Monster Hunter

We've done it. The Year of the Kaiju, 2022, has come to an end. And today we're concluding this blog with one of the most recent kaiju movies made, this one directed by Paul W. S. Anderson. Monster Hunter stars his wife, Milla Jovovich, and Thai superstar Tony Jaa. This is the second film we've covered on this blog inspired by/based on a video game, so apparently giant monsters and video game films go together like lamb and tuna fish.

Paul W.S. Anderson apparently developed an interest in making this film after being introduced to the series in 2008. This one was a long time coming, with rumors for development happening as far back as 2012. Amusingly, when the video game Monster Hunter: World was a major success, some studios poked around to get the rights to make a film but were surprised to learn that Anderson had already done it long before. That's about as far as it goes for background info: this movie is the culmination of a man living his dreams and that's cool.

If You Haven't Seen it Before

- In a reality called The New World, a ship sails across the desert, and the sailors onboard are attacked by some unseen beast. In our world where we don't have ships that move on sand, Natalie Artemis and her UN security team are consumed by a giant sandstorm and transported into the other world.

- Shortly after arriving in The New World, the team is attacked by the giant Diablos and barely escape with (some of) their lives.

- Regrouping in a nearby cave, the remaining team is attacked by giant spider-like creatures called Nerscylla which capture Artemis and kill the remainder of the team.

- Waking up in the Nerscylla nest, Artemis mounts a daring escape and finds her last remaining squad member before realizing he's infested with Nerscylla eggs and they hatch out of his body.

- Barely making it out alive and now braving the barren desert by herself, Artemis is confronted by The Hunter, a local from the area who is willing to teach her how to survive this New World. After several exchanges where they attempt to kill and also save each other, they make peace and form a fragile alliance.

- Hunter's plan is to use Nerscylla venom to poison the Diablos, allowing them to make it across the desert to the obelisk which seems to be the key to returning Artemis home.

- After a dramatic battle, Hunter is badly injured but Artemis stands victorious. With the path to the obelisk (The Sky Tower) wide open, she instead chooses to carry Hunter back across the desert and resuscitates him.

- Making it to an oasis, Artemis and Hunter manage to relax for a bit before a Rathalos arrives and scares the local animals enough to cause a stampede which endangers them. Hunter's crew from the first scene arrive to help, rescuing them both before taking Artemis captive.

- Making a plea for her case, Hunter is able to convince his captain (The Admiral, who can speak Artemis' language) to free Artemis. He explains that the Sky Tower allows her people to come into the New World, and he believes Artemis' people pose a real danger to his own. If he gets her through the gate again, he can destroy the tower behind her and protect his world from hers.

- They all team up to get Artemis to the Sky Tower, the bad news is they'll have to endure the giant Rathalos to do so.

- Once at the tower, the Rathalos predictably attacks. Everyone puts up a valiant effort and Artemis is thrown from a cliff as the Sky Tower activates and she finds herself back in her homeworld.

- Just after arriving, a rescue team discovers her and brings her back to safety. Just as they take off in a helicopter, the Sky Tower activates once more and the Rathalos flies through and crashes their helicopter.

- The collected military units retaliate, but the Rathalos wreaks havoc upon them. Artemis, remembering the one weakness she was told they have, regroups and collects weapons.

- Confronting the Rathalos, Artemis does a fine job until she's ultimately outclassed by the giant dragon. As it prepares to finish her off, the Rathalos is finished off first by Hunter using explosive arrows.

- The Admiral has followed Hunter (and the Rathalos) into the portal, and explains that the Sky Tower is now wide open and monsters from The New World are coming into Artemis'. 

- They make a plan to shut down the Sky Tower for good, but first they have to fight their way through all the monsters now coming through. The movie ends on a cliffhanger as the 3 attack another dragon looking monster.

Kaiju Notes 

- Diablos is an intimidating beast, some sort of combination of dragon and demon with black coloration in all the right places. It breathes fire, impales with its horns, and has a tail which is useful for whipping any fool who gets in the way. It's basically being a walking disaster for any who cross their path, especially because the guns that the military unit were using against it seemed entirely ineffective, meaning that without using the (largely melee) weapons of the homeland it basically couldn't be harmed.

- The Nerscylla are pretty boring giant spider monsters, but the scene where the eggs hatch out of one of the soldiers is pretty effectively gruesome. They're still spooky because spiders are spooky, but their apparently horrific lifecycle is what really makes 'em gnarly.

- Rathalos is really just a dragon, even down to breathing fire. Dragons are super cool, so it's not like Rathalos lacks coolness, but it's not the most exciting final boss (even if it is the most logical).

There is one notable element of this movie that I wanted to address first: the two main characters can only barely communicate. I actually really like this aspect of the film and it should really be utilized more in mainstream stories. Artemis and Hunter being functionally unable to speak makes the story much leaner than most would be, not spending whole scenes on exposition and nonsense while also building a relationship between two people naturally. In a movie with a distressingly thin plot already, it's an interesting touch that could be used to much greater effect if people filmmakers would just embrace it.

Monster Hunter, is... fine. This movie almost certainly did not change anyone's life and everything about it is pretty standard for the genre. There's very little "meat" on these bones, but everything is competent. As someone not especially familiar with the game series it's based on, I really can't speak on the film from a fan perspective. But like Rampage, which we covered on this blog, it is a relief that we are finally past the point where every video game-based film is total shit. This isn't as fun as Rampage (or even Sonic the Hedgehog, which is also far from amazing), but it's not the nightmare that many video game movies are.

The weapons used in the film are obviously based on the game weapons, but I do appreciate the way that the film embraces the game's "keep what you kill, build on it" concepts. The machine guns that the military characters bring into The New World are basically completely ineffective, outside of the (obviously rare) grenades. But since the weapons and armor of The New World are made from the creatures within it, they're also the most effective manner of fighting back against them. As far as a reason why traditional weapons don't work against the kaiju of the movie, it's a fairly good one. Artemis doesn't learn how to use the weapons and wear the armor because she's in a strange place and decides to assimilate into the culture but because not doing so will get her literally nothing but killed. It is also a relatively graceful way to avoid the "wise native" trope of so many films before it, something that would have been extremely easy to fall into with a plot like this.

That's about it. As far as the final film covered for this blog about The Year of Kaiju (2022), I'd hope that it would be more polarizing, but here we are. The monsters are all quite monster-y and some of the more brutal elements are very effective. Nerscylla actually add an interesting horrific element to the movie in contrast to the "giant, angry, dangerous" vibes that the Diablos and Rathalos give off. If they made a second, I probably wouldn't watch it, but if someone turned it on at a social gathering I'd stick around.

Next: 2023!

Godzilla Trilogy (Netflix)

We're talking anime now, baybee. While Attack on Titan was an adaptation of manga/anime, it was a live action film. So the first time we're talking about anime. In fact, this is our first animated film covered on this entire blog. This one is a bit complex as it is actually a trilogy of films rather than just one, but these are so closely connected that it felt weird giving a different post to each. When learning this existed I found myself confused about why it had never been done before: animation seems like the perfect medium for Godzilla (and all kaiju, really). So we're here to see if animation is indeed a good fit for the main man Big G, with a series of films directed by Kōbun Shizuno and Hiroyuki Seshita. This is going to be an extremely long synopsis since it is 3 films, so let's get to it!

If You Haven't Seen it Before

- Humanity has been away from planet Earth after being chased away by Godzilla, all of humankind living on a space colony alongside the alien races the Bilusaludo and Exif.

- The Exif are a religious species which worship an unnamed God and have advanced technology which allows them to glimpse the future, while the Bilusaludo are a hyper-logical and pragmatic species who have given up most of their culture and material comfort for the sake of accomplishing their goals.

- Main character Haruo Sakaki (human) desires nothing more than to return to Earth and kill Godzilla.

- With no viable options for another habitable planet, the Coalition decides to return to Earth but know they will have to contend with Godzilla. Upon arriving back on Earth, they discover they've been gone for 10,000 years due to relativity.

- Sakaki has developed a plan to kill Godzilla using EMPs, and it actually appears to work when they kill Godzilla shortly after making it back to Earth. They then realize that the Godzilla they've killed is basically Baby Godzilla, and the real one has no awakened again and kills nearly everyone on the planet.

- Sakaki swears revenge and is rescued by a group of humanoids who now live on Earth: the Houtua. The Houtua worship Mothra, and Sakaki's get involved with the Shobijin twins.

- The Houtua introduce the Coalition to nanometal, an incredibly advanced material created while developing MechaGodzilla and that can be shaped into functionally anything and they believe can be used to kill Godzilla once and for all.

- Despite being warned by the Houtua that the city is poison, the Coalition embraces the nanometal that has consumed a segment of the planet and dub this area MechaGodzilla City. They use the resources of the city to prepare to finish Godzilla.

- With the showdown with Godzilla impending, the Coalition is running out of time to finish their preparations and Sakaki learns that the Bilusaludo are fusing their bodies with the nanometal to serve as neural processors to increase the speed, efficienct, and power of the living city.

- Despite being told by the Bilusaludon commander that the process was strictly voluntary, when Godzilla wipes out most of their weaponry the commander orders the nanometal to forcibly absorb their remaining troops to make one final offensive and is guaranteed to work.

