Godzilla-Heisei Series (1991)

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     Nine years after Terror of Mechagodzilla in 1975 ended the Showa era of Godzilla films, in 1984 the Heisei era commenced with the slow paced Godzilla aka The Return of Godzilla and the less than exciting Godzilla vs. Biollante (1989). However, by the time the next film in the Heisei series, the terrific Godzilla vs. King Ghidorah, arrived in 1991 the series was in full flight with some of the most spectacular, explosive and entertaining Godzilla films ever made. This 5 disc box set Godzilla Heisei Series from Madman includes some absolute gems. Godzilla vs. King Ghidorah (1991) and Godzilla vs. Mechagodzilla (II) (1993) are fabulous films, worthy of being in any collection, and while Godzilla vs. Mothra: Battle for Earth (1992) and Godzilla vs. Spacegodzilla (1994) are not quite up to the same standard, they are still tremendously entertaining. Finally, when Godzilla vs. Destoroyah (1995) gets down to serious monster action, the result is spectacular, colourful and explosive with the death of Godzilla Junior and then Godzilla adding an extra dimension to conclusion if the Heisei era Godzilla saga.

     In summary, the Madman 5 disc box set Godzilla Heisei Series includes Godzilla vs. King Ghidorah (1991), Godzilla vs. Mothra: Battle for Earth (1992), Godzilla vs. Mechagodzilla (II) (1993), Godzilla vs. Spacegodzilla (1994) and Godzilla vs. Destoroyah (1995). The box set is a must for anyone with any interest in this genre. For a RPI of $49.95 the box set is a fabulous way to stay in touch with “the original monster of mass destruction” during his later reincarnation.

Video
Audio
Extras
Plot
Overall

Godzilla vs. King Ghidorah (Gojira tai Kingu Gidora) (1991)

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General		Extras
Category	Science Fiction	Teaser Trailer-x 3 Theatrical Trailer Gallery-Photo Gallery-Poster Trailer-Madman Trailers
Rating
Year Of Production	1991
Running Time	98:38
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Kazuki Omori
Studio Distributor	Toho Company Madman Entertainment	Starring	Kosuke Toyohara Anna Nakagawa Megumi Odaka Katsuhiko Sasaki Akiji Kobayashi Tokuma Nishioka Yoshio Tsuchiya Kenji Sahara Kôichi Ueda Sô Yamamura Yasunori Yuge Kiwako Harada Kenpachiro Satsuma
Case	Amaray-Transparent
RPI	$14.95	Music	Akira Ifukube

Video		Audio
Pan & Scan/Full Frame	Unknown	Japanese Dolby Digital 5.1 (448Kb/s) Japanese Dolby Digital 2.0 (224Kb/s) English Dolby Digital 2.0 mono (224Kb/s)
Widescreen Aspect Ratio	1.85:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	Yes

     In 1992 a time machine lands near Japan’s Mt Fuji. Inside are a number of humans from the year 2204 lead by “gaijins” Wilson (Chuck Wilson), Grenchiko (Richard Berger) and Japanese woman Emmy Kano (Anna Nakagawa). Together with android M-11 (Robert Scott Field) they have come to warn the Earth that in the 21st Century Godzilla and nuclear pollution will lay waste to all Japan, leading to the total destruction of the entire country. They do have a rescue plan: in 1944 Japanese army forces on the island of Lagos in the Marshall Islands led by Colonel Shindo (Yoshio Tsuchiya) were saved from annihilation by US forces by a dinosaur like creature. It is believed that this dinosaur was mutated by US nuclear testing on nearby Bikini Atoll in 1954 into Godzilla. The plan is to enlist some Godzilla experts and to go back to 1944 Lagos Island, capture the dinosaur and transport him deep within the Bering Sea so that he is not affected by nuclear testing and so never becomes Godzilla and threatens Japan.

     The expedition to 1944 Lagos Island is joined by writer Kenichiro Terasawa (Hiromi Matsushita), dinosaur expert Professor Mazaki (Katsuhiko Sasaki ) and psychic Miki Saequsa (Megumi Odaka). There they witness the invasion by US forces and their defeat by the dinosaur, which is badly wounded enabling them successfully to transport the creature away from the island. Before they leave the island Emmy releases three small winged reptilian creatures called dorats.

     Back in 1992, the true purpose of the future humans is revealed. Rather than saving Japan, their purpose is to destroy Japan to stop it becoming a world economic power. Their weapon is the three headed dragon King Ghidorah; when the nuclear weapons testing occurred on Bikini Atoll in 1954 it caused the three dorats left there by Emmy to join and create King Ghidorah. This monster is controlled by the future humans and is unleashed upon Japan in a wave of death and destruction. However, this part of the plan has been kept hidden from Emmy, who is naturally upset at the thought of the destruction of her people. She joins with Terasawa in an attempt to find a solution that would stop King Ghidorah and save Japan.

     Elsewhere Shindo, now a successful businessman, and others hit on the idea of sending a nuclear powered submarine to the Bering Sea to see if they can revive the dinosaur to fight King Ghidorah. They get more than they bargained for; the creature indeed revives, destroys the submarine, adsorbs the nuclear energy and becomes a 100 metre high Godzilla, bigger and meaner than the possible “earlier” Godzilla. When Godzilla and King Ghidorah meet amid buildings and flying debris, the earth indeed moves. Godzilla is losing until Emmy and Terasawa break into the time machine, reprogram M-11 and sabotage the computer controlling King Ghidorah. This is the edge Godzilla needs; he rips off one of the three heads of King Ghidorah and casts the body far out into the sea. Japan is seemingly saved. But then Godzilla does indeed start a rampage of carnage, destroying the cities in his path as he heads towards Tokyo. So, in another reversal, Emmy and M-11 take the time machine back to 2204 where there is the technology to remake King Ghidorah as an armoured Mecha-King Ghidorah, including a new metallic head. From the head the half living monster, half metal creature is controlled by Emmy who returns to 1992 just in time to fight Godzilla in the streets of Tokyo in a final welter of destruction.

