xamtaro
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Godzilla Against Mechagodzilla is the fourth Godzilla film in the "millenium era" that started with Godzilla 2000. It is the second Godzilla movie by director Masaaki Tezuka, after his previous (and relatively unimpressive) GODZILLA X MEGAGUIRUS, and this entry retreads a lot of ground covered by that movie. So much that it's plot could be considered a remake of GXMegaguirus only with Mechagodzilla.
After the first Godzilla that attacked japan in 1954, there have been attacks by other giant monsters prompting the formation of the Anti Megalosaurus Force (AMF), an elite tactical unit given sci fi technology and tasked with fending off such attacks. A failed sortie against a new Godzilla in 1999 had prompted Japan To use the bones of the previous Godzilla to create Kiryu, a titanic robot in the form of Godzilla: a Mechagodzilla.
Equipped with missiles, beam weapons and the dangerous "absolute zero" freeze cannon, Kiryu is a force to be reckoned with. Unfortunately their first battle awakens the memories of the Godzilla whose remains form a part of Kiryu and the giant robot causes just as much damage as the monster it was designed to stop. While awaiting the next attack, the AMF scrambles to ensure Kiryu is able to remain in control. It's similarity to GXMegaguirus comes in not just the setup of a deadly uncontrollable new weapon that leads to more trouble than it is worth, but also the characters. The 2 main characters are Akane Yashiro, a soldier and survivor of the failed 1999 sortie racked with guilt and vowing revenge against Godzilla, and Tokumitsu Yuhara, an optimistic jokey scientist who helped with the creation of Kiryu.
Both of them are rehashed from the characters in GXMegaguirus Kiriko Tsujimori and Hajime Kudo, complete with the scientist trying to get friendly with the cold and distant soldier. Fortunately, the character development here is more gradual and the characters themselves more likable than Director Tezuka's prior efforts.
The addition of Tokumitsu's daughter and her bond within Akane gives the soldier an emotional anchor to slowly warm up to. Akane's character arc of at first being looked down upon by fellow teammates but slowly winning over their respect to be treated as an equal mirrors a very real challenge women in male dominant professions continue to face. The overall tale is much more focused on the human characters with a very pro-humanist slant. Godzilla himself is devoid of personality, reduced to merely being "generic threat to humanity", an obstacle that a country can overcome through unity, dedication and ingenuity.
It is decidedly more in the "feel good" category as compared to the more nihilistic GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL OUT ATTACK. Depending on one's taste, this could be seen as an improvement over something that was too dark or as a step backward into more idealistic "happy and kid friendly" territory. A more objective improvement is in the special effects. Miniatures of the buildings, vehicles and city are breathtakingly detailed. Green screen effects are also more polished than what came before.
However with detail comes a trade off, and that can be seen in the monsters themselves. The well crafted giant monsters move very stiffly; melee fights consists of awkward flailing or pushing or hugging each other while pyrotechnics go off behind them.
Director Tezuka tried to get around these limitations by enhancing the footage with CGI and filming in a certain style involving over the top feats. This all only adds to the often cartoony feel of the battles like one scene when Mechagodzilla flies at full speed to tackle Godzilla away. Mechagodzilla comes to a complete stop upon hitting Godzilla and just stands there while Godzilla is sent careening into the distance. It is like something out of Looney Tunes! Like Kiryu of the story, GODZILLA AGAINST MECHAGODZILLA is not without some kinks. For all it's good special effects, characters and themes, you have the cartoony battles, the often over the top acting, and the cliche ridden story that we have seen twice already.
For me, I found it very entertaining despite its shortcomings. It is a competent movie and while I did prefer something darker, I do appreciate the entertainment value of this one.
Equipped with missiles, beam weapons and the dangerous "absolute zero" freeze cannon, Kiryu is a force to be reckoned with. Unfortunately their first battle awakens the memories of the Godzilla whose remains form a part of Kiryu and the giant robot causes just as much damage as the monster it was designed to stop. While awaiting the next attack, the AMF scrambles to ensure Kiryu is able to remain in control. It's similarity to GXMegaguirus comes in not just the setup of a deadly uncontrollable new weapon that leads to more trouble than it is worth, but also the characters. The 2 main characters are Akane Yashiro, a soldier and survivor of the failed 1999 sortie racked with guilt and vowing revenge against Godzilla, and Tokumitsu Yuhara, an optimistic jokey scientist who helped with the creation of Kiryu.
