Godzilla MonsterVerse Movies: Memories from Cinema and Sofa [Editorial]

For a very long time, I was thinking if I should take up discussion on the MonsterVerse movies. Obviously, these are American productions, so I did not want to trash my blog with separate reviews of these, even though they are technically part of the Godzilla franchise. For a moment, I considered posting my thoughts on Letterboxd, but I think the best solution is to talk about the films and my memories of them in the form of a concise editorial.
     So here we are. The MonsterVerse movies. The frenzy that started back in 2014 with the release of Gareth Edwards’s Godzilla. However, the slow built-up for the film started already before the premiere of Godzilla: Final Wars. That is to say, the Godzilla vs. Hedorah (1971) director, the late Yoshimitsu Banno, secured the rights from Toho to make a Godzilla short film using 3D technology. Banno started assembling the creative team for the project in the United States, and the idea evolved into making a 3D feature. Ultimately, Legendary Studios teamed up with Banno, and after securing a licence from Toho, they geared up for an official Godzilla live-action remake.

     Being a Godzilla fan in the 2010s, I relentlessly followed the news about the upcoming movie. I still remember the excitement when I saw a 2012 conceptual teaser video, then a leaked 2014 teaser trailer with J. Robert Oppenheimer’s voiceover and a promo photo of Gareth Edwards and Akira Takadara (the actor had a cameo in the film, which unfortunately ended up on the cutting room floor).
     Come May 2014 and I was ready for action. After a whole day at a university, I went to cinema with a colleague who was also a Godzilla enthusiast. We got tickets for late afternoon screening and barely any people were in the audience. When the lights went dark and the opening credits by Kyle Cooper rolled in, I knew I was in for a special viewing experience.

     Needless to say, I greatly enjoyed the film. Nowadays, moviegoers complain that the film does not have enough of Godzilla in it and the monster fights are scarce, but I believe Edwards’ restrained approach compensated for that lack. Godzilla (2014) is more about Kaiju ambience than the King himself. It is a film about the looming, larger-than-life danger that is beyond human comprehension. To my mind, this is the first American monster movie that actually strived to show the psychological side of dealing with monster rumble in the same vein as Spielberg dealt with fear of the unknown in Close Encounters of the Third Kind (1977).
     When the movie ended, I was the only guy at a movie theatre that was clapping. To date, I remember that some parents with children looked at me like some sort of weirdo. My colleague, on the other hand, had teary eyes because he was so moved by the final shot of Godzilla roaring and disappearing in the sea depths. I said to him, “Now, I have to wait four years for a sequel!”

     Little did I know I had to wait five years instead of four. Godzilla: King of the Monsters was plagued by production delays. Even though Gareth Edwards was slated to return as a director, he was eventually replaced by Michael Dougherty who brought the whole project home. In the meantime, I was dealing with sickness on my own, so I was unable to see Kong: Skull Island (2017) on the big screen, which (in fact) is the film that ushered in the MonsterVerse concept; that is, giant monsters having crossovers and fighting each other. For Hollywood, it sounded like a novelty in view of Marvel movies, but Toho started doing this as early as the 1960s.
     I eventually caught a copy of Skull Island on DVD and greatly enjoyed it, although I’m not a massive King Kong fan. The action and bright colours were definitely a stand-out, but some of the sequences involving the military felt dragged out to me.

     By 2018, I managed to get better, so I was ready for the premiere of King of the Monsters in June 2019. To be honest, this movie was everything I wanted it to be. The action set pieces and the monster fights were outstanding, in my opinion. In addition, some of the sequences were just really beautiful like the release of King Ghidorah from his ice imprisonment, the airplane getaway from Rodan, or Mothra’s transformation. The last moment in particular made me cry at the cinema because it was so well done. The rearrangement of Yuji Koseki’s original theme gave me incredible chills.
     All the more, it is hard for me to comprehend the hate this film gets. Evidently, it had a lot of human characters, human drama, and cheesy one-liners, but on the whole it was light-hearted fun. The creative team knew what kind of film they wanted to make, and they delivered on that front. Still, it does not change the fact that the film basically failed at the box office, barely recouping its box-office and marketing costs.

     It comes as no surprise that Legendary took to heart the complaints of cinemagoers and, after many delays, they re-edited the living crap out of Godzilla vs. Kong before releasing it worldwide in Spring 2021. Back then, my country was still dealing with the pandemic, so I was unable to see it in the cinema, but I watched the film on streaming, and bought a disc later on.
     Well, Adam Wingard’s Godzilla vs. Kong certainly has a briskier pace than King of the Monsters and it is definitely more colourful. Basically, it is a movie in which a giant lizard and an ape go boom boom, so I can’t complain. However, in terms of overall tone, it stands out from the previous MonsterVerse entries. In fact, I believe it can be said that each MonsterVerse Godzilla flick is actually a love letter to Toho’s classic glory days of the franchise. Godzilla (2014) pays homage to the Heisei era by reusing the theme of an old warrior showing up for one more battle, King of the Monsters to the Showa era with the multiple monster/people shenagings, and Godzilla vs. Kong to the Millennium era with its neon aesthetics and bombastic inclusion of Mechagodzilla.