     The plot of Godzilla vs. King Ghidorah (Gojira tai Kingu Gidora) may sound convoluted, but the film is one of the best of the entire Godzilla series of films. Writer / director (Kazuki Omori), who also directed the less than impressive Gojira tai Biorante in 1989, here directs with verve and skill a tale that flies along, which is just as well as some of the logic in the time travel plot is less than convincing. The special effects by Koichi Kawakita, a combination of models, men in suits plus early CGI, are exciting, explosive, colourful and effective; there is enough destruction of model buildings, vehicles, bridges and roads, and monster battles, to satisfy the most demanding fan. The budget was also enough to get into shot some real tanks and helicopters. And, as an added bonus, original Godzilla composer Akira Ifukube returns to the series with a rousing score that beautifully complements the on screen action. The Godzilla March has never sounded better.

     As usual, the human actors are not as impressive as the creatures, although Anna Nakagawa is good as the woman of conflicted motives from the future, while Yoshio Tsuchiya as the soldier turned businessman Shindo gets the best human scene. In the midst of Godzilla’s rampage towards Tokyo Shindo and Godzilla come face to face. There is a moment of quiet amid the destruction as Shindo remembers the creature that saved him on Lagos Island that he had helped to recreate. Godzilla also pauses for a moment, seemingly searching for some hidden memory,. before resuming his rampage. It is a poignant moment that works beautifully, and is unusual in Godzilla films.

     Godzilla vs. King Ghidorah from 1991 is a terrific Godzilla film featuring mass destruction of cities, exciting creature fights and a wonderful score by Akira Ifukube. It is an essential purchase for anyone even remotely interested in the “king of the monsters”.

Video

     Godzilla vs. King Ghidorah is presented in an aspect ratio of 1.85:1, the original theatrical ratio, and is 16x9 enhanced.

     This is a very good looking print. While some back projection scenes and CGI shots are not as sharp as they might be, the rest of the film looks very sharp indeed. Blacks and shadow detail are fine, brightness, contrast and skin tones are good and the colours warm and natural. There is mild grain but I did not notice any film or film to video artefacts except where they were intentional, such as in footage of a bombardment by battleships taken from WW2 footage, or in sequences where TV reports are shown.

     The English subtitles are in a yellow font and have no obvious spelling or grammatical errors. This print is the Japanese version: on the occasions when English is spoken (such as by the US troops attacking Lagos Island) white burnt in Japanese subtitles appear.

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 at 448 Kbps, Japanese Dolby Digital 2.0 surround at 224 Kbps and English Dolby Digital 2.0 mono at 224 Kbps. The 5.1 is very good. Dialogue was clear, it has separation and reasonable clarity, the surrounds are used for music and effects and the sub woofer did support the music, explosions and the thump and rumble of Godzilla feet as he moves across the landscape. While not up to more recent standards this has a good enveloping feel that supports the onscreen action nicely.

    The Japanese 2.0 is surround encoded and does an OK job but is nowhere near as good as the 5.1. The English 2.0 is very much a poor relation. It is mono only and the voice cast are even weaker than usual so this track should be avoided.

     The score by Akira Ifukuba is simply wonderful as noted in the review. The Godzilla March has never sounded better.

     Lip synchronisation is was generally very good, even when the non-Japanese future people were speaking, which was a surprise given some of the poor sync elsewhere in the Godzilla series.

Audio Ratings Summary

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

Original Trailers

     Included are 3 Teaser Trailers (total 1:38) and the original Theatrical Trailer (2:19)

Stills Gallery

     18 movie stills.

Poster Gallery

     6 Japanese film posters.

Madman Trailers

     Trailers for other films from Madman. Included is Godzilla vs. Mothra: Battle for Earth (1:59), Godzilla vs. Mechagodzilla (II) (1:43) and Godzilla vs. Destoroyah (1:45).

     The Region 2 Japanese version has an audio commentary by director / writer Kazuki Omori and producer Shogo Tomiyama, a special effects analysis of 4 scenes with optional audio commentary by director of special effects Koichi Kawakita, plus deleted special effects, another trailer, text commentaries, filmographies, publicity and an 8 page booklet; however the feature, featurettes and commentary do not have English subtitles.

     The US Region 1 disc is in an aspect ratio of 1.33:1 and is non 16x9. There are a number of Region 2 European versions, none of which are 16x9 enhanced.

     Region 4 is the pick for English speakers.

     Godzilla vs. King Ghidorah from 1991 is a terrific Godzilla film featuring mass destruction of cities, exciting creature fights and a wonderful score by Akira Ifukube. It is an essential purchase for anyone even remotely interested in the “king of the monsters”.

     The film is presented on a DVD with excellent video and audio but minimal extras. Highly recommended for all fans of the genre.

Video
Audio
Extras
Plot
Overall

Godzilla vs. Mothra (Gojira tai Mosura) (1992)

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General		Extras
Category	Science Fiction	Theatrical Trailer-Teaser Trailers (3), Theatrical Trailer, TV Spot Gallery-Photo-Stills Gallery-Poster Trailer-Madman Trailers
Rating
Year Of Production	1992
Running Time	98:23
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Takao Okawara
Studio Distributor	Madman Madman Entertainment	Starring	Tetsuya Bessho Satomi Kobayashi Takehiro Murata Saburo Shinoda Akiji Kobayashi Akira Takarada Makoto Otake Keiko Imamura Sayaka Osawa Kenpachiro Satsuma 'Hurricane Ryu' Hariken
Case	Amaray-Transparent-Secure Clip
RPI	$24.95	Music	Akira Ifukube

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) Japanese Dolby Digital 2.0 (224Kb/s) English Dolby Digital 2.0 (224Kb/s)
Widescreen Aspect Ratio	1.78:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	No

     During the opening titles, a meteor crashes into the sea south-east of Japan, affecting the Earth’s tectonic plates and awakening Godzilla. At the same time a typhoon rages north of Indonesia, its torrential rain creating a rockslide on Infant Island, revealing a giant egg. Elsewhere, Indiana Jones-type archaeologist Takuya Fujita (Tetsuya Bessho) is languishing in a Thai gaol after a failed attempt to steal a statue when he is recruited by his ex-wife Masako (Satomi Kobayashi) and the Marutomo property development company to visit Infant Island (which the company intends to redevelop). Takuya, Masako and company employee Kenji Ando (Takehiro Murata) travel to the island and have various adventures involving a precarious bridge and a river. They find the egg and also discover twin tiny female creatures called Cosmos, who reveal that the egg belongs to Mothra, guardian of the Earth. 12,000 years ago the Earth had been peaceful until disturbances with the Earth’s life force resulted in conflict between Mothra and Battra (called the “Black Mothra”). Now humans were again threatening the wellbeing of the Earth with pollution and overdevelopment, hence the Earth’s life force is again stirring. The Cosmos agree to accompany the egg to Japan; it is moved to a barge and towing commences.

