Maestro Update, September 10, 2017

You may have noticed that there wasn’t a Maestro’s Picks this past Friday, my apologies. This week hasn’t allowed me much reading, as I had my wisdom teeth pulled and have been in recovery for half the week, and working on Godzilla: Resurrection for the other half.

It will definitely be made up for however this week. I plan on seeing It tomorrow night, so expect a review for that Tuesday as well as a few more, and a trailer for Godzilla: Resurrection. Stay tuned!

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REVIEW: Godzilla vs. King Ghidorah (1991)

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Directed by Kazuki Omori
Written by Kazuki Omori
Starring Kosuke Toyohara, Anne Nakagawa, Megumi Odaka, Katsuhiko Sasaki, Yoshio Tsuchiya

I always wonder what the Heisei series of Godzilla films would have been like had Godzilla vs. Biollante not been a box office disappointment. The seeds were all there for an interesting science fiction franchise: a return to big-budget productions, new monster characters, a strong emphasis on high sci-fi concepts with consistent narratives. Such a shame that Toho decided to play it safe and redo the Showa series for the 90s. Don’t get me wrong, I still enjoy these films, but I ponder what could have been.

When a mysterious UFO is seen flying over Tokyo, tensions mount as the craft lands–and the occupants reveal themselves to be time travelers from the 23rd Century. Their mission: to warn mankind that Godzilla will soon awaken and wreak havoc upon the Earth unless he is destroyed. Meanwhile, a double-threat emerges in the form of King Ghidorah, a massive, flying three-headed dragon. The suspense builds to terrifying levels as the time travelers’ sinister true objective in the present is gradually revealed, and Godzilla must wage a solo battle against those who would destroy our future.

For Godzilla’s third outing in the Heisei continuity, Toho brought back his old nemesis, King Ghidorah, but more importantly, decided to create a trilogy cycle by delving into the origin of the second Godzilla. While I could argue all day about the dramatic deficiency of this move, namely, the destruction of the mystery surrounding this Godzilla’s existence, the end result is a bit more complicated than that.

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Beginning with a UFO streaking across the skies of Tokyo, GvKG quickly sets up the Godzilla origin arc with the main players of Terasawa (Kasuke Toyohara), a non-fiction writer investigating the kaiju’s past, dinosaur expert Professor Mazaki (Katsuhiko Sasaki), and the psychic from GvB, Miki Saegusa (Megumi Odaka). Their investigation reveals the existence of a massive dinosaur, a survivor of the KT Extinction, on Lagos Island in 1944, saving a garrison of Japanese soldiers from an American landing party. This revelation collides with the UFO story when the craft’s occupants reveal themselves as humans from the 23rd Century, come to save Japan from the devastation Godzilla will soon bring.

While the story itself seems sound, what really fails in GvKG for me is, well, everything else. Omori’s screenwriting takes a turn for the worse in this film, with his first deficiency being in his time-travel logic. Early on, one of the ‘Futurians’ insists that an individual from one time cannot coexist with his past-self at the same time, but this assertion is clearly proven wrong at several points later on, and the consistency of time theory is way off (at one point, their actions cause already established events to happen, and at others they change events). While this isn’t too grievous of a gaffe, as time travel is a messy storytelling subject, Omori’s seeming glorification of Japanese nationalism and the Imperial Army certainly is.

Image result for godzilla vs king ghidorah stillsYes, I’m going to toss my hat into this little controversy. I do indeed recognize the argument of the old guard and Ishiro Honda that perhaps depicting the killing of American soldiers by the Godzillasaurus went a little too far, considering the context in which these men fighting for an imperialist power would go on to become the founders of the modern Japan, in the case of Shindo (Yoshio Tsuchiya). However, this is rooted in historical fact, and the theme of the country’s roots in the war have been done with relative respect even in American films such as The Wolverine and Letters from Iwo Jima. Additionally, Shindo’s arc isn’t even indicative of the typical conservative Japanese attitudes, as he ends up at the mercy of his ‘savior’ at the end, perishing in the nuclear fire of a destructive god that does not, in fact, take sides, effectively nullifying any nationalistic fervor Omori may have fostered. In short, Shindo may have thought the divine wind was at his back, but he found in his tragic fall that it never cared about him at all.

As for the visual side of things, it doesn’t fare much better. Much of the futuristic elements are hokey at best and laughable at worst, with the biggest offender being the M-11 android. With his soft, almost unintelligable voice and dopey still-face, he already obliterates the Terminator-like image I’m sure Omori wanted to convey, and that’s long before we get “the run.”

