'Shin Godzilla' in 4K

I'm sure just looking at an advertisement for Toho Cinemas' Mega Popcorn would still give Hirona Yamazaki indigestion. Photo by Brett Homenick.

TIRED: What is a king to a god?

WIRED: What is a god to a mid-level bureaucrat?

With the recent re-release of Shin Godzilla (2016) in 4K in the U.S., I thought I might as well revisit the movie I once considered the worst of the entire series (that is, until even worse ones came along). Prior to this screening, I'd only seen the flick once, and that was on opening day in July 2016. Nine years later, would my opinion change?

I'm afraid not. During my initial viewing, I found the movie mostly aggravating and annoying. This time, I found it boring. The movie held my attention for the first 30 minutes or so, and then the endless chatting finally started to wear me out. Just before becoming bored to distraction around the one-hour mark, my mind, for reasons I cannot explain, suddenly wandered to this quote from Heat (1995): 

Overall, the thing that surprised me most was just how bad some of the CG was, especially for objects in motion. Since Godzilla is mostly static, even when he's attacking the city, the computer graphics fare much better, but I knew I was in trouble when the VFX for the tunnel collapse a few minutes in looked like they were leftovers from the '90s.

Even if the CG were up to par, though, it still wouldn't make the proceedings any less preposterous. The movie makes it clear right out of the gate that the old guard in charge of the government are a bunch of bumbling old fools who are out of their depth. In contrast, the younger generation, with less power and experience, are the ones who solve all the problems and ultimately save the day.

This outcome, of course, is telegraphed in broad strokes in the first few minutes of the movie, so the audience is left to wait for the special committee of youthful nerds, outcasts, and true believers to devise the solutions that the geezers in power lack the fortitude, or the will, to do.

The fogie politicians are mostly hapless stereotypes, not actual human beings, who can't help but make a mess of everything they touch. The youngsters, on the other hand, are obnoxiously earnest, making few, if any, mistakes as the story unfolds, and they accurately predict outcomes and problem-solve novel issues in ways so ingenious and flawless that it'd make Criswell suspect fraud.

A lot of the discourse on this movie hinges on whether the story, and its portrayal of the Japanese government, is "nationalistic." I never got that impression from it, though that wouldn't stop nationalists from trying to coopt its message as their own. I don't think Shin Godzilla has much of a message at all beyond "status quo bad," but I guess it's more fun to pretend otherwise.

What seems to be GKIDS' poster for the Shin Godzilla 4K re-release, focusing on Kamata-kun's attack on Shinagawa. Photo by Brett Homenick.

The excessively-realistic portrayal of government bureaucracy juxtaposed with the bonkers depiction of Godzilla in all his gloopy forms leads to some unintentional ridiculousness. When Kamata-kun (I guess we're stuck with that name, so...) first appears, in all its derpy glory, none of the characters -- not one -- comments on the insanity of being attacked by a raging Muppet from the bottom of the sea. Instead, characters marvel at the biological superiority of the thing, even though it can't take three steps without spilling its blood everywhere. 

Later on, after Godzilla takes his final form, the characters can't stop cooing about how Godzilla is a god incarnate. I mean, my guy is asleep for much of his screen time; you'd think a living, breathing deity could stay awake longer than most narcoleptics could. In one of those rare moments when he is awake, he's simply standing around doing nothing and does so long enough for the prime minister to abort the attack on him out of fear that civilians might be killed, politely waiting for his cue to begin attacking again.   

Shin Godzilla in November 2016 at the Hotel Gracery Shinjuku. Photo by Brett Homenick.

One of the reasons An American Werewolf in London (1981) is called a comedy -- and why it endures as a bona fide classic -- is because writer-director John Landis knew that, in real-world situations, people would make jokes and crack wise when faced with illogical or impossible scenarios, such as transforming into a werewolf.

I mean, sure, you'd have your crazies and weirdos who would want to worship the beast as their shrugging savior or whatever, but I tend to think highly-educated government officials would not be among them. People grounded in reality would react a lot more like David Naughton and Griffin Dunne did and less like power-fantasy-obsessed oddballs wanting to start a cult.

As for the characters, there's nothing to say. They are just bureaucrats, and that's it. Shortly after I posted my negative review of the movie in 2016, one guy argued that the movie actually did have fascinating, complex characters and cited the one played by the picture of Kihachi Okamoto as an example. If only Okamoto hadn't died more than 10 years before he was cast in the film, I'm sure he would have basked in the critical praise of his performance. 

