With Cranston's Joe Brody out of the picture, then, the film firmly establishes that his son, Ford, will be taking on the role of protagonist. This might've been fine, had Ford Brody been interesting in any way, shape or form. There was potential, of course; having returned from the military overseas, Ford arrives home to see his wife (Elizabeth Olsen) and son, before he's suddenly whisked away again to Japan to move the plot along. But all we get to establish his "character" is a scene where he briefly tucks his son into bed, and then kiss his wife. Hm. At this point, it might have been interesting to explore Ford as a human being - you know, to give us something so that we might identify with him. Unfortunately, his character is about as developed as one of the buildings Godzilla knocks down in the climax. He's been branded with traits like "soldier," "father" and "husband" but has no discernible personality to go with them; he's like a template of an action hero character, and Taylor-Johnson plays him with all the enthusiasm of a shoe, like he's got better things to do. A terribly forgettable main hero!
Sam Hill is an ardent cinephile and has been writing about film professionally since 2008. He harbours a particular fondness for western and sci-fi movies.
