Yamazaki attempted to make this Godzilla the most horrifying version yet.[39] The crew designed Godzilla to be ferocious, violent, and dynamic, with a static, god-like aspect. Its dorsal fins were made more "spiky and ferocious" than the incarnation in Godzilla the Ride, as if its regenerative energy had become disorderly. Yamazaki stated that the team also tried to make Godzilla the "deadliest in history" adding that it is "discerning today, experiencing the freshness and fear felt by audiences at the time".[38]

Filming

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The replica of the Kyushu J7W Shinden used in the film on display at the Tachiarai Peace Memorial Museum

Principal photography took place on location in the Kantō and Chūbu (in the Aichi and Nagano prefectures) regions of Honshu, starting on March 17, 2022, and wrapping circa June 11.[12][13] According to Robot's website, the film would be set between 1945 and 1947, so there would be restrictions on the extras' costume sizes, hairstyles (declaring that long-haired men would require perms), and hair colors (declaring that hair dyeing would not be allowed).[12] The film's maritime sequences were filmed at Lake Hamana and in the Enshū Sea.[40] Between April and June 2022, several community businesses near the Tenryū River helped the crew modify and maintain boats to shoot navy scenes in Enshū.[40] Other shooting locations include the City Hall in Okaya, Nagano,[41] the Tsukuba Naval Air Group Memorial Museum in Kasama,[42] the Former Kashima Naval Air Base Site in Miho,[42] and the Shimodate General Sports Park in Chikusei.[42]

During production, scenes featuring the Kyushu J7W Shinden were partly realized through the construction of a 1:1 scale replica of the aircraft,[43] of which only a single example exists and is located outside Japan in the collection of the Steven F. Udvar-Hazy Center in Chantilly, Virginia.[39] Yamazaki noted that "Initially, the budget didn't allow for any portion of the [airplane] to be built" but "thinking outside the box, having a plan B, we were able to find a museum that was willing to purchase the prop after the film was made, which offset the production budget it would have taken to produce the plane in the first place".[39] Thus, following the completion of shooting, the replica was transported to and put on display at the Tachiarai Peace Memorial Museum in Chikuzen, Fukuoka in July 2022.[39][44] Toho donated the replica under anonymity, only revealing their involvement in the construction of the model after Godzilla Minus One released.[43]

Visual effects

All 610 of the film's visual effect shots were handled by a crew of 35 artistsШаблон:Efn at Shirogumi's Chōfu studio,[3]Шаблон:Sfn under the supervision of Yamazaki and direction of Kiyoko Shibuya.[39][45] According to the Los Angeles Times, between a quarter and a third of the film's budget was spent on visual effects.[45]

Eight months were spent on creating the visual effects.[35] A TV Shinshu special about Yamazaki released in 2023 indicated that the team began creating the effects for the film in July 2022.Шаблон:Sfn Shirogumi revealed by opening a recruitment call for visual effects designers and compositors in August 2022, that post-production had begun and visual effects were taking place from that same month until January 2023;[46] they later changed the dates to between November 2022 and February 2023.[47] Their website named the 3D animation software Houdini and Maya for design and Nuke for compositing.[46][47] Yamazaki had made a 3D maquette design on ZBrush, with Taguchi augmenting the design by adding his own elements, including the insertion of polygons and rendering displacement maps using Redshift. Then, the team retopologized the maquette design and finalized the displacement maps with Mudbox.[48] After the visual effects were finished, post-production concluded in late May 2023.[49]

The ocean sequences were originally not intended to be as sizeable in the film until compositor Tatsuji Nojima, who composes computer-generated water at home as a hobby, presented Yamazaki with some of his own water simulations, inspiring the director to rewrite its climax and include more scenes set at sea.[39] The team strived creating these sequences, especially Godzilla's destruction scene.[3][39] Yamazaki reflected that "It put a huge strain on all of our rendering engines, so we created so much data in the process that when we added it all up it was easily over a petabyte. In the end, we erased the data from the scene where it was done, and made it while opening the hard disk."[39]

Yamazaki admitted to Shinji Higuchi, co-director and effects director of Shin Godzilla, that the film's destruction sequences and on-screen deaths were inspired by the Shibuya sequence in Gamera 3: Revenge of Iris; Higuchi had also directed that film's effects.[50] Some of the characters present on-screen during Godzilla's rampage were created using Houdini; around 60 extras were 3D scanned to be replaced by a digital duplicate.[3] He also paid homage to previous Godzilla films by not using any "muscle simulation" for the monster, which he said is "very common in animating creatures".[51]

