What's Opera, Doc? (1957) Review- By Michael J. Carlisle

Title: What's Opera, Doc?
Year: 1957
Director: Chuck Jones
Country: US
Language: English

What's Opera, Doc? s widely regarded as Chuck Jones’ masterpiece. Most film historians, critics and fans of animation have considered it one of the greatest Warner Bros. cartoons ever conceived. The United States Library of Congress deemed it "culturally, historically, or aesthetically significant", and selected it for preservation in the National Film Registry in 1992, making it the first animated picture to receive such an honor. 

In this short Elmer Fudd is again hunting rabbits - only this time it's an opera. Wagner's Siegfried with Elmer as the titular hero and Bugs as Brunnhilde. They sing, they dance, they eat the scenery. 

The film uses all the cliches of the chase, which go all the way back to the first Bugs Bunny Cartoon A Wild Hare (1941), while simultaneously satirizing and playing homage to the Wagnerian Opera. Milt Franklyn’s score pulls music from five Wagner operas: ‘Der fliegende Holländer’, ‘Die Walküre’, ‘Siegfried’, ‘Rienzi’ and ‘Tannhäuser'. For the ballet scenes, Chuck Jones and his animators studied dancers Tatiana Riabouchinska and David Lichine,who were working at Warner Bros at the time and had previously worked on Fantasia (1940)

The animation is outstanding throughout, especially in the ballet and love duet between Bugs and Elmer. Yup, here we see Bugs in drag, which was not unusual to see in his cartoons before or after this film. It was kinda his thing. Bugs being dressed as Brünnhilde and riding an oversized horse is absolutely hilarious; certainly making this short quite memorable in the process.

Maurice Noble’s extreme background layouts and bold color designs look outstanding, especially when Elmer becomes furious. We can see the characters' emotions through both color of the scenery and tone of the music. What's Opera, Doc? is a must-see considering it is as good as its reputation in the film and animation community. 

Hellboy (2004) Review- By Michael J. Carlisle

Title: Hellboy
Year: 2004
Director: Guillermo Del Toro
Country: US
Language: English

Director Guillermo Del Toro considered Hellboy a dream project for a number of years and had always wanted to cast Ron Perlman in the lead, but could never secure a budget or studio approval. After the incredible success of Blade II (2002) Del Toro finally had the ability to make his project. While I'm not a fan of the superhero genre, I do consider Hellboy an exception to the rule.

A demon, raised from infancy after being conjured by and rescued from the Nazis, grows up to become a defender against the forces of darkness

Hellboy’s world of monsters and superheroes finds Guillermo Del Toro right at home. The idea, aligning perfectly with the director’s reoccurring themes, is a novel one: monsters investigating monsters. They world upon which they exist is a combination of practical and computer generated effects. Like always, Del Toro emphasis on raw makeup, prosthetic, and puppet work. Though it must have been hard for Pearlman, who sat in the makeup chair for 6-12 hours a day, it is a delight for his audience.

Every component of Hellboy was showered with great attention, from set-design to character models to...well, everything else. As a result it doesn't feel or look like any Hollywood picture made at the time, it has its own unique pulpy atmosphere. Pearlman must be thanked for his lively, seemingly effortless displays of emotional in otherwise restrictive suit. Doug Jones, who is used to playing the monster parts in Del Toro's pictures, also has to be thanked for putting on an impressive performance. His body language, which again is in a restrictive suit, emphasizes the outwardly essence of the character.

Through repeated viewings many new details emerge. After my third viewing I noticed how colors and backgrounds burst, and just how detailed the story was (the script was going to be my critique dammit!) Overall this is a very entertaining film with a surprising amount of heart and emotional depth. It's really difficult to find anything wrong with it.

My Neighbor Totoro (1988) Review- By Michael J. Carlisle

Title: My Neighbor Totoro
Year: 1988
Director: Hayao Miyazaki
Country: Japan
Language: Japanese

Hayao Miyazaki is a Japanese film director, producer, screenwriter, animator, author, and manga artist. Along with Isao Takahata, he co-founded Studio Ghibli, a film and animation studio that Miyazaki has described as combining elements Walt Disney, Orson Welles and Steven Spielberg. There are many great films in his cannon, like Princess Mononoke and Spirited Away. One of my personal favourite Studio Ghibli films is My Neighbor Totoro

When two girls move to the country to be near their ailing mother, they have adventures with the wonderous forest spirits who live nearby.

