Talkback: Godzilla 2000 Millennium (1999)

[Kaiju no Kami]

The crap through a goose line is a homage to WWII General George S. Patton, the general the Nazis feared the most. Here is the scene from the Movie Patton https://www.youtube.com/watch?v=QU1vL3TsIis. In the audio commentary for Godzilla 2000, they stated the Japanese version was too bland and wanted to add a little humor to the scene.

I understand that, but that is not how the original line even remotely translates, so it shouldn't be funny. Funny lines should be there when there are funny moments, not just added in for the sake of laughter.

[Noble Saber]

Honestly? The crap through a goose line wasn't too corny compared to other dialogue.

"GIDZILLAAAAAAAAA!!!"

[Space Hunter M]

The Toho version has about the same tone, really. There's an exchange that's actually funnier in the original script. Mike Schlesinger just got creative in places where dialogue was originally mundane/blunt.

[Mechagigan]

Just went through both versions, and I really agree with the general consensus that the US cut is better. The Japanese version just goes drags out things that don't need to be (Because of that, the slow human focus clashes with the fast-paced monster scenes), has pretty mundane music at times, and was just a bore until Orga and Godzilla came out.

The US cut tightened up what it could really well - the filler scenes are gone (evening out the pace), the stock music fills in the empty air well, and even little things such as changed lines of dialogue and way better sound effects really helped boost the quality.

The characters are good, but not amazing in both (though they did change through the story, they still had a very 'basic' feel abut them somehow). Godzilla's new design looks really nice, especially in the face and spines. Orga reminds me if Hedorah in how almost incomprehensible he is - in a good way, of course. It didn't seem like he was designed well for fighting, though, with those huge block hands.

I feel like this one's the middle ground of Godzilla movies... it's got good characters and monsters, but it's also a bit cheesy and strange at times.

[eabaker]

G2K really works best, for me, when taken in context of the Heisei series and the '98 film. Watching at the time, it was a refreshing return to certain elements of the 60s and 70s flicks, washing away the bad taste of '98 and the heavy aftertaste of tiresome continuity, repetitive structure and monotonous tone that had characterized the earlier 90s entries. It's a great palate cleanser, a simple, undemanding, fun movie. But taken on its own, without that context, it's an unremarkable, middle of the road entry that takes no real risks.

[Godzilla The King]

I always go back to this film because of how it is the "Generic Godzilla" film. It just does its job very well, I find the cheese very endearing in this film. That's why I find it to be one of my favorites, I can just put it in and have a good time. It may not be the most well-written or well-made Godzilla film, but it's a damn fun ride.

[Lain Of The Wired]

Godzilla 2000 is a GREAT popcorn flick, it's got a serious plot, with a touch of that ol' Godzilla camp we all know and love.
I give it a 7/10.

[tymon]

G2K really works best, for me, when taken in context of the Heisei series and the '98 film. Watching at the time, it was a refreshing return to certain elements of the 60s and 70s flicks, washing away the bad taste of '98 and the heavy aftertaste of tiresome continuity, repetitive structure and monotonous tone that had characterized the earlier 90s entries. It's a great palate cleanser, a simple, undemanding, fun movie. But taken on its own, without that context, it's an unremarkable, middle of the road entry that takes no real risks.

Nailed it...

[godzillalives88]

G2K really works best, for me, when taken in context of the Heisei series and the '98 film. Watching at the time, it was a refreshing return to certain elements of the 60s and 70s flicks, washing away the bad taste of '98 and the heavy aftertaste of tiresome continuity, repetitive structure and monotonous tone that had characterized the earlier 90s entries. It's a great palate cleanser, a simple, undemanding, fun movie. But taken on its own, without that context, it's an unremarkable, middle of the road entry that takes no real risks.

Very well said.

One point you made that I definitely agree with is that it wasn't just a palette cleanser for G '98, but also the Heisei series as well. It offers up a lot of things missing from the 90's movies like: tooth and claw monster battles, average Joe human characters, alien invasions, a general absence of mech, and a more self-contained story. For that reason, I've always thought of it as more than just a response to GINO, as it was also a pretty big shift in direction for the Japanese films.

[Tohosaurus]

G2K really works best, for me, when taken in context of the Heisei series and the '98 film. Watching at the time, it was a refreshing return to certain elements of the 60s and 70s flicks, washing away the bad taste of '98 and the heavy aftertaste of tiresome continuity, repetitive structure and monotonous tone that had characterized the earlier 90s entries. It's a great palate cleanser, a simple, undemanding, fun movie. But taken on its own, without that context, it's an unremarkable, middle of the road entry that takes no real risks.

One point you made that I definitely agree with is that it wasn't just a palette cleanser for G '98, but also the Heisei series as well. It offers up a lot of things missing from the 90's movies like: tooth and claw monster battles, average Joe human characters, alien invasions, a general absence of mech, and a more self-contained story.

One thing I really like about G2K is its simplicity and purity as a film. Aside from the monsters/UFO, the rest of the universe is very believable and not a big adventure story or filled with sci-fi tech.

For that reason, I've always thought of it as more than just a response to GINO, as it was also a pretty big shift in direction for the Japanese films.

G2K is not an "answer" to G98 though, just as the new Toho Godzilla film is not an answer to Legendary's Godzilla.

[eabaker]

For that reason, I've always thought of it as more than just a response to GINO, as it was also a pretty big shift in direction for the Japanese films.

G2K is not an "answer" to G98 though, just as the new Toho Godzilla film is not an answer to Legendary's Godzilla.

