Did you know you could make a Godzilla movie, maybe the best one at that, for $15 million dollars (or 3 minutes of Chris Pratt in “End Game”, if you’d prefer numeraire)? This film, in which Godzilla is basically the demon baby of Jason Voorhees and the shark from Jaws, deftly explores concepts of guilt, shame, redemption, forgiveness, and family. I cried at the end. I repeat, I cried at the end of a Godzilla movie.
In the last month I’ve watched a Godzilla movie that is specifically constructed to recreate the feeling of a 1950s monster movie, a flawed but admirable attempt to make a modern Charlie Chaplin movie (Fool’s Paradise), and a watchable if uneven and wholly debauched variation on “Singin’ in the Rain” (Babylon). I don’t think this is a coincidence. I think this is a response to VFX and super hero (not comic book) movie fatigue. One way to do that is to go backwards, not in subject matter or setting necessarily, but in story composition and construct. The performances in all three films felt more stage than screen. Texture was emphasized over shock and awe. Emotional crescendos felt more earned than manipulated. I’m not saying these three films are perfect or even necessarily good. What I’m saying is that they felt like a return to older form of film as a medium.
For the last 15 years we’ve had a lot of “remakes” that attempted to modernize old films. Don’t be surprised if we see the inverse going forward: new, original stories filmed in a manner that feels older. “The Thing” but it’s a sea alien on an oil platform, everything wet and on fire. “All the Presidents Men” but it’s a coverup in local Iowa government, with scratchy sunken sofas and life-changing smoke breaks. “Working Girl” but it’s Zendaya and Scarlett Johannsen in a fully modern context, where a misread text subverts an expected plot turn on a broken iPhone screen. Not for a love of classic cinema mind you, or even art, but because making 10 to 1 on winners and losing next to nothing on flops is a business proposition more than a few studios are likely to find enticing.
Go see “Godzilla Minus One”.
Economist Writing Every Day 