Driven by its pleasant nature and deceptive simplicity, Totoro's story remains free of harrowing conflicts, fast-paced action, or moments of deafening suspense. Miyazaki contends that the discovery of magic and imagination in everyday life presents its own adventure. It's an incredibly personal picture. As Totoro was in its planning stages, Miyazaki has said he wanted to make "a happy and heartwarming film, a film that lets the audience go home with pleasant, glad feelings. Lovers will feel each other to be more precious, parents will fondly recall their childhoods, and children will start exploring the thickets behind shrines and climbing trees to try to find a Totoro.”

Perhaps the best aspect of Studio Ghibli is that it tries to avoid demographic categorization. Miyazaki wishes to communicate with children in an honest and intelligent way. Unlike many American pictures, Ghibli doesn't underestimate a child's intelligence. Miyazaki trusts the innocence of children, imagination, and Nature more than Westerners ever could.  He doesn't acknowledges not-so-great situations in life, but does not dwell on it. 

My Neighbor Totoro wants to awaken his viewers to realize that within the real world there exists magic for those with the imagination to see it. It ascribes to an ecological awareness that permeates throughout the run-time. Its artistry flourishes as it takes both child and adult on a stroll through the imagination. This is a must-see

Annabelle Serpentine Dance (1895) Review- By Michael J. Carlisle

Title: Annabelle Serpentine Dance
Year: 1895
Director: William Dickson
Country: US
Language: N/A

To nobody's surprise the early films of Cinema history were made for an audience of men. They would watch short films, no more than a minute long each, through a peepshow device known as the Edison Kinetoscope. The topics chosen were taken from vaudeville performances created to appeal to male audiences, thus the moving pictures often featured clips with female dancers, railway trains, fire and police workers and sporting events. Yes, Annabelle Serpentine Dance was created for masculine amusement, but many women did enjoy it too. 

In this,  Annabelle (Whitford) Moore performs one of her popular dance routines. She uses her dance steps and her long, flowing skirts to create a variety of visual patterns.

Annabelle Serpentine Dance employs a “direct” film manipulation element, as each black and white frame of the film has been hand-tinted in different colour. It is the first film (that we know of) to employ this technique. The tint been employed to imitate the original performance by Loie Fuller who had light in different colours projected onto her costume while performing. The result is astonishing, making the actress seem out of this world. 

Annabelle's costume changes as she moves, creating a vast variety of visual patterns that must have been a sight to behold back in the 19th Century. Later Annabelle acknowledges the camera by smiling, creating a bond between her and the audience. At this moment we are not peeping toms, but rather spectators in the art of voyeurism. 

Though some at the time thought this picture was erotic in nature (the publicity posters did market it this way), I have no doubt of the magical spell this had/has on contemporary and modern audiences. This is my favourite picture of early cinema because of how fascinating it is. The art of dance and the art of film emerge in one beautiful display. 

Apres Le Bal (1897) Review- By Michael J. Carlisle

Title: Apres Le Bal
Year: 1897
Director: Georges Melies
Country: France
Language: N/A

Georges Melies (1861-1938) was a French illusionist and filmmaker famous for leading many technical and narrative developments in the earliest days of cinema. He popularized techniques such as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color. His most famous works were A Trip To the Moon (1902) and The Impossible Voyage (1904). Melies was also one dirty bugger. 

Apres Le Bal is a simple presentation of a servant preparing a bath for another woman. A NUDE woman. Woah!

Despite this being a Georges Méliès movie, there are no special effects here. What we get is essentially what amount to a 19th Century strip-tease. Oh, it seems tame in comparison but that madam's booty stirred up trouble with the public and could have landed Melies in hot water (not hot as in sexy, but hot as in troublesome!) 

The intent of the film was likely to titillate the gentlemen at the time, although the disrobing is very matter-of-fact. She isn't also completely nude, but rather wears a barely visible stocking to somewhat hide her lady parts (though we do get a lot of butt!). Melies emphasised the voyeuristic quality of the camera and its relationship with the incidents recorded and projected on a screen

It's very telling that Melies actress isn't sickly thin, but has some meat on her bones (mostly her butt). Perhaps this is telling of beauty standards of the time. It's not the most important or entertaining Melies picture, it may not even be the first with nudity, but it's an interesting 1min trip down Cinema history.  

 

The X-Rays (1897) Review- By Michael J. Carlisle

Title: The X-Rays
Year: 1897
Director: George Albert Smith
Country: UK
Language: N/A

Reviewing a picture that is 119 years old, 17 years older than World War One, will be quite a challenge. Mainly because films during this era weren't very long (The X-Rays is 44 seconds!) and they don't seem very complex, at least to the modern audiences of 2016. Film historians will often point to the films of France (Melies) and America (Edison) as great innovations of the time, but early British Cinema doesn't get as much credit. Unfortunate, because the Brits really had a talent for film as well.

In this picture, a wacky scientist turns his x-ray machine onto a courting couple and the inevitable occurs.

