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.

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REVIEW: Valerian and the City of a Thousand Planets (2017)

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Directed by Luc Besson
Written by Luc Besson, Based on the comic book Valérian and Laureline by Pierre Christin and Jean-Claude Mézières
Starring Dane DeHaan, Cara Delevingne, Clive Owen, Rihanna, Ethan Hawke, Herbie Hancock, Kris Wu, Sam Spruell, Alain Chabat, Rutger Hauer

Luc Besson is probably one of the most risk-taking filmmakers out there today, although that declaration should come with a qualifier; his risks aren’t in innovation or narrative, style, or visual effects techniques, but in the simple fact that he always sets out to please his own violence-loving tendencies. A glance through his filmography reveals an almost Hong Kong filmmaking-esque fetishizing of martial arts, gunfights, and balls-to-the-wall action is evident, and when coupled with his unique French perspective on the camera lens it makes for at least a good time, if not always a breathtaking time. Valerian is somewhere towards the bottom part of his middle ground, breathtaking to the eyes but not so much the head and heart, but is that really a bad thing?

In the 28th century, Valerian (Dane DeHaan) and Laureline (Cara Delevingne) are a team of special operatives charged with maintaining order throughout the human territories. Under assignment from the Minister of Defense (Herbie Hancock), the two embark on a mission to the astonishing city of Alpha: an ever-expanding metropolis where species from all over the universe have converged over centuries to share knowledge, intelligence and cultures with each other. There is a mystery at the center of Alpha, a dark force which threatens the peaceful existence of the City of a Thousand Planets, and Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the universe. 

Based on the popular Franco-Belgian comic book Valérian and Laureline by Pierre Christin and Jean-Claude Mézières, Besson’s film is a very obvious labor of love by the French auteur, having grown up reading the comic since it’s beginning in the yesteryear of 1967. Financed with a combination of crowd-sourcing and his own pocket, totaling 210 million dollars, Valerian is now the most expensive independent film ever made. Not that it matters much now that the film is tanking in the box office, but I suspect Valerian will have longer legs on home video and in the streaming market, where its spiritual predecessor The Fifth Element carved out a cult following.

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Valerian begins with what is now among my top-ten opening sequences of the past decade: the progression of the Alpha Space Station over two centuries, presenting all sorts of human and alien peoples joining hands with a succession of welcoming captains in mutual cooperation–and it’s set to David Bowie’s Space Oddity. Solid start. Continuing onto probably the best full-out visual effects sequence since anything seen in Avatar, we are introduced to the Pearls, a race of peaceful, nature-oriented aliens who fish magical, energy-giving pearls from the oceans, using small creatures called converters, that can replicate a hundred-fold anything they consume, to replenish the planet’s supply. But, just as quickly as we come to admire them, the Pearls’ paradise is shattered by the falling wrecks of a space fleet, and they seem to be obliterated by a war that they had no part in.

Without having actually read Valerian, I can’t say for certain that this is an accurate assessment, but from what I do know, this opening is an excellent demonstration of Christin’s humanist and liberal leanings in his writing, which comes more and more to the forefront through Cara Delevingne’s Laureline, as independent and humanist as they come, compared to her partner and superior, Major Valerian, who’s womanizing ways and adherence to protocol and law do more than infuriate his partner and the object of his desires throughout the story.

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Unfortunately, with their introduction is where I start to tune out. While Delevingne’s performance is a bit wooden in places, this is all a part of the package, as a glance through the comics reveals their Golden Age Space Opera origins, ’30s dialogue and all. In fact, in many scenes, I found her to be the breath of fresh air compared to Dane DeHaan, who in this critic’s opinion, should never have been allowed near the role of Valerian. His cheap imitation at a manly comic strip hero’s voice betrays how shrimpy he looks in the role, as if he were a ten-year-old boy playing astronaut dress-up. He has absolutely no chemistry with Delevingne, and his stunted delivery during some of the most pivotal and emotional moments destroys the drama almost as much as Besson’s barely passable writing.

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Oh yeah, the script. Honestly, past the mentioned opening, I’m not too impressed with the story. The comic was a space opera with heavy time travel elements, with Laureline literally having been an 11th Century French villager before being recruited into the Spatio-Temporal Service. The film makes little-to-no mention of time travel at all, presumably to streamline things for a wider audience, but that is no excuse for robbing Valerian of what could have been another major selling point besides the amazing visuals. Even worse is Besson’s handling of the romantic subplot and Commander Filitt’s (Clive Owen) motivations; while Filitt’s endgame is needlessly drawn out over ten minutes of precious climactic screentime, Valerian is established as already wanting to get into Laureline’s pants, and after only 20 minutes, is to the point of proposing to her. May I remind you this film is almost 140 minutes long?

Past these immense problems, the film starts to present some redemption. Everyone else in front of the camera does a pretty good job with their material, even when their roles amount to little more than extended cameo’s like Ethan Hawke and the great Rutger Hauer. And for once, Rihanna was actually one of the better parts of a movie.

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However, the real star of Valerian is the immense and immersive world created on screen through some of the best CGI work in a long time. Created by a unified team of ILM and Weta Digital artists, everything from the massive world of Alpha to the myriad species of alien beings are created lovingly and in textures that appear incredibly lifelike in Besson’s neon-lit style employed in this picture.

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So, what is my final verdict? While the casting of Valerian himself and Besson’s writing are huge flaws that pull the film down from the potential it could have had, ultimately, it isn’t a complete waste of time. In fact, the immersive world on display and the thrilling alien action are enough to convince me to give this film another go around when it hits blu-ray. Until then, I’d say proceed with caution on a matinee or discount night at your local cinema. Wait until a more worthy independent project comes along to pay full price.