johnatthemovies
Cinephile In The Peanut Gallery
A Movie Review Blog by John The Mod
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GODZILLATHON RAIDS AGAIN, PART 23: GODZILLA 2000: MILLENNIUM (1999)
[JAPANESE WITH ENGLISH SUBS)
When we last left off on our ongoing review series, the Heisei series went out with a bang, killing off Godzilla for the foreseeable future and leaving the door open for the Yanks to give it a try.
And we all know what happened next.
Roland Emmerichâs 1998 Godzilla reboot was a critical disaster, a mistake of a film that angered longtime fans on both sides of the Pacific. Â Story has it that Heisei era suit actor Kenpachiro Satsuma walked out of a screening of the film, saying that it âdidnât have the spiritâ of the Godzilla films that came before. Â Those are probably words Iâd take stock in.
It was because of this visceral reaction to how Emmerich and Co. massacred their boy that Toho put aside their plans to revive Godzilla in 2004 for the franchiseâs 50th anniversary and greenlight a new Godzilla film, a REAL Godzilla film, toot-sweet.
And so we have tonightâs feature, Godzilla 2000: Millennium, the first film of the Millennium Era (breaking from the tradition of naming each series after who was Emperor at the time, since the Heisei era wouldnât actually end until the past couple years) and the last Japanese Godzilla film to have a U.S. theatrical release until 2016âs Shin Godzilla. Â For this film, Godzilla was given a radical redesign, with a more reptilian face not unlike 1962âs King Kong Vs. Godzilla, and distinctively pointier dorsal fins. Â Personally, I think the jagged, razor sharp fins are a little much; I prefer the more classic look. Â An attempt was made to not rely as much on miniatures, the filmmakers deciding instead to Green-screen Godzilla and new foe Orga into actual landscapes, and, a first in the series, using CGI models of the characters. Â I will say, the scenes that actually feature miniature sets and the classic suitmation effects age a lot better than those that donât, especially a particular shot in which a chroma-keyed Godzilla chases some helicopters or when a fully CGI Godzilla swims across the screen, looking like he came from a PlayStation game.
As for the arc of the human characters, I donât have much to say. Â I like the idea of a group of semi-professional Godzilla chasers, who pursue and study Godzilla like he was a tornado or a hurricane, because thatâs exactly what he is. Â He is a walking, roaring force of nature. Â The opening scene feels more like the Jurassic Park movies that the â98 film tried to capitalize on, with our heroes stuck in an SUV on a rainy night, staring down the fearsome creature in their midst. Â Not bad.
Like Godzilla â84 before it, Godzilla 2000 abandons most, if not all of the previous filmsâ continuity, springboarding off Godzilla â54 to tell its own story. Â Get used to that, because this is going to happen a lot in the next few movies. Â Stay tuned.
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STAR WARS NOTHING BUT STAR WARS: A RETROSPECTIVE, PART FIVE: Attack of the Clones (Episode II, 2002)
Ladies and gentlemen, the cringiest dialogue in the franchise. Of course, this is the same franchise that gave us "But I was going to Tosche Station to pick up some power converters!" so this is saying something. Every single line from this film has been memed to hell, from "I don't think the system works" to Anakin's rant after murdering not just the men, but the women and the children, to the infamous "I don't like sand. It's coarse and rough and irritating and it gets everywhere." The dialogue is so oddly written, it's nigh impossible for Natalie Portman, Ewan McGregor, Christopher Lee, Samuel L. Jackson, and Ian McDiarmid, no slouches when it comes to acting, to come close to selling it. It reminds me of something Harrison Ford once said to George Lucas back in the day: "George, you can type this shit, but you can't say it."
I've been listening to a podcast called Beyond the Screenplay, who have released a couple deep dives on the Original and Prequel Trilogies in preparation for Rise of Skywalker, and one of the things they discussed was how unconvincing it is when actual actors ride CGI animals. Take, for instance, the scene where Anakin is riding a giant almond-flea-looking abomination in an attempt to impress Padme. I'm sure it was as ridiculous to film as it is to watch. Is this (a Shaak, according to Wookiepedia) where almond milk comes from in the Star Wars universe?
But, as infuriating as the dialogue for these films are, as much as the CGI hardly holds up almost 20 years on, I always affirm to myself that I enjoy these movies. Not just the Originals, but the Prequels and the Sequels. They're Star Wars, so I enjoy them like Star Wars.
