And Your Mother Too

Y tu mamá también feels like the low budget beginning of a director’s career, but it’s actually a filmmaker returning to their roots. Alfonso Cuarón already got his start in Hollywood with movies like A Little Princess and Great Expectations. Y tu mamá también was only his second Spanish film. He wanted to make it without conventional Hollywood filmmaking. Y tu mamá también is a raw documentary style road movie with a loose script written by Cuarón and his brother Carlos. They were both nominated for Best Original Screenplay and Y tu mamá también was a surprise International hit. I’ve known about the Mexican film for years because of its sexual nature. Which is why I found it odd that Cuarón was asked to direct Harry Potter and the Prisoner of Azkaban 3 years later.

As a foreign film, Y tu mamá también opens with two teen couples having sex. Nudity is graphic for male and female characters, but frank sexual discussions are the most frequent. A young Gael García Bernal and Diego Luna play best friends Julio and Tenoch respectively. Cuarón almost didn’t cast Luna for being too popular in Mexico, but his realistic friendship with Bernal won him the role. When their girlfriends leave for Italy, they drink, smoke, and have a little too much male bonding. All that changes when they meet Maribel Verdú as the gorgeous older woman Louisa. They convince her to join them on a trip across Mexico to a beach that may or may not exist. All the while protests and political unrest happens around them.

The narrator fills in some gaps, but it’s clear that there’s tension between the lower class Julio and upper class Tenoch. They finally explode when they separately confess to cheating with each other’s girlfriend. The American title And Your Mother Too is just a childish insult. Louisa seduces both boys separately and at the same time. Verdú subtlety gives the best performance as Louisa deals with her husband’s infidelity, the boy’s immaturity, and quietly weeps to herself. Everything becomes clear in the end and the harsh reality of life leaves an impact. Y tu mamá también proved Alfonso Cuarón to be an excellent filmmaker regardless of country or resources.

Louisa rides with Julio and Tenoch

Laid to Rest

Dracula and Son is the absolute final time Christopher Lee was forced to play Count Dracula. Lee notably played the famous vampire in 7 Hammer Horror films and the unaffiliated 1970 Count Dracula. Dracula and Son is also an unaffiliated French film that happens to star Christopher Lee. The movie is poorly dubbed and probably would’ve faded into obscurity without Lee. I have no idea how they convinced him to return, but it probably helped that the movie was a comedy. Dracula and Son is about the titular Count having a son with a human woman before she’s bitten.

The tone doesn’t become obvious until the child Ferdinand runs from a bottle of blood. Bernard Ménez plays the titular son who frankly sucks at being a vampire. Ferdinand is a pathetic hippie in modern day who gets separated from his father when they flee communists. Dracula becoming a horror movie star is an unexpected turn of events. It seems like people know he’s a vampire, but they probably assume he’s very method. Meanwhile, Ferdinand is taken in by friendly immigrants and fails to secure a night job.

There’s blood and boobies, but Ferdinand is too afraid to have either. Father and son are eventually reunited, but things get weird when they both fall for the same woman. The lovely Nicole runs a toothpaste ad and wants Dracula as the spokes-vampire. Dracula wants to bite Nicole, but Ferdinand wants to be human for her. Sunlight ends their strained relationship. Dracula and Son is an amusing change of pace that benefits from Christopher Lee’s star power.

Dracula wants to bite Nicole

The Golden Demise

Godzilla: The Planet Eater is the thought-provoking conclusion of Toho Animation’s anime trilogy. Since I watched the movies on Netflix, I can only imagine the scale that Japanese audiences got to witness on the big screen. Godzilla: City on the Edge of Battle also hinted at a sequel in a post-credits scene that foreshadowed King Ghidorah. The computer animation is at its peak, because this is easily the biggest Ghidorah we’ll ever see. If Godzilla towers over Earth, then Ghidorah is roughly the size of an entire galaxy. Since The Planet Eater is enough to signal the end of the world, it’s easily the most philosophical movie in the franchise.