With The X-Rays, Director George Albert Smith creates a perfect example of why early British Cinema ought to be held in the same respect as the others. It boasts technical achievement, attention to detail, and wit in abundance all in under a minute! This picture does what many current films can't do, even when they are given 2+hrs to do so!  

For a bit of history, X-rays came to public attention in 1895 thanks to the research of Wilhelm Roentgen and were first used under clinical conditions in 1896, just one year before The X-Rays was released. The film was relevant at the time because it hit on the sensationalism people had over the technology. Citizens, thinking x-rays were harmless, purchased DIY kits and went buck-wild. 

The X-Rays is an important picture when viewing the overall history of Cinema. George Albert Smith is also an important director. He was an innovator who adapted close-ups, pans, iris effects, jump cuts and snappy editing during a time when they were considered "gimmicks". Move over Edison! The British are coming!

Exorcist II: The Heretic (1978) Review- By Michael J. Carlisle

Title: Exorcist II
Year: 1978
Director: John Boorman
Country: US
Language: English

Director John Boorman has directed a number of classics of cinema, but lying like a stain on the rug is the box-office disaster and audience-loathed sequel, Exorcist II: The Heretic. This sequel to the original The Exorcist was inevitable. The 1973 film was the highest grossing motion picture in history at the time of release and Warner Bros. wasn't going to turn down a "guaranteed" money-maker.

In this film, a teenage girl once possessed by a demon finds that it still lurks within her. Meanwhile, a priest investigates the death of the girl's exorcist.

Part of the problem is that this picture did not have the original director William Friedkin attached to it. Reportedly, Warner Bros. gave him and author William Peter Blatty half a million dollars just to think of a concept for the sequel, but unfortunately they could not. After ditching the idea of making an ultra-cheap sequel that recycled unused footage and angles from the first movie with a framing device (this would have easily been worse than Exorcist II) The studio got a script they liked from William Goodhart and offered Boorman to direct. Boorman was coming off a financial flop in Zardoz, yet thought his film-making was good enough to change the script to his liking.

 Re-writes, re-shoots, delays and illness all made Exorcist II a production disaster that left audiences thinking "what did I just watch?" Many of the film's plot points were utterly baffling, too absurd to be taken seriously and often very confusing. The editing is horrid and the cinematography is worse. Boorman seems to have an allergy to establishing shots and a love of locusts. Good god, the shots of locusts. 

As a whole, Exorcist II isn't a scary movie nor does it feel like it exists in the same universe as the original film. Exorcist III is a far better picture in the series, definitely deserving of its cult following. If you can, avoid The Heretic.

 

Bad Day at Black Rock (1955) Review- By Michael J. Carlisle

Title: Bad Day at Black Rock
Year: 1955
Director: Dore Schary
Country: US
Language: English

The Western sub-genre called the “contemporary Western” or “modern Western” consists of films with Western settings and themes, similar styles of action and characters, but which take place post-World War or post-Mexican revolution. The tension between traditional Western ideas and situations within the post-war era makes these movies some of the more fascinating dips into the American West ever put on film. 

Spencer Tracy stars as a one-handed stranger who comes to a tiny town which possesses a terrible past they want to keep secret, by violent means if necessary.

The contemporary Western includes such diverse films as Brokeback Mountain, The Electric Cowboy, No Country for Old Men and Bring Me the Head of Alfredo Garcia. It has the Western figuratively taking revenge on modern-day joyriders who want to reduce it to their macho wish-fulfillment tool. Essentially they turn the modern western on its head and change the old myths and tropes.

Bad Day at Black Rock’s primary message was against xenophobia, which was a refreshing change to see in Westerns (John Wayne wasn't exactly known for helping the American Indigenous) . MGM’s president Nicholas Schenck originally didn't want the film to be made, as movies that dealt with racism were known as "problem pictures" at the time. It was a subversive film that tackled America's post-war hatred of the Japanese head on. 

Considering North America still has a pretty big racism problem (replace Japanese with Indigenous, Muslim, African American etc.) Bad Day at Black Rock is still a very important and engaging picture. The CinemaScope format used helps drive home the power of location filming. The cinematography is absolutely astounding. 

JFK (1991) Review- By Michael J. Carlisle

Title: JFK
Year: 1991
Director: Oliver Stone
Country: US
Language: English

Moments after President John F. Kennedy’s assassination on November 22, 1963, the press and government officials assigned blame to a lone gunman. The popular theory: Lee Harvey Oswald. Working alone, he killed the President with three shots fired from the sixth floor of the Texas School Book Depository in Dallas. Oswald was arrested, and then later killed by seemingly patriotic vigilante Jack Ruby. In the aftermath, Supreme Court Chief Justice Earl Warren was tasked to investigate the assassination in 1964, and conclude the assassination was indeed caused by Oswald and Oswald alone. Conspiracy theorists wouldn't have it however.