I LOVE THEM.
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STAR WARS NOTHING BUT STAR WARS: A RETROSPECTIVE, PART FOUR: Episode I: The Phantom Menace (1999)
The backlash against this film is nothing short of legendary, as much as the hype leading up to it. Â The merchandising, the marketing tie-ins, people paying to see Meet Joe Black and Wing Commander just to see the trailer, and a hilarious clip from a newscast where people swear up and down that this movie canât possibly suck.
And then the movie started.
The hopes and dreams of so many people crushed under the weight of awkward racial stereotypes (Watto makes me cringe every time I see him, why the hell did George Lucas think he was a good idea in 1999), cheesy acting from a kid who, to his defense, didnât know better, and of course, Jar Jar Binks, The Key To All Of This. Â What can be said about him that hasnât already been said? Â Heâs an annoying little prick, and the ire heâd aroused over the past 20 years has been justified. Â I just wish he didnât ruin poor Ahmed Bestâs life.
Thatâs the thing about this film, it appears to have caused a level of sheer toxic nerd rage never before seen on this planet, and itâs only led to more and more unwarranted pain and anger as the years go on. Â Jake Lloyd was bullied relentlessly by children and manchildren alike, leading to a long struggle with mental illness and at least one arrest. Â Ahmed Best was driven to a suicide attempt all because of the hatred and anger he bore in the name of Jar Jar Binks. Â Even today, Kelly Marie Tran is suffering from this same backlash, being bullied for her appearance in The Last Jedi to the point that sheâs been chased off social media.
Thatâs the dark side of this franchise, knowing that these films make people angry enough to ruin the lives of those that make them. Â And for that, I cannot apologize enough, and nothing I can say can make up for it. Â At the end of the day, these are just films, and even if theyâre bad, NO ONE deserves to be treated like this because of them. Â NO ONE.
#movie reviews#star wars#star wars nothing but star wars#the phantom menace#yeah itâs back#took me long enough
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Iâma dust off my film blog for a rant real quick.
One of my favorite things is when classic movies are re-released in theaters, be it through Fathom Events or the small repertory theaters like the Artcraft in Franklin, IN (where I was lucky enough to see Akira in 35mm over the weekend. Itâs paradise, to say the least). These screenings are a fantastic way to introduce classics to new audiences or for folks like myself to see an old favorite on the big screen. Seeing 2001 in IMAX last year was a religious experience, and one I recommend immensely.
That brings us to this quoted tweet, in which a repertory theater in Toronto announces that they can no longer show films by 20th Century Fox because of Disneyâs policies on revival screenings. Because of this, films like the Alien series, Home Alone, Die Hard, Phantom of the Paradise, and many other classics in the Fox catalogue may not be allowed to be shown in theaters because, and I canât make this shit up, Disney is afraid theyâll cut into the profits of their first-run films. I donât think I need to stress how ridiculous this is.
Sure, there are exceptions for non-profits, festivals, schools, and Fathom Events, as well as screenings of The Rocky Horror Picture Show (which, letâs face it, if the Mouse ever fucks with my Rocky Horror, Iâm going to have to have some words with them...), but that doesnât change how messed up this is. On top of all this, Disney has announced that none of the films on Disney+ will have a rating above PG-13. Again, no Die Hard, no Pulp Fiction, no Alien, no Phantom of the Paradise.
Now, the word âcensorshipâ is tossed around quite lackadaisically these days, but honestly? Thatâs what this is starting to look like. Disney is trying to control what you can watch and how you can watch it, and WEâRE LETTING IT HAPPEN. So many milestones of cinematic history are in danger of being locked away and unless they can make any money off of them, Disney doesnât care what happens to them. As much of an advocate for physical media as I am, a lot of these movies are pretty hard to find (have you seen a copy of Phantom of the Paradise at your local Coconuts lately?), and a lot of them are out of print. Something needs to be done, and it needs to be done now. Our cultural heritage is at stake.
#disney#20th century fox#die hard#alien#home alone#phantom of the paradise#rocky horror picture show
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GODZILLATHON RAIDS AGAIN, PART 22: GODZILLA VS. DESTOROYAAAAAAAAAH (1995)
(JAPANESE WITH ENGLISH SUBS)
And so, the Heisei Era comes to an explosive close. As the spoileriffic advertising campaign shouted to the world, Godzilla Dies.
