Godzilla-Millenium Series Boxset (1999)

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     The Godzilla Millennium Series is a Madman 6 disc box which includes Godzilla 2000 (1999), Godzilla vs. Megaguirus (2000), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla vs. Mechagodzilla (III) (2002), Godzilla: Tokyo S.O.S. (2003) and Godzilla: Final Wars (2004).

     The films in this set include some that are very good, such as Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, Godzilla: Tokyo S.O.S. and Godzilla: Final Wars although there are not any duds in the series. Taken as a whole there is enough invention and spectacular creature action in this series of Godzilla films to satisfy most fans.

     The videos are generally very good, the audio excellent. Extras are limited with only Godzilla: Final Wars having anything other than trailers. This box set for a RRP of $39.95 is a fabulous way to stay in touch with “the original monster of mass destruction” 50 years after his first appearance.

Video
Audio
Extras
Plot
Overall

Godzilla 2000 (Gojira ni-sen mireniamu) (1999)

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General		Extras
Category	Science Fiction	Main Menu Audio & Animation Theatrical Trailer
Rating
Year Of Production	1999
Running Time	98:37
RSDL / Flipper	RSDL (44:07)	Cast & Crew
Start Up	?
Region Coding	4	Directed By	Takao Okawara
Studio Distributor	Madman Entertainment	Starring	Takehiro Murata Hiroshi Abe Naomi Nishida Mayu Suzuki Takeshi Ôbayashi Shirô Namiki Sakae Kimura Bengal Kenichi Nagira Kenichi Ishii Yoshimasa Kondo Kôichi Ueda Yoshiyuki Omori
Case	?
RPI	?	Music	Takayuki Hattori Akira Ifukube J. Peter Robinson

Video		Audio
Pan & Scan/Full Frame	None	English Dolby Digital 5.1
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	No
Subtitles	None	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	No

     Godzilla has been rampaging through Tokyo since 1954 in the ever growing series of films from Toho Studios. The most recent series of these films are known as the Millennium Series, which began with this 1999 production, Godzilla 2000 aka Godzilla 2000 : Millennium or in Japanese Gojira ni-sen mireniamu. These followed on from the critically mauled American film, Godzilla (1998) and have now totalled 6 films which are all included in the newly released box set from Madman Entertainment, Godzilla, The Millennium Series. There is also a new American film on the horizon for release in 2014, also to be called simply Godzilla.

     Godzilla films are certainly a lot of fun and should not be criticised in the same way as other films. Sure the acting is bad, the stories can be confused and the effects are generally pretty obvious but this all adds to their charm as escapist entertainment which is generally suitable for kids and provides something different for adults to enjoy. A while ago my kids and I watched an older one of these films featuring Mothra in a deadly battle with Godzilla; they loved it and I enjoyed it too. Accordingly, we have started the journey of working our way through this new box set from Madman. I am not a scholar of the Godzilla series or a fan boy so I will just report on these films as I see them, focusing on their entertainment value.

     This particular Godzilla film sees Godzilla returning to attack Japan after some years of not doing so. He is trying to destroy Japan's energy sources. He is being tracked by the Godzilla Prediction Network led by Professor Shinoda and his precocious daughter. They ride around in a four wheel drive trying to study Godzilla during his rampages. They are accompanied by a young female reporter. Meanwhile, the Crisis Control Agency, led by Katagiri have found a meteorite beneath the ocean and are bringing it to the surface. Once they do however, this gigantic rock breaks the cables they have around it and flies off of its own accord. They realise it is actually a UFO which eventually morphs into the monster Orga who then provides opposition for the final monster battle with Godzilla.

     As you can tell from this plot description, this film is quite silly and makes little sense, however, that doesn't mean it isn't a lot of fun and the monster battles are pretty well done. The version included here is the shorter International Edition running 98:37 and features only the US dub not the original Japanese dialogue. The US dub is famous/infamous for this film including such lines as 'Gott im Himmel' from a Japanese chef as the UFO flies over and somebody mentioning that Godzilla will go through them like 'crap through a goose' which is supposedly a reference to Patton. This film was directed by Takao Okawara, who was responsible for three of the Godzilla films in the previous series.

     Delightfully silly and entertaining!

Video

     The video quality is quite ordinary.

     The feature is presented in a 2.35:1 aspect ratio which is the original aspect ratio. It is 16x9 enhanced. This transfer appears to be a NTSC to PAL conversion rather than a native PAL transfer as the run time is the same as the theatrical version.

     The picture was quite soft throughout affected by colour bleeding and grain. Shadow detail was decent.

     The colour was quite dull and as I mentioned above colour bleeding was quite prevalent.

     Artefacts include shimmer, motion blur, some minor blocking, MPEG grain and white spots.

     There are no subtitles, although there is a subtitle stream which can be turned on or off (with little effect).

     There is a layer change at 44:07 however it is not overly noticeable.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     The audio quality is quite good.

     This disc contains an English soundtrack in Dolby Digital 5.1, although it is marked as Japanese on the disc. The soundtrack is the US dub.

     Dialogue sounds fine generally taking into account sometimes difficult accents.

     The music is suitably exciting and suits the nature of the film.

     The surround speakers are used regularly for action scenes , however the surround effects tend not to be overly well defined.

     The subwoofer supports the music and adds bass to explosions and crashes.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Menu

    The menu included music.

Theatrical Trailer (1:03)

    Original Japanese trailer with subtitles.

Other Trailers 

    The US edition of this DVD includes what sounds like a better video transfer (native NTSC) and also has an English audio commentary, some behind the scenes footage and text based extras. Region 1 wins here.

      GODZILLAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!    

    The video quality is ordinary.

    The audio quality is quite good.

