Godzilla: The Planet Eater (2018)

Director: Hiroyuki Seshita, Kobun Shizuno

Written By: Gen Urobuchi

After our hero’s destruction of MechaGodzilla City during the climax of the last film, the survivors must now deal with the emergence of the Exif’s sinister god, King Ghidorah.

With the starship crippled by a Bilusaludo mutiny and our heroes stranded on Earth’s hostile surface, things are looking grim. After expunging so much energy against the living metal city, Godzilla rests in a state of slumber as it restores its energy.

During these dispairing times, most of the surviving humans turn to the Exif and their mysterious religion. These desperate survivors are unwitting sacrifices in the Exif’s sinister plan and after a massive cull which wipes out not only the starship, but most of the remaining survivors on Earth, King Ghidorah arrives to consume the Earth.

Even Godzilla seems helpless against this alien menace, unless the few remaining humans can figure out a way to stop the Exif’s wicked plan. The indiginous humans meanwhile put out a call for help to their own god, Mothra.

This one was a slog to get through, on paper it sounds exciting enough, Godzilla vs Ghidorah but the reality is a dull one. The battle between the two drags on for far to long and little actually happens, unless religious debate and preachy dialogue are your cup of tea in which case you’ll love it. Almost every character is killed but by this point you probably wont care. Be it due to protagonist Haruo’s constant moaning or the pure stupidity of everyone else.

Mothra does pop up, for a five second cameo so that’s cool and Ghidorah’s new form is a genuinely interesting take on a character who tends to look a little ridiculous.

Ultimately the survivors integrate with the natives, which, to be fair is what they should have done in the first place. This series has been on a downhill trajectory from the start, and unfortunately the high concept sci-fi of the first episode is gradually squandered until all we are left with is a dull climax which reeks of missed opportunity.

*

Godzilla: City on the Edge of Battle (2018)

Director: Hiroyuki Seshita, Tetsuya Yamada

Written By: Gen Urobuchi, Sadayuki Murai, Tetsuya Yamada

Toho’s animated saga reaches the midway point as the real Godzilla, awakened at the previous film's climax, reigns unchallenged.

The few survivors of POTM regroup under the protection of a group of primitive human descendants who have taken to living beneath the Earth’s surface. These humans seem to display some striking anomalies and worship a mysterious egg, all that remains of their ancient benefactor.

The surviving Bilusaludo recognize the mysterious metal these primitives use to craft their weapons and uncover the remains of Mechagodzilla, now evolved into a sentient city, cloaked in a metallic mist. Reactivating the city, a plan is hatched to destroy Godzilla once and for all, but the cost may prove too high for our human survivors.

There are some interesting concepts at play here, rather than just recycle Mechagodzilla for another ruckus, the writers give us something unexpected with a sentient nano-technology effectively making MechaGodzilla smaller than ever before and a far more insidious threat.

As a follow-on from my previous post, I now recognize the alien Bilusaludo, perhaps the reason I struggled is that they all seem to look exactly the same. Anyhow, these techno-nutjobs end up being more of a threat to the planet than Godzilla himself.

Speaking of which, the Earth is a big place, now that the survivors know where Godzilla is couldn’t they just park on the opposite side of the planet? Or just live underground with the surviving humans? The governing body’s plans to ‘live on the moon’ and raid the Earth for supplies seems a little impractical no?

I’m still not a fan of this Godzilla either, it’s certainly intimidating but it has no personality. Every previous iteration of the King of the Monsters has something that sets it apart from the others, be it a subtle suit design or mannerism. The AniGoji just seems to be ‘big’ and that’s it, I wish they’d played more off of its supposed ‘Plant’ aspect, perhaps leaning more into a Biolante-inspired design.

We are still leaning hard into the Sci-Fi aspect, with some big set pieces and ideas that would prove too costly to put into a live-action film but this feels like a step down from the previous installment.

Ultimately we are left with a tease of what is yet to come, a single name, an eater of worlds, Ghidorah.

