---
title: "Godzilla"
year: 2014
kind: "film"
canonical: "https://film.one/film/godzilla-2014"
fi1m_id: "godzilla-2014"
imdb_id: "tt0831387"
tmdb_id: 124905
wikidata_id: "Q7731172"
fi1m_score: 68
critics_score: 64
critics_reviews: 25
published: "2026-09-28T21:27:12.576165+00:00"
updated: "2026-09-28T21:27:12.920145+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Godzilla (2014)

Directed by Gareth Edwards · 2h 03m · MPA PG-13 · Action, Drama, Science Fiction

## Identity

Godzilla

- **Canonical:** https://film.one/film/godzilla-2014
- **Type:** Film
- **Fi1m ID:** godzilla-2014
- **IMDb ID:** tt0831387
- **TMDB ID:** 124905
- **Wikidata ID:** Q7731172
- **Same entity:** https://www.imdb.com/title/tt0831387/, https://www.themoviedb.org/movie/124905, https://www.wikidata.org/wiki/Q7731172

**Fi1m score: 68** · Critics 64 from 25 reviews

*In a sentence:* Two hours of a film cutting away from its own monster, and a last half hour explaining why it was right to

> Gareth Edwards keeps his monster in the fog for most of two hours, and a night-time battle over San Francisco repays the wait. The people in the foreground are another matter: Cranston is used too briefly, Taylor-Johnson barely at all.

## Synopsis

In 1999, Joe Brody (Bryan Cranston) runs a nuclear plant on the Japanese coast with his wife Sandra (Juliette Binoche). Tremors arrive that nobody can explain, the plant collapses and the town is sealed off. Fifteen years later their son Ford (Aaron Taylor-Johnson), a Navy bomb-disposal officer, has come home to his wife Elle (Elizabeth Olsen) in San Francisco when he is called to Japan to bail his father out of jail. Joe was arrested inside the quarantine zone, certain the collapse was no accident. Father and son go back in, find a town frozen in 1999, and are taken to the ruined plant, where Dr Serizawa (Ken Watanabe) and Dr Vivienne Graham (Sally Hawkins) have been watching something the size of a building grow inside a cocoon.

## Review

Gareth Edwards made [*Monsters*](https://film.one/film/monsters) (2010) by keeping his creatures at the edge of the frame and pointing the camera at the people looking at them. He does the same thing here with the most famous creature in cinema, on a scale his first film could only gesture at. *Godzilla* is a patient film, close to a slow one, and it holds its title character back for most of its 123 minutes. When it lets go, in the last half hour, it is as good as this sort of thing gets. Getting there means spending a lot of time with people that Max Borenstein’s screenplay has not bothered to write.

The opening is the strongest stretch of story the film has. Joe Brody (Bryan Cranston) runs a nuclear plant on the Japanese coast in 1999, tremors arrive that should not be there, and the plant comes down around him. Cranston plays the fifteen years that follow as a man who has not slept properly since, jabbing at charts in a flat papered with cuttings, and he is the only actor here given something to want. The wig he does it under has been much remarked on and deserves to be. Juliette Binoche, as his wife Sandra, has perhaps three scenes and makes them count.

The trouble is who the film hands the story to afterwards. Aaron Taylor-Johnson’s Ford is a Navy bomb-disposal officer, which is a useful thing to be in a film that ends up needing one, and that is the whole of his character. The script moves him from Japan to Hawaii to San Francisco because it needs a face at each stop, and Taylor-Johnson supplies a face. Elizabeth Olsen, as his wife Elle, spends the film in a hospital waiting for a phone to ring. Ken Watanabe’s Serizawa stares at things with his mouth slightly open while Sally Hawkins’s Dr Graham explains them to him, and David Strathairn’s Admiral Stenz gives orders that nobody in the audience believes will work.