Music and sound effects

Шаблон:Main Yamazaki's frequent collaborator Naoki Satō scored the film. Шаблон:Ill released Godzilla Minus One Original Soundtrack, on CD in Japan on October 28, 2023, with a limited edition vinyl following on November 24.[52][53] On January 19, 2024, Toho announced that Waxwork Records is set to release the score on vinyl, with pre-ordering starting that same day.[54]

When composing the score, Satō took inspiration from Studio Ghibli's anime movies for the poignant scenes and the music of Akira Ifukube to accentuate the kaiju sequences.[55] He also remade some of Ifukube's tracks from Godzilla (1954), King Kong vs. Godzilla (1962) and Mothra vs. Godzilla (1964) for some scenes.[56]

Natsuko Inoue handled the sound effects. She felt it was her mission to recreate the original Godzilla's roar using a modern sound system. Having tried many methods to keep the sound intact, Inoue decided that it wasn't strong enough, so she opted to record outdoors and use the echoes to enhance it. She decided to play the roar at the ZOZO Marine Stadium to create the fresh sound effect she desired, believing it was the only stadium that could meet the requirements they needed as it had huge speakers, no ceiling, was spacious, and was slightly sloped. Reminiscing on enhancing the roar at the stadium, Inoue said "I'll never forget the emotion I felt when I played it from the biggest speaker behind the electronic bulletin board"; Yamazaki recalled, "I felt a shiver in the pit of my stomach when I thought that people who actually saw Godzilla would hear this sound."[57] After the crew played the sound at the stadium, they received several complaints from nearby residents.[51]

Producer Gō Abe stated that sound effects from the Шаблон:Ill were utilized for the scene where Godzilla attacks a 63 series train, as the crew sought to enhance the postwar setting through practical sounds.[58]

Marketing

On June 12, 2023, the film's Twitter account began a daily countdown for all of Toho's live-action Godzilla films, starting with its previous live-action film Shin Godzilla.[59] On July 11, Toho lifted the embargo on its secret kaiju film project, which was revealed as Godzilla Minus One. The film was announced with a teaser trailer, poster (which was primarily designed by Yamazaki), and the release date for the United States.[60][61]Шаблон:Efn Merchandise for the film was unveiled the next day with a full-body shot of Godzilla.[62]

On July 13, Tamashii unveiled its Godzilla toy for its S.H. MonsterArts line; the toy was sculpted by Yuki Sakai under Yamazaki's supervision and based on 3D data from the film.[63] A series of pre-release products and an exhibit promoting the film was at the exhibition "The Visual World-crafting of YAMAZAKI Takashi Шаблон:Sic, Film Director" in Yamazaki's hometown of Matsumoto in Nagano Prefecture, from July 15 to October 29.[62][64] A 2-meter tall Godzilla statue was exhibited at the 2023 Summer Wonder Festival on July 30.[65] At the request of Toho, Hiroaki Fukushi spent roughly one month creating a statue of Godzilla, dubbed "Godzilla Neputa", to promote the film at the Aomori Nebuta Matsuri from August 4 to 8.[66]

Toho released its official trailer alongside the theatrical release poster, and details on the central cast and staff members on September 4.[67] On September 14, 15 shots and a visual of Godzilla from the film were released; ticket sales (via Mubichike Online) and flyers for its November 3 release were released the following day.[68][69] On September 14, SciFi Japan reported that the film had remained the top trending film on social media sites in Japan and the U.S., with the trailer accumulating over 9 million views on YouTube.[70]

During a press conference on September 25, Hamamatsu, the city bordering Lake Hamana (where some scenes in the film were shot), announced that it would promote the film to make the location a tourist attraction by preparing for "location cruising" at the lake in late October.[40] On October 7, behind-the-scenes footage of the making of Godzilla Minus One was broadcast on Channel 4 of TV Shinshu, as part of a television special on Yamazaki, which was narrated by Hidetaka Yoshioka.[71]

On October 18, Yamazaki and the film's stars attended its red carpet premiere along Godzilla Street in Kabukichō, Shinjuku; the red carpet was 50.1 meters in length, which is the fictitious height of Godzilla in Godzilla Minus One.[72][73] In addition, the "giant Godzilla truck" was revealed for the first time on the red carpet; it would later travel around Tokyo promoting the movie.[72] Television stations across Japan began airing a television special on Godzilla Minus One in late October.[74] It features interviews with Yamazaki, Kamiki, and Hamabe, and behind-the-scenes footage.[74] On October 23, Yamazaki, Kamiki, and Hamabe attended the red carpet at the opening of the 36th Tokyo International Film Festival.[75] To promote the film in Japan, soft drink manufacture Cheerio released a new Chūhai drink called the "Godzilla Energy Шаблон:Sic" on November 6.[76]

