Godzilla Contra o Monstro do Mal

This Godzilla film, being the third in the second series, offers a lot of things for the fan . This is the plot: People from the future come to present day Japan to warn the citizens about the threat that is Godzilla and that he will totally destroy Japan and offer their assistance to get rid of it. The futurians deves a plan to go back to the past to the event in which Godzilla was created by moving him from the site where the atomic bomb was used to create him to a neutral location. However, the futurians have an ulterior motive, they create King Ghidorah and use him to destroy Japan, for economical reasons. Unfortunately thier plan to get rid of Godzilla backfires greatly. Not only did they not get rid of Godzilla, but he comes back bigger and more powerful than he was before, and that spells major trouble for both the futurians and Japan.

Hitchcock would have admired the no-nonsense progression of this movie. There's no stuffing around with unnecessary sub-plots or boring character histories basically what we want to hear about is Godzilla.

This is from the modern series of Godzilla redoes. The original was 1955, and millions of camp sequels followed in the 60's - and now these latest movies in the 90's. So this looks like a modern movie - with modern technology available, yet they've retained the puppet-like Godzilla. Many have complained at how fake it looks - but considering all the other self-reference, they've definitely done it one purpose. Why do Godzilla computer animated when the vintage puppet Godzilla is so fun!

There's nothing better than a camp movie that knows its camp - this is very fun stuff. For example, the obvious parody of American sci-fi flicks: we see two US soldiers discussing casually how they'll take over the island they've just discovered "yes, the stars and stripes will fly here too." And they see our heroes flying in on their time machine/ufo and think its a space ship (which it is). One says to the other: "Let's just keep this secret. You can tell your son about it, when he's born, Major Spielberg." The slickness of the entertainment actually is the best homage to Spielberg here. These are the kinds of movies Spielberg makes, and the kind of movies we all used to love when we were kids. Good on them, I say.

There is plenty of sci-fi action: UFOs, time machines and futuristic creatures. There are also references to American war movies in the war-like sequences with US troops fighting Godzilla on the Bikini Atoll (or whatever atoll it is - one famous for Nuclear testing). There's adventure, also: the troupe going back in a time machine to 1954 to try and wipe Godzilla from existence is a very exciting adventure premise.

7/10. Thoroughly recommended entertainment.

There's a lot to dislike in this film: awful English scripts, more plot holes than plot, and a long wait before Godzilla finally shows up.

Luckily, all of these flaws are made up for by its awesome monster battles, fantastic music, cheesy humor, and sheer entertainment. In the end, the balance is positive, and anyone who can get over their logical disbelief should have a lot of fun with this movie. It reminds us that there's more to movies than dull realism and sophisticated storytelling.

It's no masterpiece, but its definitely one of the Big G's most fun films.

"Size does matter." So proclaimed the ad campaign of the Americanized Godzilla foisted upon us by Emmerich and Devlin in 1998. If only they had paid more attention to movies like this before they tried to retool Godzilla. Because their overgrown iguana is no match for the towering behemoth of indestructible, nuclear-fueled fury introduced in this movie.

Untold legions of fans grew up with the original Godzilla in the '60s and '70s. We found comfort in the quite cheesy special effects, massive plot holes, extreme overacting, and hilarious dubbing. Not to mention the martial strains of Akira Ifukube's trademark musical scores. The heisei series of second generation Godzilla movies may have offended some purists, but did stick with many of the same elements. Many of the effects were now very good, but others were still unintentionally laughable. The dubbing, of course, was as bad as ever. Logic is the last thing one should expect from a Godzilla plot, and it's not very much in evidence here. But this is all how we like it!

From the tortuous contortions of the time travel plot came a new Godzilla, leaner and far meaner than ever before. No more would he be the protector of Japan. Along with the new origin backstory for Godzilla, we're treated to one for this new King Ghidora, which resembles the original Ghidrah only in name and appearance. But while it took the combined might of all of Japan's monsters to slay Ghidrah, the new and improved Godzilla singlehandedly slew Ghidorah without working up a sweat. Truly a force to be reckoned with.

It's a shame that the second generation films were never released theatrically in the US and only recently released on video. Americans deserved to see that there wasn't a vacuum between Godzilla 1985 and Godzilla (1998). And a generation of American kids, too young to find the old films interesting, lost a chance to be hooked on what's arguably a cultural icon.

Once again swarmy aliens (this time from Earth's future) show up, make promises involving monsters, and then turn out to be up to no good. "Godzilla vs. King Ghidorah" takes place in three time periods, Lagos Island in 1944, Tokyo in 1992, and somewhere near what was Japan in 2204. Like most time travel stories, the plot does not bear close scrutiny (despite some fans' best explanatory efforts, the story is riddled with inconsistencies and paradoxes), but is imaginative and allows for a variety of kaiju action. Briefly, the 'Futurians' plan to eliminate Godzilla from the time-line by preventing his 'genesis' (by teleporting the dying proto-Godzilla dinosaur to the bottom of the Bering Strait where it won't be exposed to the 1953 H-bomb tests that turn it into the monster) BUT sneakily, they leave behind three little creatures that, when exposed to the radiation, become King Ghidorah who is under Futurian control and will be used to threaten/blackmail 1992 Japan BUT, as you apparently can't go anywhere on Earth without being exposed to radiation (our bad), Godzilla-genesis occurs anyway, producing a larger, meaner monster who defeats Ghidorah, sending him to the bottom of the ocean battered and minus one head BUT, in 2204 "We have the technology, we can rebuild him". The monster action in this outing (the 18th) is excellent, with the new 100 m tall Godzilla looking mean and predatory, while his adversary is a beautifully realized vision of vast wings and writhing golden snakes. The only thing lacking (IMO) with this iteration of the three-headed dragon is the original three-tone electro-chirpy calls ("three heads, two tails, and a voice like a bell"), which have been replaced by a more generic, less interesting, roar. The increased size of the monsters limits the details of the buildings that they trash, but the destruction scenes are still very good, especially the final showdown in Tokyo. On the downside, the dubbing on the version I watched (Tristar DVD) is weak, with random Shatneresque pauses in awkward sentences and some terrible lines such as "Take that, you dinosaur" (perhaps a feeble attempt at comic-relief). The film also liberally 'borrows' images from other works, such as a cyborg that runs fast in slow-motion and who, at one point, emerges from a fiery car accident with the underlying metal showing (the cyborg is a gimmicky character the movie could have done without). Overall: despite the derivative and implausible plot, mild peachiness, and (allegedly) rampant anti-Americanism, the film's pacing, excellent visuals, and great Akira Ifukube score make it a fun entry into the long-running franchise.