**

Godzilla: Planet of the Monsters (2017)

Director: Hiroyuki Seshita, Kobun Shizuno

Written By: Gen Urobuchi

The first in a trilogy of Netflix animated movies, POTM introduces us to a broken band of survivors who fled Earth at the end of the 20th century after the world was ravaged by Kaiju and most savagely, Godzilla.

For 20 years these interstellar refugees have drifted the cosmos in search of a habitable planet but with their resources running low, the decision is made to return to Earth. One warp jump later and the bedraggled survivors return to an unrecognizable Earth. Due to the complexities of faster-than-light travel, 20,000 years have passed on Earth while only 20 years have for our unlucky spacefarers.

Expedition leaders soon find that Godzilla has survived and a plan is made to kill the beast once and for all, but nothing is as it seems on this inhospitable version of our homeworld.

Go big or go home is the motto here with the film making the most of its animated format to include a mutated planet, giant spacecraft, battle mechs, and the largest iteration of Godzilla to date. I was not overly impressed with the Godzilla design on show here, but I’ll reserve judgment for now.

The plot is further complicated by humanity’s integration with two alien species who are identical to humans in appearance, it can be hard to tell who is who and what is what. One of the alien species, the Exif can usually be identified due to their elfin appearance and religious leanings but I couldn’t easily identify the other race, the Bilusaludo.

The film was enjoyable, if easily forgettable. There are some pretty sweet action scenes and the spacecraft is very well done.

The anime Godzilla, known as AniGoji, combines the classic silhouette of Godzilla with unique traits inspired by Kongōrikishi statues. This muscular design emphasizes Godzilla’s power, evokes the enormity of trees, and gives it a deity-like presence. The goal was not anatomical accuracy but to create an imposing figure. During the head profile design phase, features such as hair curls, horns, Varan-like fins, and lower jaw spikes were considered but ultimately rejected in favor of simple chin spikes for Godzilla Earth. The blue eyes of the monster are meant to convey intelligence, akin to a philosopher.

The motif of trees was chosen for the anime Godzilla’s design after establishing the concept of Godzilla as the "peak of the evolution of life." Co-director Kobun Shizuno explained that this choice was influenced by several factors: trees are the largest and most widespread organisms on Earth, they can live for thousands of years with minimal requirements of light and water, and their hard, fibrous tissues both protect and support their massive structures. 

Additionally, trees' biology includes trace elements and the generation of electrons through photosynthesis, suggesting that a plant-based Godzilla could emit powerful electromagnetic waves. Shizuno elaborated, "We expanded from the idea of a plant undergoing super-evolution, incorporating metallic elements into its cellular structure, transforming its entire body into a power generator. I heard that plants are actually at the top of Earth's evolutionary hierarchy. In this 'planet of the monsters,' I envisioned Godzilla as a massive 'world tree' at the center of its unique environment."

Creating CG model maquettes for Godzilla involved a process similar to clay molding, where a general shape was defined first and details were gradually added. Some concept maquettes included moss coloration on the back, upper dorsal plates, and other areas less likely to rub against surfaces.

***

Shin Godzilla (2016)

Director: Hideaki Anno, Shinji Higuchi

Written By: Hideaki Anno

The first film in what would become known as the ‘Reiwa’ Era is easily one of the best films in the entire franchise. A gripping and horrific tale of man’s disregard for the environment and the general incompetence of government.

When a giant creature unleashes havoc in Tokyo Bay, politicians are quick to disregard the claims as simple volcanic activity. They are quickly proven wrong as a massive, hideous creature forces its way ashore and leaves a trail of destruction in its wake.

At every turn, the politicians fail to contain and deal with this threat as the fear of public disapproval and potential repercussions holds them back. When they eventually decide to attack the creature it retaliates by further evolving and unleashes a devastating counter-attack which leaves the city in ruins.

Ultimately it falls to a group of free-thinking renegades to come up with a solution before the US launches a nuclear warhead to destroy the creature.

This film features easily the most terrifying and disturbing incarnation of Godzilla, evolving from a fish-like biped into the creature we recognize as the King of the Monsters. Boasting wicked fanged teeth and a grotesque scar-laden body that drips with bloody mucus it is a unique and frightening thing to behold.