There are two major fictional deaths that shaped the '90s: the death of Superman in 1992, and Godzilla's death in 1995's Godzilla Vs. DESTOROYAAAAAAH. Even though the Heisei films were never released theatrically in the U.S. and for the most part only available as bootlegs, Godzilla's death made headlines all the same. CNN even aired a package on the subject.
The film goes out of its way to tie itself back to the original, with the titular villain, DESTOROYAAAAAH, emerging as a result of the Oxygen Destroyer that killed the original Godzilla. The grandchildren of Dr. Yamane also make an appearance, as well as his daughter, whose actress marks her final film appearance before her death. The Wako department store and the Diet Building, both destroyed in the original film, show up in a simulation of Godzilla's tragic and explosive demise. All these nods are welcome bookends to what was then the end of an iconic franchise, and the stock footage from Godzilla '54 goes to show how far the series had come since then.
Godzilla Vs. DESTOROYAAAAAH is a fitting end to an era, with top-notch special effects, a villainous monster that's truly terrifying, and a career-defining score by Akira Ifukube, who would never score another film before his death in 2006. His music is integral to Godzilla as a character and a mythos, and by creating his trademark roar, he was the one who gave Godzilla a voice. He will always be one of my favorite composers to work in film, and will always be my favorite aspect of the Godzilla universe. Cues like Main Title/Hong Kong Destruction and the Requiem (which, as strange as it sounds, is a piece I want played at my funeral) make the film a must-watch alone.
Of course, we all know that this wasn't actually the end of Godzilla, nor was it meant to be. Toho was planning to rest the franchise for a decade, bringing it back for a 50th anniversary film in 2004. Of course, TriStar was gearing up for a Godzilla series of their own, which can't be at all bad, right?
...Right?
#godzillathon raids again#godzilla vs destoroyah#godzilla#movie reviews#and yes#that was one big reference to#james rolfe#whose monster madness reviews were a big influence when it came to my love for godzilla#DESTOROYAAAAAAAAH
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GODZILLATHON RAIDS AGAIN, PART 21: GODZILLA VS. SPACEGODZILLA (1994)
(JAPANESE WITH ENGLISH SUBS]
I'll be honest with you. This film is without a doubt one of the weakest of the Heisei era, but that doesn't make it a bad film. Despite its faults, it's still quite watchable, especially in the final act where Godzilla fights SpaceGodzilla and MOGUERA (straight out of 1959's The Mysterians) in the crystalized wreckage of Fukuoka. Also, the shot where the newly redesigned Baby Godzilla (which now looks like the dragon from Bubble Bobble) peeks over the hillside is an adorable callback to Godzilla's iconic first appearance in Godzilla '54. Nice touch.
However. There are some aspects to the film that got under my skin. For instance, MOGUERA probably would've been a lot less underwhelming if he wasn't following MechaGodzilla, usually the diamond standard of Godzilla-adjacent giant robots. There's something just kinda off about him that I can't put my finger on. SpaceGodzilla just looks like he's got the Fortress of Solitude from Superman '78 growing out his back, which, even though it's quite the aesthetic choice, seems a little odd to me. Also, can we talk about that name? SpaceGodzilla? Really? In my research, there was an early draft for the film that used the name AstroGodzilla, which, honestly, sounds a lot better than SpaceGodzilla, but thatâs just me.
Despite the re-design of Baby Godzilla for this film, which was supposed to appeal to female audiences, I still really enjoy the arc he's on. Godzilla's taken the role of father to heart, stopping at nothing to protect his new son from SpaceGodzilla. We can obviously tell who's the favorite son, compared to a certain other kaiju from the previous era. I can't stand that guy.
In short, SpaceGodzilla isn't that bad, but it isn't that good either. It just says something about the Heisei era that even its weakest film is perfectly watchable. Up next, we come to the era's grand finale. Everyone say it with me: DESTROYAAAAAAAAAH!!!
Ok, Iâll admit it. Iâve been slacking on this, to the point that with the schedule I keep, itâll be nigh impossible if I watch all 29 films before Thursday. So, Iâm striking the deadline for Godzillathon Raids Again, and Iâll finish it when I finish it. But hey, look on the bright side. Without the time constraints, I can go back and watch some of the films Iâd relegated as bonus content, like Godzilla, King of the Monsters! â56, Godzilla 1985, Godzilla â98, and the anime series. I apologize for not trying hard enough to watch all 29 before King of the Monsters 2019 hits on Thursday, check me out on Letterboxd @johnthemod1 for my thoughts on KOTM â19 when it happens.
