GODZILLA FINAL WARS

GODZILLA: FINAL WARS ~ 2004, Ryuhei Kitamura – Japan

gojira_fainaru_uozu04

In 2004, Godzilla’s 50th anniversary, Toho released Godzilla: Final Wars. It was meant to be a finale of sorts, after which good old Godzilla would take some time to chill out. In an effort to celebrate the long running franchise, Final Wars works like a celebration of the entire cannon, and in a way, it’s almost a remake of every Godzilla movie simultaneously (mostly Destroy All Monsters), but it’s kind of a damn mess.

The plot is as follows: It is the future; blah blah blah who cares; the plot isn’t worth hashing out. Again, it’s that same old alien invasion story Toho has used over and over, but it’s really just a means to justify Godzilla fighting as many monsters as possible, and he really, really does. There are some dumb aliens in the mix, as well as a bunch of “mutants,” whom we’ll be talking about later.

It feels kinda disjointed and hurried. There is so much freaking homage in here that it almost just feels like watching a sitcom a clip show episode most of the time, which is not what you want from a glorious, 50th anniversary finale to your proudest franchise. The special effects suffer in the same way most modern Godzilla movies do- cheap, crappy CG and terrible composite effects, but the worst thing about the movie  is the emphasis on its human, and “mutant” characters. We spend a lot of time with them… And that time is a grab bag, sometimes its good, sometimes its really, really terrible.

Let’s look at the good; basically, aside from all the rad monster stuff, the coolest part of the movie is this guy:

gfw76Captain Gordon… He kinda looks like Stalin, mostly because they dress him exactly like Stalin for some reason… but he also kinda looks like Sgt. Slaughter, or a bad ass Mario, so that’s sort of a mixed message, but the fact remains that holy shit is he cool. Our lame ass mutant characters bust him out of military jail because they need his leadership to save the world. He’s really awesome, and he’s the captain of a sweet flying/submarine/drill type ship borrowed right out of Atragon, which is one of the better Showa era homages in the entire flick. That’s all good stuff…

…And then, on the other end of the spectrum, we have these guys….

gfw54“Mutants.” they suck so bad. These guys are part of the Earth anti-monster defense initiative or something. I have no idea in what way they’re better than normal people, but they’re supposed to be vaguely super human somehow, while remaining incredibly cliche and disinteresting. They’re like some profoundly lame Matrix/Ultraman combo deal, and they take up far too much screen time. I hate them a lot, for real, I’d have taken the G-Graspers over these idiots.

Also worth a mention, the big, stupid, Roland Emmerich version of Godzilla pops up in this movie, too. It tromps around and is promptly murdered by the real Godzilla, which takes less than a minute, and is a great thing that we all know needed to happen. I didn’t expect any sort of closure on that one, so this feels like a nice treat. Of course, I could have done without the unlistenable Sum 41 song that plays over the scene, but we have mute buttons, so it’s still good.

So, is it a good movie? Kinda. It’s probably going to make most Godzilla enthusiasts happy. I found myself enjoying the effort taken to pay respects to Godzilla’s older films, and all the monster fighting sequences are well done and entertaining. Also great; after relentlessly flip flopping on the Nature of Godzilla, I feel like this movie finds a good balance by casting him as humanity’s last ditch guardian by default, a looming threat that we all dread, but which is at the same time, our only hope for survival. I think this is a logical extension of the metaphor, given that GZ was originally meant to symbolize the horrors of atomic warfare. It’s a safe assumption that, if facing alien invasion, we might come to feel the same way about nuclear weapons that we do about Big Green in this film, so it feels appropriate that he has again found himself as a stand in for the bomb. Godzilla: Final Wars does a good job with that idea.

….BUT it isn’t a classic. As a finale, it feels appropriately epic, but we’ve traded a lot of character development for more for slick action sequences this time, and I’m never in favor of that. It’s simply too cluttered, and too all over the place, but if what you’re looking for is giant monsters fighting and little else, this for sure will give you what you want. I just think it would be wise to expect more from Godzilla, because his potential is enormous.

