The whole first teaser trailer, showing a unit of soldiers executing a HALO jump into a burning San Francisco while catching a glimpse of Godzilla amidst the smoke and ruins, to the last shot of Big G doing his iconic roar.
You know you're badass if you make that jump and know what's coming.
On the level of Visual Effects of Awesome, the wide shot of the soldiers falling through the air, trailing red smoke, amid clouds lightning, is impressive.
The sheer size of Godzilla in this version, judging by the teaser, is awe-inspiring.
A fan made trailer includes a quote from Oppenheimer, which is used to a surprisingly good effect-it makes the trailer seem more eerie, and feels much better than the SDCC and official teaser trailers.
Meta Example, the trailer has gained 13 MILLION views in less then 4 full days.
This new Godzilla has been revealed to be officially the biggest Godzilla in his 60 year history, standing over 100 meters high and far more heavily built than any other incarnation.
Bryan Cranston's performance as Joe Brody in the Awaken the Truth audio bit and the official trailer is nothing short of convincingly fantastic, almost on par with his performance as Walter White.
His performance overall. Sure, he may not have as much of screen time as the other characters but other than Godzilla himself, he manages to steal the entire film with his heart wrenching portrayal. Hell, one of the main criticisms people have are Cranston not being the main character.
This movie shows how pointless nuking Godzilla is. He was the target of Castle Bravo a 15 megaton Hydrogen Bomb. What did it do? NOTHING to him, just provided him with LOTS of radiation to eat afterwards.
Given how iconic Godzilla's Atomic Breath is, naturally it is given proper gravitas in its first use. It seems like the female Muto is about to kill Ford only for a light to shine from beside the Muto. The light trails up, as though the streetlights are coming back on. The light travels upwards as though traveling a mountain with jagged edges. The jagged edges begin to glow and it turns out to be Godzilla who's back on his feet, then his mouth glows and he breathes a blast of blue thermonuclear fire right into the Muto's face. Light is Good indeed.
One great moment is the very brief pause between the energy building up and the actual firing, when Godzilla stares at the Muto and almost seems to smirk as if to say "Yeah, this is about to happen."
It arguably qualifies as an In-Universe Crowning Moment of Awesome as well. When Godzilla first fires his atomic breath, the soldiers who are carrying away the nuke actually all turn around and gawk for a few moments at the sight of a giant dinosaur blast radioactive energy out of its mouth as if it was a fire breathing dragon from a fantasy.
Soldier 1: The hell was that!
Soldier 2: Holy Shit! Did you see that!
It's a nice touch that never happened with all the Japanese suit Godzillas due to technical limitations: Godzilla visibly breathes in. Before he just opened his mouth and did the awesome. For once Godzilla really does breathe fire/thermonuclear power.
Godzilla killing the female MUTO with a Mortal Kombat-ish finisher by shooting his atomic breath straight down her throat, and then ripping her head off and throwing it aside. Cue the applause.
Even better, he doesn't really rip its head off - he basically keeps on blasting until the sheer amount of energy tears it apart.
The big reveal in the airport scene: Godzilla enters, wreathed in flames, we have a sweeping pan up his body, he glares down at the Muto, then lets loose with the most famous roar in cinema.
Running with that; every moment he unleashes the full on roar is an audio spectacle that should send shivers through your spine.
Hell, going even further... Godzilla's presence itself is an awe-inspiring thing to behold. It's done so masterfully that whenever he appears on screen, everyone in-universe and meta-wise just falls silent and watches the King of Monsters dominate the whole moment despite the panic and intensity that ensues when the Mutos are tearing up everything in sight. The whole gist of him appearing alone speaks volumes about the Big G without him so much as lifting a finger and start a fight, almost like an act of God appearing before the masses and leaving everyone simply in awe. The roar only further capitalizes on this spectacle.
When the Muto first attacks the Hawaiian airport, everyone inside the airport starts running and panicking. When Godzilla appears a moment later, the panic is over; everyone is standing in silent awe.
We have to illustrate this moment better. The populace of Hawaii, tourist and native, are getting their first taste of monster terror. This thing, this wicked, colossal insect has arrived and is tearing up the place. It reaches the airport, and people are screaming in terror, realizing this thing is not only likely to kill them, it's completely devastating their chances of escape. The MUTO bats aside a plane like a child's toy, smashing it to pieces and setting its fuel tank on fire. The plane careens into another, and then another, and the scene is alive with the roar of the exploding fuel and the peoples' screams when all of a sudden BOOM. Instant quiet. The King has arrived.
Godzilla vs. the male Muto ends with a very sudden tail swipe that impales it through a building.
The look Godzilla gives the flying MUTO (as if he's thinking "What a dick!") right before doing the deed.
The bus driver on the bridge driving like hell to get the kids out of there when Godzilla appears. He manages to escape the chaos and get the kids out safely.
Opening day gave it 38.5 million domestically and 43 million internationally.