Photo by Brett Homenick.

The inclusion of the character of Kayoco Ann Patterson is truly baffling, as it betrays a complete lack of understanding of American politics on the part of the filmmakers. The idea that a leather jacket-sporting party girl could get elected president -- in her 40s, no less -- as easily as it's suggested in the movie is downright laughable and discrediting to the narrative. 

Speaking of, I'm reminded of an interview I recently read with a published author on the Godzilla series, who made it a point in the Q&A to share his memory of watching Godzilla vs. Gigan (1972) in the early '90s and how stupid he found a particular scene involving the ability of the earthbound characters to hear the roars of the space monsters on a radio receiver. Apparently, this scene, which in all years I've watched it never made me think twice, was so hilarious that he loves recounting how much he laughed at it to anyone who will listen.

Given that this guy was proud of himself to the point of absurdity that a children's monster movie couldn't outsmart him, I can't help but wonder what kind of hysterics the suggestion of U.S. President Kayoco Ann Patterson sent our heroic scholar into. I know which is sillier, but do our fandom sacred cows?

Teruyoshi Nakano with Shin Godzilla in December 2016. Photo by Brett Homenick.

OK, enough about the movie. I do have a couple of random odds and ends to share, so let's get to them.

In December 2014, I had an end-of-the-year party hosted by my work with all my co-workers, even the ones I rarely ever saw. One of those co-workers was Tom Dolan, who'd been cast in small parts in Godzilla vs. Mechagodzilla II (1993) as G-Force member John Conner and Godzilla vs. SpaceGodzilla (1994) as the dastardly gang leader McKay.

I was excited to meet him due to his connection with the Heisei Godzilla series, but I had no idea he was months away from getting cast as Graham Cussley, the American diplomat whose face we never see, who reminds Kayoco Ann Patterson of her ambition to become U.S. president in her 40s. 

With Tom Dolan in December 2014.

This was the only time I met and spoke with Tom, and I didn't really get a chance until we were leaving the party. We took the photo in this blog post in the subway while waiting for the train. We have communicated via email since then, but it's been years since I've heard from him. Hope he's doing well and living the dream.

With Teruyoshi Nakano in December 2016.

In June 2015, I was given the iggy by a Westerner who had appeared in tokusatsu productions that two talent agencies were casting the international roles for Shin Godzilla and gave me their information in case I wanted to audition. Naturally, I couldn't pass up such an opportunity, so I applied with both. I don't remember what happened with one of the agencies -- either they never got back to me, or we had a brief communication that went nowhere.

But the other one was interested, and I was called in to get some promo shots done and fill out some paperwork. I put on a dress shirt and tie, went into the agency, got my pictures taken, completed the forms, and talked with the gentleman who, as I recall, was in charge of the business. I made it clear I was mostly interested in Shin Godzilla, though I would be happy to consider other work, too. I remember he said I might be a good candidate for a scientist role in the movie (not sure which -- he never specified), but that's about it.

Shigeo Kato in June 2016, standing near the location where Shin Godzilla comes ashore in Kamakura. Photo by Brett Homenick.

Back then, I worked six days a week at my real job, so, realistically, I knew getting cast was essentially a pipe dream, but you're not going to get anywhere if you don't try. Besides, I like to think that Hideaki Anno personally rejected my head shot.

I still could have been in Shin Godzilla, though. If I recall correctly, the crowd scene in Kamata (where we first see Kamata-kun) was filmed in early September, and, since they needed lots and lots of extras, anyone was welcome to show up. As mentioned above, I was working six days a week, and 2015 was an incredibly busy year for me -- in the best way possible. It was my favorite year in Japan because of all the cool stuff I was doing. If I'm not mistaken, filming took place on a Sunday morning, which was my one day off for the week. I also happened not to have anything scheduled that day -- a rarity for 2015. I mean, it's a lock I'd head over to Kamata and appear in a Godzilla movie, right?

Wrong. I missed sleeping in and wanted to do just that. Besides, I figured, if it was meant to be, I'd get cast in a proper role in the movie. As slim as it was, there was still a chance of that, I thought, so I chose sleep over Shin Godzilla.

SHIN GODZILLA X TSUTAYA! The King of the Monsters Is Now Available for Rent!