The technology based Bilusaludo are replaced by the religious Exif as the main villains. Metphies spoke about “god” many times in the previous installments, but only now is it made clear who he’s referring to. Many human survivors convert on Earth and on the Aratrum. Metphies hopes to bring Ghidorah as “The Golden Demise” to destroy Godzilla and feed on civilization. Haruo is so low after Yuko’s fate that Metphies hopes to use him as a vessel to summon Ghidorah. Lazzari is one of the only doubters left, but Houtua twins Miana and Maina also voice their concern. The franchise has its first love scene when Maina offers herself to Haruo after Miana fails to do the same.

Mothra is only seen in a dreamstate when Metphies manipulates Haruo as he summons Ghidorah. We only see Ghidorah’s three heads when his massive necks destroy the Aratrum and bite Godzilla. Godzilla is practically powerless since Ghidorah is intangible. The fight is pretty drawn out, but Godzilla’s atomic breath is enough to stop the end of humanity. The Houtua accept Godzilla as a natural disaster and live alongside humans, but that’s a little too hopeful for this trilogy that ends with one last sacrifice. Godzilla: The Planet Eater is a little abstract for the once simple kaiju franchise.

Godzilla vs. King Ghidorah

Preceded by: Godzilla: City on the Edge of Battle

Mechagodzilla City

Godzilla: City on the Edge of Battle continues the fight for humanity. Godzilla: Planet of the Monsters hinted at a sequel in a post-credits scene. Though Japanese audiences had to wait for Toho Animation’s theatrical release, Netflix released the trilogy months apart in 2018. Since it’s a direct continuation, the computer animated anime style remains just as good. The story is somehow even bleaker than Planet of the Monsters. Haruo survived his loss against the enormous Godzilla and is rescued by natives who somehow managed to survive after 20,000 years. The “Houtua” tribe is covered in special powder that has an insect pattern.

A pair of twins named Miana and Maina communicate telepathically and protect a giant egg that they also worship. It’s pretty obvious what kaiju they’re hinting at, but they still have to deal with the Servums and a mostly dormant Godzilla on their own. Haruo is reunited with the surviving Yuko, Lazzari, Adam, Galu-Gu, and Belu-be. Meanwhile, Captain Mori and Endurphe remain on the Aratum and consider abandoning Earth. The survivors find the very different remains of Mechagodzilla that has transformed into a literal city sized Mechagodzilla City battle station. Only in animation can an entire city be used to fight Godzilla.

The Bilusaludo use nanometal to fight Godzilla by constructing battle suits called Vultures. Exif priest Metphies warns Hauro about the Bilusaludo and an even greater planetary threat that’s also pretty obvious. The Bilusaludo show their true colors by assimilating with Mechagodzilla to become a monster themselves. It’s almost enough to destroy Godzilla, but he goes atomic as Hauro fights for his humanity. Since Yuko confessed her love a few scenes earlier, her tragic end didn’t surprise me. Godzilla: City on the Edge of Battle is the darker middle chapter that most trilogies can’t escape.

Godzilla goes atomic

Preceded by: Godzilla: Planet of the Monsters & Followed by: Godzilla: The Planet Eater

20,000 Years Later

Godzilla: Planet of the Monsters is larger than live-action. It was the first ever anime Godzilla movie in a new Japanese trilogy. Although Shin Godzilla started the Reiwa era, the American MonsterVerse prevented Toho from making simultaneous live-action movies. Planet of the Monsters was made by Toho Animation and released exclusively to theaters in Japan. Meanwhile, Netflix streamed the entire trilogy worldwide. My brother was committed enough to watch the anime movies, but I needed more convincing. The Japanese computer animation is impressive when it comes to the monsters and environment. The story is similar in tone to Attack on Titan. Only animation could pull off a planet so devastated by giant monsters that humanity has to abandon it for the spaceship Aratrum.