- Sakaki, having had his injuries treated by the Houtua and therefore immune to the nanometal (if he wants to be), makes the hard decision to destroy MechaGodzilla City rather than kill Godzilla, as the city itself would continue to absorb the rest of the planet after finishing the current task.

- While Sakaki's fate is being considered by his superiors, he is being treated as both hero and villain by the Coalition while he has taken refuge with a group of Exif led by the priest Mephties. 

- The remaining Bilusaludo functionally force the Coalition's hand, and remove their resources from the greater unit to demand that Sakaki is punished or even executed for destroying MechaGodzilla City.

- The Houtua have a philosophy that making life is "winning" and dying or disappearing is "losing," so the Shobijin twins offer to mate with Sakaki (on separate occasions, don't be weird) to ensure that he "wins" by continuing into the future. He eventually accepts one of their offers.

- The God of the Exif is revealed to be Ghidorah, who consumes almost all of the Exif as he manifests through an amulet in Mephties' eye.

- Unbound by the rules of physical reality, Ghidorah lays waste to Godzilla while remaining completely invulnerable to all weapons either human or kaiju.

- Sakaki is told he is key to the Exif's plan, who worship Ghidorah because of his unbridled and unstoppable power: Sakaki's hatred of Godzilla will be an anchor for Ghidorah to take permanent hold in this universe, allowing his destruction to be unimpending and no longer requiring summoning rituals.

- WIth the help of the Shobijin and some others, Sakaki decides to fight back and shatters the amulet in Mephties' eye, now binding Ghidorah to the physics of this universe and allowing Godzilla to fight back.

- Godzilla kills Ghidorah relatively easily and Sakaki, told that Ghidorah would be watching him as long as he lives, decides to provoke Godzilla into killing him so that Ghidorah will not be able to take hold in the world using Sakaki ever again, as he cannot give up his hatred of Godzilla.

- With both the Bilusaludo and Exif now extinct as a result of Ghidorah's actions, Humans and the Houtua live together happily on Earth, with Sakaki's descendants being among them. The difference is that they treat Godzilla as a natural unstoppable force rather than an enemy to be overcome.

Kaiju Notes 

- The baby Godzilla from part one is a chunky monkey in this one. Mah boi has big legs, big thighs, big chest, and big eyes. It looks much like Legendary Godzilla, being a little chonkier than most of the other versions.

- Godzilla's abilities have taken several levels in badass, including sending shockwaves with a flick of his tail and Atomic Breath which has evolved into something more akin to a sound cannon.

- Ghidorah being some sort of out-of-phase-of-time-and-space entity is a very great concept for the creature. Ghidorah has always been established as an alien and powerful entity, but the version we get here takes that aspect to 11 and it really works. The necks are also much longer than they've ever been, which is really only doable when the monster is not made using a suit, but am glad they decided to embrace what they could do.

So, the first thing to be said about this trilogy is that above all else they are truly sci-fi movies. We open in space, with aliens and advanced technology, and the kaiju are honestly minor elements in films that are primarily about exploring science fiction themes. The mystical religion of the Exif counterbalanced against the extreme logic of the Bilusaludo gives us "the two sides," and then we see the dangers in religion and technology in Ghidorah and MechaGodzilla, respectively. Combined with the other themes of nature's advance, the meaning of humanity, legacy, et cetera, this Planet Godzilla trilogy is really more a Future Planet featuring Godzilla trilogy. This isn't inherently a bad thing, but it does make it less interesting as a kaiju movie.

Let's talk about the kaiju in the sci-fi movie. Godzilla (and Ghidorah) is quite honestly just barely a character. Granted, this series is clearly going for the "force of nature" aspect of the character, especially when taking the ending into consideration, but it does become harder to really engage with any of the monsters in a series of movies that is named after one of those same monsters. In truth, MechaGodzilla doesn't even have a face and appears in one movie but is as much a character as Godzilla was throughout all three. Ghidorah gets an entire 5 minutes of screentime, so he too gets represented more as a force of nature. That, combined with how pretty much ever humanoid character dies, means that Sakaki is basically our only chance for emotional connection throughout. It's a bold choice, but honestly doesn't pay off in the end.

Sakaki is not a compelling main character. It really hurts the overall ability to enjoy these, because basically nothing that Sakaki does or says is interesting. He's like Forrest Gump in that every major event seems to revolve around him by some fluke of history, but he lacks the personality of Gump. Once we hit the third film and all of the other humanoid characters except Mephties and Sakaki are around, we basically lose any ability to really connect with anything going on. If one is super invested in Sakaki's genetic lineage, maybe it would work for them but I don't give a shit.

And that's really the conclusion of this series. While some elements are interesting and even fun, at the end of the day I found it really hard to get invested in this trilogy. I just can't really give a shit. I do appreciate some of the choices made (Ghidorah is pretty badass in this) and really embracing the sci-fi aspects of Godzilla movies, but the sci-fi movies they made around the kaiju just aren't awfully good. The 2nd one, City on the Edge of Battle, is the best one, by the way.

Next: Kong: Skull Island!

Shin Godzilla

We've entered yet another era of Godzilla movies: Reiwa. And with it comes another reboot in what is likely to be another series of movies about our favorite giant nuclear lizard, this time called Shin Godzilla. Blog favorite Shinji Higuchi directs this one alongside another absolute legend (in a different medium) Hideaki Anno. Higuchi is most noted (on this blog) for being the mind behind the adored trilogy of Gamera movies in the 90s (and the recently covered Attack on Titan film), while Anno is a legend in the anime world for being the mind behind Neon Genesis Evangelion. With those powers combined, and the knowledge that Shin Godzilla was considered by the Japan Academy Film Prize Association to be the best Japanese film of 2016, I'm looking forward to seeing this one like I should have 6 years ago. 

Since we are in 2016, there is no proper suit actor for the Godzilla in this film. Mansai Nomura was, however, the motion capture artist so we must give him credit. Like the Godzilla of the Reiwa era, the method of portraying him has changed as well. I suppose it's only fitting. But let's stop with the preamble and get to see what Anno and Higuchi have come up with this time.

If You Haven't Seen it Before

- Off the coast of Japan, an abandoned boat belonging to one Dr. Maki is found. While being investigated, it is destroyed and a flood happens in Tokyo Bay. Several other disasters occur and politicians gather to discuss their options and solutions.

- For quite some time, we watch public servants argue about what to do but actually decide (and do) very little.

- An enormous tail emerges from the sea, which confirms that the responsible party was some living thing. This prompts more arguments about the use of weapons on Japanese land or trying to capture the hitherto unknown creature alive for study.

- While more arguing happens, a horrible beast makes land and destroys part of Tokyo as it moves through the city. As a response to its environment, it seems to transform/evolve into a new form that at least has arms before returning to the sea. This is Godzilla and he's ugly as sin.

- The bureaucrats are now able to mostly agree on getting some sort of force ready to attack, so we watch more people in suits discuss the situation in closed door meetings.

- Despite finding out that Godzilla leaves radiation in its wake, the politicians begin to argue about whether evacuation is warranted (or legal) among many other things. They do ultimately settle on fighting back.

- Just in time, Godzilla returns to shore and now looks much more like the traditional version.

- Godzilla seems completely unharmed by an attack by the JSDF, so the US military aids with some special bombs that actually seem to do damage. 

- The bad news: Godzilla seems to evolve again, now able to breath fire before it focuses into a powerful laser/Atomic Breath, which he also launches from his dorsal plates. Godzilla destroys every bomber, plane, helicopter, and bomb nearby before also slicing damn near the entire city in half with this incredibly powerful Atomic Breath.

- With many of the politicians either dead or missing (unconfirmed) following Godzilla's attack, new leaders are needed while Godzilla simply stands dormant in the middle of the city.

- The US, allied with the UN, commands Japan that a thermonuclear strike will be performed when Godzilla reawakens. The Japanese politicians are almost universally against this, not only because Tokyo will be completely destroyed but also... agreeing to a nuclear strike in Japan.

- Some of the bureaucrats work toward developing an alternate plan, but it has to be absolutely surefire to keep the nuclear strike from happening.

- Using Dr. Maki's decoded notes, the Japanese develop a plan to completely freeze Godzilla to render him helpless. After prodding, the UN/US agrees to let them try this first, but the nuclear strike is the backup plan.

- The Deep Freeze plan goes into effect, forcing Godzilla awake and making him deplete his energy by fending off more missiles and planes. Once he seems tired, several explosives are destroyed which throw buildings on top of Godzilla. Lastly, a group of trucks pump blood coagulant down his throat in the hopes of freezing him.

- Despite the number of deaths this all costs, it ultimately works and Godzilla is no longer a threat but remains frozen in the city.

- Japan is threatened with an immediate nuclear strike if/when Godzilla awakens again, but for now they take pride in their victory over Godzilla.

Kaiju Notes 

- Godzilla, at least initially, is horrible. He's always supposed to be scary and/or intimidating, but his first form is honestly just horrific.

- Once in his "final form," Godzilla is very recognizable but has some significant differences. First off, this is the ugliest Godzilla of all time. His teeth are jagged, his arms are weirdly short, and the red/black aesthetic is just wicked looking. He does look quite powerful (outside of his tiny t-rex arms), but this version of Big G is not nearly as approachable as the older versions.