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GODZILLATHON RAIDS AGAIN, PART 20: GODZILLA VS. MECHAGODZILLA II (1993)
(JAPANESE WITH ENGLISH SUBS)
One of my favorite things about the Heisei series is that they know how to open a movie. This film opens with a tableau of the construction of MechaGodzilla with some fantastic miniature work and a masterful score by Akira Ifukube. That brass and those kettle drums get me hyped every time. Also, the title treatment is truly aesthetically pleasing. Check it out.
In this film, we're introduced to a second attempt at a Son of Godzilla. Unlike... the other one... this one is actually kinda adorable and I could see it growing into the spitting image of its father. In short, awww.
As for the new incarnation of MechaGodzilla, now an actual mech instead of a regular giant robot, I'll be honest with you, it's not the best looking MechaGodzilla in the franchise. It kinda looks a little dopey from certain angles. However, the poster treatment by the late, great Noriyoshi Ohrai looks goddamn awesome and I wish we would've gotten that. Tamashii Nations does a great job bringing it to life. Damn shame you have to sacrifice your firstborn in order to afford it.
This film is another strong entry in the Heisei era, with some great puppetry and miniatures and a score that is top-notch. There's this one piece that reminds me a bit of the hymn from Godzilla '54, see if you can spot it. Up next: after four strong films, I think we can afford to get a little weird, right?
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GODZILLATHON RAIDS AGAIN, PART 19: GODZILLA VS. MOTHRA (GODZILLA AND MOTHRA: THE BATTLE FOR EARTH, 1992)
(JAPANESE WITH ENGLISH SUBS)
An archaeologist and/or grave robber with a wide-brimmed hat escapes from a booby-trapped temple by the skin of his teeth, only to look up to see whoever was guarding said temple pointing their weapons at him.
If I told you that this was the opening to a Godzilla movie and not Raiders of the Lost Ark, you'd probably think I was crazy, but sure 'nuff, that is exactly how Godzilla Vs. Mothra '92 begins. Needless to say, Kazuki Ĺmori, director of Ghidorah '91 and writer of this one, is a major cinephile who wears his influences on his sleeve. You know what they say, good artists borrow, great artists steal.
As the title makes painfully obvious, Mothra's back, making her first appearance since Destroy All Monsters in 1968. A lot of her arc is reminiscent of her first movie, in which a corrupt businessman tries to kidnap her fairies to exploit them for money. Big mistake. First rule of Mothra, don't mess with her fairies. Anyway, she hasn't missed a beat since the ShĹwa era, looking as majestic as she's always been. Maybe even more so. She's always been my favorite non-Godzilla kaiju, can't you tell?
Surprisingly, Akira Takarada makes another appearance in this film, his first since Invasion of Astro-Monster in 1965. It's nice of Toho to let the star of the original Mothra Vs. Godzilla make an appearance in this one. Speaking of connections to MvG '64, Akira Ifukube's gone back to some of his classic cues from the older film and made them sound even more fantastic. Would you expect any less, though?
I'd say that even though Mothra Vs. Godzilla '64 is probably the better film, this newer take does come close to being its equal. Luckily for us, we get to see more of her in this era than any of the other kaiju Godzilla goes toe to toe with, but that's another review.
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GODZILLATHON RAIDS AGAIN, PART 18: GODZILLA VS. KING GHIDORAH (1991)
(JAPANESE WITH ENGLISH SUBS)
In this film, we get the first appearance of the quintessential Godzilla baddie, King Ghidorah, since Godzilla Vs. Gigan in 1972. However, this film is notable for being the only appearance where Godzilla has to fight him without any allies. Godzilla is truly alone here.
It's funny how many American films wind up being referenced in this film, from a time-travel plot inspired by Back To The Future II (see the previous Godzillathon entry for more on that connection) to an android that is not unlike a Terminator (Terminator 2 premiered earlier in that year, with a Japanese release in August), and an ancestor to Steven Spielberg on an American warship during the World War II scenes, which is one of my favorite moments.