Selected screenings

On August 24, it was announced that, as a prelude to the release of Godzilla Minus One, Yamazaki had selected "4 Godzilla Works" for screenings in September and October.[77] An accompanying "talk show" took place before each screening, with Shin Godzilla and Shin Ultraman (2022) director Shinji Higuchi serving as the guest for the screening of the original 1954 Godzilla film, and suitmaker Keizō Murase serving as the guest for the screening of Ghidorah, the Three-Headed Monster (1964).[78] The third and fourth Godzilla films selected by Yamazaki for screenings are Shusuke Kaneko's Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), and a new black-and-white version of Shin Godzilla created by Hideaki Anno, Higuchi and Katsuro Onoue, respectively.[79] Kaneko and Anno were also the guests at the talk shows for their respective films.[79]

Collaborative projects

The film was promoted at the Tokyo Dome in collaboration with the Yomiuri Giants in their match against the Tokyo Yakult Swallows, taking place on October 1. A "special collaboration" video and a 3.6-meter statue of Godzilla were displayed at the venue.[80] On September 27, Fujita Kanko stated in a press release that the Hakone Kowakien Yunessun hot spring theme park in Hakone, Kanagawa Prefecture would hold an event in collaboration with the film from October 20, 2023, to January 8, 2024.[81]

Release

Theatrical

Godzilla Minus One had its red carpet and worldwide premiere at Toho Cinemas' theater inside the Shinjuku Toho Building in Shinjuku, Tokyo on October 18, 2023.[72][73] First responses praised the film as a "masterpiece".[82] It was the closing film at the 36th Tokyo International Film Festival on November 1, where it was shown with English subtitles.[83] To celebrate the franchise's 70th anniversary,Шаблон:Efn the film was released nationwide in Japan on November 3, the same date as the first Godzilla film's wide release in 1954.[1] It was shown in 500 theaters nationwide—including in IMAX, Dolby Cinema, 4DX, MX4D, and ScreenX formats—making it one of Toho's largest domestic distributions to date.[67][84][85] Selected Japanese cinemas screened the film with English subtitles on November 23.[86]

The American red carpet premiere and screening was at the Directors Guild of America Theater Complex in Los Angeles on November 10,[87][88] with Yamazaki and Kamiki in attendance.[89] It was also screened by Polygon at Santa Ana's Frida Cinema on November 27,[90] the Japan Society in Manhattan on November 28,[91] and in selected large screens throughout the U.S. the next day.[92] Toho's American subsidiary Toho International released it in the United States with English subtitles on December 1,[85] making it their first theatrical stateside self-distribution.[93] Although it initially opened in 2,308 American theaters with the intention of being shown for only a week, the film was extended to over 2,600 theaters on December 15 and remained in U.S. theaters for months due to its popularity and positive reviews.[94][95][96] The film concluded its U.S. run on February 1, 2024,[97][98] supposedly because of Toho and Legendary Entertainment's contract on the Godzilla character and since Legendary's Godzilla x Kong: The New Empire is set for release eight weeks later.[99] However, as part of Collider and Landmark Theatres' FYC screening series, the film was shown at the Landmark Theatres Sunset in Los Angeles on February 19, featuring a Q&A with Yamazaki afterwards.[100]

The film was released in other Western countries on December 1.[101] These countries included Australia and New Zealand (via Sugoi Co);[102] Austria, Germany, Liechtenstein, Luxembourg, and Switzerland (via Peppermint Anime);[103] and Benelux, France, Italy, the Nordics, Poland, and Spain.[101] Sato Company released it in Brazil on December 14, 2023,[104] while Anime Limited released it in the United Kingdom and Ireland on December 15.[105]

Black-and-white edition

Toho released a black-and-white version of the film, titled Шаблон:Nihongo, in Japanese theaters on January 12, 2024;[106][107] Toho International released this version in the United States on January 26, 2024, where it played until February 1.[97][98]

