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Godzilla X Mothra X Mechagodzilla: Tokyo S.O.S.
2 people found this review helpful
Godzilla: Tokyo SOS is a sequel to Godzilla X Mechagodzilla (2002) and a sequel of sorts to Mothra (1961). It's always good to keep in mind that Mothra is the only Kaiju to actually defeat Godzilla and kick him out of Japan before.
Kiryu, or Mechagodzilla, was badly damaged in the fight against Godzilla in the last movie and is still under repair. The military story was tepid at best. Yoshito is part of Kiryu's maintenance crew and dreams of one day piloting the Mechagodzilla. I missed badass pilot Akane Yashiro from Godzilla X Mechagodzilla. She is one of my favorite characters from all of the Godzilla movies. None of the new pilots measured up.
I thought the new fairies did a good job and loved that they were able to sing the Mosura song.
Professor Shinichi Chujo, played by Hiroshi Koizumi, from the original 1961 Mothra, makes a return and is the one the fairies come to visit early on. He and his grandson play a big role in summoning Mothra for help when Godzilla comes calling. And come calling he will as Mothra warned, because Kiryu is made from the bones of the 1954 Godzilla and Big G is drawn to it. Because of the original Godzilla's DNA in Kiryu, the giant metal monster is somewhat sentient making him a wildcard in the fight to come.
This is not one of my favorite Godzilla suits. Big G looks a little like a cobra or a Cardassian from Deep Space 9. Be that as it may, he's still wounded from the previous fight, Mechagodzilla needs more repairs, and Mothra is near the end of her life cycle. Not a three-way fight for the ages but spectacular enough.
Godzilla: Tokyo SOS is entertaining, no great moral to the story for this Godzilla aside from --- always listen to the Shobijin.
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A widower who had worked away from home most of his career comes to find out that his idealized children and their lives are far more complex and complicated than he ever could have dreamed. In his desire to write a memoir based on the letters his wife sent through the years he discovers the distance between himself and his children is further than the kilometers that they live apart.
When none of his children come for the annual summer vacation at the family home after his wife’s death, he goes to surprise each one of them in the different cities where they live. All of their responses are less than enthusiastic for each is hiding a secret life. As the truth is revealed in the separate locales, they all repeat the same mantra they learned from the mother about concealing the truth from him so that he wouldn’t worry.
Most of the acting was very good in this film. Zhang Guo Li as the bewildered father who still sees his sons and daughters as small children in his mind did a superb job going from a rosy world to a more truthful reality. Shawn Dou, as the son who feels he was always the screw-up gave a heartfelt performance as well. The Swan Lake stop with the daughter who danced ballet was particularly poignant.
The only detraction from this movie were a few propaganda moments, especially a disparaging comment about Tibet.
Overall, I enjoyed this movie. The father learned the valuable lesson that when someone says they are fine, it usually means they are not, but don’t want to talk about it. The title truly sums up this family’s interactions with their father, but by erasing the façade and coming to terms with the fact that not everyone is fine, it opened the door to healing and closer relationships.
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The story had a nice mystery thread running through it, but the main plot tended to get lost in the weeds in the telling of it. One of the huge problems was that the fight scenes were often shot in the dark or had choppy editing. The director loved to have intense close ups and pull back--repeatedly. Polly and her double kept the action moving and it looked like fists and feet were landing shots. Li's kung fu looked like he was fighting three feet away from his opponents much of the time. Li Lung Hua was only in 8 films and if this film was any indication of his acting and kung fu talent he probably did need to find another career. I have to say, I laughed a lot while watching this movie, though I'm sure the filmmakers didn't intend for the audience to do so.
Lung Fei made a guest appearance as an assassin and a personal favorite, Lo Lieh, played one of the suspects in the murder case. These two helped make the movie more interesting for me, especially Lo Lieh. If Polly seemed overly animated it might have been because she was trying to infuse energy into her scenes with her lethargic co-star. Unfortunately, in the dubbed version I had to watch the voice over actress gave her a whiney voice. I'm pretty sure one voice actor must have voiced all the men and he made some curious choices at times to try and differentiate the characters.