     Meanwhile, Godzilla is not the only monster awoken by the meteor; Battra (at this stage a large caterpillar type creature) also awakens and comes ashore to Japan. Impervious to the military’s weapons, it destroys a city before heading back out to sea. Away to the south, the ship towing the egg with Takuya, Masako, Ando and the Cosmos on board is attacked by Godzilla; the egg hatches and the Mothra larvae battles Godzilla until Battra arrives and makes it a three-way contest. Locked together, Godzilla and Battra sink to the sea bed and are engulfed by volcanic magma; Mothra swims back to Infant Island.

     Back in Japan, Ando steals the two Cosmos and takes them to Takeshi Tomokane (Makoto Otake), the greedy the head of Marutomo Corporation, who decides to keep them captive and use them to promote his company. Masako wants to return them to Infant Island, but Tomokane refuses; Takuya then takes a hand and steals them back, but his act is hardly altruistic as he offers to sell them to an American company for $1 million. Distressed, the Cosmos call to Mothra, who leaves the island to come to their rescue, destroying navy warships and part of Tokyo in the process. And just to compound the military’s problems, Godzilla bursts through Mt Fiji and Battra returns to wreak havoc. The stage is set for a climactic battle to decide the fate of Earth.

     Godzilla vs. Mothra: Battle for Earth (simply Gojira tai Mosura in Japan) from 1992 was the follow-up to the terrific Godzilla vs. King Ghidorah of the year before. While it had a new Godzilla director in Takao Okawara, Kazuki Ohmori, the writer / director of Godzilla vs. King Ghidorah, continues as writer, while the director of special effects Koichi Kawakita and special effects production designer Tetsuzo Osawa return, as does original Godzilla composer Akira Ifukube. Indeed, the music and the special effects are the film’s highlights. The special effects, a combination of models, men in suits plus early CGI, are exciting, explosive, colourful and effective; there is enough destruction of model buildings, ships, tanks, bridges and roads to satisfy the most demanding fan. The budget was also enough to get into shot some real tanks. The monster fights vary in quality. Some, such as the Godzilla / Battra underwater fight, are hard to see, but others, such as the three-way climax within the environs of Tokyo, are very colourful and spectacular. And amid the mayhem there are some quite beautiful sequences, especially Mothra’s transformation on top of the Japanese parliament building.

     The humans fare less well. The first 28 minutes start with an Indiana Jones-type adventure with not a monster in sight. But once the monster rampages start, the humans are relegated to standing around looking awed and / or amazed, and they make no contribution to the resolution of the film. Other characters are underdeveloped: greedy Marutomo Head Tomokane just disappears from the plot, and the character of Professor Fukazawa (Saburo Shinoda) seems to be there for a reason, although that reason is hard to discern. Meanwhile, Environmental Planning Board Chief Minamino (Akira Takarada) stands around giving dire warnings about the environment. Takarada had been the lead in three of the best Godzilla films from the mid 1960s, Mothra vs. Godzilla (1964), Godzilla – Invasion of the Astro Monster (1965) and Godzilla vs. Ebirah, Horror of the Deep (1966), but this was a long way from there. As well, the scenes where Takuya’s young daughter pricks his conscience by telling him she does not want to be the daughter of a thief are decidedly mawkish! However, in the end the humans really don’t matter, for it is the monsters and their battles that are important.

     If Godzilla vs. Mothra is not quite as good as Godzilla vs. King Ghidorah due to the uninteresting leads and the blatant environmental message, it is still a strong, enjoyable Godzilla film featuring mass destruction of cities, colourful creature fights, and that wonderful Akira Ifukube score. While not one of the very best, it is still highly entertaining, and is especially a must for Mothra fans.

Video

     Godzilla vs. Mosura is presented in an aspect ratio of 1.78:1, close to the original theatrical ratio of 1.85:1, and is 16x9 enhanced.

     This is a good print. While some back projection scenes and CGI shots are not overly sharp, the rest of the film has good sharpness and clarity. Colours vary. In the early scenes in the jungle on Infant Island, the colours look flat and not particularly vibrant. In contrast, during the sequence after Mothra transforms, the yellows and reds on her wings brilliantly stand out against the dark night sky. Blacks and shadow detail are fine, brightness is consistent and skin tones are good. There is mild grain but I did not notice any film or film-to-video artefacts.

     The English subtitles are in a very clear yellow font and have no obvious spelling or grammatical errors. This print is the Japanese version: on the occasions when English is spoken, white burnt in Japanese subtitles appear.

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 at 448 Kbps, Japanese Dolby Digital 2.0 at 224 Kbps and English Dolby Digital 2.0 mono at 224 Kbps. The 5.1 is quite good, if not window-shattering. Dialogue is clear; it has separation and reasonable clarity. The surrounds are used for music and effects, and the subwoofer supported the music, explosions and the rumble of Godzilla’s feet. While not up to more recent standards, this has a good enveloping feel that compliments the onscreen action.

    The Japanese 2.0 is surround encoded but sounds thin by comparison. The English 2.0 is very much a poor third. It is mono only and the voice cast are indifferent, so this track should be avoided.

     The score by Akira Ifukuba is simply wonderful and adds to the film experience. The Godzilla March is used selectively, but when it occurs it helps build the tension very nicely.