Video
Audio
Extras
Plot
Overall

Godzilla vs. Megaguirus (Gojira tai Megagirasu: Jî shômetsu sakusen) (2000)

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General		Extras
Category	Science Fiction	Theatrical Trailer Trailer-Eastern Eye Trailers x 7
Rating
Year Of Production	2000
Running Time	106:01
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Masâki Tezuka
Studio Distributor	Toho Company Madman Entertainment	Starring	Misato Tanaka Shosuke Tanihara Masatô Ibu Yuriko Hoshi Toshiyuki Nagashima Tsutomu Kitagawa Minoru Watanabe
Case	Amaray-Transparent-Dual
RPI	?	Music	Akira Ifukube Michiru Oshima Shinichi Fushima

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	Yes, after the end credits

     When Godzilla devastates Tokyo a number of times, the capital of Japan moves to Osaka. It seems that Godzilla was coming ashore in Japan seeking energy, specifically nuclear energy, so the Japanese nuclear power plants are shut by the government and a special department set up in Osaka to investigate and develop green energy sources. One invention is electricity generated from plasma. But it seems that Godzilla is also drawn by this kind of energy source and in 1996 the monster attacked Osaka, destroying the city while brushing aside a squad of Rangers and killing their officer.

     Five years after that attack a special team, led by Kiriko Tsujimori (Misato Tanaka), who had been one of the Rangers defeated by Godzilla, has been set up to kill the beast. She wants revenge for the death of her superior officer and a number of special weapons have been developed, including a fighter plane called the Griffon and an anti-matter device called the Dimension Tide which, when activated, will create a black hole into which Godzilla will be sucked. Recruited to the project team is Hajime Kudo (Shosuke Tanihara) a computer and miniature electronics expert. The first test firing of the Dimension Tide seemed to go well but, unknown to the scientists, it created a vortex which sucked into Japan a Meganula, a large dragonfly type creature that had been extinct for 300 million years. The Meganula then lays a cluster of eggs from which hatch a horde of creatures. Even worse, in the waters under Tokyo a “queen bee” Meganula has been created, the deadly and voracious Megaguirus. And, just to compound things, Godzilla is again headed for Tokyo for a massive battle against both humans and the Megaguirus.

     Godzilla vs Megaguirus (Japanese title Gojira tai Megagirasu: Ji shometsu sakusen) is great fun. The film was directed by Masaaki Tezuka; this is his first involvement in a Godzilla film and, indeed, his first film as a director although he had been an assistant director on some impressive films with director Kon Ichikawa such as The Burmese Harp (1985) and 47 Ronin (1994). Godzilla vs Megaguirus was written by Hiroshi Kashiwabara and Wataru Mimura, the former having been writer on the earlier Gojira vs Supesugojira (1994) and the first Godzilla film in this series Gojira Millennium (1999). Perhaps as a result of this relative past Godzilla involvement most of the Godzilla lore and timeframes established over 27 films or so is discarded, although some things typically Godzilla remain: the plotting in Godzilla vs Megaguirus is ordinary, the acting unconvincing and the dialogue silly, so it is just as well these are not why one watches a Godzilla film!

     In contrast, the creature action in Godzilla vs Megaguirus is good fun. The visual effects are due to special effects director Kenji Suzuki; this is his second, and last, Godzilla film and the sequences make use of traditional methods, such as a man in a suit, models and back projection, with only a little CGI enhancement. The action and effects as a result come across looking quite quaint, with toy cars, plastic aircraft and model buildings all being trashed. Other than Godzilla, the monsters are also mostly models, and indeed around 68:47 the wires holding up Megaguirus are plainly visible. But this does not detract from the fun to be had; rather it enhances the notion that what we are watching is a cartoon (or cardboard cut-out) monster movie on a fraction of the budget that would have been available in Hollywood. Some of the scenes, such as Godzilla swatting at the horde of giant dragonfly Meganulas, are different, while the fight between the monsters at the end, trashing buildings and making a mess in a welter of thuds and pyrotechnics, is very entertaining.

     The original Godzilla in 1954 contained a very strong anti-nuclear message, something that most of the rest of the series seriously diluted. There is a hint of this message in Godzilla vs Megaguirus but mostly the film is good clean fun. The acting and plotting are indifferent, but the film has enough explosions, creature fights and destruction of buildings to satisfy most fans.

Video

     Godzilla vs Megaguirus is presented in an aspect ratio of 2.35:1, the original theatrical ratio, and is 16x9 enhanced.

     While the close-ups of monsters, faces and the satellite in space are sharp, the exterior footage and back projection scenes were quite soft. Colours were natural although muted, although the pyrotechnics were bright enough. Blacks and shadow detail were fine, brightness, contrast and skin tones good.

     The print showed a fair amount of grain, some aliasing on blinds, the odd fleck and some noise reduction in the darker scenes.

     English subtitles in a yellow font are available. They have no obvious spelling or grammatical errors.

    The video is reasonable.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     Audio is a choice between Japanese Dolby Digital 5.1 or English Dolby Digital 5.1, both at 448 Kbps.

     I listened to the Japanese audio and sampled the English. Effects in both were similar, while the Japanese dialogue seemed to have more depth. The US English voice acting, in fact, sounded as unconvincing as usual.

     Dialogue was clear and had separation and reasonable clarity. The surrounds are used frequently for music and Foley, including the occasional panning for weapons and effects. The sub-woofer gave good support to the music, the explosions, the destruction of buildings, the Dimension Tide and the thump and rumble of Godzilla’s feet.

     The score was by experienced composer Michiru Ohshima, although this is his first Godzilla film score. It is suitably martial and dramatic, but often seemed very loud in the mix especially during monster action, drowning out the effects.

     Lip synchronisation was good in the Japanese audio track, approximate in the English dub.

     The audio has a good enveloping feel that supports the onscreen action.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Theatrical Trailer (1:18)

Eastern Eye Trailers

     These trailers are divided into two sections. Live action trailers are Godzilla vs Mechagodzilla (0:45), Godzilla (2:50), Seven Samurai (3:56) and Throne of Blood (3:44). Anime trailers are Ghibli Collection (3:12), Chrono Crusade (1:52) and Astroboy (0:30).

     There are stand-alone versions of Godzilla vs Megaguirus in Region 2 Japan (but with no English subtitles), Region 3 Hong Kong and Region 1 US; the latter two have no extras listed. The Region 4 stand-alone version is no longer to be available.

     While there have been various box sets of Godzilla films released in Region 1, there is no equivalent of our Region 4 Madman complete “Millennium Series” collection elsewhere as most box sets include a mix of films from the various Godzilla series. This Region 4 box set is the pick for English speakers.

     Godzilla returns to devastate Japanese cities and fight a new adversary, a huge dragonfly type monster, in Godzilla vs Megaguirus. This film, the second in the rebooted Godzilla Millennium series, is good clean fun, with enough explosions, creature fights and destruction of buildings to satisfy most fans.