- Godzilla's new abilities are simultaneous ridiculous and awesome. Shooting lasers/Atomic Breath from his mouth and back and tail and whatever else they could think of is absolutely absurd but truly awe-inspiring when it happens. Godzilla is a true nightmare: always changing and evolving into something more dangerous and more unstoppable as the military throws more might at him. It's great to see in the rare moments Godzilla is on screen and active.

Here's one major note about this movie, this is the first movie since 1954 to do away with Gojira. This is the first (Japanese) Godzilla movie since the very first one where Godzilla had never appeared before. It's an interesting decision and a real marker that this Reiwa era of Godzilla is supposed to be different. And if you read that synopsis up above, you might have noticed that that is certainly true.

There is one major theme of this movie: how useless bureaucracy is, first and foremost. Watching people argue about whether weapons can be used against a giant creature because the rules say that weapons can only be used against an attacking nation of equivalent is damn near perfect scripting when it comes to demonstrating how the people in charge of the most important things are often incompetent at best. There are several funny scenes where the bureaucracy is shown in operation by having about 12 characters all repeat the same order or information in a series. It's effective at demonstrating how utterly dysfunctional it all is. The downside of this theme being hammered home is that much of the film is spent literally watching politicians and strategists argue while actually doing very little. It's effective at getting the point across, but it is not effective at being entertaining.

And that's truly the greatest sin of this movie: it's boring as shit. Quite honestly, it seems so wrapped up in proving its point (which it does do, to be fair) that it fails to make any of it interesting or fun. There are precious few moments that are actively funny, but they don't manage to make up for the constant droning that happens throughout. Combine that with the almost total lack of Godzilla and we've got a Godzilla movie which doesn't really work for me at all. Not a joke, at one point in the movie Godzilla literally freezes for about 30 minutes of runtime before reactivating for about 3-5 minutes before credits. It's honestly bizarre.

I feel like I have to be missing something, as this movie was quite popular when it came out. Both Japanese and non-Japanese reviewers love this thing while I am lost in the woods. I'm confused, but this blog is about saying what's in my heart and in my heart I hate this movie. And I'm so confused by what everyone else is seeing. I might have to watch it again sometime with the hope that I "get it," but I was pretty hyped for this so it's not like I went in with a sour mood.

But, since this movie is so good at themes, let's talk about one more: sacrifice. When this film isn't exploring the true horror of bureaucracy the human characters are dying over and over again. Not in vain, however, as many of the folks who die are doing it knowingly. To stop Godzilla requires sacrifice and so many squadrons of humans volunteer to put themselves in the line of fire and be destroyed so that the plan to take down Godzilla might have a chance of succeeding. Adding this to the hard position Japan is forced into by the UN forcing a nuclear strike on it and there is the shade of something really special here. It's just surrounded by so much plodding dialogue in stuffy rooms in stuffy suits that it really made it difficult for me to enjoy it, because even the more interesting bits near the end of the film are surrounded (and preceded) by raw fun-sucking boredom.

Welp, I'm disappointed. Let's press on and see what happens next.

Next: Colossal!

Attack on Titan (The Movie)

If you've heard anything about anime in the past 5 years, you've probably heard about Attack on Titan. Like most anime, Attack on Titan is based on an original manga/comic series of the same name. But this is a blog about movies, so let's talk about the director of Gamera: Guardian of the Universe (an awesome movie) made a movie based on a manga that is not the anime but at least related to it in that they're both based on the same thing. That director is Shinji Higuchi, whose work we previously discussed in the 90's Gamera trilogy. I consider this person one of the best kaiju movies directors in the biz, so here's to hoping he can replicate that quality with this adaptation.

As always, I want to credit the monster actors, but have been unable to find anyone credited as the Titans despite them clearly having at least some human element in their creation (likely human actors augmented with CGI. Word on the internet streets says I am correct). So instead we'll give credit to the 3 main "human" characters: Haruma Miura, Kiko Mizuhara, and Kanata Hongō star as Eren, Mikasa, and Armin (respectively).

There's not a whole lot to explain about the background of this one that wasn't done above, so let's see if Mr. Higuchi can repeat the quality of his previous forays into kaiju film! Fingers crossed.

If You Haven't Seen it Before

- Over 100 years ago, the Titans appeared. Those who survived the Titan War have built 3 large walls around their city and stay safe inside them now.

- Our three main characters are Armin, Erin, and Mikasa. Eren is the main character and is a dreamer who just wants something besides living and dying inside the city's walls.

- The kids seek to escape from the city to go see the sea, and Eren casts doubt that Titans even exist as one hasn't been seen in over 100 years. As this happens they are caught by guards and Eren starts a fight. He is saved by Souda, an old acquaintance who prevents the guards from shooting him.

- Souda tells Eren of a scouting mission that will lead outside the walls and Eren gets excited. Before he can be too hype though, a tremor begins and the wall begins to shake. A giant, steaming Titan appears above them.

- This Colossal Titan breaks down the wall and it and many other Titans invade and begin to eat people. They are hit with cannons and many other weapons but simply regenerate their wounds, making them functionally unstoppable.

- Mikasa is separated from Eren and targeted by a Titan while trying to rescue a baby. Eren tries to make it outside to rescue her but is too late, but it does manage to save his life as the shelter he was previously in is torn apart by Titans and the occupants devoured.

- We next see Eren and Armin as member sof the military preparing for a plan to reclaim the lost part of the city (the farmland of Monzen). The military has developed a weapon to fight Titans: Omni-Directional Mobility Gear. This allows the user to moves in any direction and use swords to attack the nape of the Titans' neck, their only vulnerability.

- On their mission, Eren and his squadron are attacked by a Titan Baby, which is super fucking creepy, and several other Titans. The survivors, few of them that there are are, are saved by Captain Shikishima and Mikasa. Turns out she survived the invasion!

- Mikasa is (predictably) traumatized now, having barely survived her Titan attack when Captain Shikishima saved her from inside the jaws of the thing. She now lives only to kill Titans.

- As one of Eren's compatriots makes a very forward move on him by sticking his hand on her boob and asking him to be a father to her child, they are attacked by a Titan and she is eaten.

- Eren and his squad are now fighting an impossible battle against Titans, but at least have the aid of the incredibly skilled Shikishima and Mikasa.

- Eren eventually makes a final stand but ultimately has his leg bitten off. He falls onto a rooftop, alive but clearly unable to do much else for himself.

- Armin is next on the chopping block, being grabbed by a Titan near Eren and all of his companions being unable to prevent it. As Armin slides down the Titan's throat, Eren throws himself into the Titans' maw and launches Armin out. In return, of course, he ends up in the Titans' belly after losing an arm.

- Mikasa, low on the gas needed for her ODM Gear, goes for revenge against the Titans but (obviously) finds herself overwhelmed and helpless. Fortunately for her, another Titan literally bursts from the one that ate Eren, killing it (by pulling it's jaw apart).

- This is Eren, in Attack Titan form, and he proceeds the beat the living shit out of and kill all the other Titans. The sun comes up so the Titans retreat (they're nocturnal) and Eren is carved out of the Titan shell he was inhabiting.

- Having just been a Titan, Eren has regrown his arm and leg in his human form. So turns out Eren can become a Titan and fight back, which should really even the odds in the future. But that's the end of this first film.

Kaiju Notes 

- Titans are... horrifying. They are essentially giant, deformed, naked humans (with no genitals or nipples) who eat people but don't subsist on them. They all appear different sizes and shapes, but share the ability to regenerate from all wounds except being slashed across the nape of the neck..

- The Colossal Titan adds some pretty epic abilities on top of that, giving off absurd amounts of hear and being incredibly large compared to the others.

- The Attack Titan doesn't seem to have any unique abilities, but does at least have a distinct look. It does retain Eren's knowledge of how to kill Titans and fight, so it is a much more effective Titan than any of the other thus far seen.

This being a blog about kaiju movies, you might be surprised to learn that I am a nerd. This means that I have seen the anime this movie is based on. And with that anime based on the original manga, at the point of this film we're 2 adaptations deep. So, I know what comes from where and what's changed between the two "moving picture" versions. First and foremost, the characters are quite significantly different: simpler is the biggest change, but their personalities have shifted as well. I would say, quite honestly they're all three pretty boring. Especially Mikasa, who has gone from severe girl who is always the most badass person in any room she's in to... sidekick. Eren's changed from vengeance driven hardcore determinator to regular army grunt. And Armin has shifted from tactical genius to character who I genuinely don't remember being in the movie except when he almost gets eaten (like 3 times).

That's the downside. Here's the upside: pretty much everything else about it is pretty entertaining. This movie lacks depth of character, but of course it does it's adapting a much longer story into a bite-sized chunk. And that bite-sized chunk is actually pretty thoroughly entertaining. The overall impression of this movie is really more horror film than action movie, and that really contributes to the enjoyment factor. And now's the time where I say something controversial: this film as an introduction to the story is better than the actual beginning of the anime. Up to the point in the show where this movie ends: I'd watch the movie any day. I've seen enough to know that the show does pick up, but if I'm being perhaps too honest: the 1st season sucks and I have no idea why people were so into it. But this movie? Pretty entertaining. Lacks some depth of character, true, but that's not the worst sin when you're too busy being horrified/entertained.