Both of them are rehashed from the characters in GXMegaguirus Kiriko Tsujimori and Hajime Kudo, complete with the scientist trying to get friendly with the cold and distant soldier. Fortunately, the character development here is more gradual and the characters themselves more likable than Director Tezuka's prior efforts.
The addition of Tokumitsu's daughter and her bond within Akane gives the soldier an emotional anchor to slowly warm up to. Akane's character arc of at first being looked down upon by fellow teammates but slowly winning over their respect to be treated as an equal mirrors a very real challenge women in male dominant professions continue to face. The overall tale is much more focused on the human characters with a very pro-humanist slant. Godzilla himself is devoid of personality, reduced to merely being "generic threat to humanity", an obstacle that a country can overcome through unity, dedication and ingenuity.
It is decidedly more in the "feel good" category as compared to the more nihilistic GODZILLA, MOTHRA, KING GHIDORAH: GIANT MONSTERS ALL OUT ATTACK. Depending on one's taste, this could be seen as an improvement over something that was too dark or as a step backward into more idealistic "happy and kid friendly" territory. A more objective improvement is in the special effects. Miniatures of the buildings, vehicles and city are breathtakingly detailed. Green screen effects are also more polished than what came before.
However with detail comes a trade off, and that can be seen in the monsters themselves. The well crafted giant monsters move very stiffly; melee fights consists of awkward flailing or pushing or hugging each other while pyrotechnics go off behind them.
Director Tezuka tried to get around these limitations by enhancing the footage with CGI and filming in a certain style involving over the top feats. This all only adds to the often cartoony feel of the battles like one scene when Mechagodzilla flies at full speed to tackle Godzilla away. Mechagodzilla comes to a complete stop upon hitting Godzilla and just stands there while Godzilla is sent careening into the distance. It is like something out of Looney Tunes! Like Kiryu of the story, GODZILLA AGAINST MECHAGODZILLA is not without some kinks. For all it's good special effects, characters and themes, you have the cartoony battles, the often over the top acting, and the cliche ridden story that we have seen twice already.
For me, I found it very entertaining despite its shortcomings. It is a competent movie and while I did prefer something darker, I do appreciate the entertainment value of this one.
GODZILLA: TOKYO SOS has the honor of being the only "sequel" to exist in the Millennium era of the month running Godzilla franchise. Taking place a year after the events of GODZILLA AGAINST MECHAGODZILLA, Tokyo SOS sees the return of not only fan favorite Mothra but of late actor Hiroshi Koizumi reprising the role of Dr Shinichi Chujo from the 1961 movie MOTHRA.
With the Mechagodzilla named Kiryu undergoing hasty repairs in preparation for Godzilla's return, Mothra's fairies, the Shobijin, appear to Dr Chujo, his grandson, and his nephew Yoshito, with a warning that using the bones of the previous Godzilla in the construction of Kiryu was an affront to the natural order of the universe and if the bones are returned to the sea, Mothra would take Kiryu's place as Japan's defender.
Of course the Japanese government is reluctant to give up the one weapon capable of defeating Godzilla, and have much less faith in Mothra's capabilities. As Godzilla returns to wreak havoc, those capabilities will be put to the test alongside an increasingly unstable Kiryu that is still haunted by its memories of its death back in 1954.
In its overall premise, TOKYO SOS shows a lot of potential. It goes back to the "humanity's sins returning to punish them" theme that was prevalent in the first Godzilla movie. It also promises an exploration of two common contrasting reactions to disasters: faith in the divine (embodied by the fairies asking for japan to trust in Mothra) and a pride driven reliance on human capability and self determinism (embodied by the government's refusal to scrap Mechagodzilla).
Where the film could have delved deep into these themes, deconstructing both or showing how they can coexist hand in hand, it instead drops the ball in favour of cliched storytelling and characters.
Rather than continuing the previous movie's character development, those already shallow characters are ditched in favour of new though much less likable characters. Our main protagonist is Yoshito Chujo, a hot headed mechanic in the Kiryu maintenance team. He had a quirk for understanding machines more than people and.....that's about it.
The movie sets up a relationship triangle between Yoshito, former mechanic turned pilot Azusa, and another arrogant male pilot Akiba which.....goes no where. You get a couple of scenes involving fiery male tension and that's it. Not much in the way of resolution other than an arc about how our lowly mechanic wins the respect of the glorious pilots (an arc that was already done in GODZILLA AGAINST MECHAGODZILLA).
