Filmsy - Movie Reviews Blog

Godzilla (Gojira, 1954)

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Gojira

When most people hear the name “Godzilla” they instantly think of the cheesy films like “Godzilla vs. Megalon” or “Godzilla vs. Gigan”, blissfully unaware that, at one point in time, Godzilla meant a whole lot more than some goofy mascot used to sell action figures. The original Godzilla produced in 1954 isn’t some schlocky B-movie. Quite the contrary, it’s a dark and frightening look at the horrible consequences of nuclear weapons and a magnificent commentary on the fears of Japanese citizens post-World War II.

The fishing boat Eiko-Maru mysteriously vanishes out in the Pacific in a blinding flash of light bursting from beneath the waves. Shortly afterward, the people of Odo Island fall victim to a bizarre rampage that destroys half their village, leading them to believe that a legendary beast known as “Godzilla” has come to destroy them. While investigating the strange footprints left on the island, Professor Yamane, his daughter, Emiko, and her lover, Ogata, come face-to-face with the titanic beast-itself. Godzilla soon appears in Tokyo Bay, destroying homes and murdering scores of people. The Japanese government races to find a means to destroy Godzilla before his next attack, but all standard military weaponry is absolutely useless against the monster. Emiko’s fiancé, Dr. Serizawa, has created a weapon that might be capable of killing Godzilla, but the weapon is so incredibly destructive it could be worse than any nuclear bomb.

By 1954, the effects of Japan’s defeat in World War II were still being felt all over the country and few had gotten over the atomic destruction of Hiroshima and Nagasaki. Additionally, the Japanese fishing ship, the Lucky Dragon, had been accidentally caught in a US atomic bomb test, killing all onboard. Atomic weaponry was a concept the Japanese feared tremendously at the time. Godzilla wasn’t just a giant monster, he was atomic destruction personified, given a corporeal form and a face. His behavior is unpredictable, uncompromising and unstoppable. People look at the original Godzilla and see another giant monster B-movie along the lines of “Earth vs. the Giant Spider”, but they do themselves a great disservice by ignoring the extensive social commentary and historical significance of the film.

Godzilla-himself is nothing like the Irish-jig dancing, child-rearing, kid-friendly character you’ll see through-out the 60’s and 70’s. He’s a brutal killing machine; an absolute force of nature. He levels homes and businesses, murders thousands, sets cities on fire, kills women and children indiscriminately; Godzilla is pure evil. His eyes glow in the darkness, completely devoid of emotion or sympathy; at times he seems to actually target the people scurrying beneath his feet. The aftermath of his devastation of Tokyo is shown with full force. Bodies lined up and down hospital hallways, numerous orphaned children weeping for their parents; this isn’t Power Rangers or Gamera, Godzilla’s attack is looked at like a real disaster situation with all the tragic repercussions that follow. Director Ishiro Honda never spares the audience the gruesome outcome of Godzilla’s rampages and does a startling job of making the entire scenario disturbingly realistic.

The human characters in this movie are all very interesting and carry the story along with ease. Dr. Yamane is hesitant about killing Godzilla because he’s the last of his kind. Emiko, Serizawa and Ogata have a love triangle going which adds depth to their situation. Serizawa is a very stand-out character and possibly the most memorable human of any Godzilla movie. His tragic sacrifice at the end is truly heart-breaking.

Eiji Tsubaraya’s special effects are phenomenal considering the time they were made, the budget they were made with and the short period of time they were provided to produce them. In fact, they’re nothing short of miraculous. Godzilla’s suit is extremely detailed and frightening, mixing aspects of both dinosaurs and mythical dragons. The miniatures are by far one of the most impressive accomplishments of the film, with dozens of buildings crumbling beneath Godzilla’s feet and actually looking like they have a weight of tons rather than ounces. There are a few instances of dodgy effects, such as the Godzilla hand-puppet used through-out the film or the wires on the fighter planes being clearly visible. Yet these noticeable errors are easily forgivable considering the overall impressive special effects work of the film.

The opening of Godzilla is something I also think is note-worthy in that it immediately expresses the dread the title character embodies using an incredibly minimalist approach. You are presented with a black screen accompanied by loud, crashing stomps which is soon followed by a bizarre, unearthly roar. It then leads into the title and opening credits which make way for the movie’s theme. The late Akira Ifukube’s score is truly epic and one of the most memorable movie themes out there. The opening of the film, which consists of nothing more than title cards, sounds and music, sets the entire atmosphere of the movie in a matter of minutes. A very impressive display.

While I will always enjoy the American version of this film, “Godzilla, King of the Monsters”, I must admit that the original Japanese version of the film is truly superior. Godzilla is a magnificently dark and moody film that has a whole lot to say.