     Lip synchronisation is good.

Audio Ratings Summary

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

Original Trailers

     Included are 3 Teaser Trailers (1:38 in total), the original Theatrical Trailer (1:53) and a TV spot (0:32).

Stills Gallery

     10 movie stills.

Poster Gallery

     3 Japanese film posters.

Madman Trailers

     Trailers for other films from Madman; Godzilla vs. Mechagodzilla (II) (1:43), Godzilla - Invasion of Astro Monster (2:24) and Godzilla vs. Hedorah (2:13).

    There is censorship information available for this title. Click here to read it (a new window will open). WARNING: Often these entries contain MAJOR plot spoilers.

     The Region 2 Japanese version has an audio commentary by director Takao Okawara, a “making of” (approximately 50 minutes), behind the scenes, staff parties, music composing, deleted scenes, trailers, music video, photo galleries and a multi-angle section. However, the feature, featurettes and commentary do not have English subtitles.

     The US Region 1 disc has an aspect ratio of 1.33:1 and is non 16x9. There are a number of Region 2 European versions; some are not 16x9 enhanced and none have any significant extras.

     Region 4 is the pick for English speakers.

     If Godzilla vs. Mothra is not quite as good as the great Godzilla vs. King Ghidorah from the year before, it is still a strong, enjoyable Godzilla film featuring mass destruction of cities, colourful creature fights and that wonderful Akira Ifukube score. It is still very entertaining, and a must for Mothra fans.

     The film is presented on a DVD with good video and audio but minimal extras.

     Godzilla vs. Mothra: Battle for Earth is included in the Madman 5 disc box set Godzilla Heisei Series along with Godzilla vs. King Ghidorah (1991), Godzilla vs. Mechagodzilla (II) (1993), Godzilla vs. Spacegodzilla (1994) and Godzilla vs. Destroyah (1995). For a RPI of $49.95 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 vs. Mechagodzilla II (Gojira vs Mekagojira) (1993)

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General		Extras
Category	Drama	Trailer-Teaser Trailers x 3, Theatrical Trailer, TV Spot Gallery-Photo Gallery-Poster Trailer-Madman Trailers
Rating
Year Of Production	1993
Running Time	103:18 (Case: 108)
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Takao Okawara
Studio Distributor	Toho Company Madman Entertainment	Starring	Masahiro Takashima Ryoko Sano Megumi Odaka Yûsuke Kawazu Kenji Sahara Akira Nakao Kôichi Ueda Leo Meneghetti Daijiro Harada Tadao Takashima Keiko Imamura Sayaka Osawa
Case	Amaray-Transparent-Dual
RPI	?	Music	Akira Ifukube

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) Japanese Dolby Digital 2.0 mono (224Kb/s) English Dolby Digital 2.0 mono (224Kb/s)
Widescreen Aspect Ratio	1.85:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	No

     In 1992 the UN establishes the National G Countermeasure Centre, drawing scientists for around the globe, including inventor and dinosaur geek Kazuma Aoki (Masahiro Takashima), in an attempt to create a metal fighting machine capable of defeating Godzilla. Their first attempt was Garuda, a flying machine that was manoeuvrable but whose weapons were adjudged inadequate to fight Godzilla. The next machine was more formidable: raising the metallic third head of King Ghidorah from the seabed and using its 23rd century technology, they created Mechagodzilla, a huge machine with a four person crew, armour that could turn Godzilla’s atomic breath back against him and advanced weaponry.

     In 1994 an expedition to Adona Island in the Bering Sea with scientist Azusa Gojo (Ryoko Sano) discovers a Pteranodon skeleton encased in rock and two giant eggs. One egg has hatched, the other is still whole. While loading the egg onto their helicopter the group are attacked by the flying monster Rodan but escape when Godzilla arises from the sea to battle Rodan. Back in Kyoto, the egg hatches but it is not a Pteranodon which emerges but a baby Godzilla – a Godzillasaurus, which takes an immediate shine to Azusa. Shortly afterwards, Godzilla comes to Japan, searching for his baby and Mechagodzilla is activated. Initially successful and on the brink of defeating Godzilla, Mechagodzilla suffers a power surge that leaves it helpless, but Azusa successfully hides Baby and Godzilla leaves. Baby is taken to a research institute, where study reveals that he, and presumably Godzilla, has a second nerve centre at the base of his spine; neutralising this would most likely paralyse Godzilla. While Mechagodzilla is not fully repaired, Kazuma realises that connecting Garuda with Mechagodzilla would create a very strong fighting machine.

     It is agreed that Baby will be taken to an uninhabited island as bait to lure Godzilla into a trap and he is loaded into a crate with Azusa and flown by helicopter towards the island. However, the helicopter is attacked and destroyed by Rodan, who catches and lands the crate with Baby inside. This paves the way for the final 30 minutes of intense action. Kazuma pilots Garuda to the attack, but is downed by Rodan, who in turn is defeated by Mechagodzilla; and then Godzilla arrives. In flame and fire Garuda links with Mechagodzilla and Godzilla is badly hurt and crashes to the ground. Yet, here our sympathies change; the injured Godzilla is tortured by continued blasts from the humans inside Mechagodzilla despite him being almost immobilised and obviously badly hurt. But Rodan is still alive, and merges with Godzilla to form Super-Godzilla, stronger and more deadly with red atomic breath in place of the previous blue. The stage is set for the final, explosive confrontation between beast and machine.

     The plot of Godzilla vs. Mechagodzilla (II) (Gojira tai Mekagojira) really involves a succession of expansive battle scenes. Director Takao Okawara in his second Godzilla film after Godzilla vs. Mothra the year before hits his stride here, while the director of special effects Koichi Kawakita and special effects production designer Tetsuzo Osawa were both back. Also back was original Godzilla composer Akira Ifukube, who surpassed himself with a wonderful score, his last but one for the Godzilla series. It is suitably bombastic in places, a variation on the Godzilla March is used aptly when Godzilla acquires his enhanced powers and there is a James Bondish sounding cue during the action, but the score also includes poignant reminders of loss as Godzilla searches for his baby and the music over the final titles is beautifully haunting. The special effects are exceptional. They include a combination of models, men in suits plus early CGI and are exciting, explosive, colourful and effective as the usual model cities go up in smoke and flame. The monster fights are extensive and well done. This time there is less close quarter grappling and more pyrotechnics as lasers and cannons fire, and atomic breath flies amid sparks and explosions.

