The return of Japanese Godzilla from TOHO after a couple of decades and several American films turned out to be very cool (although I have not seen any Japanese films in the franchise, yes).
In “True/New Godzilla” there is a very big emphasis on people, but here I really liked it, unlike the same aspect in the works of the MonsterVerse series (although I love them), because in “True” the main characters are the top of the Japanese government, who are trying to quickly solve the new Kaiju crisis and simultaneously talk about the state of the country, its future and past. It was interesting to see that!
The visual side of the film is also performed at the highest level: the action was spectacular, the buildings are destroyed juicily and the thermonuclear breath of the Monster King looks beautiful and frightening.
Animatronics, dolls, digital effects, and even a costume controlled by three people were used to create Godzilla! The design of the Kaiju was unique and probably the most frightening in the history of the franchise, this was the goal of co-director Shinji Higuchi – to make the film the scariest version of the creature. The goal has been achieved in all four forms of evolution, I believe.
Overall, it was a great movie. It is a pity that not all forms of evolution were included in the final version: there was also biomass in the style of Akira, and the transcendental divine Lovecraftian essence was conceived as the eighth form.
It should not be surprising that after "Godzilla" 2014 there will be another restart, already from the studio Toho. I was really looking forward to this film, like other fans, because this is already the thirtieth Godzilla film, but the result was unexpectedly sad.
Something unimaginable happened - the Japanese reboot was worse than the American one. Unlike Gareth Edwards, Hideaki Anno and Shinji Higuchi actively used direct borrowings from previous films. Remembering "Final wars", this can be rejoiced, since there were a great many respectful references. However, with True Godzilla, things didn’t go as expected. The sounds of old movies cause pleasant nostalgia, but the new film is used extremely ineptly and poorly. The main drawback here is that the sound engineers were lazy to bring something new to the film. Shootings, destruction and even Godzilla’s growl – all this we have heard before in a literal sense. For the film studio Toho, so famous for its inimitable sound effects, it is a real shame.
Evidently based on Godzilla (1984), Hideaki Anno developed a scenario saturated with politics and unfolding exclusively around the actions of the Tokyo authorities in the current situation. But if in the 1984 film all this pressed on pity and appealed to the audience sincere sympathy, now the endless meetings of ministers and their debates are terribly annoying, and the main characters do not want to empathize. Despite the participation in the film of such talents as Jun Kunimura, Akira Emoto and Kimimo E, they can not pull the rest of the cast. Surprisingly, even such capable actors as Hiroki Hasegawa, Satomi Ishihara and Kanji Tsuda play poorly. The reason, oddly enough, lies in Shinji Higuchi. It was impossible to expect such a failure from the director of the recent Attacks of the Titans! Instead of focusing on the overall cohesion of the characters, he recalled his earlier film The Death of the Empire (2006) and The True Godzilla impregnated him with an even more aggressive cry, masking him as patriotism.
What about Godzilla? Everything is not smooth with him in this film either. Instead of a giant scaly dinosaur-like lizard, we see some mutated eel-shaped fish, which, before straightening up to full height, humbly crawls through the streets of the city, without blinking and without emitting almost a single roar. Godzilla’s multiple stages of development are clearly not what we wanted. It wasn't Godzilla that looked like before, but his enemies like Hedora. A purple atomic beam with altered texture is clearly better than the candle that lit up in the monster’s mouth from the 2014 restart, but far worse than earlier plasma versions. The verdict is unequivocal: Godzilla is no longer the same. He is too clumsy and unnaturally tenacious for the creature he is now. And even the unexpected surprise presented to them in the last seconds can not fix it.
The world has clearly turned upside down if, in Japan, the restart has proved so careless. And yet, the hope for a happier future lives on, because to fix things all you need is a change of director. I give this film a low rating. It's not as bad as Mehagozilla's Terror, but it's worse than most of the others.
I found out about this movie when I watched a video on the YouTube channel Star Captain. On this channel, I recommend you to subscribe to the channel if you are a fan of all sorts of ugly and scary movie characters.
After watching the video about Godzilla’s abilities in this film, I naturally had a great desire to see this film. When I saw Godzilla: Final Wars 39, I thought it would be the last Japanese Godzilla movie. But as it turned out, the Japanese did not forget or close the project.
Character
You already know who the character is in this movie. However, Godzilla in this film is not the same as I saw him in previous films. First of all, it is shown that Godzilla did not initially have forelimbs, they appeared only in the process of evolution. As Godzilla evolved, his appearance began to change. He became erect, the structure of the mouth changed, the forelimbs appeared, the gills disappeared. Another interesting thing is its ability to shoot heat. If in previous films Godzilla could shoot only from the mouth, here he is able to shoot several beams from the bone plates on his back and even from the tip of the tail. Another thing I liked was Godzilla’s invulnerability to missiles and shells.
Atmosphere
The film turned out quite tense and does not allow to break away from the screen. The audience is always wondering what will happen next. What's the ending? How will people kill Godzilla? The film very spectacularly shows how Godzilla shoots a heat ray and to what destruction it leads. In this film, Godzilla’s ability to destroy the city is shown to be much more spectacular and spectacular than in previous films.
Acting game
The actors are pretty good. The new lineup did quite well. For example, I liked Ren Osugi, who played the role of Prime Minister of Japan. Akira Emoto also did well. And he has already participated in the film ' Godzilla vs. Space Godzilla' as Mr. Yuki. I also liked Kimiko Yo, who played the role of defense minister. Perhaps each of the actors who participated in this in his own way showed himself well.
Directorial work
As for the directors, I personally do not know any of the other films they have made. So I can't say for sure if they're good or bad. But this movie was really impressive. This film is about a completely new Godzilla that has never been seen before. The very idea to show how Godzilla evolves, how invulnerable he is and what destruction he is capable of causing, when viewed, is evaluated only positively.
Conclusion
I used to watch movies in Godzilla because I wanted to see some powerful opponent of Godzilla, a huge and terrible monster. There's no such thing. But how Godzilla himself is shown will surpass the Destroyer, Biolante, Space Godzilla and other monsters that can be seen in previous Japanese films about Godzilla. I give the film the highest praise and for me personally this is one of all Godzilla films that I have seen the best.
Be sure to watch this movie! And remember, Godzilla isn't dying, he's coming back again!
