Ratings - 1
to 4
-- Quick note before we get started - these reviews are for the original, Japanese-language versions of the films. I may reference the English-dubs for differences or notes, but I will not be reviewing those versions. Full and alternate titles are included for all films. --
SHOWA ERA:
"GOJIRA" (1954) - dir. Ishiro Honda - (aka "GODZILLA," "GODZILLA: KING OF THE MONSTERS!")
The one that started it all. This film is truly a classic and you can see why it inspired a whole new style of film making, not to mention the longest consecutive film series in history. Now to be perfectly honest, this was not the first Godzilla film that I ever saw (that honor belongs to "G1984" and "KING KONG vs. GODZILLA,") and when I did see it it was the "Americanized" version "GODZILLA: KING OF THE MONSTERS!" It was not until the Classic Media release in 2006 that I witnessed the original version in all its dark, brilliant glory. In retrospect, while "KING OF THE MONSTERS!" was a decent "port" and I am a fan of Raymond Burr, it missed the notably dark, somber tone that gives the original so much strength. This is by all means a serious film, and is meant to be taken as such, with very intentional allegories to WWII and its aftermath. Filled with stark imagery, great acting from the entire cast, a memorable and now infamous music score by Akira Ifukube, and some truly emotional sequences, I highly recommend the original to everyone, Kaiju-fan or not, and especially to those who have only seen the American version. Only film in the series that is awarded a bonus 5th ring, it will always be imitated but will never be surpassed.
"GOJIRA NO GYAKUSHU" lit. "COUNTERATTACK OF GODZILLA" (1955) - dir. Motoyoshi Oda - (aka "GODZILLA RAIDS AGAIN," "GIGANTIS THE FIRE MONSTER")
Well... to keep it simple, the first sequel to the original isn't very good at all. I will give it kudos for introducing the popular (and oh-so-often repeated) concept of Godzilla battling a secondary monster, in this case the first appearance of fellow Kaiju Anguirus. The fights between the two monsters are entertaining, though they appear to be sped up (instead of slowed down as would occur in almost all later films) which leads to it looking a bit awkward and often comical. The rest of the film is forgettable, nothing truly memorable occurs, and the stark, somber tone from the original is gone. Watch once for completion's sake, and then move right along.
1/2
"KINGU KONGU TAI GOJIRA" (1962) - dir. Ishiro Honda - (aka "KING KONG VS. GODZILLA")
Big G's famous bout with the Eighth Wonder of the World is a very entertaining monster mash-up. This was one of the first Godzilla movies that I ever saw, and my copy was an old VHS of the Universal International English-Dub. Only a couple of years ago did I finally get to see the original Japanese version, and the differences are interesting but not as prominent as I thought they would be. The original film is a bit tighter, avoiding the "Now back to the U.S. for a recap" sequences that detract from the English version, and there is a nice undercurrent of media/advertisement industry commentary that flows well in the film. The main fight in the movie is spectacular, save for a couple LOLWUT moments/shots, and this Godzilla suit is one of my favorites. Also worth mentioning is Akira Ifukube's score, most of which was omitted in the English version. It truly is a pleasant surprise. And to set the record straight: It was a TIE! One above water, the other below. Boom.
1/2
"MOSURA TAI GOJIRA" (1964) - dir. Ishiro Honda - (aka "MOTHRA VS. GODZILLA," "GODZILLA VS. MOTHRA," "GODZILLA VS. THE THING")
Mothra's first encounter with Godzilla is another fun mashup between two high-rolling Kaiju. Not only does G (still in a villain role) face an Imago form similar in design to 1961's "MOTHRA," but also two larva forms in the second half. Though it is a good film and one of Goji's better mashups, Mothra herself is too slow going for my taste, and films that feature her are not among my personal favorites. This film in particular has some great monster fights and some fun characters, but everything else slows it down too much. Definetly worth a viewing, but multiple viewings probably not warranted.
1/2
"SAN DAIKAIJU: CHIKYU SAIDAI NO KESSEN" lit. "THREE GIANT MONSTERS: THE GREATEST BATTLE ON EARTH" (1964) - dir. Ishiro Honda - (aka "GHIDORAH, THE THREE-HEADED MONSTER," "GHIDRAH, THE THREE-HEADED MONSTER")
This is one of the more enjoyable entries in the Showa series, even if a tad on the goofy end of the spectrum. Godzilla, Rodan, and a Mothra Larva join forces to combat the deadly 3-headed space monster King Ghidorah. Not only did this feature 3 of the top Toho monsters of the time, it is notable for being the first time Big G is portrayed in a heroic role, and there are some comedic moments on his behalf as well as the other monsters. Also, the human story has a nice 007/Yakuza film vibe going for it, and integrates well into the monster action without detracting too much attention from it. The end battle between the 4 monsters is fantastic and one of my favorites. Highly recommended, even with all of the cheese included.
1/2
"KAIJU DAISENSO" lit. "GREAT MONSTER WAR" (1965) - dir. Ishiro Honda - (aka "INVASION OF ASTRO-MONSTER," "MONSTER ZERO," "GODZILLA VS. MONSTER ZERO")
Godzilla and Rodan return to battle King Ghidorah, this time recruited by the inhabitants of Planet X to defend their world... but not everything is as it seems. To be honest, this movie has more of a classic Toho 60's era sci-fi film feel to it, and the monsters really play second fiddle to the interactions between the representatives of Earth and Planet X. As such, the monster action is scarce and scattered throughout the film, and the film drags pretty bad in several places. FX were cutting-edge for the time, but several shots have not aged well and contribute to the dragging pace. Recommended on the Toho classic sci-fi feel and monster action alone.
"GOJIRA, EBIRA, MOSURA: NANKAI NO DAIKETTO" lit. "GODZILLA, EBIRAH, MOTHRA: BIG DUEL IN THE SOUTH SEAS" (1966) - dir. Jun Fukuda - (aka "GODZILLA VS. THE SEA MONSTER," "EBIRAH, HORROR OF THE DEEP")
The first G film to be helmed by director Jun Fukuda (taking the reigns from Ishiro Honda) is colorful and fun, but it's a mess. A departure from the trend of the previous films, this is set almost entirely on an island, allowing for a welcome change of scenery and style. The unwelcome changes are what kill this movie, however. Godzilla behaves way too uncharacteristically, as the movie was originally written for King Kong in the main monster role. He oogles the main starlet, gets strength from electricity, and more that should have been omitted during the production. His fight with the Giant Condor is an ADD disaster, Mothra is an afterthought, and the Ebirah fights look good but are far too short and have little impact. Another one for completion's sake.