Opening weekend tally: $93.2 million (second only to Cap at that point in 2014) and over $100m in worldwide markets.
Bonus kudos to WB learning from their mistakes from marketing Pacific Rim, which did not have mass appeal in the States and underperformed; instead of putting the monster(s) front and center, they centered it around Bryan Cranston's worried character and the wake of destruction, giving it a more appealing "disaster movie" feel and keeping Godzilla (and the plot, right down to the MUTOs) mostly under wraps. Evidently, the tease — and the impressive trailers and good reviews — was enough to pique a lot of interest.
In a way, the movie's portrayal of Godzilla's strength and level of vulnerability. Yes, he can be stalled and knocked about here and there, but most importantly, they made sure that military attacks do not work on it. Nuking it didn't work and standard weaponry only gets it angry. This Godzilla keeps his God status and is only truly matched by the MUTO pair; and even then, when given the opportunity to take them one on one, he practically curbstomps them.
The final minute of the film will make you cry tears of joy, with Godzilla getting up, walking to the ocean, letting out one final roar, then swimming off to live out the rest of its life. Just awesome doesn't even begin to describe it.
Godzilla could have evaded the collapsing skyscraper. But he doesn't, and that may be why people in a BART station survive instead of being buried under rubble.
The male Muto breaks off from Godzilla so Godzilla goes to fight the female. The two are big and rely on strength so they charge. The female even climbs a building for extra inertia and jumps at Godzilla only to be caught by the throat with one hand and is easily pushed back. It gets even better when Godzilla keeps pushing the female back, she uses her strongest arms to brace against two buildings on either side of her only for Godzilla to be barely abated and she is shoved on her back at last.
Consider Japan's reaction to this film vs. the 1998 one. Toho despised that film and readily demoted its monster into "Zilla" once the copyright ran out and the rights reverted back. Meanwhile, the 2014 version is not only being upheld as a proper Godzilla movie, but it's already getting an SH Monster Arts release, meaning that Bandai of Japan is putting its merchandising weight behind it.
One of the reports from the premiere and after-event describes some of the Toho executives and staff crying at their most beloved character's treatment for this movie. This is how utterly awesome it is.
Even Haruo Nakajima, the actor who portrayed Godzilla for the first twelve films, said he enjoyed it.
Even better, its not just a sequel, but there will be a third movie planned as well.
All of the moments from trailers mentioned on this page are tweaked versions of the actual film- and each is even more awesome in their true depiction.
Godzilla grabbing the male MUTO by the shoulder with his teeth and swinging him away like a toy.
You have to give credit to the M.U.T.O's, they truly were a credible threat to Godzilla. They are up there with some of the big Kaiju now in the Godzilla mythos.
The MUTO's resemble the Cloverfield monster, which may make the movie take on a new meaning. Godzilla is symbolically going up against one of the biggest Kaiju in modern cinema and essentially saying "Yeah, you may be terrifying, and destructive, and all of that, but I'm the King!"
Also, the fact that the special effects managed to look convincing on a 160 million dollar budget. That might seem like a lot of money, but it's pretty low budget compared to a lot of blockbusters nowadays. You'd think the film cost more due to how convincing the damage and monsters look.
This also counts as one for Edwards, proving Monsters pulling off a similar feat on it's limited budget wasn't a fluke. The guy really knows how to handle a special effects budget.
How well the film manages to capture the sheer size of the kaiju. Few films have ever managed to capture the feeling of awe and terror something this size would invoke.
Another meta example: how quickly Gareth Edwards has made an impact on Hollywood. He went from directing an indie film with a half-million-dollar budget to directing a Continuity Reboot of one of the most famous monsters of all time is nothing short of impressive by itself, but then there's the fact that Disney was so impressed with the movie that they hired Gareth Edwards to direct a Star Wars spin-off film right after the movie came out. That's not even getting into the fact that he's been signed on to direct two more Godzilla movies, and a sequel to his breakout film Monsters with a larger budget!
Ken Watanabe's delivery of the following: "We call him....*dramatic turn*.....Gojira". Even more awesome considering that the original line was "Godzilla", but Watanabe convinced Edwards and the producers to let him deliver it with the Japanese name.
I did not feel it was right, because Serizawa is Japanese, and I am Japanese. It would be weird if a Japanese person said ‘Godzilla,’ since the Japanese named him Gojira and call him ‘Gojira.’
The fact that Warner Bros owns the right to both this and Pacific Rim. That means no legal reason, at least, that we can't see a crossover.
Legendary's head said that they were not very sure about a sequel to Pacific Rim happening a little before Godzilla's debut. If they were being truthful then Godzilla's success may very well have been the final push to greenlit Pacific Rim 2 and an animated show.
The ending of the movie. After being viewed as a monster throughout the rest of the film the sight of the people in the stadium cheering Godzilla and the media themselves even praising him as a hero was a sight to behold. It felt like a superhero movie in a sense that, in the end, the hero of the movie finally manages to earn the respect of the civilians.