KaijuCanuck wrote:But, the parallel theme with Japan’s real world economic downtown is cool and holds a real emotionality with me. Gojira was a film about where Japan was in 1954, and every once in a while a Godzilla film comes along that kind of checks in again, and this is one of them. Also there is something really triumphant and awesome about Godzilla’s resurrection and subsequent rampage.
This stuff is key to why it's in my top 5 Godzilla movies, especially thanks to how it parallels Godzilla to Japan's economy through the character of Shindo, who is the reflection of one element and the avatar of the other.
It's also the last Heisei Godzilla movie to opt for any particularly interesting or dynamic visual storytelling in its human scenes. Again I must mention Shindo; his introductory shot is both thematically resonant and technically neat-o.
One can nit-pick about the time travel plotting (though it does exactly what it needs to do to propel story and theme) and special effects inconsistencies, but ultimately, for me, the movies highs are just too high to be significantly damaged by those kinds of easily ignored problems.
kamilleblu wrote:It also holds the dishonor of having the worst Western actors and English dialogue in the series.
I'll grant that the two American naval officers are pretty awful, but I don't know that they're any worse than Leo Meneghetti in Godzilla vs. Mechagodzilla II
, and he has a strong contender the single worst-written line of English-language dialogue in the whole series.
And then there's the god-awful Don Frye in GFW
, who is not only terrible and obnoxious, but also really
prominent in the movie.
Tokyo, a smoldering memorial to the unknown, an unknown which at this very moment still prevails and could at any time lash out with its terrible destruction anywhere else in the world.