Virgil Vox, on 07 May 2013 - 12:29 AM, said:
And I'm joking.
While not the travesty I was expecting, it wasn't a good movie either.
Whew. Had me going there.
I was also a fan of the callbacks to Godzilla Vs. Biollante. Here we see Chinatsu Gondo, sister of Goro Gondo, and Yuki, Goro's friend. Goro of course was killed by Godzilla in GvB. I think it's the first time we've seen how Godzilla's rampages affect people later on.
I might've appreciated that more if I'd seen GvB, but I doubt it would've offset all the awful. What I thought was particularly stupid was how there was no effort from the telepathy team or anyone at G-Force to stop Yuki from interfering with their experiment.
Speaking of, she annoyed me so much in this movie. Practically everything out of her mouth was about how nobody should hate Godzilla and he just needs to be left alone and anyone who wants to kill him is a doodyhead. I'm exaggerating of course, but she did get upset at Yuki and Shinjo for wanting to kill Godzilla.
You're not exaggerating by much. I hated how the moral ambiguity of the previous film was replaced by Miki's simplistic whining about how Godziwwa had feewings too and they were meanies for trying to kill him. In a lot of ways, this film was a throwback to the later Showa-era films where Godzilla was an antihero rather than a villain. Its version of Baby Godzilla (here renamed Little Godzilla) was like an even more chibified caricature of Minya from the Showa films. And the special effects in the space scenes were so awful that they looked like they dated from the '70s.
One reason I hate this film so much is because it undermines the whole approach of the Heisei Era. I've complained about how GvKG sent mixed messages by trying to paint the "original" Godzilla as some sort of traditional protector beast of Japan, and how much that clashed with the villainous -- or at least aggressive and dangerous -- Godzilla of the other Heisei films, but this one is a full-on Showa rehash that just doesn't fit the era tonally. The problem is that they brought in a whole new creative team aside from the FX staff, people who'd never done Godzilla before and who just didn't approach it the same way.
I hate you Miki. So much.
Don't hate Miki -- hate what the writers did to her.
At least he gets trapped in crystal and is gone for most of the movie.
Except what's really frustrating to me is that after Little G is trapped, nobody in the entire film reacts to this event in any way
. Even Godzilla doesn't seem aware of it immediately after it happens. I assume the audience was supposed to be worried that LG was in SpaceG's clutches, but it was never called attention to or acknowledged or reacted to by any of the characters. Except for one brief nod at the end to LG being free again, it's like the film forgot it happened immediately after it did happen. It's incredibly bad story structure. And it underlines that there's absolutely no reason for Little G to be in the film at all. He's a complete afterthought.
I get that Christopher. I do. I even like that they're making it more complicated than just bad monster versus good humans. I'm still within my right though to complain that they used an utter travesty of a time plot to introduce a Godzilla they said was meaner, bigger, and not at all Japan friendly in one movie and then almost immediately after say that we all need to learn to get along and that it's all shades of grey. That was not the message they were giving in Godzilla Vs. King Ghidorah at all. Plus, it just got old having Miki constantly berate everyone who said the tiniest negative thing about Godzilla during SpaceGodzilla. That was a case where less definitely would have been more.
I just don't think GvMG2 deserves the blame for the conceptual flaws of GvKG or GvSG.
And again, GvMG2 was not saying "we all need to learn to get along." It was saying that it's arrogant to assume we have the power to conquer nature. It was saying that life will ultimately triumph over technology. To some extent, its message was rather dark and fatalistic, that we humans can't complacently assume that we will survive or succeed as a species, that someday we may be gone and Godzilla will endure. The most optimistic thing it had to say was that if we left Godzilla alone, maybe, just maybe, he'd leave us alone, so long as we had the good sense to stay the hell out of his way. Not "getting along" so much as respectful avoidance, like the way we'd deal with lions or bears, say. Some films make Godzilla out to be a hero or a villain, but I think many of the best ones, including GvMG2, acknowledge that he's neither -- he's a force of nature, an immensely powerful and predatory animal driven by instinct and need like any animal, and we are to him as ants are to us. So it's not about making friends; it's about learning how to cope with natural forces despite their dangers and their complete lack of regard for our safety or our priorities. Kaiju movies are essentially disaster movies, albeit with somewhat more personalized disasters than most.
I think GMK was the only movie that gave Godzilla a reason to attack Japan. Against MechaGodzilla kind of did, once Kiryu was built. Godzilla was drawn to the bones of the original, but Kiryu was only built after Godzilla randomly attacked Japan in the opening. I guess Vs. Megaguirus did too, since Godzilla was after energy sources.
In the original, the explanation was that the nuclear tests in the Pacific had displaced Godzilla from his natural feeding grounds and he was seeking a new food source. I'm not sure we ever saw him eating anyone, though. In the sequel Godzilla Raids Again
, it was explained that he'd attacked Tokyo because the bright lights attracted and enraged him, which meant the military could use flares to draw him away from populated areas. In Mothra vs. Godzilla
, he was blown ashore by a typhoon and was drawn to Mothra's egg, either as an enemy to destroy or a potential food source.
In a lot of the movies, Godzilla isn't really deliberately targeting cities; they just happen to be in the way of his wanderings. This is particularly evident in SpaceGodzilla
, which contrives things so that Godzilla's path as he goes to confront SpaceG just happens to pass directly through three major cities, and they get wrecked simply because he prefers to go through them rather than detouring around them. That's pretty hard to swallow, though, because even in highly urbanized Japan, only about 4% of the surface is covered by cities. Then again, most of the interior is mountains, so the cities are spread out over a large percentage of the coastlines; thus there'd be a somewhat better chance that any random path starting in the ocean, such as Godzilla's wanderings, would intersect an urban area.
I don't know. I thought G-Force was a natural extension of the Godzilla (and giant monster in general) fighting forces. It makes sense that a new unit would be made to specifically combat giant monsters.
Yes, it's a logical development. Usually the Japan SDF or some specialized branch thereof like the G-Graspers is portrayed as the organization responsible for kaiju fighting, but I like it that Heisei gave us a global, UN-sanctioned task force. It makes sense that the whole world would react to the threat of daikaiju, and it gives a sense of larger stakes to the movies.
But the UNCGC was made to counter the threat of Godzilla unlike the more generally themed JSDF and it should be noted that the UNCGC doesn't exist outside of the Heisei era. So I do think the Heisei series was meant to be self contained and Destroyer was meant as the last Godzilla film and it's possible that the American movie and the death of Tomoyuki changed that.
Was the American film regarded as that big of a travesty (apparently my new favorite word in this post) that they felt that big of a need to rush a new Godzilla movie into production? I'm not complaining, mind you, but it seems like a bad reason to create a new film.
The Heisei era was concluded due to falling box-office returns, and the plan was to hand the baton to TriStar to produce a trilogy, and hold off on making any new Japanese G-films until the 50th anniversary in 2004. But when the TriStar film bombed, Toho did indeed rush a new film into production for the 45th anniversary. That may have influenced the format of the Millennium series -- maybe the reason they did three separate "audition" films before settling on a direction was because they hadn't had time to go through a proper development process for a new continuity and thus were using them as pilots of a sort. Although ultimately they decided not to continue any of those three continuities but hired the Megaguirus
team to create a fourth continuity, the Kiryu universe -- which only lasted two films before falling box office killed it and they decided to do another self-contained continuity to wrap the series up for the 50th anniversary.
Edited by Christopher, 07 May 2013 - 09:31 AM.