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hunterguyveriv · 3 years

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My Hopes and Wants for the new Masters of the Universe series

So in approximately less then 12 hours(if Netflix still follows its "release a new series at 3am" mandate) Masters of the Universe: Revelations is set to premiere on Netflix. While I am still a bit upset about the recent reveal I can't help but feel that I'll be going into another shitshow-reboot that started off with great potential but ended up going to trash. And this is based off going to youtube for Godzilla videos and music and seeing reviewers and vloggers practically all say the same thing.

Lets get one thing straight before all of you jump down my throat. I've been a MotU fan since I was a 2 in the 1984. I had bedspreads,pillow covers, books, toys, pajamas/underwear, even a homemade muscle suit that my mother found the pattern to make at a fabric shop for Halloween one year. So know that when I say I had high hopes for this series from the moment it was announced it's the truth.

Even when it was revealed that when Netflix released it's synapses, and the drama behind the scenes with some youtube vloggers and Kevin Smith over the past group of months I still had hope it would be one of the very few reboots that surpasses the original like 2002s He-Man series, the 2011 ThunderCats, 2012 TMNT series (which could have had a better ending IMO).

I wasn't even upset when it was revealed that King Greyskull and Andra were what people call today "race-bent." Andra was never really that important in the MotU universe only appearing once or twice in the comic strips and again in Injustice vs Masters of the Universe. As for King Greyskull, I grew to accept because of, well my own family. Looking at my family (Aunt who identifies as black gave birth to a daughter who is biracial who then had 3 blond hair blue-eyed kids) so I am taking this as a win for biracial/mixed blood rep.

I even like most of the cast and crew that I recognize with the exception of one, but I never really liked the actress from the 90s. I am talking about Sarah Michelle Gellar. I never liked her as Buffy or any other role she was in. Some may say that makes me bias towards Teela, but you are wrong.

I've always loved the character Teela. Because she is the Sorceress' daughter she has always been Prince Adam/He-Man's equal both in the previous series and comics. Even though she seemed like she was a tsundere towards Adam because she has to even after learning who he is (in the comics), she was always been He-Man's version of what Lois Lane is to Superman, or Abby Arcane is to Swamp Thing, she was his rock - his light in the darkness.

I am still a bit pissed about the Orko thing, but I explain my reasons in one of my previous posts - so I won't go into that.

The purpose of this post on the eve of the series being released is to voice my hopes and wants for it.

1.) Lets get the big one out of the way - Representation. I want representation, (because God forbid there be a series without it these days) to be natural and not the focus or feel forced. Believe me being a mixed-race person who is part Native/White/Black I get it more than anyone gives me credit.

Growing up Star Trek from 1966-2016 was the king of natural representation. Where unless the episode's story called for it NO ONE CARED about race/gender/ or one's orientation.

2.) Developed Story Well developed story that makes you feel like the show-runners have a plan from start to finish. That means a well thought out story, developed characters, what are their contingency plans if no one likes the series, what are their plans if the series is received? It needs to leave you wanting more!

3.) Let the villains be villains! Enough with the frigging "redemption" arcs! A redemption arc worked for Zuko in the Avatar series because of his character development. But ever since A:TLA, it seems every villain needs to have a redemption arc. Characters like Zarkon, Haggar, Lotor, HORDAK who is practically the Darkseid/Thanos of the MotU universe doesn't need a redemption arc or a "happy ending." In the MotU universe genocidal threats like Skeletor and Hordak raise the stakes for the heroes and drive them to win. Evil-Lyn does not need a redemption arc she has ALWAYS been Skeletor's equivalent to the Sorceress.

4.) Fans need to respect each other unlike when Voltron and She-Ra were playing. People are entitled to their own opinions whether they are new fans or old-timers like myself. If we don't like the way a series is going we are allowed to voice our opinions whether it congeals to someone else's opinions or not. Keep in mind that many of us have kept series like Voltron, She-Ra, TMNT, ThunderCats, and many other 1980s cartoon series going for the better part of 40 years for you to watch and enjoy these newer series. Our opinions mater just as much as yours.

5.) If you truly want to support this new series, and MotU as a whole buy official merch to the series. Like it was when we were young, getting the official merch helps the series more than you would expect. Now I am not saying don't support fellow fans who make trinkets and cosplay outfits and so-forth. Just keep in mind if there is a demand for officially licenced merch it can and will help the series.

