The sequel to sleeper hit Godzilla Minus One has set a date to rampage into North American theaters. It will arrive on Nov. 6 via distributor GKids. The date follows quickly on the heels of Godzilla owner Toho releasing the feature in Japan on Nov. 3.
As previously revealed, the sequel will be titled Godzilla Minus Zero. No casting details are yet available, but the first movie took place in post-World War II Japan and centered on a Kamikaze pilot Koichi (Ryunokuke Kamiki), who lives in shame after choosing not to die in battle. But he ultimately finds redemption as he helps his nation deal with the monster known as Godzilla.
Godzilla Minus One was one of the surprise success stories of 2023. Made for just $15 million, it grossed $113 million worldwide and took home the Oscar for best visual effects — the first Academy Award for the franchise in its 70-year history. It earned praise from all over Hollywood and counts Steven Spielberg as an avid fan.
It also stands as the highest grossing live-action Japanese film in North American theaters, with the original color version released in December 2023, followed by a black and white version in January 2024.
Filmmaker Takashi Yamazaki, who was among the team that took home the VFX Oscar, returns for the sequel.
“So far from Hollywood, even the possibility of standing on this stage seemed out of reach,” Yamazaki said during his Oscars speech. “The moment we were nominated, we felt like Rocky Balboa welcomed into the ring as equals by our biggest rivals, which was already a miracle. But, here we stand!”
2023’s Godzilla Minus Onehit big with audiences, particularly in the west, where it won an Oscar for its visual effects. We already knew another film was on the way, and now we know what it’ll be called: Godzilla Minus Zero.
Toho revealed the title at Godzilla Fest in Tokyo with a one-minute video featuring a watery background. Recall that Minus One ended with Godzilla blowing his head off in the middle of the ocean, which began to remake itself as it sunk further and futher down. Takashi Yamazaki, who previously wrote and directed that film and handled its VFX, is back and reprising all three roles for the sequel, and drew its logo.
What does the “Minus Zero” mean? That’s currently a mystery; the press release says to “stay tuned for future updates.” At the moment, we don’t know if we’ll be checking back in with Kōichi and Noriko, the leads of Minus One, or spending time with a new cast of characters. But you can expect the film to jump further in the timeline.
We’ll have more on Godzilla Minus Zero as news comes out. Until then, might be a good time to watch Minus One again in its various formats and wherever it’s streaming.
The Haneda Airport in Japan is getting a kaiju-sized new feature in the form of a big-ass Godzilla installation. The King of the Monsters is packing his bags to move into position at Haneda Airport Terminal 3 as part of a partnership between Toho Co., Japan Airport Terminal Co., Ltd., and the Tokyo International Air Terminal Corporation.
In 2024, the legendary icon celebrated his 70th anniversary—and the festivities continue with the “Haneda Godzilla Global Project.” The installation will include a few different immersive elements, including artwork decorating the arrival lobby and a statue of Godzilla from the recent Oscar-winning film Godzilla Minus One, also in the arrivals area.
The chonky dino’s biggest impact, though, will be positioned for the benefit of departing travelers. It’s going to be colossal: the statue will measure approximately 131 feet wide and 20 feet high, according to a press release.
Currently, there are only renderings to tease the massive scale of this Godzilla, which will be on display from December 2025 through December 2026. We love a tourist attraction based on the sheer prominence of Godzilla’s glory. Like yes, Godzilla also has to deal with TSA and baggage claim.
We can’t wait to see it all in person before heading off to zipline into Godzilla’s mouth at the Nijigen no Mori Park on Awaji Island—or checking out the new attraction, Godzilla the Ride: Great Clash (directed by Minus One filmmaker Takashi Yamazaki), at Seibuen Amusement Park in Tokorozawa.
During awards season, the hottest fashion statement came from Takashi Yamazaki and the Godzilla Minus One team, who took every opportunity they could, even during the Oscars’ red carpet, to show off amazing custom shoes with Godzilla-claw heels. Well good news: now you can emulate being a history-making Oscar winner in one very specific way, if you’re willing to part with $725.
