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My favorite scene in any Godzilla movie occurs in 's "Mothra vs. One gets the better of the other, then looks up and sees Godzilla closing in. The shots are joined by cuts and by the expression of terror on the man's face. Godzilla's advance is partly obscured by tree branches in the middleground of the shot. You're in that moment, in that house, in the path of a monster. Gareth Edwards' "Godzilla" takes its cues from that great sequence, and from the original's Hiroshima-and-Nagasaki inspired tracking shot past a row of bloodied hospital patients, and the camcordered 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 were portrayed as faraway shadows, shooting flares and yelling obscenities. These movie moments are all about perspective and point-of-view—not just what you're seeing but how much, and under what circumstances. It's less interested in a giant monster's rampage than in what it might feel like to be a tiny human watching it close up, or far away, or on TV.