The Reel Rejects - GODZILLA MINUS ONE (2023) MOVIE REVIEW!! FIRST TIME WATCHING!!

Episode Date: May 19, 2024

THE BEST GODZILLA MOVIE?!? Save Money & Cancel Unwanted Subscriptions By Going To https://rocketmoney.com/rejects  Godzilla Minus One Full Movie Reaction Watch Along:  https://www.patreon.com/thereelrejects After Catching up with Shin Godzilla & Godzilla x Kong: The New Empire, Andrew Gordon & John Humphrey are finally checking out the first Godzilla Movie to win an ACADEMY AWARD!! John & Andrew give their First Time Reaction, Commentary, Breakdown, & Spoiler Review for the newest Kaiju film from long-time Godzilla Distributor, Toho, & director Takashi Yamazaki! Andrew & John REACT to all the best Godzilla scenes & story moments including the Boat Attack, Ginza Attack Scene, Atomic Breath, the Final Battle & Beyond!! Follow Andrew Gordon on Socials:  YouTube: https://www.youtube.com/@MovieSource Instagram:  https://www.instagram.com/agor711/?hl=en Twitter:  https://twitter.com/Agor711 Support The Channel By Getting Some REEL REJECTS Apparel! https://www.rejectnationshop.com/ Music Used In Manscaped Ad:  Hat the Jazz by Twin Musicom is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ POWERED BY @GFUEL Visit https://gfuel.ly/3wD5Ygo and use code REJECTNATION for 20% off select tubs!! Head Editor: https://www.instagram.com/praperhq/?hl=en Co-Editor: Greg Alba Co-Editor: John Humphrey Music In Video: Airport Lounge - Disco Ultralounge by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/ Ask Us A QUESTION On CAMEO: https://www.cameo.com/thereelrejects Follow TheReelRejects On FACEBOOK, TWITTER, & INSTAGRAM:  FB:  https://www.facebook.com/TheReelRejects/ INSTAGRAM:  https://www.instagram.com/reelrejects/ TWITTER:  https://twitter.com/thereelrejects Follow GREG ON INSTAGRAM & TWITTER: INSTAGRAM:  https://www.instagram.com/thegregalba/ TWITTER:  https://twitter.com/thegregalba Learn more about your ad choices. Visit megaphone.fm/adchoices

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All right. First of all, if you are listening to us on Apple or Spotify, if you don't mind dropping a rating that's not minus one. We would appreciate it. Also, too, if you want to look as cool as Janizio, myself and the rest of us here at Reject Nation, RejectNation shop.com. It helps support us. And also, you can look amazingly cool at the same point and super sexy as well. John, what did you think of Godzilla minus one? Man, I am some speechless. You are not very speechless often, so that's a good sign. Yeah, this was certainly hyped up, and I would absolutely say that it lived up to the hype. What a beautiful piece.

What a beautiful rumination on, yeah, just the trauma at the root of the entire concept of Godzilla, obviously, you know, going all the way back to the 50s, you know, processing the aftermath of the nuclear fallout. from World War II and Hiroshima and Nagasaki and all that stuff you know there's a I'm sure there's more you'll get out of this as a Japanese viewer however I thought just the story they decided to tell and is you know we're living in some sort of precious metal age of you know legendary's American Godzilla stuff and so like it's for the franchise I think it's the obvious thing that's often brought up where, you know, ah, the human story doesn't really matter. Like I thought they did on the heels of Shin Godzilla, which we watched a few months back,

you know, that was terrific as well. And that had, you know, this kind of populist sort of quality where you were peering in on a whole bunch of different people dealing with the situation, whereas this certainly has aspects of that. But yeah, you were much more drawn into a few specific characters. And I loved that choice. And the choice to center it around this guy who has this, you know, intense trauma that, that, you know, wasn't played too broadly. It wasn't played, you know, too gimmicky.