10 out of 10
About the notorious monster - Godzilla, has already been filmed some incredible number of paintings in which a huge monster acts as a troublemaker and protector of the whole nation, and even the whole world. Honestly, I haven’t liked any of the adaptations of this monster in the last twenty years. Almost in each of them you could find many shortcomings that did not allow the paintings to reach a high level. Alas, I’m completely unfamiliar with many of the old Godzilla films and have a very vague memory of some of them in childhood memories. Director's tandem Hizaki Anna and Shinji Higuchi took on another adaptation. Well, can the Japanese themselves fail in this regard, even though Higuchi rather ambiguously filmed “Attack of the Titans”. And if the first film could still be digested somehow, then the second was definitely a disgraceful slag.
The plot of “Renaissance” is completely uncomplicated for paintings of this plan. As always, little Japan is in great danger, because from hibernation awakens an incredible monster that strives to destroy literally the entire country. The monster is immediately given a code name - Godzilla, but the monster is not at all as simple as it may seem at first glance, because even the heaviest armor-piercing shells and cannon volleys do not take it. From time to time, the monster continues to return from the depths of the sea to the surface and regularly trample Japan. Politicians loyal to their country do not sleep, and at all costs try to stop the monster by common forces.
There is something in this picture that is not so often found in most works of this kind, because the whole narrative is completely focused on politicians of various levels. It is their debates that show us and make us believe for most of the film that this is how governments should work in moments of despair and chaos. This is a very commendable structure of plot construction and from it at least does not blow a total secondary. Nevertheless, the main problems here are different, or rather, the problem is probably one – the picture is made exclusively for fans of Gojira and the entire anthology of films about him. The thing is that the monster itself turned out to be extremely ridiculous and on his first appearance in the film without laughing and do not look. I even had to look into the genre list on the Renaissance page to make sure there was no mention of comedy. Beyond this, the monster looks like a huge doll, with all due respect to the originals, now in the yard is not the 90s and certainly not the 80s, and looks like a hello from that era. But it is also important to note that most of the other special effects are performed quite well, and Godzilla seriously breaks Japan into bricks. Of course, there are moments with wooden houses, as it was in the demonstration of the Doomsday from the second part of the “Terminator”, but this at least a little.
In conclusion, it should be said again that the new Gojira is a spectacle made exclusively for fans of the original anthology. All the rest of the entrance here is simply contraindicated, because many local techniques of the old school plan will be able to appreciate only regulars of paintings about this monster. Everything here suggests that Gojira’s completely dollish and ridiculous appearance was deliberately made, not to mention the fact that the Japanese inserted many musical accompaniments characteristic of such films into individual scenes. Apparently, in order for the viewer to even feel by ear that he is watching a film about a formidable monster. It is a pity that the monster in some places looks more like a giant toy. All fans of original works can safely add one or two points to my final rating, because this content is only for them.
6 out of 10
How to fail the work, with & nbsp; which previously managed
After the triumphant march of Gareth Edwards’ Godzilla through cinemas, Japan decided to strike back and forget that they had peacefully bid farewell to their offspring in 2004 (" Godzilla: The Last War). Did they succeed? Have they been able to defend their monster (which they called “true” in this film)? Did they show you how to make Godzilla movies? Pfft, of course not!
I’m not a fan of Godzilla movies. I didn't watch them all. But I have seen enough and can say for sure that this film offends the honor of at least the original 1954 film. Further, comparisons with other works of Godzilla are possible, because this film dares to brazenly parasite on the honest name of Godzilla.
I overcame that horror on the third try. And that's because I've been fighting this whole movie with this merciless boredom and this huge flow of information that's been thrown over my head from the first minute. And you can cut almost everything out of there, because it makes no sense. The first film also threw the news, but not in such volume, it gave the world a lively reaction to the incident with Godzilla and helped to create the right tone.
Characters... They're gone! They just talk, they talk, they kind of joke, they look at the face of freaks and pretend to do something. This is very strange for those who in the same first film managed to make even the background people worry.
The music in the film is not at all that and not at all infallible.
What I hate about this movie is Godzilla!
What's wrong with him?! First of all, it's a hell of a lot! The intervals between the scenes are like eternity. And they don’t look good either. Godzilla's design is a horror! Since when did the image of a nanny newt with big comic eyes become Godzilla?! Who thought it would be impressive?! His extreme metamorphosis is no better. Comic pens, fat legs, toad head, tail longer than Godzilla. It's a nightmare. Even Zilla from the 1998 film gave the impression of a brutal monster of incredible strength and power. Godzilla is not an overgrown chicken, it is a terrifying titan who decides the fate of small people. It's always been so! Why the authors decided to spoil the image created in their office, it is absolutely impossible to understand. Worse yet, in their original monster universe, there was already someone who used the skill of metamorphosis and creating bizarre shapes to adapt. Then you ask yourself, why are you mowing one monster under another? That doesn’t make sense!
And it is striking the manner of movement of this Negozilla. It feels like a doll, not a living creature. Every movement is artificial. These were all computer models! Toho, what's wrong with you?! How is it that your dolls were in the frame as lively as possible, and 3D models were as toys as possible?
I don't believe it! I just don't believe it! I refuse to accept the reality that Toho, the company that gave birth to the image of Godzilla and worked with him for many years, could just take and disgrace. Not a single spectacular scene, not a single strong moment that takes a soul! Zero at all! It's a shame! This is a shame!
I have an incredible love for a character like Godzilla. When I was a child, I watched a Japanese series of films about a huge lizard for the first time at every mention of it! When I watched it in adulthood, everything was unchanged, except that I found fault with the film and obvious mistakes in the script.
But love hasn't gone anywhere, and I've remained and remain a fan of it.
... Even the film by Roland Emmerich, where Godzilla appeared in the image of a dinosaur and not a god, I, in general, liked it.
But the unthinkable happened - Gareth Edwards's film Godzilla (2014) was released, and it was then, near the waters of Tokyo, that strange activity of unknown origin began.
- This is the eruption of an underwater volcano or the formation of a new geyser! What else could it be?
... drum roll - Godzilla!!!
And all of us beloved lizard crawled out of Tokyo Bay on land in order to evolve!
Clearly dissatisfied with the 2014 American film, Godzilla (copying my facial expression after watching Edwards's creation) went out on land demanding to bring him the director of that film named after her but not being one! And because she knew who owned the rights to her figure, Godzilla decided to kill the Japanese first! For they have sinned by selling the film rights to Hollywood!
But the Japanese reassured her, promised not to do so again, took away the rights from Hollywood and scolded them for similar, poor quality, consumer goods, gave Godzilla pills to calm down and ... in general, “resolved” the case.