The craft is another story. Seamus McGarvey shoots almost everything through something: smoke, rain, the window of a train, the visor of a gas mask, a television screen in a departure lounge. The monsters are lit by flares and lightning and the fires they have started, so we see a flank, a tail, a jaw, and are left to put the rest together. Owen Paterson’s quarantine zone is a town with the 1999 calendars still on the walls and the plant behind it gutted to its ribs. Alexandre Desplat’s score keeps to low brass and drums and leaves the roar to the sound department, which is the right decision.

Bob Ducsay’s editing is the film’s most argued-over choice, and we argued with it ourselves. The first monster fight, at Honolulu airport, is glimpsed on a news report as a hospital door swings shut. We laughed, and then we were annoyed, and then we saw the point: Edwards wants us hungry. It works for two withholdings. By the third we had stopped admiring the restraint and started checking our watch.

Then the soldiers jump. A team drops from an aircraft into black cloud over San Francisco with red flares trailing from their ankles, a Ligeti requiem on the soundtrack, and the city below lit only by what is burning, and we sat forward and did not sit back until the credits. The fight that follows is staged at night in dust and fog, with Godzilla a shape more often than a body, and it earns every one of the shots the film refused us earlier. There is a moment in it that fans of the older films have waited a long time for, and Edwards makes them wait until the last possible second.

Ishirō Honda’s original, in 1954, was about the bomb. This one says the word Hiroshima once and moves on. Edwards’s *Monsters* was a film about two people with a creature behind them; this is a film about a creature with people left in front of it by accident. Most critics have split roughly down the middle, and for once that seems about right.

See it on the largest screen you can find with the sound turned up, because at home the fog is only fog and the man in the foreground is only a man. It carries a 12A, and the certificate is earned by dread rather than blood.

*Fi1m score 68, published 28 September 2026.*

## What the critics say

Most critics come out in favour, though not by much: eleven positive reviews, ten mixed and four negative. The praise gathers around Gareth Edwards’s patience. Reviewers admire the slow build to the monster’s first full appearance, the way people are dwarfed by the creatures and the wreckage, and the scale of the final battle, which several call the film’s best stretch. The creature effects are widely approved of, and Bryan Cranston is picked out more than once.

The reservations are nearly unanimous on one point: the human characters are thin and the story cannot carry the weight put on it. Several critics also feel Godzilla is kept off screen too long and the tone is too solemn. The spread is wide. Little White Lies and The Skinny give full marks; The New Yorker tells readers to skip it. The harshest notices come mostly from the American press, Variety and the Los Angeles Times among them, while British critics are warmer.

## Straight answers

**Is Godzilla worth watching?**

*Godzilla* is worth watching if you can sit through two patient hours for a last half hour that is as good as monster cinema gets, and we scored it 68. The people in the foreground are the problem: Bryan Cranston is used too briefly and Aaron Taylor-Johnson barely at all. See it on the largest screen you can, because at home the fog is only fog.

**How long is Godzilla, and what is it rated?**

*Godzilla* runs 2h 03m and is rated PG-13 by the MPA in the US. It is an action and drama film.

**Where can I watch Godzilla in the US?**

*Godzilla* is streaming on Amazon Prime Video, The Roku Channel and Apple TV in the US, and it is also available to rent from Apple TV and Amazon Prime Video from $4.99. Availability is checked daily; the links above go straight to each service.

**How violent or frightening is Godzilla, and is it suitable for children?**

*Godzilla* carries a 12A, and the certificate is earned by dread rather than blood. The monsters are kept in smoke, rain and darkness, a nuclear plant collapses in the opening scenes, and the film builds tension for a long time before it lets go. Older children and teenagers should be fine; younger or more nervous viewers will find the waiting harder than anything it shows.

**How does Godzilla compare to Godzilla: King of the Monsters?**

*Godzilla* is the tighter and better made of the two, holding its monster back for most of the running time and then paying off the wait in a night battle over San Francisco. [*Godzilla: King of the Monsters*](https://film.one/film/godzilla-king-of-the-monsters) gives its creatures grander entrances, Mothra's especially, but fills the gaps with people in bunkers reading the plot to each other. Choose the earlier film for patience, the later one for spectacle.