In Oliver Stone's best known picture, a New Orleans DA discovers there's more to the Kennedy assassination than the official story.

Few other historical events have been debated so passionately by both the public and private spheres. Countless books, articles and reports have analyzed the details surrounding JFK's untimely death. By presenting these debates, Oliver Stone takes liberties with the historical accuracy of the event that marked the loss of "American innocence". Putting forth a singular filmic examination of the previous thirty years of theories, Stone fabricates a narrative out of truth, belief, and supposition. 

JFK is a metaphor for how American culture reacted to and feared the truth of the JFK assassination. Stone imbeds enough facts into his fiction that the audience cannot help but question the official story and, in turn, become detectives themselves. Stone wants his audiences to believe that forces conspired to carry out a political coup. This film got me hooked, even though I believe the official story. 

Stone's picture is expressive and sensational. He, and his cinematographer Robert Richardson, exaggerate  imagery for effect creating a rhythm and pace that make three hours go by really fast. The editors freely cut between real and recreated newsreel footage, black-and-white photography, and overexposed flashbacks. An aggressive reflector of American culture’s distrust for its government, JFK is a great picture.

Epilogue:
I will suggest that this film is less fun in 2016, because of how many conspiracy videos there are on the internet. It's disgusting to see films like Loose Change exaggerate for cinematic effect and manipulate the viewer into the filmmaker's own agenda. 

I hate seeing conspiracy theorists in Guy Fawkes masks, claiming that every single thing is a conspiracy and discounting real lives that have died. "Chemtrails!" Have you been to 2nd grade science? Did you learn about condensation trails?

I suppose I can't blame Oliver Stone for conspiracy culture, but JFK certainly doesn't help. I have no doubt this film adds fuel to the fire and has inspired crappy film-makers to make their "Titanic was a conspiracy!" video. 

Bye Bye Birdie (1963) Review- By Michael J. Carlisle

Title: Bye Bye Birdie
Year: 1963
Director: George Sidney
Country: US
Language: English

Throughout the 1950's and 1960's Elvis Presley was a pretty big deal. He had a unique look that evoked the anti-establishment attitudes at the time. His provocative performance style and racial blending of influences proved to be pretty controversial. Bye Bye Birdie is essentially a satire of the crazed fandom that would follow the iconic singer; it's key plot point was inspired by the real-life military drafting of Elvis Presley in December 1957.

In this film, which is an adaptation of the stage musical by the same name, A rock singer travels to a small Ohio town to make his "farewell" television performance and kiss his biggest fan before he is drafted. 

The concept of fans being sent into complete euphoria when confronted by pop idols was, by the time Bye Bye Birdie hit cinemas, not really a new source of perplexed amusement for filmmakers. Directors like Frank Tashlin and Charlie Chaplin had made fun of these people long before this picture. While not unique in this respect, Bye Bye Birdie does satire in an exuberant jazzy way that you can't help but sing along with. 

Bye Bye Birdie is a light picture, even if you compare it to The Sound of Music. Typical of an early 60's Hollywood production (this was made before the renaissance that was New Hollywood) everything turns out for the best and we don't dive too far into the generation dysfunction that is sprinkled throughout the film. Albeit we do get "Kids" which is a great musical song in its own right.

The remarkable Dick Van Dyke made a striking film debut with Bye Bye Birdie, and “Put on a Happy Face” remains one of his trademarks. Psycho star Janet Leigh nearly steals the picture with her performance, as does Anne-Margret. The film is packed with elaborate set pieces, and director George Sidney makes the most of his production resources. Even though it's subjects and themes are not particular "new" to cinema, you'll still fall in love with Bye Bye Birdie
 

Jailhouse Rock (1957) Review- By Michael James Carlisle

Title: Jailhouse Rock
Year: 1957
Director: Richard Thorpe
Country: US
Language: English

Nicholas Ray's seminal Rebel Without A Cause (1955) made James Dean an icon in the world of Cinema. Unfortunately his death that same year meant Hollywood had to quickly look for a replacement. Plenty of teen dramas were feverishly made with good looking young men trying to act tough and rebellious. Many thought Elvis Presley would naturally fit the role, as he was oozing with charisma and was one of the most popular entertainers of the time. Enter his third picture; Jailhouse Rock.

After serving time for manslaughter, young Vince Everett  (Elvis Presley) becomes a teenage rock star. 