Toho announced today that the ha | za | ma heeled dress shoes, designed by Ryosuke Matsui, will be available for the first time in the West through the official Godzilla store: both in the men’s design, modeled by Yamazaki himself, and in a women’s heel, inspired by the design worn by visual effects director Kiyoko Shibuya at the 2024 Oscars. The shoes aren’t exact matches of the ones worn by the Minus One team: they have gold detailing and claws, meant to reflect the film’s Oscars victory.
They are, however, still incredibly killer looking shoes, and as such they have a killer price tag: the men’s dress shoes will set you back $725, while the women’s pumps will cost $650. The price to pay for Oscar-worthy kaiju fashion!
Both of the shoes are up for pre-order now until August 29, ahead of an expected ship date in May 2025. Run, don’t walk: save the walking for when you’ve got fancy-heeled shoes to show off.
Fans of Godzilla Minus One, it took longer than usual but we have fantastic news. The Oscar-winning monster movie is finally available to pre-order as a region-free physical disc that includes English subtitles, a feature missing from an earlier version.
The disc is available on Godzilla.com and comes with a 4K, a Blu-ray, special features, and so much more. You can read the full description at the site but for now, let’s just marvel at a few of the images.
Godzilla Minus One 4K and Blu-ray – Toho
Godzilla Minus One 4K and Blu-ray – Toho
Godzilla Minus One 4K and Blu-ray – Toho
Godzilla Minus One 4K and Blu-ray – Toho
There’s no specific release date yet but it’s expected to ship in September. Basically, this is the exact same release that was available in Japan earlier this year, but now includes English subtitles and menus.
After Godzilla Minus One broke all sorts of box office records in the U.S., and won the Oscar for Best Visual Effects, a few months passed where it was impossible to see the film anywhere, legally. Eventually, Netflix fixed that and put it on its service but collectors out there have been clamoring for an edition to hold in their hands. Now they have it. Again, here’s the preorder link.
Here at io9, we love Godzilla Minus One. We also love very cool art. And we especially love very cool Godzilla Minus One art. So it’s a good job Toho is getting ready to release some of the film’s most glorious official posters for us to plaster our walls with—and we’ve got your first look.
io9 can exclusively reveal four new Godzilla Minus One posters coming this Thursday, June 20, to the U.S. Godzilla store—bringing familiar art with a new twist, and home access to some of the swankiest official posters dropped during the film’s titanic run at the box office.
The new drop includes four releases: the “Destruction” poster, depicting Godzilla looking over the ruins of Ginza, in a lenticular format created with the poster experts at Bottleneck Gallery; the U.S. and Japanese theatrical posters for the film’s black-and-white re-release as Minus One/Minus Color; and the “For Your Consideration” poster used as part of Minus One’s successful Oscar nomination campaign earlier this year.
All four posters will be available exclusively through the U.S. Godzilla store starting at 12 p.m. PT tomorrow, June 20—click through to take a look and get more details!
When the Monsterverse versions of Godzilla and King Kong crossed over in 2021’s Godzilla vs. Kong, it was inevitable that the two beasts would link up again. Surprisingly, that ended up being the immediate next movie in Godzilla x Kong: The New Empire(which doesn’t sound how it’s titled), which sets the two up as allies instead of two dudes beating the crap out of each other. And how does it stack up as the fifth entry in the series?
Rebecca Hall on Filming Godzilla x Kong: The New Empire
Like Godzilla: King of the Monsters before it, New Empire has a mixed reception in the critical circles. As with earlier movies, the human cast aren’t much to write home about, and so much of this is just a lot of setup for the monster fights. But as always, the two Titans are really impressive, both visually and in terms of the sheer spectacle of. It also helps that, as director Adam Wingard’s previously talked about, much of the movie focuses on Kong and Godzilla having wordless, human-free arcs of their own for several stretches of time.
