A Few August Picks

“Godzilla Minus One” (Netflix 2024) I love this movie! And here’s why:

1. It is rich with subtext: The setting is postwar Tokyo, shortly after U.S. firebombing destroyed nearly 60% of the city, killing over 100,000 people and leaving a million homeless. The protagonist(besides Godzilla) is a kamikaze pilot who not only aborted his mission but failed to shoot Godzilla. The stage is set for an exploration of national guilt, trauma, and grief. Godzilla as it turns out is the result of radiation. In the original 1954 film (“Gojira”) the cause of the horrific mutation is the atomic bombing and the nuclear weapons testing. In this version the radiation cause is a little murkier. Does it now include a reference to the 2011 Fukushima disaster? (Director Yamazaki claims not. But references to government “lies” and ineptitude seem to belie that.
2. Character development and script: Unlike most monster movies, we actually care what happens to the central characters. This is due, in part, to strong acting, dialogue and, yes, sentimentality–but well done.
3. The Monster: The film won the 2024 Oscar for best visual effects. Godzilla is impressive with a certain terrible beauty, rising from the sea, stomping and destroying city buildings, ripping apart people. It’s very Donald Trump in its unwavering path of anger and revenge.
4. Post film discussion: There is so much to talk about. Can a movie be blatantly nationalistic and still be an anti-war piece? One Japanese critic loved the movie but also pointed out that none of the WWII Japanese atrocities are referenced. The critique seems to be limited to incompetence and lack of value of human life on the part of the government during wartime (including failure to build ejection seats for kamikaze pilots). And it depicts the competence of civilian led resistance as opposed to government ineptitude.

“Tuner” (Fandango 2026) Leo Woodall (remember him from White Lotus and Vladmir)? plays a piano tuner afflicted with hyperacusis, a rare hearing disorder that makes everyday sounds a painful torture. Dustin Hoffman has a smallish role in the film where his tendency to overact works well in playing a character who overacts, so Hoffman Haters don’t let that keep you from watching it. I won’t say too much more because part of the tension of the film lies in seeing where it will go. Just trust me that it is really a great film with a terrific cast.

“9 to 5” (Most streaming services, but NOT Netflix 1980) In honor of the fabulous Dolly Parton and still a good laugh. In a weird way it didn’t feel that dated. And what a team–Lily Tomlin, Jane Fonda (who produced it) and Dolly.

“The Odyssey” (Fandango 2026) I didn’t stream this but chose instead to take advantage of the gorgeous Grand Lake theater’s $6 all day on Tuesdays. So glad I didn’t spend more than that. The popcorn was great, but the movie quite meh, very Hollywood in its banal but expensive treatment of what could have been spectacular. If I had the budget he had, I would have made a fabulous over-the-top, campy but true to Homer film. But he didn’t. Instead it reads kinda Cecil B. DeMille, Charleton Hestonesque. Granted 21st Century technology contributed to some great special effects , my favorite being Cyclops who was terrific and should get an academy award. Unlike Charlize Theron as Calypso whose beauty and charisma and sexuality is totally wasted. One critic described her as “some woman who runs a beach bar and is thinking of pivoting to psychotherapy.” Some people think it’s an anti war film. Puhleeze! Toward the end Ulysses makes some gratuitous statement about the futility of violence. And then we are treated to a way too long battle scene in which Ulysses kills all the suitors. Nolan chooses to omit the angry grieving relatives and instead bewilderingly ends with a celebratory exile send off. It’s not a bad movie, but it could have been a great one.

This just in: My friend Marna reminded me that there is a 1954 Ulysses with Kirk Douglas. It’s made in Italy. Interestingly Director Camerini casts the gorgeous and voluptuous Sylvia Mangano as both Circe and Penelope. In mythology and in Homer’s version, Circe is bewitchingly beautiful and seductive. But in Nolan’s version Samantha Morton plays a central casting unattractive witch type. One can only speculate as to why he made that choice. I’m looking forward to watching the Italian American version and will report back my findings.