     All things considered, I like MonsterVerse movies for what they are, but it is nice to live in the fourth era of the Big G’s renaissance. The question remains: How long will it last? Legendary already develops the fourth film and a TV series, but Toho also works on their 70th anniversary film Godzilla Zero (2024), and they also churn out remakes of other popular properties: Shin Ultraman (2022), Shin Kamen Rider (2023), etc. It goes without saying that sooner or later Toho will reintroduce the King yet again for a new generation of cinemagoers.

«Enjoyed this post? Never miss out on future posts by following us»

The Next Generation: Patlabor (2014) [Drama Review]

The Next Generation: Patlabor; or, The Return of Ingram

     Time passes, and people change. The ringing of the Gion Shouja bell signifies the impermanence of this world... I guess. The idiosyncratic first generation was replaced by a mediocre second generation... and the third generation's reputation for incompetence is well established. The only things that haven't changed are me and SV2's Patlor Labor, the AV-98. No... after all those modifications, this guy's actually changed a lot too.

Ever since this drama came out in 2014, it was my dream to check it out. However, I was unaware about online drama sources back then and one of my (former) friends, who actually did watch the first episode somehow, told me that Mamoru Oshii lost his mind and it’s definitely not a Patlabor show. On top of that, numerous negative reviews surfaced on the net, not to mention the theatrical feature’s dire box office returns. However, being a long time Palabor fan and desiring to review all of the franchise’s entries, I finally managed to get a hold of this show and watch it in its entirety. This is my review of the live-action drama The Next Generation: Patlabor.

Release Info

Developed by: Mamoru Oshii Starring: Erina Mano, Seiji Fukushi, Toshio Kakei

Language: Japanese Original Title: THE NEXT GENERATION ‐パトレイバー  No. of eps.: 13

Synopsis

It has been 10 years since the establishment of SV2. The original members of Section 2 ended their duty and went separate ways, then a completely new team of dull and forgettable cadets came and went. Now, it is the time for the third generation to take over in a high-tech world that no longer has any need for Labours. Ever since the establishment of the Tokyo Babylon Project and new technological advancements in the West, Labours have become undesirable in Japan. Division 1 was disbanded and, as a result, Division 2 is on a continuous 24 hour stand-by with two old Ingram AV-98’s at hand. Nevertheless, there are still situations when the Mobile Police becomes useful.

 

Special Vehicles Section 2, Division 2, head out!

First of all, I think that it’s important to mention some of the criticism that this drama received upon its original release. The show was heavily panned for over-the-top comedy, lack of Labour action, and the casting of idol singer Erina Mano in the leading role. Are these claims valid? Well, yes and no, depending on your perspective. For all of the decision making was responsible Mamoru Oshii, the director of the original Patlabor: Early Days OVA and the two movies. While reading press materials from the production period, it appears that Oshii has some sort of love-and-hate relationship with the Patlabor franchise. He agreed to direct the drama on condition that it won’t be set in the future and that there will be a new set of main characters. In addition, he wanted to redesign Ingram but the producers would not let him do that. So, he ordered to create a full-scale, eight meter recreation of AV-98…

 

Having finally seen all 13 episodes, I think it is best to firstly address the things I liked. What I found awesome about the show? Definitely the world of The Next Generation: Patlabor. I loved the concept introduced in the prologue episode in which SV2 functions in the world relying on obsolete technology (Windows XP/Vista systems, PSP consoles, Sony Vaio laptops) where Labours are considered to be even more obsolete. Maybe it was a part of Oshii’s reproach towards the franchise or budget limitations (the character of Shige laments that Labors are good-for-nothing anime robots) but I liked how SV2 had to struggle in reality that has no purpose for giant robots.

 

What is more, the new characters are carbon copies of the original protagonists with minor personality changes here and there. In case if you’d get lost, the surnames refer to their anime predecessors and so we have: Akira Izumino (Erina Mano), Yuma Shiobara (Seiji Fukushi), Ekaterina Krachevna Kankaeva (Rina Ohta), Isamu Otawara (Yoshinori Horimoto), Shinji Mikiya (Kohei Shiotsuka), Hiromichi Yamazaki (Shigekazu Tajiri), and Captain Keiji Gotoda (Toshio Kakei). Also, the actor Shigeru Chiba returns to play Shigeo Shiba, the chief of the maintenance crew, whom he originally dubbed in the anime. Well, once you get over the initial outrage (where’s my Noa and Shinohara?!), you quickly get used to the new team and their follies.

 

Speaking of follies, SV2 has a lot of stuff to do, even though their assignments do not always require the use of Ingrams. For instance, they face off against an arcade game master, gun traders, amphibian kaiju, first class sniper and a dinosaur. All of that is accompanied by numerous Easter eggs, references, and satirical call-backs to the anime series. In fact, the show is the follow-up to both the Movie Timeline and the TV Timeline of the franchise. While reusing some of the good old stuff (SV2 descends down to the dungeons again, fights Red Labour, and disarms a time bomb), the drama replicates the light-hearted feel of the anime. All of this is neatly wrapped together by Kenji Kawai’s crazy epic music score. This is definitely one of his greatest works on Patlabor ever!