A few of the fight scenes were creative including a contest on large iron balls. There are a couple of twists in the story to make things more interesting. Overall, it wasn't enough. In a kung fu film if the fights are not inspired and the actors are lacking in charisma no amount of jade arhats can save it. Only for fans of Polly or hard core kung fu fans.
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In this story, Godzilla didn’t die in 1954, only re-appearing in 1966 and 1996. It’s the same rubber suit from Godzilla 2000 though the stories don’t appear to be linked.
The scientists can’t figure out why Godzilla resurfaced after Japan went to completely clean energy sources eschewing nuclear and plasma energy. We as viewers know that Godzilla doesn’t come rampaging into town without a reason, but the afore-mentioned scientists decide to build a logic defying black hole weapon that is fired from space. I’m no scientist, but the “logic” behind a 2-meter black hole fired from a satellite would be enough to send real scientist Neil deGrasse Tyson on his own rampage.
I don’t need a rehash of Japan’s role in WW II and the US nuclear testing in the Pacific, but I do need a character to have a critical eye toward the bonkers deadly high tech they created to deal with Godzilla-a miniature black hole weapon fired from space that would contain him in another dimension? Forget Godzilla, think of the damage that such a weapon could cause to the planet or against other people, especially if something goes wrong or it’s enhanced. It’s the same dangerous hubris that caused Godzilla and his buddies to be created yet that point is completely ignored in this movie. Where is Dr. Serizawa when you need him? Godzilla didn’t come into town doing the Monster Stomp for no reason, better check out the secrety secrets going on with this version of the G-Force.
The miniatures were fine, there were creative miniature underwater scenes, and an aircraft that defied the laws of physics. The mix of regular scale, miniature scale, and CGI didn’t always transition smoothly but it was less jarring than other aspects in this movie.
One of the things I like about Godzilla movies is that there is usually a female character featured, sometimes sadly they are the reckless female reporter or someone added for scream affect. Kiriko was cold and emotionless and out for revenge against Godzilla, but a step up from said reckless reporter that has to be rescued type. Kudo, the tech geek was cute if not a great thinker outside of his inventions. I didn’t find the humans particularly interesting and honestly couldn’t root for them as they sought to kill Godzilla when it was their recklessness that caused him to attack in the first place. And any group stupid enough to unleash black holes as a weapon really needs to be eradicated. My loyalty is with Big G on this one.
A test black hole created a wormhole which let through Godzilla’s and Earth’s next foe---a giant dragonfly and/or egg. Again, no one asked whether the danger of using the weapon, letting something worse than Godzilla in, might be reason enough to not use it. While Megaguirus made a devious villain, the queen dragonfly didn’t get much screen time and neither did Godzilla. Her minions, the meganulon or smaller dragonflies made an appearance until Big G played Kaiju bug zapper to them. (They looked like the creatures from the original Rodan which killed a bunch of humans and also made a tasty treat for the hatchling Rodan.)
Aside from disregarding Godzilla’s past and the completely ridiculous pseudo-science, this movie made the cardinal sin of making me look at my watch wondering when it would be over. There wasn’t enough action or enough compelling human stories to keep my attention for much of the movie. Godzilla initially being swarmed by a bunch of the plane-sized dragonflies is annoying, I get it. How many times have I wished that I could fry mosquitos with my mind when they come after me? It took too long to get to the real menace and the real action. Once it did, the movie picked up but by then it was mostly over and the human’s smug use of an abomination of a weapon was all that was left.
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Bank of Seoul touches on the long hours salary men put into their jobs and how their lives, bodies, minds, and families suffer because of it. With the gift of not needing sleep and with the help of the Korean version of Red Bull he works around the clock to succeed and gain the promotion that had always seemed out of his grasp. Of course, the genie never gives a gift for free--what happens when the bill is due?
Most of the story centers directly on Seong Jae, played by Park Hee Soon. He gives a quiet performance of a man pushed to the edge of desperation and obsession.