     The print has reasonable video and good audio; trailers are the only extras.

     Godzilla vs. Megaguirus is included in the Madman 6 disc box set Godzilla Millennium Series along with Godzilla 2000 (1999), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla vs. Mechagodzilla (III) (2002), Godzilla: Tokyo S.O.S. (2003) and Godzilla: Final Wars (2004). The box set for a RRP of $39.95 is a fabulous way to stay in touch with “the original monster of mass destruction” almost 50 years after his first appearance.

Video
Audio
Extras
Plot
Overall

Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)

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General		Extras
Category	Fantasy	Trailer-Godzilla series trailers x 4, but none for this film Trailer-Eastern Eye trailers x 6
Rating
Year Of Production	2001
Running Time	105:06
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Shusuke Kaneko
Studio Distributor	Toho Company Madman Entertainment	Starring	Chiharu Nîyama Ryudo Uzaki Masahiro Kobayashi Shirô Sano Takashi Nishina Kaho Minami Shinya Owada Kunio Murai Hiroyuki Watanabe Shingo Katsurayama Toshikazu Fukawa Masahiko Tsugawa Eisei Amamoto
Case	Amaray-Transparent-Dual
RPI	?	Music	Akira Ifukube Kô Ôtani

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	No

     After devastating Tokyo in 1954 Godzilla disappeared for fifty years except for a possible attack on New York in 1998. Now, fifty years after the attack on Tokyo, an American nuclear submarine has been destroyed in the Pacific and miniature deep sea submarines sent to investigate the wreckage see on their monitors a giant monster that could be Godzilla. Meanwhile, TV reporter Yuri Tachibana (Chiharu Niiyama) is investigating a story about the legendary sacred beasts of Japan based on sightings and unexplained events around the country. When it is confirmed that Godzilla is indeed alive and again going to land in Japan, the defences are entrusted to Admiral Tachibana (Ryudo Uzaki), who is Yuri’s father. Yuri continues to follow the story of the legendary beasts which proves to be all too true when the monsters Baragon, Mothra and Ghidorah awake and join together to attack Godzilla. But it appears that all their powers, plus the new weapons of the military, may not be enough to stop Godzilla.

     As can be seen from the synopsis above Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (Japanese title Gojira, Mosura, Kingu Gidora: Daikaiju sokogeki) completely ignores the two dozen or so Godzilla films that followed the first in 1954 except, strangely, the American 1998 film, and again restarts the franchise. The film’s director and cowriter is Shusuke Kaneko; this is his first involvement in a Godzilla film but he is an experienced monster film director with movies such as Gamera: Guardian of the Universe (1995) and its sequels to his credit. This was Kaneko’s first, and only, film in the Godzilla franchise but he brought with him to this project special effects director Makoto Kamiya and composer Ko Otani, with whom he had worked on Gamera. The only one of the creative team for Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack versed in things Godzilla was cinematographer Masahiro Kishimoto, who had previously shot Gojira vs Mosura (1992), Gojira vs Supesugojira (1994) and the excellent Gojira vs Desutoroia (1995).

     Yet while Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack may not be much on Godzilla lore, it is not only an innovative and exciting Godzilla film but also a good film in general. This is due to a number of factors including a better script than usual, human characters that are more than cardboard cut outs, stirring music and some spectacular creature action.

     While Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack ignores five decades of Godzilla films, in its own terms its plot makes a lot of sense, even giving Godzilla a new and different motivation. Godzilla is not the fierce force of nature as in the past; instead Godzilla represents the tortured souls of all those killed during WWII in the Pacific, both Japanese and Allied and he has come back to Japan after fifty years because the Japanese people have forgotten the agony of those killed during their years of peace and prosperity. The script also makes the people, not the monsters, central to the story. Harking back to the first Gojira (1954), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack shows human suffering as people are injured and killed by the creatures, both accidentally and deliberately. The character of Yuri is also more believable than usual and Chiharu Niiyama does a good job; we actually care about her and her interactions with her father are poignant and well played. The music of Ko Otani is also excellent; it can be quite subtle in places but is suitable epic during the creature fights.

     Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack takes its time to get the creature action going, concentrating initially upon the search for Godzilla and the mystery surrounding the legend of the guardians of Japan. But when the monster action starts it is energetic and beautiful to look at: the night sequence where Godzilla and Mothra fight on top and around the city with lights, fire and explosions makes excellent use of the widescreen frame and is one of the best creature fights I have seen in some time. Mostly the action utilises models and men in suits and looks pretty good; CGI is used mostly only to enhance the fires and explosions which is perhaps just as well as when CGI is used for the monsters, such as Ghidorah around 78:05, it looks far more unconvincing that the models and men in suits!

     Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, the third in the rebooted Godzilla Millennium series, is a total reimagining of the Godzilla franchise which may not please some. But, as a stand-alone film, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack is stirring, spectacular and exciting, one of the best Godzilla films for some time as well as a good film in its own right.

Video

     Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack is presented in an aspect ratio of 2.35:1, the original theatrical ratio, and is 16x9 enhanced.

     This is a great looking print. Detail is sharp and crisp, colours deep and natural. Some sequences, such as the night battle where Godzilla and Mothra fight on top and around the city, is beautiful to look at with the deep black background, the lights of the city, the brightness of the flames, Godzilla’s breath and explosions and the colours on Mothra’s wings showing to good effect. Indeed, blacks throughout the film are excellent, shadow detail great, skin tones natural, brightness and contrast consistent.

     I saw an occasional speck but otherwise the print was without artefacts.

    Subtitles in American English are in a yellow font. They were timely but did have more spelling and grammatical errors than usual, such as “who resists here father” at 33:30.

    The video is spectacular.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     Audio is a choice between Japanese Dolby Digital 5.1 or English Dolby Digital 5.1, both at 448 Kbps.

     I listened to the Japanese audio and sampled the English. Effects in both were similar and the US voice acting was not too bad for once.

     Dialogue was clear and had separation and reasonable clarity. The surrounds are used very aggressively throughout the film for music, engines, weapons, explosions, creature noises and the rears were utilised for a number of panning effects such as helicopters and Mothra’s wings. The sub-woofer gave great support to the music, the explosions, the destruction of buildings and especially the thump and rumble of Godzilla’s feet, which shook the room.

