Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
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The Producers Guild of America will give out awards tonight, with the teams behind A Beautiful Mind, Moulin Rouge and Shrek among those in contention for its top honor. The producers of Harry Potter and the Sorcerer's Stone and Lord of the Rings: The Fellowship of the Ring are also in the running for the Darryl F. Zanuck Producer of the Year Award.
The honor is similar to the motion picture academy's best picture prize, and the winner is considered a near shoo-in for Oscar gold. The 1,500-member Producers Guild has correctly predicted the best picture Oscar winner 10 out
of the last 13 years.
A Beautiful Mind, Lord of the Rings and Moulin Rouge are
nominated for both the PGA award and best picture Oscar. But the guild opted for box office hits Shrek and Harry Potter for its other two slots,
while the Academy chose the indie critic faves In the Bedroom and Gosford Park.
The Producers Guild will also hand out awards in three television categories, with such shows as The West Wing and The Sopranos among those in the running.
The teams behind CSI: Crime Scene Investigation, Law & Order, Six Feet Under, The Sopranos and The West Wing are nominated for the Norman Felton Producer of the Year Award in episodic television-drama.
Contenders for the Danny Thomas Producer of the Year Award in episodic television-comedy are Frasier, Friends, Malcolm in the Middle, Sex and the City and Will & Grace.
The nominated producers of Frasier include the late David Angell, who was aboard one of the hijacked planes that crashed on Sept. 11.
Among the David L. Wolper Producer of the Year Award in longform television nominees are some well-known names--Billy Crystal for HBO's 61*, and Tom Hanks and Steven Spielberg for HBO's Band of Brothers.
Husband-and-wife actors Bradley Whitford of The West Wing and Jane Kaczmarek of Malcolm in the Middle will host the guild's 13th annual ceremony at the Century Plaza Hotel & Spa.
Formed in 1950, the Producers Guild has about 500 active members and 1,000 affiliated members.
Here is the full list of nominees:
Darryl F. Zanuck Theatrical Motion Picture Producer of the Year Award in Motion Pictures
A Beautiful Mind, Brian Grazer and Ron Howard
Harry Potter and the Sorcerer's Stone, David Heyman
Lord of the Rings: Fellowship of the Ring, Barrie M. Osborne, Peter Jackson and Fran Walsh
Moulin Rouge, Martin Brown, Baz Luhrmann and Fred Baron
Shrek, Aron Warner, John H. William and Jeffrey Katzenberg
Norman Felton Producer of the Year in Episodic Television-Drama
CSI Crime Scene Investigation, Jerry Bruckheimer, Ann M. Donahue, Carol Mendelsohn, Anthony Zuiker, Jonathan Littman, Sam Strangis, Danny
Cannon, Cynthia Chvatal and William Petersen
Law & Order, Dick Wolf, Barry Schindel, Jeffrey L. Hayes, Lewis H. Gould and Kati Johnston
Six Feet Under, Alan Ball, Robert Greenblatt, David Janollari and Alan Poul
The Sopranos, David Chase, Brad Grey, Mitchell Burgess, Robin Green, Ilene S. Landress and Terence Winter
The West Wing, John Wells, Aaron Sorkin, Thomas Schlamme, Llewellyn Wells, Christopher Misiano, Alex Graves and Michael Hissrich
Danny Thomas Producer of the Year Award in Episodic Television-Comedy
Frasier, David Angell, Peter Casey, Kelsey Grammer, David Lee, Dan O'Shannon, Mark Reisman and Maggie Blanc
Friends, Kevin S Bright, Marta Kauffman, David Crane, Shana Goldberg-Meehan, Scott Silveri, Andrew Reich, Ted Cohen and Todd Stevens
Malcolm in the Middle, Linwood Boomer and James S. Simons
Sex and the City, Michael Patrick King, Cindy Chupack, John P. Melfi and Sarah Jessica Parker
Will & Grace, James Burrows, Jeff Greenstein, Max Mutchnick, David Kohan and Tim Kaiser
David L. Wolper Producer of the Year Award in Longform Television
61*, Billy Crystal and Ross Greenburg
Anne Frank, Hans Proppe and David R. Kappes
Band of Brothers, Tom Hanks, Steven Spielberg and Tony To
Life With Judy Garland: Me and My Shadows, Craig Zadan, Neil Meron, Robert Allan Ackerman and Lorna Luft
Wit, Cary Brokaw