Onto a specific point: the invasion scene near the beginning of the film is tremendously effective. The Titans appearing for the first time in these people's lifetimes and proving impervious to all of their weapons is a gripping sequence. The Titans kill indiscriminately and gleefully and the humans face some genuine horrors in their attempts to escape/survive. People's reactions vary, of course, but we see the range from panic to cooperation to acceptance of their fate to suicide. It's a pretty effective sequence when it comes to illustrating the raw terror of a Titan attack, and more explicit than anything we've seen in a kaiju movie thus far. Every Titan scene borders on horror movie territory, which honestly makes a lot of sense for movies about giant monsters but hasn't been done yet so far (probably because it'd be a huge downer). It is, honestly, a bit of an evolution in the genre. While the original Gojira was more akin to a horror movie than most of the ones which follows, Attack on Titan truly embraces it as the point, and it makes the Titan scenes quite disturbing throughout the entire film.

Overall, I liked this movie a lot more than I expected to. A movie adaptation of an anime which is an adaptation of a comic is usually a nightmare (see almost any anime movie made thus far), but Attack on Titan is genuinely entertaining, one could even argue good. The choice to make a horror-kaiju movie is a bold one, and pays off greatly. Showing the scale, danger, and consequences of kaiju battles has always been something I appreciated, but this one adds terror and dread to the equation and makes you I feel how terrible the situation is. It is likley not a coincidence that the director who managed to make the weight of kaiju battles feel real in his Gamera trilogy is also able to do the same here. The special effects are solid but not winning any awards, and the characters lack depth but do at least manage to not be actively annoying or dumb. One could argue that their lack of personality might be intentional to emphasize the lack of identity amongst both the monstrous Titans and their opposition the military, but that's stretching it. Probably just weak character writing. But Attack on Titan is a good choice if you're looking for entertainment value, distinct horror-tinge, or something relatively unique in the genre.

Next: Shin Godzilla

Death Kappa

Death Kappa is a relatively rare item: a kaiju movie based on myth rather than an established franchise or completely original characters. Directed by Tomoo Haraguchi, this one also comes with a certain sense of humor built into its fabric, even the name. Going into this one, I know very little about it because when I was compiling a list of films to do for this blog I decided to choose this one based almost entirely on its name. In my defense, this was not a cultural landmark so a lot of information about it on the internet is pretty sparse. Let's get to it.

If You Haven't Seen it Before

- Failed pop star/idol Kanako returns to her hometown to find it full of people with what seem to be radiation sickness. When she sees her grandmother for the first time in years, a group of rambunctious youths hit her with their car before driving off and knocking a statue of a kappa off a cliff into the sea.

- Kanako's grandmother, in her dying breaths, asks her to take care of thekKappa. This prompts Kanako to become the new guardian of the family shrine (unsurprisingly dedicated to a/the kappa).

- In the sea, the kappa statue awakens. Shortly thereafter, a creature attacks the youths who knocked the kappa statue it into the sea, who seem high as a kite.

- During the process of these multiple attacks, a man appears and kidnaps the girl in the group using a taser. He's creepy. Kanako also sees the kappa eating cucumbers (because kappas love cucumbers).

- The next day, some of Kanako's friends find her CDs and play them loudly. The kappa dances outside until they notice it. The group becomes friends with Kappa. At night, they are attacked and kidnapped by the creepy guy and his lady accomplice.
- Inside the lair of her kidnappers, Kanako finds herself surrounded by horrific artifacts and creatures, including ugly amphibuous creatures called Umihikos and a dessicated corpse in a wheelchair. 

- Umihikos were apparently created using cells of the Kappa during World War II as an attempt to turn Japanese soldiers into these amphibious super soldiers to turn the tide by invading America, but never managed to take hold because of how inhumane the project was. But this woman has continued her grandfather's research to create Umihikos, though it's not clear if she intends to take over the world.

- Threatened by the Umihikos, their creator, and her collaborators, Kappa shows up to protect Kanako. The Umihikos seem to stand some chance before Kanako destroys their control panel and paralyzes them. The scientist wields a machine gun and kills everyone and destroys everything except Kanako, as Kappa protects her using his turtle shell back.

- Upset, the scientist decides to unleash the atomic bomb she keeps in the lab, to destroy the lab and the entire village. I guess this... causes the Umihikos to fuse and grow to giant size and start ravaging the city? Either way, there's a giant monster now, called Hangyolas.

- The military confronts Hangyolas, managing to do damage but definitely not emerge victorious. Hangyolas breathes fire to destroy the tanks and planes before all of his foes run away in fear. 

- The military stands no chance, but good for everyone that Kappa was also mutated by the nuclear bomb and rises as the giant Death Kappa. He faces off with the Hangyolas, occasionally aided by the miltary delivering giant cucumbers to him.

- Death Kappa manages to make Hangyolas destroy himself, but then turns to destroying the city around him with his brand new mouth laser that he didn't use in the fight against the other giant monster.

- Kanako reappears, having somehow survived the literal nuclear explosion, and sweet talks Death Kappa into calming down and floating away into the sea.

Kaiju Notes 

- (Death) Kappa is based on the mythological kappa monster, as explained by the movie: a kind of ghoblin that inhabits rivers and ponds. With a plate on their heads and a turtle like shell on their back, they're expert swimmers and sumo wrestlers. The plate on their heads is also a weakness, and they love cucumbers.

- Kappa is fucking hideous. I'm not a big fan of killing things just cause they look weird, but I make an exception for kappas, apparently. This thing is a total abomination and its a sin to let it continue.

- The Umihikos are also quite ugly, but nowhere near as awful as Kappa. They're relatively nondescript, being humanoid looking but if you put their heads into a bloatfish. Boring.

- Hangyolas is the only monster in this movie that seems to have had any design put into it. It's not going to win any awards, but it's definitely not as atrocious as (Death) Kappa, and seems to be a semi-original idea since Kappa's appearance is really just modeled on the creatures of myth.

First things first: if that plot description above sounds particularly ridiculous: it is. This movie is clearly supposed to be funny. It's not. I regret choosing to watch this when I planned out all of the movies for this blog. This is the "Super Shark vs. KrakenOpolis" of Japanese cinema: a waste of time that no one tried with, and figured some tongue in cheek moments where military men call out for their mothers when they die at the hands of a giant monster would make up for the general shittiness of every other moment. As with the made up "Super Shark vs. KrakenOpolis", they are wrong. Maybe it's just me, but I genuinely don't enjoy things that suck on purpose. If a filmmaker or a writer or whatever is truly trying and just missing the mark, that can be entertaining and I can appreciate their heart (if not their work), but I don't see the point of just making disposable trash like Death Kappa.

There's not much else to say about this one. It sucks, but it sucks on purpose. It's not entertaining in its terribleness, and it's not trying hard enough to even care. Kappa is a horrific beast with no redeeming qualities. Kanako is barely a character. Let's forget this one happened.

Next: Pacific Rim!

Gamera the Brave

It's 2006 and Gamera is back! Just like Godzilla, at this point Gamera has had 3 eras. His eras have always began after Godzilla's, and this time the turtle is continuing the legacy of kaiju films even after Godzilla's Millennium era came to a close. So today we view Gamera the Brave. The titular turtle is played by Toshinori Sasaki, with Mizuho Yoshida portraying his (new to the series) enemy Zedus. Yoshida has been seen on this blog before, having played Godzilla in GMK a few years before. Counter to my typical disregard of the human actors, I feel obliged to mention that the main human character Toru is played by a young Ryo Tomioka.

There's not a whole lot of background to explore on this film, and like most Gamera films/series, it seems obvious why it was made. Godzilla was popular and Kadokawa/Daiei film studio wanted to make their own kaiju film. The end result here is interesting, however, as this Gamera film is the only one made for the time period (and the last one made as of this writing). This is because it was a commercial disaster, opening at #6 in the Japanese box office, which is just... devastating. So our goal here, as always, is to view the film on its own merits and see what there is to see. But with a #6 opening that might have destroyed an entire IP, this one should be interesting.

If You Haven't Seen it Before

- In the very first scene, we see a town be destroyed as collateral damage as Gamera battles several Gyaos some distance away. As the Gyaos begin to overtake him, Gamera immolates and explodes, killing himself and the Gyaos as well.

- Over 30 years later, a survivor of the attack and his son Toru pay tribute to the memory of his recently deceased wife (Toru's mother). They live in the same town that was previously damaged by the battle and this is the first summer without Toru's mother.

- While on the beach Toru finds an egg which immediately hatches a tiny turtle. Toru names it Toto because his mother used to call him that. He and Toto make some new friends because everyone loves turtles.

- As Toto begins to grow and show signs of having the same abilities as Gamera, we see an old man be eaten by some unknown creature in the sea. It's brutal.

- Shortly thereafter, Toto disappears. As Toru tries to find him, a kaiju attack begins. Here we meet Zedus, who kills several people before Toto reappears to try to stop him, even larger than before. Still only about one third the size of Gamera, he fights with Z valiantly.

- After Zedus unleashes (one of) his secret weapon, a piercing, spear-like tongue, Toto climbs the tongue and surprises Zedus and us with his use of fire-breath right in Z's face. This knocks him off the bridge they are fighting on and into the water, while the unconscious Toto is surrounded by the military.