I’m sure the suitmation technique did not change at all since GvB, but the emphasis on daytime battles in this film limits the believability of the kaiju action, and doesn’t do the action scenes any favors while the special effects artists grapple with new problems introduced by the heavy new Ghidorah suits. What do I mean by that? Well, for starters, Ghidorah can’t even walk anymore. This unfortunate side effect of the new suit leads to the proliferation of the Heisei series’ beam battles, which are spectacular to a child on his first viewing but to my eyes, very boring. And while the great Akira Ifukube returns to score the film, his themes are simple rehashes of old pieces, most notably the use of the King Kong vs. Godzilla theme as Ghidorah’s. Great piece, just not every original to reuse it.

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I suppose I shouldn’t be too harsh on GvKG, as it did introduce Mecha-King Ghidorah and played with the idea of Godzilla being a more elemental being, a god of destruction to his Japanese homeland. I just wish there were a better way to do it than what Omori and Tanaka came up with. For the rest of the Heisei series, the emphasis would be on monster mashes with returning Showa characters and threats, and while even those tired concepts would prove to be interesting later on in the Millennium series, they just don’t have the same power here. Sorry fellow G-fans, but Godzilla vs. King Ghidorah started the 90s downfall that led straight to Emmerich’s odd one out, and that can’t be changed with a time-travelling mothership.

Maestro’s Picks – August 25, 2017

It’s Friday, and that means it’s time for Maestro’s Picks!

Because this is the glorious(?) return of my first on-going series, I’ve decided to go with two picks this time around. Also, because I just couldn’t pick one of them. This time, both are from the illustrious and bottomless world of Tumblr!

First, as you may or may not know, I am working on my first full-length fan edit, and a major factor in this finally happening is the excellent editor Red Menace, of RedMenaceOfficial on Tumblr. Specializing in HD reconstructions, Red Menace has delivered the kaiju goods on multiple occasions, bringing back to life such lost American versions of Godzilla films as Godzilla 1985, Destroy All Monsters, and Monster Zero, in addition to a fan edit series of Neon Genesis Evangelion. He is currently working on several projects including a hotly-anticipated Godzilla vs. The Thing reconstruction, and of course, makes tons of shitposts. Check him out!

Second is the interesting newcomer Alien Covenant: A Gothic Fiction in Space. My recent rewatch of Covenant has convinced me of its merits as a great science fiction and horror story, and this Tumblr came along at the right time to help form words to my exploding thoughts regarding Ridley Scott’s newest piece. Prerusing the table of contents post reveals an expansive attention to the details of Covenant, analyzing everything from character motivations to specific, indelible images that link Scott’s film with the greatest gothic fiction of the past, including, yes, Mary Shelley’s Frankenstein. Give this one a serious read, even if you weren’t a fan of Covenant. You just might change your mind.

And now, here comes the second half of Maestro’s Picks: where I share one video and one image which I found myself drawn to this week: Presenting:

The new poster for Blade Runner 2049, opening October 17 of this year and starring Ryan Gosling, Harrison Ford, and Jared Leto:

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Medley Weaver‘s mashup trailer for Godzilla (1954), featuring the music and editing of the 2014 film’s famous trailer:

Well, that’s all for today! Stay true, believers!

New Fan Edit – Godzilla: Resurrection

The time has come, folks! Time for me to embark on my own fan edit!

For my first project, I’ll be tackling a fanmix of The Return of Godzilla and its Americanized recut, Godzilla 1985. While the original Japanese version of the film is still the definitive one, I’ve always held a soft spot in my heart for Raymond Burr’s scenes in 1985, and had always wondered what the final film would have been like had he been present in the Japanese cut.

This re-edit seeks to accomplish just that, while also streamlining the slower pacing of the original cut with suggestions from 1985 to combine the best of both worlds. The film will still be highly critical of both the United States and the Soviet Union, and will work to marginalize the more humorous aspects of the added Pentagon scenes. Finally, this cut will feature a brand new opening to the film, one that seeks to definitely tie the new Godzilla to the original beast in an eerie and unforgettable way.

To read more about the project, please visit my official page on it here, and keep your eyes peeled for a trailer on YouTube and Vimeo, coming soon. Until then, enjoy my custom poster!

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Godzilla: Resurrection will be available for viewing and download this fall.

