Skip to main content

Godzilla Minus Zero (2026)


Godzilla Minus Zero
is the follow up to Godzilla Minus One, once again written and directed by Takashi Yamazaki. While this entry is more exciting than its predecessor, it still carries some of the same flaws, particularly the overacting from one of its leads, Ryûnosuke Kamiki. The film continues to lean heavily into the human side of the story, taking time to establish what needs to happen for a Godzilla movie to make sense, including why the monsters fight and how everything eventually comes together. I understand the need for that setup, but I think most people in the theater were simply waiting for Godzilla to show up.

Minami Hamabe was great as Noriko in the previous film, and her presence remains welcome here. Masami Nagasawa also makes a strong impression as the new character Makoto Aoyama, stepping into the story with a performance that gives the film another interesting human element. Hidetaka Yoshioka is another noteworthy presence, reprising his role as Noda and helping maintain some continuity with the previous movie.

Of course, the real attraction is seeing Godzilla back on the big screen. The audience reaction made that pretty clear, with people cheering when he appeared. I won't spoil who the opponent is or how the movie ends, but there are enough surprises to make the experience worthwhile. And while watching Godzilla Minus One beforehand certainly helps, I don't think newcomers will be completely lost if they haven't seen it.

Godzilla Minus Zero is a more exciting follow up that delivers the spectacle audiences came to see, even if the human drama still occasionally gets in its own way. The overacting remains an issue, and there are stretches where the movie feels more interested in explaining itself than getting to the monster action. Still, when Godzilla finally takes center stage, it's hard not to enjoy the experience. Result: A-

Comments

Popular posts from this blog

We Bury The Dead (2026)

We Bury The Dead (2026) is a slow burn post apocalypse film centered on grief more than horror. Directed by Zak Hilditch , best known for smaller projects like 1922 and Rattlesnake , this is his first step into a larger American production. You can feel the restraint in the direction, sometimes to the film’s benefit and sometimes to its detriment. The pacing is deliberate, almost stubbornly so, and while the mood is consistent, it rarely escalates into anything memorable. Daisy Ridley , best known for Star Wars: The Force Awakens , carries the film as a woman searching for her missing husband who may or may not have turned into a zombie. Ridley is solid and emotionally grounded, doing the best she can with minimal dialogue and long stretches of quiet reflection. Her performance is never the problem. If anything, she is the primary reason the movie remains watchable. The supporting cast is where the film struggles. Nearly every side character is written as painfully one note, existi...

One Night Only (2026)

One Night Only is a romantic comedy written by Travis Braun , creator of T.O.T.S. , that ultimately turns out to be something very different from what its marketing suggests. The trailers present it as a lighthearted Valentine's Day romance, but the film quickly pivots into a dystopian story that blends elements of The Purge with overt political commentary. Whether that shift works will largely depend on the viewer's expectations, but I found the bait-and-switch frustrating. The political messaging is so persistent that it frequently overshadows the romance at the center of the story. Despite that, the direction from Will Gluck is surprisingly strong, with confident staging and solid pacing that keep the film engaging even when the screenplay becomes heavy-handed. Gluck did Anyone But You and the romance really felt similar to the point I couldn't help but think of the film even though I had forgotten he had done the film back in '23. Another distraction is the amou...

The Mortuary Assistant (2026)

The Mortuary Assistant is directed by Jeremiah Kipp and written by Tracee Beebe and Brian Clarke , adapting Clarke's video game of the same name for the big screen. From a directing standpoint, there is nothing particularly remarkable, but there is also very little that stands out as a misstep. Kipp keeps the film moving at a steady pace and delivers the expected scares without relying too heavily on cheap tricks. The screenplay, however, wears its inspirations on its sleeve, often feeling like a retread of Evil Dead (2013), borrowing many of the same possession and demonic horror beats but adding enough of its own identity. Willa Holland , known for Legion and Arrow , plays the film's protagonist. She delivers a competent performance and handles the role professionally, but much like the direction itself, there is little that leaves a lasting impression. She carries the film well enough without elevating the material, making for a serviceable lead in a story that never fu...