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BankofMarquis (1832 KP) rated Godzilla Minus One (2023) in Movies
Dec 14, 2023
Surprisingly Human...for a Monster Movie
The BankofMarquis just viewed one of the most entertaining films of 2023 - and it’s a GODZILLA film.
Yes, a GODZILLA film.
From famed Japanese Studio Toho, makers of the original Godzilla film from the 1950’s plus other “man in a rubber suit” monster movies like MOTHRA and WAR OF THE GARGANTUANS, Godzilla Minus One subverts the genre for a moment for instead of presenting a “Monster stomping on buildings” movie with some people in the background, this film is about the Japanese people and how they deal with the aftermath of World War II while (also) running from a giant monster stomping on buildings - but the monster story is the “B” story and the people story is the “A” story…and this subversion of the genre works very very well.
The title of the film, Godzilla Minus One, refers to the fact that…after World War II….Japan was “starting from zero”. When Godzilla starts attacking, it knocks Japan back another peg, hence…Godzilla Minus One.
Director and Screenwriter Takashi Yamazaki tells the tale of Koichi (Ryunosuke Kamiki) who encounters Godzilla towards the end of WWII and freezes, causing the death of his fellow soldiers (so his PTSD continues to tell him throughout the film). Once back in Japan, he encounters a young woman, Noriko (Minami Hamabe) who has been left orphaned, homeless and alone and is sheparding an abandoned baby. This unlikely trio form a bond…and a home…while trying to rebuild their lives and (in Koichi’s case) tries to make sense of the devastation he encountered in the war.
Into to this rebuilding stomps Godzilla.
This story is effectively told by Yamazaki, who knows when to focus on the people aspect of the film and when to focus on the building stomping of Godzilla. It’s a delicate balance that is helped by the performances of Kamiki and Hamabe…and the special effects that brings the spirit of the 1950’s and 1960’s Toho monster films to light.
A surpwisingly rich entertainment, Godzilla Minus One will entertain you with monster stomping…and deep human emotion.
Letter Grade: A- (I’m as surprised as you are)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Yes, a GODZILLA film.
From famed Japanese Studio Toho, makers of the original Godzilla film from the 1950’s plus other “man in a rubber suit” monster movies like MOTHRA and WAR OF THE GARGANTUANS, Godzilla Minus One subverts the genre for a moment for instead of presenting a “Monster stomping on buildings” movie with some people in the background, this film is about the Japanese people and how they deal with the aftermath of World War II while (also) running from a giant monster stomping on buildings - but the monster story is the “B” story and the people story is the “A” story…and this subversion of the genre works very very well.
The title of the film, Godzilla Minus One, refers to the fact that…after World War II….Japan was “starting from zero”. When Godzilla starts attacking, it knocks Japan back another peg, hence…Godzilla Minus One.
Director and Screenwriter Takashi Yamazaki tells the tale of Koichi (Ryunosuke Kamiki) who encounters Godzilla towards the end of WWII and freezes, causing the death of his fellow soldiers (so his PTSD continues to tell him throughout the film). Once back in Japan, he encounters a young woman, Noriko (Minami Hamabe) who has been left orphaned, homeless and alone and is sheparding an abandoned baby. This unlikely trio form a bond…and a home…while trying to rebuild their lives and (in Koichi’s case) tries to make sense of the devastation he encountered in the war.
Into to this rebuilding stomps Godzilla.
This story is effectively told by Yamazaki, who knows when to focus on the people aspect of the film and when to focus on the building stomping of Godzilla. It’s a delicate balance that is helped by the performances of Kamiki and Hamabe…and the special effects that brings the spirit of the 1950’s and 1960’s Toho monster films to light.
A surpwisingly rich entertainment, Godzilla Minus One will entertain you with monster stomping…and deep human emotion.
Letter Grade: A- (I’m as surprised as you are)
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Awix (3310 KP) rated Ghidorah, the Three-Headed Monster (1964) in Movies
Feb 12, 2019
Archetypal Toho monster mash with exuberant men-in-suits wrestling and an all-over-the-place plot - Flying Saucer enthusiasts predict the apocalypse, a Himalayan princess survives an assassination attempt when she is possessed by the spirit of a Venusian (or Martian, depending on which version you watch), a mysterious meteorite hatches out Ghidorah the three-headed space dragon. Earth's fate depends on the ability of a caterpillar to persuade a nuclear dinosaur and a giant pterodactyl to work together.
Lots of fun if you enjoy this sort of thing, with many incidental pleasures - not least the startling shades-and-ruff outfit adopted by the chief villain at one point. Not quite as jokey in tone as King Kong Vs Godzilla, but still notably lighter than most of the previous films in the series - the various monsters are treated more as characters than before, too (there's a fairly lengthy conversation between Mothra, Rodan and Godzilla). Calling this the mid-60s Japanese version of The Avengers is probably stretching a point, but it's certainly one of the better early Godzilla movies; hopefully the forthcoming American take on these characters will be as much fun.