REVIEW: Godzilla vs. Biollante

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Directed by Kazuki Ōmori
Written by Kazuki Omori, Story by Shinichirô Kobayashi
Starring Kunihiko Mitamura, Yoshiko Tanaka, Masanobu Takashima, Kôji Takahashi, Tôru Minegishi, Megumi Odaka, Toshiyuki Nagashima, Ryûnosuke Kaneda, Manjot Beoi

When I first started watching Godzilla movies, I was about 9 years old. While I had seen bits and pieces of a few of the films here and there on television, I never really sat down for a true viewing until I read a Nickelodeon magazine article on the Big G in preparation for Roland Emmerich’s 1998 film (I know, the horror). From there, I began to search high and low for every Godzilla movie on VHS I could get my hands on. I cannot tell you how many trips to K-Mart were had to find those things. In the summer of that year, I found my second Godzilla tape, and that turned out to be this little gem.

Following the events of Godzilla’s 1984 raid on Tokyo, scientists collect genetic material from the monster’s fallen scales. The samples are quickly stolen by Agent SSS-9 (Manjot Beoi), an assassin for the Middle Eastern country of Saradia. Dr. Shiragami (Kôji Takahashi) plans to use the cells to produce highly adaptable wheat crops for Saradia, but before he can, the samples are destroyed by American sabotage, killing his daughter in the process. Spending years studying the remaining cells, Shiragami combines Godzilla’s genetic code with those of a rose and his own deceased daughter, resulting in Biollante, an eerie plant of titanic proportions. To make matters worse, a psychic woman (Megumi Odaka) detects Godzilla stirring from his volcanic prison. The military sends the flying Super-X2 to stop the beast from thrashing Japan, but eventually Godzilla engages the rapidly mutating Biollante in a fight to the death.

While The Return of Godzilla was a critical success, it’s box office take was rather marginal compared to the more fruitful early Showa-period entries, and a sequel was put on the backburner. When director Kazuki Ōmori was handed the project in 1986, he opted for a unique approach to generating the story: he convinced Toho Pictures to hold a contest for fans to submit their own story and original monster for Godzilla to battle. From five finalists, one of whom would go on to become the story for the post-apocalyptic feature Gunhed, Ōmori chose the entry by dentist Shinichiro Kobayashi, concerning a scientist’s quest to resurrect his deceased daughter by combining her genetic structure with first a plant, and then cells from Godzilla himself, resulting in the abominable hybrid creature Biollante.

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Developing the story further, Ōmori was able to craft an interesting and thought-provoking sci-fi film, with themes concerning the practice of genetic engineering and man’s often-times reckless misuse of it. The film begins immediately after TROG, with both the Japanese forces and mercenaries from American and Middle Eastern factions scavenging the remains of Tokyo for Godzilla cells. The desert country of Saradia, in particular, greatly desires the cells, for their chief engineer, Dr. Shiragami, believes he can crossbreed them with wheat plants to produce highly adaptive and regenerative crops that could turn Saradia into an oasis, no matter the effect on global power. From the start, GVB is a film brimming with geopolitical intrigue surrounding science of a questionable morality–much like the original Godzilla and its immediate predecessor.

Image result for dr shiragamiShiragami inhabits a unique position among Godzilla movie scientists. He’s not the typical nature-fearing voice of reason, however, nor is he a mad scientist, despite his status a Biollante’s creator. While his Frankenstein-like actions are in keeping with the better parts of a horror setting, his motivation, to save the soul of his daughter, dramatically paint all of his debates with Kirishima (Kunihiko Mitamura) in a much more nuanced light. Takahashi keeps his performance reserved and subdued, appearing to hide a silent pain that feels incredibly genuine. Of all the Heisei films, I think Takahashi got the best performance of them all.

The aforementioned Kirishima, the younger, and yet more conservative, geneticist, is fiery and moral, always on the defensive against his more risk-taking mentor. Through his misgivings we are presented with the ethical dilemma of genetic manipulation: early on, the Japanese government decides to counter Godzilla with a new artificially-created strain of bacteria that can consume nuclear material. While everyone else leaps at the chance to use this “Anti-Nuclear Energy Bacteria,” Kirishima is hesitant, because if Godzilla never shows, or is indeed finally defeated by the strain, Japan will have taken an uncomfortable seat next to the United States as the first to deploy a weapon which will shake the balance of power worldwide, and possibly trigger a new arms race. Sound familiar? Rounding out the main cast are Toru Minegishi as the funny Colonel Gondo, Yoshiko Tanaka as Kirishima’s love interest Asuka, and the adorable Megumi Odaka, playing the first appearance of the recurring psychic Miki Saegusa role.