The film is dark, both in mood and cinematography. Most of the shots are at night or under the cold glare of fluorescent bulbs.
Forty minutes was just about the right amount of time to tell Seong Jae's story as he and other sleep debtors strove to succeed and survive in a never ending night.
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I've seen reviewers compare it to Lord of the Rings and Indiana Jones. The plots in those films were laid out more clearly than this one and the characters were more fully developed. Though they relied on CGI and mythology they were also character driven. In this movie, Shu Qi's character felt plopped into the story with no background of where she came from, what her skill sets were, and much of anything about her except that she had been in a complex intimate relationship with Chen Kun's character. They dressed her like Lara Croft, but instead of being a badass she more often than not ended up at the mercy of someone else. We're given plenty of flashback scenes of Chen Kun's relationship with Angelababy which felt thin instead of like an epic or all consuming story of innocent love that would have haunted him for twenty years. It was strange to have all the romantic flashbacks while they are trying to make me care about his bickering relationship with Shu Qi. Sometimes I can just go along for the ride even when the story is all over the place but this was not one of those times. I didn't care for the side kicks at all, finding them more annoying than funny. The villains were completely lacking in spark for me as well as all the red shirts (Star Trek reference). And time and time again most of the characters behaved in illogical manners that caused many of the dangerous situations. Without their reckless behavior I suppose there wouldn't have been the opportunity for all the moments of once again escaping death with spectacular special effects.
The special effects were actually pretty good and there were plenty of scenes where they pulled out all the stops to display them. I just wish that I'd cared enough about the characters to feel a sense of tension when they were running for their lives or dangling by a thread. I don't mind the old tropes of booby trapped tombs, swarms of ravenous creatures, and buildings crumbling apart, just give me some people to care about as they save the world from destruction---again.
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I would only recommend this movie to completionists or people who enjoy early 1960's sci-fi movies. When Godzilla does a little dance after a fight and uses his boxing method, there's also little doubt this movie was not made for adults.
Godzilla and Rodan have almost nothing to do until the last three-tenths of the movie. Most of the movie explores the story of the aliens attempting to take over Earth which might not have been so bad if they hadn't tried to overtake humans by boring them to death. There was a plot to use Godzilla and Rodan in their conquest, but let's be honest, Godzilla moves pretty slowly, it was going to have to be a long game. The plot was thin and convoluted even for a Godzilla film from this era right up to the ending. A thin plot can often be overcome by some interesting monster action. Even in that area this movie failed as parts of the action scenes were recycled from earlier movies.
I may be a Big G fan but even grading on a curve like I do with all of his movies, this one was disappointing.
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The action choreography is not intricately laid out. The early fights were done at night making it almost impossible to see the action. Instead of it feeling claustrophobic, it was more frustrating. This is an ugly hack at each other with swords with blood spewing and body parts flying kind of fighting. Fire is used in some fights and bodies are shown badly burned. It’s a war of vicious attrition between the handful of constables and the seemingly endless supply of bandits. I fully expected KC to cry out a quote from another movie, “Worse! How could it get any worse? We’re at the threshold of hell!”
KC may have been self-righteous, loyal to his superiors and men, and utterly ruthless to his enemies, but his true enemies knew that and used it against him. In his narrow view of the world, he completely missed who the real enemy was.
I thought Ku Feng gave a particularly sympathetic performance as the father of a blind daughter who is being hunted by KC. Chen Guan Tai conveyed a range of emotions as an obsessive constable doing his duty, as a man who cares for his men and also as a man who tastes the bitter bile of betrayal. Director Kuei Chih Hung and writer Szeto On were able to make me care about these two characters who were not easy to care for.
While I can appreciate how this movie tried to show the bleak suffering of the times, I can’t say I particularly enjoyed it. I enjoyed the performances I mentioned. I prefer the lightning fast and well-choreographed fight sequences in other martial arts movies better than these slower fights. Without a clear-cut hero to root for or characters who are on screen long enough to be invested in them, I found myself unable to connect emotionally to most of the characters. Having said that, I can see why some people really like this movie and its bleak message, if you are a fan of martial arts movies, especially from this time and from this director, it is worth giving a try. For me, though a movie I’m not sorry to have watched, it’s one I won’t revisit.