"KAIJU-TO NO KESSEN GOJIRA NO MUSUKO" lit. "MONSTER ISLAND'S DECISIVE BATTLE: GODZILLA'S SON" (1967) - dir. Jun Fukuda - (aka "SON OF GODZILLA")
Only slightly better than his previous outing, director Fukuda gives us his second "Island" themed Godzilla film. While Island scientists are trying to perfect a weather system, Godzilla and his "son" Minilla face giant Kamacuras and the deadly Kumonga. I can't highly recommend this one either... the Minilla and Godzilla suits are horrid, production values are pretty low (save for a few nice shots), and this one is noticeably geared towards the kiddies. Tolerable for some interesting effects with the insect Kaiju.
"KAIJU SOSHINGEKI" lit. "ATTACK OF THE MARCHING MONSTERS" (1968) - dir. Ishiro Honda - (aka "DESTROY ALL MONSTERS")
Director Honda returned for Toho's 20th Kaiju film, and they pulled out all the stops for this one. The plot is nothing spectacular, aliens use mind control to unleash the monsters upon the main cities of the world, and once freed they combine forces against King Ghidorah. The end battle in this film is fantastic and will always be hard to top, with nearly 11 different monsters appearing. The remaining Kaiju action and destruction scenes are good, but they are placed sparingly throughout the film, and unfortunately the rest of the film is a bore. So much time is spent on slow-paced spaceship and dialogue scenes that it often kills the momentum of the film. But the Kaiju sequences are so strong that they elevate the movie past those problems to become an enjoyable entry in the series.
"GOJIRA-MINIRA-GABARA: ORU KAIJU DAISHINGEKI" lit. "GODZILLA, MINILLA, AND GABARA: ALL MONSTERS ATTACK" (1969) - dir. Ishiro Honda - (aka "ALL MONSTERS ATTACK," "GODZILLA'S REVENGE")
Ugh. And now we crash and burn, getting into the WEIRD phase of Big G's career. Safe to say that this is the worst Godzilla movie in the series, by far. The main problem is that at its heart it is not a Godzilla film, it is a movie about a young lower class boy's daily struggles. And he happens to daydream a lot about monsters. As such, we get a very uneven result.... every time the monsters come on screen it feels like a different film. Maybe because most of the Kaiju footage actually did come from different films? Yea. The amount of stock footage in this one is ridiculous, from at least 4 previous films in various places. The new Kaiju scenes filmed for this one are best forgotten, Godzilla looks a little better but Minilla and Gabara are terrible. I can barely recommend this one even for completion's sake, it's best to just move along.
1/2
"GOJIRA TAI HEDORA" (1971) - dir. Yoshimitsu Banno - (aka "GODZILLA VS. HEDORAH," "GODZILLA VS. THE SMOG MONSTER")
Now this one is interesting. With a new director and a very eccentric new style, we get one of the most unique Godzilla films ever made. A strange monster named Hedorah is born from pollution, and when humanity realizes they are powerless to stop it, it's up to Godzilla to defeat it in a hard-fought battle. I have conflicting feelings on this one. On the positive side, the film embraces its wacky style and delivers some truly fascinating visuals, including bizarre "acid-trip" sequences and quirky animations. Godzilla and Hedorah have frequent battles and the big guy gets roughed up pretty bad. However, there are some notable negatives weighing this one down from becoming a classic. The music is repetitive, unfitting, and very annoying. A different, perhaps more traditional orchestral soundtrack would have fitted the film far better. Some very awkward monster shots (including the infamous G flight scene) bring the camp level up to laughable levels. It's a shame too, considering the strength of most of the other monster sequences. And of course you have the heavy-handed environmental message peppered throughout the film. I recommend this one because of its sheer eccentricity, but be prepared for a STRANGE ride.
"CHIKYU KOGEKI MEIREI: GOJIRA TAI GAIGAN" lit. "EARTH DESTRUCTION INITIATIVE: GODZILLA VS. GIGAN" (1972) - dir. Jun Fukuda - (aka "GODZILLA VS. GIGAN," "EARTH ATTACK MISSION: GODZILLA VS. GIGAN," "GODZILLA ON MONSTER ISLAND," "WAR OF THE MONSTERS" )
Well into his 70's phase now, Big G and Anguirus team up against a returning King Ghidorah and a new space monster dubbed Gigan. I will give this one a hand for the amount of time the monsters are shown on screen, as well as the length of some of the battles. But we are still dealing with hippie heroes, cockroach villains, stock footage out the whazoo, and some horrible model shots. The infamous "G Chat" sequences are, in my opinion, nowhere near as bad as the ridiculous flying TOYS that they use for Ghidorah and Gigan. The entries such as this one added a great deal to the notion that all Godzilla movies are a joke, and are not to be taken seriously. Subsequent movies would attempt to rectify this damage, but it would take QUITE some time. This one is worth a look for some neat fight sequences, but the rest of the film is laughable and absolutely forgettable.
1/2
"GOJIRA TAI MEGARO" (1973) - dir. Jun Fukuda - (aka "GODZILLA VS. MEGALON")
Oh boy, is this one bad. Seriously. Godzilla and his new pal Jet Jaguar team up against a returning Gigan and a gigantic underground cockroach named Megalon. All this one really is is a low-rent Ultraman knock-off movie with Godzilla added in. Save for all the lulz that the "G Flying Kick" part creates, this film is a hokey joke well-deserving of all the trashing it gets. Low production values across the board, with a dark color palette and terrible music. A VERY close tie for worst G film, some of the battle sequences raise it 1/2 a ring. Watch it once for completion's sake, then check out MST3K's version to hear them rip into it for a good laugh.
1/2
"GOJIRA TAI MEKAGOJIRA" (1974) - dir. Jun Fukuda - (aka "GODZILLA VS. MECHAGODZILLA," "GODZILLA VS. THE COSMIC MONSTER," "GODZILLA VS. THE BIONIC MONSTER")
Now we begin to make forward progress! This is a notable improvement over the past several misfires, and while not perfect, it is a colorful, enjoyable romp. Alien monkeys (remember that we are still in the 70's phase, lol) attempt to take over the Earth with a cyborg dubbed Mechagodzilla. After Anguirus is taken out of the picture and Godzilla suffers a quick defeat, he must team up with a new Kaiju named King Caesar to take down his robotic clone. This one stands out for several reasons: The battles are kinetic, explosive, and brutal (not to mention surprisingly bloody.) MechaGodzilla is a truly memorable villain, his performance is top-notch across the board, especially his visual appearance and sound effects. The music is absolutely fantastic and sticks in your head for a while. The story goes in some different directions than previous films, and while everything is tighter and better presented, we still miss the mark on several things. King Caesar is built up well (save for a 3-minute summoning by song) but his appearance and performance is campy and brings the film down. Godzilla's electromagnetic powers are cool but are too Deus-Ex Machina and convenient. And we have too many human characters with little to no development, with some seriously laughable sequences/dialogue. Even with its issues, this is a strong entry and it would make a lasting impression that still affects the series to this day.
