Few recent films have had as much pre-release hype as Gareth Edwards’ Godzilla , as legions of devoted fans have hungrily devoured each new detail, tease, and marketing release. So, does it deliver? In a word: Yes.

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Godzilla is a great genre film, and in all the ways that count, I loved it. To some degree, the hype-machine may have done a disservice to the project, but rather than fall apart under the weight of 350 foot expectations, Godzilla strikes a remarkably balanced tone. The film blends sequences rich with heartbreak, visceral thrills, fear, surprisingly whimsical humor, better-than-a-cage-match fights, and awe-inspiring visuals.One of the most notable and impressive aspects of Edwards’ Godzilla is the way that it integrates and honors the various incarnations of this monster that have been released over the last 60 years into a brand new, breathtaking beast. It hits upon many of the familiar notes and finds astoundingly clever ways to weave them together so that the story and the film feel all of a piece.The structure and pacing is quite similar to the 1954 original. In fact, the affection and respect that the creators have for the film that birthed Gojira is felt deeply throughout. As in the classic, they hold the titular monster back for quite some time, and while the slow burn may not agree with a modern audiences’ desire for rapid-fire storytelling, once the monster action really gets going it is glorious to behold, with the finale a thing of utter, spectacular beauty. I’ll confess, I would have liked to see more of that action, and Godzilla earlier in the film, but am equally struck by what is in many ways a bold and well-thought-out pacing choice.Legendary Pictures refers to this movie as their Godzilla origin story and indeed it both hearkens back to and makes some significant deviations from the source material. The film cleverly ties the events of the ’54 original into their new version of the monster. It’s a treat for the audience to not only see the King Kaiju so vividly present in the modern world, but also, through archival footage, in the time period in which we were introduced to him. Technological advances have made it possible for him to exist in fresh and innovative surroundings. We see him swim in the ocean, interact with massive aircraft carriers, and stomp his way through locales both familiar and new. The filmmakers also ensure that classic action set pieces – such as the destruction of a crowded train – are present and accounted for.There are some adjustments to the mythology, which we've seen happen repeatedly over the course of Godzilla’s cinematic life (to say nothing of his appearances elsewhere), and both the animal and human behavior occasionally seem to defy logic. Additionally, the Japanese original tapped into a profound and topical geopolitical issue in a truly focused manner. Here, some vague ideas about the politics of nuclear power are alluded to, but only minimally explored. Though Ken Watanabe plays a character that bears the same name as Gojira’s Dr. Serizawa, none of the characters are struggling with a soul-crushing moral dilemma such as whether or not to reveal the Oxygen Destroyer to the world. There is an emotional core, though, and ideas to dig into if you so choose. For his part, Watanabe is wonderful. He has a clear affection for the material and acts as both a breath of fresh air and a grounding force in the story.It has heart and a jaw-dropping start, but ultimately, the human element becomes a bit clunky. A strong arc is established at the open, but the ball is metaphorically dropped at a certain point via an oddly executed and ultimately detrimental plot turn, and it doesn’t pay off as powerfully as it might have otherwise. Bryan Cranston delivers a brilliant, gripping, gut-punching performance. He not just sinks, but tears his teeth into the role. Where he is full of vibrant life and raw, heartbreaking passion, however, Aaron Taylor-Johnson - who carries much of the film – reads as a bit flat.We want to believe that Taylor-Johnson's Ford Brody is a man desperate to save his loved ones and facing an impossible crucible, but the life and death, and potentially world-ending stakes are not reflected in his performance. The movie plays with some big ideas, mostly to do with the love between a husband and a wife, and the connection - or lack thereof - between a father and son, and while they are are effectively executed in moments (profoundly so in some respects) they also work better in theory. Having said that, Cranston and Juliette Binoche share a scene that is evocative, emotionally shattering, and has the potential to make even the most iron-skinned Kaiju-lover tear up. Elizabeth Olsen is undeniably talented and has great presence, but there simply isn’t much for her to do, here.The depiction of the monster and cinematic storytelling is consistently impressive, though. The visual effects are outstanding and Edwards utilizes the tools of cinema with masterful skill. The crux of the emotion is conveyed visually, and the aesthetic is reminiscent of an era and style of filmmaking that is rarely seen in blockbusters today and sorely missed. One could use the term Spielbergian, as the influence of movies like Jaws and Close Encounters is certainly present. Though, Edwards certainly establishes his own tone.I hesitate to use the phrase sight gag, because it undermines just how clever the visual humor is in Godzilla, but there are instances in which entire stories are told in a single shot. Edwards demonstrates extraordinary acumen and control, particularly given that this marks only his second feature directorial outing. The film is peppered with hilarious, cheer-worthy, and occasionally breathtaking moments that leave an indelible imprint on the viewer.Perhaps most importantly, the complex nature of this iconic monster - both savior and destroyer - is gorgeously realized. Edwards is able to integrate the various iterations of Godzilla’s personality into one cohesive whole – which is more than a little bit remarkable - and the technology allows us to see him in ways that we never have before.As the hours and days passed following the final roll of the credits, my mind has returned again and again to the experience of pure exhilaration that is Godzilla. This is a stunning example of the genre, and it is because of all of the ways that the film succeeds, rather than those where it stumbles, that IGN is recommending that upon release, you line up to hear him roar.