A little bit about the technical side: probably never before Godzilla did not cause a certain disgust, bordering on fear, her appearance - well, agree, Such a Godzilla, you would not want to meet. It turned out really creepy and its transformations are simply incredible!
The musical accompaniment was much higher than many Japanese films, I even download it and will listen to it, and the legendary roar of Godzilla sounded more realistic than ever before!
There is nothing to say about the actors, all good, and I was pleasantly surprised to find Mikako Ichikawa in not the last role in the film.
To sum up, it turned out a very good film about Godzilla, which was everything in the old parts, but this time even more, because of Hideaki Anna - his hand is felt throughout the film, and those who are familiar with his work will immediately notice it!
From the creators of the famous franchise “Attacks of the Titans” to the world was presented another version of the reborn Godzilla in the Japanese version. Oddly enough, almost every ten years, Japan diligently revives the filming of its national treasure, as if trying to pass on its affection and worship to a new generation of this mysterious creature. Of course, many with a smile on their lips, perhaps, will make fun of the special style of Japanese film adaptations with a clumsy monster, but to be honest, I really liked this production. I would like to point out that there is no film history as such. The creators decided this time to focus not on the story of specific heroes with their own personal drama, but simply to demonstrate the actions of their government in this situation. Therefore, there are no specific main characters in the film and there is no story of specific people. Since the appearance of a strange monster off the coast of Japan, the Cabinet of Ministers is trying to find a way out of this situation, trying to minimize human casualties. With each new hour, the situation is heating up and it becomes clear to everyone that the situation is getting out of control. The government has no choice but to turn to other countries for help, but, as it is supposed, it is not so simple.
The filmmakers, taking advantage of the cinematic feature, demonstrated weakness and a gap in their government’s handling of international negotiations. The authors clearly drew the dependence of their state on the actions of the United States and the inability to resist it. The hegemony of American permissiveness can easily paralyze the actions of its own government. This and many other things that the Japanese state system has to face, the authors of Godzilla tried to pull out and show everyone. Of course, many viewers such a step will not be very interesting, so in some moments it will seem boring and protracted. But in general, the film turned out to be good, dramatic and interesting. By the way, I can’t help but note one interesting scenario when, out of the total mass of unknown characters, the main characters will be shown to us by the end of the film. Personally, I don’t remember that when you don’t know who’s in charge and who to empathize with. The authors, as if playing with the viewer in the game “guess the hero”. Seriously, the idea in this case is brilliant. In the film, the characters do not appear from scratch, as is usually the case in all films, when we are introduced to the character and reported that he is in all his glory, please love and reward. It is very subtly and competently shown how the main characters, without knowing it, are reborn from the crowd and lead others. This is the kind of approach I personally like.
As for special effects, at the beginning, some viewers may doubt and stop watching, but I assure you that in the middle and especially at the end, a real apocalypse will begin on your TV screen.
Separately, I note the piercing and dramatic music, which perfectly complements the film, causing strong emotions.
Especially for all fans of Asian films I recommend to watch, as well as all fans of the big and evil monster.
So Godzilla, the father of giant monsters and one of the most memorable symbols of Japanese postwar cinema, decided to return. And not just to return in your traditional role, but sharply mix all the laws of the genre and make you look at yourself in a fundamentally new way.
The first difference is the emphasis on the maximum realism of everything that happens on the screen. The modern liberal bureaucratic machine is in all its glory, when every official and every department behind him tries to avoid making any responsible decisions and shift the burden on his neighbors. Endless lamentations ' what to do?!', ' what to do?!' and, of course, ' and what if someone suffers from our actions?!' An example of the quintessence of modern bureaucratic insanity is the scene when helicopters ready to open fire are recalled only because several unevacuees are suddenly found near Godzilla. And this at a time when the monster ruthlessly destroys the city, literally leaving behind piles of smoking ruins!!! At the same time, it is clear that local services are working with full dedication, evacuating people, trying to fight the consequences of the walks of a huge lizard and, in general, doing everything that depends on them. . .
In addition, the armament of the modern Japanese Self-Defense Forces is very realistically shown - no more giant robots, plasma tanks and similar fiction, only real and standing equipment.
The second difference is the complete absence of auxiliary storylines. Neither the biography of the characters, nor their love or family stories, nothing that would distract from the main thing - the unexpected appearance in the modern world of a giant and not too friendly monster, as well as convulsive attempts to decide what to do next with him.
The third difference - from time to time skipping openly anti-American motives, up to almost open statements that it is time to send & #39; allies & #39; where far away and again becomes a great Empire. . . :
' As you know, post-war Japan is not a fully independent state. . .
The post-war period was too long!'
What is left almost without distinction is the special effects, almost the same puppet and naive as in the previous films, but I think this is done specifically to make the viewer feel the contrast between the absolutely fabulous plots of the early & #39; Godzill & #39; and the almost documentary realism of the latter. Exactly the same is the immortal main theme in the soundtrack - so familiar and at the same time very dissonant with the credibility of what is happening on the screen.
What to say in conclusion... the film can be safely recommended for viewing, both loyal fans of the series and those who hear about Godzilla for the first time, although the latter will likely be very disappointed with the primitiveness of the special effects. But, in general, I want to shout ' Welcome back, Godzilla!'
World War II is by far the most terrible and terrifying event in the history of all mankind. It took a terrifyingly large number of innocent lives and left a very rough scar in the hearts of survivors. Willingly becoming the basis for a huge number of films of the military and historical genre on this topic. But Japanese filmmakers showed their traumas in a rather unusual and unexpected form. Psychologically reeling from the effects of the bombings of Hirashima and Nagasaki, as well as their panic fear of a repetition of such horrific events, Japanese filmmakers “catalyzed and sublimated” their fears in Godzilla.
Perhaps the creators of the film did not expect that their brainchild shot in 1954, will grow 29 sequels and turn into an incredibly long-running franchise. Putting an end to the franchise "Final wars" 2004 release. However, 12 years after the triumphant conclusion of the franchise "Final Wars" and years after the release of the American reboot, Japanese filmmakers again return to the Monster King with the goal of a complete reboot of the franchise 31st in a row film. Which is actually a matter of time.