Audiences seem to be more onboard with Empire than critics. At time of writing, it’s made $80 million in the US, significantly higher than its initial $45-55 million projections. With $194 million worldwide (at time of writing), it’s helped the franchise cross $2 billion at the box office and is said to be the fifth-biggest Easter opening ever. Folks have really taken a shine to this series, and it probably doesn’t hurt that Godzilla Minus One sparked some interest in the radioactive lizard from anyone previously uninterested.
For this weekend’s Open Channel, we want to know what you thought about New Empire. How’s it stack up to the earlier movies, and what do you want out of the MonsterVerse next? Let us know in the comments below.
Japan’s box office climbed 4 percent to a post-pandemic high of $1.5 billion (221.5 billion yen) in 2023, driven again by a strong slate of anime and a steady return to theaters. Hollywood films maintained the same market share of around 31 percent as the previous year, though a very weak yen reduced earnings in dollar terms.
The Japanese currency falling toward the 150-mark against the greenback means that when converted, the annual box office fell from last year’s $1.64 billion even though takings in yen climbed from 213 billion yen. Imported fare (676 films) took a total of $452 million, versus $995 million for 555 domestic productions.
The figures were announced in Tokyo on Tuesday by the Motion Picture Producers Association of Japan, locally referred to as Eiren.
Topping the 2023 box office rankings was The First Slam Dunk, an anime from Toei based on a hit basketball manga with $107 million, followed by The Super Mario Bros. Movie ($95 million), and the latest anime in the Detective Conan series ($94 million). Those three titles were the only ones to surpass the locally significant 10 billion yen ($68 million) domestic blockbuster benchmark in 2023, though overall takings were second only to the all-time high of $1.77 billion (261 billion yen) in 2019.
Hayao Miyazaki’s The Boy and the Heron was in fourth spot, taking $58 million. Mission: Impossible – Dead Reckoning Part One with $37 million was the only other Hollywood movie to make the top 10.
Total admissions were up 2 percent to 155.5 million, with the number of screens up slightly to 3,653.
The unexpected success of Godzilla Minus One in the American market was a hot topic at the announcement event, sparking multiple questions from the local media.
Hiroyasu Matsuoka, CEO of Toho, the studio behind Japan’s most famous monster, said the film had helped group theatrical earnings top 100 billion yen ($680 million) for the first time. Toho also distributes Studio Ghibli films and the Conan series.
“Godzilla Minus One has taken more than $55 million in the United States. It recently became third highest-grossing non-English language film in the US market, overtaking Oscar-winner Parasite and setting multiple records such as the biggest opening weekend for a foreign film,” said Matsuoka. “This has given us great confidence in the potential for our films and IP.”
Asked about the reasons for its success, he added, “We really didn’t think it would be such a big hit, to be honest. As well the high levels of recognition for the Godzilla name, it benefited from less competition on release due to the strike in Hollywood.”
“And the rise of streaming platforms has helped make global audiences more receptive to reading subtitles and watching non-English content,” suggested Matsuoka.
Fumio Yoshimura, CEO of TOEI, also spoke about the strength of anime and his company’s plans to target further expansion in the global market leveraging IP such as its Power Rangers and samurai films.
The world is a hellhole, so that usually means that horror is in a golden period. You can quantify the success of the horror genre in a variety of ways in 2023.
This year brought all sorts of questionably sticky treats to choose from. Softcore naughtiness and Lovecraftian horror? You got it! Alien invaders? They’re here! Killer dolls? Killing it.
So — let’s take a spooky trip down memory lane and look back at the best horror of 2023.
Suitable Flesh (Joe Lynch)
It’s no mean feat to try and capture the spirit of the legendary Stuart Gordon, who brought us Lovecraft adaptations such as Re-Animator and From Beyond. Joe Lynch manages just that whilst retaining his own style.