Most of the familiar kaiju have been defeated by a massive Godzilla. Humans were rescued by the highly religious Exif and advanced Bilusaludo alien races who failed to use Mechagodzilla in the past. The hopeless tone is established with characters like Captain Haruo Sakaki. Haruo is one of several characters in the franchise who seeks to destroy Godzilla. He openly opposes colonization on other worlds and launches an attack to reclaim their home. The diverse cast of humans include the young Yuko who’s never seen the Earth, Colonel Leland, biologist Lazzari, hovercraft pilot Adam, and Captain Mori. The Bilusaludo are darker skinned with names like Galu-Gu, Belu-be, and Dolu-do.

The lighter skinned Exif include Endurphe and the more important Metphies who puts his trust in Haruo. Of course none of the characters are as interesting as their interpretation of the future. 20,000 years later the environment has been affected by Godzilla who isn’t seen for a long time. In the meantime, a technologically advanced Military crew deals with flying metallic creatures called Servums. Godzilla is like one giant mass with devastating atomic breath, but they find his weak spot. Until the twist ending that reveals it to only be an offspring. The virtually immortal Godzilla emerges at an enormous 300 meters tall. Godzilla: Planet of the Monsters definitely delivers on its title with animation at its disposal.

Godzilla unleashes his atomic breath

Followed by: Godzilla: City on the Edge of Battle

A City Doomed

Shin Godzilla is a radically different approach to the long dormant Japanese kaiju. The American made Godzilla (2014) was so successful that Toho finally decided to make their own reboot. Making it the third Japanese reboot after The Return of Godzilla and Godzilla 2000. In the 12 years since Godzilla: Final Wars, Shin Godzilla was now part of the Reiwa era. The “Shin” part of the title roughly translates to “new” or “resurgence.” In order to make a new Godzilla, Toho hired Neon Genesis Evangelion creators Hideaki Anno and Shinji Higuchi for writing, directing, and special effects. They would later revive other beloved Japanese franchises with Shin Ultraman and Shin Kamen Rider. Shin Godzilla honors its connection to Hiroshima and Nagasaki, but there’s more inspiration from the modern Fukushima nuclear disaster and 2011 Tōhoku earthquake and tsunami.

The 2016 reboot is easily the most political film to date. There’s so much bureaucracy, cabinet meetings, and red tape before any decision is made about the giant monster heading for Tokyo. It’s a massive ensemble, but there’s only really three characters to worry about. Hiroki Hasegawa plays the young Deputy Chief Cabinet Secretary Rando Yaguchi who suspects a living creature despite objections. Yutaka Takenouchi plays the Prime Minister’s aid Hideki Akasaka who ends up outliving the PM when disaster strikes. Despite her obvious Japanese accent, American involvement comes in the form of Satomi Ishihara as the attractive Japanese American special envoy to the U.S. President Kayoco Anne Patterson. Godzilla is performed through CGI motion capture for the first time in a Toho production. Mansai Nomura plays the character, but this is unlike any Godzilla you’ve seen before.

This Godzilla begins life as a grotesque sea creature that undergoes a 4 stage lifecycle. The 1st form develops into a larger 2nd form with disturbing eyeballs, pale skin, and blood vented from its neck. The 3rd form is a blood colored bipedal creature with a long tail that further develops into a slightly more recognizable 4th form. Godzilla is much darker with red veins, small arms, and monstrous teeth. His iconic roar is kept in tact, but his abilities are also altered. Godzilla’s atomic breath causes his mouth to expand as well as shoot out of his dorsal plates and tail. He causes major destruction in a haunting sequence with a city on fire. Scientists study radioactive research from the late Goro Maki. America wants to bomb Godzilla, but Yaguchi figures out a way for the Military to freeze his blood. Godzilla’s horrific lifecycle goes a step further by showing mutant humanoids frozen in his body. Shin Godzilla may not play it safe like the American version, but at least Japan tried something different.