At the same time, the return of the Monster King to the native Japanese expanses can be safely called more than successful. Unlike the Gareth Edwards film, in which Godzilla for the most part appeared in the image of the “great equalizer” of natural balance and just a bouncer who fights monsters, but does not touch people, this film directed by Hideaki Anna and Shinji Higuchi returns to the origins of the original 1954 film.
Before us – again a real film catastrophe “in all its glory”, in which Godzilla appears as a real natural disaster and natural disaster. The unstoppable wrath of nature that tears down and destroys everything in its path. The fruit of human error that cannot be stopped. A well-deserved punishment for humanity, which decided to repay for many years of abuse of nature and Mother Earth. Let the theme of the threat of atomic and nuclear bombs, which became the basis of the original tape disappeared in this tape without a trace, but the topic of environmental problems, abuse of nature and pollution of nuclear waste sounds more relevant than ever. Especially the latter, against the background of recent events related to Fukushima.
The directorial duo of the picture Hideaki Anna and Shinji Higuchi, which has already scored a hand in the epic battles of huge monsters in the "Evangelion" and the dilogy "Attacks of the Titans" clearly showed itself from the best side. Since the whole film is a nostalgic tribute to the original 1954 film, the spirit, basic elements and mood of which are perfectly transferred into this film. But adjusted for more modern visuals and truly epic scenes of the spectacle, which literally turns Tokyo into a completely destroyed city.
Of course, it’s a little embarrassing that most of the screen time is spent in the offices and headquarters of government officials who can’t decide what to do about Godzilla’s threat. Slightly shifting the emphasis from the "culprit of the celebration." Overall, the film looks really interesting. Especially against the background of periodic narration scenes of pseudo-documentary shooting a la Monstro and an interesting move with the repeated evolution of Godzilla’s appearance throughout the film. Changing its appearance and features throughout the tape at least 4-5 times accurately.
The actors played very well. An amazing and rare case when all the actors worked together as a single acting team and gave a fairly homogeneous and smooth acting. Although in truth, all of them willingly outplayed by Godzilla himself, who easily “spit” all the living actors of the picture together with his canonical appearance. Embarrassing when observing it is only the absolute immobility of Godzilla’s body and its unnaturally long tail, which throughout the tape “behaves” rather strange. It's like living a separate life.
8 out of 10
Godzilla: Revival is more than a worthy restart of the iconic franchise. Preserving the spirit, mood, atmosphere and features of the original tape of 1954 release, but also bringing to the picture a great epicity, destructibility and some elements of modern cinema. Fans of the Japanese version of “Monster King” I think will appreciate this film. This film was made exclusively for them.
Godzilla destroys Tokyo to the ground, leaving only red-hot ruins. Not only that, it leaves controversy everywhere, where new monsters can appear. The United States and the European Union, frightened by the opportunity to face the descendants of Godzilla, decide within the next six hours to launch a nuclear missile strike on the island state. The Japanese are trying to find a way to stop the lizard.
The film of 2016, in addition to the revival on the screen of the legendary Kaiju, was designed to adequately respond to the American analogue of Gareth Edwarts, who changed the classic appearance and motivation of Godzilla. This is evidenced by the name of the painting – “Shin Gojira” (“True Godzilla”).
I will not go into the description of the portrait of the monster and in the reasoning of how canonical his image was, because I am not a fan of the series. I will mention only the pros and cons of the artistic side of the film adaptation.
The film contains a large number of Japanese movie templates. The scientific center for the study of means of combating the monster almost all consists of 20-year-old boys with fashionable haircuts and model appearance of employees. Whether such an important assignment should be trusted by such personnel is more than a controversial issue.
Perhaps this approach to the casting of scholarly husbands and wives is caused by the desire to collect the cash register as much as possible with the involvement of spectator youth. I’m sure a third of all young actors who play science are famous stars and pop singers on the islands.
The only scientist whitewashed with gray hair is represented by a crank-crazy, who apparently has a comedic role. I can’t say for sure, because humor in the Pacific is very specific. The same is true here. Comic moments are presented in the form of gag situations, when one of the characters says something wrong, and the rest with surprised faces look at him for 10-15 seconds. In theory, behind the scenes should sound the voice-over laughter of Japanese viewers.
The appearance of the characters is somewhat sweetened by the brutal appearance of the military and ministers. However, here for the viewer familiar with Japanese blockbusters is nothing new. I’m sure the director is a fan of Takeshi Kitano. At least five generals from the film are doubles of a famous actor.
There is a place in the story and historical reality. One of the adorable scientists says that the Americans want to hit Japan with a nuclear missile for the third time. At the end of the tape is the phrase “We must rebuild our country as we have done in the past.” However, these political tirades are pronounced with a rather indifferent expression.
Godzilla himself looks on screen, say, so controversial. There are impressive moments associated with the rapid mutation of the lizard. Here he is still a fluffy-eyed fish with no limbs, and in the next scene turns into an amphibian with pseudopodiums that allow him to move around Tokyo. The final stage of evolution presents us with a classic monster with sunken eyes inside the skull and a contemptuously shrunken nose. However, the fiery purple color of the lizard skin and tiny handles are more reminiscent of a grilled chicken than of a monster with a religious awe. It is clear that it is completely radioactive, but the graphics and truth are not of the highest order.
The growth of Japanese Godzilla is not particularly impressive, against the background of the average height of buildings, it looks quite shallow. True, there is a scripted explanation why Godzilla in the plot can not be higher than Tokyo skyscrapers. But it's a spoiler.
Among the advantages it is necessary to note those means and methods chosen by the heroes of the film to fight the lizard. Again, without going into spoilers, I note that the fictions of the writers can be called successful. Probably no one thought of Godzilla using the industrial features of the Japanese metropolis. High-rise buildings, high-speed express trains, construction equipment, all this will give a much better effect than shooting at a radioactive lizard with nuclear warheads.
In conclusion, I note that it is unlikely that the film of 2016 will become a landmark in the series about Godzilla. His place in the pantheon, of course, he will take, but his isolation from the universe of Godzilla (the absence of other creatures in the tape - enemies of the lizard), the unusual origin of the monster (not as a result of explosions in the Pacific Ocean in the 40s, but due to radioactive dumps near the islands) can disappoint loyal fans of the franchise. The rest will not learn much from the film adaptation, since the script very poorly spelled out both Godzilla’s motivation and the very meaning of his appearance in the human world. The monster of Gareth Edwarts was a much more lively and voluminous character who wanted to sympathize with and whose actions were understandable.