- Toto is taken by the government for study, and despite being told there's nothing he can do about it Toru and his friends resolve to go rescue Toto.

- While on their way to save Toto, Zedus returns and attacks a major city. He damages the building Toto is contained in and the workers attempt to escape. Toto confronts Zedus a few minutes later, now free from his confines.

- Toru and his friends believe they have to deliver the red stone Toru found alongside Toto's egg in order for him to be strong enough to win, but Toru had let a friend borrow him as a good luck charm before she went into heart surgery. He goes to hospital and finds his father rather than his friend with the stone.

- Toru finds himself helpless, thinking that at this point even if he finds the stone and gets it to Toto, he'll probably have to self-destruct just like the Gamera from 30 years ago. His father tells him that Toto doesn't exist anymore, this is a Gamera. Either way, his father wants to escape and Toru wants to help.

- The kids organize against the wishes of every adult surrounding them, heading toward Toto-Gamera with the red stone and passing it to another child each time an adult or barrier stops them by simply stating "For Gamera."

- Gamera gets slammed into a skyscraper by Zedus while Toru and his father try to reach him with the red stone.

- When Toru reaches the top, he tells Toto-Gamera everyone didn't work this hard just to see him die, so when he takes the stone he can't just self-destruct and die like the older Gamera.

- After receiving the red stone Gamera seems to finally come into his true power and rocket-legs his way into Zedus, knocking him off a skyscraper and now prepared for a real fight.

- Gamera's chest begins to glow just like 30 years ago, indicating Toto-Gamera may be preparing to self-destruct in order to stop Zedus. The military tries to convince Toru and his father to escape, but Toru has faith that Gamera will not explode and stays to watch.

- Gamera rips Zedus' tongue out of his body. With his mouth open, Gamera's chest stop glowing as he launches a giant fireball into the big lizard-looking thing and explodes it from the inside.

- Gamera collapses in exhaustion after the battle concludes, and the military closes in again to capture him. This time, every child in the area surround Gamera and refuse to let him be taken. They encourage Gamera to fly away, and he shares a look with Toru before rocket-legging away to safety.

- Toru says goodbye to his friend with a tear in his eye as the movie ends.

Kaiju Notes 

- Zedus looks like a pissed off iguana porcupine. It's not the most creative kaiju design, but effective enough as a first foe for the return of a classic hero. His spear-tongue is an effective weapon but looks a bit goofy because it's purple and phallic. It also gets immediately countered by "teenage" Toto, so it proves to not be too effective pretty much immediately.

- Toto-Gamera is goddamn adorable. He's got biggest, most soulful eyes on the planet and lacks the tough-guy tusks of his previous incarnation. Even when he unleashes his first fireball into Zedus' eyes, it's completely unexpected because of how damn cute he is.

- There's not a whole lot else to talk about when it comes to kaiju in this one: Toto-Gamera looks very similar to the old one but is significantly cuter, but his powers and abilities are the same. Zedus is spiny lizard. End of.

The "For Gamera" scene is genuinely great. Kids being underestimated by everyone seems to be the theme, but the movie reinforces Gamera's "friend to all children" tagline with this sequence where every child seems to understand the importance of the situation but none of the adults do. Toru's dad eventually understands, even if he remains skeptical, but the sequence itself is affecting and fitting the film. Toru refuses to let Toto go without a fight and his dad eventually supports him in it, like Gamera was supported by every child who helped get to this point. Toru himself is even trusted by his father to finish the task by himself as he has to pass through some rubble his father can't and is encouraged to do so.

Toru is one of the better child actors we've seen in a kaiju movie to date, managing to deliver some real emotion to the role while not acting either too mature or too childish and cutesy. He loves Sgt. Frog and takes home a turtle that hatches from a mysterious egg, like a child does, but manages to make it clear that he's suffering from the loss of his mother (and eventually Toto) and doesn't want to lose his new friend. The speech he gives at the top of the building, the end of the road, is an excellent thematic wrap-up of his character arc, insisting that Gamera is going to live while being supported by all of his friends and (remaining) family. It's just great.

Gamera the Brave is, in my opinion, a real evolution in the telling of kaiju stories. Let me preface by saying this one isn't the first to do so, but it is proof that it came occur in series that aren't Godzilla: emotional storytelling and not needing to focus on kaiju action to tell an affecting story. When it comes to action, this movie is actually relatively light on it, but it's great nonetheless. This one isn't just an entertaining monster movie, it's legitimately quite good and proof that kaiju movies didn't peak 10, 20, or 50 years ago. Given how good this film is in addition to Gamera's 90's trilogy, I think the perception of Gamera as budget-Godzilla is entirely unfair. Gamera is great and has been for a long time. Genuinely worth everyone's time, watch Gamera the Brave.

Next: Cloverfield!

Godzilla: Final Wars

We're in the endgame now, with the Milliennium series almost concluded. Godzilla is taking another hiatus, and this time Toho decided to throw a party beforehand. Instead of ending with a whimper like 1974's Terror of Mechagodzilla, or advertising the killing off of the main man Big G like 1995's Godzilla vs. Destoroyah, Godzilla: Final Wars is a celebration of 50 years of Godzilla history while allowing the giant lizard to take a well-deserved break. To add to this celebration of Godzilla in his 50th year, he also received a star on the Hollywood Walk of Fame just before the premiere of this film.

If you're not aware, this movie features a cavalcade of kaiju from Godzilla's history including at least one whom we've never discussed because it first appeared in a movie we've never covered on this blog (not a Godzilla movie). Tsutomu Kitagawa finishes his role as Millennium era Godzilla, but we've also got Naoko Kamio as both Rodan and Minilla, Kazuhiro Yoshida as Gigan and Hedorah, Toshihiro Ogura as Anguirus and Ebirah, and Motokuni Nakagawa pulling triple duty as Monster X, King Caesar, and Keizer Ghidorah. We've also got Kamacuras, Kumonga, Manda, Mothra, and American Godzilla (officially named Zilla by Toho in this film) to look forward to. I'm possibly forgetting someone, but with all these kaiju in one movie it's an understandable lapse in memory I think. Those other kaiju don't get suit actors listed because they are either CGI creatures or puppets.

Alright, enough build up: Godzilla's awesome we get it. Let's talk about the Final War, and watch Godzilla kick a kaiju-ton of kaiju-ass.

If You Haven't Seen it Before

- Due to various environmental disasters, kaiju have been arising from the Earth for 60+ years. Humanity has stopped fighting wars with one another and are now united against these monsters as the Earth Defense Force (EDF). Superpowered mutant humans began to appear in the world around the same time as the kaiju, and are part of the EDF as Organization M.

- In the context of this film, most kaiju we've seen throughout Godzilla movies have already appeared and been defeated by the EDF, including Godzilla who was frozen solid in Antartica some time ago.

- The Gotengo, one of the EDFs super weapons which is a flying submarine with a drill on the front which can be used to kill kaiju, is crewed by (among others) mutant Ozaki and normal human Captain Gordon. These are our important human characters.

- Protecting an important biologist (a boring job), Ozaki comes across Gigan, encased in stone. Shortly after this, Rodan destroys some city in the US, and monsters begin to appear all around the world. King Caesar in Japan, Zilla in Australia, Anguirus in Shanghai, and Kamacuras in France.

- The EDF attempts to take the kaiju down, but with so many monster to fight on so many fronts, they are overwhelmed. Ebirah the giant lobster is taken down by Ozaki and his team, however.

- The monsters are captured by a UFO containing the Xiliens, who reveal themselves to humans and pledge their allyship. They warn that a planet is coming to crash into the Earth and will destroy it, but they can help.

- The Xiliens become famous and revered, especially the 2nd in command "X," who appears in various media and is quite popular. There is some controversy over them however and Ozaki agrees, finding it unlikely that right after finding out Gigan is an alien cyborg monster that "different" aliens appear.

- Realizing that several prominent politicians are behaving somewhat suspiciously, Ozaki and his friends publicly reveal that the Xiliens have been impersonating some (all?) of the leaders of Earth.

- Pissed off that the ruse has been exposed, X kills the commander of the Xiliens and assumes control. Having captured the kaiju in their UFO before, X releases them again to assert control over the Earth. Using his Xilien powers, he's also able to assume control of all of the mutants except Ozaki, so now almost all mutants and kaiju are under his command.

- Almost all of the EDF is destroyed by the kaiju, leaving only the Gotengo and it's crew available, and even that ship couldn't possibly take down all these monsters. Fortunately, they come up a plan: Godzilla.

- Being the most powerful of the kaiju according to Captain Douglas, Godzilla is not currently under the control of the Xiliens and can thus be used to fight them. They're going to use his aggressiveness to lure it toward all of the other monsters and take them down. After that, how do they then defeat Godzilla? They'll figure it out later!

- Godzilla wakes as the Gotengo is confronted by Gigan, and quickly destroys the cyborg before beginning to chase the ship. Now the drama begins, and punk rock tunes kick in to tell us it's kaiju time.

- For the remainder of this movie, Godzilla kicks the ass of every monster he comes across in relatively short order and it's entirely awesome.