Godzilla Minus One colorist Masahiro Ishiyama was assigned to create Minus Color. Yamazaki proposed that Godzilla's atomic breath remain in color for the black-and-white edition, similar to how Akira Kurosawa's black-and-white crime film High and Low (1963) features red smoke in one scene. However, this concept was rejected by the rest of the crew.[108] In regards to the Minus Color version, the director said in a statement: "Rather than just making it monochrome, it is a cut-by-cut. I had them make adjustments while making full use of various mattes as if they were creating a new movie."[106][107] Minus Color is an attempt to make it more of a documentary-style horror film, and homage to the 1954 film.[106] This version was also the last credit for producer Shūji Abe,[109][110] who died on December 11, 2023.[111] At the 96th Academy Awards, Yamazaki and the visual effects team paid tribute to Abe, saying he was "lost too soon".[112]

Home media

On March 4, 2024, it was announced that Godzilla Minus One is slated to be released on Ultra HD Blu-ray, regular Blu-ray and DVD formats in Japan on May 1.[113][114] The Ultra HD Blu-ray was revealed as a "deluxe edition" with both the color and black-and-white versions and multiple bonus features;[113] Yamazaki had previously teased the possibility of a "version that has everything, like the super duper deluxe version" when asked if the potential home video release would include both theatrical editions of the film.[35] Forbes reported on March 8 that a UHD box set of the film is also set to be released in the United States.[115]

Reception

Box office

Godzilla Minus One debuted at number one at the Japanese box office, grossing Шаблон:JPY (Шаблон:USD)[116] from 648,577 tickets during its first three days.[117] During its opening weekend, it grossed Шаблон:USD from 49 IMAX theaters, making it the largest opening for a live-action Japanese film in the format.[118] It remained at number one for three consecutive weekends,[119] but was overtaken by Tonde Saitama ~Biwako Yori Ai o Komete~ in its fourth weekend.[120] In January 2024, the Шаблон:Ill reported that Godzilla Minus One was the fifth-highest-grossing Japanese film of 2023.[121] As of March 3, 2024,[122] the film has grossed Шаблон:JPY (Шаблон:USD) from 3.92 million tickets in Japan, making it the highest-grossing live-action film released in Japan during 2023.[123]

Deadline Hollywood stated that Godzilla Minus One was a sleeper hit[124] but its wide release became "one of the most successful ever from Japan".[125] In the United States and Canada, the film was released alongside Animal, Renaissance: A Film by Beyoncé, Silent Night, and The Shift, and was projected to gross around Шаблон:USD from 2,308 theaters in its opening weekend. The film made Шаблон:USD on its first day, including $2.1 million from its Wednesday and Thursday previews. It went on to debut to Шаблон:USD, finishing in third place behind The Hunger Games: The Ballad of Songbirds & Snakes and Renaissance, while breaking the United States opening weekend record for a live-action Japanese film,[93][126] quickly overtaking Demon Slayer: Kimetsu no Yaiba – To the Swordsmith Village as the biggest debut for a foreign film in 2023,[127] and becoming the most successful live-action Japanese movie in history.[128][129] Shortly after, it became one of the over 50 films to exceed Шаблон:USD in the U.S. during 2023.[130] The film also holds the American box office record for the highest-grossing Japanese-language film[131][35][132] and surpassed Bong Joon-ho's Parasite (2019) as the third highest-grossing foreign-language film of all time.[133] Meanwhile, in its opening weekend in Brazil and the United Kingdom, the film debuted at second place and earned £816,891 in the latter.[134][135]

Godzilla Minus One far exceeded Toho's expectations at the worldwide box office and contributed to their yearly theatrical income exceeding Шаблон:JPY (Шаблон:USD) for the first time ever.[133] Outside of Japan, it grossed Шаблон:USD in the United States and Canada;[136] Шаблон:USD in Australia;[136] Шаблон:USD in Germany;[137] Шаблон:USD in Mexico;[136] Шаблон:USD in the Netherlands;[136] Шаблон:USD in Portugal,[137] Шаблон:USD in Italy;[136] Шаблон:USD in New Zealand;[136] Шаблон:USD in Norway;[137] Шаблон:USD in Spain;[137] and Шаблон:USD in the United Kingdom.[136] Overall, it surpassed Shin Godzilla as the highest-grossing Japanese Godzilla film ever,[138][139] grossing Шаблон:US$ globally.Шаблон:Efn

Critical response

Шаблон:Multiple images Godzilla Minus One received mixed reviews in JapanШаблон:Efn and widespread critical acclaim overseas.Шаблон:Efn According to The Hollywood Reporter, American critics concertedly praised its tiny-budgeted visual effects, touching human drama, and the usage of the kaiju metaphor for social commentary, with many favoring it over recent Hollywood productions.[140] CBR reported that the film is widely considered one of the best films of 2023 and the greatest Godzilla movie ever made.[141] Шаблон:Rotten Tomatoes prose Шаблон:Metacritic film prose American audiences surveyed by CinemaScore gave the film an average grade of "A" on an A+ to F scale, and polls by PostTrak gave it a 92% overall positive score, with 83% saying they would definitely recommend the film.[93]