"MEKAGOJIRA NO GYAKUSHU" lit. "COUNTERATTACK OF MECHAGODZILLA" (1975) - dir. Ishiro Honda - (aka "TERROR OF MECHAGODZILLA," "THE TERROR OF GODZILLA," "MONSTERS FROM AN UNKNOWN PLANET")
The final film of the Showa series sends Big G on a temporary hiatus with a somber, brutal, and explosive entry. Reversing the frequently used formula of the Showa series, two monsters team up against Godzilla this time. MechaGodzilla returns (under control by the same(??) space monkeys-now-humans) and is teamed up with the aquatic monster Titanosaurus to try and take down G and destroy Tokyo. This was the last Godzilla film to be directed by Maestro Honda, and he sends us off with a truly different type of Godzilla film. A dark and mostly humorless story of a bionic woman being set up as the controller of MechaGodzilla provides some surprising drama and shocking violence usually not seen in a G film. Hell, there's even nudity in this one, which has rarely been repeated since. The effects sequences are fantastic... Tokyo gets absolutely trashed courtesy of MechaG's still excellent arsenal. Titanosaurus is executed well but the monster just looks odd and sounds terrible (my pick for worst Kaiju roar evar.) Godzilla is in top form here and the Kaiju battles are top notch, though we still suffer from the occasional WTF and LOL shots that seemed to love to plague the Showa series. Highly recommended, but be forewarned that several sequences are not safe for kiddies. The end of the film sees Godzilla leaving to the ocean for a literal "break," and when he returned nearly 10 years later, it would be the start of something very different...
HEISEI ERA:
"GOJIRA" (1984) - dir. Koji Hashimoto - (aka "GODZILLA," "THE RETURN OF GODZILLA," "GODZILLA 1985")
The first G film in 9 years kicked off the new Heisei Era with a dark, serious, politically charged entry in the series. Technically a sequel but also serving as an early example of a "reboot," the film sees Gojira returning 30 years after his 1954 attack on Tokyo, and it's up to scientists, the military, and the government to stop him once he attacks again. After the uneven nature of the later Showa Era films, ranging from pure camp to melodrama, this film shows a remarkable control of its more serious tone. Save for a few quips and goofy scenes from a bum played by Tetsuya Takeda, the film is entirely humorless and mainly focused on the dangers that arise from Godzilla's return. The film is surprisingly political as well, having been made during the height of the Cold War, and there are some striking scenes involving the Prime Minister in the middle of a nuclear argument between world powers. The new Goji suit designed for this film is among my favorites, and the "cybot" used for close-ups on Goji's face is actually quite expressive and scary in design, even if it is inconsistent in appearance with the suit. The soundtrack, orchestrated by Reijiro Koroku, is very dense and powerful, and matches with the visuals quite well. G's battle with the Super X and the ending sequence at Mount Mihara are a couple of highlights. Some negative aspects are pacing and editing issues, primarily with intercutting during Godzilla's attack on Tokyo. While acting from the supporting characters is good, the two young leads do deliver fairly slight performances. Overall, this is one of my favorite Goji films, and ironically one of the first G-films I ever saw, though it was actually the New World "Godzilla 1985" version with Raymond Burr. But the Japanese version is far superior, and I highly recommend that those who have only seen "G1985" see this version as it was originally released.
"GOJIRA TAI BIORANTE" (1989) - dir. Kazuki Omori - (aka "GODZILLA VS. BIOLLANTE")
G's next film would be the first in a new series of films which feature a notable amount of continuity with each other. Following directly after the events of G84, a scientist crosses plant cells, inhabited by the soul of his daughter, with Goji cells to create a new, unusual and unique monster named Biollante. When Goji returns out of Mount Mihara, the two "siblings" are destined to cross paths. So this one is sharp, with some very slick designs and high production values. Monster designs and execution are fantastic, G looks great in this one with an updated look that he would sport for the majority of the Heisei Era. Biollante's Rose and Final forms, while still odd as hell, are superbly detailed and look amazing on film. G and Biollante only have two fights, both far too short, and began the style of "Beam Battles" that would define Kaiju combat throughout the entire Heisei series. As for the plot, it is overdone and tries to do so many different things that it all becomes muddled. This clash of different genres, mainly spy, horror, then Kaiju, leads to an uneven result that moves in fits and starts and is difficult to get fully invested in. Characters are fairly interesting but thinly sketched, and the music is absolutely horrid and detracts from the movie big time. Takes my vote for worst G soundtrack ever, should have been in a video game, not a film. An unusual follow-up to G84, there is plenty to enjoy here, yet it's not always the most enjoyable to watch.
"GOJIRA TAI KINGU GHIDORA" (1991) - dir. Kazuki Omori - (aka "GODZILLA VS. KING GHIDORAH")
The next film in the Heisei series is a slick, entertaining sci-fi/time travel flick masquerading as a Kaiju film. Not to be confused as a remake of any of the Showa Era Ghidorah films, this is a new version with an updated Ghidorah and slightly redesigned Goji (though still sporting a similar design to the one he had in Biollante.) The story deals with a group of Futurians from... the future... who travel back in time and claim they want to help get rid of Godzilla forever. They soon turn out to have entirely different intentions, leading to the creation of the destructive King Ghidorah. First off, let me say that King Ghidorah and especially his Mecha appearance in the film's climax look outstanding. They are among the best designed and executed versions of Ol' Gold that have ever appeared in the franchise. Goji looks great too, sporting a larger and more menacing appearance. That being said, the rest of the film, though entertaining as hell and fantastic in design, is all over the place. The "story" gets more nonsensical as it goes on, and the film has a VERY poor grasp of time travel logic. I've seen explanations and fan theories which all make sense and are perfectly applicable, but when you look at the film on its own it is extremely unlikely they had it figured/planned out to that degree. The influence of popular Sci-Fi films of the time, such as Terminator and Back to the Future, are painfully evident on several occasions here. Though the film puts its own spin on those similar ideas and manages to make it enjoyable, the familiar imagery causes unintentional laughter every single time. Characters are decent enough though still suffering from underdevelopment, English-speaking performances are better than usual, and a new score by Maestro Ifukube is fantastic. The alleged anti-Americanism is only really notable during the island sequence, and that part is in bad taste and should have been dialed back. Overall, some questionable choices keep this one from being knocked out of the park, though it is still a great ride.