     The score by Ko Otani was excellent, quite subtle in places but suitably epic during the creature fights. Good use is also made of the original Godzilla March composed by Akira Ifukube.

     Lip synchronisation was reasonably good in the Japanese audio track, but not perfect, and approximate in the English dub.

     An aggressive and exciting audio track.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Godzilla Trailers

     Godzilla (2:51), Godzilla vs Mechagodzilla (0:44), Godzilla vs Megaguirus (1:18) and Godzilla 2000 (1:04).

Eastern Eye Trailers

     These trailers are divided into two sections. Live action trailers are Eastern Eye Promo Reel (2:21), Throne of Blood (3:46) and The Hidden Fortress (3:48). Anime trailers are Ghibli Collection (3:13), Gad Guard (1:31) and Niea_7 Collection (1:36).

     There are stand-alone versions of Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack in Region 1 US, which adds a French dub and has only trailers for other films as extras, in Region 2 Japan (but with no English subtitles), and Region 3 Hong Kong. The Region 4 stand-alone version is no longer available.

     While there have been various box sets of Godzilla films released in Region 1 and 2, there is no equivalent of our Region 4 Madman complete “Millennium Series” collection elsewhere as most box sets include a mix of films from the various Godzilla series. This Region 4 box set is the pick for English speakers.

     Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, the third in the Godzilla Millennium series, is a total reimagining of the Godzilla franchise. That said, it is not only an innovative and exciting Godzilla film, but also a good film generally with a better script than most, human characters that are more than cardboard cut outs, stirring music and some spectacular creature action.

     The video and audio are excellent; trailers are the only extras, but nothing more is available elsewhere.

     Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, is included in the Madman 6 disc box set Godzilla Millennium Series along with Godzilla 2000 (1999), Godzilla vs Megaguirus (2000), Godzilla v. Mechagodzilla (III) (2002), Godzilla: Tokyo S.O.S. (2003) and Godzilla: Final Wars (2004). The box set for a RRP of $39.95 is a fabulous way to stay in touch with “the original monster of mass destruction” 50 years after his first appearance.

Video
Audio
Extras
Plot
Overall

Godzilla vs. MechaGodzilla III (Gojira tai Mekagojira III) (2002)

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General		Extras
Category	Sci-Fi Action	Theatrical Trailer Trailer-Eastern Eye trailers x 6
Rating
Year Of Production	2002
Running Time	88:14
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Masâki Tezuka
Studio Distributor	Toho Company Madman Entertainment	Starring	Yumiko Shaku Shin Takuma Kana Onodera Koh Takasugi Yûsuke Tomoi Jun'ichi Mizuno Akira Nakao Kumi Mizuno Takeo Nakahara Yoshikazu Kanou Kôichi Ueda Akira Shirai Midori Hagio
Case	Amaray-Transparent-Dual
RPI	?	Music	Michiru Oshima

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	Yes, after final credits

     Japan 1999; while a typhoon is raging a new Godzilla comes ashore for the first time since 1954. The weapons of the military prove unable to stop the monster and tragedy strikes as the actions of female soldier Akane Yashiro (Yumiko Shaku) inadvertently cause the death of some of her comrades. After Godzilla returns to sea, the government brings together a group of scientists, including sole parent and cloning expert Tokumitsu Yuhara (Shin Takuma), to produce the ultimate anti-monster weapon. The skeleton of the 1954 Godzilla has been discovered on the seabed and using DNA extracted from the bones the scientists create a robot Godzilla, Mechagodzilla, with a wide range of weaponry including rockets and a type of “freeze” gun. Akane is selected to join the military team controlling Mechagodzilla although one member of the team is hostile, blaming her for the death of his brother.

     In 2003, just as Mechagodzilla is ready, Godzilla approaches Japan, and the weapon is deployed. They fight, and Mechagodzilla is holding its own until a cry from Godzilla triggers a repressed memory in Mechagodzilla so that the military loses control of the robot and it goes on a rampage of its own destroying buildings. Godzilla retreats and the scientists retrieve Mechagodzilla after its power source runs down and start to make modifications. When Godzilla returns, the stage is set for a massive confrontation although questions still remain about Mechagodzilla’s readiness.

     Godzilla vs Mechagodzilla (Japanese title Gojira tai Mekagojira) is the third Godzilla film of that name, after others in 1974 and 1993, although this film bares no relationship to the earlier films. Indeed, Godzilla vs Mechagodzilla III again, as is normal with this Millennium Godzilla series of films, ignores the existence of the two dozen or so Godzilla films that followed the first in 1954, even those earlier in this Millennium series. A reference is made in Godzilla vs Mechagodzilla III to a couple of other monsters including Mothra attacking Japan, but it is stated that this is the first time Godzilla has been seen since 1954.

     Godzilla vs Mechagodzilla III is directed by Masaaki Tezuka; this is his second involvement in a Godzilla film after Godzilla vs Megaguirus (2000) and he would go on the next year to direct Godzilla: Tokyo S.O.S.. The screenplay for Godzilla vs Mechagodzilla III is by Wataru Mimura, who was involved in 4 of the 6 films in this Millennium series, so is responsible for the less than involving human characters in this one and the others. Indeed, the script for Godzilla vs Mechagodzilla III is basically the same script he wrote for Godzilla vs Megaguirus two years before; Godzilla attacks Japan and a female soldier’s actions cause the death of other soldiers, the weapons of the military cannot defeat Godzilla so scientists come up with a wonder weapon, use of said weapon has unforeseen consequences, woman soldier saves the day. In addition Godzilla vs Mechagodzilla III piles on more clichés; a soldier on the team who has a grudge against the female soldier, a romance of sorts and a very cute kid who is knowledgeable beyond her years.

     Between the creature sequences, Godzilla vs Mechagodzilla III is lame, predictable and clichéd. However, the creature action in Godzilla vs Mechagodzilla III is great fun. The effects are from special effects director Yuichi Kikuchi; this is his second, and last, Godzilla film after the excellent action in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001) and he continues to use more pyrotechnics than actual claw to claw creature action, but it works well and certainly looks colourful, explosive and spectacular. While there seems to be more CGI in this Godzilla film than others, the majority of the scenes with the creatures still involve men in suits and models and so look quaint, which is part of the appeal of Godzilla films.

