In the final moments of World War II a cowardly kamikaze pilot by the name of Koichi Shikishima (Ryunosuke Kamiki) pretends his plane is malfunctioning in order to land on a small island where repairs can be completed. Unfortunately for Koichi though a giant reptilian sea creature that the locals call Godzilla lays waste to the outpost killing all but him and one of the mechanics situated there. Koichi, having frozen again at a pivotal moment must live with the blame for their deaths. 

Returning to his decimated hometown Koichi accidentally finds himself living with Noriko (Minami Hamabe) and the orphaned baby that she has taken on the care of. Three people made homeless and alone by the war living in the bombed out remains of Koichi’s parental home. 

Two years on with Japan and this makeshift family in the midst of rebuilding Godzilla will return to wreak havoc on Tokyo. 

Godzilla Minus One may be the best Kaiju film I have seen. Although I will admit to not being a connoisseur of the genre. It certainly beats any of the recent monster movies released by Hollywood into a cocked hat! The title ”Minus One” references that Japan is at its lowest possible ebb and Godzilla is just a monster. Yes it is a monster that represents the damage of WWII and the atomic bomb, but there is no need to try to understand it or work with it. The people facing its threat must simply work out how to defeat it and move past it. 

Koichi and his family are the focal point of the film and a microcosm of the impact of the war on Japan as a whole. Their families dead and their homes destroyed Koichi, Noriko and their surrogate child Akiko must rebuild and create a new family unit and community. Koichi is haunted by the ghosts of the war and must put them to bed to truly move on. 

There are also many mentions of how the Government brought Japan to this point and how it is the people and community that must work hard to return Japan to its former glory. 

Godzilla appears early and often. Never at night time and in the rain so that special effects can be dark and blurry like in so many Hollywood features. The effects work for him is wonderful. Looking like a malevolent cross between crocodile and shark as he scythes through the ocean. Or decimating cities with ease in a fit of primordial rage. And the manner in which his dorsal fins extend and light up blue as he charges his heat ray is superb. 

The only minor quibble would be that the school of acting opted for in this creature feature often leans into the overwrought soap opera feel of feelings being as big as Godzilla. In the main this feels in keeping with the story but occasionally it tips slightly into comical rather than emotive. 

A Godzilla film then that manages to include its metaphorical and political messages, feature good special effects and be as enjoyable with its human characters as with its all powerful monster. A towering achievement from writer/director Takashi Yamazaki.