Throughout his MUSIC career, Elvis Presley acted over 30 films, the majority of which are entirely forgettable (I can't recall if any of them, besides Jailhouse Rock, have played on Turner Classic Movies) While the man had great stage presence, he wasn't exactly Humphrey Bogart in regards to acting. He didn't need to act well with this film however, as his unique voice and sense of choreography created a pretty iconic scene in motion picture history.

In 1957 there was a great fear that Jailhouse Rock would lead to more teenage riots. It appears to have been just another overestimation of Elvis’s negative influence on young people. There’s no doubt the film’s main audience of adolescents warmed up to Elvis’s “bad boy” character in Jailhouse Rock, but the film's release didn't create a surge of rock n' roll related crime. 

Jailhouse Rock is the definitive "must-see" Elvis picture. It is a great snapshot of the late 50's, at least in terms of where cinema and music were at. The script is weak, but choreography, costuming and set pieces are pretty well done. If you can ignore that the main character is a bit of a dink, then you'll enjoy the film. 

 

Ten Favourite Godzilla Films (1954-1999)- By Michael Carlisle

Title: Ten Favourite Godzilla Films
Year(s): 1954-1999

Ah Godzilla! What a love/hate (actually, mostly content) relationship we have. I first saw Godzilla vs. Mechagodzilla on a television station called "Drive-In Movies" when I was a teenager and knew I had to watch THEM ALL. This was the mid 2000's and Godzilla films weren't too hard to find so that was an achievable goal....so I thought. At the time I didn't realize there were over TWENTY films in the series and some of them, like Godzilla vs. SpaceGodzilla were absolutely god-awful.

Actually Godzilla vs. SpaceGodzilla was one of the first kaiju films I watched since IMBD may or may not have existed (I didn't have a computer) and my method of selection was "watch the coolest sounding titles first". I like to say that Akira Kurosawa really opened me up to Japanese Cinema (and World Cinema as well) but really it was this series. I'm Canadian though, so couldn't I just say that American movies are "foreign" and therefore part of "World Cinema"? Man, I really like Dinner for Schmucks, it was a great foreign film (edit: I have not actually seen Dinner for Schmucks) 

Sadly my interest in Godzilla died after I watched sooooooo many of them. You can only watch 20 of the same series before they all blur into one. It's the same reason I haven't watched any of the new James Bond flicks (sorry Daniel Craig). I haven't seen any of the Japanese ones past 1999 and I haven't watched the 2014 American one starring Heisenberg. 

I do like some Godzilla movies more than others, and every Godzilla flick over Godzilla vs. SpaceGodzilla so I shall start the list. Click on each title to see a link of the review!

1. Godzilla (1954)

Why: It's the first of the series, the most poetic and the funnest to analyze.

Rated:



 

2. Godzilla vs. Mechagodzilla (1974)

Why: Because it's friggin' Mechagodzilla


Rated: 

 
3. Godzilla vs. Mechagodzilla II (1993)

Why: Because it's friggin' SUPER MECHAGODZILLA

Rated:

 
 


4. Destroy All Monsters (1968)
Why: ALL the monsters fight

Rated:

 
5. Godzilla vs. King Ghidorah (1991)

Why: Mecha-King Ghidorah!

Rated: 

 



6. Godzilla vs. Destroyah (1995)

Why: Godzilla dies!

Rated:   

7. Terror of Mechagodzilla (1975)

Why: Because it's friggin' Mechagodzilla (again)

Rated:
 



8. Godzilla vs. Ghidorah (1964)  

Why: One hell of a spectacle!

Rated:

 
9. Godzilla 2000 (1999)

Why: Toho shows America who's boss

Rated: 

10. King Kong vs. Godzilla (1962)

Why: Who wouldn't want to see this!?

Rated: 

I tried to make my reviews as objective as possible, but this "Ten Favourite Godzilla Films" list is completely subjective. That's why Godzilla vs. Mechagodzilla is #2, even though I didn't rate it as well as the others. Also why there are no Mothra films even though I rated them highly. A giant moth? On my list!? Nah!

Godzilla (1998) Review- By Michael J. Carlisle

Title: Godzilla
Year: 1998
Director: Roland Emmerich
Country: US
Language: English

After Godzilla was decisively snuffed for only the second time in his then-40-year career at the end of Godzilla vs. Destroyah, Toho announced that they would give their giant cash cow some breathing room. After announcing the hiatus, Tanaka turned around and sold the licensing rights to Sony on a limited basis for what was supposed to be a three-picture deal. Sony immediately got to work, bringing in a team that was still riding high after the success of Independence Day. 

Godzilla has surfaced in Manhattan, leaving destruction in its wake. To stop this monster (and its babies), an earthworm scientist, his reporter ex-girlfriend, and other unlikely heroes team up to save their city. 