Screen International critic Tim Grierson felt "there's a reverence shown to Godzilla Minus OneШаблон:'s gruesome colossus; audiences may cheer the havoc it wreaks, but Yamazaki understands Godzilla's sombre societal implications."[142] Time OutШаблон:'s reviewer gave the film 4 out of 5 stars, calling it "heartfelt and often awe-inspiring" and Godzilla "one scary bastard".[143] Katie Rife of IGN said the film is more "hopeful" than Shin Godzilla with "more swell, in the score and on the heart strings; less terror and more pride, even (or perhaps especially) while evoking a vulnerable period in Japan's history".[144] The Austin Chronicle critic Richard Whittaker elucidated that the film's largely emotionally-driven storyline and monster action make it comparable to Akira Kurosawa's Ikiru (1952) and Ishirō Honda's Godzilla (1954) respectively.[145] In The Washington Post's review, the film was compared to Top Gun: Maverick (2022), and reviewer Lucas Trevor cited both films as reminders of the prominence of movies that combine "concise and creative action with emotionally resonant characters", but concluded that Godzilla Minus One is "quite possibly the better movie of the two".[146]

Variety's Richard Kuipers said the film's "emotionally engaging storyline" and "heat-ray-breathing action", makes it a "high point in the long-running series".[147] Collider described it as a "solid monster movie that hardly ever makes a wrong step" due to its "balances sweeping spectacle and tense action with the more complicated themes of war and loss".[148] James Berardinelli lauded the film's effects, spectacle, screenplay, set and sound design, cinematography, and character development; dubbing it "an excellent Godzilla movie – arguably among the best ever to grace the screen".[149] Kevin Maher, reviewing the film for The Times, deemed that "the Japanese have effectively humiliated Hollywood by delivering the best mega-monster movie since Peter Jackson's King Kong in 2005" and noted how "the average Hollywood Godzilla movie costs almost Шаблон:USD and looks worse than this".[150] Andy Lea, writing for Daily Express, gave the film a full five stars rating. Lea, similarly to Maher, felt "this Japanese Godzilla tramples its American rivals into the dust" and expressed how the "action scenes are tense and thrillingly orchestrated and the characters refreshingly three-dimensional".[151]

Dana Stevens esteemed that "Kamiki's anguished, vulnerable performance is one crucial part of what makes this protagonist so memorable". In addition, Stevens recognized that Yamazaki spent a long time writing the screenplay, which allowed him to "fret about things other than radioactive reptiles", such as "how to earn a living in a war-ravaged economy", or if Kamiki's character is "ready to accept the love that Noriko and their adopted daughter are so eager to give him".[152] Meanwhile, Daisuke Satō from IGN Japan praised Kamiki's performance but believed that the other characters, especially Hamabe's Noriko, were overly stereotypical examples of Japanese people during the Shōwa era. He found the film's representation of the female characters controversial and felt uneasy about their acceptance by modern-day audiences.[20] Matt Schley of The Japan Times also criticized the characters, calling them "less impressive" and "one-note" compared with the visuals, adding that: "Much of the script, like the rousing speech near the film's conclusion where a former navy commander urges his men to stand and fight, is eye-roll-inducing stuff."[153] In his review for the South China Morning Post, James Marsh noted that while some criticism has been directed towards the film "pushing a pro-military agenda", the protagonists are "united in vehement criticism of their government, which pressured so many ordinary citizens into wasting their lives for a questionable cause".[154] Marsh later ranked Godzilla Minus One as the best Asian film of 2023.[155]