Suitable Flesh is down and dirty in the world of Lovecraft, with Heather Graham showing a natural affinity to the horror genre alongside stalwarts such as Barbara Crampton, and promising young things like Judah Lewis.
Horny body-swapping madness slathered in a deliciously skeezy 90s erotic thriller coating.
Huesera: The Bone Woman (Michelle Garza Cervera)
I can’t deny I roll my eyes when I see a horror movie doing the ”everyone thinks that I’m going crazy because of this supernatural entity haunting me” trope, but that’s mainly because there are, so many terrible examples of it. The top tier stuff just makes it more aggravating.
Huesera: The Bone Woman is one of those top-tier examples of it being done right. A woman’s pregnancy is seemingly haunted by an entity that terrorizes and manipulates her even after the child is born. Of course, it appears to the outside world that she is suffering from the realities of motherhood. Cervera ensures there’s reasonable doubt about the truth and isn’t afraid to dig under the skin of her protagonist and unnerve many a parent in the process.
No One Will Save You (Brian Duffield)
After being surprised by Brian Duffield’s superb splat-tastic romance movie Spontaneous, I was excited to read his next film, which was an alien invasion thriller with a home invasion spin. But No One Will Save You still managed to pull the rug out from under me with its tight and tense action.
Despite a wordless performance, Kaitlyn Dever commands the screen as a traumatized and isolated young woman battling against alien invaders that start out in a traditional grey bipedal form before chucking in some interesting new ones as the battle for survival goes on.
Saw X (Kevin Greutert)
Jigsaw and Spiral: From the Book of Saw were supposed to reinvigorate the Saw franchise by taking it further from the influence of Tobin Bell’s John Kramer. Instead, it falls to Bell to put the jumper cables to the series’ flesh with a prequel that goes back to the heady heights of those early days.
Saw X is a worthy new entry because it puts much more focus on character, fleshing out Jigsaw’s reasoning for his brutal justice with a more personal edge against a seemingly worthy adversary.
It’s like the villain version of Spider-Man 2, where there’s a glimmer of a life that could be for John Kramer before the world reminds him why it needs him (well, at least that’s how he sees it!)
Hell House LLC Origins: The Carmichael Manor (Stephen Cognetti)
Now and then, a found-footage horror movie comes along and reminds me why I fell in love with the sub-genre. I genuinely did not believe the fourth entry in the Hell House LLC series would be one of them, but here we are.
Hell House LLC: The Carmichael Manor takes the action away from the Abbadon Hotel of previous films, which does refresh the formula to some degree, but really its greatest quality comes from taking things back to basics in building unease and dread.
M3GAN (Gerard Johnstone)
Chucky has the cynical, blood-splattered killer doll thing down to a tee, and Annabelle has the supernatural entity schtick going. So, where does M3GAN sit? It’s a rather bloodless film, with a checklist of overcooked modern tropes in its execution, but it’s on this list, so why?
Because it’s a really fun time and is fully aware of its limitations. M3GAN itself may feel like a cynical attempt to create a new horror icon, but it has worked because, visually speaking, she lives on the precipice of the uncanny valley that makes that effect so unsettling.
When Evil Lurks (Demián Rugna)
Demonic possession done differently. Rugna’s When Evil Lurks is a nasty piece of work that floods the screen with apocalyptic despair as it treats demons like a multipurpose disease, polluting the soil and the soul in equal measure.
When Evil Lurks doesn’t shy away from showing the devastating consequences of causing a deadly outbreak, nothing is off the table, and the demon may never be seen in physical form, but its malicious and manipulative intent is always on show.
Birth/Rebirth (Laura Moss)
There have been plenty of takes on the Frankenstein story, and Laura Moss achieves the admirable feat of recreating the gothic horror of the source material whilst feeling incredibly fresh in its modern womanhood-centered spin.
Marin Ireland is superbly cold, clinical, and antisocial as Dr. Rose Casper, a modern Dr. Frankenstein type, and Judy Reyes as nurse Celie Morales brings tragic obsession to the party as the unlikely pair team up to handle the reanimated body of a young girl.