These are my hopes and wants for the new series. I am still holding out on hope that the critics and vloggers are wrong on Masters of the Universe: Revelations lives up to the original series while being original itself as it has been advertised as when others (see below) with the exception of 3 did not, it has a a Godzilla sized mountain to climb to impress me. But know this when I see this series I will give my honest opinion of it, whether people like it or not.

#he-man #teela #He-Man and The Masters of the Universe #masters of the universe #skeletor #Prince Adam #man-at-arms #sorceress #orko #cringer

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dweemeister · 4 years

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Ghidorah, the Three-Headed Monster (1964, Japan)

Godzilla’s introduction in 1954 enthralled and horrified Japanese moviegoers. That classic kaiju film, so filled with action and fantastical interest, introduced the Japanese to a monster also bearing the burdens of being a victim to something possible only in the nuclear age. Godzilla’s body is filled with keloid scars, meant to evoke the images of those who survived (if only for a time) the atomic blasts at Hiroshima and Nagasaki. Created in humanity’s pursuit of a civilization-destroying weapon, Godzilla is often interpreted as nature seeking payback against humanity. Despite Godzilla’s seeming desire for natural vengeance, Japanese audiences could empathize with Godzilla, recognizing the allegory that they had been living since 1945.

In the first four films in the Godzilla franchise and the Shôwa era of Godzilla (named after the concurrent Japanese Imperial era of Hirohito’s reign), Godzilla is an antagonist – wreaking havoc upon humanity, even when fighting other kaiju foes such as Anguirus (1955′s Godzilla Raids Again), King Kong (1962′s King Kong vs. Godzilla), and Mothra (1964′s Mothra vs. Godzilla). For Ishirô Honda’s Ghidorah, the Three-Headed Monster, Godzilla begins a rehabilitation of his image that will take three subsequent films to complete. When faced with an extraterrestrial threat to the planet, Godzilla will set aside his affray with Rodan (after both are persuaded by Mothra) to defeat King Ghidorah – who makes his cinematic debut with this film.

Princess Selina Salno (Akiko Wakabayashi) of Selgina is en route for an official visit to Japan in the midst of a winter heatwave. Just as her plane is destroyed by an assassin’s bomb, an enormous meteor impacts into the Japanese countryside near Kurobe Dam in Toyama Prefecture – considering that this same dam was destroyed by Mothra in 1961′s Mothra, all credit to the construction workers for their work in fixing the dam that quickly. Soon after, Princess Selina announces herself in the middle of a Tokyo crowd, news of her death greatly exaggerated. Claiming to be from Venus, she warns the public that Rodan – presumed dead at the end of his film debut in 1956 – will rise from Mt. Aso and that Godzilla, who has just battled Mothra in the previous movie, will destroy a ship. Away from the ears of the public, the gaze of assassins, and known only by bodyguard Detective Shindo (Yosuke Natsuki) and psychiatrist Dr. Tsukamoto (Takashi Shimura in his final Godzilla film appearance), she reveals a third prophecy. The final prophecy is prefaced by the fact that Selina’s Venusian civilization was destroyed by a three-headed dragon named King Ghidorah. She prophesies that he will attempt to destroy the Earth. Ghidorah, hailing from beyond our solar system, is the creature that emerges from the impacted meteor.

The evolving Godzilla franchise from Toho Company would soon face budget constraints and the artistic decision to make Toho’s most prized kaiju more family-friendly. Japan’s demographics in the late 1950s and early ‘60s skewed far younger than today – a time where the nation is now shrinking because of its rapidly aging population and low fertility rates. These considerations impact Ghidorah, the Three-Headed Monster narratively and aesthetically. Beginning with this film, Godzilla’s rampaging presence is a side effect to his ultimate defense of Japan, not an attempt to annihilate the Japanese. Nuclear allegories though mentionable to children, are likely to be beyond a child’s appreciation (in the neutral sense of the term). Thus, discussions of Godzilla’s origins and the morality of conflict against kaiju all but disappear in Ghidorah, the Three-Headed Monster.