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Unlike those previous entries, GVB places more of the onscreen emphasis on action. The first act contains more than one gunfight, usually involving Saradia’s sinister secret agent SSS-9 (Manjot Beoi), in an apparent attempt by Ōmori to inject spy thriller elements into the Godzilla formula. Seems he always wanted to direct a Bond film, but this was the closest he ever got. From Godzilla’s arrival, the film moves more into a hybrid of the government procedural format of TROG and more traditional kaiju destruction, with two big battles with the Biollante creature. In all honesty, the action itself isn’t bad, but isn’t anything particularly inspiring as far as blocking and innovation.

Instead, what really works for GVB is the cinematography of Yūdai Katō. Aiming for a more manageable middle ground between a smooth sheen and TROG‘s high-grain look, GVB keeps the darker, more night-based scenes but adds an organic wetness to the proceedings, further enhancing the new suit worn by Kenpachiro Satsuma, who achieves an even better performance here than previously. The suit is now one of Godzilla’s most iconic designs: bulky but muscular, with pronounced dorsal spines and a dragon-like, almost feline head with lifelike, canine eyes. Seriously, in some shots it appears alive.

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While Biollante’s first form doesn’t appear as lifelike, it and the second, more mutated form remain two of the most unique kaiju designs yet, topped only by the ’90s Gamera films. Slimy and wrapped in monstrous vines, Biollante is enough to make even the most seasoned tokusatsu veteran cringe in disgust.

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As I mentioned at the beginning, this was my second Godzilla film that I bought, after Monster Zero. While I loved the cheesy ’60s alien invasion story of the former, this film stirred in me some interesting thought, even with the at-times hilarious international English dub. (Godziller cells!) It’s a smart study in a burgeoning field of science where ethics may be the only thing preventing a catastrophe of proportions we still don’t fully understand, and for a film like that to keep my attention before age 10 is a feat indeed. While it sadly didn’t have the impact it should have had upon the new Heisei series due to its diminished returns, GVB‘s fortune has been on the rise, with a recent Japanese fan poll selecting it as the best Godzilla film to date. While I believe that honor still befalls the original, I gladly recommend Godzilla vs. Biollante in the top 5 whenever passing my kaiju knowledge along.

REVIEW: The Return of Godzilla (1984)

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Directed by Koji Hashimoto
Written by Hideichi Nagahara, Story by Tomoyuki Tanaka
Starring Ken Takaka, Yasuko Sawaguchi, Yôsuke Natsuki, Shin Takuma, Kaiju Kobayashi, Raymond Burr (American Version “Godzilla 1985”)

By 1975, I think it was safe to say that Godzilla had very little bite left, if any. His films played to the youngest of audiences, with such a juvenile and playful tone that none of the worldly, nuclear menace was left. After several box office failures, Godzilla went on a nearly ten-year vacation, in which many attempts were made to reboot the series, with as many different visions as to where it should go. The big guy would have to wait until 1984, but it was a wait well worth it.

While day sailing in the Pacific, reporter Goro Maki (Ken Tanaka) finds a missing fishing vessel, Yahata Maru, and discovers that all the hands have been killed by a giant sea louse except for one. The lone survivor, Okumura (Shin Takuma), then tells the reporter that the ship was attacked by a new Godzilla. Fearing a panic, the Japanese government attempts to cover up the news, failing when a Soviet nuclear submarine is destroyed and the situation puts them and the United States on the brink of nuclear war. Soon Japan and the rest of the world are on red alert as they wait for Godzilla to begin his rampage anew.

Opting for an almost completely clean reboot, producer Tomoyuki Tanaka brought to the table a story which respected not only the allegorical roots of the creature, but the fact the original film just couldn’t be remade in a modern setting. While his original conception pitted Godzilla against yet another monster, screenwriter Hideichi Nagahara thankfully dropped the second kaiju and concentrated on the geopolitical effects of the existence of such a monster. This was quite the revolutionary approach to a kaiju film; while tokusatsu cinema of the ’70s included some epic thrillers, Japan Sinks being one I can recall, kaiju films were purely the realm of the little ones. The Return of Godzilla expertly reverses this dynamic by only acknowledging the original film in its continuity.