For IndieWire's annual critics poll, of which 158 critics worldwide voted in, Godzilla Minus One was placed No. 30.[156] Many critics on RogerEbert.com, including Matt Zoller Seitz, listed it amongst their favorite films of the year[157] and Leonard Maltin also recommended the film when writing about his favorite films of 2023.[158] The Quad-City Times named it the "best thing anyone put on screen in 2023".[159] Writers for Collider ranked it the year's best Japanese film,[160] fourth best foreign language movie,[161] second best science fiction film,[162] and eleventh best film overall.[163] In addition, Collider ranked it No. 22 on their "25 Best Movies of the 2020s So Far".[164] Шаблон:Ill called Godzilla Minus One "without a doubt the No. 1" film released in Japan during 2023 on their "Top 20 Movies" list;[165] Deadline listed the film amongst their "Top International Films Of 2023" list;[166] Digital Trends and MovieWeb ranked it the second best action film of that year, with the latter calling it "one of (if not the) greatest monster movies in decades";[167][168] Paste ranked the film the third best science fiction movie of the year;[169] Time Out ranked it the fourteenth best film of 2023;[170] and TheWrap included it on their list of "The 10 Best Action Movies of 2023".[171] The Academy of Motion Picture Arts and Sciences included it on their "Best Picture Reminder List" for the 96th Academy Awards.[172] Forbes also ranked it the greatest live-action Godzilla film of all time.[173] On the contrary, the Japanese film magazine Шаблон:Ill ranked it the third worst on their list of "The Ten Best and Ten Worst Japanese Films of 2023".[174]

Industry response

Godzilla Minus One attained praise from industry figures.[175] Hideaki Anno, co-director of Shin Godzilla, called the film "well-made" and praised the film's technical prowess, saying that Japan has improved in the field of visual effects.[176] Godzilla (2014) director Gareth Edwards admitted to feeling "jealous", adding that "this is what a Godzilla movie should be" and that the film should be "mentioned as a candidate for the best Godzilla movie of all time".[30][177] At the film's American premiere, Godzilla: King of the Monsters (2019) director Michael Dougherty told Yamazaki and Kamiki that the film was "amazing". Seth Green said "It's a movie filled with a lot of emotions, and I was very moved by it."[178] Guillermo del Toro noted the film's "Theatre-sized ambition and fulfillment" and called it "A Miracle".[179] Filmmakers Adam Wingard (director of Godzilla vs. Kong and Godzilla x Kong: The New Empire), Joe Dante, James Ponsoldt, and Juel Taylor listed the film amongst their favorite films of 2023.[180]

Файл:MKr25425 Steven Spielberg (Berlinale 2023).jpg
Steven Spielberg, who was a major influence on the film, praised it and is said to have been obsessed with it.

Kevin Smith named it "by far the best Godzilla movie that I've ever seen"; he thought the human drama was "as interesting as some of the most horrifying Godzilla scenes" and compared the ocean sequences to Jaws (1975).[181] Several filmmakers, including John Landis, spoke to Yamazaki and three other members of the visual effects crew while they were at the Academy of Motion Picture Arts and Sciences on January 13, 2024, and some expressed to them that they believed the movie is the best of 2023.[182] Monarch: Legacy of Monsters creators Matt Fraction and Chris Black commend the film's storyline and themes, with Black feeling it was equal to their show and Legendary's Monsterverse films.[183] Blumhouse Productions founder and CEO Jason Blum named it his favorite movie of the year and expressed his desires for Yamazaki to make a Blumhouse film.[184] Yamazaki encountered Steven Spielberg—whom was a significant influence on the film[30]—at the 2024 Oscar Nominees Luncheon.[185] According to The A.V. Club, Spielberg is "obsessed" with the film and told Yamazaki: "I saw it once in my home, and then I had to go see it again in IMAX, then Dolby Atmos".[29]

Video game designer Hideo Kojima hailed the film, saying that "Godzilla, the plot, the VFX, Ifukube's music, Ms. Hamabe's appearance, and the applause afterward" were "nothing but pluses", joking that "the result was +120 points, so I would like to change the title".Шаблон:Sfn One Piece creator Eiichiro Oda said that the film was "great" and it inspired him to watch other entries in the series afterwards.[186] Manga artist Aka Akasaka called the human drama "wonderful" and admitted that he cried during some scenes.Шаблон:Sfn Television producer Шаблон:Ill said that it was "both old and new" and "the power of Godzilla gave me goosebumps many times".Шаблон:Sfn Шаблон:Ill, the bassist of alternative rock band Bump of Chicken, called it a "truly terrific movie", adding: "in many ways, my body is numb even after watching it".Шаблон:Sfn Comedian Shohei Osada watched the film three times, declaring it "too interesting".Шаблон:Sfn

Writing for Deadline Hollywood, Pete Hammond stated that the film "astounded" Hollywood and the filmmakers' use of their low budget impressed the Visual Effects Governors.[187]