Also, the film gives us the best depiction of Godzilla’s atomic breath, which is horrifying and awe-inspiring in equal measure.

For Toho's first Godzilla film since 2004, the studio decided to return to the dark tone of the original 1954 Godzilla film. Godzilla was given a more grotesque and frightening appearance to align with this direction. Unlike previous designs, the ShinGoji design includes four distinct forms. The first form is mostly unseen, except for its tail.

Godzilla's second form stands horizontally, with its body parallel to the ground. This form features small stubs for arms, large eyes with small black pupils, beige skin, and large pulsating gills on the sides of its neck that leak a red, blood-like fluid. It also has small tan dorsal plates and a tail with a fluke at the end.

The third form resembles the second but stands upright, with reddish skin and a tail ending in a fleshy ball. This form retains small stubby arms, and its gills are closed and less prominent.

Godzilla's fourth and primary form is much taller and draws heavily on the ShodaiGoji design, with a rounded head, small beady eyes, and dark, bumpy skin. It has larger black maple leaf-shaped dorsal plates running up to the top of its neck, with the middle row being the largest. These jagged plates feature a porous, bony surface reminiscent of cancellous bone. This form introduces several unique features. Inspired by the concept of Godzilla as a 'victim' of the hydrogen bomb, this design includes red scales resembling keloid scars and jagged, shark-like teeth inside a mouth that extends into the cheeks.

Godzilla's skull unhinges upwards when firing its atomic breath, and the lower jaw splits apart. His eyes are sunken and shaded by brow ridges, sometimes covered by a translucent yellow nictitating membrane. This form also has a long neck, very short arms, and feet with five digits, including a vestigial claw. The feet are similar to theropod dinosaurs, meaning Godzilla stands on his toes. The fourth form displays reddish exposed muscles, scars, and open wounds, some emitting a reddish glow that intensifies to purple when Godzilla charges or fires his atomic breath.

Godzilla's rib cage protrudes dramatically, and his body appears emaciated, with a visible bone structure. The tail is much longer, often suspended in the air, ending in a red, bloody tip covered in twisted bones, with a small skeletal face at the end.

The humanoid protrusions on Godzilla’s tail at the climax of the film hint at a potential, fifth form of evolution that if unleashed would mean the end of humanity as the dominant species on Earth.

The various forms of ShinGoji were created using computer-generated imagery, with the fourth form also portrayed through motion capture by actor Mansai Nomura. A giant puppet of Godzilla's upper body was made for close-up shots of the fourth form but was not used in the final film. This version of Godzilla stood at 118.5 meters tall, making it the tallest to appear in a film at the time, surpassing the MonsterVerse Godzilla's debut height by 10.3 meters.

*****

Godzilla: Final Wars (2004)

Director: Ryuhei Kitamura

Written By: Ryuhei Kitamura, Isao Kiriyama

50 Years of Godzilla.

Once more ignoring all but the original film, Godzilla spends the first half of the movie trapped in an icy prison known as Site-G where he has remained for the last 50 years. During that time a new species of mutated human has evolved, with superior strength, speed, and agility, these individuals have been recruited to form M-Force, the world's elite monster-fighting army.

When shapeshifting aliens come to Earth under the guise of friendship, they are soon revealed to be predatory in nature, intent on feeding off our midochlorians and keeping humanity as cattle. The mutants are descended from an ancient mummified alien known as Gigan and quickly fall under the alien's control. The aliens then unleash dozens of monsters to destroy the earth and bring humanity to heel.

In a last-ditch effort to fight back, the few remaining members of M-Force seek to free Godzilla in the hope he will defeat the alien army but they are not alone, the Shobujin and Mothra have also entered the fight.

Wow.

This movie is like a fever dream of loud noises and fast cuts. The action rarely lets up and never lets anything like a decent plot or deep character work get in the way. Do you want superpowered humans fighting Kaiju? You got it. A kung-fu motorcycle fight? Check. Some of the most over-the-top, scenery-chewing acting ever? It’s all here.