You know, you really feel this guy's struggle and the fact that, yeah, he's coming out of a moment where, you know, he blinked. You know, he was supposed to complete this mission, is the kind of pilot who's not supposed to come back from whatever mission they're in and watching a story like this where the poetry becomes that, yes, this act of shame, as you would see it on yourself, you know, in the moment, this act of cowardice or desertion or whatever you want to call it ultimately opens the door for this crucial strike at the very end. And it's that poetry of life that's sort of like you can spend all this time wondering like, why, why didn't I just do my duty? Why am I still here when so many other people are not? you know why have so many people sacrificed for me to be here and watching him grapple with that I thought was really lovely and beautiful and watching his little family grow and watching even just the little the few people we get to know closely this little you know crew of the of the

you know clean up boat that they're out on you know foraging these mines and stuff like that yeah just all those things coming together it had just such a beautiful balance of, yeah, a really intimate personal character story that's rooted heavily within, you know, this post-war history. And then, you know, taking some of those things that do remind you of, like, a Shin Godzilla where it is like the group effort. It is, you know, I love that stuff about, like, the civilians coming together. This isn't even like a government thing, you know, like the governments of the world, like, you know, the states isn't sending aid to us to help. They're asking us to clean up some of their mess in all of this, and the Japanese government is also finessing the story, and no one's actually doing the action, and so it's up to the people to get things done. And I think that within this is just another beautiful layer that they added, because, yeah, sometimes it is just the efforts of some people who want to protect their home and, you know, who maybe have a little bit of know-how about what might be possible.

and yeah it's all on a lickin a prayer and uh and yeah just the all those layers you know from the immediacy from the action from the godzilla moments where godzilla is showing up like every one of those packed a punch and you really feel godzilla as this true force of nature you know for sure as is certainly pertinent to the character but uh yeah what you think uh i loved it it certainly met the hype and probably exceeded if that's possible even though i know it was uh said to be the one of if not the best of 2023, and like I said, it exceeded it for me personally. But yeah, and with Shin-Guds... Oh, yeah, we're hearing that sound right now.

Credits going in the heavy footfall. Yeah, I love it. And like, yeah, with Shin Godzilla, which I love that film as well. You know, that film really focused a heavy deal on how inept the government could be. But again, you know, you still have the formulation of the plan to stop Godzilla, which we did get a little bit of that for sure in here. Yeah. But obviously, the film, as you pointed out, heavily centered around this

guy who was just dealing with so much traumatic tension just from a point of cowardice as you said just like you know feeling it's not even that fully like like it is like the the will to like it feels less like oh I had a cowardly moment and more like

no something is wrong with they bring that whole thing up about like our apparatus isn't really designed for like the preservation of human life look at how flimsy our tanks are look our jets don't have ejector seats things like that you know Absolutely. But yeah, I do love that they focused on this guy. And I just, I really loved the journey we got to go through with him, just from every, just when we landed the plane. And just again, just it seemed all the PTSD he was suffering there. I mean, just the situation of just being a kamikaze pilot, that's in itself is a scary thing to have to be in Godzilla or not. So, you know, just right away, I felt for him. And obviously, you know, just talking about that whole.

whole situation where, you know, they blamed him for not shooting at Godzilla. And then, again, I get they had to go with that. But it's like, I, that's not his. Yeah, sorry. Yeah. It's like, what do you do? Like, of course that guy is going to feel that way. Yeah. No, no, no, of course. And I get why they went with that. But I'm just saying that, as we all know, that wouldn't have done anything to stop Godzilla. But again, it's, it stood as a good crux for, like, you know, establishing, like, you know, the blame game and, like, the survivor's guilt. And, you know, should I still be alive. And then obviously the setup for, you know, what happens in the end, too. And I just thought it was so beautifully done where, again, that decision he makes to, you know, he wants to go on and

live life and still be, I forgot the little girl's name. Akiko. Thank you. He still wants to be a part of her life and still be her father, not knowing that the woman he loved, I thought she was gone, but like not knowing that she was still alive. After she pushed him out of the way. Yeah, I wouldn't. Yeah. No, I know it's like this poor guy, like he lost his family. He's got the guilt of other people, like blaming him because he was dishonorable, understandably so. And then finally, like when he was ready to live again, you know, this situation happens. But again, not knowing, I just thought that was just so beautifully done,

just adds so much a more emotional depth than I could have, than I was anticipating. But again, it also adds a lot of, I just thought the film was very grounded in reality. The Godzilla stuff aside, I thought the film was just grounded in reality in terms of the character depth and the characters itself. And I was just so emotionally invested in these characters that they decided to focus on and just seeing everything from their point of view and vantage point that when we got to the Godzilla stuff

and the exhilarating action and the cinematography and all that, I'm like, I really give a shit about everything that's happening right now. And I'm like, that's what you need to do in these types of films. You need to, and again, that's why I always go back to, I know I probably made 10,000 references to Jaws,

which you can, in my opinion, you can tell the director as a big fan of Hollywood film, and also probably Jaws, because there were so many things that reminded me of Jaws in a respectful great way in this film. Oh, I think there's definitely some Jaws love.