     The human actors fare better than usual, and indeed humans here do have a pivotal role in the action and the resolution. Ryoko Sano as Azusa is fine (keeping a straight face while acting with a man in a baby Godzilla suit), Masahiro Takashima as Kazuma is a suitable hero and Megumi Odaka as the psychic Miki Seagusa, who has appeared in a number of the Heisei series, actually has something to do. However, they are still bit players to the action sequences, but at least they do more than stand around.

     If Godzilla vs. Mechagodzilla (II) has a message, it is that the life force is stronger than machines; the various robots in the film do fail, while Godzilla survives to walk again. But this is not the main point: Godzilla vs. Mechagodzilla (II) from 1993 is a terrific film and one of the most intense of the Godzilla series. It has the metal monsters Garuda and Mechagodzilla, the giant Pteranodon Rodan and finally Godzilla turning into Super-Godzilla going head to head and toe to toe in monster mayhem. Add the wonderful score by Godzilla original Akira Ifukube and this is an entertaining and essential purchase for anyone even remotely interested in the “king of the monsters”.

Video

     Godzilla vs. Mechagodzilla (II) is presented in an aspect ratio of 1.78:1, close to the original theatrical ratio of 1.85:1, and is 16x9 enhanced.

     This is a very good looking print. While some back projection scenes and CGI shots are not as sharp as they might be, the rest of the film looks sharp enough. Blacks and shadow detail are fine, brightness, contrast and skin tones are good and the colours warm and natural. The pyrotechnics look suitably spectacular. There is mild grain but I did not notice any film or film to video artefacts.

     The English subtitles are in a yellow font in American English; otherwise they have no obvious spelling or grammatical errors. This print is the Japanese version: on the occasions when English is spoken (quite a few times) white burnt in Japanese subtitles appear.

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 at 448 Kbps, Japanese Dolby Digital 2.0 at 224 Kbps and English Dolby Digital 2.0 at 224 Kbps. The 5.1 is probably the most explosive I have heard in the Godzilla series of films. Dialogue was mostly clear, although on occasion in the battle sequences it was drowned out by music and effects. Otherwise, the track has separation and reasonable clarity, the surrounds are used for music, effects and some panning (such as a helicopter flyover) and the sub woofer had a field day! It was seldom silent, supporting the music, explosions, the crash of buildings, monsters hitting the ground and the thump and rumble of Godzilla feet. Overall an excellent enveloping audio track..

     Both the Japanese 2.0 and English 2.0 are surround encoded and are quite impressive. They do not have the separation or clarity of the 5.1 but they do provide a better than usual alternative. The English dialogue is there if you dislike subtitles that much.

     The score by Akira Ifukuba is simply magical and is nicely rendered in the audio track. It is in turns bombastic, exciting and poignant with a beautifully haunting final cue. Ifukuba has never sounded better.

     Lip synchronisation was good.

Audio Ratings Summary

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

Original Trailers

     Included are 3 Teaser Trailers (total 2:20), the original Theatrical Trailer (1:36) and a TV Spot (0:16).

Stills Gallery

     10 movie stills.

Poster Gallery

     3 Japanese film posters.

Madman Trailers

     Trailers for other films from Madman: Godzilla vs. Destoroyah (1:45), Godzilla – Tokyo SOS (0:57) and The Samurai Trilogy 1 – Musashi Miyamoto (1:43).

     The Region 2 Japanese version has an audio commentary, a “making of” (approximately 50 minutes), trailers, photo gallery and multi-angle video; however the feature, featurettes and commentary do not have English subtitles.

     The US Region 1 disc has 2.0 sound, and no extras. There are a number of Region 2 European versions, the best in terms of extras is the German release which has a slideshow gallery, biography of composer Akira Ifukube (in German) and a number of text notes also in German; however, none of the extras have English subtitles. The feature has English 2.0 surround, as well as German 5.1 and 2.0 but not the original Japanese.

     Region 4 is the pick for English speakers.

     The film is presented on a DVD with excellent video and audio but minimal extras. Highly recommended for all fans of the genre.

     Godzilla vs. Mechagodzilla (II) is included in the Madman 5 disc box set Godzilla Heisei Series along with Godzilla vs. King Ghidorah (1991), Godzilla vs. Mothra: Battle for Earth (1992), Godzilla vs. Spacegodzilla (1994) and Godzilla vs. Destoroyah (1995). For a RPI of $49.95 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 vs. Spacegodzilla (Gojira vs Supesugojira) (1994)

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General		Extras
Category	Science Fiction	Teaser Trailer-x 4 Theatrical Trailer TV Spots Gallery-Photo Gallery-Poster Trailer-Madman Trailers
Rating
Year Of Production	1994
Running Time	103:26
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Kensho Yamashita
Studio Distributor	Toho Company Madman Entertainment	Starring	Megumi Odaka Jun Hashizume Zenkichi Yoneyama Akira Emoto Towako Yoshikawa Yôsuke Saitô Kenji Sahara Akira Nakao Kôichi Ueda Houka Kinoshita Keiko Imamura Sayaka Osawa Kenpachiro Satsuma
Case	Amaray-Opaque-Dual
RPI	?	Music	Takayuki Hattori

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) Japanese Dolby Digital 2.0 (224Kb/s) English Dolby Digital 2.0 mono (224Kb/s)
Widescreen Aspect Ratio	1.78:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	No

     The UN-established National G Countermeasure Centre has two contrasting views about how to deal with Godzilla. The first is to continue trying to destroy him by building ever more powerful fighting machines, the latest of which is called Mogera (Mobile Operation Godzilla Expert Robot Aero-type). The second is to use psychic powers through telepathy to control Godzilla. The proponents of this alternative are scientists Dr Susumu Okubo (Yosuke Saito) and Dr Chinatsu Gondo (Towako Yoshikawa), who enlist the support of psychic Miki Saegusa (Megumi Odaka). Knowing that sooner or later Godzilla will come to the island where baby Godzilla is being kept, they join G-Force members Koji Shinjo (Jun Hashizume), Kiyo Sato (Zenkichi Yoneyama) and Akita Yuki (Akira Emoto) on the island, unaware that Yuki intends to kill Godzilla. When Godzilla approaches, the plan to implant the telepathy-enhancing device on his neck works, although the results are not as successful as the scientists would like, so the plan is aborted and the scientists return to Tokyo.