In fact, given the trends of the last two years, with virtually all cinema sliding into remakes and redesigns like Ghostbusters, I expected to see a very bad movie. When the first trailer came out, I was somewhat confused by the appearance of Godzilla, who was turned from a mighty lizard into a hardened heroine, but then I decided that the appearance was just what you need: if you saw the victims of radiation and the results of its effects on the body, then you should understand that the appearance of the victims is far from whole and beautiful.
The plot of any normal Godzilla movie is always divided into 2 parts: Godzilla himself and the people who oppose him. Very often, even in Japanese films, there is a skew towards people, because of which the tape becomes very boring. In addition to the American film of 2016, you can also call the film “Godzilla vs. Motra: Battle for Earth” in 1992. The perfect balance was struck in Godzilla vs. the Cosmic Godzilla (known here as Godzilla and the Alien from Space), Godzilla vs. the Destroyer, and Godzilla vs. Queen Megagirus.
There is also a balance in this film. However, the central theme of the film has shifted slightly from a man's fight with a monster to the inefficiency of the executive branch. Every Godzilla movie had at least a prime minister in one way or another, but it was mostly centered on either the Emergencies Ministry or G-force. This film raises to the center of the battle the absolute inefficiency of the authorities, tied to veneration, concern for their own rating and inability to non-standard approaches. Several times during the film, some of the characters will be pulled by senior colleagues with phrases such as “Where are you going?”, “Act as you were told!”, “Sorry my subordinate for irreverence...”, etc. Everything is just like on the real sidelines of power, where people who have taken office with the help of loyalty and cunning expect special treatment.
And, of course, you can see that the film is a kind of response to Hollywood, which made two not very successful films in a row. Even by the standards of old Japanese tapes, there are many Godzillas. It looks good against the backdrop of the 16th film, where the battle of Kaiju was the backdrop of the story of the warrior returning home.
It is worth mentioning some "xenophobia" in the film. Mostly in the film, the Japanese work with the Americans, who are shown somewhat incorrectly. U.S. citizens here are somewhat stupid and hasty, and a female ambassador with Japanese roots is generally some kind of parody of pop culture and behaves not like a person from power, but rather like a socialite at a party. The Japanese and the “superpower” did not forget, but it was mentioned only in one sentence, when one of the characters said that “we will not ask for help from China and Russia, because we have common borders” (probably referring to Japan’s territorial disputes with us and China).
The ending is quite unusual, but it fits well into this film. Is this a hint of continuation? Will there be a new era of Monster King movies? Whether the next films are connected or, as in the Millennium films, each film will be a whole new story.
Godzilla: Revival For the second time, after a deafeningly wretched attempt by Hollywood to create its own, American version of Godzilla, Japan and Toho Studio are forced to literally resurrect the monster king, restoring his image in the history of cinema. The next reboot of the franchise was decided to make bold, daring and almost authorial, inviting Hideaki Anno to the screenwriters-directors. It turned out that in the modern world of cinema is called the term “art-buster”, combining clear deep author’s thoughts with an abundance of special effects created in the frame and the general scale of the picture. Moreover, both fans of the director and people completely unfamiliar with his work should remain satisfied, moreover, perhaps, even among those who do not like his anime activity clearly, enthusiastic cries about the new Kaiju picture should be found. Previous eras have always built on the very first film of 1954. Anna decided to introduce Godzilla to the public for the first time and in his own way. The attack is on modern Japan, so that the connection with the atomic bomb is lost, but the topics of nuclear pollution, waste dumping, mutations and other environmental problems still sound quite acute. Godzilla is going back to her roots. Now this is really a disaster film in the genre, where the monster acts as a natural disaster - that is why any ammunition is symbolically bounced from it and various rockets do not cause harm, the real destructive power of the elements cannot be stopped. In addition, the monster is a metaphor for punishing humanity for its mistakes and terrible decisions, from such a scourge of fate you can not escape and not escape. However, this, of course, does not mean that we will not see the usual scenes of panic, evacuation and just observers as a creepy giant creature walks through their city. Anno also added an abundance of politics to the picture, as in "The Return of Godzilla" 1984 the plot takes place among the many meetings of ministers deciding what to do and how to react, as well as conducting international negotiations, which only exacerbates the political statements of the author, given the countries involved in the conflict. The director made such a huge number of references to previous films about Godzilla in the fresh picture that on this topic you can write a separate literary work about homages of pronounced, indirect and replayed. Moreover, he did not forget the most important thing - the very music of Akira Ifukube, which sounds here in the most heartwarming scenes and once again soars under the credits! To give credit, the composer Shiro Sagisu also worked well, creating quite high-quality music for the film. But more than all the applause deserves the second director and he is also a master of special effects – Shinji Higuchi, who made just all the scenes with the participation of a giant mutant lizard. Never before has Godzilla’s appearance been so terrifying and creepy as his reimagining here. The radioactive monster undergoes a transformation of various stages as the film progresses, so that its first exit from the water can even be considered to some extent a new interpretation of Godzilla Jr. The creature lived in water and repeats various stages in the evolution of life on our planet as it evolves. The first foray shows us a crawling elongated creature with watery fish eyes, like an eel, devoid of front paws, with barely strengthened hind legs. Already this first (although being in water, the creature could have previous stages of development) form for its short period on the screen gives so many unforgettable and impressive scenes, flowing from the gills with a special enzyme in the manner of blood, climbing and bringing down buildings on its way, that without trepidation and admiration to look at all this is impossible. The second form, unfortunately, shows criminally little. The monster stands on its hind legs, grows its front studs, even shines its tail fins from overheating, but immediately dives under the water to cool it, having previously issued a stunning brand roar, for whose safety again a special respect to the creators! A reverent attitude is observed in every detail, despite the fact that the new Godzilla is extremely unlike his previous incarnations. However, this is not an abominable mockery of the image that American grief directors created, but a new reading of the most cinematic myth about Godzilla while preserving all the key details, from radiation to roaring and musical accompaniment. It happened that rather monster rivals from different films resembled the characters of horror films: Biollante, Destroyer, Orga, crowds of giant arthropods: Ebira, Megagirus, Kamakuras, Kumonga and others, as well as all sorts of dinosaurs like Angirus and Rador. Most of them are even difficult to imagine next to the updated Japanese Godzilla, so if they return from Toho to the screens, they will also need a completely new visual reading of the image. The atomic lizard also received a couple of new abilities, including its atomic ray updated in different phases. The monster both spews fire, and shines in different directions with