“Godzilla Minus One” was a lightning-in-a-bottle phenomenon: For less than $15 million, Takashi Yamazaki crafted an intense, immersive, impassioned Godzilla film that stood out as one of the very best films of 2023. Standing strong with a whopping 99% on Rotten Tomatoes after over 200 reviews, “Godzilla Minus One” had a level of prestige and acclaim that hearkens back to the glory days of the franchise. Somehow, lightning struck twice for Yamazaki, as “Godzilla Minus Zero” is nearly as acclaimed as the original film. In this bombastic sequel, the scale is upped significantly without losing the fundamental heart that made the first film so beloved. The action sequences have more… variables… at play, and you’re able to feel every bit of destruction and carnage. The details are stunning here, with a close-up on Godzilla’s face that prominently features his eyes being particularly striking. From a purely visual standpoint, the film is a clear elevation from the first.
“Godzilla Minus One” made history as the first Godzilla film to be nominated for and win an Oscar following its triumph in the Best Visual Effects category. In a category stacked with Hollywood blockbusters, the artistry present in this lower-budget Japanese film prevailed. “Godzilla Minus One” sticks out like a sore thumb in the past five years of Oscar winners: “Dune,” “Avatar: The Way of Water,” “Dune: Part Two,” and “Avatar: Fire and Ash” are the other recent champions in the category. Would it have lost had it faced off against an “Avatar” or “Dune” film? This year, that question will be put to the test, as “Godzilla Minus Zero” and “Dune: Part Three” will vie for the visual effects Oscar.
While “Godzilla Minus Zero” may be even flashier than its predecessor in terms of what visual effects sequences it is able to pull off, it faces much fiercer competition. The main rival of “Godzilla Minus One” was “The Creator,” which boasted breathtaking CGI and snore-inducing storytelling. In comparison, Yamazaki’s film was a passion pick; despite not winning any major precursors and being outright snubbed at the BAFTAs, the narrative of a phenomenal film with a far smaller budget than its competition snatching the win proved too enticing to pass up. But in “Dune: Part Three,” “Godzilla Minus Zero” will face a likely best picture nominee with much broader technical and industry appeal.
What helps is that “Godzilla Minus Zero” will likely have more “obvious” visual effects incorporated than “Dune: Part Three.” The “Dune” films are fantastic and have deservingly won Best Visual Effects for each installment, but it is not immediately clear where their production design ends and their CGI begins. In comparison, you can look at Godzilla in this film and immediately grasp that he has been brought to life solely through the use of visual effects.
What would strengthen “Godzilla Minus Zero‘s” case for the win further, however, are nominations in other below-the-line categories. From its piercing score that raises the stakes in every scene it is featured in to its sound work that allows you to feel every move Godzilla makes in your bones to its haunting makeup in one particularly earth-shattering sequence, there are a plethora of places you could deservingly mention this film. Even its lead actor Ryûnosuke Kamiki merits applause for how thoroughly he conveyed his character’s complex arc in this film and how heart-wrenchingly he portrayed that anguish and desperation.
Will the film actually receive any nominations outside of visual effects? Considering the uphill battle the first film faced to land that nomination alone, that seems a bit doubtful. However, if there is any branch that could give some love to “Godzilla Minus Zero,” it is makeup and hairstyling. That branch has a history of recognizing international films in the shortlists and even at the Oscars, with “The Ugly Stepsister” and “Kokuho” both being welcome surprises on nominations morning this past year. While the makeup and hairstyling work may not be flashy throughout, it is unforgettable in one of the film’s very best sequences.
If you want to make the argument for a “Godzilla Minus Zero” visual effects Oscar win, the best comparison is “Ex Machina” triumphing over tech sweeper and best picture nominee “Mad Max: Fury Road.” Granted, “Ex Machina” was also nominated in Best Original Screenplay, indicating a level of respect for the film even if it failed to land a best picture nomination. But the argument for the win was somewhat similar: “Ex Machina” had a significantly lower budget than “Mad Max: Fury Road” and was able to achieve seamless visual effects nonetheless, while much of “Mad Max: Fury Road’s” impressive feats were accomplished with a blend of practical work and CGI. “Ex Machina” did not win any major precursors for visual effects, but it emerged unexpectedly as the champion of the category through sheer passion.
Perhaps it is foolish to overthink the Best Visual Effects Oscar race, as it seems unlikely that a “Dune” film will finally lose for what seems to be the biggest spectacle of the trilogy. However, there nonetheless remains a clear path for “Godzilla Minus Zero” to repeat the miracle of its predecessor.
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