- Having captured the human crew of the Gotengo and lost all of his kaiju weapons, X summons his final attack: a giant meteor from space. Godzilla sees this coming and Atomic Breath's it so hard that it lands in a gigantic explosion but doesn't harm him. From inside launches the dreadful Monster X.

- Mothra, having been awoken a few minutes before, arrives to back up Godzilla as he does have some difficulty with Monster X. X sends the updated Gigan to fight Mothra, to keep things fair.

- Ozaki is revealed to be immune to the Xilien's control because he is a special mutant known as a keizer (just like X). While the kaiju fight it out nearby, Ozaki and X also engage in super-mutant battle onboard the ship.

- Mothra takes down Gigan by using his own weapons against him so that he slices off his own head, and then (having been set on fire by its laser) crashing into him in a final kamikaze attack. Mothra dies as she always does, but Gigan goes down.

- When X dies after being defeated by Ozaki, he causes the Xilien ship to delf-destruct as well. This causes a frantic escape and Ozaki only barely makes it back to the Gotengo before explosion.

- Monster X, defeated by Godzilla, evolves into its strongest form: Keizer Ghidorah. It's head expand to necks and it changes color to the familiar gold of King Ghidorah. He mollywops Godzilla for quite a while before clamping down on Godzilla's neck and beginning to absorb his energy.

- Godzilla losing the battle, Ozaki takes control of the Gotengo and uses his own keizer energy to fuel Godzilla. This causes KG to release Big G, and Godzilla turns the tide as he rips the extra heads off of Keizer Ghidorah before throwing him into the air and Atomic Breathing him into space where he explodes.

- Showing no loyalty, Godzilla turns around and knocks the Gotengo out of the sky. The crew survives, but the ship is out of commission.

- As Godzilla approaches the Gotengo to fully destroy it, the tiny Minilla appears to stop him and stands between the humans and Godzilla. Godzilla concedes the point and heads off to the sea with Minilla behind him. The end of an era. The Millennium era.

Kaiju Notes 

- Gigan has gotten a wild new update, being a new robot built for the 21st century. And while it's definitely more in line with modern aesthetic and looks quite chic, I have to confess to really enjoying the chicken-boy version of the past. I'll take both, though, because Nu-Gigan is badass in a whole OG-Gigan wasn't.

- Some of the other kaiju, even those who appear for only a few moments, have some upgrades. Kamacuras now has camouflage abilities and Anguirus can now roll into a spiked ball and launch himself into his enemies, for instance.

- This movie introduces very little "new" kaiju into it, so most of the kaiju information here is mostly relatively small changes or additions to update the creatures but with so little time to focus on any individual monster these are brief glimpses.

- Godzilla, at one point, throws Ebirah into Hedorah's eye and then Atomic Breaths them both so hard that the crash into a skyscraper and slide it into another, larger skyscraper before everything explodes. what

- Monster X is the closest thing to a new creature we get, and it's really just King Ghidorah but compact and gray instead of gold. It's a very edgy design, much like the upgraded Gigan, but not bad by any means. The three heads being compacted onto one small body makes a lot of sense to me as a more efficient design, and the "triple face" look actually seems more fearsome than the "triple head" of traditional King Ghidorah.

- Keizer Ghidorah's Gravity Beams, which we've always called them, now actually seem to have an effect on gravity. When hit with them, Godzilla actually lifts into the air and KG can manipulate him (and objects around him) by using his gravity beams.

The direction in this movie is a bit strange, but enjoyable. Actions scenes, especially for the humans/mutants, are often quick streaks across the screen punctuated by smaller moments of clarity. It's hard to explain, but it's a very dynamic way to shoot a film. It can be a bit disorienting at times, but it definitely tries to make the action sequences thrilling. That combined with the "very little time for your bullshit exposition" quality the movie has means that if you're here for an action movie you've got plenty to keep you focused. The human action pieces are probably more dynamic than they've ever been, but they're still weirdly distracting yet somehow entertaining in their own campy way. It's a very interesting quality of the film, as I truly can't decide whether I like them or hate them.

The man who plays X is potentially my favorite actor of all time. I love this man's over the top performance and have no other notes. He screams and tantrums with the best of them and his wild mood swings add an element of ridiculousness and entertainment to what could be an entirely flat character. That and actually being an interesting humanoid antagonist for once makes X one of the best Godzilla characters ever, quite honestly. We like X round these parts, he's the best.

So, this movie is overall pretty much exactly what some people want out of a Godzilla movie: monsters action. Rather than spend all of 2 hours having two monsters go back and forth, this is a gauntlet match with Godzilla tearing through his foes in ways we've never seen before. Alongside the human story which is... odd, but definitely not as boring as most, and you've got a movie which is nothing if not entertaining. There's no message, no metaphor, no hidden meanings here. Just Godzilla and mutants versus monsters and aliens. It's as delightful as it is shallow, but mileage is going to vary and whether it works for any particular viewer. Personally, this is one of my favorite Big G movies, but simultaneously not one I would consider "great." I would, however, definitely recommend one watch it, and see how it works for you!

Next: D-War!

Godzilla: Tokyo S.O.S.

Today we're talking about the only film in Godzilla's Millennium series that is a sequel to another from the same series. While every Millennium series movie takes the original Gojira as a past event, none of them besides Godzilla: Tokyo S.O.S.has acknowledged any other film since 1999. Better still, this one also includes an acknowledgement of 1961's Mothra. So, if you haven't seen Godzilla vs. Mechagodzilla (or read the awesome blog post) you'll want to bone up before getting into this one.

On technical notes things are pretty much exactly the same as last time, Masaaki Tezuka directs, Tsutomu Kitagawa is Godzilla, and Kiryu returns. This time, however, Kiryu is played by Motokuni Nakagawa. There's not much stunning background info for this one except the fact that the director was presented with four screenplays to work with and found them all too "boring." So, he wrote the plot (screenplay?) for this one overnight and that is the movie we've got on our hands! It's an impressive feat, but the most important question is whether it pays off. So let's get to talking about Tokyo SOS.

If You Haven't Seen it Before

- In the opening, the Japanese Xenomorph Self-Defense Forces (JXSDF) combats Mothra despite Mothra clearly focusing on simply getting away.

- Kiryu (MechaGodzilla) is still under repair from the events of the last movie.

- Mothra's representatives, the Shobijin, appear to MechaGodzilla scientist/engineer Yoshi and tell him that they must return the bones of the original Godzilla to the sea or Mothra will declare war on the human race. They don't want that, and neither does Mothra. If they do return the bones, Mothra will replace Kiryu as the protector of Japan against Godzilla.

- As an intimidation tactic? Mothra appears outsides Yoshi's house as this message is delivered, apparently meaning business. For context, in the continuity of this film Mothra was last seen 43 years ago and destroyed Tokyo (possibly a reference to the original Mothra movie).

- Yoshi's uncle who was present when the Shobijin appeared, tries to convince the prime minister but he refuses because both Godzilla and Mothra are both still (theoretical) threats.

- A dead Kamoebas (giant tutrtle) washes up on the shore, and the only culprit could be Godzilla.

- Godzilla's back for more after the last movie, and he destroys a submarine before Mothra eventually confronts him. As she begins to lose the fight Kiryu, mostly operational but missing its Absolute Zero weapon, joins the battle.

- Mothra loses, as always, and sacrifices herself to keep Kiryu safe. Fortunately, she has laid an egg and two Mothra larvae emerge from it.

- Though the twin Mothra's attempt to support him, Kiryu is defeated and completely shut down when it runs out of power. Yoshi has a plan to restore power to the robot, however.

- With some help from the Shobijin, JXSDF, and Mothras, Yoshi makes it to Kiryu and has time to work his engineering magic. 

- Despite not being a Mecha G pilot, Yoshi is inside Kiryu when it reactivates and is now along for the ride

- As Kiryu turns the fight around and begins to win against Godzilla, the memories of the bones inside Kiryu begin to affect it and it loses the will to fight. Godzilla is weakened enough for the twin Mothras to encase him in their silk.

- Given an order to finish off Godzilla, Kiryu's pilot attempts to follow orders but Kiryu is no longer responsive. It approaches the helpless Godzilla and activates its rockets to take them both to the sea.

- With Yoshi still inside, Kiryu is headed to the Japanese Trench where it intends to sink both itself and Godzilla. Yoshi accepts his fate, being inside the robot which is on a murder-suicide mission.

- Fortunately for Yoshi, Kiryu has some affection for him and orients itself so that he can escape and be rescued by his comrades in the JXSDF before sending him a final message on its computer: Sayonara Yoshito (a nickname).

- Godzilla and Kiryu plunge into the Japanese Trench, the pressure almost certainly being enough to finish them both.

- The Shobijin thank Yoshi and the others for their bravery and close with the message that humanity should never lay theirs hands on the soul of other beings.

- In a surprise post credits scene, a DNA lab announces the commencement of a "bioformation" experiment with an extinct creature, as we see the collected DNA of the original Godzilla. dunDunDUN

Kaiju Notes 

- Mothra tech is at it's absolute finest here. Mothra has fully flappable wings for what I think is the first time! She also seems significantly larger than previous versions. Besides the advancements in Mothra puppet technology (or CGI) and the increase in size (or decrease in Godzilla's size?), Mothra looks exactly as expected. This isn't a bad thing, Mothra is dope.

