Gojira vs. Supesugojira

Gojira vs. Supesugojira (Godzilla vs. SpaceGodzilla) is directed by Kenshô Yamashita and written by Kanji Kashiwa, Hiroshi Kashiwabara and Shinichirô Kobayashi. It stars Megumi Odaka, Jun Hashizume, Zenkichi Yoneyama and Akira Emoto. Music is by Takayuki Hattori and cinematography by Masahiro Kishimoto.

Godzilla faces two new foes, Mogera - a UN built giant robotic machine, and Space Godzilla - a beast spawned from Godzilla's particles in space...

Oh how nutty it is, here we have part of what is known as the Heisei period of "Zilla" movies, and it's utterly bonkers. Is it meant to be a comedy, serious, thrown together quickly to make some money? Who knows? Who cares? Very divisive in Godzilla fan circles (totally understandable), pic throws a number of action series staples at the piece, slots in Godzilla's kid (a goofy looking Godzuki monstrosity), and pitches the moody big lizard against two foes that creates ultimate fire and destruction mayhem.

Godzilla stomps the city of course, all while trying to keep out the telekinetic skills of the yummy Miki Saegusa (Odaka). There's some truly great matte shots in the mix, mad science, a nifty score that the likes of Williams and Barry wouldn't be ashamed of, and a traditional laser show of a finale smackdown. It's not great, in fact it's pretty dumb and maybe even lazy, but there is merit here for entertainment purpose. So strap yourself in, leave the brain at the door and enjoy the colourful carnage, it's trippy man! 6/10

This is Gojira's 40th anniversary movie. What a strange concoction this one is.

While SpaceGodzilla, who admittedly looks evil and can do evil things, seems a little out of place. I'm not too sure about his powers of flight. He's at his most bastard self when he attacks the more or less defenceless LittleGodzilla.

Little Gojira is a bit odd too. It looks nothing like Baby from "Gojira vs Mekagojira II". But, to its credit, it acts like a young one would. It's playful, it can wander into dangerous situations and it can call out for its parent.

MOGERA is an oddity too. How it could be classed a "sucessor" to the all-powerful MechaG from the previous movie is beyond me (or possibly any G-fan). It's kinda more like the B-squad of mechas. However, I do like its ability to transform into two vehicles. Actually, I prefer it like that.

I'm got going to mention much about Godzilla, except why, for most of the film, his atomic breath is blue? As we all know it turned red thanks to Rodan's self-sacrifice, but why is it not red all the time?

As per usual, the human cast don't have much going for them. I'm starting to dislike Miki Saegusa now. She keeps blabbing on about "Godzilla's rights", but as per usual, she gets led into the plan anyway. I'm not too sure about the guy in charge of the T-project (the one with the long face who smirks to himself a lot). He's kinda like a Japanese Snidely Whiplash.

This one is probably considered by fans as one of the lesser 90s films. Knowing that Toho was essentially buying time for the American film, it's easy to see why they resorted to a Godzilla vs another Godzilla story. I personally enjoy SpaceGodzilla as a villain and have a soft spot for the music. It's not perfect as the plot goes on tangents and the action is at times overbearing but I find some enjoyment out of it.

This is one of those movies that it infuriates me to see so many people get very analytical on. Most people find all so many things to harp on, they forget this movie (and most of the series) is made to entertain. Lots of people criticize the plot, but who really goes into a kaiju fighting movie looking for deep meaning (there are a FEW exceptions)?

Setting that aside, let's get to the review. The plot deals with a monster bred in space that comes to earth to battle Godzilla. It's origins are ambiguous: Biollante or Mothra are responsible in one way or another. After Godzilla is defeated in the first encounter, both monsters retreat and then both tear up Japan as they head towards the final battleground: Fukuoka.

Personally, I thought Space Godzilla was cool. He was quite a difficult opponent to fight. Godzilla's breath for the most part wasn't effective. I liked his design also. The final battle goes on for quite long as Godzilla and a robot ally, MOGUERA take Space Godzilla in a giant crystal fortress. There were some ambitious ideas involving telekinesis; both Space Godzilla and Megumi Odaka use it during the film. I liked the score, it's a lot better than it's given credit for. My favorite part is the destruction montage of Godzilla destroying various cities on his way to Fukuoka. Great special FX and great musical accompaniment.

Overall, an entertaining film.

