Meanwhile, members of the United Nations Godzilla Countermeasures Center arrive at Birth Island in order to plant a mind control device on Earth's Godzilla. The Cosmos, Mothra's twin priestesses, appear to psychic Miki Saegusa and warn her of SpaceGodzilla's arrival. M.O.G.U.E.R.A. (Mobile Operations G-Force Universal Expert Robot: Aero-type), a mecha built by the JSDF to replace Mechagodzilla, is sent in to intercept SpaceGodzilla, but suffers damage in the process.
Although director Kensho Yamashita and screenwriter Hiroshi Kashiwabara had more experience in producing teen idol movies, they were not newcomers to the kaiju genre, having both assumed minor roles in the making of Terror of Mechagodzilla. The two decided early in production to make the film more lighthearted than its predecessors and more focused on character development, centering it on Megumi Odaka's recurring character Miki Saegusa, who had previously played marginal roles in the series. The emphasis on lightheartedness was such that a scene depicting Godzilla desperately trying to rescue his son from SpaceGodzilla's crystal prison was deleted on account of its seriousness, a move disapproved of by Godzilla suit actor Kenpachiro Satsuma.[2]
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by Walter Chaw Godzilla is a reaction to America's attack on two civilian targets with nuclear weapons in the same way the current American superhero cycle is a reaction to 9/11. King Kong is an offshoot of Edgar Wallace's sledgehammer racist "Sanders of the River" tales, which he parlayed into early drafts of the screenplay that eventually became 1933's King Kong. Though it's possible to make a Godzilla or a King Kong movie without these ghosts of American war crimes, colonialism, and racism haunting it, Adam Wingard's Godzilla vs. Kong (hereafter GvK) ain't it. Not when these two giant metaphors for the poison of American exceptionalism destroy Hong Kong, a Chinese city the British only recently returned to the Chinese, before banding together to fight a Mexican-American's Japanese-piloted robot dinosaur. The film is a mess, an ideological jumble and a disaster of narrative that reduces its able cast to half exposition dump, half glazed reaction shots. It doesn't have anything to say and even in the worst of its predecessors, this was never the case. GvK isn't interested in ecology, in arms proliferation, in sociopolitical struggles--and failing all the big things it's not about, it's also free of parental issues, a romantic subplot, a compelling villain, or, indeed, a compelling hero. It's a giant nothing-burger. And that's without mentioning this new craze of writing a perfect minority child to teach the growed-ups how to get in touch with their better natures.
Recorded before the movie came out, Wingard's feature-length yakker is fittingly breathless. Much of it pertains to his roots in low-budget filmmaking, which served him well on a production that often struggled to subsidize its creators' whims. In other words, lots of repurposing of props and footage took place. Wingard even drew the fake children's drawings instead of leaving it in the art department's hands. He takes credit for the idea of the magic axe, and says his "main drive" in making the film was to see Godzilla fight Kong in "a synth-wave neon city." Godzilla vs. Kong is pretty much what you'd expect from the director of The Guest and the same goes for this yak-track, a frequent shopping list of references to '80s pop culture. (I did enjoy the Norm Macdonald-ish dis on Mecha Godzilla as "the biggest jerk ever.") That's it for extras on the 4K platter, but the retail Blu-ray bundled with it (along with a digital code for download) contains a grab-bag of HD featurettes divided into sections dubbed "The God"--"Godzilla Attacks" (6 mins.), "The Phenomenon of Gojira: King of the Monsters" (10 mins.), and "The Rise of Mechagodzilla" (7 mins.)--and "The King." (The latter contains "Kong Leaves Home" (8 mins.), "Kong Discovers Hollow Earth" (8 mins.), "Behold Kong's Temple" (6 mins.), and "The Evolution of Kong: Eighth Wonder of the World" (8 mins.).) There are also three segments on the "Battles"--"Round One: Battle at Sea" (5 mins.), "Round Two: One Will Fall" (6 mins.), and "Titan Tag Team: The King and the God" (8 mins.)--that mainly offer fight commentary from executive producer Jay Ashenfelter.
