Godzilla Against Mechagodzilla (2002) and Godzilla: Tokyo S.O.S. (2003)

Godzilla Against Mechagodzilla

Decades after Godzilla's last attack, the Japanese feel they are cursed, having since been beset by other kaiju. When a new Godzilla appears, things seem dire, and the government wants to be prepared. Several robotics experts are hired, including single father Tokumitsu Yuhara, tasked with using the bones of the old Godzilla to create a new mechanical defender, dubbed Kiryu. No sooner than it's complete will Kiryu have to prove itself in the field. But not all is as it seems, and there might still be some of Godzilla's spirit lying dormant within this seemingly benevolent robot...

Godzilla Against Mechagodzilla (not to be confused with Godzilla vs. Mechagodzilla) is the third film in the Millennium era. Once again rebooting the series continuity, it tells its own little story, bringing back a classic foe with a twist.

The film has a quick and economical beginning, which also sets up the military, their fancy weapons, characters and conflict, as well as the backstory. When you write it out like that it sounds like a real mouthful for only 10 minutes! But it comes across very easily, and the film overall has a very good pace. It also has a pleasantly short runtime of only 88 minutes.

Besides Godzilla, there are also quick references here to Mothra, and Frankenstein vs. Baragon. Despite tying into three previous films, two of which aren't even in the same series (ish), this is in no way confusing or hard to follow. It's more of a cute little easter egg, that helps build the world up.

Unlike past films, scientists are asked to build Mechagodzilla by the good guys this time, and for noble purposes. Since it's the government footing the bill, reporters are asking where the money's coming from, concern about it being used as a weapon against other countries. I'm glad the movie thinks of things like this, and it discusses them just enough, without dragging them on.

Godzilla Against Mechagodzilla has an almost futuristic feel to it despite being set in 1999-2003. It's a neat touch, showing that just because something is set in a boring time period, you don't have to be normal!

The monster action here is very good, with some some issues. There are only two fights, but both major and spaced out well. Thanks to the good pacing and engaging story, it doesn't feel like too much time has passed.

Godzilla here is like a natural disaster, coming every few years, with predicted areas of damage. No malice, just a force of nature. His first scene is a simple attack, but strong! He's got a surprise in for him though when he meets an opponent! He must have been having an off day though, because Godzilla does a lot of standing still during some of the big fights here.

Perhaps more than any other this entry delves into Mechagodzilla's construction (I thought he was being piloted Voltron or Power Rangers style, before realising that's what the planes were for). He even gets a proper name, Kiryu. I'm not sure if a cute little name like that really fits a scary giant robot of death, but at least it helps distinguish this good Mechagodzilla from the evil one of the Showa era. And that's of course another big element. Mechagodzilla is a good guy here!...Well, mostly. Hearing Godzilla's roar unlocks his inner destructive spirit, causing a brief rampage, but thankfully genetic evil is the kind of thing scientists can find an off switch for, so he's all set for the next fight.

All this does beg the question of why make a robot from bones? If you're already making the robot, does a few mouldy old fossils really give it that much more power? I do like the mix of science and magic though. It speaks well of a movie that's unafraid to show these two elements side by side, instead of always insisting magic is just science under a different name, or going a completely fantasy route where science is useless and only the wind and the rain can help stop Godzilla.

The characters here are pretty strong. Akane is the main human lead, with the biggest arc. After failing to save her teammates years prior, there's bad blood with the rest of the squad, particularly the brother of one of the dead men. Despite her guilt and anxiety, and diminutive supermodel appearance, she proves herself a strong heroine.

Squadmate Hayama is believably pissed off at Akane, but takes it a bit far, even causing his teammates to go "Cut the crap, we're fighting Godzilla here, not Akane!". He doesn't hold this grudge for an annoying amount of time. When Akane saves him after Kiryu's attack, their bond doesn't immediately fix, but as the climax goes on, she really goes the mile for him, and it's great to see how things change for the better.