Hell hath no fury like a woman scorned (I'm assuming Godzilla is now a woman since men don't tend to lay eggs). Roland Emmerich and Dean Devlin given a jaw-dropping budget, rounded up an all-star cast (which included most of The Simpson's stars) arranged for a memorable soundtrack, and had enough practical effects to probably blow up New York for real. Despite that, in addition to all the hype and merchandising that went into Sony's project, Godzilla (1998) is hated by most fans of the series (including Toho Studios itself).

Why? Well despite Godzilla's physical presence in the picture, many fans do not think this dinosaur stands for or represents anything. Throughout Japanese Cinema, Godzilla had always been an allegory or symbol for a decaying culture whereas here he seems to be nothing more than a creature. SHE doesn't seem to have a purpose. If SHE were replaced by any other monster the movie would still be the same. 

Much of what Godzilla has represented throughout history was lost on Americans and that is fairly noticeable here. Although, even Toho's executives got it wrong for much of the 70's, early 80's and some of the 90's. This film is nowhere near as bad as Godzilla vs. SpaceGodzilla (shudders). I personally think this film is better than what fanboys will remember it as. If you came for the spectacle you will not be disappointed, but if you watched the film to find some brain food then you'll have to watch something else.

Godzilla 2000 (1999) Review- By Michael J. Carlisle

Title: Godzilla 2000
Year: 1999
Director: Takao Okawara
Country: Japan
Language: Japanese

Godzilla 2000 breaks away from the previous series with a more down-to-earth, almost subdued approach. Although the plot revolves around Godzilla battling an extraterrestrial invader, it’s probably the most realistically styled film since 1984’s The Return of Godzilla. Toho wasn't originally planning a sequel but after the American Tri-Star Godzilla (1998) they would do anything it took to bring their monster to form.

In this film Godzilla saves Tokyo from a flying saucer that transforms into the beast Orga.

Godzilla 2000: Millennium represents a special-effects step forward from the Hesei era with increased digital compositing that naturalizes the suit-based work. Although Godzilla was shrunk from the 100-meter stature of the last five Heisei movies down to 55 meters the change allowed for more detailed models. The VFX photography emphasizes Godzilla’s enormity compared to the human cast and military machines, making the monster actually loom larger than ever.

The suit design is one of the series best, giving the creature much more reptilian designs than previously allowed  Godzilla 2000 is a fairly slow paced film, which means it unfortunately drags a bit in the middle, but it ultimately isn't hard to love compared to some of the worst in the series. Godzilla 2000 is miles greater than the American Tri-Star Godzilla (1998)

I'm not a huge fan of the more realistic 'zilla, I liked the science fiction craziness that was Godzilla vs. Mechagodzilla II but I suppose even that got tiresome after a while. Godzilla 2000 is a middle child of the series, not bad but not particularly great either. Worth a first viewing regardless.

 

Godzilla vs. Destroyah (1995) Review- By Michael J. Carlisle

Title: Godzilla vs. Destroyah
Year: 1995
Director: Takao Okawara
Country: Japan
Language: English

After going from the financial successes of Godzilla vs Mothra (1992) and Godzilla vs Mechagodzilla II (1993) to the awful Godzilla vs. Space Godzilla (1994) Toho Studios realized their mistake in hiring a "teen idol" film director and brought back the team of Okawara and Omori for the next movie. Fatigue on the series was setting in however, and as Toho was negotiating a deal with American studios they announced that the beloved Godzilla was going to die. 

The aftermath of the Oxygen Destroyer brings forth Destoroyah, a beast intent on killing Godzilla, who is on the verge of a nuclear meltdown. 

The Japanese poster for the film shouts: GODZILLA DIES! It was an effective lure for audiences to see Godzilla vs. Destoroyah. It concludes with the legendary monster disintegrating from a radioactive meltdown in its own body. Of all the Heisei movies, Godzilla vs. Destoroyah connects the closest to the 1954 original. Although not as serious as the original, it does maintain a similar tone. 

Godzilla vs. Destoroyah is mostly worthy of its position as the final Heisei installment and the movie that killed off Godzilla. The legendary monster’s death evokes Ishiro Honda's original vision regarding the theme of humanity bringing about its own destruction.

Godzilla vs. Destroyah is certainly in my top ten of the series. While it's not as entertaining as Destroy All Monsters (1968) it definitely is engaging and quite memorable. This picture is a must-see for fans of the series. 

 

Godzilla vs. SpaceGodzilla (1994) Review- By Michael J. Carlisle

Title: Godzilla vs. SpaceGodzilla
Year: 1994
Director: Kensho Yamashita
Country: Japan
Language: Japanese

With Godzilla vs Mothra (1992) and Godzilla vs Mechagodzilla II (1993)Toho Studios reinvigorated the long-running franchise, making it a commercial success by somehow being able to appeal to both men (30% of the Japanese movie audience) and women (70% of the Japanese movie audience). How could they screw their success up? How about trying to specifically appeal to teenagers!