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We are told somehow, somewhere, someway humans found a magical alien crystalline energy source in outer space and it transformed human society. We are told some alien Big Bads decided they wanted it and started attacking the earth. We are told about major cities being devastated world wide. We are told about loving longings between characters. We are told about friendships between characters. Another important thing this movie forgot---showing is more important than telling.
I found it utterly impossible to emotionally connect with any of the characters. Shu Qi is a beautiful and talented actress who was given the job of standing around looking at a monitor and giving orders. The four young pilots featured didn't have enough charisma or meaningful interactions with each other to have me invested in their lives or even remember who they were half the time. The rest of the cast acted in such a reserved manner as to feel almost lifeless.
Much of the CGI was good, even if the part of the alien spaceship they showed looked suspiciously like the ship from Independence Day. Too bad they forgot the part where we were shown what the actual aliens looked like from that movie, to make the battles seem even more personal and real. In Shanghai Fortress with all the amazing weaponry the humans had developed to combat the aliens, I'm at a complete loss why they still fought the alien robots on the ground using ineffective bullet shooting guns. There were several plot developments that made no sense.
Sometimes I can check my brain at the door and just enjoy the ride if the characters are compelling enough but this felt more like a hologram that was all visual with no substance.
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I'm going to start off with what I liked. The quality of the miniatures, sets, 1968 special effects, and space ship was quite good. I had to remind myself that this movie came out a year before the first manned trip to the moon. I appreciated their optimism that the world would be fully cooperating in 1999 not just on Earth but the moon as well. On the monster front, eleven popular Kaiju stars made appearances: Godzilla, Mothra, Rodan, Mandan, Kumonga, Baragon, Varan, Gorosaurus, Minya, Anguirus, and Ghidorah. The fight near the end was all you could hope for in this era from Ghidorah against Godzilla and friends.
What let me down about this movie-in a movie called Destroy All Monsters, I want to see monsters. I suppose it could have been talking about the aliens because out of 88 minutes, the monsters were only on screen for around 18 minutes. The alien story could have been interesting but the acting was stiff and unemotional from humans and aliens alike. There were some entertaining moments, but not enough to keep me from wondering what the monsters were up to while the humans were talking.
Even though I was happy to see all the monsters in one movie, it would have been nice if they'd felt like the stars instead of guest stars in their own movie.
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The characters were well rounded and even the supporting cast had weight and depth to them. The main leads had proper character development, unlike many cardboard cut-out characters from other martial arts movies.
Cheng Pei Pei was only 19-years-old and already she showed she could carry a movie. Though she lacked in fighting experience her grace and steely gaze made her character someone to be reckoned with when she drew her blades. A truly strong female lead who faced danger head on and dispatched her enemies on her terms. Yueh Hua was convincing as the Drunken Cat and leader of the beggar children who always showed up when needed and fought without fighting for the most part.
If I had one complaint, it was the number of musical scenes. I had to keep in mind that the songs were a subterfuge and means of passing along messages which would have made more sense to me the first time it happened if the copy I watched had subtitles for the songs.
The fight scenes were crude compared to later movie sword-fights but this was cutting edge at the time. Pei Pei's fight scenes were often stylized and dance-like, maybe not realistic but beautiful. Camera angles enhancing the actors' movements as well as attachment for the characters' well-being kept the fights interesting and also moved the story along. The story was well-written and was surprisingly well-layered.
The cinematography, sets, and costumes were definitely a notch above many of the wuxia movies from the time and even those that followed.
Come Drink with Me is an entertaining and well made movie, a worthy grandmother to Crouching Tiger, Hidden Dragon and other movies which benefited from it's storytelling.
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Most of the cast does a decent job of acting. The female lead gave it her all throughout the film and committed herself to the role. There were others who seemed to be reading their lines.
