In 1973, Gamera sacrifices his life to rid the world of the Gyaos once and for all. Thirty-three years later, a small boy, whose father witnessed the 1973 event, named Toru finds a ... See full summary »
Aliens from a dying galaxy plan to destroy our cities and build their new home on Earth. Their weapon is Mechagodzilla, a 400-foot-tall robot armed with powerful lasers and guided missiles. Only Godzilla is mighty enough to stop the colossal machine, but when Professor Mafune joins the aliens, not even Godzilla will be able to defeat them. Mafune controls Titanosaurus, a gigantic amphibious dinosaur, through a biochemical connection with his cyborg daughter, Katsura. Godzilla is no match for Titanosaurus and Mechagodzilla together, but Interpol agents have discovered Titanosaurus' weakness, which may give Godzilla the fighting chance he needs to save the world! Written by
Robert Lynch <email@example.com>
This was the last Godzilla film shot in the 2.40:1 aspect ratio until until Gojira: Fainaru uôzu (2004). All films in the second wave (the Versus Series) of Godzilla films would be shot in the narrower 1.85:1 screen-aspect ratio. Wider screen-aspect ratios would resume, however, with most of the third wave of Godzilla films, beginning with Godzilla 2000 (1999), which were shot in the 2:35.1 ratio. See more »
The aliens in this movie are said to belong to the same race as the ape-like aliens from the previous film, but they look completely different. Previously, when being injured or killed, the aliens' human disguises faded away by themselves, revealing that they really look like apes. In this movie, the aliens tear their human masks off manually, revealing freakish, distorted, human-like faces underneath. See more »
Things did not bode well at the start, with a seven-minute greatest hits sequence that never seemed to end, but by the time it was over I found myself grateful for so much action so early on. When the story proper started it was with some very impressive underwater model work (I couldn't see the seams at any rate).
But what really marked this out as a superior entry is the plot. A reclusive discredited scientist is employed by aliens to use his thought-controlled pet Titanosaurus to destroy Tokyo along with the newly-rebuilt Mechagodzilla, their combined might certain to overcome that pesky Godzilla. Meanwhile an Interpol agent and a marine scientist investigate the disappearance of an exploratory submarine, the trail leading them to the scientist's beautiful but non-too-helpful daughter.
It might sound like the usual gubbins on paper but there's genuine tension in many of the scenes, it's logical and exciting, and rather than feeling like drawn-out filler while we wait for the real action to begin it's successful on its own terms, even managing to pull off genuine pathos bordering on tragedy at the end.
When it does begin it's hands down the best destruction I've seen so far in the series. They're right in the centre of Tokyo surrounded by skyscrapers ready to be demolished and incinerated. The camera pans across the cityscape as whole swathes of it are destroyed, and it truly is spectacular. What makes it even more powerful is that it's not a fight sequence for the most part - it's just two big boys laying waste to the city.
Godzilla himself is given a wonderful entrance, and in those moments it's a thrill to see this (of all films) so overtly referencing The Third Man (of all films).
They do escape to the country for the final showdown, but there's still the odd power station to be sat on and let's face it, we've already had our money's worth with the destruction of Tokyo. The fight is lengthy too, with Godzilla on the back foot for most of it, and while we're never unsure of the outcome it does get pretty hairy for the big guy.
For the budget the special effects are often superb and always imaginative (like the alien technician walking inside Mechagodzilla's head or the shot that takes us from his massive, dormant frame as he's being worked on, through a window, and finishes with the aliens and doctor watching the progress from a lab).
The music throughout is excellent, and the female lead is impossibly gorgeous.
What's not to love?
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