Kensho Yamashita's "Godzilla vs. SpaceGodzilla" is one of those movies that sets both parts of my analytical mind at odds with each other. The side of me that legs logic go out the window and absorbs the visceral escapism that only the movies can provide goes to war with the critical acumen that dissects and analyzes the movie, even if it is a B-production like this one. This is a much-maligned movie; furthermore, I see where the detractors are coming from. Yet, I always find "Godzilla vs. SpaceGodzilla" to be so relentlessly enjoyable that my acumen, if you could call it that, just gives up and lets the child-within take over. I re-watched the movie a short time ago and found the sames joys that I adored as a kid. That there might be the reason why this still holds up for me, but I do feel this is a better picture that the rest of the world gives it credit for.

It is unquestionably the most bizarre entry in the second series. In two previous entries, cells from Godzilla were transmitted into outer space. Nobody in the movie knows for sure, but they speculate the cells were eventually swallowed up by a black hole and mutated from celestial explosions, thus forming a strange mutation that eerily resembles its Earth incarnation. The new monster, dubbed SpaceGodzilla, arrives on Earth with no apparent intention other than to--what else?--wreck havoc. The military sets loose M.O.G.E.R.A. - a giant robot they recently constructed - to battle the extra-terrestrial menace while Godzilla arrives to duke it out with his outer-space clone.

I freely admit it. Even for a Japanese monster movie, a genre we seldom give serious critical consideration, this is absurd. There are other absurd things in it as well. At the same time, director Yamashita and screenwriters Hiroshi Kashiwabara and Kanji Kashiwa do not kid around with their material. They treat it seriously. I believe that is the primary reason why so many have come to despise this picture. Why do I enjoy it so? The answer, I think, is simply that I always buy into it. I accept the movie on its own terms, and absorb it in a somewhat serious manner. Can I pull out any buried themes or subtexts from it? Did I learn anything about life from seeing two reptilian monsters and a giant robot fighting amongst towers, apartment buildings, and a fortress of stalagmite-like crystals? No, but I always get involved.

What also works, I think, are some of the human elements. Though underwritten by Mr. Kashiwabara and Mr. Kashiwa, the characters are, in a small way, worth caring for. Megumi Odaka reprises her role as the psychic with a bond with Godzilla, but the three principle characters are a trio of soldiers whose beforehand hatred for Godzilla changes into an alliance to save the world from SpaceGodzilla. The three actors (Jun Hashizume, Akira Emoto, and Zenkichi Yoneyama) have some good chemistry with each other and just enough personality to play off their traits. At the same time, they do not distract from the main focus of the movie: monsters fighting in a city.

The special effects are often criticized, even by other Godzilla fans. Admittedly, some of them are dreadful. A scene with SpaceGodzilla and M.O.G.E.R.A. in the Asteroid Belt is deservedly-blasted. Godzilla's adopted son, now dubbed Little Godzilla, has grown bigger but less-convincing since "Godzilla vs. MechaGodzilla 2." The reptilian features have diminished in favor of a more toddler-like figure. Little Godzilla is cute, but maybe he's too cute. However, let's admit it, the scene with him first learning to breathe fire is absolutely touching, more than anything Minya ever did. SpaceGodzilla, however, is a despicable enemy. His design is effective and creative, especially with the two crystals that emerge from his shoulders almost like decorative armor plating. And he does have a creepy personality, deepened and enriched by Takayuki Hattori's utterly brilliant musical score. Godzilla is also in good form in this picture. As frequently noted, most of the battles are "beam wars" where the monsters exchange fire with their various forms of computer-generated energy projectiles: heat-rays, electrical discharges, corona beams, plasma lasers. I like my monsters going tooth-and-claw, but the pyrotechnics and colors used work in their own way.

But the bottom line is that when I see Godzilla and M.O.G.E.R.A. blasting, and being blasted back, by SpaceGodzilla admit that fortress of crystals in the city of Fukuoka (it's nice to see a change of scenery from Tokyo or Osaka) that I root for them not because they are the default, but because I want to see them win. As a result, when they gain the upper hand against this creepy and yet somewhat spectacular foe from outer space, my heart leaps with joy. Monster movies can be involving too.

Godzilla movies draw out my inner-child. That may be the movie-going pleasure that I cherish and embrace the most. And there may be the ultimate reason why this movie still works for me. Even though it has been machine-gunned with flaws (such as that utterly ridiculous subplot involving the Japanese mafia) and has some iffy special effects, "Godzilla vs. SpaceGodzilla" insistently entertains and has a charming quality of its own. And maybe because it is unlike other entries, I do find it rather entertaining.