Toby Chan

In ‘Godzilla Minus One,’ the famous kaiju is neither foul nor frightful so much as desiccated and hollowed-out, as writer-director Takashi Yamazaki substitutes Godzilla’s – and, correspondingly, man’s – familiar savagery for the even more common cliché.

‘Shahid’ is docu-fiction in feeble form, one that unfortunately limits itself to the prosaic presentations of symbols and signs, and so the film ends rather unfinished and unmoving, on a pulpit on its own.