Watching The Return of Godzilla, or Godzilla 1985 for you casual G-fans, you really get the sense that it was a Tom Clancy political potboiler before Tom Clancy was a thing. So much of the government procedural is there on the screen, with just enough military action and suspense to sex it up, the film is quite tense where it should be dull. The film starts off with a minor mystery in the form of Okumura and his missing fishing vessel, then swiftly enters the halls of the Japanese government and their desperate attempts to keep Godzilla’s return a secret. While the Prime Minister (Keiju Kobayashi) and his cabinet deal with the broad strokes, Okumura, his sister Naoko (Yasuko Sawaguchi), Maki, and Professor Hayashida (Yôsuke Natsuki, in a role very evocative of Dr. Yamane in the original film) study the monster, hoping to find some way of halting his coming landing.

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The Return of Godzilla fits more as a 70s film than an 80s one, even including a few visual effects shots from the Japanese thriller Prophecies of Nostradamus during Godzilla’s Tokyo rampage. But it’s more than a few homages; TROG carries with it a distinct contempt for the Cold War and its major players, the United States and the Soviet Union. About 30 minutes in, a Soviet submarine is destroyed under mysterious circumstances, triggering a standoff between the superpowers until the Japanese government reluctantly reveals that Godzilla was the culprit. You’d think this would be the end of the hostilities and the beginning of international cooperation, but you’d be wrong. Instead, both nations begin pressuring Japan to allow them to use nuclear weapons against the monster, no matter its location. It’s a uniquely Japanese viewpoint on the stupidity of nuclear brinkmanship that also earns the film a home among American cinema of the decade prior, with its distrust of the American government post-Nixon.

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The film moves nicely from each mini-crisis to the next, both edifying and decrying Japanese bureaucracy in much the same way Shin Godzilla would over 30 years later, while Hayashida provides the story’s philosophical heart. And at the halfway point, we finally get city-stomping Godzilla action. The monster’s new design is positively menacing, from its dead eyes to its sharp fangs. Portrayed mainly with tried-and-true suitmation, the 84Goji, as this design is referred to, is a quantum-leap above it’s predecessors, harkening back to the raw savagery of the original whilst conveying impressive mass. Yes, the special effects appear quite dated today, but look at the film through the lenses of the time and setting of its release, and TROG delivers the epic goods in a way the goofy late-Showa outings couldn’t muster.

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Shortly after its original release, TROG was picked up by New World Pictures for an American exhibition, cutting approximately 30 minutes of the Japanese print and adding ten more of new scenes involving a Pentagon response team viewing the destruction from Washington, joined by Raymond Burr, reprising his role as Steve Martin from Godzilla, King of the Monsters. While Burr is true-to-form, the other actors are comically unneeded and hollow, and the film unfortunately loses its pacifist stance with several changes to the narrative that paints the Soviets as villains. But all is not lost; some editorial changes do much to help the pacing of several sequences, and selections of Christopher Young’s Def-Con 4 score are used to great effect. In short, Godzilla 1985 is a mixed bag, but not entirely without merit.

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The Return of Godzilla, as the first film of the “Heisei” saga, works overtime to reestablish Godzilla’s destructive roots, and wins the day with its interesting fusion of government procedural and monster smash. More than anything, however, TROG will be remembered among fans and newcomers as probably their first introduction to an alternative point of view on the Cold War, one from a nation that would caught in the crossfire of the end of the world.

REVIEW: Shin Godzilla (2016)

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Directed by Hideaki Anno and Shinji Higuchi
Written by Hideaki Anno
Starring Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Osugi (get accent mark), Akira Emoto, Kengo Kora (accent), Mikako Ichikawa, Jun Kunimura, Pierre Taki

With the success of Legendary Pictures’ Americanized reboot of Godzilla, Toho back in Japan wanted to get back into the action. While still retaining the rights deal with Warner Brothers, allowing the Monsterverse to continue, Toho set about producing a new film to be directed by Hideaki Anno, the famous creator of Neon Genesis Evangelion. If you’re a fan, than you are probably assuming right now that Godzilla goes all metaphysical, right? Eh, not quite.

An unknown accident occurs in Tokyo Bay’s Aqua Line, flooding the underwater passageway as citizens scramble to evacuate. An emergency cabinet meeting is assembled, just in time to witness a giant creature surface from Tokyo Bay and make its way across land in the heart of the city. Growing in size and mutating with each unsuccessful attack against it, the creature seems unstoppable. Government official Rando Yaguchi (Hiroki Hasegawa) is placed in charge of a special research team to investigate ways to kill or incapacitate the beast, now dubbed “Godzilla.”

