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

Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack; or, Post-War Trauma
     Godzilla is passé.
This week is provide my penultimate review of my Godzilla Millennium series rundown. To be specific, I want to focus on a film about which I have mixed feelings. This is Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack from the year 2001, directed by Shusuke Kaneko.

Release Info

Directed by: Shusuke Kaneko Starring: Chiharu Niiyama, Ryudo Uzaki, Shiro Sano, Hideyo Amamoto

Language: Japanese Original Title: ゴジラ・モスラ・キングギドラ 大怪獣総攻撃 Runtime: 105 min

Synopsis
The Japan Self-Defense Forces are alerted about the American nuclear submarine that went missing. In the meantime, a TV reporter Yuri Tachibana (Chiharu Niiyama) films a documentary piece near Mount Myoko, which is hit by a mysterious earthquake. It turns out that Godzilla might have returned and the only way to stop the creature is to reawaken the so-called Guardian Monsters: Baragon, Mothra, and King Ghidorah.

Anger and Hatred
Contrary to common misconceptions within the fandom, this movie did not come about because of the poor financial and critical reception of Godzilla vs. Megaguirus (2000). During the production of the aforementioned film, producer Shogo Tomiyama was still keen on developing the idea of revisiting Godzilla in an alternate universe with each new motion picture. Therefore, he recruited the services of an experienced Tokusatsu director Shusuke Kaneko.

Kaneko was a major Godzilla fanboy since childhood, and it was his lifelong dream to actually make a Godzilla movie. Already in the 1990s, when the Heisei movies were at their peak, young Kaneko contacted Tomiyama, but the producer politely refused his pitch to direct. Consequently, Kaneko honed his craft in the Tokusatsu genre by directing for Daiei the now-extremely popular Gamera Trilogy (1995-1999).

When Kaneko was approached with the offer in 2000, he developed several script ideas for the potential film, but the one closest to his vision involved Godzilla as the ruthless villain facing off against protectors of Earth: Varan, Baragon, and Anguirus. Toho accepted the idea, but gave the ultimatum to replace the original monsters with King Ghidorah and Mothra in order to make the film more bankable because the previous outings were box office bombs.

The movie itself certainly feels different in tone and its subject matter from other Millennium flicks crafted by Masaaki Tezuka and Takao Okawara. The GMK film is Shusuke Kaneko’s attempt to bring the King of the Monsters back to his roots, to make him not an anti-hero, but an unforeseeable force of nature that detests humans and wants to destroy all forms of life.

What is more, Kaneko not only changed Godzilla’s modus operandi and his appearance, but also gave the monster a spiritual dimension of origin. Of course, the nuclear aspect of Godzilla remains intact, but Kaneko heavily implies that the Big G is also an embodiment of souls of Japanese soldiers who were left to die by the Imperial Army during the war. In consequence, Godzilla becomes a demon that haunts Japan not only for its trauma stemming from the bombing of Hiroshima and Nagasaki, but also for the country’s war crimes. Godzilla’s mercilessness is especially telling in a scene where he slams to the ground a hospital filled with innocent people, including a girl who survived the monster’s previous attack.

It goes without saying that Mothra is always the Kaiju heroine, and she always rocks on that front, but it is impossible for me to picture King Ghidorah as the benevolent dragon who saves the day. This is the major cognitive dissonance that ruins this movie for me. King Ghidorah time and time again, for decades, was Godzilla’s arch-nemesis, not the saviour of mankind.

In terms of cinematography and special effects, the GMK movie is the most 2000-like looking production of the Millennium series. I’m not sure why it’s the cause of this apart from that Kaneko is definitely a modern filmmaker, whereas Tezuka and Okawara feel more traditional with their approach to Godzilla. There’s nothing wrong with both approaches. In fact, GMK has many cinematic nods to Godzilla from 1998, as if Kaneko was indirectly throwing shade at the American production. In addition, the special effects director Makoto Kamiya does a fine job with blending classic miniature work with CGI.

