Gojira vs. Mosura

"Godzilla vs. Mothra" is a somewhat preachy kaiju movie in which Mothra, a friend to mankind (despite, as we are constantly reminded, our selfish and stupid behavior) faces off against Battra, a guardian of Earth who was created millennia ago in response to an attempt by our distant ancestors to control the weather. Godzilla, having been awakened by a meteorite crashing into the ocean shows up and the two giant bugs have to decide whether to join forces against a common enemy of both man and the Earth. Other than some superfluous "Indiana Jones"-style archeological adventures, the movie is essentially a bug-fight with Godzilla thrown in as an after-thought. I liked the original adult Mothra (1961, 1964) but I'm not a fan of her colourful new appearance (she looks like she's made of fuzzy pipe-cleaners and covered with dyed poodle fur) or her new 'laser beam' (?) abilities. Both larval forms and the adult Battra look pretty good, and the scenes where Mothra passes through her cocoon stage (wrapped in silk, leaning against the Japanese parliament buildings) was great (I was disappointed when Battra's corresponding morphological change was instantaneous). The Heisei-era Godzilla suit is still looks great and the 'fight' scenes are pretty well staged (for a monster that can take tank shells in the chest at close range, Godzilla sure hates having the tip of his tail bitten). As always, Akira Ifukube's score is great and brings back both Godzilla's iconic march and Mothra's beautiful theme (IMO, the best music in the franchise). The acting is pretty typical for a 90's Kaiju outing: fine in non-demanding roles, but the 'Cosmos', Mothra's little fairy-familiars are neither as sweet nor as melodic as the Peanuts (who originated the roles in "Mothra" (1961)). The dubbing in the version I watched (a Tristar DVD) was OK (although the greedy CEO of Murutomo has a silly, cartoonish voice). The environmental self-flagellation in the film is about as subtle as one would expect from a Godzilla film (even when compared to G. vs Hedorah) and comes across a bit self-righteous for a country that uses over 20 billion disposable wooden chopsticks a year, mostly made from imported wood. All-in-all, number 19 in the series is an OK outing but a step down from its antecedent, the gloriously silly "Godzilla vs. King Ghidorah". The Japanese seem to suffer from collective kaiju-amnesia (there is no reference to Mothra having visited the islands before) and show tremendous aplomb (no one seems particularly surprised when two gigantic moths show up).

A meteorite falls from the sky into the "Ogasawara Trench" in the Pacific Ocean. It awakens Godzilla, and Battra ( a sea going monster with a huge horn in its' forehead, and spikes for skin). The meteorite inspires an atoll to pop up and expand into an island. Cut to an Indiana Jones wanna-be, who is busily robbing an ancient tomb somewhere in Indonesia. After he gets the relic he wants, and escapes from the trap his thievery sets off, he's caught by government men and jailed. After being freed from jail by a company that wants his relic, He and his ex-wife, who works for the company, go to the new island, "Infant Island". There they find a giant, multi-hued egg, and discover mini twins, (they're called The Cosmos in this movie) who live in a flower, and will translate the various noises the Monsters make. A ship is hired to take the Egg back to Tokyo. It Hatches on the way back And that's just the first fifteen minutes.

Let's see - The Cosmos sing four songs to Mothra, in untranslated Japanese; Battra's red eyes shoot red lasers, which kill everything they touch; Godzilla shoots blue lasers from his mouth that make things explode, and which whitens his teeth ( he ought to patent that); and Mothra shoots white..stuff that forms a cocoon for him when he's ready to evolve, or which immobilizes his enemies. When Battra and Mothra have morphed into their flying forms, they are actually beautiful ( as long as the camera doesn't get too close). Nagoya (sp?), Tokyo , and Yokohama get stomped in this one.

The fourth movie in the Heisei series, this Godzilla movie is a fairly solid entry in the long-running Godzilla series. This was the most successful Godzilla movie of the Heisei series although critically, it's seen as one of the lesser films in the second Godzilla series.

The plot deals with a meteor crashing on earth, awakening Godzilla, Battra, and uncovering Mothra's egg. Battra attacks mankind for poisoning the environment, Godzilla attacks EVERYTHING, and Mothra tries to protect mankind from both menaces. There's a sub-plot thrown in dealing with a treasure-hunter and his ex-wife, as well as some not-so-subtle themes about the environment and Megumi Odaka as the psychic Mike Saegusa (sadly, her role is thin in this one).