In this film Godzilla is threatened by two new forces: Mogera - another UN built machine; and Space Godzilla - a beast spawned from Godzilla's particles in space.

Completely unaware that teenagers were already a large part of the audience for these films, the studio hired a director and writers with no kaiju or science fiction experience, but instead a background in “Teen Idol” films. Similar to what happened with Godzilla vs. Hedorah: a new creative team took over and refashioned the series for youth appeal with bizarre results.

Director Kensho Yamashita and his writers really didn't know or care enough about monster flicks to to integrate the monster battles with their cheesy romance story and lightweight espionage plot in a competent manner.Some kaiju pictures can move past having no real human element to the story, but unfortunately Godzilla vs. SpaceGodzilla cannot. 

The title had a lot of potential, but unfortunately this film is just boring. The special effects are very reminiscent of the 1970's Godzilla films when Toho had to severly limit its budget or face studio collapse. What is Toho's excuse this time? Don't waste even a minute on this flick.

Godzilla vs. Mechagodzilla II (1993) Review- By Michael J. Carlisle

Title: Godzilla vs. Mechagodzilla II
Year: 1993
Director: Takao Osawara
Country: Japan
Language: Japanese

Mechagodzilla is my favourite monster in the series. I love the giant robot even more than Godzilla himself (herself?). Godzilla vs Mechagodzilla (1973) was my favourite film of the series (besides the 1954 original) and Godzilla vs Mechagodzilla II (1993) would prove to be my second favourite film. Made during a time when Toho Studio's creative fires were burning bright, due to the monster being a commercial hit again, this film couldn't have come during a better year. 

The United Nations assembles the ultimate weapon to defeat Godzilla, while scientists discover a fresh pteranodon egg on a remote Japanese island. 

Although the roman numeral might suggest that this film is a sequel to Godzilla vs. Mechagodzilla, it is only used to differentiate the two. Godzilla vs. Mechagodzilla II bridges the female target audience of Godzilla vs. Mothra and the male target audience of Godzilla vs. King Ghidorah, and impressively creates the best of both worlds. There is a great emphasison military technology and two impressive super-weapons,Mechagodzilla and Garuda, who can link up (Power Rangers style) and form SUPER MECHAGODZILLA.

This film hits all the right places, managing to be an engaging monster movie while also having a sweeping human element. The dialouge, acting, score and set pieces are all top-notch and provide great thrills throughout the runtime. Screenwriter Wataru Mimura crafts a Nature vs. Technology theme that permeates throughout. 

There is nothing negative I can say about Godzilla vs. Mechagodzilla II. While it's not the most haunting picture in the series (it doesn't set out to be) it certainly is the most entertaining. If you watch Godzilla for a spectacle then this is a must-see.

Godzilla vs. Mothra (1992) Review- By Michael J. Carlisle

Title: Godzilla vs. Mothra
Year: 1992
Director: Tadao Okawara
Country: Japan
Language: English

Gone were the days of Toho Studios losing money from the Godzilla series, Godzilla vs. Mothra raked in the most money of any Godzilla film since King Kong vs. Godzilla, and ranked second only to Jurassic Park at the Japanese box-office that year. Former director Kazuki Omori returned as screenwriter only, and new director Tadao Okawara took over the reins. Okawara would prove to be one of the best Godzilla directors.

In the midst of another rampage by Godzilla, Mothra emerges to save the human race from Battra. 

Due to approximately 70% of the Japanese audience being women, Okawara positioned Mothra to directly appeal to female viewers. This was crucial for being a commercial and critical success in the country. Godzilla vs. Mothra is closer to a remake of 1960’s Mothra, which was also a pretty decent flick. Godzilla himself plays more of a supporting role, acting as the villain when needed.

Godzilla vs. Mothra is a light picture compared to the original, which served as a metaphor for mankind's nuclear destruction and Japan's atomic fear following the bombings of Nagasaki and Hiroshima. The battles are impressive however. When Battra and Mothra unite to join forces to beat Godzilla, throwing him into a Ferris wheel in the process, you can't help but sit in awe.

The box-office sweep of Godzilla vs. Mothra ignited the creative fires at Toho. Next year’s Godzilla vs. Mechagodzilla II would prove to be even better. This is a fairly decent film in the series and was fairly enjoyable to watch. 