With regard to performances, Chiharu Niiyama and Ryudo Uzaki really carry the film with their performances. Uzaki is especially memorable as the army admiral who undergoes a fantastic voyage deep into the belly of Godzilla. The movie also features appearances of the veteran actors such as Shiro Sano, Masahiko Tsugawa, Hiroyuki Watanabe, and Hideyo Amamoto. There are also cameos done by Masaaki Tezuka, Koichi Kawakita, Ai Maeda and Aki Maeda (as twin sisters) as well as Mizuho Yoshida, Akira Ohashi, and Rie Ota (who were the suitmation actors for the titular monsters).

Last but not least, Kow Otani provided a truly menacing music score for the film. I will always cherish the composer’s soundtrack for the Outlaw Star anime, but his addition to the Godzilla franchise cannot go unnoticed as well. “His music was so emotional and classical; it reminds me of old-fashioned kaiju movies, (Akira) Ifukube’s sound. His music makes me excited. It makes your heart beat,” stated Shusuke Kaneko (source).

Recommendations
Undoubtedly, Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack is a film that stood the test of time and can be watched with having the knowledge of the rest of Godzilla films. However, it is very dark indeed, so it does not have a lot of rewatch value for me. The movie was released on Blu-Ray in 2014.

Overall score: 7/10

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A2 (2001) [Documentary Review]

A2 (2001); or, Paradise Lost
     I can’t express adequately what I want Aum to be, but I know I don’t like the way it is now.
Three years after an incredibly insightful documentary about Aum Shinrikyo and the aftermath of 1995 Tokyo attacks, director Tatsuya Mori returns with a follow-up. In A2, we see the crumbling organisation that struggles to reform itself; however, a new law is passed in the parliament which allows the police to monitor the activities of the cult.

Release Info

Directed by: Tatsuya Mori Language: Japanese

Original Title: A2 Runtime: 124 min

Sonshi He Knows Me
In order to explore the troubling situation which Aum Shinrikyo found itself in, Tatsuya Mori visits different satyams/households where the followers reside. Mori records their everyday activities, but he also captures ordinary citizens who relentlessly confront members of Aum. Apart from these local interventions, the viewers catch a glimpse of the cult at a decision-making level: We again see Hiroshi Araki together with his colleagues trying to save the reputation of Aum. At the same time, Joyu Fumihiro is released from custody and we see him striving to create a revamped version of Aum called Aleph.

It is evident in A2 that Mori loses his patience. The director himself confronts Araki and other members of Aum time and time again about the 1995 attacks and consequences of their horrible actions. “Our society’s become so brazen, so hateful, and that was all triggered by Aum. I couldn’t stand to see the whole incident be forgotten, but then I don’t know what should be done. Japanese society is clearly much worse than it was five years ago - it’s definitely warped. I think Aum was the main cause of that,” the director states.

Incidentally, we see a lot more of Mori in A2 than in the previous part. Perhaps in these little scenes with Aum followers, the director wanted to underline that this visual examination of the cult is more personal to him. In my opinion, Mori was given greater access to Aum’s facilities than before. Thanks to this richer video material, we are able to see that the followers continue to worship Shoko Asahara as well as practise his questionable teachings (see purification ritual or meditation while wearing special helmets with wires).

In addition, we witness the confrontations between local townspeople and the followers who reside in their areas. In many cases, the locals are angry and determined to drive Aum people out of their cities, but sometimes we see the opposite reaction. Ordinary people and the followers bond with each other, they casually crack jokes, or even exchange jokes. Some residents say to Mori that it is better to talk to Aum rather than fight it.

From the big-scale events, we get to see the release of Joyu Fumihiro who is tracked down by right-wing nationalists, who in turn get in conflict with the police. It is an incredibly detailed insight into the political aspect of Japanese life and how it was changed after the 1995 attacks.

