A god incarnate. A city doomed.
Japan is plunged into chaos upon the appearance of a giant monster.
Japan is plunged into chaos upon the appearance of a giant monster.
Hiroki Hasegawa Yutaka Takenouchi Satomi Ishihara Kengo Kora Matsuo Satoru Mikako Ichikawa Issei Takahashi Kanji Tsuda Shinya Tsukamoto Toru Nomaguchi Daisuke Kuroda Ren Osugi Kimiko Yo Akira Emoto Sei Hiraizumi Toru Tezuka Ken'ichi Yajima Akira Hamada Ikuji Nakamura Tetsu Watanabe Jun Kunimura Shingo Tsurumi Jun Hashimoto Pierre Taki Takumi Saito KREVA Ken Mitsuishi Kyusaku Shimada Taro Suwa Show All…
a takedown of bureaocracy that honestly believes we can do better, that we're capable of more...instead of blame and anger this presents an optimistic vision of a world where evil comes from pain and sadness but can be dealt with, most people are not evil, just ignorant or flawed, where we all make mistakes but ultimately can rise above them. bless this for being so full of hope and the beauty of humanity, not of humans as individuals with backstories but as a connected group of quirks and facial expressions and body language and feelings, individuals but part of a collective. this is bizarre and funny and heartbreaking, immersive and energetic. we jump in with both feet and don't stop…
when they cued the
I fucking collapsed.
Now I am become death; the destroyer of worlds.
31 movies. There are 31 movies about Godzilla. We are not talking about some charismatic popular character with strong personality that conquered the heart of the audience who feeds their success. We're not talking about a franchise taking place in a enormously rich universe with infinite possibilities of development and open doors to spin-offs. We're not even talking about a commercial sensation in toys and miscellaneous midia sales. James Bond, Harry Potter, Star Wars, Marvel universe, nothing like that. We're talking about a big ass lizard who breathes fucking laser and wreaks havoc on the city.
THIRTY ONE MOVIES ABOUT THAT.
And there will be more. There will always be more,…
Maybe only Anno could have made something so weirdly modern, a simultaneously sincere and completely absurd anti-kaiju that begins as a nightmare bureaucratic comedy of errors then pivots to fully embrace a collectivist Japanese spirit of ingenuity, all of it a reflection of the country's psychic fallout from Fukushima. And that's setting aside the terrific CG version of suit-mation (I know, I'm as surprised as you are). Not necessarily the most exciting movie, but certainly one of the most fascinating and engaged films in the long history of this series.
The King of the Monsters returns to his Japanese roots with Shin Godzilla, a film that all but reboots the franchise on a fresh, clean slate. The story is less focused on countless scenes of mass destruction and more on the political damage control that goes on behind the scenes while the monster rampages across Tokyo, and that's where most of the intrigue of the film is derived. Rather than being a somber fable on the dangers of nuclear testing (a message which is undoubtedly still retained in subtext here), the film slyly criticizes the bureaucratic handling of a major disaster. While a rapidly evolving monster mindlessly obliterates the Tokyo skyline, the higher ups who could benefit their country by…
Godzilla, as both a film franchise and a prehistoric fire-breathing sea monster, has always been defined by its ability to evolve. Originally conceived for the 1954 Ishirō Honda classic that bore his name and first introduced him to the world, Godzilla is the king of the kaiju and the most durable of all movie monsters because — by feeding on nuclear energy — it essentially feeds on human folly, itself. If there’s a more renewable resource, scientists have yet to discover it.
It would be 300-foot-tall understatement to say that some of the Godzilla movies have failed to capitalize on their star’s unique allegorical power (or was Mechagodzilla a poignant metaphor for the perils of worshipping false idols?), but the…
Not bad, the Godzilla monster could have looked a little better, but other than that, this was an okay movie.
"My noodles got soggy. I knew this job wouldn't be easy" - Acting Prime Minister Yusuke Satomi
That quote pretty much sums up Shin Godzilla, a film about a giant nuclear lizard in which the silliest of things is bureaucracy; indecisive politicians too afraid to do the right thing in case it's the wrong thing.
OK fine, bureaucracy is the second silliest thing, Godzilla's first form looks downright goofy with its big, dead eyes. But that's soon forgotten as it slowly drags its way downstream, pulling the river and its boats through Tokyo's streets while civilians run screaming, eerily reminiscent of 2011 Tsunami footage. Given the Fukushima crisis after the Tsunami—and the governments response to it—Godzilla as nuclear parable is…
Holy shit! How much entertainment can be put into one film?
Godzilla Resurgence the long awaited return of the original Japanese monster on his own birth ground is an astounding vision and a total encapsulation of everything that makes a good Godzilla-flick. From second one we are introduced to the menace with his theme music playing as a march for his return. He rises from the ocean, immediately crawls on land and ravages everything in his path. The pace that is set with these early scenes go on for the rest of the film. We get pulled from scene to scene, moment to moment as new characters get continuously introduced. Once…
Perfectly blended retro aesthetics with a complete modern overhaul.
El mítico monstruo, original de Japón, vuelve a casa después de unos cuántos años danzando por el mundo. He de confesar que cierto cierta simpatía por este personaje/monstruo, una auténtica fuerza de la naturaleza con forma de iguana que la radiactividad ha convertido en gigante y que supone todo un reto al que debe hacer frente el ser humano.
Así ‘Shin Godzilla’ vuelve tras ‘Godzilla: Final Wars’ de 2004 de Ryuhei Kitamura y tras haber triunfado en su país natal. Ahora está dirigida por Hideaki Anno, responsable de ‘Evangelion’, acompañado de Shinji Higuchi (‘Attack on Titan’). Tras verla, no me queda duda de que es una película hecha para el disfrute del público nipón, pero que, globalmente, como película se…
Hideaki does Godzilla.
Interesting focus on Beauracrats dealing with - an actual monster attacking Tokyo.
An interesting look at the traditional Godzilla film. Far better than the 2014 version, it focuses on Godzilla even when the creature is not on screen, rather than a dull family drama.
One of the more politically-realistic films about how a government would react to the emergence of a huge creature and its disastrous effects on a major city.
This review may contain spoilers. I can handle the truth.
"Reseña esta película sin poner la palabra "Burocracia"
IMPOSIBLE. La burocracia es la verdadera protagonista. El regreso de Gojira es una mera excusa para dejarla en evidencia. La burocracia como meros escudos entre funcionarios y sus funciones, los cuales siempre tendrán como comodín la infantil aniquilación total a través de armas.
Lo admirable de Hideaki Anno y Shinji Higuchi es que logran eso a una velocidad endiablada, sin que las trabas burócratas signifiquen nunca frustración en el espectador. Los incapaces son ridiculizados y superados gigantescamente pero siguen perteneciendo a la gran maquina "autorizadora". El humor está administrado como mantequilla, de manera magistral, no generando carcajadas sino una sensación general de bienestar, como red salvadora para el resto de emociones