Godzilla vs. King Ghidora (1991) Review- By Michael J. Carlisle

Title: Godzilla vs. King Ghidora
Year: 1991
Director: Kazuki Omori
Country: Japan
Language: Japanese

Unfortunately the first two films of the Heisi period of Godzilla films didn't pan out too well. The Return of Godzilla (1984) and Godzilla vs. Biollante (1989) were financial failures that didn't make much of an impact in or out of the Japanese market. With the latter, fans of the series gained some hope however, as the monster was given a new suit and a more science fiction style. Gone was realism, which perhaps held back the previous films, and fantasy would take hold. 

In this film, time travelers use Godzilla in their scheme to destroy Japan to prevent the country's future economic reign.

Godzilla vs. King Ghidorah is a highpoint of the Heisei years. Director Kazuki Omori returned, and again borrowed liberally from American blockbusters. This time he took some tips from James Cameron's Terminator 2: Judgement Day and Robert Zemeckis' Back to the Future. Although it might not intentionally be reflective of Japan at the time, the director does hint at some of Japan's anxiety regarding its early 90's prosperity.

Despite some time travel paradoxes, Godzilla vs. King Ghidorah is fun and easy to follow and the effects are the most spectacular of all the Godzilla pictures. Rhe new King Ghidorah introduced in the movie lacks the hyper-kinetic power of the Showa era creature—its new roar is especially disappointing—but it drops your jaw later when transformed into Mecha-King Ghidorah!

The actors all give memorable performances and the composer Akira Ifukube churns out quite a memorable score. Overall this is a really good Godzilla-film and definitely should be re-watched as it is quite enjoyable.

Godzilla vs. Biollante (1989) Review- By Michael J. Carlisle

Title: Godzilla vs. Biollante
Year: 1989
Director: Kazuki Omori
Country: Japan
Language: Japanese

Tomoyuki Tanaka was determined to continue the series despite the disappointment of The Return of Godzilla. Making it clear that he wanted to correct his previous errors, Tanaka set out to make Godzilla vs. Biollante. In this Godzilla quit working solo and tussled with a humungous plant. Real world politics vanished, replaced with a faux-Middle Eastern country and an assassin wearing stylin’ shades. Plausible science is transformed into fantasy hookah.

After rising from his volcanic grave, Godzilla is threatened by a mutated rosebush.

Although Godzilla vs. Biollante comes nowhere near the best of the Heisei films, it improved enormously over its predecessor and is important because it sets up the science fiction and comic book style of the rest of the series. A major figure in establishing the new style was Koichi Kawakita, special effects director for the rest of the Heisei films. Kawakita brings a new energy and vision to the series; such imagination had not been inn this series since Destroy All Monsters (1969).

The new Godzilla suit design, which would remain consistent for the remainder of the Heisei years, is one of the best. He looks like a menacing beast, rather than a cartoon like the 70's, which makes the monster on monster fights quite the spectacle. Unfortunately Director Kazuki Omori has always been more interested in the human aspect and well, sadly he fails at this. There are far too many characters and subplots to really care about the human element. 

Unfortunately this film was a financial failure in Japan, but it did not deter the producer. Tanaka's enthusiasm to make a beloved Godzilla film would only increase as he went about making Godzilla vs. King Ghidorah just two years later.

Return of Godzilla (1984) Review- By Michael J. Carlisle

Title: Return of Godzilla
Year: 1984
Director: Koji Hashimoto
Country: Japan
Language: Japanese

After an absence of nine years, Godzilla smashed back onto screens in 1984 in a film simply titled Godzilla (Gojira) in Japan, but marketed as The Return of Godzilla to English-speaking markets. The Return of Godzilla is a reboot. It wipes from continuity all the previous films in the series except Godzilla (1954) and fashions a new continuity: The Heisei Series

Thirty years after the original monster's rampage, a new Godzilla emerges and attacks Japan.

Producer Tomoyuki Tanaka aimed to capture the somber tone of the 1954 original and transplant the Godzilla nuclear metaphor into the 1980s Cold War. This Japan is now squeezed inbetween two oposing nuclear threats; the United States and the Soviet Union. It's a rather ambitious sounding film, but unfortunately fails as both a spectacle and a serious metaphor.

While the Cold War background is intriguing, the human action is bland and no character stands out. The scenes without Godzilla are quite boring and offer no engaging characters. . The Return of Godzilla was Toho’s most expensive science fiction film at the time, and it gave VFX supervisor Teruyoshi Nakano his only hefty budget for a kaiju movie. Some scenes are spectacular (it's always fun to see Godzilla destroy a monster) while others are not so much (he trips...into a volcano?)

The Return of Godzilla didn't make a splash in Japanese markets and wasn't eagerly snapped up in the US; every major film studio turned it down. It's unfortunate that the picture did so poorly, but then again it wasn't very well made. I can't recommend it.