     At the end of Godzilla vs. Mothra (1992), Mothra had flown off into space, unaware that she was carrying some cells of both Godzilla and Biollante. In space, these cells have mutated and created a powerful, part-crystalline monster that will be called Spacegodzilla. That monster now returns to kill Godzilla and therefore leave the Earth vulnerable to conquest. Mogera is sent to intercept Spacegodzilla in space but is defeated. Arriving on the island, Spacegodzilla incarcerates baby Godzilla in a crystalline prison and gets the better of Godzilla before flying off. Then Miki is abducted by Okubo and the Japanese Mafia and taken to Japan because they want to harness her psychic powers to control Godzilla for their own ends. She is rescued by Yuki, Koji and Kiyo just in time for the three to pilot the repaired Mogera in the climactic three-way battle in Fukuoka city. What is the greatest menace to the world: Godzilla or Spacegodzilla?

     Godzilla vs. Spacegodzilla (Gojira tai Supesugojira) from 1994 has received a fair bit of criticism, which I think is unjustified, for it is another strong Godzilla film that perhaps should not work as well as it does. First-time director Kensho Yamashita does a good job. His only previous Godzilla experience was as assistant director to the legendary Godzilla director Ishiro Honda on Terror of Mechagodzilla in 1975 – time it seems that was well spent. Godzilla vs. Spacegodzilla also had a first-time composer in Takayuki Hattori, and if it is unfair to compare him to the wonderful Akira Ifukube he also does a reasonable job. As monster films depend very much upon the special effects, Godzilla vs. Spacegodzilla is fortunate to have retained production designer Tetsuzo Osawa, as the effects work here is exceptional. Including a combination of models, men in suits, plus early CGI, the effects are exciting, explosive, colourful and convincing. The last 40 minutes of the film are simply spectacular. Atomic breath, lasers and cannons all blast away amid the city buildings. Urban structures crumble and crystal stakes shatter as the monsters confront Mogera. With Yuki, Koji and Kiyo at the controls, Mogera transforms into a succession of different fighting machines (above the ground and under it) in an attempt to get the upper hand. And although baby Godzilla simply looks silly, Spacegodzilla, all vibrant white crystal and flaming breath, looks wonderful.

     Godzilla vs. Spacegodzilla also takes time to set up the human actors; the film benefits from their improved performances. Akira Emoto as Yuki is good, Megumi Odaka as the psychic Miki Saegusa has quite an expanded role, and Jun Hashizume as Koji is a better than usual Godzilla hero. The plot is also fairly straightforward, if one excludes the pointless Miki kidnapping subplot that goes nowhere.

     Godzilla vs. Spacegodzilla may not be in the same class as Godzilla vs. Mechagodzilla (II) from the year before or Godzilla vs. King Ghidorah from 1991, but those two were fantastic and very hard acts to follow. Yet, Godzilla vs. Spacegodzilla is another strong, entertaining Godzilla film featuring a space-cloned version of Godzilla, more robot fighting machines, exciting battles, big explosions, and more wanton destruction of buildings. It is a lot of fun.

Video

     Godzilla vs. Spacegodzilla is presented in an aspect ratio of 1.78:1, close to the original theatrical ratio of 1.85:1, and is 16x9 enhanced.

     This is a great-looking print. While some back projection scenes and CGI shots are not quite as sharp as the rest, especially in wide views, the rest of the film looks very sharp indeed. Blacks and shadow detail are fine, brightness, contrast and skin tones are good and the colours warm and natural, especially on the island where some of the sunsets are spectacular. The pyrotechnics look wonderful and the creatures, especially Spacegodzilla, are great. There is mild grain but I did not notice any film or film to video artefacts.

     The subtitling is a mixed bag. English subtitles are in a yellow font. They follow the action well and have no obvious spelling or grammatical errors. The English subtitles remain active on some occasions when English is spoken, repeating the words on the screen. However, on other occasions when English is spoken (quite a few times), white burnt-in Japanese subtitles appear. Sometime both white Japanese and yellow English subtitles run across each other, making them hard to read. The location of the action is also often provided in white Japanese script but is not translated. This is not a huge problem as the locations are fairly obvious.

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 at 448 Kbps, Japanese Dolby Digital 2.0 at 224 Kbps and English Dolby Digital 2.0 mono at 224 Kbps. The 5.1 is very good. Dialogue was clear, it has separation and reasonable clarity. The surrounds are used for music and effects, but I heard no panning effects, and the subwoofer supported the music, explosions and the thump and crash as monsters fell to the ground. While not as good as more recent films, this has a good enveloping feel that supports the on-screen action.

    The Japanese 2.0 is surround encoded and sounds quite flat by comparison. In fact, the English 2.0 surprisingly sounded sharper and is available if you simply cannot read subtitles.

     The score by Takayuki Hattori did a good job of supporting the on-screen action.

     Lip synchronisation was good.

Audio Ratings Summary

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

Original Trailers

     Included are 4 Teaser Trailers (total 2:32), the original Theatrical Trailer (1:36) and a TV Spot (0:16).

Stills Gallery

     30 movie stills.

Poster Gallery

     5 Japanese film posters.

Madman Trailers

     Trailers for other films from Madman: Godzilla vs. King Ghidorah (2:26), Godzilla vs. Destoroyah (1:45) and Godzilla vs. Mechagodzilla (II) (1:43).