Shin Godzilla invades Tsutaya! Photo by Brett Homenick. 

While it's been out for a while, I was surprised to walk into a Tsutaya rental shop not too far from my home and hear familiar Akira Ifukube music playing on a constant loop near the entrance. Naturally, it's part of the promotion of Shin Godzilla's home video release on DVD and Blu-ray. It was a great extra touch and certainly made it a lot more interesting than just placing a standee in front of the shop.

SUPER FESTIVAL 73! Toys, Toys, and More Toys!

Kamen Rider cosplay! Photo by Brett Homenick. 

It's that time of year again. January 8 saw Super Festival 73 invade the the Science Museum in Chiyoda, Tokyo. I was interested to have another look at the show, but it's starting to feel a little too familiar.

If you're a toy collector, Super Festival probably has a lot to offer. But if you're like me, and your toy-collecting days ended when you were 12, it can get a little repetitive, especially when the displays continue to look more and more similar as the months pass.

I walked around the various rooms of memorabilia to see if I could find anything interesting, and for the first time in a while (and perhaps ever), I left the show without having purchased anything. The only thing I paid for was my 1,500-yen ticket to the show. I was actually rather pleased that I didn't buy some old book or DVD, but at the same time, it does make it seem like something's missing.

The highlight, of course, was seeing my fellow fans wandering the halls. I also enjoyed seeing Return of Ultraman suit actor Eiichi Kikuchi, who wished me "Happy New Year" in no less than three languages! Kikuchi-san is truly a class act, and he's always awesome when I see him.

With Eiichi Kikuchi.

Another familiar face on hand was Sojiro Uchino, a child actor who appears in episodes of Ultra Q, Ultraman, Kaiju Booska, and even Gamera vs. Viras. Uchino-san is a staple of Super Festival, and when I didn't see him at the last show, it certainly didn't feel the same without him.

With Sojiro Uchino.

When all was said and done, I didn't spend that much time at the show. Maybe an hour, hour and a half. Super Festival can be an interesting show, but for a person who just isn't into collecting stuff, I find it has less and less to offer these days. Here's hoping the next one will be a lot more exciting.

HACHIKO X GODZILLA! Shibuya's Famous Bronze Statue Stands Atop the King of the Monsters!

While in Shibuya the other day, I saw an interesting advertisement placed in front of the bronze Hachiko statue in Shibuya. NHK Kohaku Uta Gassen (or just plain old Kohaku) is the long-running, year-end music show that many Japanese traditionally watch on NHK during New Year's Eve. This year, Shin Godzilla will somehow be a part of the festivities, but we'll just have to tune in to see what will happen.

I'm just not sure that will be enough to get me to tune in at long last!

SHIN GODZILLA STOMPS INTO SHINJUKU! The King of the Monsters Is Back!

 

Shin Godzilla is on the prowl at the Hotel Gracery Shinjuku. Photo by Brett Homenick.

Until December 2, this Shin Godzilla (a.k.a. Godzilla Resurgence) display can be seen on the 8th floor of the Hotel Gracery Shinjuku. To my eye, it's pretty much identical to the others that have been making the rounds in Tokyo and other locales during the summer. But if you haven't seen it yet, it's well worth checking out. But you'd better get there soon!

GODZILLA RULES SHINJUKU! New Sights to See!

While visiting Shinjuku earlier today, I spotted a couple of new things I hadn't seen before in person. One was the "Godzilla Road" signage that greets visitors approaching the Hotel Gracery. The other was the Godzilla bus (though I'd already seen photos of it online). Here are the shots I took. Enjoy!

TOKYO STATION! A New Look at This Godzilla Location!

In the last few years, Tokyo Station underwent a massive renovation that makes it look less like a train station and more like a castle fit for a king. Perhaps that's why the filmmaker behind Godzilla Resurgence (a.k.a. Shin Godzilla) selected it as the scene of the climax for the latest adventure with the King of the Monsters. (See what I did there?)

While exploring the city yesterday, I happened upon the station quite by accident, but since it's featured prominently in the new film, I decided to snap a few photos.

It truly is unlike any other train station I've seen in Japan. I vaguely remember what it was like before the renovation, and it was nothing like this.

It's certainly worth checking out if you're visiting Tokyo, even without the connection to Godzilla Resurgence. It's definitely much easier on the eyes than Shinjuku Station!