The tunnel scene near the beginning of G2K always seemed so reminiscent of the similar scene in G'98 that it's hard for me not to see an element of... I dunno... "No, guys, this is what Godzilla fucking does" to that sequence.

[Tohosaurus]

The tunnel scene near the beginning of G2K always seemed so reminiscent of the similar scene in G'98 that it's hard for me not to see an element of... I dunno... "No, guys, this is what Godzilla fucking does" to that sequence.

Oh I'm not saying G98 had no influence on any Toho Godzilla films, either this or others. But it's still accepted by some (mistakenly) that Toho made G2K as some kind of retaliation over G98.

[eabaker]

The tunnel scene near the beginning of G2K always seemed so reminiscent of the similar scene in G'98 that it's hard for me not to see an element of... I dunno... "No, guys, this is what Godzilla fucking does" to that sequence.

Oh I'm not saying G98 had no influence on any Toho Godzilla films, either this or others. But it's still accepted by some (mistakenly) that Toho made G2K as some kind of retaliation over G98.

Yeah, that's an oddly politicized interpretation of the whole thing.

[godzillalives88]

The tunnel scene near the beginning of G2K always seemed so reminiscent of the similar scene in G'98 that it's hard for me not to see an element of... I dunno... "No, guys, this is what Godzilla skreeonking does" to that sequence.

Oh I'm not saying G98 had no influence on any Toho Godzilla films, either this or others. But it's still accepted by some (mistakenly) that Toho made G2K as some kind of retaliation over G98.

Yeah, that's an oddly politicized interpretation of the whole thing.

Tohosaurus - You are correct. I've actually never bought the whole "G2K was damage control" narrative that's been put forth myself, and I think Sci-Fi Japan did a good job of debunking it earlier this year. Although I would argue there are some G '98 influences in the film like the tunnel scene (as eabaker pointed out), showing Godzilla swimming, and some elements of Orga's design.

A better way to put it would be that Toho seemed to be avoiding the direction of the '98 film and the Heisei films by going in a new, but somehow more old school direction.

[KaijuFiend]

Can someone please tell me what exactly is so bad about Hattori's score? I'm listening to it on its own and it sounds pretty good. I'm definitely getting monster movie/kaiju vibes from it, and it does sound like it fits the film. But I've never seen the Japanese version so maybe I'm missing something?

[Mr. Xeno]

Can someone please tell me what exactly is so bad about Hattori's score? I'm listening to it on its own and it sounds pretty good. I'm definitely getting monster movie/kaiju vibes from it, and it does sound like it fits the film. But I've never seen the Japanese version so maybe I'm missing something?

His music is honestly quite beautiful until the final battle. At that point, it turns too graceful and hollow when it should be thrilling and pulse-pounding. The american cut replaces almost every single piece of music from the final battle with more generic action music. It's not all that memorable, but it's more fitting.

[Space Hunter M]

The Japanese version has a surprising amount of unused cues (a lot of them are just repeats of the original SDF theme that's only heard in the U.S. version during the bomb planting sequence).

This track was originally supposed to underscore Godzilla's initial encounter with the spacecraft for instance. If you track it in it matches the visual cues.

[three]

The tunnel scene near the beginning of G2K always seemed so reminiscent of the similar scene in G'98 that it's hard for me not to see an element of... I dunno... "No, guys, this is what Godzilla fucking does" to that sequence.

Oh I'm not saying G98 had no influence on any Toho Godzilla films, either this or others. But it's still accepted by some (mistakenly) that Toho made G2K as some kind of retaliation over G98.

Yeah, that's an oddly politicized interpretation of the whole thing.

well i wouldn't call it "odd". the negative reaction by the fanbase makes it almost expected for a theory like this to crop up. that doesn't make it true, but it makes sense.

[Kaijugriffey]

I like G2K. While flawed, it is a very solid back to basics re-introduction to G. Not one of the best, but still a solid and enjoyable movie.

On the positive side, it introduces that great new Millenium look to Godzilla, which makes him imposing terrifying and threatening again. The cinematography involving Godzilla is among the best Toho ever filmed. Finally bringing their work up to standards set by the Competitions Gamera Trilogy. And guilty confession, I like the human cast and characters of this one. They have good chemistry, without falling into the romantic interest or precocious child tropes. The actual story isn't bad. Another thing from space story, but among the better they have done. With a touch of "things man was not meant to mess with thrown in."

There are of course some negatives. The bad CGI space ship that we spend way way way too much time looking at. The slow plodding middle of the movie. The somewhat dull music at points. And the fact that we see so little Orga, and what we do briefly see gives the impression that they could not get the suit to perform well so shortened his role, to the film's detriment. Really, watch the Orga scenes. It's like they doubled down on the Biolante and Destroyah suit issues. They can't really walk in the suit and it overal looks awkward. Awesome monster design, but very clumsy to move or act in.

A good fun movie. But kind of basic and u exciting compared to some of its Millenium brethren.

[eabaker]

And guilty confession, I like the human cast and characters of this one. They have good chemistry, without falling into the romantic interest or precocious child tropes.

I see absolutely no reason that should be a guilty confession. I think the trio of Shinoda, Katagiri and Miyasaka have the most interesting dynamic of pretty much any ensemble since the Showa era; I love the way that Miyasaka is torn between Shinoda and Katagiri, while Shinoda's screentime is balanced between that simmering, genuinely hostile atmosphere and the more playfully snarky tone of his scenes with Yuki and Io.