Lots of fun if you enjoy this sort of thing, with many incidental pleasures - not least the startling shades-and-ruff outfit adopted by the chief villain at one point. Not quite as jokey in tone as King Kong Vs Godzilla, but still notably lighter than most of the previous films in the series - the various monsters are treated more as characters than before, too (there's a fairly lengthy conversation between Mothra, Rodan and Godzilla). Calling this the mid-60s Japanese version of The Avengers is probably stretching a point, but it's certainly one of the better early Godzilla movies; hopefully the forthcoming American take on these characters will be as much fun.
Awix (3310 KP) rated Gamera: Advent of Legion (1996) in Movies
Mar 15, 2019 (Updated Mar 15, 2019)
Startlingly sophisticated mash-up of the giant monster and alien invasion B-movie genres; second in Shusuke Kaneko's trilogy of Gamera movies. A meteorite brings the gestalt organism Legion to Earth, specifically Japan (of course). Scientists and the army embark on a desperate race to figure out how to stop the various manifestations of the creature, but may have to rely on their unlikely ally: the giant nuclear turtle Gamera.
The bare bones of the plot make it sound fairly absurd, but the combination of a clever, cine-literate script that knows exactly when to play it loose and when to get to the point, and superbly accomplished special effects mean this is one of the highlights of the Japanese monster movie tradition; arguably very influential within the genre, not least for the way it plays with all the classic tropes and manages to rationalise many of them. The design of the antagonist monster could have been a bit less weird, but you can't have everything I suppose. Exceeded in its crazed grandiosity only by the third part of the trilogy, but still outscores that in the script department.
The bare bones of the plot make it sound fairly absurd, but the combination of a clever, cine-literate script that knows exactly when to play it loose and when to get to the point, and superbly accomplished special effects mean this is one of the highlights of the Japanese monster movie tradition; arguably very influential within the genre, not least for the way it plays with all the classic tropes and manages to rationalise many of them. The design of the antagonist monster could have been a bit less weird, but you can't have everything I suppose. Exceeded in its crazed grandiosity only by the third part of the trilogy, but still outscores that in the script department.
Suswatibasu (1703 KP) rated A River in Darkness: One Man's Escape from North Korea in Books
Jan 17, 2018
An utterly bleak story of an invisible man
Masaji Ishikawa's story is truly soul-crushing, the level of trauma is beyond comprehension, therefore read it with caution.
Ishikawa describes his life under the North Korean regime as gruelling, horrifically terrifying, and there are some completely hopeless moments where you think why even bother anymore.
His journey begins in Japan, the child of a Japanese mother and Korean father, he was forced at a young age to move to North Korea under the pretence of "returning" to his motherland, though he never believed so. His father, an originally extremely violent man became pacified as he realised the perilous situation he bought his family into. But they soon face the truth and brutality of their circumstances.
The narrator defects at a much later stage in life, living around 30 years under the dictatorship, but leaving his family behind. He questions whether he made the right decision in the end as the consequences are revealed and the reader is left writhing in agony at his pain.
It is not an easy read, but it is important to understand the level of complexity and the reality of the situation. An absolute must read.
Ishikawa describes his life under the North Korean regime as gruelling, horrifically terrifying, and there are some completely hopeless moments where you think why even bother anymore.
His journey begins in Japan, the child of a Japanese mother and Korean father, he was forced at a young age to move to North Korea under the pretence of "returning" to his motherland, though he never believed so. His father, an originally extremely violent man became pacified as he realised the perilous situation he bought his family into. But they soon face the truth and brutality of their circumstances.
The narrator defects at a much later stage in life, living around 30 years under the dictatorship, but leaving his family behind. He questions whether he made the right decision in the end as the consequences are revealed and the reader is left writhing in agony at his pain.
It is not an easy read, but it is important to understand the level of complexity and the reality of the situation. An absolute must read.
Awix (3310 KP) rated Dogora (1964) in Movies
Jul 20, 2019 (Updated Jul 20, 2019)
Bonkers Japanese sci-fi from the Godzilla team makes most of those movies look like models of restraint and gritty realism. Odd things are afoot in Japan as seemingly random objects - coal, trucks, bank robbers, buildings - start spontaneously floating into the air. 'I never jump to conclusions but I think a giant space monster is probably responsible,' says the lead cop investigating the case. Of course, he is correct, and it's up to the usual team of cops, scientists, and soldiers to save the day.
The really weird thing about Dogora - and this is saying something - is that the giant diamond-eating monster element is not the oddest thing about this film. Most of it looks and feels like a particularly frantic cops-and-robbers thriller with the odd giant floating blob sequence edited in under protest. Still, the script has Shinichi Sekizawa's usual cheerful wit and the special effects are, believe it or not, excellent. Good fun if you like tokusatsu movies; the climax, in which wasp venom is used to try and petrify the monster and a gun battle turns into a dynamite-chucking contest, has to be seen to be believed.
The really weird thing about Dogora - and this is saying something - is that the giant diamond-eating monster element is not the oddest thing about this film. Most of it looks and feels like a particularly frantic cops-and-robbers thriller with the odd giant floating blob sequence edited in under protest. Still, the script has Shinichi Sekizawa's usual cheerful wit and the special effects are, believe it or not, excellent. Good fun if you like tokusatsu movies; the climax, in which wasp venom is used to try and petrify the monster and a gun battle turns into a dynamite-chucking contest, has to be seen to be believed.
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