10
Jul
For decades, Godzilla movies have been about one thing: people in giant rubber monster costumes stomping around tiny little sets. Especially in America, where the films that Toho made for its native Japan were imported as badly dubbed B-movies, Godzilla felt more like Saturday morning escapism than proper art. Of course, we all knew that the original film from 1954 was a response to the bombing of Hiroshima and Nagasaki. And entries such as Godzilla 1985 and, more recently, Shin Godzilla and Godzilla Minus One wrapped rich social themes around the central kaiju. But there was always a sense of…