lasers, cutting off the tops of skyscrapers, while still entering a kind of cooling phase, given that inside it is a biological sample of a nuclear reactor. If in all previous films the climax reached its peak by the third act, the film Anno violates this trend and, like the very first picture, where the last part was devoted to getting rid of the monster, arranges the most spectacular events in the middle of the picture, showing the burning and blazing Tokyo around the giant individual in its final form for the film. Memorable, sinking into the soul and bright spectacular scenes here a huge number! The last stage of the evolution of a giant monster traditionally leaves only ruins, but the main thing is that even with the use of graphics, the monster in a Japanese not so big-budget film looks alive, real and tens of hundreds of times surpasses the squalor and shame that all those pathetic incompetents who gave their sick fantasies for films about the great Godzilla have already tried to feed us twice in Hollywood. In addition to the successful appearance of the Kaiju himself, where special attention was paid to his colossal tail, from a technical point of view, other special effects were perfectly successful - the destruction of buildings, explosions, rays, most shots with military equipment. For the whole film, there will be only a couple of episodes, where computer graphics do not reach the ideal, but it was forgivable even in the most perfect and majestic Haysay era of the 80-90s, and even now. The film has a stunning atmosphere, completely captivating and immersing the audience’s attention, and the abundance of political characters and various ministers allows screenwriter Annault to put various wise thoughts into their mouths, and not only force important people to make complex decisions that can cost the lives of ordinary citizens. Hideaki Anno made an incredibly smart movie, and Shinji Higuchi made an impressively spectacular movie! Combining the work of both directors, we get one of the most outstanding and high-profile film statements of the modern era of cinema under the wrapper of a grandiose and large-scale Kaiju film, rethinking and returning to the screens of one of the most famous movie monsters. A worthy revival and renewal of the great Kaiju! Long live the king! 10 out of 10 Original
I share my feelings immediately after watching - it's just goosebumps, it's... just indescribable. I consider ONE of the best Japanese parts about the great and terrible lizard, which ' terrorizes ' Japan. Of course, the film is not devoid of the inherent Japanese blunders and “puppet” & #39; what is happening, but I, as a lover of the Godzilla series of films, just do not care about all this.
The film kept in suspense from the very first minutes to the very end, and the appearance of the undoubtedly main character and his new appearance simply crossed out all the minuses and forced him to open his mouth and say: ' Well, Ihuhu... khe-khe himself 0_O!!!'
Perhaps it should be said about a good acting, the selection of the cast, but his mother is a film about Godzilla and, sorry, I'm sorry, who are these Asians in general, die pathetic bugs under the footsteps of a giant lizard: D
After the personally hated for me "Godzilla" Gareth Edwards, it remained only to wait for the land of the rising sun again to show everyone who should be a real film about a radioactive dinosaur. And the moment has come! But how he appeared before our eyes, let us find out!
To begin with, I want to note that in principle, “Godzilla Returns”, I do not turn my tongue to call a flawless film, but I will not call it a bad one either. The new movie about Godzilla is enough, both pros and cons. Let me start by talking about the benefits.
First, there is no doubt that the Japanese special effects masters have done a tremendous job. Not the Hollywood level of course, but still cool. From now on, it doesn't feel like we're being shown a man in a suit destroying a toy city, now it's all CGI. No, the fact that I would consider the special effects in previous films about Godzilla bad or simply unworthy for the audience, but when you see the real city destroyed in plain sight, you see fragments flying in all directions, dust, concrete walls, it is really fascinating!
Another point, pleased with the idea of Godzilla's transformation from a bundle-eyed fish gliding around the city into a huge upright-walking lizard. From here, he delivered directly the final image of the monster, which really inspires fear and horror of everyone looking at him. And a separate, most important thank you to the advertising company for the fact that the trailer did not show the coolest scene of the film! I will not intentionally say what is happening in it, because you need to see it yourself, the main thing is to watch this movie to the middle! It's so cool, creepy and atmospheric that I was ready to stand up and applaud. And in general, all the moments of Godzilla’s interaction with the outside world are made with a bang!
And, as always, it was not without morality. Once again, the viewer was reminded that nature should be protected, not to dump waste from the nuclear industry into the water, or it is a little bit that will then get out of there. The Americans were also affected by their desire to bring peace to the world through atomic warheads and other bombings. As one character put it, Americans are even worse than Godzilla. Apogee was the hero’s judgment that the Japanese were needed by the American government as puppets, not partners. However, racial hatred should not be expected, before us morality is an ethical satire, not ethnic strife.
Drink to health, now to rest. From a movie about a giant dinosaur destroying a metropolis, first of all, I want to see a dinosaur destroying a metropolis. Sorry about the tophthology. But, the minds of Japanese filmmakers, so like to abuse scenes from everyday life, where we are shown politics, people working hard, endless walking, searching. And if only, it was shown really interestingly, with the sharpness and intensity of everything that is happening, but no. In the same film, an overly aggressive montage was called for support, designed to demonstrate running through the minister’s offices, meeting rooms, laboratories in a dynamic manner. But when this running continues for about half an hour, it really begins to tire and annoy. And, hence, the main disadvantage of the new Godzilla – it is overly politicized. Not only was the film repoliticized, but it is also unclear for what purpose we are being told where and in what office everyone gathered, and almost on what floor. Shouldn’t such information be confidential, or some psychopath will decide to undermine the prime minister himself, with all his cabinet and managers. I did not shy away from the film, sometimes report which helicopter fired a missile, which missile launcher fired a volley, which tank drove up to the line of attack. Perhaps the Japanese have decided to boast of their military capabilities? But, then, why demonstrate its worthlessness in the face of a universal threat that only the Americans could injure with their bombers? On the other hand, the endless political situation can be considered purely from the point of view of the Japanese mentality, especially since having a long communication with the Japanese, I began to understand what this country lives and breathes. In fact, for the Japanese, the cornerstone is work and place in the company, and this idea is traced throughout the film. But, anyway, even such aspects should be shown in an inspiring way, so that there are no bouts of boredom.
If it were my will, I would dilute the politoto with alternating destructions of the city, in the style: Godzilla is awake and we need to act quickly, send more tanks to him so that they will contain him, at least for a short time. It would still be much more dynamic, tense and accordingly cooler. However, it is worth putting aside their wet dreams, because it is clear that the producers have allocated the lion’s share of the budget for the most epic stage, and in order to stretch the timing, they had to dilute the entire action with political inserts. Although, in truth, they would have cut out, 10-15 minutes, this office running and red tape, the film would only benefit from this.