Perhaps the most baffling, yet unnerving at the same time are the actions of Araki, Fumihiro and their associates. During a confrontation with a victim of the Matsumoto sarin attack, it becomes clear that people in charge of Aum have no idea how to show remorse or even understanding of what had happened. They are only interested in keeping the organisation going, which makes me all the more sorry for regular followers who fell victim to Asahara’s dogma.

Recommendations
All things considered, I highly recommend Tatsuya Mori’s A2 documentary. It is a great addendum to the first part. Recently, A2 was screened at DAFilms as part of the Made in Japan, Yamagata 1989-2021 program. In 2016, Mori also released an updated version of the documentary called A2: Kanzenhan. The film is also available on DVD from Tidepoint Pictures.Overall score: 9/10

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Pulse (2001) [Film Review]

Pulse: or, Nowhere to Run

     In 10 years, or at least while we're still alive, they'll invent a drug that prevents death. Then, we could live forever and ever. Of course, you might think I'm crazy to say that, but... I'd rather bet on that. 

Having been inspired by the J-Horror discussion club last Spring, I grabbed Kiyoshi Kurosawa’s Pulse movie from 2001. Although not as famous as Cure (1997), the movie is an interesting take on the apocalypse scenario triggered by internet connection.

Release Info

Directed by: Kiyoshi Kurosawa Starring: Kimiko Aso, Haruhiko Kato, Koyuki

Language: Japanese Original Title: 回路 Runtime: 118 min

Synopsis

Kudo Michi (Kumiko Aso) works at a plant shop in Tokyo. One day, her co-worker, who was working on a computer disc, went missing. Michi goes to his apartment and the man in question hangs himself in her presence. Fellow friends inspect the contents of the disc and discover that it contains an image of Taguchi staring at his own computer monitor. In the meantime, Ryousuke (Haruhiko Kato), an economics student, tries to set up an internet connection in his apartment. Nevertheless, his computer accesses a website on its own, showing him disturbing images of people alone in dark rooms, exhibiting strange behavior. Ryosuke consults Harue (Koyuki), a computer expert at his university about the problem. They discover that ghosts are slipping into our reality...

Portal to Another World 

Evidently, Pulse came out at the heyday of J-Horror when the market was flooded with numerous titles after the successful release of Ring in 1998. Kurosawa’s movie has a very gripping storyline, and thankfully does not rely on jumpscares. Come to think of it, the movie does not even contain explicit graphic content. As a result, I would classify it more as a mystery thriller rather than a proper horror.

The depressing mood of the picture is evidently its greatest advantage. Why are the main characters so afraid of loneliness? Why are they visited by ghosts? The viewers eventually get all the answers in this slow-burn story, and the overall explanation is really a downer. Pulse is yet another Japanese film which ponders upon an existentialist worldview. In a society where one individual can easily suffer from isolation, is there any hope for happiness at all?

In terms of disadvantages, it has to be pointed out that Pulse actually has a few CGI sequences, but these did not age well. However, considering the fact that it was the year 2001 and Japanese Cinema was at the beginning of utilising digital effects, this aspect is forgivable. However, completely unforgivable is a cheap screenwriting trick in the course of which a completely random guy provides clueless Ryousuke with a much-needed exposition halfway through the film. 

Still, I greatly enjoyed the production design. The empty streets of Tokyo looked amazing and close encounters in “forbidden rooms” are classic. The sound editing also has to be praised, especially in the scenes involving ghosts “communicating” with our heroes. 

With regard to performances, I think that Kumiko Aso, Haruhiko Kato, and Koyuki did a great job. They were not that recognisable back in 2001 as they are today, but their performances are indeed memorable. Interestingly, Koji Yakusho has a small appearance as well.

Recommendations

If you look for an old J-Horror that strives to depress you rather than scare you, then Pulse is the perfect choice. It is a unique endeavour from director Kiyoshi Kurosawa which definitely has creepy moments and an uncanny atmosphere. I guess the best way to avoid the plight of the characters is to refrain from using Internet Explorer as the main browser. By the way, I would like to use this opportunity to give a shout out to Phoenix Talks Pop Culture Japan and her awesome analysis of Pulse. Go check it out if you can.