- Because the kaiju in this movie are literally just the same ones as last time, it's a bit difficult to think of anything much to say about Godzilla or Kiryu that I didn't already. Kiryu's arsenal is still awesome, and Godzilla's Atomic Breath seems a little faster. Shrug.

- Having lost the Absolute Zero weapon from the last film, Kiryu does now have the Hyper Maser, which is essentially just an enhanced version of the maser cannons the JXSDF uses. It looks like some combination of lightning and/or King Ghidorah's gravity beams, and seems effective but nothing like Absolute Zero.

So, first things first: I mentioned in the Against MechaGodzilla post that that movie felt like a setup for a sequel. Tokyo SOS is that sequel. And... if we're being honest... it doesn't really deliver on the promise of that one. This is not by any means a bad film, but I was hoping for a sequel on par with the 90s series of Gamera films because each was unique and great while managing to stay connected. Tokyo SOS does not succeed in balancing that, both entirely reliant on knowledge from the previous film but refusing to use the potential that one set up to make something great. Kiryu being without its Absolute Zero cannon is a great example: the thing that made Kiryu such a force in the previous film simply being discarded in this one so that any victory Godzilla pulls off seems hollow. And Godzilla does win, the first round at least, but we know its against a for he's been beaten by before which is not currently at its best. One could argue that Mothra makes a kind of equalizer, but I don't see it. If Godzilla was going to get a win over Kiryu, it should've been 100% Kiryu.

That said, on its own terms Tokyo SOS is aggressively fine. The ending is actually quite fitting and good, with the classic story of a man and a robot falling for each other. Kiryu and Godzilla going to hell together is also an excellent cap on the story line set in the 3 move lineage, and so the film does stick the landing. It's just the "getting there" part that lacks luster. Mothra, as much as we love her here, was a wasted addition to a movie which not only could have done without her but would have been better without her. She distracts from allowing the film to deliver on the promise of its prequel and only comes into the movie to die and be replaced by its twin progeny. It's entirely predictable and utterly unnecessary. But when the movie is working (and Mothra is uninvolved), it works pretty well. It's just disappointing that we have to spend so much time with the middling Mothra plot instead of the legitimately fun and interesting developments involving Kiryu.

As is often the case with kaiju films, Tokyo SOS is a mixed bag but relatively entertaining. I'll confess to finding this one overall underwhelming. That ultimately makes it disappointing on several levels: lack of followup from the previous film, Mothra's unnecessary addition making the movie relatively uninteresting on its own terms, and largely wasting the promise (and excellence) of Kiryu. Disappointing. If you're a completionist it's worth a look, but skipping this one would barely be noticeable.

Next: Godzilla: Final Wars!

Godzilla Against Mechagodzilla

The 27th Godzilla film sees the return of one of my personal favorite kaiju: MechaGodzilla. And I couldn't be happier, because now we're talking 21st century MechaGodzilla, the best century. Directed by Masaaki Tezuka, returning from vs. Megaguirus, we finally get a modern take on MechaGodzilla following GMK's version of Mothra, King Ghidorah, and Baragon. Still following the trend of rebooting the continuity, Godzilla Against Mechagodzilla takes as a given only the first film in the series with no references to any other. Tsutomu Kitagawa returns again as Millennium Godzilla (is that ever not true? Spoiler: no) and Hirofumi Ishigaki makes his debut in the series as the new MechaGodzilla. There's not much else to talk about as preamble to this one: it seems fairly obvious to bring MechaGodzilla back, so they did. Most other things will be explained in the synopsis below, so don't miss it! One particular note is that like the previous film GMK, this is one of the relatively rare Godzilla films to embrace the supernatural, though in a different manner than GMK did. So let's get to the details and see what Godzilla Against MechaGodzilla has to offer.

If You Haven't Seen it Before

- In this Millennium film, the original Godzilla attack in 1954 seems to have set off a chain reaction of other monsters coming to Japan, but never Godzilla until the opening of this film in 1999.

- Member of the Anti-Megalosaurus Force (AMF) Akane Yashiro is fighting back against Godzilla when a jeep of her companions crashes into her and falls off the mountain, being crushed by Godzilla in the process.

- Akane is demoted to a research section of the AMF, a lab specializing in placing robotic exoskeletons over existing tissue.

- The AMF decides to make a Godzilla-like anti-Godzilla weapon: a Mechagodzilla built over the top of the bones of the original Godzilla. This is Kiryu.

- In Kiryu's first confrontation with Godzilla, the new Godzilla's roar awakens the restless spirit of the original Godzilla inside the bones of Kiryu, causing the cyborg to go berserk and attack its handlers and other military.

- Kiryu eventually runs out of power and shuts down. The AMF reprograms it to ensure that this type of incident can never happen again.

- A child schools everyone on how they insist on violence when Kiryu clearly just wants to be friends, but because she's a child (and right) no one listens to her.

- Godzilla returns to do his dirt and Kiryu is sent out to confront him again because no better choice exists.

- Godzilla roars at Kiryu and this time it does not decide to turn against Japan again, so the two Godzillas can have a proper battle.

- Kiryu's control systems are damaged by Godzilla, and Akane decide that she'll have to pilot it manually if they have any chance of winning now. Akane and Kiryu team up!

- Akane almost dies immediately but eventually seems to connect with Kiryu and convince it to get back on its feet. When her AMF allies create a distraction, she lands a killer blow with Kiryu's strongest weapon and freeze Godzilla in the sea.

- Godzilla's breaks out of the ice relatively quickly, but now sports a nasty gaping chest wound.

- Rather than waste time fighting with this massive wound, Godzilla simply walks away as Akane-Kiryu runs of power and is unable to fight any further.

- Akane gets credit for saving some of her allies and the day, while Kiryu is taken back to base for significant repairs. And for the first time, Godzilla has actually been turned back even if they didn't manage to kill it.

- Movie end, but it's definitely set up for a sequel. Spoilers.

Kaiju Notes 

- Kiryu is badass. I love a sleek robot, and Kiryu is one of the sleekest kaiju of all time and a robot.

- Kiryu's abilities are traditional robot weapons: lasers, cannons, missiles, and a few body accessories including jetpack and a spike that also electrocutes. It's all fairly predictable, but sometimes good things are predictable. If lasers weren't awesome every robot wouldn't have them. Kiryu does have one devastating and unique attack, an ice laser called Absolute Zero which freezes and disintegrates multiple skyscrapers when it misses Godzilla.

The human stories really have improved in the Millennium era. While there's certainly still moments of "let's get to the kaiju," most of the human stories in the past few films have seemed necessary and valuable as connective tissue for the kaiju action. It's a vast improvement over other films where the human story is almost entirely disposable and thus mostly just wastes time. Akane isn't the most complex character, but her narrative arc makes sense and is easy to understand, as well as her motivations throughout the film. Her contribution to the goes beyond "pilots Kiryu" and into some actual character writing where she redeems herself but also considers her efforts a failure since Godzilla continues to live. Assuming she returns for the next one, Akane could go down as a pretty significant/great Godzilla character.

The connection between Kiryu/OG Godzilla and new Godzilla is an interesting and unexpected dynamic, which doesn't get enough time to be explored in this movie. Were it not for knowing that there is a sequel to follow, it would be a tremendous disappointment that this event was a simple one-off scene. Knowing there is a sequel I am assuming, but don't know, that it will be explored further, so it can be downgraded to a mild-moderate disappointment that this movie chooses to push this story thread to the side. 

And that last paragraph really does explain this entire movie: fine, but really relying on a sequel to deliver the goods. Even the kaiju action of Against Mechagodzilla is really just okay, with some highlights but nothing truly memorable being seen. But if the follow-up delivers, it could be something truly special. This film suffers from being a prelude, but one that will (hopefully) give much needed context to the next. So, consider this one a soft watch, for now. Let's see if it pays off.

Next: Godzilla: Tokyo S.O.S.

Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack

We're making history here, fellas. With the longest title in the Godzilla series, there is also another distinction in this film, but we'll get there. Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (or GMK from here on out) is another in the Millennium series but is also distinguished in that it's also one of the few Godzilla movies that fully embraces the supernatural. If you want to know exactly how, you'll have to read the synopsis! But let's talk about one other interesting facet of the movie: the titular monsters are all in a melee, but it is not the three-way fight one might expect. King Ghidorah is actually a heroic kaiju in this one, for the first time ever ole KG is one of the good guys. It's honestly a bit strange to consider, but here it is in all its glory. Mothra does remain on the side of the good guys, so she teams up with King Ghidorah (and one other monster) to try to bring down Godzilla in GMK.

Shusuke Kaneko directs, returning to kaiju movies after making the excellent Gamera trilogy in the mid 90's. Mizuho Yoshida retains his position as Millennium Godzilla, and Akira Ohashi is King Ghidorah. But the best credit goes to Rie Ota as Baragon, in the greatest performance of all time. Period. We love Rie Ota on this blog and in this life, end of. Let's talk about GMK.

If You Haven't Seen it Before

- An American nuclear submarine has gone missing. While searching for it, the fun of a giant creature which resembles Godzilla is caught on camera. In this continuity, Godzilla has not been seen (officially) since 1954. While some sightings have been suspected, there's been no major attacks.