Around this time, American production companies were trying to make their own Godzilla movie, so perhaps that prospect as well as the encroaching American film industry in the Japanese box office was on the filmmakers' minds during the making of this film. This is apparent in the design of the Godzillasaurus. Koichi Kawakita designed this ur-Godzilla as a nod to American filmmakers' ideas to redesign Godzilla to resemble an actual dinosaur. Put a pin in this idea, it's going to come back in a few years, whether we like it or not.
However, despite all this, the film wound up being very controversial on this side of the pond with its portrayal of American soldiers during World War II, with a long, sweeping shot of dead soldiers crushed by the Godzillasaurus. Even Ishiro Honda, director of the original, thought that maaaaaaybe they went a little too far on this. Just maybe.
This film also features Akira Ifukube's first score since Terror of MechaGodzilla in 1975. Story has it, he declined to score Godzilla '84, reportedly saying that he "didn't write music for 80 m tall monsters." 50 m, maybe, but 80 m monsters is just too much, I guess. However, after seeing how his score was used in Biollante and the pleading of his daughter, Ifukube came back for this and the rest of the Heisei series (except for Godzilla Vs. SpaceGodzilla, after reading the script and calling it a little too âteen idolâ for his taste). Good thing, too, because this era features some of his best work in my opinion.
Of course, Iâd be amiss if I didnât talk about an iconic scene that stands as one of the highlights of not only the Heisei era, but the series itself. A formidable businessman comes across the Godzillasaurus on an island in the Pacific near the end of World War II, which saves him and his troops from American forces. He is forced to leave the dinosaur behind to his fate, which he felt guilty about. In a heartwrenching moment, he stands alone in his skyscraper, face to face with the monster he believes he helped create, nodding at him to do what he does before disappearing in the bluish-white light of Godzillaâs atomic breath. Itâs honestly kinda poignant in its way, and both actors involved really sell it without uttering a single word. I love it.
Godzilla Vs. King Ghidorah is a classic entry in the franchise, with an interesting plot, fantastic special effects, and some top-notch music. Stay tuned as another fan favorite member of Godzilla's rogue's gallery returns, and this time, she's not alone...
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GODZILLATHON RAIDS AGAIN, PART 17: GODZILLA VS. BIOLLANTE (1989)
(JAPANESE WITH ENGLISH SUBS)
About 30 minutes into the film, a mad scientist who managed to mix the DNA of his dead daughter, a rose, and oh yeah, Godzilla, looks around his ransacked office after an instance of industrial espionage gone horribly awry, and gives the understatement of the franchise:
Iâve made a mistake.
Well, no shit, dude. Â Trying to Frankenstein your daughter with a plant is one thing, but mixing Godzilla DNA into it? Â Thatâs just asking for trouble. Â Biollante is one of the more bizarre creatures not only in the Heisei era, but in the series as a whole. Â She perfectly conveys the theme of the film, the dangers of mankind fooling around with things beyond their pay grade, leading to a horrific perversion of science and nature. Â Itâs a theme that is literally as old as science fiction itself, given a new coat of paint.
This film introduces some of the defining traits of Heisei Godzilla films, starting with the iconic design for Big G that defined the character for a generation. Â A new character, Miki Saegusa, makes her first appearance in this film, going on to tie the entire Heisei era together. Â The scene where she asks a classroom of potential esper children to describe their dreams and is met with drawing after drawing of Godzilla is actually quite chilling.
Godzilla Vs. Biollante breaks new ground in the franchise with the first use of CGI in the franchise, mostly in scenes involving schematics for the militaryâs operations to defeat Godzilla. Many other types of animation were experimented with during the making of the film, including stop-motion animation, but they wound up being scrapped. They just didnât work.
In short, Biollante is another strong entry in the series that was under-appreciated in its time, getting stomped in the box office by films like Back To The Future Part II. Â Perhaps this was an influence as the folks at Toho decided to move in a different direction, reintroducing an old enemy along the way...
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GODZILLATHON RAIDS AGAIN, PART 16: GODZILLA (THE RETURN OF GODZILLA, 1984)
(JAPANESE WITH ENGLISH SUBS)
Ladies, Gentlemen, and Variations Thereupon, it is my pleasure to welcome you to the Heisei Era.