Produced by Leva FilmWorks, Inc., these makings-of don't add up to much even though they're high in number, and the use of archival interviews conducted during the press junkets for the previous films, starting with 2014's Godzilla reboot, is both discombobulating and pathetic. I think you could probably turn the camera around on the technical crew assembling these things and find people more informed and passionate about the cinematic legacy of these giant monsters than Brie Larson and Bryan Cranston. At any rate, there isn't much there here beyond a chance to marvel at Brian Tyree Henry's sartorial chutzpah. When Wingard compared his Kong to Eastwood in Unforgiven, I nearly sprained a wrist doing the jerk-off gesture--though I laughed and laughed and laughed again at him instructing the animators to replicate his own Jack Dorsey beard in updating Kong's look. The whole movie should've been Kong doing weird hipster shit in the Park Slope equivalent of Skull Island, maybe him and Godzilla starting rival coffeehouses. Credit where credit is due, it's neat discovering through plentiful B-roll that some of the more fantastic backdrops were physical sets as opposed to virtual ones. What's less neat is the Pacific Rim erasure as the filmmakers pretend it's a straight evolutionary line from Godzilla vs. Mechagodzilla to their Godzilla vs. Kong. This entire package took me a month to review because it's like trudging through quick-drying cement. They call this living?
Godzilla vs. King Ghidorah was the first Godzilla film since 1975's Terror of Mechagodzilla to feature a newly orchestrated score by Akira Ifukube. The film was released theatrically in Japan on December 14, 1991, and was followed by Godzilla vs. Mothra the following year. It was released direct-to-video in North America in 1998 by Columbia TriStar Home Entertainment. Though Godzilla vs. King Ghidorah was more financially successful than Godzilla vs. Biollante, the film attracted controversy outside Japan due to its perceived Japanese nationalist themes.[4][5]
Following the appearance of a black cloud resembling a mountain, Godzilla emerges from Mount Fuji and begins a destructive rampage despite having become tolerant of humans within the past years. Godzilla's ally, Anguirus, confronts Godzilla, only to be nearly killed and forced to retreat. Keisuke arrives shortly after to check on Masahiko and Miyajima. Godzilla's rampage continues until another (and the real) Godzilla emerges and battles it. During the fight, the first Godzilla is revealed to be an imposter called Mechagodzilla, a massive robot armed with advanced weaponry made of the same strange metal, later revealed to be space titanium. Godzilla is severely wounded, but inflicts some damage on Mechagodzilla before both monsters retreat. Miyajima hypothesizes, based on Mechagodzilla's advanced technology and composition, that the robot is an alien superweapon.
Masahiko, Miyajima and his daughter Ikuko explore the cave where the space titanium was first found, but are captured by ape-like aliens from the Third Planet of the Black Hole, who plan to use Mechagodzilla to conquer Earth. Their leader, Kuronuma, forces Miyajima to repair the robot. While Saeko checks into a hotel and guards the statue, Keisuke leaves to meet Masahiko at the caves, only to encounter the reporter, who reveals his real name is Nanbara and that he is an Interpol agent who has been tracking the aliens. After Nanbara and Keisuke infiltrate the alien base and free the prisoners, Keisuke and Ikuko leave to pick up Saeko and the statue while Miyajima, Nanbara, and Masahiko stay behind, only to be recaptured by Kuronuma.
The next morning, a lunar eclipse results in a red moon and a mirage of the sun rising in the west. Seeing this, the team realizes they have to awaken King Caesar. They meet with the priestess and her grandfather and place the statue in the temple, revealing King Caesar's resting place. As Kuronuma dispatches Mechagodzilla, the priestess sings to awaken King Caesar and Godzilla appears shortly afterward. The two monsters join forces to fight Mechagodzilla. When the robot tries to escape, Godzilla uses its stored electricity to create an electromagnetic field to attract Mechagodzilla before tearing off its head; causing it to explode. While the mortified aliens are distracted, Nanbara and the others free themselves, kill their captors, and sabotage the base, fleeing as it explodes. With the enemy defeated, Godzilla heads out to sea and King Caesar returns to its resting place while the humans rejoice.
Two years later, while on a mission to Adona Island, a Japanese team comes across what they assume is a large Pteranodon egg, which gives off a telepathic signal that attracts Godzilla and Rodan, an adult Pteranodon irradiated by nuclear waste. Godzilla critically wounds Rodan during the ensuing battle while the research team escapes with the egg. It is taken to a research center in Kyoto, where it imprints on a young female scientist. When a Baby Godzilla hatches from the egg, the research team concludes that the egg was left in the Pteranodon nest with Rodan in a manner similar to the brood parasitism displayed by European cuckoos. Godzilla appears, once again responding to the creature's psychic call. The JSDF mobilizes Mechagodzilla, which intercepts Godzilla as it is heading to Kyoto. The two battle, with Mechagodzilla initially having the upper hand until Godzilla disables the robot with an energy pulse. Godzilla continues searching for Baby, but the scientists, having discovered the telepathic link between the monsters, shield it from Godzilla. Frustrated, it destroys most of Kyoto before returning to the ocean.
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