Godzilla attacks Tokyo Bay

Preceded by: Godzilla: Final Wars & Followed by: Godzilla Minus One

There Goes Tokyo

Godzilla: Final Wars is the ultimate Godzilla experience. Even if it does feel like a greatest hits album. 2004 meant the 50 year anniversary of Godzilla and a star on the Hollywood Walk of Fame to celebrate the milestone. Even though the Millennium era showed no sign of stopping, it only made sense to end the franchise with a bang. I was 9 years old when Godzilla: Final Wars was released, but I don’t remember when my brother and I officially got into Godzilla. I just remember watching Final Wars a lot growing up, because it brought every monster together. Imagine Destroy All Monsters on a much bigger scale.

Final Wars was a massive co-production between Japan, America, Australia, and China. Toho worked with other countries in the past, but it’s clear they wanted a major Hollywood feel. Which is why they hired one-off director Ryuhei Kitamura. He wanted to recapture the message filled entertainment of the Shōwa era since he wasn’t fond of the Heisei or Millenium era. Final Wars brings back so many classic kaiju, but no one said it was a perfect movie. In fact, Final Wars is ridiculously dated with an early 2000’s rock soundtrack, edgy camera filters, and obvious influence from The Matrix. Final Wars is loud and bombastic, but I can’t help but love every minute of it…

Godzilla roars in Tokyo

Godzilla: Final Wars is the culmination of over 28 Godzilla movies. Although it doesn’t directly acknowledge past films, Earth’s history has been shaped by giant monster attacks for over 50 years. The only difference is that atomic testing has also led to a race of mutants. Although mutants are more like the X-Men who wear special suits and fight for the Earth Defense Force. They carry futuristic guns, ride motorcycles, and fight in slow motion just like The Matrix. Masahiro Matsuoka is practically a Japanese Keanu Reeves and mutant soldier Osaki has a similar arc that Neo has. Final Wars is the first Japanese Godzilla film to be rated PG-13 and have a runtime of over 2 hours. It’s pretty fast paced, but you do notice a distinct lack of Godzilla.

Godzilla appears early on in his final form that manages to streamline his more intimidating features. Tsutomu Kitagawa has the honor of wearing the last suit in the franchise. Despite a ton of CGI, Kitamura wanted to make sure practical suitmation wasn’t forgotten. A drill ship called the Gotengo is recycled from the movie Atragon. The Gotengo manages to trap Godzilla in Antarctica for a majority of the runtime. Mustachioed American martial artist Don Frye plays the macho Captain Gordon who loses the Gotengo years later after a fight with a CGI Manda. The first act sets up a lot of monsters as quickly as possible. Osaki fights with Kane Kosugi who plays rival soldier Kazama, but gets orders from Masakatsu Funaki as Commander Kumasaka to protect a scientist. Of course the scientist is played by a supermodel. Rei Kikukawa plays biologist Miyuki who studies the dormant body of Gigan.

This was Gigan’s first appearance since Godzilla vs. Megalon, but they never forgot how deadly he was. Gigan is updated with a black & red color scheme. His cybernetic visor shoots lasers, his bladed arms come with extra weapons, and the sawblade in his abdomen gets more use with CGI. Gigan is also given more significance as the ancient rival of Mothra. Mothra looks about the same as she did in Godzilla: Tokyo S.O.S. Masami Nagasawa and Chihiro Otsuka both return as the Shobijin fairies on Infant Island who warn humanity about a coming attack. Veteran Godzilla actor Kenji Sahara plays scientist Dr. Jinguji who also hears the message. Like Destroy All Monsters, kaiju begin to destroy major cities all over the world.

