An unknown accident occurs in Tokyo Bay's Aqua Line, which causes an emergency cabinet to assemble. All of the sudden, a giant creature immediately appears, destroying town after town with its landing reaching the capital. This mysterious giant monster is named "Godzilla".
The first Godzilla film since Godzilla 1985 (1984) (its original Japanese version) to end with a "The End" ("Owari" in Japanese) title card. Like the 1984 film, it was at the end of the credits. See more »
The drug that the government uses to kill Godzilla is described as something that will "disable his internal cooling system". After the drug is used at the end, Godzilla freezes. If the drug was supposed to disable his internal cooling system, it would have overheated him, not frozen him.
But it's a bit more complex than that... In fact, in the movie the drug actually does manage to disable Godzilla's cooling system, but in stead of overheating him this triggers a SCRAM-shutdown (=Safety Control Rods Activation Mechanism) as a kind of involuntarily overreaction-thus freezing him in the procedure.
By freezing himself temporarily, Godzilla is able to survive this potentially critical trauma. See more »
Shin Godzilla is the harmonious blend of classic Toho and contemporaneous optimism.
Another reboot in the long-running Japanese franchise that has contained actors in giant rubber costumes decimating cities and brawling with each other amidst chaotic infernos. All of those aspects have been incinerated in Anno's instalment, who substitutes typical kaiju destruction with bureaucracy and satirical politics. The result is a sublime resurgence of the titular "God incarnate". A colossal beast rises from the sea and starts destroying Japanese cities where the government must form a plan to prevent further destruction. The complexity of Japan's bureaucratic system is fully explored, with several organisations and administrations not taking ownership of the situation. The satirical nature of the narrative acts as a metaphor for recent disasters such as Fukushima and Tõhoku whilst also reflecting on Nagasaki and Hiroshima. The creature itself acts as galavanting nuclear reactor, leaving radiation in its wake. The interjectory catastrophes within the politically charged perspective surprisingly makes for a captivating watch. Suddenly the entire situation feels real, with economic struggles and urban evacuation rapidly taking place. Yet, patriotic optimism is nested deep within the story, with Japanese officials wanting the best for their country. This means relying on other nations for assistance, where any past relationships have been put aside for the greater good. Godzilla itself comes alive through a somewhat archaic animation style, accompanied by classic sound effects. With a violently visceral second act attack of Tokyo that will have you on the edge of your seat. Regrettably, the entire final act felt deflated. The excitement of the atomic rays ultimately left nothing else enthralling, with the political debates wearing thin. The lack of character attachment exhumed a slight clinical aesthetic that prevented an emotional investment towards the story and its white-collared individuals. Fear not however, as Godzilla is back and more formidable than ever.
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