The pay-off is stalled beyond normal human tolerance, as though Godzilla was a nervous groom who simply won’t commit to marriage until he has enough buildup. Even advertising the closeted meanings of such serious-contra-seriousness idioms native to the giant monster bash as nature vs man and the brutalities of war, the dialogue in “Godzilla” asserts itself to such meaning like a crowbar asserts itself to a jammed service door. This is when it remembers to have dialogue at all.
Gojira is all performance. Yes, the monster film’s propensity for overacting is here to some extent, but its images still reflect the power that must be innate in the language we cannot hear, which cannot be ignored any more than Serizawa can ignore the child’s prayer over the radio, calling him to fight destruction with destruction.