Rodan makes a grand entrance in New York City since CGI enhances his supersonic flight. It’s a weird scene where an exaggerated black pimp argues with a police officer before Rodan blows them away. Rodan is partially redesigned to include arms. Anguirus appears for the first time since Godzilla vs. Mechagodzilla. He’s a bit bulkier and uses a cool spinning trick on soldiers in Shanghai. Forgotten monsters like a more antagonistic King Caesar, CGI enhanced Kamacuras, Kumonga, landbound Ebriah, and even Hedorah are all given Okinawa, Paris, Monument Valley, and Tokai to threaten. Meanwhile, Minilla is threatened by trigger happy old man Samon played by Shigeru Izumiya, but protected by Kenta Suga as his grandson Kenta.

Since Baby Godzilla replaced Minilla in the Heisei era, he technically hasn’t appeared since All Monsters Attack. Like that silly film, the innocent Minilla is human sized, but he doesn’t speak thankfully. The most interesting case is the monster who attacks Sydney. After the much deserved failure of Godzilla (1998), Toho trademarked the name Zilla and actually put the monster in the movie. Unlike the other kaiju, Zilla is 100% CGI and rendered as poorly as possible. The EDF resist the monsters and nearly kill Ebirah before they all mysteriously disappear. Final Wars mostly takes cues from Invasion of Astro-Monster by having seemingly peaceful aliens called Xiliens remove monsters from the planet. They offer to save Earth from the colliding planet Gorath that was seen in the 1962 movie of the same name. Their ship is just like the Death Star and their human appearance is extremely Matrix with black trench coats and shades.

Underneath they’re what can only be described as cybernetic fish men. They slowly infiltrate the planet with aliens replacing important figures. Kumi Mizuno returns to the franchise as EDF Commander Namikawa who is replaced alongside the equally prolific Akira Takarada as Secretary-General Daigo. Maki Mizuno plays Miyuki’s equally attractive reporter sister Anna who figures out Daigo is an alien. Masatō Ibu is understanding as the Xilien General, but he’s quickly overthrown by his subordinate X. Kazuki Kitamura is easily the biggest scene stealer since X has a tendency to throw tantrums. The Xiliens launch an Independence Day style invasion and plan to use humans as cattle. They’re only able to control the monsters and mutants because they possess an “M-base” in their DNA.

There’s plenty of fun martial arts action between humanity and the Xiliens, but I’m mostly here for monster mayhem. Godzilla is finally released from the ice as he ends up being the last hope for humanity. Like a video game, Godzilla fights monster after monster until he reaches the final boss. Gigan is decapitated shortly after Godzilla is released. Zilla is released in Sydney, but their fight lasts a mere 16 seconds. It’s a hilarious moment that no one expected to see from an official Godzilla film. Kumonga attempts to web up Godzilla, but he doesn’t last long either. Kamacuras is also killed when thrown on an antenna. Rodan, King Caesar, and Anguirus team up to fight Godzilla by using the latter as a wrecking ball. Godzilla doesn’t kill any of them since they were all his allies in the past.

Ebirah and Hedorah are quickly disposed of at the same time since they were both harder to kill in their own movies. Minilla looks on from the sidelines, but he does grow to full kaiju size. Meanwhile, the heroes infiltrate the Xilien ship and Ozaki is revealed to be a “Keizer” capable of stopping lasers in mid-air. As they fight, Godzilla has his absolute final confrontation in Tokyo. Gigan returns in an upgraded form complete with drill hands. Mothra finally joins the fight and focuses her attention on Gigan. Godzilla stops planet Gorath with his atomic breath, but it reveals the mysterious Monster X.

Monster X is a grey humanoid with three heads that ends up being a more powerful version of King Ghidorah named Keizer Ghidorah. Godzilla fighting his archenemy one last time is as satisfying as it sounds, but that’s still not enough for him. By this point the Xiliens are destroyed and Tokyo is a crater. Godzilla turns his attention to the humans, but Minilla steps in to stop his father, while the young Kenta stops his grandfather. It’s a particularly cheesy moment that leads to Godzilla and Minilla returning to the sea. Ending the Toho series with one last roar. Godzilla: Final Wars didn’t need a logical story to be an epic conclusion.