     The Region 2 Japanese version has an audio commentary by director Kensho Yamashita, a “Making of” featurette, multi-angles, teaser trailer, trailer and TV spot. However, the feature, featurettes and commentary do not have English subtitles.

     The US Region 1 disc and various Region 2 releases have only 2.0 audio and no extras.

     Region 4 is the pick for English speakers.

     Godzilla vs. Spacegodzilla is another strong, entertaining Godzilla film featuring a space-cloned version of Godzilla, more robot fighting machines, exciting clashes, big explosions, and more destruction of buildings. Quite fun, really.

     The film is presented on a DVD with excellent video and audio but minimal extras.

     Godzilla vs. Spacegodzilla is included in the Madman five-disc box set Godzilla Heisei Series, along with Godzilla vs. King Ghidorah (1991), Godzilla vs. Mothra: Battle for Earth (1992), Godzilla vs. Mechagodzilla (II) (1993) and Godzilla vs. Destoroyah (1995). For a RPI of $49.95 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 vs. Destoroyah (Gojira tai Desutoroia) (1995)

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General		Extras
Category	Science Fiction	Teaser Trailer-x 4 Theatrical Trailer TV Spots-x 2 Gallery-Photo Trivia Trailer-Madman Trailers
Rating
Year Of Production	1995
Running Time	98:48
RSDL / Flipper	Dual Layered	Cast & Crew
Start Up	Menu
Region Coding	4	Directed By	Takao Okawara
Studio Distributor	Toho Company Madman Entertainment	Starring	Takuro Tatsumi Yôko Ishino Yasufumi Hayashi Megumi Odaka Sayaka Osawa Saburo Shinoda Akira Nakao Masahiro Takashima Momoko Kôchi Shigeru Kôyama Ronald Hoerr Kôichi Ueda Takehiro Murata
Case	Amaray-Transparent-Dual
RPI	?	Music	Akira Ifukube

Video		Audio
Pan & Scan/Full Frame	None	Japanese Dolby Digital 5.1 (448Kb/s) Japanese Dolby Digital 2.0 mono (224Kb/s) English Dolby Digital 2.0 mono (224Kb/s)
Widescreen Aspect Ratio	1.78:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	No
		Annoying Product Placement	No
		Action In or After Credits	Yes, montage from previous Godzilla films

     Godzilla vs. Destoroyah commences with a bang as a glowing red Godzilla destroys Hong Kong during the opening credits before heading north towards Japan. It seems that his internal temperature is increasing rapidly and that when it reaches 1200 degrees centigrade he will suffer a nuclear meltdown, creating a cataclysmic explosion that could devastate the entire earth. Meanwhile Birth Island has been destroyed; baby Godzilla is missing and psychic Miki Saegusa (Megumi Odaka) fears he is dead.

     In Tokyo Dr Kensaki Ijuin (Takuro Tatsumi) is working on an oxygen depletion devise. In 1954, in the original Godzilla, a similar devise had been invented by Dr Serizawa and used to neutralise Godzilla but, fearful of the destructive power of the weapon, Serizawa had burned all his research papers. Emiko Yamane, Dr Serizawa’s fiancé (played by Momoko Kochi reprising her character 40 years after the original film) warms reporter Yukari (Yoko Ishino) of the dangers of the device but when she challenges Dr Ijuin she is ignored. While digging in the Tokyo area when Godzilla was originally destroyed by the oxygen destroyer, Dr Ijuin brings to the surface some soil samples that eat their way through the test tubes and mutate into tiny crustaceans. The explanation is that they were fossils from the Cambrian era, 2.5 billion years ago, that mutated due to the particles from the oxygen destroyer. They quickly mutate into bigger crab like creatures and the Japanese Special forces are brought in to destroy them with flamethrowers inside a building complex that feels like a sequence lifted straight from Aliens (1986) or even Them! (1954). The main effect of their destruction, however, is that they merge together and mutate into something even bigger; an oxygen destroying monster called Destoroyah.

     But what of Godzilla? He is spotted heading for the nuclear power plant on Okinawa. It seems he may be following the path of baby Godzilla, who has now been rediscovered heading towards his birthplace in the Bering Sea. However, he is no longer “baby” Godzilla, but has grown to about 40 metres high, so he is redubbed Godzilla Junior. G-force then utilise their newest weapon the SX-III, a plane that looks a bit like a Stealth Bomber but is equipped with special “freezing” weapons that can lower the temperature of a victim to minus 200 degrees centigrade. The SX-III successfully freezes Godzilla (the effects expected to last 6 hours) and saves the nuclear power plant. But they know it is only temporary and so a desperate plan is hatched; they will use Godzilla Junior to lure Godzilla into conflict with Destoroyah.

     Miki and another psychic Meru (Savaka Osawa) succeed in luring Godzilla Junior to Tokyo where he is attacked by Destoroyah. It is a relatively even contest until, through a sort of transfusion of atomic synergy (I think) Destoroyah mutates into an even bigger monster and kills Godzilla Junior. Then Godzilla arrives, and a contest of gigantic proportions ensues in a welter of pyrotechnics and destruction as Destoroyah assumes his final form and first one monster, then the other, gets the upper hand until Destoroyah is defeated and explodes. Godzilla’s internal temperature has now reached meltdown and as the chain reaction commences, the SX-III and similar vehicles with freeze weapons fire them all into Godzilla, averting the nuclear explosion but causing Godzilla to disintegrate. Yet in the chaos of death there is life, and Godzilla Junior is glimpsed in the smoke, alive to carry on the Godzilla legacy.

     Godzilla vs. Destoroyah (Gojira tai Desutoroia) was intended to be the series finale and writer Kazuki Ohmori, who had written three Godzilla film before this and directed two, packed enough into Godzilla vs. Destoroyah to sustain five films! It starts off with an explosive sequence as the glowing red Godzilla smashes up Hong Kong, but then for a long time it does not feel like a Godzilla film at all as the crab like creatures take centre stage and we are treated to a number of sequences that owe far more to Aliens or even Them! than to Godzilla as the military hunt creatures that look like a cross between a Predator and an Alien through narrow corridors with flamethrowers. In its way it is quite tense, such as when Yukari is trapped in a car by one of the creatures, and spectacular but it feels like a different movie altogether. Indeed, the numerous plot strands mean that the human characters do little except stand around and try to explain the “scientific” back-story. Some appear briefly, only to disappear from the story as the creature action hots up.