In earlier Godzilla films, the combat between monsters or between Godzilla and the Japanese Self-Defense Forces (JSDF; which does not bother getting in the way of Godzilla, Rodan, Mothra, and Ghidorah in this monstrous rumble) was portrayed as a battle between or against a titan. One can feel the weight of these enormous, lumbering (“lumbering” does not usually apply to flying beings, so Mothra should be excluded) kaiju trudging against the urban battlefields scorched by electric and nuclear fire. With Ghidorah, the Three-Headed Monster, Honda and kaiju actors Haruo Nakajima (Godzilla), Masanori Shinohara (Rodan), and Shoichi Hirose (King Ghidorah) approach violence as if it was professional wrestling – not the Greco-Roman or freestyle wrestling associated with the Olympics. There is even a ludicrous moment where Godzilla and Rodan are batting an enormous boulder between each other with the former’s fists and tail and the latter’s wings. All that is missing in this scene are a net and a chair umpire announcing the score. A new Godzilla suit was commissioned for this film, giving Nakajima the ability to more fully personalize his character through gestures and an off-camera technician to control the direction of Godzilla’s eyes in the sockets.

These results are jarring, contributing to the perceptions of the franchise’s campiness in later Shôwa era-Godzilla films. In the West until only recently, these Godzilla films were only available in dubbed versions – readers who are anime fans know how poor some of those English dubs of Japanese media can be. These films, at least in North America, were also extensively re-edited to emphasize the increasingly cartoonish battles between and against the kaiju. With thanks to Janus Films and the Criterion Collection, the original, unedited, subtitled versions of Shôwa era-Toho Company kaiju films are easily accessible for the first time. This review is based on the original unedited and subtitled version of Ghidorah, the Three-Headed Monster. Beware the dubbed version of this film, which runs eighty minutes (as opposed to the original’s ninety-two minutes). But even with the restoration of all of the scenes with those supposedly boring grown-ups talking about tiresome things, the tonal dissonance between the human- and kaiju-centric scenes combined with the combat choreography is bewildering.

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Debuting in Japan as San daikaijû: Chikyû saidai no kessen (translated literally as: “Three giant monsters: Earth’s greatest battle”), this is a film underselling – at least, in its title – the genius of the antagonist. Special effects wizard Eiji Tsuburaya (a co-creator of Godzilla) visualizes a serpentine dragon with, you guessed it, three heads. But to complicate things, Ghidorah also has two tails and wings – seven appendages in total. To keep all seven in motion as Ghidorah flies across screen, Honda and Tsuburaya utilized several wires (somehow, almost none of them are ever on-screen) and a handful of puppeteers to keep Ghidorah in realistic animation, even when he – screeching at Godzilla and Rodan – has his feet planted on the ground. Unlike Haruo Nakajima as Godzilla and Masanori Shinohara as Rodan, Shoichi Hirose cannot use his arms as Ghidorah. So where his fellow kaiju actor counterparts could keep their balance by maneuvering their arms, Hirose is left with no option other than to position his feet correctly and hope for the best. Future iterations of Ghidorah would look even more impressive than this first attempt. With this striking introduction into the Godzilla series (with a lower-string-heavy motif by longtime Godzilla composer Akira Ifukube... starting at 0:49 in the provided link), Ghidorah’s emergence begins the greatest rivalry in kaiju cinema.

Ghidorah, the Three-Headed Monster, for unknown reasons, was never released theatrically in many European countries. That makes it, outside of Japan and North America, one of the lesser-known films in the Toho Studios’ kaiju canon. The film is also, in addition to Mothra vs. Godzilla, the inauguration of – dare we say it – one of the earliest cinematic universes (and certainly one of the most sprawling). How the Marvel Cinematic Universe (MCU) is acclaimed for being so narratively innovative escapes me, especially given the financial and logistical realities of studio filmmaking in 1950s/1960s Japan and the 2010s in the United States. Even when fighting against the ill-informed wishes of producers and executives, the directorial vision is almost always apparent in these Godzilla films, including Ghidorah, the Three-Headed Monster. The same cannot be written for numerous other cinematic universes and their respective films.

In the halls of Toho throughout the 1960s and into the ‘70s, one of Godzilla’s creators was becoming unsettled by the requests of the company’s executives. As the director who brought Godzilla to being, Ishirô Honda insisted that Godzilla be seen as a figure warning against the folly of nuclear war. The increasing demands to make Godzilla a character engage in human-like behaviors and have identifiable human emotions fit perfectly with what some social critics saw as the infantilization of Japanese audiences because of the arrival of popular Japanese television. Honda – who essentially created the kaiju film, the monster film, and the disaster film – is an underappreciated figure in cinema whose legacy is undergoing a rapid reevaluation because of the fact that the Shôwa era kaiju films (in their original unedited and subtitled forms) are being made widely available outside Japan for the first time.