1/2
"GOJIRA TAI MOSURA" (1992) - dir. Takao Okawara - (aka "GODZILLA VS. MOTHRA," "GODZILLA AND MOTHRA: THE BATTLE FOR EARTH")
Now that the Heisei series was on a roll, Toho continued the trend started in GvKG and reimagined another of their classic matchups, this time with Mothra. When the two descendants of Mothra and its rival Battra awaken, and Godzilla returns, the stage is set for an explosive battle for the fate of the planet. Now as I've stated before, I'm not a huge fan of Mothra or Mothra-themed films, as they tend to go too slow for my taste. That said, this film has one of the better executed versions of Mothra out of the entire film franchise. The creature looks great in larvae form and even its Imago form avoids a static appearance. Battra's larvae form is excellent but the Imago unfortunately looks pretty stiff and lifeless. Godzilla continues to look solid with only a slightly tweaked suit, and his battles with the Battra Larvae are a highlight, especially the underwater clash. The "Beam Battles" were in full-throttle at this point, as most of the combat involves some form of energy projectiles being exchanged. The rest of the film has some notable negatives that weigh this entry down. There are some bizarre "Indiana Jones" sequences near the beginning of the film that are laughable, and though the characters are a bit more engaging than usual, things tend to be taken over the top more often than they should. Speaking of over the top, the "environmental message" in the film starts to become a serious detraction from the enjoyment of the film. The message and its points are clear and viable, but its delivery is SO heavy-handed at times that it causes unintentional laughter and works against the movie in a big way. This is one of the weakest entries in the Heisei series in my opinion, but it still looks great and is an enjoyable watch.
"GOJIRA TAI MEKAGOJIRA" (1993) - dir. Takao Okawara - (aka "GODZILLA VS. MECHAGODZILLA," "GODZILLA VS. MECHAGODZILLA II," "GODZILLA VS. MECHAGODZILLA 1993")
Up next for the Heisei series was another reimagining of a Showa matchup, the infamous Godzilla villain and rival MechaGodzilla, but with a twist: MechaG is on the good guys team this go around. In a nice bit of continuity and world building, the remains of Mecha King Ghidorah are used by a world coalition to create an ultimate anti-G weapon: MechaGodzilla. With the appearance of Rodan and a Baby Godzilla, the stage is set for a challenging battle for Big G to overcome. This is another slick looking entry, and is one of the highlights of the Heisei series. Beam battles are in full (and ridiculous) overload at this point, but it sure is a blast to watch all the monsters beam the crap out of each other. G looks great as usual, and MechaG is a cool design but a bit plain and definitely not on the same level as his Showa version. Rodan and Fire Rodan are much smaller and weaker versions that I'm not too keen on, and Baby Godzilla is decent enough considering the amount of screen time and role that he has to play. Human players are pretty good and there is some decent humor for once, but the English speaking roles are quite bad, and there is a lot of it in this entry. The end battle is quite good, and Big G is very close to being taken out in this one. Overall, this was the last time that the Heisei films would peak in terms of quality, as the final two films are a bit hot and cold.
1/2
"GOJIRA TAI SUPESUGOJIRA" (1994) - dir. Kensho Yamashita - (aka "GODZILLA VS. SPACEGODZILLA")
After several films with classic Showa monsters reimagined, the next film in the Heisei series would see an original Kaiju in the villain role. Another nice bit of continuity sees G cells, brought to space by Biollante and Mothra, being mutated into a crystallized form and creating the dangerous monster SpaceGodzilla. When this Kaiju makes his way to Earth and imprisons Little Godzilla (Baby G in a larger more cutesy form), it's up to G and the human-piloted MOGUERA (created from the remains of MechaGodzilla) to take SpaceGodzilla down. Okay, as much as I enjoy this entry, I have to admit it is quite a step down in terms of quality. Story is much weaker, music is crap, acting is sub-par, and the direction is lacking. Uneven pacing and editing actually make this one quite a chore to get through, and MOGUERA gets far too much screen time for an uninteresting robot Kaiju that is a huge step down from MechaGodzilla. The asteroid chase and battle in particular is a prime example of the drop in quality that this film took. However, G looks great as usual, SpaceGodzilla is a unique and interesting design, even if the development and motivation is lacking. Finally, Little Godzilla is as close as the Heisei series got to having a Minilla, though he's actually not too bad and the scenes with him and G are a nice callback to the lighter Showa affairs. In the end, this is a longer, duller clash that is not on the same level as what has come before, but still enjoyable enough to warrant a viewing.
"GOJIRA TAI DESTRUOIA" (1995) - dir. Takao Okawara - (aka "GODZILLA VS. DESTROYER," "GODZILLA VS. DESTOROYAH")
And now we've arrived to another Era finale film, what is essentially the conclusion of the Heisei storyline. In addition to continuity with the previous films, it also shares a lot of the same story threads and characters from the original 1954 Gojira, thus serving as a continuation/conclusion of that film as well. The film sees Goji having become so overloaded with energy that he is approaching a "meltdown," which will spell doom for the planet. Combined with the threat of an ancient microorganism named Destoroyah that is growing and multiplying, and the reappearance of a larger Godzilla Junior, this explosive battle will be Godzilla's last. So with a very intentional aura of tragedy and doom overshadowing this final Heisei entry, things take a much more somber tone. Everything from the visuals to the dialogue and even the Kaiju battles are dark, dour, and mostly humorless. This jarring shift in tone, especially when considering what the Heisei series had evolved into, almost works against the film as it can be a bit hard to enjoy at times. Goji's design is one-of-a-kind in this movie, the "burning" form as it is often dubbed is a genius work of design and execution. Easily one of the best and most original variations of G's suit throughout the whole franchise. Godzilla Junior is another very well done Kaiju, keeping some hints of his previous "baby" and "little" forms but taking on a life of his own. Destoroyah is hit and miss, the smaller versions look very fake and unfortunately get a lot of screen time. His larger and ultimate forms fare better, but the monster itself suffers from a muddled and underdeveloped origin. The Kaiju battles are designed in a brilliant manner, to become gradually more tragic as the story continues. The emotion that is pulled from this approach is where the film's strength truly lies, and I honestly wish more Kaiju films would use this style. Sadly, the human sequences and story are a letdown, and it's a shame that such a strong and powerful Kaiju showing is diminished by a weaker supporting human story. The ending is one of the saddest sequences in the entire franchise, with one of Ifukube's most powerful themes playing over tear-inducing visuals. Yet, the final image of the film is one of rebirth, not death, and a fitting concluding scene to cap the series off. This was originally going to be the last G film, but certain events over the late 90's would see the King returning before the end of the Millennium for a new, very different type of series.