Yeah, yeah, but what I always go back to the crux with Jaws is the reason that film has stood the test of time and it's just a masterpiece is the characters are so damn well written besides the fact that the story is awesome and I still think I know the shark effects are not very good, I don't care.

I still think the shark holds up. But the point is the characters are so well written that you're... If the movie's good enough, all the other things well. will be elevated due to that. Exactly. And again,

the characters are so well written in this film that everything else is just so elevated. And I'm, again, I don't feel I'm having, you know, recency bias,

having just seen the film. This is one of the most beautifully shot films I have ever seen. Yeah. I love the cinematography in this film. It just adds a level of scope.

And the fact, again, I will, you let us know in the comments. I probably will have read it at that point. But I think I do remember reading the budget was not very big on this film. No, and they don't have like it. It feels like it. It's a hundred or two hundred million dollar film budget.

Yeah, yeah. It feels like it. Oh, absolutely. And from what I gather, it was, it was a relatively small crew on the visual effects side and everything. It doesn't feel like that. No, it doesn't at all. It's amazing.

And I don't know exactly what their production was like, but I know that the more you have planned out in advance, you know, the more you can shoot for just what you need. and maximize those resources, and it feels like what they did here. And I mean, the production values from just the period aesthetics and the locations in Japan are great, you know, the period atmosphere, like, is truly one of those movies where when you're not focusing on Godzilla, you're never waiting for Godzilla to come back.

And then whenever Godzilla does come back, it, you know, barrels through the scene or barrels through the movie the way, you know, the presence, the way you're supposed to be feeling when And one of these attacks arises as just a character or a fly on the wall. That's in the tone of the movies. Absolutely. And to your point, like, there were times where I was like, you know, Godzilla's not here, but I'm not bothered by it. Like, because I'm so emotionally invested in these characters and I'm loving everything

that's happening. Like, yeah, I'm excited whenever Godzilla's going to come up again. But I'm not like, where is Godzilla? I need more Godzilla. Like, yes, it's always exciting to see Godzilla because of how exhilaring and how cool it is whenever he's on screen and such. But I'm never in the back of my mind. like where, like the presence is always looming and I'm excited whenever he's going to come back.

But it never once did I say, me personally, was I like, he's got to be on screen. This is ridiculous. I'm like getting a level of boredom now. Like that was, yeah, I was thinking, like, it's, it's quite classic. And I love that there are elements of this that do just feel like a World War II movie or a post-war drama. And yeah, Godzilla is absolutely monstrous. And I appreciated that even within the design, they had a lot that was classic. They had a few things that felt sort of like a fresh take or an interesting little tweak, you know, the whole like regenerative growth.

That was cool. I love that. And yeah, just like the way they personified Godzilla watching, like, just those moments where you're watching Godzilla watch the plane go by or those moments where he's like staring down the ship. Like such personality. And yeah, it's not like totally in your face as to like. What all, like, you know, there's a certain amount of subtext that is very certainly apparent because Godzilla has been, you know, with us and dissected and recontextualized a billion trillion times. But yeah, this felt like a real naturally moving movie. I love that they actually had like, the solution they came up with was like, yeah, we can't just shoot it. We have to do some kind of scientific effort along with our physical, you know, forceful effort. And yeah, just the, the lyricist. and the poetry of life the way that, yeah, this guy feels so cursed. You know, we come to sort of understand the context in the very beginning between him

and this mechanic. And that whole thing of like, why didn't you shoot him? But then it's like, well, if you had, you probably would have died and you wouldn't have been there so far down the line to help bring these people together, to be the one to fly the jet. Like, yeah, there's just so much that feels authentically kind of cause and effect or, you know, encompassing of the randomness of life in this while also remaining quite focused, quite impactful. Again, like every element of this was on point. And like you said, it's really beautiful to look at, but it's not like doing flashy shots

