For a limited time, American audiences have the luxury of seeing Japan's re-ignition of arguably the most famous monster to appear on the screen.It’s been Two years since an American studio has produced a “Godzilla” remake. Twelve years have passed since a “Godzilla” film has been produced Japan, the film’s country of origin.
The previous week, I was one of many in a full theater teeming with excitement at Ypsilanti's Rave Cinema.
When taking into account the current trend in film toward reboots and remakes, the appearance of the title character in Shin Godzilla takes on a new light.
Shin Godzilla, a complete reboot of the Godzilla story, disregarding the three previous Japanese continuities and starting “fresh.” In the film “Godzilla” appears in a smaller form in which he drags himself across Tokyo bleeding from a set of gills. In his final form, his shape resembles the traditional Godzilla, but he has the appearance of a corpse sporting wounds all over his body and moved like a zombie.
It's possible that this is a comment on the reboot culture currently dominating film: an old idea from pop culture is recycled in a new form in order to cater to new audiences.
Shin Godzilla differs from its 2014 counterpart in aspects of design of its monster. the film goes into of detail in showing its vision of what would realistically happen were a giant monster to attack a major city. There is seldom a dull moment in the human story, as it moves fast in showing the behind-the-scenes politics of crisis-response government workers.
Coming soon to VOD services, Shin Godzilla is highly recommended to fans of the original Godzilla series or science fiction in general. It brings to the table both a darkly tongue-in-cheek attitude toward Godzilla's place in pop culture and an eye for realism applied to fantastic scenarios.