By this point, nine years have passed since Terror of MechaGodzilla. Of course, this year was also the 30th anniversary of the original Godzilla, so Toho decided that they were going to bring him back in style. So, in 1983, executives at Toho, along with longtime Godzilla actor Akihiko Hirata (dressed as his most famous role, Dr. Serizawa from Godzilla '54), announced that a new Godzilla film would be released in 1984, and that Hirata would appear in the film. However, he fell ill before shooting began, and passed away from lung cancer in July of that year. Another Godzilla veteran, Yosuke Natsuki, would play Hirata's role in the film.
But boy, what a return this is. In the nine years since Terror of MechaGodzilla, great strides have been made when it comes to special effects. This is definitely evident with the special effects we see in Godzilla '84. For the first time, animatronics were used to bring Godzilla to life, with the 16-foot tall "Cybot Godzilla" appearing alongside a traditional suit actor (Kenpachiro Satsuma in his first appearance in the role). This combination, alongside the more lifelike models we see destroyed in Godzilla's rampage, give the film a more realistic look compared to the ShĹwa films. Sure, the eyes on the suit barely work, giving him a wonky expression, but most of the time, I'm able to overlook it.
Godzilla's main rampage through Tokyo is obviously the highlight of the film, with the main characters trapped in a skyscraper and looking on helplessly as the city around them decends into a hellscape of fire and rubble. This is one of the scariest moments in the franchise, in my opinion, and one where the aforementioned special effects really shine.
Godzilla '84 managed to start a tradition that following series proceeded to follow. After this film, subsequent series would jettison all previous canon and using Godzilla '54 as a starting point. You can see this tradition play out in Godzilla 2000 as well as Godzilla '14 and Shin Godzilla, which goes the extra mile to forget the original altogether. More on that as we get to those films in the near future.
Of course, we have to discuss the American edit with Raymond Burr, Godzilla 1985. This was Burr's second time being edited into a Godzilla film, as he appeared in Godzilla, King of the Monsters! in 1956. Story has it, since he believed in the original film's anti-nuclear message, he was one of the only people to take it seriously. However, this version of the film is hard to find due to rights issues with stock music from the film Def-Con 4 used in the re-edit. If youâre truly desperate, there is a fan restoration floating around the internet for your enjoyment. Thereâs a funny bit of foreshadowing involving this film, in which it appears on the marquee of a movie theater in the background of the parade scene in Ferris Buellerâs Day Off, starring Godzilla â98 star Matthew Broderick. If we have time, we'll discuss this edit, along with King of the Monsters!, in more detail.
Godzilla '84 starts off the Heisei Era with a bang, and I'd say it's essential viewing for any Godzilla fan. If this is any indication, I'd say we've got some great times ahead, hm?
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GODZILLATHON RAIDS AGAIN, PART 15: TERROR OF MECHAGODZILLA (TERROR OF GODZILLA, 1975)
(JAPANESE WITH ENGLISH SUBS)
And now we come to the final film of the ShĹwa series, which continues the series' return to form. Ishiro Honda's back in the director's chair for what would be his final Godzilla film, Akira Ifukube returns for another apocalyptic score, and Akihiko Hirata returns for his final appearance in the franchise before his death in 1984 (put a pin in that, weâll talk about that later), playing another mad scientist who's created a weapon that could possibly destroy humanity. These three members of the cast and crew make for a wonderful bookend for this era.
The film is a lot darker in tone compared to previous entries, with prisoners being murdered by firing squad, the mad doctor's daughter becoming a cyborg that doubles as a controller for MechaGodzilla and then shooting herself after she realizes what she's done, a couple kids almost get stomped by one-film-wonder Titanosaurus, and so on. And you know what? That's fine. Sometimes it's okay for Godzilla movies to get dark. Sometimes those are the best ones.
It's a shame that this film didn't sell well in the Japanese box office in 1975. I honestly consider this film to be one of my favorites not only of the ShĹwa era, but maybe even the series as a whole. The characters are interesting, the fights are a joy to watch, the dark tone is a welcome shift from the lighter fare of previous films, I'd say it's worth a watch. Of course, due to the failure of this film at the box office as well as the lack in demand for monster flicks as a whole, Toho put the series on ice for almost ten years. Stay tuned to see how Toho decides to celebrate Godzilla's 30th anniversary as we enter the Heisei era. It's gonna be a blast.