     After Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, which concentrated upon the characters and the search for Godzilla rather than creature action, Godzilla vs Mechagodzilla III is a return to the more usual Godzilla films where the humans come a long way second to the creatures. Godzilla vs Mechagodzilla III starts with an excellent pre-credit sequence as Godzilla attacks Japan during a typhoon where the visuals of heavy rain, fire and explosions are matched with the aggressive audio of wind, gun and rocket fire, the creature screams and thud of Godzilla’s feet. Sadly, the next 25 minutes are pedestrian, and the film really only picks up again when the monster returns. However, when that happens the fights are colourful, loud and explosive, which may be enough for fans.

Video

     Godzilla vs Mechagodzilla III is presented in an aspect ratio of 2.35:1, the original theatrical ratio, and is 16x9 enhanced.

     This is a great looking print. Detail is sharp and crisp, colours deep and natural. Some sequences, such as the fight in the typhoon or the creature fights in the city, are beautiful to look at with the deep black background, the lights of the city, the brightness of the flames, Godzilla’s breath and explosions showing to good effect. Indeed, blacks throughout the film are excellent, shadow detail great, skin tones natural, brightness and contrast consistent.

     There was occasional minor noise reduction in some night scenes but otherwise the print was without artefacts.

    Subtitles in American English are in a yellow font and seemed error free.

    The video is spectacular.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     Audio is a choice between Japanese Dolby Digital 5.1 or English Dolby Digital 5.1, both at 448 Kbps.

     I listened to the Japanese audio and sampled the English. Effects in both were similar although the English audio was recorded at a slightly lower level. However the English voice acting, especially for the young child Sara, was indifferent.

     Dialogue was clear. The surrounds had nice separation and are used very aggressively right from the start with weather effects, music, engines, weapons, explosions and creature screams, while the rears were utilised for a number of panning effects such as helicopters. The sub-woofer gave great support to the music, the explosions, the destruction of buildings and especially the thump and rumble of Godzilla’s feet.

     The score by Michiru Oshama was stirring and martial, suiting the creature action.

     Lip synchronisation was good in the Japanese audio track but very approximate in the English dub.

     A loud, aggressive and effective audio track.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Theatrical Trailer (0:44)

Eastern Eye Trailers

     Trailers for Eastern Eye Promo Reel (2:21), Godzilla 2000 (1:04), Seven Samurai (3:56), Gojira (2:51), Arahan (2:31) and Sanjuro (2:32).

     There are stand-alone versions of Godzilla vs Mechagodzilla III in Region 2 Japan (no English subtitles) and Region 1 US; no extras are listed. While there have been various box sets of Godzilla films released, there is no equivalent of our complete “Millennium Series” collection elsewhere as most box sets include a mix from the various Godzilla series.

     Region 4 is the pick for English speakers.

     Godzilla vs Mechagodzilla III, the fourth in the Godzilla Millennium series, has some spectacular creature action but between these sequences, the human plot is lame, clichéd and predictable.

     The video and audio are excellent; trailers are the only extras, but nothing more is available elsewhere.

     Godzilla vs Mechagodzilla III is included in the Madman 6 disc box set Godzilla Millennium Series along with Godzilla 2000 (1999), Godzilla vs. Megaguirus (2000), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla: Tokyo S.O.S. (2003) and Godzilla: Final Wars (2004). For a RPI of $39.95 the box set is still a fabulous way to stay in touch with “the original monster of mass destruction” during his later reincarnations.

Video
Audio
Extras
Plot
Overall

Godzilla: Final Wars (Gojira: Fainaru Uôzu) (2004)

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General		Extras
Category	Action	Featurette-Behind The Scenes Gallery-"Meet The Monsters" Interactive Gallery Notes-Godzilla Filmography Gallery-Production Sketches, Movie Stills Gallery-Poster-Japanese Posters Teaser Trailer Theatrical Trailer TV Spots Trailer-Godzilla-Destroy All Monsters, Inner Senses
Rating
Year Of Production	2004
Running Time	120:09
RSDL / Flipper	RSDL (36:10)	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Ryuhei Kitamura
Studio Distributor	Toho Madman Entertainment	Starring	Masahiro Matsuoka Rei Kikukawa Kazuki Kitamura Don Frye Akira Takarada Kane Kosugi Maki Mizuno Masami Nagasawa Chihiro Ôtsuka Kenji Sahara Kumi Mizuno Masakatsu Funaki Masatô Ibu
Case	Amaray-Transparent-Dual
RPI	?	Music	Keith Emerson Akira Ifukube Nobuhiko Morino

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	Yes
Subtitles	English	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	No

     Wars and environmental disasters by humans over the years have awakened a number of monsters so rather than fighting each other humans have banded together to create the EDF (Earth Defence Force). Many of the soldiers in this force are mutants, fighting men and women with superior skills and reflexes, having what is called the M-gene. One group, including the non-mutant Douglas Gordon (Don Frye), crew a new type of EDF supership that is part submarine, part flying craft and manage to trap and entomb Godzilla beneath the South Pole.

     Some years later, EDF mutant soldier Ozaki (Masahiro Matsuoka) is ordered to escort UN Molecular Biologist Miyuki Otonashi (Rei Kikukawa) to look at a creature that has been found. This creature is actually the monster Gigan, currently inert, but Miyuki discovers that the monster has the same M-gene as the mutants. Then, without warning, Rodan attacks New York, Anguirus attacks Shanghai and other monsters simultaneously attack Paris, Okinawa and Sydney. EDF forces go into action to defend the cities from the creatures, but suddenly the creatures disappear and a huge UFO appears over Tokyo. Inside the space ship are an alien race called Xilians, who tell the Earthlings that they have defeated the monsters and that they have come in peace to usher in a period of peaceful co-operation.

     Of course, the Xilians are not as benign as they seem, and Ozaki, Miyuki and her TV reporter sister Anna (Maki Mizuno) soon discover that the Xilians view humans as cattle to be consumed. Recruiting the pugnacious Gordon, with the EDF they resist the Xilians. It seems that the Xilian leader (Kazuki Kitamura) has controlled the monsters all along, and he lets loose Anguirus, Gigan, Rodan, King Ghidorah, Monster X, Kamacuras, King Caesar, and Kumonga to destroy humanity. With the one remaining EDF supership, Gordon and the others release Godzilla from the ice and lure him northwards to fight the monsters that have been unleashed by the Xilians. While Godzilla fights the monsters, aided by Mothra, Gordon and Ozaki make an assault upon the Xilian mothership that will determine the fate of humankind upon the planet.

