As I note in Film International today, “Now, we have Gareth Edwards’ 2014 version of Godzilla, and the results are decidedly mixed. I am a great admirer of Edwards’ 2010 film Monsters, which Edwards, an accomplished digital special effects technician, wrote, directed, photographed, produced and edited on a budget of significantly less than $500,000. Unlike most tech-heavy films of its type, Monsters betrayed real signs of intelligence and originality, imbuing the aliens, who are only glimpsed in full during a final, eerily mystic mating sequence at a desert gas station, with a genuine if other-worldly presence.
Edwards made up Monsters as he went along, shooting out of the back of a van on location, improvising most of the film with just two actors, and later described it as being ‘Lost in Translation meets War of the Worlds,’ which really does sum the film up rather neatly. One might almost call it an alien romantic fantasy, and the bare bones, documentary style of the film, combined with the laid back performances of Scott McNairy and Whitney Able as the two leads, created a work of genuine quality – a rarity in effects driven films. Though the film was only a modest commercial success, Hollywood took notice, and recognizing Edwards’ skill with actors as well as CGI effects, quickly snapped him up for bigger things.
Bigger, yes, but sadly not better. Made for $160 million, with extensive location shooting, and an added promotional budget of $80 million to put the film over the top, Edwards’ version of Godzilla has benefited from a shrewd marketing campaign, with a trailer that, as with Monsters, withheld the title character from view almost entirely, while banking heavily on actor Bryan Cranston’s presence in what seems to be a leading role in the film – in the trailer, he gets nearly all of the dialogue, intercut with suitably spectacular scenes of destruction. But – spoilers ahead – the trailer is one of the most remarkably deceptive ad campaigns in recent memory.”