Birth/Rebirth surprises with dark humor, heartbreaking tragedy, and abhorrent behavior as Rose and Celie push way beyond moral boundaries.
Godzilla: Minus One (Takashi Yamazaki)
While 2016’s Shin Godzilla made the radioactive lizard an abomination (in a good way!), it’s been quite some time since we got a pure angry creature from the sea Godzilla.
Enter Godzilla Minus One. Essentially another reboot of the Godzilla origin, but taking it back to before the gargantuan monster first waded from the ocean. Post-war Japan is in tatters in a variety of ways, and just as life is starting to return to some kind of normalcy when the mutated local legend Godzilla takes personal offence to people living in what it considers its territory.
And so Godzilla is a destructive force once more. Not friend to man, just generally annoyed man is in the way.
Infinity Pool (Brandon Cronenberg)
Brandon Cronenberg is really growing into his own skin (which feels like an apt description) and forging his own weirdo path as a director. He follows up surreal and violent bodyjacking in Possessor with a very different kind of body abuse in Infinity Pool.
There was no way a tale of two young couples meeting at a swanky resort was going to end well in a film that features a Cronenberg in the director’s chair, but yeah…Infinity Pool is a bit sadistic.
It’s helped on its way by two very different performances. Alexander Skarsgard exudes naivety and obliviousness in equal measure, while Mia Goth is menacingly manipulative and just a bit batshit.
Enys Men (Mark Jenkin)
Mark Jenkin’s Bait made for a striking audiovisual experiment, utilizing supposedly outdated and niche equipment to create an unsettling and intense tale of tensions in a cornish fishing village. It was abrasive and artful. Jenkin reteamed with many of that film’s cast to create Enys Men, an actual horror movie that doubled down on those qualities.
Enys Men is a low-fi folk horror that tells the story of a wildlife volunteer (Mary Woodvine) isolated on an uninhabited island off the British coast. Her secluded life appears to unravel in a strange dreamlike fashion.
It’s a film that I hadn’t even finished and knew would be the subject of divisive reviews. Enys Men is as experimental a horror film as you can get in the modern day. That comes the same year as the equally divisive and evasive Skinamarink gives some hope that horror can still be as strange, complex, experimental, and against the grain as this.
Brooklyn 45 (Ted Geoghan)
Being a chamber piece horror set in the aftermath of World War II means Brooklyn 45 could be accused of being little more than a fancy stage play being called a movie. However, its theatrical nature is what enhances it as an unorthodox ghost story.
A group of wartime pals, all of whom have personal grief and trauma from their time at war, reunite on a chilly December night in 1945 to support one of their number after the death of his wife. A cozy reunion becomes something more supernatural as the group’s dirty laundry is laid bare by literal ghosts of their past.
Brooklyn 45 features just the seven cast members, but all get to make an impact in a punchy, twisty-turny 90 minutes.
Evil Dead Rise (Lee Cronin)
Ten years had passed with an Evil Dead movie, and folks had started to come around to Fede Alvarez’s gore-soaked 2013 edition. So naturally, that vibe is what Sam Raimi brought back with director Lee Cronin taking the Deadite action to the city in Evil Dead Rise.
While it’s a bit disappointing just have a whole apartment block infested with Deadites, the fairly contained blood-splattered adventure we get does feel like a transference of the traditional Evil Dead setup. It largely works because of Alyssa Sutherland’s unhinged demonic performance.
Talk to Me (Danny & Michael Phillipou)
Arguably the breakout horror hit of the year. The Phillipou brothers’ fresh take on possession, curse movies, and general teenage tomfoolery is a fine example that old ideas can be refreshed in horror when done right.
The film’s mean streak propels it into unsettling territory, and the interpersonal drama that gets wrapped up in a possession gone wrong adds to the impact of their consequences.