- A while later, Baragon appears on land and attacks. Many people assume this to be Godzilla's return, but we will discover this is not the case.

- A filmmaker/documentarian named Yuri Tachibana is our main human character, and she is given a book about the Guardian Monsters. These are Mothra, Baragon, and King Ghidorah.

- Elsewhere, a Mothra larva is woken up and kills several people when it capsizes their boat.

- Given a clue while investigating Mothra's awakening, Tachibana and her crew head to the supposed location of King Ghidorah. They find a mysterious stone and told that Godzilla is on its way to destroy Japan as punishment: Godzilla being either the manifestation of or fuelled by people who died during World War II, including soldiers, civilians, and .

- A man who was preparing to hang himself falls into King Ghidorah's cave, bringing all of our kaiju players into the story.

- As the human characters debate exactly what's happening and whether they believe the fairy tale of Godzilla being the manifestation of casualties of WWII and the Guardian Monsters awakening to fight him off, Baragon destroys the building they are in.

- While Baragon is initially mistaken for Godzilla, the true Godzilla appears on the nearby coast. The two monsters must now do battle.

- Baragon clamps down on Godzilla's arm and is simply tossed around due to his small size in comparison. After throwing Baragon to the ground, Godzilla simply stomps Baragon out and continues throwing him around the area before ending the fight with an Atomic Breath attack. This was not even close.

- With one of the Guardian Monsters dead and Godzilla destroying the country and the JSDF, Ghidorah and (Imago) Mothra return to the scene, finally fully emerging from their hiding places.

- Tachibana, always been closest to the developing story, warns the JSDF (and father, an admiral in the JSDF) to not attack Mothra or Ghidorah as they are actually allies of humanity.

- Mothra arrives, and attacks, first. Her speed proves to be a decisive factor and Godzilla can't make full contact.

- As Mothra gains an advantage by attacking Godzilla's neck and head, Ghidorah joins the fray and uses his three heads to bite at Godzilla and deliver Gravity Beams to his body. Unfortunately for him, having three necks means he has triple the targets and Godzilla clamps down on him.

- Ghidorah is defeated relatively quickly, Godzilla biting his neck and weakening him before aiming Atomic Breath at him for the finish. Fortunately, or unfortunately since she's been way more effective thus far, Mothra intercepts the beam and takes the hit for Ghidorah.

- While the Guardian Monsters recover, Godzilla is attacked by the JSDF and wipes them out too. Mothra attempts to sneak up on Godzilla and deliver some devastating attack but receives a point blank atomic blast for her troubles. She explodes into a golden mist which rains down on Ghidorah.

- Ghidorah, empowered by Mothra's sacrifice, rises from the ground and becomes 1000-Year Old Dragon Ghidorah, a powered up version of regular Ghidorah (with extra golden color!). He overpowers Godzilla in a Battle of the Blasts.

- Taking the battle into the water, Ghidorah seems to be winning. To take advantage of this opportunity, Tachibana's father plans to pilot a submarine to destroy Godzilla, expecting to die in the process despite his promise to Tachibana to return home.

- Reporting on the events as they happen, Tachibana falls off a bridge after it's destroyed as collateral damage of the kaiju battle.

- The submarine nearly manages to hit Godzilla with their special missile, but the Big G is clever and instead turns so Ghidorah take the impact. When it flinches, he Atomic Breaths Ghidorah and knocks him out.

- Tachibana, close to the battle and falling from a bridge, drops the stone she found earlier into the sea where Ghidorah is and Ghidorah is revived once more. Now on his 3rd chance, he takes flight while Godzilla stays in the water.

- This doesn't work, and Ghidorah is once again hit with Atomic Breath, this time full exploding so there's no more question about whether he's going to come back.

- The spirits of the Guardian Monsters linger in the air and seem to make one last (spiritual) attack against Godzilla which sends him underwater. Admiral Tachibana seizes the chance to pilot his submarine into the throat of Godzilla.

- Seeing a vision of his daughter encouraging him not to let Godzilla win, the Admiral launches the special missile into Godzilla's open wound. It slows him down but doesn't prevent him from gathering his Atomic Breath to laser the nearby (younger) Tachibana to death.

- Fortunately for both Tachibana's the gaping wound means that Godzilla's atomic power instead rips through him and destroys his body. Godzilla is finally dead, and Admiral Tachibana pilots his submarine back to the surface.

- Everyone celebrates, but as a final shot we see foreboding image of the still beating heart of Godzilla at the bottom of the sea.

Kaiju Notes

- Baragon is the cutest, bestest boy. While he's in this movie only very briefly, he's got beautiful floppy ears, a cool horn, and coloring we don't often get to say (reddish). He has no real powers worth mentioning considering how quickly he got his ass whipped, but we stan Baragon on this blog. His roar is a bit shrill but distinct. It's got nothing on what will always be his true roar: Rie Ota.

- Godzilla's appearance has changed somewhat from the previous Millennium films, and he is more menacing this time. His teeth are less jagged, his dorsal fins seem less pronounced and more orderly, and his eyes are all white at all times which gives him an aura of being possessed. While every element is actually less "wild" than his previous incarnation, this actually makes it seem like Godzilla is more designed for maximum efficiency rather than a wild animal. His Atomic Breath also causes mushroom clouds to longer where he uses it, really driving home the World War II connection.

- Mothra has been given longer legs and purple eyes, but otherwise looks very similar to every other Mothra design we've ever seen. She also looks more realistic than she ever has, the previous Mothra puppets having a certain "stuffed animal" feel to them.

- Ghidorah's necks have been shortened, which probably makes the suit much easier to manipulate. The golden color is muted because his only scenes are at night, but when the light catches it just right it looks quite good. 1000 Year Old Dragon Ghidorah gains fangs and some extra golden glow, but otherwise looks about the same as always.

Early on after the monsters begin to appear, there is a moment where, after Godzilla uses his Atomic Breath, a Japanese school teacher sees a mushroom cloud in the sky after a brief flash of light. Especially given Godzilla's origin story being directly tied to World War II, it's a genuinely affecting moment. The movie does not linger or dwell on this instance, but that is perhaps what makes it worse (and more effective). In perhaps a meta-commentary on it, whether intentional or not, the Japanese don't have the luxury of dwelling on the situation.

In one hilarious moment the military is watching the battle from a skyscraper which Mothra has used as a base from which to launch attacks. When she returns to the building at one point, Godzilla is trying to Atomic Breath her and we watch the soldiers inside realize they're about to explode as Mothra flies straight toward them before shooting up to the top of the building. If we didn't know better, we'd have to assume she did it on purpose because she hates soldiers. She might!

On the previous point, while I found that one example somewhat amusing, this film does a better job than many in the series of establishing the consequences of Godzilla's various battles. Rubble falls onto people, occupied buildings are destroyed, and people get caught in the crossfire while the kaiju battle it out. It's a small but underused element, in my opinion, in kaiju movies in general. Dwelling on the deaths of humans isn't really the goal, but making sure the audience can feel that these events are truly significant for more than just property damage makes the movies seem more relatable to me. It's the same effect as "kaiju destroys tanks and ships" versus "actually watching people react to their impending doom". It hits very different.

Godzilla is the literal manifestation of the casualties of World War II, apparently attacking Japan particularly because of their refusal to account for their own crimes during the war. It's an oddly pointed metaphor for Godzilla to embody when kaiju movies which bother with metaphors at all often go with the environmental or anti-nuclear message, but now we have the physical embodiment of the sins of war (both committed on and by the Japanese). It's not really clear whether that means Godzilla is supposed to be a consequence of mankind's fondness for violence or a simple monstrous representation of it, but the undying heart of Godzilla at the end somewhat implies the latter. It's also the first example of Godzilla's origin story being explicitly supernatural, and one of the relatively few Godzilla films to embrace supernatural elements entirely. It's what make me think that while this Godzilla is the casualties of WWII, the idea behind this one is that there will always be a Godzilla, even if it's the physical form of some different aspect of the horrors of humanity.

GMK is a mixed bag. The story and all of the elements truly do work. Even King Ghidorah, somehow, make a decent hero. Godzilla comes off as a truly unstoppable force, killing all of his kaiju enemies off either easily or multiple times. While Baragon is adorable and deserves better, crushing the cutie so ruthlessly makes Godzilla meaner and harsher. And anyone with experience in Godzilla movies knows that King Ghidorah is typically quite threatening, so watching his get killed by Godzilla on multiple occasions is like seeing the Undertaker lose at Wrestlemania. The story of the two Tachibana's is effective and blends nicely into the rest of the film, never overtaking or undermining the kaiju story. The only true downside is that the Guardian Monsters looks incompetent throughout and it becomes much harder to believe they have any chance at all as the movie continues. In fact, they really don't succeed at all, Godzilla ultimately being killed by the combination of a human weapon and his own immense power. And, as an aside, in a 50 year old series of movies about a cool and often heroic Godzilla, it's a little bit difficult to root against him. Seeing him beat the brakes off of King Ghidorah is oddly and viscerally satisfying even though we know we're supposed to be on the other side. It doesn't damage the movie in any significant way and remains quite fun throughout, but the behind the scenes decisions behind this one make it just a little harder to get behind than it could have or should have been. Definitely worth a watch, though!

Next: Godzilla Against Mechagodzilla!