THE STOMPIN' FOOT RETURNS! Ikebukuro Will Never Be the Same!

Godzilla stomps into Ikebukuro! Photo by Brett Homenick. 

As part of the promotion for Godzilla Resurgence in Japan, a large Godzilla foot can be found on the first floor of Ikebukuro Sunshine City's Alpa shopping mall. The promotion runs from July 15 until September 25. If you're in town, check it out!

GODZILLA RESURGENCE: "This Is Bad. This IS Bad!"

In October 1995, following the main-event match at WWF In Your House 4: Great White North between WWF champion Big Daddy Cool Diesel and The British Bulldog, company owner Vince McMahon reportedly threw down his headset and declared, "Horrible!" Completely disappointed with the quality of the match, Diesel's title reign would come to an end the following month.

That was my immediate reaction to seeing Godzilla Resurgence (a.k.a. Shin Godzilla), though I think my exact quote was more along the lines of, "Stupid!"

Some spoilers will be contained herein, but really, this movie is so devoid of surprises or excitement that I'm not sure it's even possible to spoil this thing.

Where to begin? Well, for starters, I suppose if you like government bureaucrats with no backstory, no character development, and very little to set them apart from each other aside from their taste in neckties, you might find some enjoyment here. Because that's what the movie is: When Godzilla is not onscreen, the bureaucrats talk to each other. Then they walk down a corridor to resume their talking elsewhere. To spice things up, director Hideaki Anno puts his wide-angle lens to work in order to film extreme closeups of the bureaucrats as they talk -- in case we wanted to see the worried looks on the bureaucrats' pores.

But I really must touch on the absolute worst moment in not just this movie but the entire series. (That is no exaggeration, by the way.)

When Godzilla is attacking Kamata (the site of the first teaser trailer that was released late last year), it's revealed to be an early form of Godzilla. This form of Godzilla looks like a googly-eyed Muppet that got kidnapped from the Sesame Street prop department. It hurriedly crawls around on all fours (!) like a demented hamster in search of a wheel big enough to handle its girth. My jaw literally dropped when I first saw it, but not in the way the filmmakers intended. Of course, given the folks who worked on the film, it too looks like it went to the same plastic surgeon Jack Napier visited in Batman (1989). Suffice it to say, it was hideously stupid and laughably ridiculous. Later on, it transforms into the version we're all now familiar with from the trailers.

If it weren't for his legs or tail, Godzilla would almost never move. He just plods around Tokyo, looking like he had nothing better to do with himself. There's no sense of wonder or awe. There's no sense of what people on the ground must be dealing with. Godzilla's victims are all faceless extras. Everyone we get to know is some bureaucrat who's doing his or her best to look stoic. Trust me, it gets old real quick.

The movie further degenerates from there. Godzilla has the ability to fire lasers from pretty much all parts of his body, and after our first light show, Shin G suddenly decides to go into hibernation until the climax. The military defeats Godzilla in a preposterous way (which even involves the use of commuter trains!), and then it ends.

That's it. There's no story. There's no beginning, middle, or end. It just happens, and then it's done. To say the very least, it's not a satisfying movie-going experience.

To make matters worse, there's constant use of old-school, Tsuburaya-era sound effects throughout the film. So, even though the visuals we're seeing onscreen are meant to recall the real-life horror and devastation of the 3/11 tsunami, the sounds we hear recall the imagination and joy of the Showa Godzilla series. Way to mix your message, guys.

My verdict? It's the worst of the series. Yes, worse than Godzilla '98. But, even more surprisingly, worse than Godzilla (2014), whose biggest crime was simply being bland and boring. This was completely misguided from start to finish, and the lack of a strong producer (like Tomoyuki Tanaka or Shogo Tomiyama), who guided the series for years between different directors and screenwriters, was felt in a big way.

I had a feeling this would be the outcome. I hoped against hope I'd like it, but in the end, my fears that this "visionary filmmaker" (i.e., cartoon director) would end up delivering a stinker were unfortunately confirmed. Let's hope Shin Goji is the last of its kind.

GODZILLA IN SHINJUKU! Godzilla Resurgence Is Set to Surge!

The other night I went to Shinjuku and snapped some photos. The movie poster hanging just below Godzilla's claw is particularly apropos. The other photos here are rather self-explanatory.

This last photo is from Shibuya, as you get off the JR Yamanote Line and head for the Hachiko Exit.