**Do you need to have seen the other Godzilla films before Godzilla?**

*Godzilla* stands alone, and nothing else needs to be seen before it. The story begins in 1999 with a nuclear plant on the Japanese coast and explains itself as it goes, with the later films in the series following on from it rather than leading into it. Fans of the older films will spot a moment saved for them near the end, but newcomers lose nothing by missing it.

**What should I watch after Godzilla?**

After *Godzilla*, try [*Godzilla*](https://film.one/film/godzilla) (1954, Fi1m 88): Honda’s original, where the monster is grief for a bombed country and it shows. Then [*Shin Godzilla*](https://film.one/film/shin-godzilla) (2016, Fi1m 74): Japan’s own reboot, half creature feature and half committee meeting, oddly gripping; and [*Jaws*](https://film.one/film/jaws) (1975, Fi1m 93): The lesson in withholding that Edwards learned from, with better people in the boat.

**What order should I watch the Godzilla films in?**

Release order is the safe choice for Godzilla, and it is the order [our collection page](https://film.one/collections/godzilla) lists them in. *Godzilla* is the first of the 4 Godzilla titles on Fi1m; after it [*Godzilla: King of the Monsters*](https://film.one/film/godzilla-king-of-the-monsters). [The full order.](https://film.one/collections/godzilla.md)