     To celebrate 50 years since Godzilla’s first appearance in 1954 Toho pulled out all the stops, allocating a budget of $34 million for Godzilla: Final Wars (Japanese title Gojira: Fainaru uozu), almost four times greater than the next best budget for a Godzilla film. As a nod to the past they also reemployed a number of actors who had appeared in previous Godzilla films, including veteran actor Akira Takarada who makes his sixth appearance in a Godzilla film, playing UN Secretary General Naotaro Daigo; he had appeared in the original Godzilla when he was only 19. But for Godzilla: Final Wars Toho obviously wanted something different and hired as director Ryuhei Kitamura who had no track record with Godzilla but was known for action / fantasy films such as Versus (2000) and Azumi (2003). Kitamura also wrote the screenplay for Godzilla: Final Wars along with Isao Kiriyama, another Godzilla novice, the continuity with Godzilla lore being provided by the two men who are credited with the story: Wataru Mimura, who had written four of this Millennium series, and Shogo Tomiyama. Tomiyama is clearly the Godzilla lore specialist here, as he had been involved in producing 12 Godzilla films going back to 1989 with Gojira tai Biorante, as well as three Mothra spin-offs. The result of this collaboration was that in Godzilla: Final Wars Toho got two films in one; a Godzilla film and one that is not!

     Godzilla: Final Wars opens with a bang as Godzilla is trapped under the South Pole and then an EDF supership is attacked by the monster Manda. But after this opening sequence Godzilla disappears for over an hour and when he does return he shares the remaining time with another, consecutive plotline. Here the filmmakers show the influence of a raft of science fiction films including a bit of Star Wars: A New Hope (1977), a bit of Starship Troopers (1997) and a healthy chunk of Independence Day (1996), although the strongest influence was clearly The Matrix (1999). Thus, in Godzilla: Final Wars we have a hero who does not know his true potential, 360 degree camera moves with extreme slow motion bullet time, fights where characters hang suspended in the air, costumes for the mutants that are Matrix-like and even a scene which is a straight copy of the one where Neo stops the bullets coming towards him and sends them back the way they came.

     The two plots in Godzilla: Final Wars do overlap, but not a lot. The first half of the film has the EDF mutants fighting various monsters utilising their superior athletic skills, like leaping long distances, but after the Xilians arrive and reveal their intent we basically get Ozaki and Gordon fighting the Xilians in the air and on their spaceship while Godzilla faces his adversaries on the ground, trashing numerous building as they go. The battle with the aliens is initially Independence Day with flashing aircraft, lasers and rockets, and then transforms into The Matrix with bullet time and wire work. On the other hand, the creature fights are traditional Godzilla battles using men in suits, models and lots of explosions and pyrotechnics with limited CGI, which is just as well as the CGI Manda looks very fake. As well, the need to move Godzilla onwards towards Tokyo results in some of the creature fights being over quickly, although the climax involving Rodan, Monster X, King Ghidorah and Mothra is worth waiting for. Both sets of action are colourful, loud and exciting, and seeing Sydney icons the Opera House and Centrepoint Tower being trashed by creatures is good fun. It is good to know that, in terms of creature action, Sydney landmarks have come of age with those of Tokyo, New York, Shanghai and Paris!

     Godzilla: Final Wars is a Godzilla film, and more than a Godzilla film. The human side is certainly far more developed than usual in Godzilla and the actors do it justice, especially Masahiro Matsuoka as the mutant who is required to make a choice and American actor and former boxer Don Frye, who speaks English throughout, injects a lot of humour into the part and seems to be having a whale of a time. Due to its consecutive plotlines, Godzilla: Final Wars is the longest of the Godzilla films and the most expensive by far. If the two plotlines don’t quite gel, Godzilla: Final Wars remains an explosive, colourful and exciting spectacle that is very entertaining and sends the Godzilla Millennium series out with a bang.

Video

     Godzilla: Final Wars is presented in an aspect ratio of 2.35:1, the original theatrical ratio, and is 16x9 enhanced.

     This is a hard print to judge by usual standards. Filmed digitally using a Sony HDW-F900 camera, the detail in Godzilla: Final Wars of monsters in close-up is sharp and crisp. The print evinces a fair amount of noise reduction, however the film has also been extensively colour manipulated, with sequences in different colour tints including red, yellow, brown, blue and white, so in fact the grainy image seems to fit well. Otherwise colours can be very vibrant, such as in the alien ship, and there are a number of “hero” shots that look spectacular, such as Godzilla framed by Mt Fuji (77:37) or the classic shot of Godzilla and Minilla walking off into the sunset (115:13). Blacks throughout the film are affected by the noise reduction but are OK, shadow detail is acceptable, skin tones natural, while brightness and contrast do vary deliberately.

     The print was otherwise without artefacts.

    Subtitles in American English are in a yellow font and seemed error free. There are some quirks; when the twin fairies of Mothra speak in unison the same lines, the subtitles translate the line twice, which seems a bit unnecessary.

    The video is good.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     Audio is a choice between Japanese Dolby Digital 5.1 or English Dolby Digital 5.1, both at 448 Kbps.

     I listened to the Japanese audio and sampled the English. Effects in both were similar and the English voice dub seemed better than usual.

     Dialogue was clear and the front speakers had separation and reasonable clarity. The surrounds are used very aggressively right from the first battle and continue with music, engines, weapons, explosions and creature screams. The rears were utilised for a number of panning effects such as rockets and alien aircraft. The sub-woofer gave great support to the music, the explosions, the destruction of buildings and the thump and rumble of monster feet.

     The original score is by Keith Emerson, the keyboard member of Emerson, Lake & Palmer, Nobuhiko Morino and Daisuke Yano. None had worked on a Godzilla film before Godzilla: Final Wars and the result is a different sounding score full of electronic riffs that does mostly work although it occasionally is somewhat intrusive.

