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Why 'Shin Godzilla' Remains the Scariest Godzilla to Date
The 2014 Godzilla remake pays homage to the original 1954 Japanese film while also incorporating the themes of later versions, particularly the considerations of the repercussions of nuclear weapons and whether or not the titular monster is actually a savior for humankind. Make no mistake, the new Hollywood incarnation of Godzilla is a walking natural disaster, but this interpretation of the iconic kaiju has no ill intent towards humans.
As that version continues with Godzilla: King of the Monsters, a sequel promising even more ferocious battles between a variety of giant creatures, including Mothra, Rodan, and King Ghidorah, we can’t forget about Hideaki Anno and Shinji Higuchi‘s Shin Godzilla (aka Godzilla: Resurgence). The 31st entry in the Japanese Godzilla series produced by Toho Pictures was released in 2016, between the two American installments, in 2016. And it offers something far more sinister.
Dread, devastation, and utter hopelessness are merely a few words that can be used to describe the horror that is Shin Godzilla, a creature with one purpose: humanity’s annihilation. Negotiations are out of the question with this behemoth. And don’t bother trying to subdue him to your will. Shin Godzilla reigns a devastating inferno on everything standing in his way.
Hollywood’s Godzilla is more of a neutral threat to the human race focused on battling other kaiju, allowing humans to begin to worship the king of the monsters as a protector against other creatures intent on destroying humanity. Shin Godzilla rejects all of this. Like the 1954 Godzilla, the film focuses on the titular kaiju’s rampage across Japan after being agitated by nuclear radiation.
Godzilla, Gareth Edwards and King of the Monsters helmer Michael Dougherty, have a grounded filmography compared to the directors of Shin Godzilla. Edwards’ work before Godzilla includes 2010’s Monsters, an indie sci-fi horror film, while Dougherty previously made Trick ‘r Treat and Krampus, horror films with modest budgets and straightforward narratives.
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