### Reviews we read (25)

- **Little White Lies**, Adam Lee Davies (5/5/5): The critic delivers an emphatic rave, calling the film glorious and astonishing. They praise its patient build and awe-inspiring spectacle, while noting Bryan Cranston’s wig as its only flaw. [Read](https://lwlies.com/reviews/godzilla)
- **Evening Standard**, David Sexton (85/100, inferred): Sexton calls it a thumpingly good monster movie and recommends seeing it. He praises its fidelity to the original and Edwards’s effective use of partial, fleeting views. [Read](https://www.standard.co.uk/culture/film/godzilla-film-review-topclass-whacking-and-astounding-collateral-damage-9382166.html)
- **The Guardian**, Mark Kermode (85/100, inferred): Kermode finds the reboot impressive and respectful of Honda’s original, though not as deep. He praises Edwards’s ambition and the film’s tender creature relationships, while noting that supporting characters fade during the destructive third act. [Read](https://www.theguardian.com/film/2014/may/18/godzilla-review-gareth-edwards-reboot-mark-kermode)
- **Film Comment**, Jonathan Romney (75/100, inferred): Romney finds the film to be powerful fun. The standfirst singles out its star-studded take on Godzilla’s story. [Read](https://www.filmcomment.com/review-godzilla/)
- **Slant Magazine**, Chris Cabin (3.5/5): The review praises the film’s bold visual sense of scale and compelling action. It finds the 4K image markedly improved, though the disc’s extras are cursory and largely unneeded. [Read](https://www.slantmagazine.com/dvd/review-gareth-edwards-godzilla-gets-the-theatrical-clarity-it-deserves-on-4k/)
- **Sight and Sound**, Kim Newman (65/100, inferred): Newman finds the film successfully restores Godzilla as the true King of the Monsters, despite its weak human story. He praises the awe-inspiring scenes that dwarf people against the monsters and destruction. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/review-godzilla)
- **RogerEbert.com** (64/100, inferred): The page could not be accessed, so the critic’s verdict and specific praise or complaint cannot be verified. The available page content contains no review text. [Read](https://www.rogerebert.com/reviews/godzilla-2014)
- **The Hollywood Reporter**, Todd McCarthy (62/100, inferred): McCarthy finds the film smart, visually impressive and largely successful, though weighed down by dull human characters and an over-serious tone. He praises the technical craft and suspenseful monster action, while wishing Godzilla appeared more often. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/godzilla-film-review-702528/)
- **Radio Times**, Jamie Healy (3/5): The review finds that Gareth Edwards restores Godzilla’s stature with mood and spectacle, though the film lacks dramatic bite. It praises the opening’s devastating impact and the film’s spectacle. [Read](https://www.radiotimes.com/movie-guide/b-kfep0r/godzilla/)
- **Time Out**, Tom Huddleston (3/5): The page identifies this as a review, but its text is unavailable, so the critic’s verdict cannot be established. The available metadata does not reveal what the critic singled out for praise or complaint. [Read](https://www.timeout.com/movies/godzilla-3)
- **IndieWire**, Sam Adams (55/100, inferred): Adams finds the film’s human characters thin and the story unable to sustain its monster spectacle. He praises Edwards’ use of 3D and visual staging to make Godzilla’s immense size feel tangible. [Read](https://www.indiewire.com/criticism/culture/down-in-front-how-gareth-edwards-godzilla-makes-size-matter-126508/)
- **The Independent**, Laurence Phelan (2 Stars): The critic finds the remake po-faced and ultimately dull despite its impressive destruction. He praises the digitally recreated disaster scenes but complains that human suffering and agency are reduced to background details. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/godzilla-film-review-pofaced-remake-exploits-all-the-fresh-disasters-it-can-think-of-9377993.html)
- **Vulture**, David Edelstein (50/100, inferred): Edelstein finds the film’s finale exhilarating but considers its earlier withholding and upbeat nuclear message flawed. He praises the eerie, Ligeti-scored sequence of soldiers dropping into the besieged city. [Read](https://www.vulture.com/2014/05/movie-review-godzilla.html)
- **Los Angeles Times**, Betsy Sharkey (35/100, inferred): Sharkey finds the film too slow to reveal Godzilla and too light on character development, despite its promising premise. She praises the effects and the beauty of the destruction in the final action sequences. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-godzilla-movie-review-column.html)
- **Variety**, Peter Debruge (35/100, inferred): Debruge finds the reboot disappointing, arguing that its bland human characters take too much attention from Godzilla. He praises the creature effects and the scale of the monster mayhem. [Read](https://variety.com/2014/film/reviews/film-review-godzilla-1201174616/)
- **The New Yorker**, Anthony Lane (20/100, inferred): Lane finds the film bloated and formulaic, ultimately advising readers to skip it. He praises the late battle’s shadowy spectacle and Godzilla’s striking movements at sea. [Read](https://www.newyorker.com/magazine/2014/05/26/big-guy)
- **The Skinny**, Josh Slater-Williams (★★★★★): The critic praises the film as a visually imaginative, masterfully crafted blockbuster. They single out its carefully escalating creature confrontations and awe-inspiring spectacle. [Read](https://www.theskinny.co.uk/film/new-releases/godzilla)
- **HeyUGuys**, Stefan Pape (4/5): Pape calls the reboot a triumph, praising its immersive blockbuster spectacle and naturalistic handling of the story. He singles out Bryan Cranston’s raw emotional performance, while criticizing Aaron Taylor-Johnson as mostly vacant and dispassionate. [Read](https://www.heyuguys.com/godzilla-review/)
- **Den of Geek**, Ryan Lambie (4 out of 5): Lambie finds the film a respectful, gripping tribute and a satisfying reintroduction of Godzilla. He praises the suspenseful build-up and street-level action, while noting that the characterisation is superficial. [Read](https://www.denofgeek.com/movies/godzilla-blu-ray-review/)
- **Collider**, Matt Goldberg (B): Goldberg finds the film an exciting, respectful Godzilla reboot despite its weak plot and underwritten characters. He especially praises Edwards’s patient buildup, which makes Godzilla’s eventual reveal thrilling. [Read](https://collider.com/godzilla-review/)
- **/Film**, Germain Lussier (7.5/10): Lussier finds the film uneven and overlong, but says its thrilling finale more than makes up for a slow start. He praises the human perspective and singles out the suspenseful train-trestle sequence and the climactic monster action. [Read](https://www.slashfilm.com/531686/godzilla-review/)
- **Eye for Film**, Max Crawford (70/100, inferred): Crawford finds the film flawed but ultimately a thrilling, worthwhile Godzilla movie. He especially praises the climactic monster showdown, calling its fights and visuals spectacular. [Read](https://www.eyeforfilm.co.uk/review/godzilla-2014-film-review-by-stuart-crawford)
- **The Playlist** (64/100, inferred): The available page does not reveal the critic’s verdict. It also provides no details about what the critic praised or criticized. [Read](https://theplaylist.net/review-godzilla-starring-aaron-taylor-johnson-bryan-cranston-elizabeth-olsen-20140511/)
- **Digital Spy**, Emma Dibdin (3/5): Dibdin finds the film technically masterful but emotionally hollow, with spectacle compensating for its dourness. She praises the tense, atmospheric action set pieces and the gripping opening act. [Read](https://www.digitalspy.com/movies/a569961/godzilla-review-monster-reboot-delivers-spectacle-but-lacks-heart/)
- **The Wrap**, Alonso Duralde (35/100, inferred): The critic finds the film frustratingly slow, with too little Godzilla to sustain the human-centered story. The monster’s action sequences are praised for hitting the kaiju sweet spot, and the action remains clearly visible. [Read](https://www.thewrap.com/godzilla-review-case-waiting-godzilla/)

