Kaiju
We look back at the history of Godzilla, starting in the 1954 Japanese film, and why the character has had a lasting impact all these years later.
Godzilla: King of the Monsters, from start to finish, is evidence that Dougherty loves Godzilla, but the action staged on-screen is far from perfect.
Six short reviews for six Godzilla films that give a solid exploration of Godzilla and his major foes. But that’s just the tip of the iceberg.
The conclusion to the animated trilogy, Godzilla: The Planet Eater, is as flawed and unsatisfying as the previous entries – and it might be the dullest of the bunch too.
Colossal is unflinching in presenting the dangers of toxic masculinity and patterns of abuse in a way very few recent American films have been, lately or ever.
Colossal is a fantasy-oriented film about a kaiju monster that somehow manages to be both emotionally effective and profound.
Like all Godzilla films, Shin Godzilla criticises how governments respond to disasters – but in this film, it’s not nuclear, but natural disaster.
The Godzilla franchise has had a long and storied history, dating back to the original motion picture of 1954 directed by Ishirō Honda. Produced and distributed by famed Japanese film studio Toho, the original feature has spawned multiple franchise sequels over the years, from both its country of origin and the United States. Starting with the 1956 Japanese-American remake of Honda’s original feature from only two years prior, Godzilla, King of the Monsters!
The long anticipated 2014 edition of Godzilla has not been hailed too positively by the critics. I recognize its flaws, but ultimately, I found the movie to be an enjoyable and entertaining ride. Godzilla – or Gojira – is originally a Japanese concept within the Kaiju (“monster” or “strange creature”) genre.
Tyler Rowe’s review of Guillermo Del Toro’s Pacific Rim. Those kaijus and robots were awesome, but we wanted MORE. Of everything.
