23. Godzilla 2000: Millennium (1999)
Dir. Takao Okawara
NOTE: numbering continues sequentially from the Heisei Era. I've used English titles, but it's Japanese language versions of the films that I refer to.
In G 2000 the military want to kill the kaijū with their modern day bad-ass weaponry. Meanwhile, a father and daughter team (Takehiro Murata and Mayu Suzuki) want to study Godzilla. But not just from afar, like storm chasers they dare to get up close and personal as it heavy-foots through the city.
Firstly, most of the relationships are underdeveloped. It's a weakness, but the upside is they're not forced into predicable shapes, and the methods employed to strengthen them don't descend into boring clichés.
Secondly, while the idea behind the creature that Godzilla is destined to fight is interesting, the actual result is arse. The production tried something different and deserves credit for the attempt, but sadly it didn't work out, and consequently the finale isn't very exciting.
The era's FX composites aren't good, but the suit! Wow! Godzilla's maw looks like it could rip chunks from a tank. The creature's size in relation to the environment is perfect. And the dorsal plates are ridiculously huge - in a good way. It's my favourite suit design of all the eras.
On a technical note, it was the first time Godzilla was coloured green, and the first Japanese G film to be shot on Super 35 (in a 2.35:1 AR), which is what the 1998 US abomination used.
24. Godzilla vs. Megaguirus (2000)
Dir. Masaaki Tezuka
Not for the first time in the franchise's history, the new kaijū's reveal is pre-empted by the discovery of a mysterious egg. A young boy plays a secondary role.
It's the same Godzilla suit that was used in the previous film, albeit with some minor facial and colour modifications to keep things interesting, so the creature looks very, very pissed-off, like it went to the store for beer but they were all out of beer and it trod on a LEGO factory on the way home.
Barring some silly movements, creature scenes are mostly excellent - when they aren't reliant on CGI composites or enhancements, that is; they look cheap and tacky when they do succumb to such.
All else is merely functional. More heart was needed to raise it above pure spectacle into the realms of emotionally memorable. Nevertheless, I'd still recommend it to fans of the genre.
25. Godzilla, Mothra and King Ghidorah:
Giant Monsters All-Out Attack (2001)
Dir. Shusuke Kaneko
They thought it was a regular earthquake. It was no regular earthquake. Godzilla's back. And so too are a trio of popular kaijū, who together just might be able to stop the powerful-tailed bully before it wrecks everybody's shit... yet again.
Things kick off after a US nuclear submarine goes missing from a US controlled territory in the Pacific. Interestingly, it mentions that Japan has been at peace since Godzilla’s first attack (in the first film), and that the JSDF have only ever faced that one threat. But they respond with haste, nonetheless.
Being freed from continuity means GMaK can add whatever it wants to the mythos as long as it doesn't contradict the original 1954 film. One such addition is an odd spiritual side that will have some fans screaming heresy. Personally, I felt it could've been better balanced but I was okay with it existing. And the playful mocking of America’s woeful attempt at a Godzilla feature that came out a few years previously made me chuckle.
The creatures each got a makeover. I'm not a fan of the film's Godzilla design, the beer-belly was the wrong kind of silly, but its personality comes across well and it has a level of cunning that makes it seem even more villainous. Mothra is somewhat wasp-like, but still awesome (when she's not rendered in CGI). Ghidorah's facial features and size were modified. Baragon looks ace and plays an active role in the story, but was sadly left out of the titling; I suppose it was long enough as it is. Regardless of personal feelings (why no Shobijin or song?), it's an excellent film in its own way. It even makes Ghidorah seem cool.
It may sound odd, but footage of Godzilla composited into footage of 'real world' surroundings feels less 'real' to me than footage that's shot in a proper model city. Luckily, there's plenty of the latter, most prominently in the explosive final showdown.
26. Godzilla x MechaGodzilla (2002)
Dir. Masaaki Tezuka
A female pilot (Yumiko Shaku) with something to prove, a scientist (Shin Takuma) who wants to buy her dinner, and a young girl (Kana Onodera) who sees the world in a way that adults are no longer able to each help the film juggle various fun times and serious musings in different ways.
But the action is where Godzilla x MechaGodzilla really excels. When Mecha goes toe to toe with Godzilla and the missiles start flying... Oh, my!
27. Godzilla × Mothra × Mechagodzilla: Tokyo SOS (2003)
aka Godzilla: Tokyo S.O.S.
Dir. Masaaki Tezuka
[00] Days Since Last Kaijū Attack.
It's a grudge match. No one is safe. Measures must be taken. The military are warned against using their biggest gun, reminded of their previous folly, but when have men of war ever not wanted to fire a weapon they own? You might as well ask Godzilla to respectfully go around a building when the most direct route is obviously to go right through it!
The plot is more simplistic than the previous film, leaving more time for action, something that it unashamedly plays up to. When fights are as spectacular as what's on display, it's perhaps not ignominious to favour them. And because in combat nothing pleases me more than seeing Mothra, I turn the critical dial down a little and judge it by adjusted criteria to that of its predecessor.
NOTE: GxMxM is a sequel to GxM (2002). It's the reason I said the Millennium era films were 'mostly standalone'. Interestingly, it also references the first Mothra film (1961).
28. Godzilla: Final Wars (2004)
Dir. Ryûhei Kitamura
It's easy to see why Final Wars split fan opinion so much. Dir. Kitamura made a kaijū film that's packed with outside influences; and even though it references much of the series' history, it's not always complementary to the customary tone(s).
Whether by accident or design, it confuses or toys with expectations often: it's an explosive action movie one minute, but without warning can turn into something resembling a video game, or a Japanese Tokusatsu TV show complete with powered-up individuals engaged in martial arts battles.
One of the primary actors (Donald Frye) speaks English only, but is both understood and can understand the Japanese speaking actors, with no explanation given as to why it's that way.
But essentially it's a science-fiction adventure set on Earth, with at least a dozen creatures pulled from retirement for an all out monster brawl that's pure insanity. Just when you think it can't possibly have any more deus ex machinas in its arsenal, it pulls another one from somewhere, bundled with a pre-made 'why the hell not?' coupon for the viewer to immediately redeem.
It's a two-hour film, but the pace rarely slows down because it sacrifices character development to keep the excitement thundering along. It marked the 50th anniversary of the franchise, which explains the Shōwa and Heisei era footage at the beginning, but the story itself is once again a sequel to the original 1954 film, and the creatures are mostly redesigned versions.
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