Japan's Godzilla Minus One gets its Terminator 2: Judgement Day, at least in terms of sheer spectacle. Takashi Yamazaki’s follow-up to his 2023 phenomenon delivers some of the most breathtaking kaiju action in the franchise’s history, but struggles to land its human drama with the same connection as its predecessor.

There’s a lot that’s genuinely special about Minus One. Following the successful revival of Japan’s own terrifying, destructive, and unapologetically antagonistic interpretation of the iconic monster with Shin Godzilla, Yamazaki delivered a classically conceived blockbuster that reminded audiences that Hollywood doesn’t have a monopoly on spectacular, large-scale entertainment. Its visual effects were tremendous, its destruction was appropriately terrifying, and its return to the nuclear postwar anxieties at the heart of the original 1954 film gave the story an emotional foundation that resonated far beyond the usual kaiju crowd. It was an extraordinary monster movie; one that also vitally understood the importance of the people caught beneath its titan’s feet.

Now, Yamazaki returns with Godzilla Minus Zero, a sequel that promised to go bigger and better in practically every conceivable way. Set two years after the events of the previous film, Japan is still struggling to recover from the aftermath of World War II as well as the devastation Godzilla left in his wake. Kōichi (Ryunosuke Kamiki) and Noriko (Minami Hamabe) have settled into family life with their adopted daughter Akiko (Sae Nagatani), while Dr. Kenji Noda (Hidetaka Yoshioka) has taken on a prominent government position. Unfortunately, their newfound stability doesn’t last long. A new, formidable threat emerges, bringing catastrophic weather patterns and destruction in its wake. With meteorologist Makoto Aoyama (Masami Nagasawa) and biologist and Hiroshima survivor Kanji Murakami (Min Tanaka) joining the effort, Japan finds itself confronting yet another seemingly impossible disaster.

King Ghidorah makes for a strong addition to this corner of the franchise (if not a terribly original one) and Yamazaki understands that introducing a monster capable of challenging Godzilla requires establishing just how frightening that threat can be. There’s admirable restraint in keeping Godzilla out of the picture for the first half of the movie, allowing Ghidorah to establish its own terrifying presence before the inevitable return of the King of the Monsters. The result is a succession of spectacular sequences that demonstrate the sheer scale of destruction these creatures are capable of inflicting - and the tenacity of the humans who refuse to stand idly by.

The opening is particularly formidable, accompanied by an enormous orchestral score by returning composer Naoki Sato that immediately establishes the scale of the new conflict. From there, Minus Zero wastes little time demonstrating its technical ambitions. As the very first Japanese production filmed specifically for IMAX, this is an experience that practically demands the largest screen available. The sound design is exceptional, with every crash, explosion, roar, and devastating impact carrying tremendous weight. The aerial chase above Matsumoto, followed by its ensuing destruction, is an absolute highlight, showcasing an exhilarating combination of visual effects, cinematography, and sound that makes the entire theater feel like it’s coming apart. The eventual confrontation between Godzilla and Ghidorah is appropriately brutal, too, delivering the kind of monster-on-monster mayhem that fans are always waiting to see.

Yet the spectacle isn’t the only reason Godzilla has remained such an enduring cinematic figure. The franchise’s relationship with nuclear devastation, particularly the Japanese experience of atomic warfare, remains central to its identity. Yamazaki once again recognizes the importance of that history, incorporating flashbacks to the immediate aftermath of Hiroshima alongside reminders of the destruction inflicted during the previous film. Murakami’s experiences provide some of the sequel’s most affecting moments, connecting the devastation of the monsters to the very real trauma of those who survived the war. There’s also one particularly startling sequence that subverts the franchise’s established atomic anxieties in a way that genuinely caught me off guard. These are the moments when Minus Zero demonstrates that there’s still something worthwhile beneath all the spectacular destruction.

Unfortunately, the human element is considerably less successful this time around. While returning characters provide a welcome connection to the previous film, the screenplay struggles to give their circumstances the same natural emotional progression. The found family established in Minus One is an appealing foundation, and there’s genuine potential in exploring what it means for these characters to have something to lose after finally finding a measure of happiness. But the melodrama frequently feels forced, with awkward dialogue exchanges, questionable line deliveries, and extended stretches of dead air that make the narrative feel considerably longer than necessary. Murakami is arguably the most interesting new character, but his eventual transformation into something resembling a mad scientist never quite comes together.

There’s certainly something admirable about the film’s continued emphasis on human resilience and collective determination. Once again, ordinary people are forced to accomplish seemingly impossible things in the face of an overwhelming threat. But where Minus One made those emotional connections feel essential to the spectacle, Minus Zero’s attempts wind up as unsuccessful interruptions between monster appearances. Even its climactic moments struggle to deliver the same emotional satisfaction, despite some overwhelmingly impressive action.

Godzilla Minus Zero is an uneven follow-up to an extraordinary predecessor. Its kaiju sequences are sensational, its technical accomplishments are remarkable, and there are several moments that legitimately left my jaw on the floor. But there is little here that rivals the spectacular, emotionally resonant majesty of Godzilla Minus One. The monster action alone makes this a worthwhile theatrical experience, particularly in IMAX, but the human drama needed considerably more refinement to make the whole thing work. Godzilla may have found a worthy opponent, but Yamazaki hasn’t quite found a worthy successor to his own monster movie masterpiece.

‘Godzilla Minus Zero’ is now playing in theaters.