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GODZILLATHON RAIDS AGAIN, PART 14: GODZILLA VS. MECHAGODZILLA (GODZILLA VS. THE BIONIC/COSMIC MONSTER, 1974)
(JAPANESE WITH ENGLISH SUBS)
Now that weâre in the homestretch of the ShĹwa Era, the series seems invigorated compared to the past few entries. Â The special effects are much more impressive and explodier (to the point that I feared for the safety of the suit actors; as Iâve said before in my tribute to Haruo Nakajima, playing Godzilla is not for the faint of heart), Akihiko Hirataâs back, which was very welcome, and as far as I can tell, I couldnât see any stock footage from any other films. Â That in itself is very welcome.
I feel pretty bad for Anguirus, though. Â Fresh off getting a saw to the face in Godzilla Vs. Gigan, he gets his ass handed to him by someone posing as his best friend, and in one of the goriest moments in the series, he gets his jaw ripped open! Â Thatâs kinda messed up.
Hereâs a fun fact. In the U.S., the filmâs title was changed to Godzilla Vs. The Bionic Monster. However, The Bionic Woman was a popular TV show at the time, and the producers of that show really didnât want them to use that word in their title for some reason. So, in a later re-release, the title was changed to Godzilla Vs. The COSMIC Monster, and nary a feather was ruffled.
MechaGodzilla, without a doubt, is one of my favorite members of Godzillaâs roguesâ gallery, and itâs easy to see why heâs had such staying power over the past 45 years. Heâs one of the only monsters to appear in the ShĹwa, Heisei, and Millennium eras, as well as the recent anime trilogy.  Up next, he gets his big encore as the ShĹwa Era draws to a close.  Stay tuned.
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GODZILLATHON RAIDS AGAIN, PART 13: GODZILLA VS MEGALON (1973)
(JAPANESE WITH ENGLISH SUBS)
Let me confess for a second. Jet Jaguar is a guilty pleasure of mine when it comes to the many characters of the Godzilla universe. Sure, he looks like a robotic Jack Nicholson mixed with the Green Goblin from the Sam Raimi Spider-Man movie and his size-shifting abilities make absolutely no sense, but there's just something oddly endearing about him that makes him impossible to hate. Maybe it's because there's an air of naivety that follows a character that was originally created by a child for a contest, starting out as a robot named Red Alone. He was supposed to have his own movie, but after test audiences and focus groups decided that Jet Jaguar didn't have what it took to head his own film, it was rewritten to feature Godzilla and Gigan as well.
Now, therein lies the rub. Because of the shoehorning of Godzilla as well as Gigan into the film, we see another instance of stock footage running amok to save money. Some more Monster Island b-roll from Destroy All Monsters makes another appearance, including the shot of Godzilla diving into the ocean, some of the buildings Megalon destroys with his head-beam thingy were destroyed by King Ghidorah in Ghidorah, The Three Headed Monster, and entire fight sequences from Godzilla Vs. Gigan were used almost wholesale to pad out the runtime. If they didn't introduce a brand new Godzilla design for this film, it probably would've been less noticeable. But they did, and it is.
The film does have its goofy moments, the most famous being Godzilla's iconic tail-slide kick, a gravity-defying moment that needs to be seen to be believed. How does he manage to slide on his tail like that? How is it able to support his weight? I don't know, and honestly, I don't want to know. This happened, and the best we can do is just go with it.
It took a while, but we're coming up on the last films of the ShĹwa era, in which Godzilla finally gets to take on another iconic foe for the first time. I'll be honest with you, a lot of the late ShĹwa films have been pretty hard to get through, but now that we're almost there, it should be smooth sailing once we leave the '70s. Stay tuned.
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GODZILLATHON RAIDS AGAIN, PART 12: GODZILLA VS. GIGAN (GODZILLA ON MONSTER ISLAND, 1972)
(JAPANESE WITH ENGLISH SUBS)
If there's one recurring theme I can pick out in this film, it's that this era is starting to show its age. There's that tracking shot of the monsters hanging out on Monster Island from Destroy All Monsters appearing for the third time so far, music cues from multiple Godzilla films appear so many times that composer Akira Ifukube is credited even though he didn't actually pen anything for this film, the infamous scene from Ghidorah, The Three-Headed Monster where Ghidorah zaps Godzilla in the dick makes an appearance but with the brightness turned down to maintain some sense of continuity, and on top of all that, the actual Godzilla suit itself is falling apart at the seams. Oof.