every second. But when there is a flashy shot or a particularly, yeah, creative camera choice or something like that, it's always really gripping. Like this is a great example of something where like, you know, everything feels meaningful and everything feels like it got, you know, its eyes dotted and its T's crossed, you know. Absolutely. Yeah. And again, I just love the arc and the journey we go through with this main character from dishonorable to honorable hero to... And what is, like, is he really decided? It's like the shame with it. In his mind, I mean, like, you know what I mean? I never personally felt he was dishonorable, but probably in his mind, he felt he was very dishonorable and not wanting to live his life and all that. But... Reject Nation, when I heard that this company wanted to partner up with us yet again, I was so enthusiastic about it.

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and downloading the Rocket Money app yourself. And if it does help you, please go ahead, draw me a message. I'd love to hear if there's some way by just conveying this message, it has helped you out too. Thank you, Reject Nation. Yeah, it's an interesting debate of the culture. And I think that that's another theme that they bring up here. And that's, yeah, it's, it speaks to how rich the idea, you know, they're going for it.

And also, too, not wanting to live, not wanting to have a family. And then, of course, like, embracing that. And then, yeah, and then also, too, I just thought it was so elegant and so beautiful. Like, I got to finish my war before I can have this family. Of course. Of course. I just thought that was just so well done. And I'm just, again, I am flabbergast and so amazed at how they did this on this budget.

again, that's the visual effects. The writing, of course, you can do a budget or no budget. That was still impressive without having said, but just everything they were able to accomplish. Oh, yeah. It's just masterful job. Yeah, and like you said, I think that choice, like that fully ties it together.

The fact that he makes the choice, and you kind of realize that, like, he could easily not pull the ejector seat if he really didn't want to. And the fact that he does what he does without knowing she's alive is, yeah, I think thematically is a, really nice full circle and that keeps it from being cheesy or anything like that like you could

call it out and go oh maybe she's still alive but it's pretty convincing the mislead there and also you know yeah it is that reward it's that like cosmic feeling reward that you are like so kind of relieved by at the end to find you know the nanny comes back and she's yeah and she's like you know in that way that you do when you're like you know how could you know like I get it but also I'm so mad at you, but also please go to her. Like, ah, so many beautiful layers to this. I loved it. It was such a well-done film. I'll read a couple quick ones, really quick. Do you have anything else you'd like to say? Just more praise, you know. Yeah, yeah, for sure. I'll read a couple really quick ones. Gareth Edwards, director of Godzilla 2014, attended a screening of this film. He described a

feeling of jealousy while watching the film stating, and I quote, this is what a Godzilla movie should be like. I believe that. And you know what? I can imagine him watching this. And I like Godzilla 2014. I liked it too. I enjoyed it. Good deal. But I could imagine him watching this and going, damn. This is what I wanted to make. In a lot of ways. Damn you American student. I'm just but yeah, I could see that too. The minus one refers to the fact that Japan had already been devastated by World War II brought down to zero. But with the emergence of Godzilla, it puts Japan into the negative. This is reflected in the film's original Japanese tagline, which translates to post-war Japan from zero to minus.

Totally makes sense. Just read, go to the spoilers ones really quick and read two. And because it feels like, yeah, like I feel like especially when you're going to the Japanese side of the Godzilla, you know, the franchise, you know, the Japanese side of the stories that we get, you know, I feel like there's a lot more of that, like we're just kind of letting, I get the sense that they let a lot more of these be just kind of a la carte and just sort of like, yeah, this is a new one, and we're kind of going back to the beginning of the history or we're, you know, not necessarily making this a direct sequel or whatever.

So part of this could feel like, oh, yeah, it's not a prequel, but just like a new version of, you know, the emergence of the character. Just really quick. How many minutes of screen time do you think Godzilla was in this movie? In my mind, I had a time, but I was a little off. 11. Wow. Was it really?

11 minutes. Was it really? 11 minutes. Oh, I have not, I did not hear that in advance. I was just like, that sounds, that seems about right. He might have really did write the script. Because it really, it really is sparing. And those times where you're just seeing like a foot or a few toes.