     Lip synchronisation was occasionally out in the Japanese audio track, and the English dub was approximate, although perhaps better than usual.

     A loud, aggressive and effective audio track.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

     An interesting range of extras for this last film in the Millennium series.

Behind the Scenes

     On set footage showing how some of the sequences were filmed. This is fascinating, and gives footage of the directions given to the men wearing the creature suits, some of the models and the scale model backgrounds. The segments are:

• Ocean Walk (2:50)
• Godzilla vs Kumonga (2:06)
• Godzilla vs King Caesar (3:48)
• Godzilla vs Rodan & Monster X (8:23)
• Fiery Mothra (0:37)
• Godzilla vs Monster X (1:38)

”Meet the Monsters” Interactive Gallery

     An interesting extra, giving a summary of many of Godzilla’s adversaries. Fifteen monsters are listed on the creature menu and, in a nice touch, moving the cursor over the name gives a silhouette of the creature. For each there is a one page screen that gives the creature’s statistics, powers / weapons and origin. Then, for all except Godzilla, there is a “Play battle sequences” option that provides a selection of creature action from a range of films. The creature and the time of each battle sequence film is: Anguirus (4:21), Gigan (5:40), Hedorah (0:44), Rodan (2:12), Keizer (King) Ghidorah (5:01), Minilla (5:28), Mothra (2:33), Monster X (3:45), Kamacuras (1:37), King Caesar (1:23), Kumonga (1:09), Zilla (1:35), Godzilla, Ebirah (4:39) and Manda (2:38).

Godzilla Filmography

     A single silent text page listing the 28 Toho Godzilla films broken down into the Original Series (1954- 1974), Heisei Series (1984-1995) and Millennium Series (1999-2004). The specific year of release of each film is not provided, which would have been useful.

Production Galleries

     These sections are silent and the remote is used to advance to the next still. Sections are:

• 15 Production Sketches
• 6 Japanese Posters
• 16 Movie Stills

Original Trailers

     The Teaser Trailer (0:39), Theatrical Trailer (2:02) and TV Spot (0:33)

Madman Trailers

     Trailers for Godzilla – Destroy All Monsters (2:30) and Inner Senses (1:34).

     The Region 2 Japanese standalone release of Godzilla: Final Wars comes as a three disc Special Edition or a Standard edition, with an audio commentary and lots of special features but neither features or extras have English subtitles. The Region 1 US version has an extra called “Godzilla B-roll to Film” timed at 17:53, which is most likely to be the behind the scenes featurette we have.

     While there have been various box sets of Godzilla films released in Region 1, there is no equivalent of our complete “Millennium Series” collection elsewhere as most box sets include a mix from the various Godzilla series.

     Region 4 is the pick for English speakers.

     To celebrate 50 years since the first Godzilla film was released in 1954, in 2004 for Godzilla: Final Wars, the last in the Godzilla Millennium series, Toho pulled out all the stops with a budget four times larger than any other Godzilla film, bringing together enough monsters and explosive action to send Godzilla out with a huge bang.

     The video is interesting, the audio is excellent; extras are worthwhile.

     Godzilla: Final Wars is included in the Madman 6 disc box set Godzilla Millennium Series along with Godzilla 2000 (1999), Godzilla vs. Megaguirus (2000), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla vs Mechagodzilla III (2002) and Godzilla: Tokyo S.O.S. (2003). For a RPI of $39.95 the box set is still a fabulous way to stay in touch with “the original monster of mass destruction” during his later reincarnations.

Video
Audio
Extras
Plot
Overall

Godzilla: Tokyo SOS (Gojira tai Mosura tai Mekagojira: Tokyo S.O.S.) (2003)

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General		Extras
Category	Action	Teaser Trailer-x 2 Theatrical Trailer Trailer-Madman trailers x 3
Rating
Year Of Production	2003
Running Time	87:06
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Masaaki Tezuka
Studio Distributor	Madman Entertainment	Starring	Noboru Kaneko Miho Yoshioka Mitsuki Koga Hiroshi Koizumi Akira Nakao Kôichi Ueda Koh Takasugi Masami Nagasawa Chihiro Ôtsuka Takeo Nakahara Norman England Naomasa Rokudaira Yumiko Shaku
Case	Amaray-Transparent-Dual
RPI	?	Music	Michiru Ôshima

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	2.35:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	2.35:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	Yes, after end credits

     Japan is still recovering eight months after the conflict depicted in Godzilla vs Mechagodzilla III. Mechagodzilla, now abbreviated to Mecha G, is still undergoing extensive repairs, Godzilla is loose in the Pacific and yet another monster is stirring. Linguist Dr Shinichi Chujo (Hiroshi Koizumi) and his nephew Yoshito (Noboru Kaneko) and grandson receive an unexpected visit from two tiny fairies, the Shobijin, the guardians of Mothra. Forty-three years earlier Dr Chujo had visited Infant Island and had helped recover the ancestors of the Shobijin from unscrupulous Japanese businessmen, and thus saved Japan from Mothra. Now the fairies have a request. They know that the bones of Godzilla have been used to create Mechagodzilla, which they tell Dr Chujo is not only contrary to nature and will also draw Godzilla back to Japan. They advise Dr Chujo that if the bones are returned to the sea then Mothra will defend Japan from Godzilla. If they are not returned, Mothra will also attack Japan. Dr Chujo takes the information to the Prime Minister, who believes that suspending the Mecha G repairs will only leave Japan defenceless against Godzilla as he does not trust Mothra. Dr Chujo’s nephew Yoshito also has a stake in rejecting the words of the fairies as he works as a mechanic repairing Mecha G and has faith in the ability of the robot to defeat Godzilla.

     When Godzilla soon after attacks Tokyo, Mothra appears to fight him. When Mothra is badly injured the Prime Minister activates Mecha G even though it has not been fully tested. In battle Mecha G is damaged and shuts down, crashing to the ground although Yoshito believes he can repair Mecha G and climbs inside the robot. Meanwhile, one of Mothra’s giant eggs has hatched on Infant Island; two larvae hatch, and rush across the sea towards Japan. Together the larvae, the injured Mothra and the partially repaired Mecha G attack Godzilla, but it seems that the latent memories within the DNA of Mecha G may well again come to the surface and affect the outcome of the battle.

