...a film whose only redeeming feature is that Binoche and Cranston shoulder part of its acting line-up – but just partly. Taylor-Johnson and Olsen cringingly pale before the big man, and that is despite the fact that Godzilla is nowhere in the picture (literally) in the first half.

While the predictable sequel has not yet been confirmed, one thing is clear: Edwards' version of Godzilla remains the ultimate monster movie. The legacy has been upheld.

We're not bombarded with excessive CGI here. Godzilla isn't oversold, although for some, his lack of screentime won't be satisfying enough. However, the balance between the family-focused story line and intense action sequences is bound to please others.

Those who have seen previous avatars of this scaly beast will immediately reconnect with that sense of speechlessness and rapt awe they felt when they saw Godzilla in their childhood. Godzilla's roar is not for the faint-hearted. This is a fantastic homage to monster movies of yore and is bound to go down as a modern classic. Go Godzilla!

There is only so much you can do if you are going to make film like Godzilla and Edwards vision is as good as it can get. As a Godzilla film, it gives you enough bangs for your bucks.

The battle scenes are terrific. The scale is massive, the CGI is super detailed and the Kaiju artwork is really fucking cool. The 3D isn’t the best, but the super wide shots are superbly choreographed to show how puny humans are, and you’ll get the best experience in 2D.

Giftwrapped in an emotional father-son and family bonding story that hooks you on the sensitivity graph, "Godzilla" doesn't give anybody time to be endearing or sarcastic or human in any way. It is a conundrum of a techno-thriller and a fabled nightmare put together.

Strikingly shot by Seamus McGarvey to maximize the movie’s Imax potential (it’s hard to imagine the scale and depth of the gritty visuals on anything smaller), Godzilla demands, and often achieves, a sense of awe.