Godzilla roars in Antarctica

Preceded by: Godzilla: Tokyo S.O.S. & Followed by: Shin Godzilla

Terror Comes in Threes!

Godzilla: Tokyo S.O.S. is the only direct sequel in the Millenium era. Since Godzilla Against Mechagodzilla ended in a draw, it would’ve been wrong not to continue. Toho had at least 4 stories in mind, but returning director Masaaki Tezuka did his own thing instead. I definitely wouldn’t have seen Tokyo S.O.S. when my brother did if I knew it was a direct sequel. Since Godzilla Against Mechagodzilla established continuity with the 1954 Godzilla and 1961 Mothra, Tokyo S.O.S. can be considered a remake of Mothra vs. Godzilla. The twin Shobijin fairies return after a mild absence in Giant Monsters All-Out Attack. Masami Nagasawa and Chihiro Otsuka aren’t twins, but they do capture the spirit and singing voice of the original duo.

Longtime Godzilla actor Hiroshi Koizumi returns as an older Dr. Chujo who visited Infant Island decades ago. Noboru Kaneko plays his nephew Yoshito who works as a Mechagodzilla scientist. For some reason the English dub replaces the Kiryu name with the less complicated Mecha-G. Yoshito’s young nephew Shun is also around to see the Shobijin as they warn Chujo to lay the spirit inside Mechagodzilla to rest at the bottom of the sea. Akira Nakao returns as the Prime Minister who doesn’t trust that Mothra can take care of Godzilla on her own. Tsutomu Kitagawa’s Godzilla suit hasn’t changed and neither has Mothra since she last appeared.

Mecha-G loses most of its heavy weaponry in battle, but most of it is replaced by electrical weapons. Aside from Yūsuke Tomoi as Hayama, Yumiko Shaku is no longer the lead since Akane has been promoted. In her place is Mitsuki Koga as Mecha-G operator Akiba who doesn’t like Yoshito and Miho Yoshioka as JXSDF Lt. Kisaragi who likes him a lot. The fight between Godzilla and Mothra is a lot like Mothra vs. Godzilla. Mothra uses all of her strength against Godzilla until she’s killed and replaced by twin Mothra larva that hatch from a giant egg. They spray Godzilla with silk, but it’s Mecha-G who does most of the damage and lays both of them to rest. Godzilla: Tokyo S.O.S. is a familiar kaiju story told in an interesting new way.

Godzilla vs. Mechagodzilla

Preceded by: Godzilla Against Mechagodzilla & Followed by: Godzilla: Final Wars

Project Kiryu

Godzilla Against Mechagodzilla is yet another reboot of Mechagodzilla. After Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack, Toho continued to favor their most popular monsters. Masaaki Tezuka returns to direct after a brief break. It’s also noteworthy for including baseball player Hideki Matsui who is nicknamed “Godzilla.” I know my brother saw Godzilla Against Mechagodzilla, but it’s easy for me to mix them up. You already have Godzilla vs. Mechagodzilla, Terror of Mechagodzilla, and Godzilla vs. Mechagodzilla II. Godzilla Against Mechagodzilla continues to draw its own history from the original 1954 Godzilla, but they do make the unusual choice to acknowledge other kaiju threats from Mothra and The War of the Gargantuas. This time Mechagodzilla is a biomechanical invention that foolishly uses DNA from the bones of 1954 Godzilla.

Like Godzilla vs. Mechagodzilla II, Mechagodzilla is man made and piloted by the Japanese Military. Though they refer to it by the name Kiryu which means “machine dragon” in Japanese. Kiryu is transported and operated by nearby jets that fuel it with radiation. This Mechagodzilla comes equipped with a booster rocket, heavy weaponry, missiles, and a powerful chest mounted Absolute Zero freeze cannon. Much like Godzilla vs. Megaguirus, JXSDF Lt. Akane Yashiro is another strong female soldier haunted by her past with Godzilla. Although the lovely Yumiko Shaku stands out for being more thoughtful. Akane is demoted for unintentionally causing the death of her squadron and characters like Yūsuke Tomoi’s 2nd Lt. Hayama cause her trouble.

