Godzilla Movie

Godzilla Movie

Godzilla Movie is a 2014 American science fiction monster film featuring the Japanese film monster of the same name in a reboot of the Godzilla film franchise. The film retells the origins of Godzilla in contemporary times as a "terrifying force of nature", depicted in a style faithful to the Toho series of Godzilla films. The film is directed by Gareth Edwards, written by Max Borenstein and stars Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Juliette Binoche, Sally Hawkins, David Strathairn, and Bryan Cranston. The film is a co-production between Legendary Pictures and Warner Bros. Pictures, with participation by Toho. Warner Bros. will also distribute the film worldwide, except in Japan where it will be distributed by Toho. It is the second Godzilla film to be fully filmed. by an American studio, the first having been the 1998 Godzilla. The film begins with videos of the Castle Bravo nuclear tests as well as videos of a large object moving through the water. In Janjira, Japan, it is the morning at the house of Joe Brody (Bryan Cranston), a nuclear plant supervisor. At the plant, Sandra is investigating the nuclear core, when a massive explosion and containment breach occurs. Joe is wounded in the chaos and dies, while Ford is taken into custody.

While onboard the USS Saratoga, Ford is informed by Serizawa and his team that the creature he saw at Janjira was a MUTO, or Massive Unidentified Terrestrial Organism, an ancient creature from a much earlier time period which feeds off radiation and radioactive material. The larger creature, named “Godzilla” by the United States Navy staff, suddenly arrives and fights the MUTO before pursuing it as it leaves the island. The Navy allows Godzilla to pass and a fierce battle takes place, causing widespread destruction. While the MUTOs are distracted with Godzilla, Ford and a team of soldiers enter the nest and try to disarm the warhead. The nest is destroyed by Ford. After Godzilla uses his radioactive breath on the female MUTO, it breaks off its fight to return to the nest, only to discover the eggs are destroyed. Ford is stunned by the explosion and the female MUTO advances on Ford, but Ford is saved when Godzilla starts another attack on the female MUTO. Meanwhile, Godzilla kills the male MUTO by using the spikes on its back to crush the MUTO against a building. Ford reaches the boat and attempts to leave when the female MUTO returns, but is saved when another group of soldiers start shooting at the MUTO. Godzilla kills the MUTO with his radioactive breath, saving Ford again. Exhausted from the battle, Godzilla collapses on the ground and is still, apparently dead. Ford is rescued from the boat by a military helicopter before it explodes.

Godzilla wakes up, lets off a few roars and returns to the sea. The film is a co-production, of Legendary Pictures and Warner Bros. Pictures. It has an estimated $160 million budget, financed 75% by Legendary and 25% by Warner Bros.[2] The film is Warner Bros. Pictures' first new Godzilla property since 1959's Gigantis, the Fire Monster. After the release of 2004's Godzilla: Final Wars, marking the 50th anniversary of the Godzilla film franchise, Toho announced that it would not produce any films featuring the Godzilla character for ten years. Toho demolished the water stage on its lot used in numerous Godzilla films to stage water scenes. TriStar Pictures, which had made the 1998 Godzilla film and held the rights to make a trilogy of films, let their rights expire in 2003. In August 2004, Yoshimitsu Banno, who had directed 1971's Godzilla vs. Hedorah, announced that he had secured the rights from Toho to make a Godzilla IMAX 3D short film at his Advanced Audiovisual Productions (AAP) production company. The film was tentatively titled Godzilla 3D to the Max, and was to be a remake of the Godzilla vs. Hedorah story. Rogers, Anderson and the then-proposed director Keith Melton met with Legendary Pictures to get their backing on a 3-D theatrical film. From the AAP production team, Banno and Okuhira would remain on the project as executive producers and Rogers as a producer.

In November 2013, Banno stated that he still planned to make a sequel to Godzilla vs. Hedorah. In August 2009, rumors surfaced that Legendary was in talks with Toho to produce a new American Godzilla film to be released in 2012, and on March 29, 2010, it was officially confirmed by Toho and Legendary that Legendary had acquired the rights to Godzilla. Legendary announced it would make the new film closer in style to the original 1954 film rather than the 1998 film and its "iguana-like creature". Film producers Dan Lin, Roy Lee, Doug Davison and Legendary's Thomas Tull and Jon Jashni were added to the project to work with Rogers, Banno and Okuhira. The reboot is a live-action project featuring a fully computer-generated Godzilla. Godzilla fought at least one or two monsters, rather than simply the military as seen in Emmerich's 1998 remake.

In January 2011, Legendary named British filmmaker Gareth Edwards, director of the 2010 film Monsters, to direct the film. In an interview publicizing the DVD release of his film Monsters, Edwards discussed the new film: "this will definitely have a very different feel than the 1998 film and our biggest concern is making sure we get it right for the fans because we know their concerns. The film remained in development into 2012, missing the planned release date. The production team developed Godzilla models, artwork and pre-visualizations of the action scenes of the movie. I refer not to Godzilla the monster, but to Godzilla the franchise, which last laid waste to these shores 16 years ago. We begin, in 1999, with Joe Brody (Bryan Cranston), an American engineer in charge of a fictional nuclear plant in the shadow of Mount Fuji. Yes—it’s Godzilla! Actually, no, it’s not Godzilla. Ford and his colleagues in the Armed Forces attempt to prevent the MUTO rendezvous by deploying a nuclear weapon—this despite the fact that they know the MUTOs literally eat radioactive material for breakfast. Godzilla is, of course, a monster movie, and thus should rise or fall on the strength of its monsters. And thankfully, director Edwards (Monsters) is wise enough to give us a recognizable, if somewhat updated, Godzilla. Edwards introduces the monster gradually—a glimpse here, a glimpse there—as Toshiro Honda did with the original Godzilla 60 years ago. It really ought to focus on Godzilla, no? Thus the central irony of Edwards’s film.