C-

GZ backGZ next

GODZILLA (1998)

Godzilla– 1998. Roland Emmerich – USA

Godzilla-1998-In-Hindi

…I don’t want to spend too much time on this one… It’s just kicking a guy when he’s down. More importantly, there’s nothing to say. Godzilla is crap. It serves no purpose, but to be the far, shallow end of the Godzilla franchise’s grading scale… With any luck, this will always be the worst Godzilla film.

I has almost no connection to Godzilla, save for  name, and the fact that it’s about a giant, lizard like monster, attacking a city. By this token, Gorgo and Reptilicus are as close to Gojira as Godzilla is. What a foul stench this one leaves….

THE PLOT- Do I have to? A radioactive iguana attacks New York. Turns out he’s laying eggs there and building a nest under ground, because this “Godzilla” reproduces asexually. Wonderful. A good chunk of the film features Jean Reno and a bunch of losers being chased around by baby Godzillas, because this shit-fest wants to rip off  Jurassic Park more than it does the actual movies it’s supposed to be based on. How embarrassing.

The Godzilla redesign is also just awfull, but to be fair, I remember when this movie was released, and I expected them to drastically rewrite the book when it came to Godzilla’s physical appearance. I think that was a sign on the times, people expected it. It’s good that Gareth Edward’s 2014 reboot stuck with a design a lot closer to the classic Godzilla, because that’s the ultimate case of “if it ain’t broke, don’t fix it.”

It’s even bad enough to be noteworthy! It sucks ass, but it lands right on the “who cares” level of film assessment. Really, the name “Godzilla” is the ONLY reason this thing didn’t end up being forgotten by now, because beyond that, there’s nothing here.

It’s worth mentioning that Toho was so repulsed by this piece of shit that they acknowledged its existance within the timeline of Godzilla proper just so that they could assert that this was NOT Godzilla, and then they friggin’ killed this stupid thing in Final Wars.

F

GZ backGZ next

Destroy All Monsters!!!

Destroy All Monsters~ 1968, Ishiro Honda – Japan

Destroy_all_monsters

In 1968 Toho released their THIRD Ishiro Honda directed Godzilla film wherein a race of extra-terrestrials take control of Earth’s monsters in an attempt to force a surrender and usher in alien occupation of the planet. Each of these films feature Ghidorah as the ultimate monster challenge posed to Godzilla and co., and in each film, mankind discovers a way to release their monsters from the alien’s control at the eleventh hour and saves the day. To rephrase that, between 1964 and 1968, Toho released five Godzilla films, and three of them had essentially the same story. I’m not saying I dislike this run of films, but how can anyone argue that things were getting alarmingly “been there done that” by this point? This is the Super Street Fighter II of Godzilla films (Making Final Wars the Super Street Fighter II Turbo of the franchise.)

12-DestroyAllMonstersHalf

THE PLOT- Mankind is really kicking ass these days. We’ve managed to put together a pretty sweet international space program, complete with moon bases, and Earth’s monsters are all contained for observation on a tricked out island somewhere in the Pacific. Advanced science has been developed to prevent each of the monsters from ever escaping, and simultaneously we’ve designed a self sufficient Eco-system which can feed the creatures indefinitely while we study them from ultra safe bunkers deep beneath the surface of the island. Yes sir, nothing can go wrong now. Oh, wouldn’t you know it, aliens show up and want to conquer our sweet planet, and they have somehow managed to take control of all of our monsters. Really, really sucks how often this happens.

Long story short, there is some space warfare stuff that goes down, and in the end we manage to free our monsters from alien control and defeat the interloping space people once again. Sound familiar? This also won’t be the last time Toho does this in a movie.

It’s not so bad, though. It’s still a pretty good effort, and the alien/outer space stuff is actually done pretty well, much better than in Invasion Of Astro Monster. The daring human assault on the alien moon bases is an especially exciting and well done sequence for it’s lack of giant monsters, and the film does a good job upping the ante and making this movie feel more global and epic in scope. It does really feel like the very survival of mankind is on the line, and really, that’s the mark of a successful alien invasion film, so kudos on that, Ishiro.