Grade: A+

Lupin III: the Castle of Cagliostro

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Lupin III Castle of Cagliostro

There have been lots of Lupin III the movies, and there have been lots of Hayao Miyazaki movies, but there’s only been one movie where the two flavors have combined to forge a veritable Recess Peanut Buttercup of cinematic flavor. Hayao Miyazaki had had years of experience working on previous Lupin III television shows, so his firm grasp on the characters shines magnificently in this film. However, one does not have to be a Lupin III-fan to enjoy this movie. As a matter of fact, you don’t even need to know who Lupin III is. Castle of Cagliostro is an animated masterpiece one can watch with the entire family (except maybe the really little ones).

Lupin III is the world’s greatest thief. Along with his partner and super marksman, Jigen, the pair travel to the isolated European country of Cagliostro to get to the bottom of a century’s old counterfeiting ring. Things are never so simple when it comes to Lupin, though. The greedy Count of Cagliostro wants Lupin dead so that he won’t interrupt his marriage to the young Princess Clarisse, who is the key to uncovering the country’s ancient treasure. Lupin makes it his mission to uncover the counterfeiting scheme, save the Princess and defeat the Count all at once. Complicating matters, though, is the arrival of Interpol’s Inspector Zenigata, who will stop at nothing to arrest Lupin. Lupin and Jigen have their work cut-out for them, so they get help from the Japanese swordsman, Goemon, and the femme fatale, Fujiko.

The Castle of Cagliostro, like many of Miyazaki’s films, feels like a timeless classic as you watch it. It hits upon numerous “fairy tale” themes, like a noble thief rescuing a beautiful Princess from a dangerous castle, yet in true Lupin III spirit, has a manic pace coupled with lots of crazy humor. Made in 1979, it was one of Miyazaki’s earliest films, and while it doesn’t contain the level of detail and nuance that his future endeavors would be known for, it has a quality to it that seems light-years ahead of its time.

The animation from TMS (Tokyo Movie Shinsha) is very impressive, considering the age of the film, and holds up extremely well to today’s standards. There are maybe one or two noticeable animation errors, but nothing to pull one out of the experience.

The characters are just as important as Miyazaki’s direction in regards to the success of this film. Even if one is not acquainted with the volumes of material and extensive background histories that go with each character, it’s easy to appreciate them all for their individual quirks and special talents. While the bulk of the film is dedicated to Lupin and Clarisse, Miyazaki makes sure to give each classic Lupin character their own time to shine. Goemon might come out the weakest of the bunch, receiving maybe two lines total in the entire movie, but the quiet-approach is true to character and he gets some of the flashiest moves in. Jigen, my personal favorite member of the Lupin crew, is a total riot in this film and participates in some of its best moments.

The Japanese voice track, featuring the late Yamada Yasuo (Lupin) as well as Kobayashi Kiyoshi (Jigen) and Naya Goro (Zenigata), is classic. Each actor has been voicing the characters for decades and little else sounds more natural. The English dub provided on the Manga Video DVD release is actually very good, with voices that lived up to my expectations. While Pioneer has the best English cast for Lupin III (there are numerous different dubbing studios doing the plethora of available Lupin material, which is very annoying), the Manga Video cast take a more serious approach to the characters which fits in with the tone of the film perfectly. While I love the Pioneer cast, they work better with the goofier Lupin material, and this film is anything but a dirty slapstick comedy like other Lupin III movies.

The Castle of Cagliostro is one of my favorite animated films ever, and the best piece of Lupin III animation ever produced. The animation is impressive, the story is timeless, the characters are memorable and the direction is outstanding. While there is some blood and a few curse words, it’s more than suitable for a crowd that can handle PG-rated movies. I’d recommend it for the whole family.

Grade: A

Ninja Scroll

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Ninja Scroll

One of the first movies people watch when they’re starting to get into the whole anime-thing, Ninja Scroll is a movie that’s easy to like. A fairly cut and dry story, Ninja Scroll is entertaining mostly through its outstanding animation, bizarre characters and unforgettable fight choreography.

During the days of feudal Japan, wandering Samurai, Jubei Kibagami, is enlisted (against his will) by the geriatric government spy, Dakuan, to take down Lord Gemma and the Eight Devils of Kimon. The indestructible Lord Gemma intends to hijack a massive shipment of gold and use the wealth to become the all-powerful Shogun of the Dark. Along the way, Jubei and Dakuan meet-up with a cold-hearted female ninja, Kagero. It’s an uneasy alliance at first, but the trio gradually learns to like each other as they are hunted down by the freakish Devils of Kimon.

