Selene, a beautiful vampire warrior, is entrenched in a war between the vampire and werewolf races. Although she is aligned with the vampires, she falls in love with Michael, a werewolf who longs for the war to end.
Alice awakes in Raccoon City, only to find it has become infested with zombies and monsters. With the help of Jill Valentine and Carlos Olivera, Alice must find a way out of the city before it is destroyed by a nuclear missile.
Forty-two years after her first visit in Tokyo, Mothra returns to warn mankind that they must return Mechagodzilla, along with Godzilla's bones, to the sea, for the dead must not be disturbed. If not, dire consequences will follow. However, Godzilla is once again on the rampage, and Mechagodzilla is Japan's only defense. Written by
This was the first Godzilla film ever to be completed just in time for its preview showing at the Tokyo International Film Festival. All previous Godzilla films since Godzilla vs. King Ghidorah (1991) were screened there around a month before their usual general release date (early-mid December), but were still busy finishing up post-production (ie. few FX shots were incomplete, wires were visible, etc.). See more »
After the final credits, its is revealed that an unnamed lab is ready to create ANOTHER Godzilla clone. See more »
In striving so hard to perfect his technique, Mr. Tezuka disregarded everything he got right the first time around.
It would seem as if director Masaaki Tezuka was on a mission when he made "Godzilla: Tokyo S.O.S." His two previous movies in the long-running franchise ("Godzilla vs. Megaguirus" and "Godzilla Against MechaGodzilla") were heavily criticized for uneven, glitch special effects and having not enough emphasis on the monsters. In "Tokyo S.O.S.," he only half-accomplished his mission. The special effects have been improved: there aren't as many awkward moments, the camera is coordinated a little better, and the sense of scale of the giant creatures has been improved. He's also given Godzilla, MechaGodzilla, and Mothra more than two-thirds of the movie to dominatealthough this ended up working to the movie's detriment. But the sad news is that in striving so hard to patch up his technique, Mr. Tezuka disregarded everything he got right the first time around.
"Godzilla Against MechaGodzilla" wasn't one of the crowning achievements of the entire series (Godzilla, supposedly an unstoppable menace, seemed to be quite the wimp to me) but what it did boast was a very interested and involving human-level story. It was really about this emotionally unconfident woman, blamed for the deaths of several fellow soldiers, trying to redeem herself by saving her country from a giant monster and find some place in the world. She had detailed relationships to the other people in the movie. The story and details behind the construction of MechaGodzilla was also very fascinating and well-written.
All of that is gone in "Godzilla: Tokyo S.O.S." The attempt is there; the movie has a lot of human characters, and we are meant to care for them in the same way. But the screenplay is sketchy and in too great a hurry to rush through itself. Mothra, who was brought back into the series, I felt, much too soon, does not seem to have a real sense of place in the movie. She feels obligatory, like she was just thrown in at the last minute. Now the script provides a lame excuse: that she is upset that the bones of the first Godzilla were used to construct MechaGodzilla. Admittedly, this sort of thing can work (and has worked before) when the movie either acknowledges it as corny or develops it in a way that can be taken seriously. But "Tokyo S.O.S." dashes through this subplot, giving it no real backbone. And that's just a default example: every single strand of plot and story in the movie feels exactly like that.
Only thirty minutes pass before the climax is underway, and both sides of this half-hour mark are unbearably passionless. The former is too sketchy and the latter is too overblown and padded out. Even though the special effects are very impressive, they are not coordinated in a way that communicates a real sense of spectacle or wonder or science-fiction terror. Godzilla, who is treated as much bigger a menace than in "Godzilla Against MechaGodzilla," has a really impressive scene when he rises from the oceanwith Michiru Oshima's brilliant percussion-heavy score thumping in the backgroundbut nothing after that really stands out. But once again, there is supposed to be some profundity behind all of this. MechaGodzilla was constructed from the first Godzilla's skeleton and therefore still contains some of that monster's life inside of it; it's fighting its own descendant. And Godzilla was supposedly drawn to that location, having sensed the DNA of its ancestor. And Mothra is there to balance the effect. But none of this is given strong consideration; it all feels obligatory and forced. As a result, the climax, even with all that goes on it, seems to drag without end.
Of the three Godzilla movies directed by Masaaki Tezuka, this is the dimmest and the least interesting. It features the best special effects, but there is no passion in its storytelling. Mr. Tezuka apparently wanted to prove that he could make a technically rich Godzilla movie and he did. But he also forgot what all the really good Godzilla movies (including the two he made before) had and that was interest in the project. If he was interested in the story he was tellingand again, the screenplay wants us to think that it is rich and full of profound detailthe sensation did not communicate well to the screen.
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