Last year, Netflix released the first film in a planned trilogy of CG-anime Godzilla movies, Godzilla: Planet of the Monsters. It managed to take a promising concept, where humanity had ceded the earth to kaiju and has returned from the stars to attempt to reclaim it, and loaded it down with stilted animation, loads of exposition, and a near impenetrable script full of sci-fi and pseudo-religious jargon. As the sequel, Godzilla: City on the Edge of Battle (2018), approached I did hold out some hope that the second entry in the series could shed some of the baggage that the first had. The world was established, the animation would hopefully improve, and a lot of the kinks would be ironed out. City on the Edge of Battle picks up almost exactly where Planet of the Monsters left off: humanity’s landing party is in dire straits, its hero missing, and their last best hope might be found in the ruined remains of a failed attempt to build Mechagodzilla before they fled earth in the first place.
I’m a pretty casual Godzilla fan. I hadn’t seen the original, Ishiro Honda-directed classic until just a few years ago, or any of the many, many Japanese movies that followed. I had, on the other hand, seen the mediocre 1998 Hollywood version (which, if nothing else, gave us an incredibly catchy Jamiroquai song that is now stuck in my head from just thinking about it tangentially) and the 2014 reboot. Over the last couple of years, though, I’ve grown pretty fond of the big guy – from the original nuclear allegory to Hideaki Anno’s satirical take on Japanese red tape. Some of the most recent entries haven’t been great: I kinda loved the 2014 film when I saw it on a giant cinema screen but didn’t think it held up well when I watched it at home, and the Netflix-Toho CG-anime films so far have been extremely rough going – look out for my review of the just-released Godzilla: City on the Edge of Battle next week.
But this? This looks good. Sure, I feel a little wary because the trailer for the 2014 film was likewise impressive, with that jaw-dropping sequence where the US soldiers dive through cloud cover around the absolutely enormous Godzilla. The actual film largely played coy with him, though, and in the end was somewhat lacking in kaiju action. Godzilla himself looked great, but the other creatures lacked the long cinematic history of Godzilla’s usual array of foes and allies. Not so this time. The trailer alone teases Mothra, Rodan, and King Ghidorah, and let’s just say I’ll feel sorely undersold if there isn’t a lot of kaiju-on-kaiju action come 2019.
There are other reasons to be hopeful, too: as well as Toho loosening its grip on the aforementioned kaiju, which Legendary Pictures weren’t allowed to use in the previous film, the breaking news alongside the trailer is that composer Bear McCreary (Battlestar Galactica, Black Sails, God of War) will get to incorporate the original 1954 theme.
It’s also hard not to endorse the central thesis of the trailer: that the planet is dying, humanity is an infection, and unleashing giant monsters from the depths of time is the only way to save the planet (even if it means wiping most of us out). Long live the King.
It’s been far too long since I last updated Kino 893. Part of it is being swamped at my day job since one of my colleagues left in a hurry to greener pastures, and part of it is I simply haven’t been watching enough Japanese films to review! However, I just posted my take on Hideaki Anno and Shinji Higuchi’s Shin Godzilla (2016) and I’ve got Baby Cart in Peril, the next instalment of the Lone Wolf and Cub series, lined up. Hopefully I’ll maintain this as its not like I’m short of content to review – along with the remaining two Lone Wolf and Cub episodes there’s Last Days of the Boss to close out New Battles Without Honour and Humanity and the final Female Prisoner Scorpion movie, #701’s Grudge Song. Plus, Arrow Films have kept me in good stead by releasing a steady stream of Seijun Suzuki’s early films. Between the first two volumes, I’ve got no less than 10 of his early works to get through! Depending on how well each stands alone, I might review those as complete sets rather than individual movies.
A little while ago I posted my thoughts on the predictably dull Hollywood remake of Ghost in the Shell. Along with actual Japanese cinema, I still plan on hitting remakes and other films with ties to Japanese culture – so I feel like I can’t avoid watching Netflix’s The Outsider, a yakuza movie inexplicably starring Jared Leto (although Tokyo Vice author and frequent reporter on all things yakuza Jake Adelstein, whose opinion I greatly respect, writes that “as much as [he] expected to hate the movie, [he] didn’t”). I also picked up the 1974, Sydney Pollack-directed The Yakuza. Roughly contemporaneous with Battles Without Honour and Humanity (and close behind the success of The Godfather) I’m interested to see how ’70s America saw Japanese gangsters.
Away from Japanese cinema, I enjoyed a ‘Cartel season’, checking out a slew of movies revolving around South American drug cartels. Sicario, Savages, Clear and Present Danger stood out among a few more peripherally related movies. I still want to check out Soderbergh’s Traffic, which seemed to be highly-regarded as ‘the’ Cartel movie until Sicario, and a couple of documentaries like Cartel Land and Narco Cultura. The whole thing was spurred on by the dull yet oddly compelling Ozark, when after the first season I wanted to watch something similar – and after having already seen Breaking Bad, which Ozark shamelessly borrows from, needed to branch out. So far, Sicario is the stand out for its beautiful cinematography and damning indictment of both sides in the War on Drugs, and I wonder if the soon-to-be-released Sicario 2: Soldado will actually be any good.
Beyond a slew of Netflix movies (including Mute, Annihilation, and The Cloverfield Paradox) I haven’t been keeping up with 2018 cinema. I did manage to catch Black Panther, though, and you can listen to my review over on the This Gen, Last Gen podcast. This week marks the release of Avengers: Infinity War and I, for one, am far too excited!
When it was announced that Hideaki Anno, alongside Shinji Higuchi, would direct the next live-action, Japanese-made Godzilla movie the question in my mind was: how closely would it hew to his classic, cult Neon Genesis Evangelion? It seemed like a perfect fit – after all, Evangelion revolves so heavily around the kaiju-like angels that it would only be natural for Anno to step in, and as the Godzilla series has frequently used its giant monsters as not-so-subtle allegories for other issues that it was surely ripe for Anno’s brand of symbolism. The result is the rebooted Shin Godzilla (2016), Toho’s first new movie since 2004’s Final Wars, and coming in relatively hot on the heels of Legendary’s American-made Godzilla (2014).
As Netflix plunges more and more cash into original content, one of the areas it has ramped up production in is Japanese drama and anime. The acquisition of Godzilla: Planet of the Monsters (2017) for global distribution was a big symbolic gesture, one that teamed Netflix up with Polygon Pictures (Blame!) for another CGI anime movie. The result is the first part of a planned trilogy of movies pitting the future remnants of humanity against a massive, nigh unstoppable Godzilla that has conquered the Earth and now rules a kaiju planet.