Overall score: 8/10

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Waterboys (2001) [Film Review]

Waterboys; or, Synchro Revolution

     Real synchronised swimmers perform in deep pools, but we’ll manage. The truth is I got super depressed when I heard this was a boys school. I’ve always dreamed of coaching my own team. Why can't boys do it? Let’s go for it. Synchro swim!

I finally brought myself round and it’s time to begin my Shinobu Yaguchi month. I intend to review four of his movies (excluding the already reviewed Survival Family) throughout the four next weeks. So today, I would like to discuss his first major success which spawned a two-season drama and a two-part special; that is, Waterboys from 2001.

Release Info

Directed by: Shinobu Yaguchi Starring: Satoshi Tsumabuki, Hiroshi Tamaki, Takatoshi Kaneko, Koen Kondo

Language: Japanese Original Title: ウォーターボーイズ Wōtā Bōizu Runtime: 90 min

 

Plot

Kawagoe High School is a boy’s prep school in Saitama Prefecture. Their students are keen on sports, but some who suck at everything attend swimming classes. Soon, a beautiful new female coach (Kaori Manabe) is hired and she presents to the group the idea of preparing a synchronised swimming event for their school festival. However, the coach suddenly goes into labour and takes maternity leave. Suzuki (Satoshi Tsumabuki) always wanted to be somebody, but he never had the guts to do it. He and his four other colleagues: Sato (Hiroshi Tamaki), Saotome (Takatoshi Kaneko), Kanazawa (Koen Kondo), and Ohta (Akifumi Miura) decide to learn synchro swimming for the event and they ask a certain dolphin trainer (Naoto Takenaka) to help them out.

 

Go For It!

Waterboys was a massive success in Japan back in 2001 due its unusual subject and the way it was executed. Yaguchi had already been an established director with four theatrical movies on his account (which I have yet to check out), but it was the Waterboys movie which gave him a wider recognition.

 

One can regard the film as a teenage-comedy with a bit of sports, but to me this is foremost an excellent zero-to-hero story, the format which Yaguchi would repeat later in Swing Girls (2003) and Wood Job! (2014).

 

The best thing in Waterboys is this happy-go-lucky feel which Yaguchi successfully invokes. Whenever the music kicks in (plus great locations on a beach), I feel as if it’s already vacation time! The comedy is also extremely well written and it works perfectly in every scene (be it fishing in a pool or failed synchro attempt). In other words, Waterboys immediately puts you in a good mood.

 

Speaking about the movie, I can’t omit its definite highlights. I absolutely loved the sequences in the aquarium where the gang is cleaning the tanks and they familiarise themselves with its inhabitants. Also, Naoto Takenaka nails it while riding a giant orca! The Dance Dance Revolution scene is hilarious as well. One cannot forget about the standard appearance of Akira Emoto in a supporting role, who this time around shows up in a drag and a make-up that almost turns him into Joker! Additionally, Tetta Sugimoto has a minor but funny role as a furious P.E. teacher.

 

Oh, and I have to mention the awesome finale with all these synchro acts done to catchy songs. I guess that the cast and crew must have worked really hard to get these done. The composers Gakuji Matsuda and Hitomi Shimizu did a fine job with providing the score, which goes well with the stunts.

 

The actors who played Satoshi Tsumabuki as Suzuki and Aya Hirayama as Shizuko, his love interest, were picked perfectly as the chemistry of that innocent teenagers’ love is vividly noticeable on screen. The supporting actors who played the rest of the swimming team did very well, but the 90-minute screen time does not allow them to explore their characters in greater depth. Synchro is what matters the most.

 

Recommendations

If you are looking for something to relax and unwind yourself on a summer afternoon, then Waterboys is the film definitely for you. Now, I really want to check out the 2003 drama, although I wish there was an official sequel to this movie. Summing up, it’s a funny and witty film that leaves you wanting for more.

Overall score: 9/10