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“Mothra vs. Godzilla,” from 1964, is my favorite sequence in any Godzilla picture. A brawl breaks out between two guys at a residence about money. One gets the best of the other, then looks up to see Godzilla approaching them on the horizon. It makes little difference that the guys and the house are life-size, and Godzilla is a man in a monster costume rampaging across a small countryside. Deft cuts, fearful responses, and little production touches, such as the tree branches in the middle ground of the frame of Godzilla approaching, help sell the illusion. 

In the midst of a monster’s trail. The 1954 original’s Hiroshima-and-Nagasaki-inspired tracking shot past a row of bloodied hospital patients, and the camcorder immediacy of “Cloverfield,” and the gas station sequence in Alfred Hitchcock’s “The Birds,” and the Do Lung Bridge sequence of “Apocalypse Now,” in which American soldiers’ enemies are distant silhouettes shooting flares and grenades, and the Do Lung Bridge sequence of “Apocalypse It’s all about perspective and point-of-view at these moments—not just what you’re seeing, but how much and under what conditions.

That’s also the subject of “Godzilla.” It’s less concerned in a big monster’s rampage than in how it may feel to be a person seeing it up close, from afar, or on television. It’s not about Godzilla or the monsters he battles. It’s a mix of epic horror picture and allegory of nature in rebellion, like the 1954 original, with unusual ellipses and unexpected but suitable narrative choices, such as a monster battle that takes place mostly on CNN. The camera follows the arcs of commandos on a city rooftop into hazy blackness until the flames show Godzilla’s chest, framed from neck to solar plexus. Edwards contrasts the humans’ little size with the monsters’ colossal size in these and other scenes.