## Details

- **Director:** Gareth Edwards
- **Director:** Gareth Edwards
- **Screenplay:** Max Borenstein
- **Story:** David Callaham
- **Cinematography:** Seamus McGarvey
- **Editor:** Bob Ducsay
- **Music:** Alexandre Desplat
- **Production design:** Owen Paterson
- **Costume design:** Sharen Davis
- **Producer:** Brian Rogers, Thomas Tull, Jon Jashni
- **Cast:** Aaron Taylor-Johnson as Ford Brody; Elizabeth Olsen as Elle Brody; Juliette Binoche as Sandra Brody; Bryan Cranston as Joe Brody; Ken Watanabe as Dr. Ishiro Serizawa; Sally Hawkins as Dr. Vivienne Graham; Al Sapienza as Huddleston; David Strathairn as Admiral William Stenz
- **Runtime:** 2h 03m
- **Certificate (MPA):** PG-13
- **Release (the US):** 16 May 2014
- **Genres:** Action, Drama, Science Fiction
- **Part of:** [Godzilla](https://film.one/collections/godzilla.md) · 1 of 4
- **Budget:** $160 million
- **Box office:** $525 million
- **Trailer:** https://www.youtube.com/watch?v=oHKGx1pzczg

## Where to watch in the US

- Amazon Prime Video: add-on
- The Roku Channel: add-on, hd
- Apple TV: add-on, hd
- Apple TV: rent $4.99, hd
- Amazon Prime Video: rent $4.99, uhd
- Amazon Prime Video: buy $14.99, uhd
- Apple TV: buy $14.99, hd

*Checked 2026-09-28.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, GR, HK, HU, ID, IE, IL, IN, IT, JP, KR, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, SE, SG, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *Godzilla* (1954), Fi1m 88: Honda’s original, where the monster is grief for a bombed country and it shows — [Fi1m page](https://film.one/film/godzilla.md)
- *Monsters* (2010): Edwards’s first film, two people and a border, creatures kept politely out of frame
- *The Host* (2006): Bong Joon-ho’s river monster, a family who bicker through it, and real feeling
- *Shin Godzilla* (2016), Fi1m 74: Japan’s own reboot, half creature feature and half committee meeting, oddly gripping — [Fi1m page](https://film.one/film/shin-godzilla.md)
- *Jaws* (1975), Fi1m 93: The lesson in withholding that Edwards learned from, with better people in the boat — [Fi1m page](https://film.one/film/jaws.md)

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/godzilla-2014