MIRENIAMU ERA:
1/2
"GOJIRA NI-SEN MIRENIAMU" lit. "GODZILLA 2000: MILLENNIUM" (1999) - dir. Takao Okawara - (aka "GODZILLA 2000," "G2K")
1998 saw the first American attempt at a G film, and the results were not what audiences expected. Within a year, Toho had quickly gone into damage control mode and sought to salvage and restore respect towards the character with a new film. Having already capped the Heisei series, the new film would see the beginning of the Mireniamu Era, a new series which would evolve into an "anthology" of sorts, with each film having no continuity with the others, but each using the '54 film as the branching off point. This first film sees G crossing paths with a UFO that turns out to be much more that it seems. This one is pretty goofy and high on the humor and cheesiness at times, and being so fresh from the '98 film it borrows a lot of the same shots. Character development is a bit more than usual and nicely done, though some of the acting tends to get too over the top at times. G's new design is exaggerated and insane, but looks great and is executed very well. His new opponent Orga is also a neat design, and the UFO is passable. The CGI and compositing could have used some additional time and work, as it is quite bad in several sequences. Not a classic and kind of forgettable, but not a bomb either, and good enough to reestablish a traditional Goji after the '98 failure.
"GOJIRA TAI MEGAGIRASU: JI SHOMETSU SAKUSEN" lit. "GODZILLA X MEGAGUIRUS: G ANNIHILATION STRATEGY" (2000) - dir. Masaaki Tezuka - (aka "GODZILLA VS. MEGAGUIRUS," "GODZILLA X MEGAGUIRUS," "GxM")
So the followup to G2K ends up taking the goofy direction, and we get the most Showa-like Goji film in quite some time. Using G54 as the only branch off point, a weapon created to kill Godzilla ends up bringing creatures from another dimension to Earth, who multiply and combine to form the deadly Megaguirus. This is one was obviously attempting to re-tap into the Showa Era campiness, but everything ends up becoming a hodge-podge that doesn't hold together very well. The music, FX, and Kaiju action are all solid, but everything else is too dull and then alternately silly to really enjoy. When you're dealing with Black Hole weapons, attacking giant monsters with rocket launchers, and LOLWUT Kaiju body slams, one yearns for the maturity and restraint that the Heisei films showed. G carries over his G2K image and looks a little more "suit-ish," but it's passable. Megaguirus is fine while in motion but very "model-ish" when static, and the monster serves as a meh opponent at times. This is the weakest that the Mireniamu series has to offer, worth a view but not much rewatch value.
"GOJIRA, MOSURA, KINGU GIDORA: DAIKAIJU SOKOGEKI" lit. "GODZILLA, MOTHRA AND KING GHIDORAH: GIANT MONSTERS ALL-OUT ATTACK" (2001) - dir. Shusuke Kaneko - (aka "GMK")
Immediately following the worst of this Era comes the best and probably most well-known entry, and one of my favorites. Shusuke Kaneko takes the directorial reins, and fresh off his Heisei Gamera series he delivers a fresh, different, imaginative, and all-around spectacular kaiju film. Once again using G54 as the branch point, G returns to attack Japan, only now he is possessed by the souls of those killed in the Pacific in WWII. It is up to three guardian monsters: Baragon, Mothra, and King Ghidorah, to awaken and challenge the monstrous beast. This one sure is a lot of fun to watch, with excellent effects, a good story with a tight pace and decent characters, a different and fresh electronic soundtrack, and most of all a very DARK and supernatural streak to it. Seriously, this goes to places that the franchise has been afraid to show before, and while nothing is really gory or anything, what G does in this movie is shocking. One of few films where he is shown to directly, intentionally cause human death, with some sequences that will make your jaw hit the floor. Goji's design is fantastic, dropping the G2K/GXM design for a more traditional appearance with a blue atomic ray and white soulless eyes. Baragon is a show stealer, and his battle with Goji is the highlight of the movie, excellently choreographed and brilliantly executed. Mothra is redesigned into probably my least favorite version of her, the model just looks stiff and lifeless and the CGI version fares a little better. King Ghidorah is usually the main point of conflict with G fans on this movie, being in a heroic role and much smaller and weaker than G. I personally don't mind this version, as the film's intent is to show the Guardian Monsters as being much lesser than Godzilla, but I admit that he's nowhere even close to the Showa and Heisei versions. Some weak points are many human characters and scenes are played for cheap laughs and scares, and this happens so frequently that is borders on cheese. If Kaneko had played more of the human elements straight, this could have been an even stronger film. The J-Horror boom at the time also sees most all teenagers in the film getting taken out by the monsters in various ways, and though creative it does get tiresome after a while. In addition, the music is normally good but certain themes do not fit and sound like a video game. All that aside, this is among the high points of Goji's film career, probably one of the most accessible to non or new fans, and an explosive, expertly crafted Kajiu extravaganza. Very highly recommended.
1/2
"GOJIRA TAI MEKAGOJIRA" (2002) - dir. Masaaki Tezuka - (aka "GODZILLA AGAINST MECHAGODZILLA," "GODZILLA X MECHAGODZILLA," "GxMG")
For the next film, Toho went back to the GxM crew and style instead of the GMK crew, and delivered the third iteration of MechaGodzilla. Using the bones of the original '54 Goji, a MechaGodzilla named Kiryu is contructed as an ultimate Anti-G weapon, but once they cross paths things turn out different than expected. This is a major step down from GMK, and a much duller affair. Kiryu is a unique version of MechaGodzilla, and story-wise using the original Goji's bones as his skeleton is brilliant. Goji looks oddly cat-like in this entry, and rather stiff and motionless at times, using an altered G2K/GXM suit with the GMK blue atomic breath carried over. Too much time is spent focused on Kiryu's construction and operation, and the whole thing just feels tired. CGI is hot and cold, some shots are very good and others look way too much like a Super Sentai episode. The weakest of the 3 MechaGodzilla films, and on it's own fair enough but not spectacular.
"GOJIRA X MOSURA X MEKAGOJIRA TOKYO ESU-O-ESU" lit. "GODZILLA X MOTHRA X MECHAGODZILLA TOKYO SOS" (2003) - dir. Masaaki Tezuka - (aka "GODZILLA: TOKYO SOS," "GxMxMG")
The next film is actually a sequel to GXMG, and the only direct sequel in the Mireniamu Era. Goji and Kiryu clash a second time while Mothra enters the conflict to set things right by returning Kiryu's bones to the sea. While this entry is admittedly more by-the-numbers than its predecessor, it is a more solidly made and enjoyable film. The CG is much stronger, and probably the best in the Era, even better than GMK in many shots. Goji is given a more fluid execution this time, and Kiryu is also more mobile and active. Mothra looks good and the larvae in particular are done very well. Story wise we are also given some connections to the original Mothra film, and less of a focus of Kiryu's operation, though there is still too much screen time devoted to it. The length of the titular battle, and the amount of screen time the monsters get on screen is quite impressive, and works to boost what would have been an otherwise basic and boring entry. A solid showing with nothing extraordinary, but it's an enjoyable enough Kaiju romp.