More than several kaiju and tokusatsu films have tried to establish a realistic scenario for the appearance of a giant monster; the original Godzilla and the Heisei era films The Return of Godzilla and Godzilla vs. Biollante presented the effect of the titular kaiju upon various geopolitical aspects of the world, while “foreign” monster films like the British Gorgo and Korean The Host carried an air of authenticity and spectacle to their visions of creature carnage. Shin Godzilla can easily be added to this fraternity, but its approach to the material is substantially more plausible and researched. Why? Because Shin Godzilla can be referred to as “Politicians vs. Godzilla.”

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The film begins with a brief mystery in the form of a deserted pleasure craft in Tokyo Bay before the water erupts in a large steam eruption, causing damage and flooding to the Tokyo Aqua Line highway. We as an audience are then treated to 13 minutes of dry bureaucracy. Yes, you read that right. As we are introduced to protagonist Rando Yaguchi, Deputy Cabinet Chief, we are also introduced to his world of relentless politics and red tape as Cabinet meeting after government committee after press conference seeks to establish just what is going on, and what to do about it. If this sounds incredibly boring, than I wouldn’t blame you, but I would rest easy–with the quick pace and sheer amount of subtitles you’ll be reading, I’m sure you won’t be too listless during your viewing.

Close viewing during this opening sequence will reward inquisitive viewers, however, as Anno’s intent quickly becomes apparent among every ignorant assumption and naive rush to judgment several government officials make, always rewarded with a simple, fast cut to a harsh reality check in the form of the giant monster now wading out of the bay and into metropolitan Tokyo. Again and again, even with the best of intentions, Japan’s flat-level democratic government, following the exact letter of the law, fails against the nuclear menace, resulting in one of the most salient and darkly humorous satires of government around today.

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But this is a Godzilla movie, you shout, and I soothe and calm with my analysis of the character, as this Godzilla is probably the most unique iteration on screen. First appearing quite alien to previous versions in the form of a bizarre, fish-eyed, bleeding-gilled monstrosity that can barely support its own week, it soon begins to mutate, revealing the most innovative addition to the Godzilla mythos: this Godzilla is highly adaptive, capable of mutating its body and DNA at will. Resulting in a changing creature that forms the most hideous Godzilla design yet, this film hits a home run in devising a new spin on the Big G.

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Further building on the design is co-director and special effects artist Shinji Higuchi’s work in creating Godzilla, this time done almost completely with CG effects. A clear break from tokusatsu tradition, to be sure, but the end result is incredibly convincing, due to the effects team’s efforts to keep Godzilla as stiff and suit-like as possible, which ironically gave the design a lifelike quality that accurately conveyed size and power. Their finest work probably comes at the halfway point in the film when Godzilla is bombed by American B-2 bombers, enraging the beast and prompting his first use of his destructive atomic beam.

Most of these scenes are accompanied by an equally-unusual sound design, employing a mixture of classical Toho sound effects and Akira Ifukube music with new sounds and music cues. When I first saw the film in theaters during its short American run, I was unimpressed and even bothered by the use of the old sounds and music, feeling that their limited dynamics were out of place. Now I’m convinced it was the fault of the cinema’s speaker system, as the blu-ray’s uncommon 3.1 mix produces a deep fidelity and bass I do not recall encountering before. In short, Shin Godzilla should highly please fans of the classic films with regards to their ears.

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After the mounting destruction of the first half, Godzilla falls into a long hibernation, and Rando’s research team reforms to discover a way to defeat him before a UN coalition employs nuclear weapons to resolve the situation. After systematically deconstructing the helplessness of Japan’s democracy to handle the crisis, Anno’s film then abruptly turns about face, giving Rando and his nerds the reigns to save the day with democracy. They bend only the rules they cannot follow to the letter, and break none, showing that even below the layers upon layers of tape, the right men and women with the right combination of ambition, compassion, and courage can prevail and make this world a better one.

Now I know that sounds very different from what is expected from a serious Godzilla movie, but fret not–the final scene brings one final revelation, one I won’t reveal here. Let’s just say that Godzilla’s origins as Nature’s reaction to the ravages of the human race are preserved in full with this film, and while Shin Godzilla requires an open mind and a quick eye for subtitles, to the right viewer, it is a real gem of modern tokusatsu. With Shin Godzilla, Anno has shown what humans can be capable of when working together toward a noble goal…but nature is patient, and she never forgets our crimes.