Mad House Studios, the same people that brought us Spawn the Animated Series, Vampire Hunter D: Bloodlust and Perfect Blue, animate this movie and do a magnificent job. Despite being over a decade old, the visuals in the film are stunning and the fight scenes are brutal beyond words. Director Yoshiaki Kawajiri, whose resume includes the likes of Wicked City and Kimba the White Lion (what is wrong with this guy?), knows how to keep the audience’s adrenaline pumping with his numerous “holy crap!” fight sequences.

You can’t talk about the fight scenes in this movie, however, without talking about the characters, as their individual quirks attribute largely to the action. The Eight Devils of Kimon are monstrous human beings, each blessed with a unique special ability. There’s a guy made of rock, a guy with a wasp’s nest in his back, a guy who can travel through shadows, a blind swordsman and so on. These villains are each very memorable with hardly a single lame-o in the bunch. Jubei, Dakuan and Kagero each have their own special abilities and skills which make them stand out in the crowd, as well. This element of “super powers” almost gives the movie a comic book-feel to it, which might be why it became so instantly popular in the west. Even if you don’t like anime, you’ll most likely enjoy Ninja Scroll.

There are a few downsides to the movie, however. Despite having worked on kid’s shows like Kimba the White Lion and the Fantastic Adventures of Unico, Yoshiaki Kawajiri is a total pervert. While one instance of severe molestation/borderline rape is somewhat essential to a part of the plot, there are unnecessary scenes of people doing it doggy style or women having snakes in their whats-its. I’m not a prude about this sorta thing, but it will most certainly scare off a number of viewers, especially since the rape sequence happens pretty early in the film. These scenes make-up for only a miniscule portion of the actual film, but they’re hard to forget and make anybody watching the movie look like a total perv.

13 years and Ninja Scroll has hardly aged a day. A perpetually cool movie, even if it’s a little unnecessarily erotic. It also spawned a 13-episode television series in 2003, partially due to its overwhelming popularity in America and the Western demand for more Jubei action. Ninja Scroll gets a B+. Would’ve gotten a perfect score if it weren’t for that doggy style bit.

Grade: B+

Sonic the Hedgehog the Movie

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Sonic the Hedgehog the Movie

I suppose the first thing that should be noted about Sonic the Hedgehog: “the Movie” is that, in reality, it was two Japanese OVAs (Original Video Animation) that were placed back to back for the American release. I suppose it’s not a “real” movie, but the episodes transition into one-another so seamlessly that you wouldn’t be able to tell.

On the Planet Freedom, home of Sonic the Hedgehog and pals, the evil Dr. Robotnik is in trouble. His headquarters of Robotropolis has been taken over by Metal Robotnik, and to make matters worse, the power-generator is overloading. If it blows up, Planet Freedom will blow up with it. By taking the President and his bratty daughter hostage, Robotnik coaxes Sonic and Tails to go to Robotropolis, defeat Metal Robotnik and stop the generator from going up in flames. However, can they really trust Robotnik? No, not really. As it’s all a ploy for the REAL plot of the movie; the creation of Metal Sonic!

When this movie was released, the only animated version of Sega’s star-hedgehog that American fans had ever been introduced to were the various kid-oriented TV shows produced by DiC. Writing-quality varied between the shows, but one thing remained the same, bland and slow animation.

With Studio Pierott at the helm, the animation in Sonic the Hedgehog: the Movie is quite beautiful. Maybe not theatrical-quality, but excellent all the same. One thing they managed that the American cartoons often failed at: Sonic looks like he’s going fast. Really, REALLY fast. When he first lets out that burst of super speed at the beginning of the movie, and runs along the cliffside, you know you’re in for a real visual treat.

All the early characters are there: Sonic, Tails, Knuckles, Robotnik and Metal Sonic. This movie was made around the time of the Sega Genesis and Sega CD Sonic games, so this is old-school Sonic through and through.

The story-telling is a fair mix of intense action and goofy anime clichés. Robotnik is nothing like the American cartoons or the Archie comics interpreted him. He’s less a dark and menacing overlord and more a one-man Team Rocket whom the heroes regard more as an annoyance than a threat. Despite this, his antics are actually quite entertaining and the zany animation just makes him fun to watch.

The voice-acting in the English dub is, well, pretty bad. Sonic has an unidentifiable accent. One second he sounds British, the next he sounds Southern Redneck, then he’s a surfer dude…you can’t tell just WHAT the heck he’s supposed to sound like. I’ve even heard people say he has a South African-accent. The Hell? It’s not good if the voice actor is so bad you’re wishing Jaleel White would come back.