"GOJIRA: FAINARU WOZU" (2004) - dir. Ryuhei Kitamura - (aka "GODZILLA: FINAL WARS," "GFW")
Now we get to the final film of the Mireniamu series, with the popular director Ryuhei Kitamura taking the reins to deliver an over-stuffed, hyperactive mess of a movie. Human mutants work with battleship pilots, scientists, and government officials to combat an invasion by Xiliens who have the Earth's monsters under their control. The heroes have no choice but to unleash the hibernating Godzilla to challenge the invaders. This is really more of a "Kaiju Greatest Hits" compilation than a film. There are just SOOO many different ideas, visuals, story-threads, rip-offs, monsters, characters, and more crammed into this movie. If it would just slow down and focused on what it wanted to do and say, it could have been one of the best in series. Instead, we get a furious, wild, and enjoyable mess, but a mess nonetheless. The CGI is some of the worst in the series, the numerous Kaiju are either fantastic or terrible, the human story has twenty different things it's trying to do all at once.... This is a hard movie to review as I really want to like it, but it's a prime example of too many extremes, either very good or very bad. And this makes for a totally uneven final product. Many classic Kaiju return, along with classic Showa story thread styles, and Goji is on top form here, with a spot-on execution. Toho once again decided to retire the character after this movie, and it would be 12 years before he returned to Japanese cinemas, the longest break in the history of the franchise. After this failure and misfire, he well-deserved his time off.
REIWA ERA:
1/2
"SHIN GOJIRA" lit. "TRUE/GOD/NEW GODZILLA" (2016) - dirs. Hideaki Anno & Shinji Higuchi - (aka "GODZILLA RESURGENCE," "SHIN GODZILLA")
The first Japanese Goji film of the newest Era is an intriguing spectacle, very different than any G Film made before it, with some incredible strengths as well as a few nearly self-destructing weaknesses. The film begins very quickly with an ocean eruption, leading to a rapid government response to the situation. Rapid, but muddled within interdepartmental buck-passing, delays, and other setbacks. Once it's discovered that the eruption is actually a monster named Gojira, and it makes landfall on Japanese soil, it's up to a young politician to assemble a rag-tag team to study, understand, and ultimately combat the continuously growing and mutating creature. Let me first say that this is an expertly crafted movie, with lots of biting dark humor directed at recent disasters and the Japanese government. This is probably the most relevant G film in terms of relations to real world events since G84 and its Cold War undertones. Director Anno's style is all over the movie, and he directs with an expert pace, quality cinematography, and an impressive sense of energy throughout the entire film. The film is VERY dialogue heavy, with an extreme and almost overbearing focus on the efforts of the response to Goji, and the difficulties of making that response occur within the current government. Characters are almost all officials within the government, and unfortunately there is no "ground-level" character to relate with. This makes for a bit of a difficult watch when you have meeting after meeting with characters you can't fully engage with. The main character's rag-tag team of scientists fares better, but even they are kept at plot and exposition level, with little to no serious character development. As for Goji himself, what an interesting and different version this is. He evolves through several different forms during the course of the movie, and while the first two are quite weird, the final form is an incredible work of design. Grotesque, unsettling, yet utterly fascinating, whenever he is on screen he will have your full attention. The changes to his powers are shocking at first, but their execution is incredible enough to overlook the drastic changes. CG is mostly good and at times excellent, though there are several very questionable shots that needed a lot of polish. The movie reaches a very effective, exciting, and explosive climax in the middle of its runtime, but has trouble picking its pace back up after that, and the second half and the actual climax suffers from quite a bit of drag. And as for the final shot, total WTF, and total Hideaki Anno. I enjoyed the film and going forward hope they continue the quality that it brought to the series, but would prefer less of a focus on the Kaiju response and more focus on the Kaiju itself. Recommended to fans of the series, but might be too heavy of a watch for newcomers to start with.
"GOJIRA: KAIJU WAKUSEI" lit. "GODZILLA: MONSTER PLANET" (2017) - dirs. Kobun Shizuno & Hiroyuki Seshita - (aka "GODZILLA PART ONE: PLANET OF THE MONSTERS")
The first anime film to feature Big G is a slick, full-on sci-fi tale that showcases a unique new direction that the series has not explored so far. When Godzilla and a host of other monsters lay waste to Earth, Mankind and two newly integrated alien races flee the planet in search of another world. With the promising world deemed inhospitable, they return to Earth only to find 20,000 years have passed, with Godzilla now the dominant species of the planet. In order to reclaim their world, they formulate a daring plan to take down the destructive beast once and for all. So I was thrilled to hear that Big G was finally entering the anime world, and this first entry is mostly satisfying with potential for improvement. The CG animation and heavy sci-fi visuals are quite good and at times jaw-dropping, and the story is well-done and unique though there's not much depth to it. Same goes for the characters, besides the main character there is little development and they are kind of indistinguishable from each other. The first half is slow and drags at times, but the second half kicks off some kinetic action and the ending battles are really visually impressive. Goji himself is very well done with an impressive presence and powers, and his appearance is growing on me though I didn't like it at first. There is another version that appears near the end of the movie, and I'm really looking forward to seeing more of it in the next installments. This is the first of 3 parts, with the remaining two coming out in 2018. There is huge potential with this series, and if they follow the pace and style of the second half of this one, I can't wait to see the rest. Recommended to fans and newcomers alike.
1/2
"GOJIRA: KESSEN KIDO ZOSHOKU TOSHI" lit. "GODZILLA: THE CITY MECHANIZED FOR THE FINAL BATTLE" or "GODZILLA: BATTLE MOBILE BREEDING CITY" (2018) - dirs. Kobun Shizuno & Hiroyuki Seshita - (aka "GODZILLA PART TWO: CITY ON THE EDGE OF BATTLE")
Round two of the new anime trilogy is another slick, fantastic looking sci-fi tale that does sadly suffer from the standard middle chapter curse. After getting trounced by Godzilla Earth in Part 1, the survivors of the mission cross paths with a native tribe and a strange city that had evolved from the nanometal remains of the original Mechagodzilla. With their newfound resources they plan to take on the King a second time. So this is an enjoyable entry with some overall improvements to animation quality, it's not quite as clunky as the previous entry but is still choppy at times. Characters are given a bit more focus and development, but unfortunately it is at the expense of the Kaiju sequences this time around. We only have one full-out action sequence in the third act, the rest is plot and world-building. The plot itself is more muddled with this entry, with the MechaGodzilla city a unique but awkward story choice. Godzilla is very commanding and impressive though he is limited to the end of the third act, and we get hints of Mothra and Ghidorah for the final part. A minor step down but this trilogy remains an enjoyable experiment so far. Looking forward to how Part 3 wraps everything up.