Nothing makes sense. Things just happen, with no explanation or build-up. Minilla turns up and hitches a ride in the back of a pickup truck. One of the mutants gains super-super powers and almost every monster from Godzilla’s history pops up in one form or another.

Even Zilla, from the dire 1998 movie pops up to be hilariously one-shotted by the real Godzilla. It’s good to see Anguirus again, Mothra is always welcome and I’ve always had a soft spot for Gigan. In his new ‘Kaiser’ form, even Ghidorah looks better than ever.

This is a really tough one to rank, as a movie it’s pretty awful. The script is threadbare, and the acting is awful but like a car wreck I couldn’t look away. When Godzilla turns up we do get arguably the greatest Kaiju fights in the history of the franchise and make no mistake Godzilla is the King here, he casually solos his way through most of his back catalogue of enemies with little effort, only Gigan and Ghidorah offer him any resistance.

FinalGoji's name is derived from the title of Godzilla Final Wars, with "Final" referencing the movie and "Goji" coming from Godzilla's Japanese name, Gojira. For Godzilla's 50th anniversary film, director Ryuhei Kitamura aimed to emphasize monster battles, wishing to portray "a more powerful Godzilla." Camera tests using a SOSGoji suit from the previous Godzilla film, Godzilla: Tokyo SOS, revealed that its movements were unsuitable. Kitamura and monster modeler Shinichi Wakasa agreed that the suit did not meet their needs. Wakasa then recalled a Godzilla fighting game his child had played and showed it to Kitamura, who agreed it was closer to what he envisioned.

Although Yasushi Nirasawa and Yoji Shinkawa submitted concept art for the new Godzilla, neither design was selected. Instead, Wakasa designed the new Godzilla himself, with input from Kitamura and special effects director Eiichi Asada. Wakasa aimed to combine characteristics of several prior suits for the character's 50th anniversary, drawing from the ShodaiGoji, MosuGoji, and Heisei Godzilla designs. The design emphasized Godzilla's muscles and facial expression to align with Kitamura's vision. His dorsal fins were made smaller to avoid interfering with the choreography, and the whites of his eyes were removed to avoid making him appear willful.

The FinalGoji suits were created by Wakasa and his company MONSTERS, Inc. Three suits were produced: one for close-ups, one for "action," and one for "super action." Wakasa sculpted the head, the upper body was patterned by Naoto Nishikawa and sculpted by Akira Yamada, and the dorsal fins were made from polyethylene foam. Molds were created from these parts, with the head and torso cast in latex and the fins in urethane. The suits' body parts from the waist down were fabricated by gluing together pieces of urethane, and the eyeballs were created by Shigeaki Yoshida.

The modeling team ensured the suits were lightweight and easy to act in; unlike previous suits, the space inside was not filled with latex, allowing actor Tsutomu Kitagawa to move freely. The suits' arms were the only snug parts and featured a dual joint at the armpit to increase their range of motion. Unlike earlier suits, the dorsal fins lacked internal lighting to reduce weight and accommodate their smaller size. The only lighting was in the mouth for Godzilla's atomic breath. Each suit's head was attached to a helmet-like "skullcap" worn by Kitagawa, translating his neck movements to Godzilla's, and at least one suit's mouth could be controlled remotely. These mechanisms were created by Nobuhiro Ekubo.

***

Godzilla: Tokyo S.O.S. (2003)

Director: Masaaki Tezuka

Written By: Masaaki Tezuka, Masahiro Yokotani

For the first and only time in the Millennium Era, we are given a direct sequel to the previous installment.

With Godzilla badly injured from Kiryu’s Absolute Zero weapon, the King of the Monsters retreats to the ocean depths to recover from its wounds. Meanwhile, a heavily damaged MechaGodzilla is recovered for immediate repair.

A year later Kiryu’s repairs are almost complete, though it lacks its most formidable weapon as the resources required to replace Absolute Zero were no longer available. In this time of need, a retired scientist (a returning character from the original Mothra film) is visited by the Shobujin who warn him that Godzilla’s bones must be returned to the ocean, even though it will require the dismantling of Kiryu.