 

With regard to performances, all of the actors fit their roles perfectly. I did not mind Erina Mano as the lead. To be honest, I think she did pretty well and the same goes to Seiji Fukushi, Rina Ohta, Yoshinori Horimoto, and Toshio Kakei. In addition, the great Reiko Takashima guest stars in two episodes.

 

In terms of disadvantages, some of the stories are obviously prolonged and they could have been shorter (for example, the giant monster two-parter). Additionally, if you expect spellbinding mecha action, then hold your horses. Ingrams pop out in short sequences and, while these hardly can be called fights, there is pretty decent CGI work done. I should also mention that the deck up scenes of the real Ingram model are one of a kind.

 

Recommendations

Taking everything into consideration, I do not regret checking out The Next Generation: Patlabor. It was everything I wanted it to be and I can generously ignore the minimal appearance of Ingrams. If you can’t get hold of the English translated release, you can go ahead and watch the raw episodes. This great site dedicated to Patlabor contains synopses for the episodes and explanations of the references (I haven’t caught them all!). Now, I’m off to view the theatrical feature called The Next Generation Patlabor: Tokyo War (2015).

Overall score: 7/10

Wood Job! (2014) [Film Review]

Wood Job!; or, Into the Nature

     You’ll never understand. You’ll leave the village, too. Don’t get everyone’s hopes up. I’m saying if you’re going to leave, hurry up and do it!

Continuing my Shinobu Yaguchi month, today, I’m taking a look at one of his recent movies, which is the Wood Job! from 2014. A feel-good adventure in the midst of the Japanese forest, filmed on outstanding locations.

Release Info

Directed by: Shinobu Yaguchi Starring: Shota Sometami, Masami Nagasawa, Hideaki Ito

Language: Japanese Original Title: 神去なあなあ日常 Runtime: 116 min

 

Synopsis

Yuki Hirano (Shota Sometami) is a student who fails at entrance exams for university. What is more, his girlfriend dumps him. Uncertain as to what to do in life, he notices a promotional leaflet of forestry training program with a beautiful girl on the front cover. In pursuit of the girl from the leaflet, he signs up for the course and he becomes a trainee at Nakamura Lumber Co. high up in the mountains. Working under a tough as nails lumberjack Yoki Iida (Hideaki Ito), Yuki discovers that working in the woods is a hard job. Nevertheless, he continues his apprenticeship and tries to win over the leaflet girl, Naoki (Masami Nagasawa).

 

Being a Lumberjack

Wood Job! is another zero-to-hero story after Yaguchi’s unforgettable Waterboys (2001) and Swing Girls (2003), yet this time, the focus is not on a group but on an individual. Interestingly, the screenplay is based on a story “Stay Mellow – Kamusari Mountain High” (original title: 神去なあなあ日常) by Shion Miura, whose fiction seems to be the hot stuff for filmmakers right now (in 2013, her novel The Great Passage was also adapted into a film).

 

Personally, I found the story of a teenager-turned-lumberjack very interesting. The film has all the trademarks of Shinobu Yaguchi: youthful romance, quirky characters, subtle humour, out-with-a-bang finale and yes, Akira Emoto in a supporting role as well. However, one thing that really stands out is the setting. Contrary to a certain failed filmmaker from Hollywood who had to "build the forest" in order to film, Wood Job! was shot on real location in the mountains of Mie Prefecture and, oh boy, many of the shots are simply breathtaking.

 

Speaking about the location, I gather that Yaguchi must have used a lot of stunt work and the help of real lumberjacks in order to get some of the brilliant shots of falling trees. Thus, a lot of pain and sweat must have gone into the film from the technical side, but it perfectly balances the plotline of the picture.

 

And what’s main the story? It’s a boy meets girl arch, except for the fact that it is enriched with the themes of hard work, self-confidence, appraisal of village life, and even the supernatural. The main hero undergoes a significant change when he notices the importance of taking care of the forest and how it benefits the whole society. He even stands up in the defence of the villagers when some teenaged douchebags from the city are laughing at them. Therefore, the movie’s message is clear: have some respect, even for the things you do not know about.

 

With regard to performances, Shota Sometami and Masami Nagasawa did a great job together and one can really feel the chemistry between these two. Hideaki Ito deserves praise as a super tough lumberjack (his performance was hilarious!). In addition, Yoshimasa Kondo and Yoji Tanaka appear in minor roles as course instructors.

 

Well, I really really enjoyed Wood Job!. It provides the development of the main characters and indicates that there is so much more to life than living in a city. Plus, it has a hilarious, over-the-top finale based on the real Onbashira festival in Japan.

 

Recommendations

Safely recommended to anyone who is looking for a movie to spark a good mood. Wood Job! is a feel-good movie with a great story and wonderful locations. If I ever happen to visit Japan, I will certainly try to visit these mountains for sure. Once again, Shinobu Yaguchi delivered an awesome movie. This guy never fails.

Overall score: 9/10