Scientist Tokumitsu is a good guy, and shares a nice friendship with Akane, while is daughter is the heart of the film. She almost runs the risk of being a bit wishy-washy, like, do you want Godzilla defeated or not, little girl?? But overall she's a wise girl, has good points, and she gets the adorable line of "Why are we making it fight Godzilla when it just wants to be friends?".

The effects here are standout. The practical moments are just as impressive as ever, with a great Godzilla costume, and a new fancy Mechagodzilla, sleek and cool. His face is as expressive as ever, despite never moving.

Miniatures, explosions, and destruction all looks convincing, and the use of CGI mixes well with the action. It's sometimes a little noticeable, maybe a bit dodgy, but it's mainly used just for those little moments of monster movements harder to replicate with suits.The sky in these monster sets always looks great too, showing that the traditional Showa blue sky still looks good even in the 2000s!

The direction here is very good, with distinct shots and a strong use of colours. Godzilla has some fearsome close-ups, and TV action is handled well. A particularly great moment is when Kiryu turns bad, demolishing a building spectacularly, then standing in the orange sunset, as if pondering his existence. Images like this give the movie added emotion. The film is also aided by the score, with bits of rousing triumphant music.

The cast all do a good job. Yumiko Shaku is both pretty and badass as Akane, while Shin Takuma looks like a regular guy, and never overdoes it. Kana Onodera is cute as the daughter, while other cast members such as Yusuke Tomoi, Akira Nakao, and Kumi Mizuno do well, with no real bad performances in the bunch. Also of note is a particular line that's experienced some...errrr, internet notoriety. One character comments that "Godzilla's getting away", which...uhhh, sounds like something quite suggestive in English!

Godzilla Against Mechagodzilla doesn't really do anything new per se, but nor does it try to. It just wants to be a fun monster adventure, and while it could've done a bit more, to that end it succeeds perfectly...

Godzilla: Tokyo S.O.S.

Soon after Godzilla's last attack on Japan, the government has been scrambling to repair Kiryu. But a complication ensues after a visit by the Fairy Twins of Orphan Island, begging for the old Godzilla's bones to be put to rest. The government is unwilling to simply abandon Mechagodzilla and leave the country vulnerable, but the fairies insist that their guardian Mothra will be Japan's protector in its place. Before a solution can be found, Godzilla is back, and it may take more than one defender to save Japan this time...

Despite the Millennium series resetting the continuity each film, there was a brief effort by Toho to keep a running story going, beginning with Godzilla Against Mechagodzilla. This was to last through one more film, before resetting once again for the 40th anniversary.

Godzilla: Tokyo S.O.S. (bit of a random title, but not too bad) is a pretty good entry. It's good as a direct sequel, but also still works as its own film.

The plot is fairly thin, and once everything is all set up, it's pretty much set in real time. This means it isn't able to feel as expansive as it could've, but it's not bad. The film relies on great contrivances to move the plot forward in a few places, like a magic block showing the way, characters having sudden visions, etc.

While Tokyo S.O.S. does move fairly quickly, there is one issue. There are no monster fights until 40 minutes in, then we basically have one big fight spread over the next 40 or so minutes! It sounds exhausting, and at times it is a little, but it's broken up with enough other action, and divided into several smaller encounters. i.e. Godzilla vs Mothra, vs Mechagodzilla, vs the larvae twins, etc. 

There's enough human action here to satisfy, and while it's nothing amazing or complex, it all gets the job done. There's a Mecha G repair scene that almost feels like Mission Impossible.

The plot does have a big hurdle to overcome. The big message is that Japan must stop using Kyru to fight, and to dismantle it...in a film about giant monsters fighting! Wouldn't its continued use, which must happen to give us a good movie, undermine the message? Thankfully this is all dealt with well, and the film ends in a satisfying way, with Kyru choosing to take Godzilla far away. Since you know the Big G's not gonna be killed, this was a satisfying compromise.