In terms of acting, the older actors do a much better job. Almost as if the younger actors portraying the young adult characters, especially Azusa, were hired more for their looks than ability. The characters they portray come across as generally unlikable with only Yoshito having some redeeming qualities.
Visually, this movie upholds the standards set by its predecessor: beautiful imagery, detailed miniatures and monster suits, near flawless visual compositing. It also upholds the flaws, retaining the overly choreographed cartoony battles and the stiff movements of the monsters.
What I appreciated the most of GODZILLA: TOKYO SOS, was how it and it's predecessor GODZILLA AGAINST MEGHAGODZILLA is the first Godzilla movie to retroactively establish a proper "shared cinematic universe" by bringing in old Toho movies like MOTHRA and WAR OF THE GARGANTUAS as part of its continuity. This stands in contrast to the Showa era and heisei era Godzilla movies which were just sequels to each other and not actual "shared" cinematic universes in the way we know them now.
Other than that this movie is a mixed bag for me. For every positive such as the special effects, the shared universe lore building, and a return to the darker themes of the original GODZILLA movie, there are equal number of negatives in the cliched storyline, unlikable characters, and cartoonish fights
With the Mechagodzilla named Kiryu undergoing hasty repairs in preparation for Godzilla's return, Mothra's fairies, the Shobijin, appear to Dr Chujo, his grandson, and his nephew Yoshito, with a warning that using the bones of the previous Godzilla in the construction of Kiryu was an affront to the natural order of the universe and if the bones are returned to the sea, Mothra would take Kiryu's place as Japan's defender.
Of course the Japanese government is reluctant to give up the one weapon capable of defeating Godzilla, and have much less faith in Mothra's capabilities. As Godzilla returns to wreak havoc, those capabilities will be put to the test alongside an increasingly unstable Kiryu that is still haunted by its memories of its death back in 1954.
In its overall premise, TOKYO SOS shows a lot of potential. It goes back to the "humanity's sins returning to punish them" theme that was prevalent in the first Godzilla movie. It also promises an exploration of two common contrasting reactions to disasters: faith in the divine (embodied by the fairies asking for japan to trust in Mothra) and a pride driven reliance on human capability and self determinism (embodied by the government's refusal to scrap Mechagodzilla).
Where the film could have delved deep into these themes, deconstructing both or showing how they can coexist hand in hand, it instead drops the ball in favour of cliched storytelling and characters.
Rather than continuing the previous movie's character development, those already shallow characters are ditched in favour of new though much less likable characters. Our main protagonist is Yoshito Chujo, a hot headed mechanic in the Kiryu maintenance team. He had a quirk for understanding machines more than people and.....that's about it.
The movie sets up a relationship triangle between Yoshito, former mechanic turned pilot Azusa, and another arrogant male pilot Akiba which.....goes no where. You get a couple of scenes involving fiery male tension and that's it. Not much in the way of resolution other than an arc about how our lowly mechanic wins the respect of the glorious pilots (an arc that was already done in GODZILLA AGAINST MECHAGODZILLA).
In terms of acting, the older actors do a much better job. Almost as if the younger actors portraying the young adult characters, especially Azusa, were hired more for their looks than ability. The characters they portray come across as generally unlikable with only Yoshito having some redeeming qualities.
Visually, this movie upholds the standards set by its predecessor: beautiful imagery, detailed miniatures and monster suits, near flawless visual compositing. It also upholds the flaws, retaining the overly choreographed cartoony battles and the stiff movements of the monsters.
What I appreciated the most of GODZILLA: TOKYO SOS, was how it and it's predecessor GODZILLA AGAINST MEGHAGODZILLA is the first Godzilla movie to retroactively establish a proper "shared cinematic universe" by bringing in old Toho movies like MOTHRA and WAR OF THE GARGANTUAS as part of its continuity. This stands in contrast to the Showa era and heisei era Godzilla movies which were just sequels to each other and not actual "shared" cinematic universes in the way we know them now.
Other than that this movie is a mixed bag for me. For every positive such as the special effects, the shared universe lore building, and a return to the darker themes of the original GODZILLA movie, there are equal number of negatives in the cliched storyline, unlikable characters, and cartoonish fights