Dark Harvest (David Slade)
I’m still not exactly sure how I feel about David Slade’s Dark Harvest. It has a really strange tone, feels like it was smushed together from several different interpretations, and it’s genuinely difficult to tell if some performances are meant to be bad as they appear.
And yet Dark Harvest’s story of small-town boys competing to beat the literal stuffing out of a supernatural scarecrow is dark, funny, and just the right kind of chaotic to make it stick in the mind. I genuinely would not be surprised to see this become a cult favorite of sorts in years to come.
The distributor Toho International said it’s been adding screens this week due to marketplace demand. It will be playing the film by Takashi Yamazaki in 2,540 locations (up from 2,308).
Godzilla Minus One made over $11.4 million at its North America opening, beating Godzilla 2000: Millennium ($10 million) and current title-holder The Adventures of Milo & Otis (a comedy adventure featuring an orange tabby cat named Milo and a pug Otis), which grossed $14.1 million in 1989 and a 1990 re-release.
Godzilla Minus Zero is certified fresh on Rotten Tomatoes at 97% with critics (read Deadline’s review here) and 98% with audiences.
The biggest foreign opening this year was Demon Slayer: Kimetsu No Yaiba, which opened to $10.1 million in March.
Yamazaki also wrote the screenplay and served as director of VFX. “I am happy that Godzilla, of all characters, has eclipsed a record that had not been broken for a long time. Looking back, I think that the cast and crew were all working on the film with the same goal in mind: to make something entertaining! That is what led to such a wonderful result. I will always remember this,” he said in a statement provided by Toho.
“Toho’s iconic movie monster Godzilla remains a screen idol some 70 years after first appearing in theaters,” said Comscore’s Paul Degarabedian. “This exciting and original take on the Godzilla mythology has captivated audiences and critics alike with its impressive VFX imagery, bold filmmaking style and the box office result reflects the enthusiastic moviegoer response to the film.”
This weekend, I had the pleasure of catching Godzilla: Minus One on IMAX. In many respects, the modestly priced monster feature put many of Hollywood’s productions to shame. How did Minus One only cost $15M to produce, while Indiana Jones and the Dial of Destiny cost over $300M? Something doesn’t add up.
More importantly, I walked away from Minus One with a conclusion: Godzilla works best as a bad guy.
No, the lumbering lizard shouldn’t always be the baddie. Still, my favorite interpretations of the character—the 1954 original, Godzilla 1985, Shin Godzilla, and Minus One—present the creature as a lumbering, unstoppable force of mass destruction.
I recall seeing the first trailers for Gareth Edwards’ Godzilla, which led us to believe the pic would center around humanity’s battle against the iconic kaiju. Of course, that was a cheap marketing tactic that hid its main antagonists and promised something far darker and sinister than the film we received. While I’ve come around to the flick in the years since its release—and likewise enjoyed its two sequels and the Monarch TV series—I think Edwards and Co. missed a tremendous opportunity to tell a powerful tale of man versus beast in the same vein as Minus One.
Now, Edwards’ Godzilla has transformed into a superhero who teams up with other monsters to battle bad guys like King Ghidorah and whatever that giant monkey is in Godzilla x Kong. Again, there’s room for this version of our favorite fire-breathing lizard, but it doesn’t hit as hard when clad in neon colors, sprinting (!) alongside the mighty Kong and functioning as an out-and-out good guy.
For comparison’s sake, check out this astonishing Jaws-inspired sequence from Godzilla: Minus One, which is far more intense and inspired than anything in that Godzilla x Kong trailer:
Even check out this clip from Shin Godzilla, another take on the bad Godzilla angle:
I guess it all depends on how you perceive Godzilla: monster or a savior? A friend or foe? A nuclear bomb allegory or a giant Avenger? Neither is wrong, but I think Godzilla is more memorable knocking down skyscrapers and blasting Tokyo with his atomic breath.