The special FX are great for the most part. The kaiju battles are fierce, although a bit too flashy (due to the nature of the monsters). There are some memorable scenes: Godzilla rising out of the volcano, Godzilla destroying Yokohama, Mothra coming out of its cocoon, and some others. The main liabilities in the special FX is Godzilla's return to his old roar (as opposed to the one he used in the previous 3) and Mothra's attack on Tokyo doesn't look too convincing.

Overall, a good monster movie. The pace moves reasonably well. The monsters are fun and exciting as always. The preachy manner of our need to protect the environment isn't handled well, but it's not like it matters too much. After all, I watch these movies to see monsters fighting.

With this movie of the Heisei (1980s-1990s) series, I think Toho studios was on a role. With cool special effects and beautiful music, this became one of the top 10 grossing Godzilla movies. Who wouldn't like to see a rematch between Godzilla and Mothra. This movie is an update of the 1964 version of "Mothra vs. Godzilla."

Mothra's egg is exposed after a storm (or meteorite) hits it. A trio of explorers try to bring the egg to Japan under the influence of a greedy entrepreneur (sound familiar?). Godzilla appears out of the ocean to attack the explorers' ship, which is hauling the egg. The egg hatches into Mothra and the two do battle. The Peanuts, who played Mothra's twin priestesses in the 1964 movie, were succeeded by the Cosmos. They talk in unison, as usual. Dressed in pink with braided hairs and wearing Mothra signs, they bring back the traditional "Mothra's Song." If you're interested on buying a Godzilla soundtrack, see if you can track down the record version of this song, performed by the Cosmos with music by Akira Ifukube. It rocks! The song is sing in Malaysian, as always. However, in the record version, the Cosmos sing a verse of the song in Japanese. With echoing concepts from the original film this movie introduced a new monster, Battra (Mothra's evil twin), who is out to destroy earth but ended up helping Mothra battle Godzilla. How depressing to see the main guy Takuya (Indiana Jones?) in the film rooting for Mothra and Battra while battling Godzilla at an amusement park with his annoying ex-wife Masako and his irritating daughter Midori. She talks to the Cosmos and Mothra like she was talking to any human being. Where's her astonishment? Somebody should buy her a Godzilla toy and send her home!

Plenty of monster action, but I would have like to see Godzilla stomp on the city more and Mothra and Battra take a few more beatings from Godzilla, to the shock of the humans watching. And, I would have liked to see the Cosmos and their purpose emphasized more positively. They care for the Earth and wanted to appeal to its leaders to save the environment, but then again call for Mothra to save them from the entrepreneur while destroying Tokyo in the process??

Many of the characters in this movie is a little off-the-wall, with the exception of Miki Saegusa. She delivered another solid performance, helping to enhance the suspense of this story. She uses her psychic powers again, this time to track down the Cosmos.

Some sounds effects were a little off, like Godzilla's radiation beam sounding like it needs tuning and the larvae stage of Mothra sounds like it is on roller skates. But hey, this Godzilla flick is an satisfactory source of entertainment on a boring, weary weekend.

Grade C+

A very solid entry into the giant monster genre. What makes this stand out compared to most other kaiju flicks is the way that the human characters are actually likeable and entertaining to watch. Unlike many other kaiju films, the "plot-explaining" scenes here are not a nuisance that clutter the film and delay the giant monster fight scenes we're all waiting for. Instead they blend into the film well and feature characters that one can grow to like (Masako and Takuya's affectionate bickering was very amusing, for instance). It says a lot about the strength of the human characters when you consider that even the little girl featured in the cast is not a nuisance (though she does utter the hilarious line "I'll make my daddy get a -real- job!").

The actual city-stomping and monster-on-monster battle scenes are a delight as well, and there are plenty of them. While they're beginning to show their age, they still look polished and convincing enough to be entertaining, and are done with lots of style. Special mention must go to the beautiful music, which adds to the film greatly.

Of course, the main storyline is pretty daft, though stomachable. As usual with Mothra around, there's a rather thick environmentalist message to blurb out, but the subject's treated in a not too clunky fashion this time. There are the odd moments of cheesy special effects or clumsy dubbing, but nothing too serious. All in all this is a very entertaining film. It makes a good introduction to the genre for kaiju newbies and kaiju fanatics will lap it up. In fact, anyone with an interest whatsoever in modern Japanese culture shouldn't hesitate about checking this out.

That, and the chanting of "Mossura ya, Mossura..." tends to stick with one ^^.