2001 ‘ゴジラ・モスラ・キングギドラ大怪獣総進撃’ Directed by Shusuke Kaneko
Godzilla has become a distant memory for Japan when the destruction of a US submarine raises alarms for Admiral Tachibana. His estranged daughter Yuri investigates the legend of the guardian monsters, who must rise to protect Japan against the vengeful spirits within Godzilla that seek to destroy both the nation and its people for the suffering they inflicted in the Pacific conflict.
Godzilla, Mothra and King Gidorah, ゴジラ モスラ キングギドラ 大怪獣総攻撃, GMK, Godzilla, Mothra and King Ghidorah: Giant Monsters All Out Attack, Gojira, Mosura, Kingu Gidora: Daikaijū Sōkōgeki, Godzilla Must Be Killed, Giant Monsters All-Out Attack, Godzilla 25 - Giant Monsters All-Out Attack, Godzilla, Mothra y King Ghidorah: Monstruos gigantescos ataque total, Godzilla, Mothra y King Ghidorah: Los monstruos gigantes al ataque, Godzilla Mothra e King Ghidorah Assalto di mostri giganti, 고지라·모스라·킹 기도라: 대괴수 총공격, Gojira, Mosura, Kingu Gidorâ: Daikaijû Sôkôgeki, Godzilla, Mothra i król Gidorah atakują, Годзилла, Мотра, Кинг Гидора: Монстры атакуют, Ґодзілла, Мотра, Кінг Гідора: Атака всіх монстрів, 哥斯拉：大怪兽总攻击, 哥斯拉 大怪獸總攻擊
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Godzilla and Friends Marathon: 42 of 46
Wow! So, that was fuckin' crazy. I really wasn't expecting to like this as much as I did. This film manages to flip the Godzilla franchise on its head. Black is white. Up is down. It's chaos and anarchy. Godzilla has always oscillated between hero and villain. However, even as a villain, Godzilla never felt evil. He's just a force of nature, indifferent to the suffering he causes. He's no more evil than a tsunami or an earthquake. The same, however, cannot be said of the Godzilla in this film. This Godzilla feels more mean-spirited. Almost demonic. He even has the white pupil-less eyes that are often used as a shorthand for demonic…
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Love the approach to Godzilla here: white demonic eyes, motivated by a soulful revenge, full of aggressive rage. There's a scene where he takes out three or four circling aircraft just for the hell of it. So fucking awesome. And the other monsters are pretty cool, too. All around, a highlight of the Millennium series.
“In America they called it “Godzilla” but Japanese scholars disagree.”
A sick burn towards 1998’s Godzilla before the opening credits? Well-played film, well-played.
If this and the Heisei Gamera trilogy are anything to go by, Shusuke Kaneko should direct most Kaiju films. He brings such humanity to them while also depicting the kaijus as awe-inspiring forces of nature and destruction. How he hasn’t done more films is a mystery to me.
GMK really showcases what the Millennium series has to offer. They’re all standalone films that only recognize the original as canon allowing the directors to do pretty much anything they want. That’s how you get something as unique to the Godzilla mythos as this.…
Whoa! This one made me reevaluate what a Godzilla movie could be. While this is true of each one I've seen, this was the first time I thought to myself, "Wow, it's really great that Toho gave its directors so much freedom to reinterpret the Godzilla mythos roughly on a sliding scale between horror and superhero." The results have varied wildly over the last 60 years, and within them so far this is the one most truly into the horror genre, even compared to the original film. The Godzilla of 1954 had to be far subtler, both to convey its postwar message and to work as a genuine horror film, but it was really something else compared to the later…
I can deal with Godzilla causing more homelessness than gentrification, but a children’s hospital? I want to stare right into his blank, soulless eyes and tell him I’m sorry sir but you’re an asshole.
The Millenium Era has been a reboot of the franchise each time out, ignoring all previous films before it, save for the 1954 originating film, because this era simply cannot decide what direction it wants to take our loveable lizard. This is the first time in this (at the time) 25 title franchise, that an entry has made me reevaluate what exactly a Godzilla film can and should be.
Everybody's friendly neighborhood nuclear lizard is back for the kind of kaiju porn we've all grown to love if you love to tune into this sort of picture, but there's just something about this one that sets it apart from the rest that have come before it. Over the years Godzilla…
Of course the guy who gave us the 90s Gamera trilogy steps in with what is arguably the best Godzilla movie since the Showa era. Shot with so much purpose, identity, sense of mythology, and awareness of how fun and at the same time terrifying a monster movie can be. I don't know how this one goes over with "purists", but I'm all for anything that only uses the template as a point of reference more than a set of rules.
great stuff. this movie dares to ask "what if godzilla was an asshole? what if king ghidorah was a hero?" these are the kinds of questions that cinema is all about
The sky was blood red and filled with smoke. And through it a devil appeared, its face was twisted with rage and hatred.
-SDF Adm. Taizô Tachibana
The third Millennium Era film and the third one to ignore all continuity except for the original 1954 Godzilla. Well sorta. In a great moment when discussing where Godzilla has been all these years, Toho takes it's first jab at TriStar's 1998 Godzilla when someone mentions that the Americans mistakenly thought Godzilla made it's way to their shores a few years ago but Japan knows better. Ha! Toho ain't putting up with your nonsense Roland Emmerich.
This go around Toho decided to give the directing duties to someone new yet again, but with…
The third film of the Millennium Era (which started in 1999 but gaslit the world by naming the movie ‘Godzilla 2000: Millenium’) is the third film in a row to ignore all previous sequels and place itself as a direct follow up to the 50s masterpiece.
This extremely lengthily titled film brings in a Godzilla super fan, Takao Okawara, as director. The man responsible for the acclaimed reboot of Gamera breathes new life and energy into the laboured Godzilla franchise. The film starts wonderfully with a clever dig at the Emmerich movie (a character remarks that a monster invaded the US at the end of the 20th Century, that the US claims it was Godzilla but that Japan does not…
A fresh new take on Godzilla? What madness is this!
The smartest thing Writer/Director Shusuke Kaneko does is treat the material like any other Godzilla movie. The Big-G shows up in broad daylight, it's split between human and the military, and there's a fair amount of monster dust-ups.
It's the details of the matter.
Godzilla's unsettling redesign with the milky white eyes.
The sudden personal murders in the mayhem.
The fact that Godzilla is powered by the souls of the angry dead and all the other monsters are now protectors of the earth.
The wheels aren't re-invented when it comes to the human stuff, but it's involving, and the final suicide mission is pretty gripping.
King Ghidorah is a hero here! And he has as much use as King Ceasar! He gets knocked out for the count THREE TIMES and has to be revived with different magical properties.