Over. A new chapter in the Godzilla story is a sturdy middle man. Separate scenes deserve praise, even despite the fact that sometimes skip the cutting eyes of CGI effects, of which the force does not accumulate for a minute, you still give a diva, how cool everything looks. EKSN delivered, the atmosphere at times at the proper level. Sadly, the second half of the film, where most of the time was spent in politics and discussing a plan to eliminate the giant monster. Despite all the shortcomings, I will definitely review, and wait for the sequel, where all the shortcomings will be taken into account and a real masterpiece will open before us. Once again, thank you to the advertising company that does not follow in the footsteps of Terminator: Genesis, Perverse Mask 2 and many declassified through trailers, movies. For all this, the film deserves a strong rating in
I’ve loved Godzilla movies since I was a kid, when in the mid-1990s I saw several movies about this monster on TV. These films had their own unique atmosphere, because of which, most likely, people love Godzilla - it's a matter of taste, like it or not. For some, Godzilla films will always be a boring spectacle with weak special effects and incomprehensible plots (even the American film of 2014 in this respect is not far from the canon, for which he thanked), and for someone with some kind of aesthetic pleasures.
Movies about Godzilla can be divided into two categories: those where Godzilla is a monster that sows destruction, an enemy of humanity, and those where Godzilla is a hero, fights other monsters and saves people. There are more films of the second category, but the films of the first category, in my opinion, are much more interesting.
But, to be honest, when I saw the first trailers for 2016’s Godzilla (or True Godzilla, if you call it right), I was in a slight shock – the monster’s completely wild design, with huge fish eyes and a long tail, as well as atomic rays coming out of its tail and back – all this gave a slight delusion in the spirit of films of the 1960s and 1970s.
I was so wrong! To say that "The True Godzilla" surprised is to say nothing.
The film struck everyone. First of all, with its frantic pace and the absence of absolutely any background - you will not find any love scenes, family dramas and other "human relationships" here. The whole picture is like a film-theory on the topic: “What will the state authorities do in the event of a giant monster.” And it's wonderful -- most of the time on screen, we see a serious work environment, bureaucracy, politics, desk work. Again, without intrigue, the politics in True Godzilla are more like discussions like “How do we evacuate people?”, “What agency should solve this problem?”, etc. If you want to find a complicated political drama here, you won’t find it. However, this is what makes the film really realistic (of course, taking into account the genre) and interesting.
Second, Godzilla himself was very surprised. I am not afraid to say that, in my opinion, this is the best version of this monster I have seen. Yes, it is the monsters - "True Godzilla" is terrible, it evokes almost no feelings of empathy or pity. If he is sorry, it is only because he was born at all through the fault of mankind. Godzilla here is just a walking mountain that destroys everything in its path, even when it is attacked by artillery, he does not seem to understand this and just cracks down on the threat. And then the “fish” eyes, which I talked about above, turned out to be a plus – this is a beast, an amphibian in search of food, and not the “thinking” monster, which is customary to imagine Godzilla. Surprisingly, even the first form of the monster, which in the trailer looked just ridiculous, in the film looks frightening and somewhat disgusting.
I won’t spoil it, but the “night” scene with an atomic beam in the middle of the film is a real paradise for any Godzilla fan. Music, light, suspense – I confess I had goosebumps during this scene.
A bit upsetting rather crumpled and very banal ending of the film, which clearly loses both in realism and in effectivity to the beginning and middle of the picture.
But after watching Godzilla 2016, I was left in a mild culture shock. I just want to praise the creators of this film for the fact that they decided to make it without compromise. To some, this film may seem boring or funny, but for me it is a real example of what films about the King of Monsters should be.
8 out of 10
Godzilla is a film about how hard it is to be a clumsy monster sowing fear and destruction. The Japanese remade the tape in a new way and this is what happened.
A mysterious creature appears in the sea with the government confident that this “something” will remain there. But that wasn't it. Proprietary, slightly "persistent" lizard clumsily crawling destroying neighborhoods here and there. I liked such a conditional appearance of the reptile, as for me kavayny was an antagonist.
The Japanese government is sounding the alarm, showing its humanity and humanity. Meanwhile, the lizard turns into a more brutal image and at the same time becomes more aggressive, if it is angry, then it sows rays of good and radiation.
Actors are good, graphics and directorial work at a good level. You can see it once, nothing more. But something does not allow me to give a positive assessment, I do not know what.
I'll think about it.
6 out of 10
Somehow quite unexpectedly, but I have to admit that the film Godzilla, which became a real hit in Japan, having collected more than seventy million dollars, beating its budget five times, was a discovery for me. And such an opus can not be perceived in any other way as a blow with a glove on the face of Hollywood.
First, the film is made in a very unusual manner, with some non-standard approach in terms of editing. The film is literally included in hot events, without any rocking and snot, the atmosphere of chaos covers literally a few minutes after the opening credits. The second thing that draws attention in the film is certainly the foot-and-mouth disease itself, who, like not the Japanese, know their creation, even if in this film he is not so much attention as he would like, but the creature turned out to be famous.
The third thing that makes the film different is its soundtrack. If you visit some news feeds, and open several tabs from different resources, you will have one or two music playing against the background that does not have a place for either content or visual information. Similarly, I can say about the soundtrack of the movie Godzilla - where did it come from? Absolutely non-standard approach in writing music to the picture, but given the other features of the film that make it different, the soundtrack looks more of a landmark than an annoying factor.
In the end, I want to say that the film turned out to be interesting and entertaining, and it is still difficult to determine due to what such qualities it turned out like this. And by the way, yes, everything is fine with the graphics, so do not think that the Japanese did not succeed in this area.
9 out of 10
I liked this movie in the preliminary video. Yes, there were small fears that the monster would turn out to be chaotic, but the film showed that ' all beam ' With this film, the Japanese, as I understand it, responded to the recent American version, which in my opinion was boring and drawn out. Did it work? Yes!
The image of Godzilla, as seen in commercials and on the poster, is almost identical to the original. The muzzle is really scarier. Himself ' Goira' everything is the same as in classic films, big and a little clumsy, but in this film we are shown a concept that will explain all this clumsiness.