She is embraced by friendly scientist Yuhara and his daughter Sara who teaches her the value of life. Tsutomu Kitagawa is back as Godzilla who causes destruction the way he normally would. Kiryu is deployed, but it not so surprisingly becomes sentient thanks to the DNA of 1954 Godzilla. Akira Nakao plays the Prime Minister who takes full responsibility. It’s not long before the problem is fixed and Akane personally fights Godzilla inside Kiryu. Unlike most Godzilla movies, the final fight ends in a draw that leaves the door open for a sequel. Despite being open-ended, Godzilla Against Mechagodzilla manages to reinvent the mecha for the fourth time.

Godzilla vs. Mechagodzilla

Preceded by: Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack & Followed by: Godzilla: Tokyo S.O.S.

The Guardian Monsters

Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack has a ridiculously long title, but a fresh concept. Toho chose Shusuke Kaneko to direct their next film before Godzilla vs. Megaguirus was even released. Kaneko is the only Godzilla director to have also directed a Gamera film (but that’s a rivalry for another day). Originally Kaneko wanted to reboot his son’s favorite kaiju Kamacuras, but Godzilla already fought a giant bug. Something with a mutated astronaut was also considered before settling on Godzilla vs. three guardian monsters. Originally Kaneko wanted to reboot Anguirus, Varan, and Baragon, but Toho wanted more financially successful monsters. So they kept Baragon and once again rebooted Mothra and King Ghidorah. Hence the rare triple bill title. My brother saw the movie before, but I think I only caught the end. What makes Giant Monsters All-Out Attack so different is how they portray Godzilla.

Godzilla was thought to be defeated in 1954, but he emerges again in present day. They take a subtle jab at Godzilla (1998) with soldiers thinking Godzilla attacked New York. This Godzilla is significantly more ruthless with soulless pale eyes and even more powerful atomic breath. Mizuho Yoshida temporarily wears the new suit. Ryudo Uzaki plays Admiral Tachibana who lost his family in the first Godzilla rampage. Chiharu Niiyama plays his determined reporter daughter Yuri who risks her life for a story. She’s assisted by Masahiro Kobayashi as her love interest Takeda. Shirō Sano now plays her eccentric boss Haruki. Kaho Minami as Intelligence Captain Emori represents a stronger female presence in the franchise. Hideyo Amamoto playing a crazy old man is significant since he first appeared as far back as Ghidorah, the Three-Headed Monster. Giant Monsters All-Out Attack is sort of a reverse with Godzilla as the villain and King Ghidorah as the hero. Ghidorah’s appearance is softened as a result.

It’s weird, but they make it work by having Godzilla possessed by victims of the Pacific War. It’s an extra anti-war detail that explains why Japan is always targeted. Baragon is the first to fight Godzilla. Something that hasn’t happened before since the red monster first appeared in a Frankenstein film and they were on the same side in Destroy All Monsters. Baragon is easily defeated, but Mothra and King Ghidorah emerge in the climax. Mothra makes greater use of CGI after her larva form and cocooning. Since Mothra is a guardian monster, the fairy twins are left out, but you can still see a pair of twins on the street. A lot of the English dub is humorous, but the overall tone is a bit more serious. Godzilla kills both monsters who unite as a spirit before Tachibana manages to attack from the inside. Godzilla ends up dying in a brutal atomic explosion. If nothing else, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack earns points for originality.

Godzilla vs. Mothra & King Ghidorah

Preceded by: Godzilla vs. Megaguirus & Followed by: Godzilla Against Mechagodzilla