Cast:
Hiroki Hasegawa (Rando Yaguchi), Yutaka Takenouchi (Hideki Akasaka), Satomi Ishihara (Kayoko Ann Patterson), Ren Ōsugi (Prime Minister Seiji Okochi), Akira Emoto (Ryuta Azuma), Kengo Kôra (Yusuke Shimura, Deputy Chief Cabinet Secretary), Mikako Ichikawa (Hiromi Ogashira, Deputy Director), Jun Kunimura (Masao Zaizen, Integrated Chief of Staff), Pierre Taki (Saigo, Combat Leader), Kyūsaku Shimada (Katayama, Minister of Foreign Affairs), Ken Mitsuishi (Kozuka, Governor of Tokyo), Shingo Tsurumi (Yajima, Joint Staff Deputy), Kimiko Yo (Reiko Hanamori, Defense Minister), Takumi Saitō (Ikeda, Tank Captain), Takashi Fujiki (Tokyo Lieutenant Governor), Yû Kamio (Ministry of Foreign Affairs), with Suzuki Matsuo (Journalist), Takahiro Miura (Journalist) and Mansai Nomura (Godzilla, motion capture) Directed by Hideaki Anno (#2344 - The End of Evangelion) and Shinji Higuchi.
Review:
Once upon a time, the Godzilla movies were on ice. Godzilla: Final Wars, released in 2004, was the sixth and final movie released by Toho in their third phase of making the films (which is basically split into eras of their emperor with "Shōwa", "Heisei" or, "Godzilla [1998] sucked, let's make movies again" or, uh, "Reiwa, otherwise known as "Godzilla [2014] rocked, let's make movies again"). So, with the success of the 2014 American rendition, Toho moved quickly to announce the resurgence of the series being in production (one with a title that basically can be construed as "new", "true", or "god", as opposed to, say, "Godzilla Resurgence"). The film was directed by Hideaki Anno and Shinji Higuchi, who had worked together on Nadia: The Secret of Blue Water, both renditions of Neon Genesis Evangelion, along with Love & Pop (1998)*; Higuchi served as VFX director while Anno served as co-editor and writer for the movie, which drew inspiration from the 2011 Tōhoku earthquake and tsunami. The effect for Godzilla was done with computer-generated imagery that saw motion capture utilized (after debating using a puppet). Released in Japan on July 29, 2016, the movie was a considerable success and a few months later it even got a release in America, the first one for the series since Godzilla 2000 [1999]. Due to the contract signed by Toho and Legendary Entertainment, the next live-action Godzilla movie could not be produced until at least 2020; it couldn't stop them from doing animated films, which is where the animated trilogy (Godzilla: Planet of the Monsters [2017], Godzilla: City on the Edge of Battle [2018], Godzilla: The Planet Eater [2018]) comes in before Godzilla Minus One came around in 2023.
I wonder how this would've felt in 2016, with a 19-year-old* me, one who had only seen the 1954 movie and the 2014 American film at the time, I really do. Maybe I would've got a big kick out seeing it in a theater in the same way that Godzilla Minus One rocked my imagination years later. But this is 2026, I'm nearly 30, and at the end of the day, this is just an okay Godzilla movie that is not nearly as interesting as it believes itself to be for the approach that they aimed for. This isn't even a complaint about what I wanted the movie to be, this is merely just me believing that things really haven't changed that much from the sequences in 1960s Godzilla movies in conference table discussion. Sure, the camera angles are sometimes neat, and there are little moments to chuckle with amidst the endless displays of who is who. But at a certain point, you can imagine someone watching the film at home (not in theaters, heaven forbid yelling there) and going, "who cares?" I suppose there is a bit of imagination need to believe there was something in their lives besides the minutiae of conference rooms just like with the older ones; I'll give it the pass that the entertainment value mostly overrides the middling characters.² Would the movie be higher on the supposed "bleak scale" some people label it, if, say, the National Diet had been vaporized? (I had a feeling that one of the Godzilla films of the past few decades had a different type of ending, and what do you know, Godzilla 2000 ends with Godzilla going through Tokyo). Going through conference rooms may be exciting to you in hearing what someone might do in the event of a disaster (do you also love doing your taxes?), but being outside feels freer for a movie. The atomic breath sequence is fun not only because it dispenses with one piece of the "who cares?" puzzle but also because, wait for it, it involves Godzilla being cool as hell in destruction. Sure, some folks probably loved it for being, say, complimentary of the Self-Defense Forces, but the real attraction is what you see of its monster, the eventual method of containment (face it, you know no matter what, the movie will not end like Terminator 3) and then, maybe remembering the face of one of the people in the movie. It really is a movie of adaptability: Godzilla adapts into multiple forms (some of them are pretty neat, arguably), the politicians either have to adapt for their country's sake or die (with or without the American government looming) and you either adapt to the film's rhythm for two hours or fall by the wayside.