They pledge that Mothra will defend Japan in its stead but the Japanese Prime Minister is unconvinced, after all from his point of view Mothra has already attacked Japan once before and cannot be trusted.

When Godzilla does return to Japan it is Mothra who comes to the country’s defense before ultimately sacrificing herself (a recurring theme) in order to save her latest offspring. The stage is now set for a rematch from the last film, Godzilla vs. MechaGodzilla in a fight to the finish.

This has probably been my least favorite entry in the Millennium Era, there’s nothing particularly wrong with it but it just feels unnecessary, and spends most of the film just retreading old ground. The issue of MechaGodzilla’s ‘life and sentience’ is delved into with more depth and it’s always great to see Mothra, who looks fantastic here.

Mothra's first appearance, cutting through the clouds whilst pursued by fighter planes is a very cool moment, showing both the size and speed of the Kaiju Queen.

Most of the cast from the previous film are either absent or quickly swept aside in favor of the new characters, who have a history with Mothra but are largely uninteresting.

Godzilla's appearance stayed largely unchanged for this sequel to Godzilla Against Mechagodzilla. A new suit, named SOSGoji, was created with a design nearly identical to its predecessor, but it featured a prominent scar on the chest area, a result of damage from Kiryu's Absolute Zero Cannon in the previous film.

***

Godzilla Against MechaGodzilla (2002)

Director: Masaaki Tezuka

Written By: Wataru Mimura

Following in the Millennium Era’s tradition of stand-alone films, this entry once again disregards all but the original movie.

It is the year 1999 and Godzilla has returned after more than 50 years to wreak havoc upon Japan. However, in this period, Japan was attacked by several other Kaiju, Mothra among them, and developed an elite monster fighting force that is quickly dispatched to combat the rampaging Kaiju.

After Maser Weapon operator Akane makes a critical error, most of her unit is wiped out and as a result, she is demoted to a desk job. With Godzilla’s inevitable return looming over Japan, a decision is made to build the ultimate, Godzilla killing weapon.

Four years later, the new MechaGodzilla, codenamed ‘Kiryu’ stands ready. Built from a combination of cutting-edge technology and DNA harvested from the skeleton of the original Godzilla. It is not long before the cybernetic titan is called into battle as Godzilla rises from the ocean but upon hearing his enemy's iconic roar, something awakens in MechaGodzilla’s DNA and it rampages through the city until its energy reserves dwindle.

Scientists rush against the clock to replace Kiryu’s programming and set the stage for a final showdown between Kiryu, Akane, and Godzilla.

Another excellent entry in the series, this time firmly planting us in the chair of the unfortunate Japanese Military who are more often than not, lambs to the slaughter in the battle to defend their country.

MechaGodzilla has never looked better and advances in suit construction and CGI mean that he can move around the battlefield with surprising speed and agility. His vast armaments make him an equal match for Godzilla and the final fight between the two maintains the high bar set by Godzilla vs Megaguirus..

The new Godzilla suits nickname, KiryuGoji is derived from combining Kiryu, the name of another kaiju, and Goji, which comes from Godzilla's Japanese name, Gojira.

For this film, Toho decided to move away from the GMKGoji design featured in the previous film and revert to the MireGoji look. This new design, known as KiryuGoji, underwent significant modifications. The head was completely redesigned and made smaller, resembling the head of the Heisei series Godzilla. 

The suit was given large, yellow, almost bird-like eyes. The dorsal fins were slightly reduced in size and lost their purplish hue, reverting to the classic bone-white color, while still retaining the jagged appearance of the MireGoji's fins. Additionally, Godzilla's skin color changed back from the green hue of MireGoji to the traditional charcoal black.

The KiryuGoji suit is one of the most expressive Godzilla suits, featuring animatronics in the head that allows for various facial expressions. Notably, it can widen or narrow its eyes, enabling Godzilla to display genuine expressions of surprise, shock, or anger.

****