The movie's good! Yes, not a masterpiece, but a very high-quality movie! Why? After all, the film (someone will say - XXI century for a long time) is still dominated by combined shooting, but is this the main thing for a disaster film, which is ' Godzilla' undoubtedly is? Although it is worth noting that this film is already more graphics used, yes, may not be so realistic, but the plot and camera work is perfectly leveled. Perhaps the main criterion of such genres is the scale. Why is the spectacle a sight?
Yes, in general, in this film everything is very harmonious - camera work at an excellent level in my opinion, the battle scenes are shown perfectly, so very successfully used ' shaking camera' or pseudo-documentary shooting in moments of panic of people and the hassle of the country's leaders. The political line is very subtly shown, and most importantly, there is no bad or good here, as in most Hollywood films, here it is shown the catastrophe. In general, the film looks interesting that the most pleasant thing is not delayed, and you do not know until the end of the film what the outcome will be.
And yet - the musical accompaniment, and especially, the main theme of almost everyone ' Godzill' does his thing.
To sum up: Godzilla fans and I think will look, as well as connoisseurs of such genres. But fans of multimillion-dollar blockbusters - the movie to watch is not recommended.
To begin with, the film was average overall, but probably worse than that.
Pros: destruction. They're pretty good. Graphics. Godzilla came out quite realistic in terms of overall appearance. Operations progress. The hype was just interesting to watch. Actor's play is average.
Cons: plot. It is generally predictable and does not represent an interesting story. Besides, it’s like taking Godzilla vs. Destroyer 39, removing the Destroyer and the classic story of Godzilla Jr., as well as the possibility of a powerful explosion of the most flaming Godzilla. And if, of course, remove a few familiar characters who are so catchy, remove superweapons - cadmium missiles, freezing ray guns, Super X-3 and the famous Oxygen-destroyer. Well, it's boring.
Godzilla himself: Oh my God, when I see this clumsy creature, poor and apparently suffering, it’s hard for me to call it Godzilla. Yes, it has an original appearance, but it is extremely distorted by all these things like: mutations, a beam from the tail, small handles, stubborn lifeless, almost fish eyes. From the beginning of the film, there is no sense of soul. There are no feelings for this Godzilla. Even the Emmerich iguana (which is essentially a parody of Godzilla) presented the appearance of a living and real being who has at least some brains, forgive me. And here, simply put, a walking corpse who himself does not understand what is happening to him or where he is. In short, one big minus. In addition, the movements of this creature in places are extremely unnatural.
Atmosphericity. Have you ever heard of her? It's practically zero. The film is clearly dry.
Soundtrack. Anno, why do we need music from Eva? She doesn't need anything here.
Bottom line: you may eat me with the bones, but the movie is not. I don't understand why he's such a hype in Japan. Godzilla Edwards was better, even though he was given less time. He was livelier and somehow clinging, like all previous versions of the monster. Give it back to me. Edwards forever, I can't wait for him to come back.
And if I had the opportunity to go to the director and the writer, I would say, ‘Anno, stop suffering from bullshit, shoot the 4th rebilde.’ Specifically, Kaiju is not your genre. You will not give us anything new, but BioMecha is closer to you, everyone knows this.
Would I recommend watching this movie? I don't know. If you haven’t seen a Godzilla movie or want to kill time fast, this is for you.
4 out of 10
Godzilla. Kaiju. Prehistoric huge lizard-like monster, created by the forces of Japanese fantasists studio Toho in the middle of the last century and became the cult hero of a dozen films of the same name. The successful restart of the franchise two years ago by the hands of American comrades in the person of Gareth Edwards and the Studio Legendary Pictures, which has achieved the rights to the film adaptation, made Japanese movemakers think about the relevance of returning their hero to the screen, the benefit of the contract with Western colleagues is drawn up for them in a favorable light, and no one forbids using the image of a giant lizard. And now, when the memories of the film by Gareth Edwards are still quite fresh, and the canonical Kaiju is already pretty much forgotten, Hideaki Anna and Shinji Higuchi present their version of the new Godzilla in an old wrapper.
'The True Godzilla' (Anno and Higuchi seem to hint at the falsity of the Gareth Edwards lizard) is a return to the screens of the original version of the prehistoric monster, whose origins are already taken in the middle of the last century. However, in pursuit of the canon and attempts to pay homage to the original versions of Godzilla, the filmmakers apparently forgot about everything else. The plot can be divided into two parts: first of all, the directors acquaint the viewer with the culprit of the celebration, a prehistoric monster who suddenly appeared on the border of Tokyo, bringing chaos and terrible destruction, which from time to time show the audience; second - acting out the dilemma of the government, who want to save both residents and the lizard to do away with, but neither of them really works. And if a series of pseudoscientific dialogues about how they got this monster and how to neutralize it can still cause some interest, then Godzilla clearly has some problems. . .
I've endured many second-rate science fiction films and even the Japanese film adaptation of 'Attacks of the Titans' & #39; but it was Toho's new film about a huge lizard that made me howl from the negativity caused by just prehistoric quality graphics. I understand that Godzilla looked something like that in 1954, but it’s worth noting that there wasn’t the kind of superfluous special effects that we have now. Why does a prehistoric monster that feeds on radiated energy, which is supposed to sow fear with its own appearance, look like a grilled chicken with eyes bulging far out of orbit, descending from a spit straight at the people of Tokyo? It is obvious to the naked eye that this huge lizard needs help, because it is very, very bad from the way it was made by Japanese animators and artists. From this, all the worries for the vile people who finish off the tormented animal come to naught, and they already look like antagonists, and not a stupid beast that simply follows its instincts.
In addition to the simple eye-popping graphics, from which it becomes terrible because of the understanding that the creators call THIS the most terrible Godzilla in history', the director who wrote the script for the film, himself goes against his desire to be close to the canon, making Kaiju stupid meat, causing inconvenience to people because of his huge size. I remember that in some sources Godzilla is represented almost more intelligent than people, they say that it is not just a killing machine, but a motivated creature that acts logically, that is, capable of thinking and thinking. In Hideaki Anno and Shinji Higuchi, Godzilla is just a large toothy carcass that climbed out of the bowels of the Earth in search of food sources, capable only of incoherently trampling cities and villages, letting people do what they want. Tactics? Nah! Resistance? Fire me, don't! Escape? Bullshit! It is better to go with the appearance of a patient with Down syndrome and sow devastation - this is an action! this is a drama! these are smart Japanese scientists and the military! In general, a solid fierce facepalm, and not a film that should be recommended, perhaps, only the most crazy fans of the original Godzilla or fans to laugh at the thrashing of what is happening on the screen.