The biggest problem was with the production values. The first 10-15 minutes weren't bad. The cinematography and fights were okay. Then the quality plummeted. Some of the costumes and wigs were downright awful. The evil Japanese couple seeking to steal the list of corrupted officials from the swordswoman and the man she was protecting had wigs that looked like they came out of a bad comic strip. They tried speaking Japanese at one point and then gave up and went back to Mandarin. The evil eunuchs laid it on thick with the high pitched voices to the point it sounded like they'd breathed in helium before some scenes began. I rarely notice music unless it's really bad or really good. I noticed the music in this movie and it wasn't really good.
The movie played out like a wuxia sketch show complete with errors that no one bothered to correct. At one point an unconscious character lying in the road rolled away to avoid being hit by a carriage and then went back to being prone. The sword fights were slow, very slow and badly choreographed. Quite honestly, I laughed out loud several times during the movie at scenes that were not supposed to be funny.
Despite all the errors and bad fight choreography, there was an interesting story hidden beneath the rough appearance. The movie played out in earnest with many heroes and bad guys falling. Normally, I would have scored a modern movie of this quality lower, but because a swordswoman was prominently featured I gave it a little bump because a woman with a sword is my weakness. Unless you are looking to watch a very low budget wuxia you might want to give this one a pass.
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Once again, aliens are looking to take over the earth using monsters to help them defeat Godzilla and the puny humans. In this movie they summon King Ghidorah and Gigan, two formidable enemies. Their base is a children's theme park with a Godzilla tower supposedly to promote peace but like Nick Fury said in The Avengers, we know they mean the other thing. The humans working against them are an oddball bunch including a clutzy, inept manga artist, his black belt girlfriend, a weird hippie guy and a scientist and his sister.
The funniest and most surreal bit in the movie is when the good guys get hold of one of the alien computer tapes and play it. They can't figure out what it means but Godzilla and Angilas hear it on Monster Island. Using cartoon bubbles, Godzilla asks Angilas to go check it out and they have a short "conversation". It happens again later in the movie as well. Weird even for a Godzilla movie.
After KG and Gigan stomp through Tokyo, Big G and Angilas enter a tag team match with them. The movie intertwines clips from earlier movies and they don't always mesh very well. I'm all for the monster grappling matches but this had to be one of the longest ones in Godzilla history and honestly, was a little boring. Angilas was pretty useless as a partner and Godzilla spent most of his time on the ground and seemed to forget he had that destructive atomic breath. Godzilla's design and size also didn't seem formidable reflecting how ineffective he was for much of the movie.
Godzilla vs Gigan had it's entertaining moments, too bad they came few and far between.
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Godzilla, Mothra, & King Ghidorah: Giant Monsters All-Out Attack
2 people found this review helpful
Once again we have a plucky female heroine, this time the intrepid reporter, Yuri. More often than not she ended up playing the damsel in distress in need of rescuing no matter how brave and spunky the writers intended her to be. Alongside the guardians, the humans led by Yuri's father, have also developed a weapon they hope will put an end to Godzilla's reign of destruction.
Instead of random, almost unseen people getting killed, Godzilla's victims are often shown close up or are characters who have been introduced. There are real stakes with the humans' and guardians' lives. Godzilla has returned to being the terror that he was in 1954. The monster fights are actually quite good and entertaining as each Guardian does their best to take down Godzilla. Once the action starts around thirty minutes into the movie, it never lets up. Overall, this was an entertaining kaiju movie.
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Her mother wants her to find a husband who lives in the valley where they are able to get two harvests a year and attain slightly greater wealth and stability than the one harvest they are limited to in the mountains. A Qiu desires so much more for her life and studies hard to be eligible for a quality secondary school. She knows that education is the opportunity for a life not tied to the rice paddies. Unfortunately, that education costs more than the little family has to spare.
Without being overly dramatic the film shows how precarious life and dreams are when the cost of education can be too high when measured by grains of rice.
I enjoyed this film largely because of the family unit who worked together and looked after each other. The score and loving shots of the characters and land wove together with the narrative to make a compelling, spare film about life, family, and dreams.
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