Yeah, and it's almost like, and again, I'm not comparing. So please don't think I'm comparing. Just with Beetlejuice, Beetlejuice was only in the film about 16 to 17 minutes, but it feels like he's in the movie so much more. Because so much in the movie is about, yeah. It's about Godzilla. It's about the impact and the looming threats and all that stuff. Well, I'll never forget to when Roger E. Burden, Gene Siskel said he was in,

Beetlejuice was in the film too much. I'm like, he's in the movie like 16 or 17 minutes. He's not really in the movie that much. But okay. Your opinions, not mine. Little goes a long way. Yeah. The film ends on the same note that Godzilla, Mothra and King Goddora, Giant Monsters All Out Attack from 2001 does. In that film, Godzilla's heart is still beating after its body is destroyed. Hey, you go. Okay. Last one. When the people of Tokyo rise up with a plan to beat Godzilla, there is no army to help them after World War II ended Japan was forced into disarmament. Unable to form an army or build the military equipment under orders from the United States

that the disarmament, uh, disarmament ended in 1951. Wowy. Three years before the original got a little film. Ah, good call. And they had the music in there from the original, but, uh, yeah, that was a cool touch too. I love that they actually used the ocean theme. Again, this was quite a blast. Uh, it's always hard to live up to the hype when so many people.

are praising it but I thought this film even exceeded in my mind and I again I just really enjoyed it on so many different levels I can't even explain but I was so glad that you guys joined us for this so glad to react to him with you as my brother from another brother any final thoughts before we get out of here just you know sometimes people tell you like oh man this thing go make you cry and like sometimes that that makes it so that you're prepared for it and you don't necessarily but but yeah by the end I was like like the the catharsis that this brought up by the end and this earned by the end.

It was beautiful. Yeah, chef's kiss. It was really beautiful done. But let us know in the comment section. What did you think of Godzilla minus one? Is it your favorite film? Is it your least favorite? I doubt that.

But what do you think of, hey, again, it's all subjective. If it really is, you know, I'll still respect you. I won't be curious. John won't. I'll be curious. I'll just be curious as to why, but I'll respect. But let us know in the comments. We'd love to hear your thoughts.

and we shall see you on our next reaction. Love you guys. Peace. Adelia Chamberlain. Adelia, I need to get back to you. I'll tell you that up front. I need to get back to you. At the same time, you have to be patient with us. Because sometimes when your name's not listed in the shout-out,

we hear it. Hey, where's my shout-out? We're supposed to get my shout-out this one. we're busy and we got a lot of shit going on so sometimes we might be a few days late to posting your shoutout

into a video you know what and by now you should understand this you've been here for like a couple of years now you should know that we sometimes are really bad

with our time is it up to us to improve that's up for debate perhaps maybe you should adjust your expectations of us you can only control that you do all right yeah we can't control our negligent behaviors and until we decide that we need to change this behavior there's nothing you can do about adelia is what you get so sometimes you just got to be a little bit patient because that's what you have to do yeah because we're not going to change no So you have to change for us.

If I could change. This is a co-dependent relationship right now, and you have to understand the role you play and our codependency. You made us this way. We blame you for why we're late. Frankly, it is your fault. Why we are sometimes late to your shout-out? Why can't you make us be on time?

I know that every month you stay pledged. We know the exact amount. It's automatic renewal. And by now, yeah, oh, Greg, John, it should just be like fairly routine. You know what? Routine is the death of creativity. Procrastination is the spark of imagination.

Oh, bar. Okay? And that's what she got. So let this be a lesson to you that we are not responsible if we are late to shouting at you out. All right. I'm sorry I'm sorry it's a codependent relationship

I get my anger out and then I realize that I shouldn't have been angry to begin with every shout out next month I'm really sorry I'm really sorry I shouldn't have lost my cool there I just didn't want to feel guilty and I took it out on you just now because that's a codependent relationship oh it's okay that's how you know that you love each other

yeah it's how you know we love you Because that that toxicity creates a fire. And that's what we have. Burning flames between us. Yeah. Burning our skin. Burning our skin. Our soul.

Burning our souls. Our goodwill. Our choices in life. Yeah. It's burning. Park. Yeah. It's a distraction.

Just a pile of smoldering regret. Yeah. We're creating ashes together. Isn't that cool? We're burning it all down. Chemical change. That's the only reality. you can count. That's true love right there.

That's a true glove. I know this is worth your time.