The film has some interesting commentary that reflects the creation of the nuclear bomb, and how ever increasing weapons begets more and more. And I like that it's resolved with the government taking the decisive step to learn from their mistakes, instead of repeat them.

Overall, while there's not really enough story to justify this as a necessary sequel to Godzilla Against Mechagodzilla, it's still a worthwhile story, that wraps up any remaining loose ends...Except for one thing! The movie ends with a post-credits scene that teases a new threat, which would never be answered. This is a shame, but at least it doesn't end the duology on an unresolved cliffhanger.

The characters here are basic, but effective. Our leading man is Kyosuke Akiba. who replaces Akane as Mechagodzilla's pilot. This leads to a rivalry with a fellow squadmate, which can get amusingly homoerotic. He also gets a nice love interest. Akiba's a good guy, and has an ok character journey.

Also here is Dr. Shinichi Chujo, the lead of 1961s Mothra. He's a nice presence, acting as a go-between with the fairies and government, and trying to be a voice of reason. He gets to do just enough, without hogging the screen. Nor do you have to have seen Mothra to get everything from his character. It's all self-explanatory. His grandson is also a pretty clever and resourceful lad too, despite having the survival skills of a lemming!

Once again it's funny seeing the government here openly believe in magic. These politicians are good role models too! They believe in the little fellas, they're willing to scrap their pet projects, and learn moral lessons, etc. They even selflessly want to save Mothra at the end. Why can't more real pollies be like this??

The supporting cast is ok, with a brief cameo from Akane to pass the torch. There's also an adorably American submarine crew, who I was sad to see go!

Godzilla's character, for lack of a better word, is a bit lacking this time. His reasons for rampaging are vague. I guess he is a giant monster, and doesn't need the most complex reasons to destroy Tokyo (and the same is true for all other kaiju), but I dunno, here it felt noticeably thin, like he just happened to be surfacing just because.

Kiryu is back, defending Japan well once repairs are finished. He's missing his Absolute Zero cannon, which is for the best. It was written to be such an effective weapon that it'd have to fail or miss every single time, otherwise it'd kill Godzilla permanently. It's also amusing how despite being made of metal strong enough to withstand giant monsters, Kiryu's maintenance hatch is weak enough to be taken out with a few bullets! Lucky for Akiba! Unlike last time, Kiryu's inner character doesn't surface till the last few minutes, and isn't destructive this time, just seeking peace.

Mothra is an altruistic giant monster, wishing to protect Japan in Kiryu's stead. This raises the question of 'Hang on, didn't Mothra destroy Tokyo last time she was here?'. This is partly why the government is unwilling to scrap their project. Mothra comes to Japan's aid anyway, and...promptly gets her ass kicked! You're a bad protector!

She's a bit of a bad mother, really, bringing her kids to fight Godzilla only moments after they've been born! Talk about a trial of fire. Just before you think about custody hearings though, she proves otherwise by sacrificing herself in a great moment.

Her kids meanwhile are alright. Not much to them, but for what screentime they have, they're fine, and get a couple of nicely expressive moments. And no-one's faulting their bravery! Only just hatched and they're all ready to take on Godzilla.

The effects here are great. The monsters are really well designed, and Mothra in particular is really done justice! CGI is used here to add great visual additions to her appearance and powers. The miniatures and such are all once again neat too. The direction goes hand in hand to make some great imagery.

The music here is fairly standard stuff. Nothing as memorable as Akira Ifukube's famous scores, but it's good, and each monster has their own neat tracks. We also have a nice rescoring of the classic Mothra theme. The cast here do a good job too, with some new younger actors, and old Toho favourites.

Godzilla: Tokyo S.O.S. is a pretty basic entry in the series, but there's nothing particularly wrong with it. It gets the job done, and delivers a brisk 90 minutes of giant monster fun! No harm in that...