Nevertheless, after Ghidorah, the Three-Headed Monster, the pendulum would swing exactly the way Honda never wanted to witness. Honda would not live to see it, but I think he would have appreciated the fact that the pendulum has swung back.

My rating: 6.5/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found here.

#Ghidorah the Three Headed Monster #Ishiro Honda #Godzilla #Mothra #Rodan #King Ghidorah #Yosuke Natsuki #Hiroshi Koizumi #Yuriko Hoshi #Takashi Shimura #Haruo Nakajima #Masanori Shinohara #Shoichi Hirose #Shinichi Sekizawa #Akira Ifukube #Eiji Tsuburaya #kaiju cinema #TCM #My Movie Odyssey

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gravediggerslocal · 7 years

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Monster Mania: Music From The Classic Godzilla Films (1954-1995)

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Randy Miller Official Site Monster Mania: Music From The Classic Godzilla Films (1954-1995), Varѐse Sarabande 1998

Up until 1998, American Godzilla fans who wanted to listen to the uninterrupted music from the films they love had very few options. Unless you were able to import albums directly from Japan, the selection was limited to Neil Norman & His Cosmic Orchestra’s decidedly bouncy covers of “Monster Zero March” and the classic Godzilla theme from the Greatest Science Fiction Hits series. One of the few good things about Tristar’s so-called Godzilla movie was the wave of products associated with the Japanese films which flooded the stores to cash in on the hype. One such release was Varѐse Sarabande’s Monster Mania: Music From The Classic Godzilla Films (1954-1995). It was originally promoted under the same “Godzilla Classic Themes From The Classic Films” and some CDs bearing that title seem to have been released, but apparently Toho made them change the name for some reason. But that isn’t the important part. You’re reading this to see how the new recordings compare to the original versions used in the movies!

The drum footfalls of “Godzilla-King Of The Monsters (Main Title)” are not quite the same as you hear in the film, but the power of the composition is still there. It’s highly enjoyable despite such small differences. The rousing and militaristic “Destroy All Monsters (March)” clearly shows off its musical influence from Akira Ifukube’s previous work. Not that it makes the music any less great. As you have probably guessed from the title, “Godzilla Vs. Mothra Suite (Main Title, The Letter, Song Of Mothra, Mothra March)” is a combination of several compositions in a single track. The main title portion devotes equal attention to Godzilla and Mothra. The musical sense of power represents Godzilla and the light fluttering notes are obviously supposed to represent Mothra. The soft piano work wonderfully compliments the sadness of “The Letter” portion of the track and despite it being an instrumental, I can practically hear the lyrics of the Mothra song. The chimes were also a nice touch. The last portion is a Ifukube military march with touch of his classic Godzilla theme. Taking a break from Ifukube, we move on to Reijiro Koroku’s “Godzilla 1984 (Main Title).” The opening cymbal crash and moody, low notes help the track’s overall melding of bombast and suspense. The drumrolls are a great touch as well. I also enjoyed the piano work of the pleasant “Godzilla 1984 (Love Theme).” As the original Japanese soundtrack for King Kong vs. Godzilla didn’t get released in America until 2006, the inclusion of “King Kong Vs. Godzilla (Godzilla Revived/King Kong Transport Operation)” was a real treat for G-fans back in 1998. As expected, they opted for the heavy material rather than the Lyman-esque jazz tracks. The second half of the track is one of my personal favorites. It has such a busy feel and splendid use of percussion and horns. The way Takayuki Hattori’s “Godzilla Vs. Space Godzilla (Main Title)” makes use of drums reminds me of something from the James Bond franchise. While we’re on the subject of that particular film, “Godzilla Vs. Space Godzilla (Love Theme)” offers the listener a quieter moment. I only wish it had been spaced out further from the other love theme on the album.