Forming a human drama around a villainous Godzilla works better since the filmmakers don’t have to focus on creating a plausible scenario to pit two titans against each other. In Minus One, the story centers around a disgraced WWII kamikaze pilot who happens upon a woman and a baby stranded in the streets after the war. Godzilla acts as a ginormous plot device, propelling the story from Point A to Point B. The human element — not the giant CGI lizard — provides the film’s emotional backbone.
In the movie Godzilla vs. Kong, the focus is more on the Titans than the human characters. While the destruction scenes are impressive, and the computer-generated effects are stunning, the story lacks depth. As a result, the movie feels like a video game, with flashy visuals and action scenes that try to make up for the lack of substance in the plot.
Again, films like Godzilla x Kong are goofy and campy fun, particularly in the middle of summer. I’m eager to see what director Adam Wingard has up his sleeve. Still, as Minus One proves, evil Godzilla provides more creative directions for filmmakers to tackle. Legendary would do well to remember that when it eventually reboots the franchise.
With Godzilla Minus One hitting Japan early, fans across the globe are looking for spoilers from the movie. Here’s all we know about the movie from the trailers and other rumors so far.
What are the Godzilla Minus One spoilers?
Separate from all past entries
Even though the latest Toho Godzilla movie is the 33rd entry for the character, it is separate from all Godzilla entries of the past. The movie is set in a new continuity and could span a new cinematic universe if it turns out to be successful.
Official Synopsis
The official description suggests that “after the war, Japan’s economic state has been reduced to zero. Godzilla appears and plunges the country into a negative state.”
The monster wreaks havoc across the country and makes its situation even worse.
Godzilla isn’t a savior
As the trailers, synopsis, and rumors suggest, Godzilla does not come in as a savior. This is a mutated version of the character who is rumored to be woken up by an atomic bomb. He is angry and comes to Japan to cause total annihilation. He isn’t the protector we’ve known him to be in the recent MonsterVerse movies of Hollywood.
Godzilla uses his atomic breath
Something that’s pretty clear in the trailers is that Godzilla will be seen using his atomic breath toward the final act of the film. He won’t be holding any punches.
The Two Godzillas Rumor
A common rumor being spread around on social media and forums is that there will be two Godzillas in the film. One would be the aforementioned angry Godzilla mutated by an atomic bomb, while the other would be a more natural Godzilla who shows up to stop the mutated version. However, this piece of information needs to be taken with a grain of salt as it doesn’t come from any official source.
The cast of Godzilla
Godzilla Minus One features a stellar Japanese cast, including Ryunosuke Kamiki as Koichi Shikishima and Yuki Yamada as Shiro Mizushima. Others involved are Munetaka Aoki as Sosaku Tachibana, Minami Hamabe as Noriko Oishi, Sakura Ando as Sumiko Ota, Hidetaka Yoshioka as Kenji Nada, and Kuranosuke Sasaki as Yoji Akitsu.
Godzilla Minus One opens in Japan on November 3, 2023. It will be released on December 1, 2023, in the U.S.
The latest trailer for Godzilla Minus One dropped on Friday morning, and in the clip, we get a closer look at the awesome scale of the iconic kaiju that’s wreaking havoc in post-war Japan.
The 37th installment in Toho’s long-running monster franchise, the film, which was the closing film at the Tokyo International Film Festival, is a period piece and shows Godzilla appearing as Japan struggles to recover after WW2.
Godzilla Minus One is written and directed by noted CG animator and VFX artist Takashi Yamazaki (Lupin III: The First, The Great War of Archimedes). The film stars Ryunosuke Kamiki, Minami Hamabe, Yuki Yamada, Munetaka Aoki, Hidetaka Yoshioka, Sakura Ando, and Kuranosuke Sasaki.
The film is Yamazaki’s third on-screen depiction of Godzilla, following his previous use of the character with CG imagery in Always: Sunset on Third Street 2 (2007) and Seibu-en’s Godzilla the Ride (2021).
Toho International will release the film in North America in November, with Anime Ltd releasing the film in the U.K. and Ireland.