There are moments with Hasegawa that does invite curiosity in juggling ambition and, well, actually being clever enough to listen and also lead people around him. In theory, the best one to tag along in the discussion part of the film (i.e., stuck in a room with nerds rather than political nerds*) is Ichikawa, mainly because they sound incisive...sure is a shame they only pop up here and there. Apparently, Ishihara felt the pressure in having to deal with the amount of lines in English (as one does when playing an American senior official) that ends up as pretty jarring (reading subtitles is one thing, imagine if you suddenly hear English all of a sudden) when compared to everyone else in vague nature anyway. Arguably, Minus One and this movie share a handful of aspects: both involve a fresh take involving the nature of man when confronting a great threat (bureaucrats in one circle, folks coming off the end of a war in another), both set themselves apart as a fresh reboot that doesn't involve introducing a second monster (the only other non-monster mash Godzilla movie in the last few decades was The Return of Godzilla back in 1984, although that one acted as a "direct sequel" to the first film), and both involve an ending inviting the possibility of a follow-up emergence(^). I felt like I cared more about what I saw in Minus One than what happened with this movie (the milage may vary when it comes to that 2014 American one), but I feel like I should be fairer to the 2016 movie for basically accomplishing its goal of a distinct take on a creature and government going in tandem in adaptability. As a whole, Shin Godzilla is basically fine, surely inspiring curiosity for its place within modern renditions of monster movies from the people that like its pacing and ones who don't have as much fun with it. At a certain point, I had to realize, yeah, this movie did achieve the goals set out on the scale and ambition required in a Japanese movie. Regardless, it has enough entertainment value worth recommending at least once for a movie that is now ten years old.
Overall, I give it 8 out of 10 stars.
*Incidentally, Anno wrote Higuchi's Shin Ultraman (2022) and later wrote and directed Shin Kamen Rider (2023).
*December birthdays stay undefeated.
²People love giving the Legendary Pictures Godzilla movies shit for their middling characterization in the face of monster mashes, which to me is funny as hell because brother, what do you think I'm here for in a theater? At a certain point for some movies, the line between "I wanted to see X in the movie" and "I wanted to be interested in the movie" collapses for some movies.
*People who are nerdy about politics are the biggest dweebs imaginable, change my mind. At least the guys who are weird about the lore of movies keep it roughly on the level.
[^] Higuchi did mention a few small parallels with The Return of Godzilla - SHIN GODZILLA Interview with Shinji Higuchi, Discussing THE RETURN OF GODZILLA and SHIN GODZILLA's Shocking Finale - Daily Dead
Oddly, both also have an available version where you can see the movie in black and white. Also, good god, imagine a Shin Godzilla sequel that has actually *not* focus on the bureaucracy for a moment and actually care about people in the city? The horror! It almost feels like the reverse of my slight bone to pick with Evangelion: at a certain point, I did roll my eyes at Shinji's inner life and wanted to aim my eyes anywhere else. Specifically, Misato.
In fairness to 2014 Godzilla, I remember loving it a bit back then and slightly less the next time I saw it over five years later because, hey, why the hell would you kill off Bryan Cranston's character? 12 years later, you really can ask: Who cares about (or remembers) Aaron Taylor-Johnson's character?
Obligatory link, i.e. the only review of the movie I ever watched of the film (also, we love old Cinemassacre)
For the purposes of having a reference of previous Godzilla movies, inquire here:
King Kong vs. Godzilla (1962) - Godzilla fights King Kong to a relative draw.
Mothra vs. Godzilla (1964) - Mothra joins the mash!
Ghidorah, the Three-Headed Monster (1964) - A monster so important it made the title
Invasion of Astro-Monster (1965) - Nick Adams in: Spaceman's Adventure
Ebirah, Horror of the Deep (1966) - Terrorists, lobsters, and more.
Son of Godzilla (1967) - A real family drama
Destroy All Monsters (1968) - Mash like it's 1999 in Monsterland
All Monsters Attack (1969) - Children and Minilla have to fight their own battles instead of Godzilla
Godzilla vs. Hedorah (1971) - Trippy environmentally hip fun for the whole family
Godzilla vs. Gigan (1972) - Godzilla towers and a clip show all in one
Godzilla vs. Megalon (1973) - The one with Jet Jaguar the robot with a theme song.
I'll get to the ones from Godzilla vs. Mechagodzilla (1974) to Godzilla Final Wars (2004) eventually. Have fun!
No comments:
Post a Comment