Masaru Sato’s “Godzilla Vs. The Sea Monster (The Departure From Retch Island)” brings us both the feel of south seas adventure and confusion for those who had seen the island’s name translated as either “Letchi” or “Retchi” over the years. Although it’s not quite the same as original, anyone who has seen the film could easily identify what movie it was from just by listening to it. Akira Ifukube returns with a vengeance for his final Godzilla outing with “Godzilla Vs. Destroyer (Main Title/Destroy Hong Kong)” and includes his trademark use of steady drums implying heavy footfalls while “Godzilla Vs. Destroyer (Requiem)” is appropriately soft and mournful. “Son Of Godzilla (Godzilla & Minilla)” is pretty darn close what’s heard in the actual film. It’s goofy and light, with just touch of menace that leads so nicely into the guiro-filled “Son Of Godzilla (Kamakilas).” Since I have already expressed my affection for the original, I’ll just say this is different enough to be distracting. Koichi Sugiyama’s “Godzilla Vs. Biollante (Main Title)” is both heavily inspired by Jaws and calls back to the opening theme for The Return of Godzilla. The soft and beautiful feel of “Godzilla Vs. Biollante (Biollante)” is presumably a reference to Biollante’s rose form. “Godzilla Vs. Biollante (Super X-2)” owes a LOT to John Williams’ Superman theme. The evocative piano and drums of “Godzilla Vs. King Ghidorah (Opening & Attack On The City)” are coupled with bassoon work to create some perfect Ifukube moodiness and “Godzilla Vs. King Ghidorah (Terasawa & Emmy/Goodbye, My Home Town)” offers plenty of sadness thanks to its expert use of flute and string work. The rousing “Godzilla Vs. Mechagodzilla (Main Title)” has plenty of callbacks to classic Godzilla material. Speaking of which, aspects of “Godzilla Vs. Mechagodzilla (G Force March)” should remind listeners of what they heard earlier in the album. Listening to “Godzilla (Requiem)” makes me appreciate “Godzilla Vs. Destroyer (Requiem)” so much more. Its occasional usage of chimes are a touch I had completely forgotten about. The drums and cymbals of “Godzilla-King Of The Monsters (Reprise)” come back for one more glorious time. After a lengthy wait, we get what seems to be another reprise…until the electric guitars kick in for a secret track! It’s a cover of Blue Öyster Cult’s “Godzilla” by Black. Its use of metal-style vocals is an interesting touch and it makes for a fun way to close things out.

Conductor Randy Miller and his orchestra have done a marvelous job covering a range of material that (more often then not) goes toe to toe with the originals. It’s all to easy to get lost in the overall spectacle when trying to focus on the music while watching the movies and listening to them like this allowed me to fully appreciate the music for what it was. I recall some reviewers complaining of being able to hear the musicians breathing but I’ve never noticed it. Although many soundtracks from Godzilla films have since been released in America, there are still plenty of reasons to track down a copy of this. Tracks 3, 5, 8, 9, 12-16 and 18 still have yet to be released in their original form in America and this album is the only way to experience what things might have been like if Akira Ifukube had recorded his work in stereo. Considering how Toho made an ultimately failed attempt to rework some original monaural recordings into stereo for the Shin Godzilla soundtrack, it looks like this album will remain the only way to do so for quite some time. It’s also an interesting time capsule of sorts. Note only are some of the translations “off,” but this came out at a time before Toho really put its foot down about the 1984 Godzilla being referred to as The Return of Godzilla and before the name Godzilla vs. Destoroyah was settled on. But in the case of the latter, the album does have the benefit of the film having not having been released in the States at the time. But I can’t complain too much seeing as how I opted to use Amazon’s version of the track names, which combine the title of the film with the title of the tracks themselves, rather than just use the track names from the back of the CD case. The liner notes offer a nice look at the history of the Godzilla franchise and the various musical influences and techniques present in the selected tracks. If you pay close attention to the album credits, you’ll even spot a credit to the band Black regarding their hidden contribution! It’s currently out of print but you can find it at a reasonable price if you look around. Hopefully Varѐse Sarabande will reissue it now that Legendary has boosted American interest in the Big G.

#Akira Ikufube #Godzilla #Kaiju #Koichi Sugiyama #Masaru Sato #Monster Mania: Music From The Classic Godzilla Films (1954-1995)#Music #Randy Miller #Reijiro Koroku #review #Takayuki Hattori

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blogojira · 7 years

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Godzilla Raids Again (1955)

I watched this a couple of days ago and am writing this from some rudimentary notes I made right after watching it. So, I’m not expecting to be going as in-depth as I did with the first Godzilla. Then again, this wasn’t a movie that requires as much analysis. It was my impression that the first couple of Godzilla movies were relatively serious affairs and that the silliness sort of crept in by the 60’s but I feel that a lot of the serious subtext that appeared in Gojira was gone by the time he raided again. This came across to me like Michael Bay’s Transformers next to Christopher Nolan’s The Dark Knight. Anyway, let’s do this. I realise I completely missed any sort of synopsis or overview of the events of the film last time, so let’s start with that.