The film features some of the goriest fights of the series, with Gigan's belly saw not only slashing Godzilla's neck, but wrecking Anguirus' face, too. It's actually kinda unnerving to see these monsters bleed for the first time, which is probably why Eiji Tsuburaya never allowed it. However, he died before this film entered production, so no one could stop his replacement from turning the film into a kaiju version of Mortal Kombat, which, let's face it, doesn't sound like that bad of an idea. Iâd play that game in a heartbeat.
The film is a landmark in the series not only because of the debut of classic baddie Gigan, but because it marks the final turn in the suit for Haruo Nakajima, who had played Godzilla in almost every film since the original. To many fans, he IS Godzilla, and no one after him has come close. All the things he had to deal with in those 20 years in the suit, from the immense heat to the fact that he had to wear hundreds of pounds on his person for long periods of time, give me an immense respect for him and all the people who followed in his massive footsteps. This film is the end of an era, and that's why it's an essential watch.
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GODZILLATHON RAIDS AGAIN, PART 11: GODZILLA VS. HEDORAH (GODZILLA VS. THE SMOG MONSTER, 1971)
(JAPANESE WITH ENGLISH SUBS)
This is probably the weirdest film in the Godzilla canon, a franchise that, in a few decades from this entry, will feature a film directed by the guy behind Neon Genesis Evangelion. This film has everything: an environmentalist message, animated segments, pictures of galaxies, a guy at a nightclub hallucinating that everyone has fish faces for some reason, Godzilla staring at disembodied eyes (?), and of course, one of the most bizarre moments in the entire franchise, a moment that needs to be seen to be believed, Godzilla flying through the air, propelled by nothing but his nuclear breath. That's right, Godzilla FLIES.
This film, and its director, Yoshimitsu Banno, has an interesting story to them. Story has it that Banno had already started to work on a sequel, teasing it at the end of the film with a threatening title card reading "...and another one!?". The sequel was supposed to feature Godzilla fighting a giant starfish called Deathla at one point, and it may have also taken place in Africa, a first for the franchise. Longtime Godzilla producer Tomoyuki Tanaka, however, had other plans, throwing Banno off the project and saying that he "ruined Godzilla" with his bizarre entry. (Did he not see the previous film, though?)
Banno, ever the persistent little bugger, kept at it, working on a 40-minute short for IMAX called Godzilla 3-D to the Max that would be based on his plans for the Hedorah sequel. This would be scrapped, of course, but he did serve as executive producer for Godzilla '14 for Legendary. Despite this, he always wanted to finish his sequel to Hedorah, which, sadly, he never did. Banno passed away in May of 2017, with a posthumous executive producer credit for next month's Godzilla: King of the Monsters to his name.
As bizarre as Godzilla Vs. Hedorah and whatever he was cooking up next was, you could tell that Bannoâs heart was in the right place and that he truly believed in the potential of his film's premise and the message that lies beneath it. For that reason alone, I can't help but give him credit for that. Give this film a chance. I'm glad I did.
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GODZILLATHON RAIDS AGAIN, PART 10: ALL MONSTERS ATTACK (GODZILLAâS REVENGE, 1969)
(JAPANESE WITH ENGLISH SUBS)
Iâve been dreading this one for a while. Â All Monsters Attack, also known in the US as Godzillaâs Revenge, is the summation of every weakness of the previous films in the ShĹwa era: rampant use of stock footage as a means to save money, fucking Minillaâs here (and he talks!), and I think thatâs about it. Â As well as those two issues, the kid we spend most of the filmâs runtime with is simply annoying. Â I know I shouldnât be too hard on him, he is a child, after all, but I just canât help it.
Another thing thatâs kind of odd with this film, and many films in the series, is how they are often renamed when released to English-speaking countries, mainly here in the U.S. Mothra Vs. Godzilla becomes Godzilla Vs. The Thing, Invasion of Astro-Monster becomes Godzilla Vs. Monster Zero, or, simply, Monster Zero depending on the release, Ebirah: Horror of the Deep becomes Godzilla Vs. The Sea Monster, and of course, All Monsters Attack somehow becomes Godzillaâs Revenge. Who is Godzilla getting revenge on in this film? I donât know, but it sounds cool and it gets asses in seats.
But hey, at least itâs one of the shorter films in the series. Â And we get to see Giant Condor again. Â All hail.
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