1/2
"GODZILLA: HOSHI WO KU MONO" lit. "GODZILLA: STAR EATER" or "GODZILLA: PLANET EATER" (2018) - dirs. Kobun Shizuno & Hiroyuki Seshita - (aka "GODZILLA PART THREE: THE PLANET EATER")
The final installment of the anime trilogy concludes the story and maintains the visual strength this series is noted for. After the destruction of the Mechagodzilla City, the survivors become splintered as their choices and beliefs diverge from one another. Once the ancient god Ghidorah is summoned to destroy Godzilla, the fate of the remainder of humanity and the planet itself hangs in the balance. Part 3 is a unique entry and an interesting conclusion to the series. On the one hand it remains visually incredible and many sequences are very well done. The characters and their challenges are easier to become invested in and the emotional payoff is quite strong, with some interesting themes touched upon. Unfortunately, this entry does tend to veer towards the abstract and cerebral at times in its storytelling methods. With as generally straightforward as the previous two parts have been, this thematically challenging style does stand out in comparison to the rest of the series, and may affect the rewatchability of the film. It's a bit of a shame too as some of the strongest sequences of the whole trilogy are in this entry, with flashes of brilliance such as Godzilla and Ghidorah's extended encounter (not really a fight,) and a lovely cameo from another Kaiju veteran. The final sequence does make sense from a thematic/storytelling point of view, but leaves a bad taste in the mouth that almost sours the whole experience. Overall, this trilogy was an interesting experiment with its moments for sure, and the finale caps it off in a mostly satisfying but more philosophical fashion. Recommended if you enjoyed the first two, just be prepared to have to think a little more with this one.
"GOJIRA MAINASU WAN" lit. "GODZILLA MINUS ONE" (2023) - dir. Takashi Yamazaki - (aka "G MINUS ONE")
The second live-action film of the new Reiwa Era is a thrilling, engaging, and truly emotional spectacle. After WWII, Japan is in ruins and beginning the process of recovery. When the arrival of a monsterous creature named Gojira threatens to destroy what is left, it is up to the surviving civilian population to stop the creature first. This film was a pleasant surprise, much better than what I was expecting, and quickly shot up into my top five. Director Takashi Yamazaki creates a surpisingly moving film, with well-crafted human characters that properly anchor the story. This is usually a difficult task for a G-film to accomplish, and most of the films fumble this important aspect while several fail quite miserably. G Minus One, on the otherhand, proudly displays its human drama first and foremost, and there are some very touching and emotional moments. I tend to prefer more serious and dramatic G-films, so for those expecting a lot of camp-n-cheese with your Kaiju film, you will be disappointed as this movie plays it totally straight and is quite grim with its melodrama at times. It was nice to see a "ground-level" G-film focused on civilians again, especially after Shin Gojira almost exclusively focused on the "high-end" Government level. Music, FX, acting, all are superb here, and the story moves along quite well besides some notable second act drag. Goji is very well done, using a modified version of Yamazaki's previous G design from Always 3rd and G the Ride. Though he does not have a ton of screen time compared to other films, his terrifying presence always looms over the main characters. I also enjoyed that much of his appearance in this film is water-based, but his land scenes are nicely crafted and the few destruction sequences are quite spectacular. The film's Oscar nomination and eventual win for visual effects in 2024 was very well-deserved, and was a heart-warming first for the series. Overall, it was a much enjoyed experience, and I am eager to see what the Reiwa Era offers next. Highly recommended for the powerful human story alone, just be prepared that you are going in for a more somber ride with this one.
AMERICAN FILMS:
1/2
"GODZILLA" (1998) - dir. Roland Emmerich
1998 saw an attempt to bring Big G to our side of the pond, and after a heavy marketing campaign and anticipation, the reaction to the end result became the stuff of legends. After a Japanese fishing ship is sunk, a strange creature is tracked across the Pacific and eventually makes landfall in New York(!!) Soon it's up to a scientist, a reporter, a cameraman, and a French Secret Service agent to track down and stop this "Godzilla" after it lays hundreds of eggs in the city. SO, that summary sounds like bit crap, doesn't it? The movie isn't much better. I will admit that if it were a movie about a creature NOT named Godzilla, I'd probably rate it a little higher, as the film is pretty fast-paced and can be enjoyable at times. However, what we got was a radically redesigned G, with hardly any of the defining traits of the original carried over, and absolutely none of the spirit. Taken as a Godzilla movie, as it IS named, it is a failure, as the filmmakers themselves have unfortunately admitted in the years since its release. Most of the cast is miscast, only Reno and Azaria manage to elevate their performances above camp n' cheese, and they almost carry the film at times. Everyone else including the leads are quite bad, and most of the attempts at comedy are cringe-worthy. Effects are good and still hold up fairly well to this day, however once the baby Godzillas arrive and we get a rip-off of Jurassic Park, it is time to give up. I was 13 when this came out, and I was probably more excited for this movie than any other around that age range. Even at 13, as the movie went on, I was disheartened as I realized I was watching the ball drop on what should have been a huge success and the beginning of a franchise. Instead, G's reputation was heavily damaged, Japan (in major damage-control-mode) brought back their G for a new series, and we would not get another American version until 16 years later. Lawd.
"GODZILLA" (2014) - dir. Gareth Edwards
2014 saw the second attempt at an American produced Godzilla, one which was more mindful of its source material and spirit. When two strange and destructive creatures emerge from a long slumber, a young soldier and his family are caught in the chaos once an ancient Alpha predator named Godzilla arrives to challenge the creatures. Taken as a G film, it is one of the strongest in the series, with some excellent effects and a more involved human story than usual to lay a strong foundation. Taken as a film on its own, it is still a strong showing, with some truly excellent cinematography and directorial touches. The style of this film gradually morphs from a character study to a visually focused action film with a restrained approach, and it often works in its favor as it helps to build tension as it goes. Some of the story decisions go into different directions than you'd expect, and it's true that the movie you are watching at the end is not the one you are expecting to see at the beginning. Acting is good for a G film, and there is some strong work here. Cranston and Watanabe give the best performances, and everyone plays their part as well as they can, even if they are all thinly defined with too much time and focus devoted to their basic characterization. Learning an important lesson from the '98 attempt, we get a Godzilla design and execution that is faithful to the spirit of the original. Even though the design is new, never once do you think "that's not Godzilla," and that's a huge success on its own. There are some excellent visuals involving G, and though his screen time and focus is far more limited than usual, the restrained approach makes for one hell of a third act clash. The MUTOs are a unique new set of twin monsters, and though their visual design is lacking, their execution and sound design is terrific. Overall, the positives outweigh the negatives for this film and I enjoy it very much. The success of this version allowed a believable Godzilla to be reintroduced and accepted by a historically skeptical American audience, and kicked off a whole new Kaiju film universe, the "MonsterVerse." The next installment of this new series, a reboot of King Kong called KONG: SKULL ISLAND, saw a reintroduction of a new larger Kong, as well as visual and audio cameos of Godzilla, Mothra, Rodan, and King Ghidorah setting up for future installments. Fantastic.