     As it does! Director Takao Okawara, returns for his third Godzilla film and while the human action is indifferent the creature action is anything but, helped by returning director of special effects Koichi Kawakita and special effects production designer Tetsuzo Osawa. Unlike the silly looking baby Godzilla suit in Godzilla vs. Spacegodzilla, here Godzilla Junior looks fantastic, as does the glowing red Godzilla. The various Destoroyah’s are a mixed bag; the smaller crab like creatures with Alien type heads don’t really work and the final huge Destoroyah looks clumsy, but some of the intermediate versions, such as during the fight with Godzilla Junior, look and move fine. Godzilla vs. Destoroyah also features more CGI than usual, but it mostly looks good while the model work, such as the SX-III and the buildings are great. The pyrotechnics are frequent, and spectacular. And, as a final bonus, original Godzilla composer Akira Ifukube also returns with a rousing score including the final, memorable, rendering of the Godzilla March as the creature walks in towards Destoroyah in what we know will be his final battle. Simply wonderful.

     This was the final Godzilla film for Producer Tomoyuka Tanaka, one of the original Godzilla’s creators in 1954 who had worked on every Godzilla film since. Indeed, there are many reminders in Godzilla vs. Destoroyah of the original Godzilla; the “oxygen destroyer” device plus actual footage from that film of the inventor Dr Serizawa (Akihiko Hirata), actress Momoko Kochi reprising her character, two of the characters are descendants of Professor Yamane who was the palaeontologist who led the first study of Godzilla, plus the destruction of the same Tokyo buildings that Godzilla destroyed 40 years previously.

     Clearly, Tanaka wanted not only to take us back to where it all started but he also wanted the series, and Godzilla himself, to go out with a bang, not a whimper. And although, due to the messy plot that tried to cram too many things into one film, he did not quite succeed, Godzilla vs. Destoroyah is hardly a failure. Reuniting special effects directors Koichi Kawakita and Tetsuzo Osawa with original Godzilla composer Akira Ifukube, when Godzilla vs. Destoroyah gets down to serious monster action, the result is spectacular, colourful and explosive with the death of Godzilla Junior and then Godzilla adding an extra dimension to the saga. This is adult Godzilla, moving and poignant and a good, if flawed, conclusion to the series.

Video

     Godzilla vs. Destoroyah is presented in an aspect ratio of 1.78:1, close to the original theatrical ratio of 1.85:1, and is 16x9 enhanced.

     This is a good print. While some back projection scenes and CGI shots are not quite as sharp as the rest, the film mostly looks very sharp indeed. Blacks and shadow detail are fine, brightness, contrast and skin tones are good and the colours warm and natural. The pyrotechnics look wonderful and the creatures are as clearly detailed as one would wish There is mild grain but I did not notice any film or film to video artefacts.

     English subtitles are in a yellow font, follow the action well and have no obvious spelling or grammatical errors. When English is spoken white burnt in Japanese subtitles appear although occasionally both white Japanese and yellow English run across each other making them hard to read.

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 at 448 Kbps, Japanese Dolby Digital 2.0 mono at 224 Kbps and English Dolby Digital 2.0 mono at 224 Kbps. The 5.1 is very good. Dialogue was clear, it has separation and reasonable clarity and the surrounds are used for music and effects, although panning effects were absent. The sub woofer did support the music, explosions, the destruction of buildings and the thump and rumble of Godzilla’s feet as he moves across the landscape. While not up to more recent standards this has a good enveloping feel that supports the onscreen action.

    The Japanese 2.0 and English 2.0 mono tracks lack depth and sound quite tiny, as one might expect.

     The score by Akira Ifukube sounds wonderful and came across in the mix beautifully.

     Lip synchronisation was good.

Audio Ratings Summary

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

Original Trailers

     Included are 4 Teaser Trailers (2:52), the original Theatrical Trailer (1:37) and 2 TV Spots (0:31).

Image Gallery

     Some very good stuff, including how Destoroyah was created for the screen. Sections are:

• 15 Promotional Stills
• 33 Destoroyah Sketches
• 18 Model Stills of Destoroyah
• 13 Godzilla Sketches
• 14 Sketches of Super X-111
• 10 Vehicle Sketches
• 2 Scene Sketches

Trivia Section

     Two silent pages of text.

Madman Trailers

     Trailers for other films from Madman: Godzilla – Tokyo SOS (0:57), Godzilla vs. Ebirah – Horror of the Deep (2:18) and Godzilla – Invasion of the Astro Monster (2:24).

     The Region 2 Japanese release has an audio commentary by director of special effects Koichi Kawakita, a “Making of” featurette that includes interviews, behind the scenes, deleted scenes and an alternative ending (50 minutes), trailers and the image gallery; however there are no English subtitles for either the feature or the featurettes.

     The US Region 1 disc has 2.0 audio only and no extras.

     Region 4 is the pick for English speakers.

     Reuniting special effects directors Koichi Kawakita and Tetsuzo Osawa with original Godzilla composer Akira Ifukube, when Godzilla vs. Destoroyah gets down to serious monster action the result is spectacular, colourful and explosive with the death of Godzilla Junior and then Godzilla adding an extra dimension to the conclusion of the film, and the Heisei Godzilla saga. This is adult Godzilla, moving and poignant and it is all the better for it.

     The film is presented on a DVD with excellent video and audio and better extras than usual on Region 4 Godzilla releases

     Godzilla vs. Destoroyahis included in the Madman 5 disc box set Godzilla Heisei Series along with Godzilla vs. King Ghidorah (1991), Godzilla vs. Mothra: Battle for Earth (1992), Godzilla vs. Mechagodzilla (II) (1993) and Godzilla vs. Spacegodzilla (1994). For a RPI of $49.95 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