There’s these pilots. One of them makes an emergency landing and is stranded on an island so another pilot goes down to get him. They are chilling out, laughing about those women back at the office! WHEN FUCKING GODZILLA APPEARS WRESTLING ANOTHER GIANT SPIKY LIZARD. They make it back to a board room where they and several other very serious looking men, including Yamane from 1954's Gojira, sit and watch 1954's Gojira. They recap how they defeated him and make sure we don’t forget the Oxygen Destroyer and the knowledge of how to make it are gone. Also, the pilots identify the other spiky lizard as Anguirus. A name not nearly as cool as Godzilla.

Eventually, they hatch a plot to lure Godzilla away from the city with ‘light bombs’ aka flares, whilst all lights in the city are switched off. The only problem is someone decides to transfer some prisoners during the blackout, they escape, a high-speed chase ensues and they crash causing a huge fire. Godzilla likes fire. The military piss Godzilla off by opening fire on him. WHEN FUCKING ANGUIRUS APPEARS TO WRESTLE WITH GODZILLA. Saved by the bell.

So, Godzilla doesn’t attack the city but during the fight it becomes collateral damage. After an exhaustingly long grapple-fest, Godzilla fucks up Anguirus’ shit by smashing his head through a building, tearing his throat out and hitting him with the death breath. After all this, Godzilla forgets about the city and goes home.

Since the factory the pilots work for has been destroyed, the owners decide to move and start fresh in a different city. They decide to have a party at a restaurant. At the party they receive word of one of their ships sinking; it was attacked by Godzilla. This is the last straw!

The two pilots and presumably the military work together to track Godzilla and attack him. They manage to trap him by shooting the mountain and boulders fall on him. The pilot, Kobayashi, dies during conflict. A hysterical woman runs into her bosses office to tell them, they stare bewildered. Apparently, older Japanese men do not understand why a woman would be this upset over a friend’s death. The rest of the pilots plan bury Godzilla completely by causing an avalanche. A long action sequence, explosions and an avalanche later, Godzilla is defeated. The living pilot from the start of the movie does a hero stare into the distance and says, 'Kobayashi… we got Godzilla for you…’, THE END.

That is that. There isn’t a huge number of talking points as this movie is pretty upfront about what it is and I’m guessing that’s going to be the case for a lot of the 'VS.’ movies. I’ll probably just end up gushing about how awesome/funny the fight sequences are or whether the costumes were any good. In fact, I’m going to discuss those things now. The Godzilla costume was still awesome, very similar to the first suit. For more in-depth information on each of the Godzilla suits, I have a link!

http://becominggodzilla.com/official-toho-suits/

It’s pretty interesting and I will probably be referring back to it for each movie. The Anguirus suit was a little less impressive but did the job. It relied on the actor being on all fours a lot of the time and as we know humans are not as comfortable on all fours as animals that are intended to be are. The fight between the two was a lot of lunging and grappling. I would have liked to have seen more punching or biting, anything to provide a bit of variety. The head smash through the building was cool, though. Other special effects were serviceable.

I was shocked at how easily Godzilla was beaten in the movie. Snow and rocks? Really? The last one required a weapon as powerful as the Hydrogen bomb and this time they had rocks? The only acceptable explanations are that this Godzilla was weaker than the first one or he is not actually dead and will eventually unbury himself. I guess we’ll see in the next movie, (well, it will be in three movies time because I’m going to be watching the American re-releases of the first two movies first). After the ending to the first movie, this was obviously going to be a different Godzilla but before watching it I always assumed there was only one Godzilla. Then again as he changes appearance there’s probably a different Godzilla in every movie. This is a revelation.

There was a couple of other things that would have really helped this movie out. Number one, the original theme tune. The score in Gojira was amazing, if it had been used in ’…Raids Again’ it may have come across more serious or like more was at stake. Number two, a Serizawa type character. You know, a badass scientist. More of that, less of Yamane pretending he knows everything.

Well, those are my thoughts on Godzilla Raids Again. You can watch it if you want, it’s alright. For what it was though, there may be better to come from later movies. 3/5.

#godzilla #gojira #movies #review #monsters #movie review #godzilla raids again #anguirus #anguila #3 out of 5 #action movies #black and white #kaiju #tokusatsu

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