There are also lots, and lots of monsters, and they look good. The big battle at the end where Godzilla leads a monster army against Ghidorah and the alien invaders is pretty cool, and it’s satisfying to see Ghidorah get his ass beat so, so hard by Papa G’s Kaiju Posse.

22143

Overall, Destroy All Monsters does it right, but the problem is that we’ve just tread this ground so many times already. Had it not been diluted by the foul backwash of repetition, this movie would really shine. As it is, it’s still pretty good.

B-

GZ backGZ next

 

MOTHRA!!!!

Mothra ~ 1961, Ishiro Honda – Japan

123011 mothra

When I was a child, I liked Mothra okay, but she was easily my least favorite giant monster… And my list of “giant monsters” was not short. Somehow, a giant bug failed to capture my interest the same way a giant, immortal, radioactive dinosaur with laser breath could (back thenI gave no shits about the understated.)  I know I saw Mothra as a kid, but the odds are that I payed little attention to it. Now, as an adult, I have gone back and re-watched it for the first time, and Mothra is really excellent. It’s a film that feels distinct and fresh, but still able to fit in nicely with it’s kaiju contemporaries. The characters are all likable, the story is entertaining, and the more spiritual feel is a welcome departure from the norm. Mothra ranks among my favorite Toho films at the time.

mothra_1962_poster_01

THE PLOT: An expedition is launched to investigate mysterious reports of natives living on Infant Island, a Polynesian island thought to have been uninhabited, and which had been exposed to radiation durring atomic testing in the Pacific. The expedition is made up of both scientists from Japan, and also Rolisica, a fictional nation looking to be something of an amalgam of the United States and the Soviet Union. Upon reaching Infant Island, natives are indeed discovered, as well as two creatures with the appearance of small, humanoid females.

Mothra_fairies

They’re like, seven inches tall? Small as hell.

Some evil Rolisican dude named Nelson snatches them up and takes them back to civilization with the fine idea of making some money off of them, much to the chagrin of our three main characters, because they’re the good guys. Long story short, the natives of Infant Island are pissed that we took their tiny ladies away, so they pray for Mothra to hatch and retrieve them. Mothra does hatch, and the rest of the film is a balance of trying to survive her onslaught, and trying to steal back the ladies from Nelson and get them home.

Mothra is a giant moth also, in case anyone didn’t know this.

Terror Over Tokyo

There she is!

The film deals with ethical questions of exploitation (both resources and human lives), international tensions, greed and commercialization, and more spiritual notions of global unity in a way that doesn’t line up with the perspective of other Toho flicks. In King Kong versus Godzilla, natives are exploited, but we aren’t really told that this is wrong, so much as that it’s just something we can do if we want. Mothra is a more humanistic film. It’s also very well put together, and quite enjoyable.

Maybe my favorite thing about this film is this dude;

Sakai

On the right.

Furanki Sakai, who plays Senichiro ‘Sen-chan’ Fukuda, AKA “The Bulldog,” according to IMDB. In the subtitles on the version I watched, he was called Zen “The Snapping Turtle.” No matter what name/nickname combination is used in the version you see, Sakai is kicking out the jams. His character is believable, funny, likably, ballsy, and brave, he’s what I would maybe call a “lovable bad ass.” Honestly, he’s possibly my favorite human character in a Kaiju film ever; the only other known contender at this point being Don Frye’s Captain Gordon from Godzilla: Final Wars. Sakai’s character kinda feels like Lou Costello, if Lou Costello could also kick ass on occasion.

Another matter of note: The natives of Infant Island are apparently intended to be Polynesians, but the actors all appear to be Japanese people in black face. This same phenomena also appears in 1962’s King Kong Vs Godzilla, and it’s totally weird.

Mothra is really great, though.

A+

GZ backGZ next