U.S. performance

Several American media analysts and journalists have noted how the film's critical and commercial success in the United States has outdone recent Hollywood tentpoles, particularly superhero films, and how the film delivered quality visual effects on a budget below Шаблон:USD, a low figure compared with Hollywood films. Comscore's senior analyst Paul Dergarabedian attributed the film's success to "outside-of-the-box thinking or movies that have a unique point of view, or not trying to just replicate what was successful before". He compared the film to similarly successful 2023 films —such as Oppenheimer, Barbie, and Sound of Freedom— that also offered fresh and unorthodox experiences. Dergarabedian argued that audiences do not have fatigue from Godzilla or action films but fatigue from "bad movies". Saba Hamedy from NBC News said that the film proved that action films based on recycled characters can still find success.[188] In addition, Japanese film critic Naoto Mori attributed the film's success to the fact that it was released during a period when Hollywood superhero movies bombed because they had a poor response from theatergoers and overly large budgets. Mori suggested that Godzilla Minus One was viewed as the opposite of those films since it demonstrated that films do not require enormous budgets to be visually captivating and have a "suitably profound story".[189]

Toho's CEO Hiroyasu Matsuoka felt the film "benefited from less competition on release due to the strike in Hollywood".[133]

Budget

Disputes on estimate

Шаблон:Quote box Upon the film's release, its budget became a topic of wide discussion.[190] It reportedly had a budget under 10% of that held by the previous Godzilla film, Godzilla vs. Kong (2021), produced by American studio Legendary Entertainment.[144][191] On November 14, 2023, Yamazaki denied that the movie cost Шаблон:JPY, stating that its budget was higher.[192] Multiple news outlets —including Variety, IGN, the BBC, The Times, Slate, and The Hollywood Reporter— later claimed that the film's budget was Шаблон:USDШаблон:Efn (roughly Шаблон:JPY),[193][194] however, Yamazaki denied this figure at the 2023 Tokyo Comic Con, specifying that it was less by saying "I wish it were that much".[195] Film critic Шаблон:Ill claimed the film's budget was "around Шаблон:JPY"[196] while Motohiko Tokuriki, writing for Yahoo! Japan, Atsuo Nakayama, writing for Nikkei xTREND, Nobuhiro Hosoki, writing for Eiga.com, and Rui Takeshima, writing for Gizmodo, all asserted the budget was Шаблон:JPYШаблон:Efn (Шаблон:USD).[197] In January 2024, the Hindustan Times also reported the budget to be Шаблон:USD[198] and Vulture stated that "reports of Minus One’s exact budget vary, but it’s somewhere between $10 and $15 million".[191] Yamazaki later confirmed to Vulture that the budget was within Шаблон:USD,[199] with Forbes subsequently reported that the budget was around $12 million.[31][115] The A.V. Club cited it as Шаблон:USD, adding that the number is "on the higher end for the Japanese film industry".[29]

Yamazaki has refused to divulge the film's real budget figure because he fears that "everyone's gonna want me to make a movie for that number".[187]

Japan's labor laws

In response to several Western journalists believing the film's visual effects exceeded Hollywood films that cost around Шаблон:USD on such a minuscule budget in comparison, some suggested that its low budget and low amount of animators reflected harsh working conditions in the Japanese film industry.[200][201] Sam Williamson from Collider attributed the film's box office success to its low budget, addressing that Japan's labor laws incentivize studios to keep costs low at the expense of the cast and crew. Williamson noted that Japanese actor Kanji Furutachi had once stated that Japan lacks unions for actors and filmmakers, which brings a "low-quality environment with long hours and low wages" and rise to exploitation.[201] Likewise, Kevin Slane of Boston.com felt the explanation for the film's visual effects being superior to that of the majority of Marvel Studios' Шаблон:USD movies on a roughly Шаблон:USD budget, to the likelihood that the visual effects crew had faced cruel working conditions.[200]

Yamazaki remarked that Japanese studios are either dubbed "white" or "black", with a "white" studio being one that "doesn’t exploit its employees" while a "black" studio "makes you work overnight at all hours and really doesn’t pay you well". Shirogumi, the studio responsible for the film's visual effects, is literally named "white team" in Japanese, which Yamazaki suggested means that "we want to believe we are setting up standards and an environment that is very workable for all the artists and everyone who is with us here today". Moreover, he emphasized that the visual effects team had not been mistreated and the team avoided working long hours (mentioning that it is a "very welcoming environment" anyway even if they work overtime) and cited how they assembled a kitchen in the studio to make it "more comfortable and cozy". Yamazaki also spoke of his hopes their visual effect budgets would increase in the future and that this could drive further improvements.[199]