     Godzilla: Tokyo S.O.S. (the Japanese title is Gojira tai Mosura tai Mekagojira: Tokyo S.O.S.) could have been called Godzilla vs Mechagodzilla IV as the film follows directly from Godzilla vs Mechagodzilla III, continues the fight between Godzilla and Mechagodzilla, retains one of the earlier characters, (Akane, Yumiko Shaku, but in a minor part this time), and has the same director (Masaaki Tezuka in his third film in this Godzilla series). However the major difference is that the screenplay of Godzilla: Tokyo S.O.S. is written by Tezuka and Masahiro Yokotani (one of the writers of the excellent Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)) and it is a vast improvement over the lame, predictable and clichéd plot of Godzilla vs Mechagodzilla III.

     The plot of Godzilla: Tokyo S.O.S. does make use of Godzilla staples such as a cute kid, a female pilot and government complicity, but it adds a meaningful comment about the evils of technology when humans mess with the natural order. The original Godzilla, it notes, had been created by atomic weapons and now the government had created Mecha G out of the bones of the dead creature, thus not allowing the soul of the dead to rest. The comment made by the fairies that “life has to be lived within the time allowed”, and later repeated, is really the key to this film and the rather more philosophical approach here than in many Godzilla films. The ending of Godzilla: Tokyo S.O.S. is also quite poignant as the creatures sink into the abyss, the defeat of Godzilla not celebrated. That does not mean that the film stints on creature action, it doesn’t and the last hour of the film is an extended series of creature fights featuring Godzilla, Mothra, Mechagodzilla and the Mothra larvae interspersed with human action.

     The special effects of Godzilla: Tokyo S.O.S. are directed by Eiichi Asada; he had been involved as assistant cameraman on Gojira tai Megaro (1973) and Godzilla (1984) but had not done a lot else and this is his first Godzilla film as special effects director. There is little that is new or innovative in the lengthy fights and there is a lot of pyrotechnics rather than claw to claw creature action. Nevertheless, the fights certainly look colourful and there are lots of explosions and destruction of model buildings, including the Japanese parliament, always a plus. Indeed, and despite some of the issues mentioned in the audio section below, Godzilla: Tokyo S.O.S. looks spectacular with some wonderful “hero” shots, such as Mothra flying out of a brilliant yellow sun (37:27). Other positives in Godzilla: Tokyo S.O.S. are the musical score of Michiru Ohshima that is rousing when it needs to be but can also be sad and moving, the humans, who are reasonably interesting, plus the return of the Shobijin, the twin fairies of Mothra, who are fabulous again here.

     A plot about the evils of technology when humans mess with nature, explosive creature action, reasonably interesting human characters, a rousing score and the return of the Shobijin; there is a lot to like in Godzilla: Tokyo S.O.S., the fifth film in the Godzilla Millennium series.

Video

     Godzilla: Tokyo S.O.S. is presented in an aspect ratio of 2.35:1, the original theatrical ratio, and is 16x9 enhanced.

     This, sadly, is the worst looking print in the Godzilla Millennium series films I have watched. The main issue is noise reduction which is evident in many scenes, not just the dark ones, giving a look as if they have been shot through a gauze. Thus detail is lost in the haze and sharpness is compromised. This also affects the colours, which look dull, while blacks and shadow detail could be better. However, many of the sequences shot on a stage with the guys in suits stomping building and throwing pyrotechnics at each other are much better while some are very good, such as Mothra against a black sky with snow falling (9:55) which is clear and detailed. Some sequences where the light source is behind the actor end up extremely glary; an example is 26:49 where it is almost impossible to make out the actors. Because of this contrast and brightness do vary.

     Other than slight ghosting with some human movement, I did not notice any marks or other artefacts.

     The layer change at 32:38 was in the middle of a scene and resulted in a slight pause.

    Subtitles in American English are in a yellow font and seemed error free.

    The video could be better.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

     Audio is a choice between Japanese Dolby Digital 5.1 or English Dolby Digital 5.1, both at 448 Kbps.

     I listened to the Japanese audio and sampled the English. Effects in both were similar while the American voice acting was about the same as usual.

     Dialogue was clear. The surrounds had nice separation and are used very aggressively for weaponry, engines, explosions, crashing buildings and cascading debris, creature screams, and music. The rears were fully utilised during the battles with explosions and crashing buildings and included panning effects such as helicopter engines, Mothra’s wings and flying rocketry. The sub-woofer gave great support to the music, the explosions, the destruction of buildings and thump of Godzilla’s feet.

     The score by Michiru Oshama was rousing when it needed to be but was also sad and moving, such as during the conclusion. It was an excellent score, suiting the visuals.

     Lip synchronisation was good in the Japanese audio track but very approximate in the English dub.

     A loud, aggressive and effective audio track.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Original Trailers

     Two teaser trailers (0:42) and the theatrical trailer (0:49)

MadmanTrailers

     Trailers for Godzilla vs Megalon (2:30), Godzilla vs Gigan (2:19) and Kwaidan (3:55).

     There are stand-alone versions of Godzilla: Tokyo S.O.S. in Region 2 Japan and Region 1 US. The Japanese release is a special edition with a second disc of extras, including a SFX featurette and the score recording sessions, but neither the feature nor the extras have any English subtitles. The Region 1 US adds French subtitles, but nothing by way of extras as far as I can tell. While there have been various box sets of Godzilla films released, there is no equivalent of our complete “Millennium Series” collection elsewhere as most box sets include a mix from the various Godzilla series.

     Region 4 is the pick for English speakers.

     Godzilla: Tokyo S.O.S. is the fifth film in the Godzilla Millennium series. It is an entertaining film with a decent plot, explosive creature action, interesting human characters, a rousing score and the return of the twin fairies of Mothra. Fans will not be disappointed. .

     The video could be better, the audio is excellent; trailers are the only extras.

     Godzilla: Tokyo S.O.S. is included in the Madman 6 disc box set Godzilla Millennium Series along with Godzilla 2000 (1999), Godzilla vs Megaguirus (2000), Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001), Godzilla vs Mechagodzilla III (2002) and Godzilla: Final Wars (2004). For a RPI of $39.95 the box set is still a fabulous way to stay in touch with “the original monster of mass destruction” during his later reincarnations.

Video
Audio
Extras
Plot
Overall