The rest of the cast isn’t so bad. Knuckles isn’t quite as angry-sounding as I’d have liked. He works, though. Tails, on the other hand, sounds like he has a cold through the whole movie. Most-likely, the actor was just holding their nose the whole time. The BEST voice, however, would have to be Dr. Robotnik. He has a great mad scientist-thing going, and to make it even better, he’s voiced by the Hitchhiker from the original Texas Chainsaw Massacre. Awesome.

The plot is nothing to take seriously, but it moves along quickly and all the scenes transition into one-another very smoothly. Metal Sonic brought to life is a beauty to the eyes, especially if you like Metal Sonic as much as I do, and his fight with Regular Sonic is a treat.

Sonic the Hedgehog: the Movie is really only going to appeal to fans of the video games, and even then, only to OLDER fans of the video games, as most kids today are only acquainted with the Sonic Adventure 3D franchise and the art design and character set that goes with it. However, if you’re a fan of the old school Sonic titles, you’ll love seeing them brought to life with animation worthy of the characters.

It gets a B. The movie is aimed at a specific market, and a specific age group within that market, but if you’re the target audience, this is the movie you’ve always wanted.

Grade: B

Godzilla X Megaguirus

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Godzilla X Megaguirus

Just as a note, I watched this film in widescreen format with the original Japanese dialogue.

Now, I really don’t understand the distaste for this movie within the fandom. The webmaster over at Monster Zero said that the movie “suffered from a weak final half hour filled with non-sensical technobabble” (to paraphrase). Um…were we watching the same movie? Despite the awkward flying mechanics for Megaguirus the final battle between him and Godzilla was one of the finest.

It’s really a damn good fight scene, with Godzilla pitted against a very different adversary like nothing he’s ever faced before. Megaguirus is blessed with godlike speed, fast enough to dodge Godzilla’s atomic breath. He really just wails on Godzilla for the bulk of the fight; it’s painful. The whole time I was screaming (in my head) “C’mon Godzilla, knock that ****er down!” And after about twenty minutes of abuse, Godzilla finally decides he’s had enough and just takes Megaguirus DOWN! The actor inside Godzilla was excellent, without a doubt. Much better than the actor who played him in Godzilla Against Mechagodzilla (or was that a statue?). When Godzilla finally retaliates successfully it is a real treat. And when he burns Megaguirus to the ground you can tell he REALLY wanted it. A most awesome fight.

But I’m getting ahead of myself, here. The movie’s plot goes something like this: The Japanese Government decides that the best way to destroy Godzilla is trap him in a black hole. Seems practical-enough, so they build an artificial black hole-generator. However, when they test it the machine causes a prehistoric insect called a Meganulon (those things from the original Rodan, to all you hardcore Godzilla experts) to eventually mutate into a gigantic monster dubbed “Megaguirus”. And, of course, he and Godzilla throw down.

I also have to say, I really liked the pacing of this film. It was fast, real fast. They decided not to waste the film with piddley human drama and just make it all about the monsters. And isn’t that WHY we watch Godzilla movies?

The Meganulons terrorize citizens of Tokyo in true Slasher-fashion. Indeed, parts of the movie seem like they came straight from a horror movie; there’s plenty of gratuitous gore and violence. Actually, it sort of reminded me of Godzilla vs. Destroyah and those 10-foot tall Destroyah creatures that stalked the SWAT team down inside the office building.

And by the way, this is the type of human drama I like to see in a Godzilla movie. The humans shouldn’t try to steal the show away from the monsters, they aren’t the reason I’m watching the movie. So many Godzilla films are almost ruined by really boring human drama that just drags and drags and drags (“Terror of Mechagodzilla”, for instance). This one moves at lightning quick pace and is very well acted. I actually finished the movie liking Kudo quite a bit, something I usually don’t feel about the humans (they’re different in every Godzilla film, why should I care about them?).

I really don’t understand the negative feedback given to this film in the Godzilla community. It is very good, and the second best of the Millenium series, in my honest opinion (“Giant Monsters All-Out Attack” reigns as my favorite).

But no film is without its flaws. The first appearance of Megaguirus is without a doubt one of the most painful moments I’ve ever experienced watching a Godzilla film. Why? I could see the freaking STRINGS! And I saw them TWICE! It’s 2004, people! This shouldn’t be happening! Megaguirus’ flying mechanics are quite ugly throughout his role in the film; you know that “it just wouldn’t work that way”. Megaguirus is a very well designed kaiju, though. He’s wonderfully gruesome in appearance and really looks like a monster out of a horror movie (such was the director’s intent, I’m sure).

Anyway, I give this film a solid B. Definately one of the better Godzilla films I’ve seen, and certainly one of the better installments in the Millenium series.

Grade: B