Gareth Edwards' Godzilla was a mixed bag. Receiving positive to mixed reviews, the film opened to a monstrous (forgive the pun) opening weekend of $93 million in the U.S. but saw steeply declining box office drop offs in the preceding weeks as the film's lukewarm reception among audiences spread throughout the movie-going public. While the film had some memorable moments here and there, the whole added up to less than the pieces, as Godzilla has mostly faded into the background while movies such as Dawn of the Planet of the Apes and Guardians of the Galaxy have come to dominate talk about the summer movie season. One aspect of Godzilla that will likely be remembered come the year's end though is its sound editing. For those without sound engineering degrees, sound editing is the actual creation of the sounds. Since the sound editors didn't have the luxury of going out into the wild and recording what an actual Godzilla sounds like, they had to synthesize Godzilla's sound using their imaginations. Regardless of the other weaknesses of the film, one thing Godzilla did get right was the sound design. In fact, it is the film's biggest strength. Of course, with a summer as filled with as many fantastic far-out premises as the summer of 2014 was, there is stiff competition in the category for Godzilla, but most likely, the film will see a lone Oscar nomination in this category.
A film fanatic at a very young age, starting with the Teenage Mutant Ninja Turtle movies and gradually moving up to more sophisticated fare, at around the age of ten he became inexplicably obsessed with all things Oscar. With the incredibly trivial power of being able to chronologically name every Best Picture winner from memory, his lifelong goal is to see every Oscar nominated film, in every major category, in the history of the Academy Awards.