Accolades

Шаблон:Main article

Godzilla Minus One won Best Visual Effects at the 96th Academy Awards.Шаблон:Efn It was the first Godzilla film ever to be nominated for an Academy Award, as well as the first JapaneseШаблон:Efn and Asian[202] film to be nominated for, and win, as well as the first non-English language film to win, in the Best Visual Effects category.[203] In addition, Yamazaki became the first director since Stanley Kubrick (for 2001: A Space Odyssey in 1969),Шаблон:Efn and Kiyoko Shibuya became the first woman of color[131] to win in the category. At the 19th Austin Film Critics Association Awards, Godzilla Minus One was selected as the sixth best film of 2023 and won Best International Film.[204]

The film received nominations for three Asian Film Awards (winning two; Best Visual Effects and Best Sound),[205] four Blue Ribbon Awards (winning three; Best Film, Best Actor for Kamiki, and Best Supporting Actress for Hamabe),[206][207] four Hōchi Film Awards (winning Best Director for Yamazaki),[208] six Mainichi Film Awards (winning Best Art Direction for Anri Jojo),[209] and four Seattle Film Critics Society Awards (winning three; Best International Film, Best Visual Effects for Yamazaki and Kiyoko Shibuya, and Villain of the Year for Godzilla).[210] Godzilla Minus One won eight of its leading twelve nominations at the 47th Japan Academy Film Prize,Шаблон:Efn including Best Picture, Best Screenplay for Yamazaki, and Best Supporting Actress for Sakura Ando, becoming the most-awarded film at that year's ceremony.[211][212]

Legacy

Cultural impact

According to Toho, Godzilla Minus One was a "global phenomenon", with fans making it "propel to the forefront of pop culture".[97] In February 2024, The Hollywood Reporter suggested that Godzilla Minus One is a significant contributor to the recent revival of Japanese popular culture in the West, alongside Hayao Miyazaki's The Boy and the Heron (2023), the first season of Netflix's live action adaptation of One Piece, and the television series Shōgun (2024).[213] Additionally, Collider claimed that the film "helped the Godzilla series become more popular than ever before".[214]

Potential sequel

Шаблон:Quote box

Director Takashi Yamazaki has confirmed that no discussions of a sequel have transpired but expressed interest in directing one.[215][216] He elaborated that if he were to make a second Godzilla film, he would prefer a direct sequel that would see a "continuation of those people's story" and how their lives proceeded after the events of Godzilla Minus One.[217] On other occasions, Yamazaki has also mention that the next film may feature an antagonizing kaiju for Godzilla to battle[218] and implied that a sequel would explore the curse Godzilla left behind on Japan, similar to the one left behind by the Tatari-gami in Princess Mononoke (1997).Шаблон:Sfn Minami Hamabe (who played Noriko Ōishi) added that the film may be the start of a new series, noting "If there is a next series, I might be the one stepping on and crushing people".Шаблон:Sfn

The possibility of a sequel was largely discussed at a stage greeting held after a screening of the black-and-white version of the film in Tokyo on January 12, 2024, which several cast members attended, while Yamazaki attended remotely as he was presently in the United States.[219] Yamazaki revealed that he wanted the characters to return to the sea once again for the sequel.[220] Yuki Yamada proposed the idea of using Noriko as the key to locating Godzilla since, according to his interpretation, she possesses the monster's "cells".[220]

Regarding a sequel, Yamazaki expressed to Empire: "I would certainly like to see what the sequel would look like. I know that Shikishima’s war seems over, and we’ve reached this state of peace and calm – but perhaps [it's the] calm before the storm, and the characters have not yet been forgiven for what has been imposed upon them." He also noted that "I don't know that anyone has pulled off a more serious tone of kaiju-versus-kaiju with human drama, and that challenge is something that I’d like to explore".[215]

During a February 2024 Q&A with Collider founder Steve Weintraub, Yamazaki announced that he has begun developing his film, but denied that it would be a sequel to Godzilla Minus One. In regards to the possibility of making a sequel afterward, he added: "Hypothetically, if there is a Godzilla sequel, then I would like to date it with how long it’s been in our timeline as to what the characters have gone through. So, if we film it three years from now, I would set it three years from Godzilla Minus One. And I hope that by then Akiko has worked on her acting a little bit."[35]

Producer Minami Ichikawa believed that Toho would take their time to produce the next live-action Godzilla film: "Good films are all about quality. We want great ideas, an excellent script, a talented director, and the right cast to work on it carefully. Godzilla deserves to have that level of intentionality."[8]

Notes

Шаблон:Notelist

References

Citations

Шаблон:Reflist

Sources

Шаблон:Refbegin

Шаблон:Refend

External links

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