"GODZILLA: KING OF THE MONSTERS" (2019) - dir. Michael Dougherty - (aka "GODZILLA II: KING OF THE MONSTERS")
The sequel to the 2014 American reboot is an enjoyable, action-packed, and surprisingly old-fashioned throwback to more classic Showa-Era G films. 5 years after Godzilla defeated the MUTO pair in San Francisco, the Monarch organization is caught in the midst of an awakening of ancient Titans including Mothra, Rodan, and the rival alpha King Ghidorah. As the world plunges into chaos, they fight to support Godzilla as he challenges his ancient nemesis to restore balance and become the true King of the Monsters. So this sequel builds upon what was established in its predecessor, and then sets out on its own unique and fast-paced course. The human story has some missteps and too many unnecessary plot twists/mechanics, but the actors are all invested in their parts and play them earnestly. Watanabe returns as Dr. Serizawa and provides the films strongest performance, given a much more important role to play than his previous appearance. In contrast to G14's focus on mood/tension, G:KOTM shifts to more spectacle/action, with an enjoyable (and very clearly fanbase-minded) focus on callbacks and homages to Showa and even Heisei (!) Era films. All the Kaiju are great, Godzilla's slightly tweaked design is a highlight, while Ghidorah is incredibly realized and given a unique tri-way personality. Rodan and Mothra are also very well redesigned and make memorable impacts, but are disappointingly limited to lesser, secondary Kaiju roles that serve mainly to boost and emphasize Godzilla and Ghidorah's battle. The monster battles are like classic monster mashes realized on screen with modern technology, truly spectacular though they struggle to maintain the scale of the Kaiju as they go on. The classic musical themes for Godzilla and Mothra make a pleasant return in this entry, nicely blended in with new orchestral versions. Even with the improved Kaiju focus and shift in approach, the film is not as strong or as polished as its predecessor and is admittedly more forgettable. Still, it's an enjoyable G-Film and a nice addition to the franchise, and leaves you anxiously awaiting G's coming clash with another King.
1/2
"GODZILLA VS. KONG" (2021) - dir. Adam Wingard
The fourth film in the MonsterVerse sees Godzilla cross paths with Kong in a colorful, bombastic, and explosive clash of kings. 5 years have passed since Godzilla defeated Ghidorah in Boston, and the world has returned to a state of peace. After Kong is removed from his home on Skull Island for a mission into the Hollow Earth, the stage is set for an inevitable fight between the two alpha titans. Continuing the story built in the previous three films, GvK does an admirable job at honoring what has come before but not dwelling on it, with the goal of moving the universe forward. Out of all the MV films this has the weakest human and story elements, often comedic in nature but also awfully mediocre. It is good that the film almost totally shifts that to the side and wisely places the focus square on the kaiju, which is exactly what we are here to see. Kong is given a little bit more focus here as we haven't caught up with him in a while, and he is updated nicely with a more aged, weary look. Godzilla is enjoyably given more of an aggressive, "heel" role to play that doesn't feel forced and makes sense in context of what is going on. Finally, MechaGodzilla makes a brilliant final act appearance and is an absolute beast of a challenge to the two title characters. The monster battles are very fast-paced, more influenced by modern action films, with the two main set pieces being absolute highlights. A sequence in the Hollow Earth is very creative and nearly takes the cake for my favorite section of the film. There are some nice callbacks and homages to the 1962 Showa matchup, and the whole thing just leaves you with a cheesy grin on your face. This is a fun movie that is self-aware and doesn't aspire to be anything else but a big budget B-movie monster mash, which is its greatest strength but also its biggest weakness. I really admire the increased amount of kaiju focus, and hope that any future films continue this approach. I enjoyed the heck out of it and it sure made me feel like a kid again. Easily the most rewatchable (and general-audience friendly) out of the MV films so far. Leaves the door open for a sequel, but wisely doesn't leave any hanging threads and wraps everything up neatly.
"GODZILLA x KONG: THE NEW EMPIRE" (2024) - dir. Adam Wingard
The MonsterVerse rages on in the 5th film of the series, as Godzilla and Kong's story continues in a fun, expansive, and totally bonkers full-Showa-style sequel. 5 years after they clashed in Hong Kong, the two Kings are ruling over their separate kingdoms, Godzilla guarding the surface and Kong exploring the Hollow Earth. When a new threat from even further within the Hollow Earth emerges, these titans will have to put their rivalry aside to conquer this new enemy together. So GxK once again does a good job at honoring all established lore within the MV, further building the mythology by adding a ton of new characters, monsters, and ideas to the universe. More importantly, it takes the most unique and original part of GvK and absolutely RUNS with it, resulting in an enjoyable but genuinely silly film. All of the expansion of the Hollow Earth environment is done well and is quite fun to watch, but suspension of disbelief is truly pushed as far as it can comfortably go. The human characters are fun and have entertaining banter with each other, but are all surprisingly more expository than the last round. They are integrated into the events of the story in a much smoother way, but there are many extended sequences where they are not involved and it is the monsters only. These sequences are brilliant and engaging, but with no humans involved in the shot composition, the sense of size, scale, and weight of the monsters is, unfortunately, completely lost. Kong is great once again, serving as the driving force of the story, and Godzilla is given a fantastic "Wild-card" role, with a much-appreciated focus kept on him even though he is not the lead of the film. The monster villain Skar King is a letdown, he does not appear until halfway through the runtime and sadly does not have the intimidating presence that he should have. He is presented more as a snarky bully, rather than the world-threatening challenge that he is built up to be throughout the film. A wonderfully redesigned Mothra returns, and the new monsters Shimo and Suko are great additions in their first appearances. There are flashes of true brilliance in this sequel, with honest crowd and fan-pleasing moments, but the whole thing plays a bit too much like a Saturday morning cartoon. It is clear that this is the intent though, and if you keep that in mind before watching this you will have a total blast. I for one am starting to miss the restraint that G14 had, and hope that future films just dial it back slightly.
