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Ranking the Millenium Films • Monster Zero x SciFi Japan

Ranking the Millenium Films

Discuss the millennium era of Godzilla films! From Godzilla 2000 Millennium to Godzilla Final Wars, these films comprised a wide variety of styles and topics!

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Postby ebirahsmeg1 » Sun Aug 15, 2010 4:35 am

Favorite to Least Favorite:

1. GFW - The millenium series in general was better than heisei series from a technical standpoint....however, this series as a whole was rather bland...at times, the films just ran together with nothing standing out. GFW was the first film that actually *truly* tried different things, and when I saw it live in a theatre, it was the most fun I ever had as a G fan. Is it flawed? Most definitely, and its criticism was well warranted, but the backlash against this film by some went *way overboard* at times, and often was quite hateful and rediculous (God, I use to hate the backhanded, condescending comments I would get when this first came out..."This film is so stupid, only idiots would like it...oh, but it's cool if you like it." :roll: Some fans would literally try to bully you if liked it, such as "It's ok if you liked it, but you have to admit it's the worst film evaaa!" :o )

I can't even imagine how a film like GvsHedorah would have been received on this board if it was released today...probably would be hearing similar types of remarks ("Thanks for ruining Godzilla Yoshimitsu Banno!")

For me personally, this film was made at the right time, as I had become quite disenchanted with the previous 2 films and was on the verge of becoming indifferent to these films (and at a time when my personal life was not the greatest)...it brought the magic back for me. It also rikindled my love of Japanese film in general, and motivated me to visit Japan. Not only did I visit Japan...but I ended up staying and have been here since :lol: So I will admit, I tend to look at this film with rose-colored glasses.

2. GMK - Loved it when it was first released (despite KINO). I still like it today, but each time I watch it, the less I enjoy it. It's probably the best made film of the millenium series from a technical standpoint. However, I think it totally missed the point about Godzilla with the whole "he's a dark, evil embodiment of the Japanese war dead" angle, especially after living in Japan for several years and gaining a new perspective towards some of the cultural aspects hinted at in this film.

After these 2 films, it gets a little difficult...as I said, some of them just blend together...

3. GxMegaguirus - Might be the worst film of the millenium series from a technical standpoint (the visible wires of Megaguirus are *TOTALLY INEXCUSABLE* for a film made in 2000). Nevertheless, it had spirit and charm, and Tezuka made a very fun, enjoyable film.

4. Godzilla 2000 - Not as bad as everyone says it is...and it was great to see a G film in theatres again. But honestly, not much to say and rather forgettable in general. I think GFW or GMK would have been a much better film to release in American theatres.

5. Godzilla Against Mechagodzilla - Um...well, it had Shaku Yumiko, so that's a starting point. Beyond that...um....moving on.

6. Godzilla Tokyo SOS - Absolutely *DESPISED* this film...very dull and unoriginal. It was the only G film where I was quite angry after seeing it.
:eek:

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Postby ebirahsmeg1 » Sun Aug 15, 2010 4:58 am

:eek:

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Postby king_ghidorah » Tue Apr 19, 2011 7:17 pm

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Postby MekaGojira3k » Tue Apr 19, 2011 7:51 pm

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Postby king_ghidorah » Tue Apr 19, 2011 8:03 pm

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Postby MekaGojira3k » Tue Apr 19, 2011 9:01 pm

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Postby Legion » Tue Apr 19, 2011 9:03 pm

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Postby MekaGojira3k » Tue Apr 19, 2011 9:09 pm

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Postby lhb412 » Tue Apr 19, 2011 9:35 pm

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Postby Cookie » Tue Apr 19, 2011 10:02 pm

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Postby walshiam » Wed Apr 20, 2011 2:41 pm

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Postby walshiam » Wed Apr 20, 2011 2:47 pm

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Postby Hybrid Gojira » Sun Apr 24, 2011 6:37 pm

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Postby lhb412 » Sun Apr 24, 2011 8:10 pm

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Postby jamaal7 » Mon May 02, 2011 9:36 pm

[color=darkred]My favorite film of the Millennium Series is Godzilla 2000 Millennium, the original Japanese version.

Overall, the film has the feel of an event that is actually happening. It’s serious, with characters you want to get to know and- and this is important- stay with throughout the story.

The Mire-Goji design is striking, fierce and, at times, actually intelligent looking, even inquisitive. Actually this suit goes with the rather dark tone of the film and story. There are several subplots at work here: scientist (Shinoda) at loggerheads with government bureaucracy (CCI), the development of a mother-daughter relationship (Yuki and Iyo) (relationship that comes to the rescue of the story's principle protagonist) and the defense of the earth against a mysterious alien force.

Godzilla 2000 Millennium actually moves along very well, starting with his assault on Nemuro. The idea of a Godzilla Prediction Network just makes so much sense, that it’s natural. And that it’s a family-run, cottage industry whose chief financial officer is a nine year old girl adds to the film’s charm. This giant monster movie is actually about empowerment, as Iyo is given authority well beyond her years and Yuki grows from whiny journalist to courageous reporter as she takes Iyo with her to rescue her father, abandoned and left for dead by Crisis Control Intelligence. Miyasaka returns to his scientific roots, brought back by the discovery of Organizer G-1 along with college friend Shinoda. After rediscovering the scientist in him, Miyaska is able to defy his boss, Kataghiri, by authorizing Shinoda’s entrance into the ill-fated Tokyo Tower. He then shouts at the CCI head, when the latter wants to destroy the high-rise while Shinoda is still in it. Kataghiri’s glaring response is telling: it offers the image of an arrogant, conceited bureaucracy that is convinced that it is not in need of the scientific community.

Hiroshi Abe’s Kataghiri is iconic in several ways, as are the other main characters in this semi-documentary film.

He appears to be almost motionless in some shots, as if he is attempting to demonstrate a certain imperviousness to the events that are unfolding around him, events, that ironically, are actually impervious to his governmental authority, rank and prestige. Kataghiri has obviously moved up in government circles very quickly, but at a cost. He seems to lack the ability to listen seriously to others. And why should he? Who would correct him? He’s so sure that the Full-Metal Missiles will kill Godzilla. And, he’s so wrong. Only Shinoda, the scientist beyond the allure of CCI and a gilded career in a stellar government agency, stand between him and tremendous tactical error at Tokai Mura.

Shinoda is Godzilla 2000 Millennium’s Dr. Yamane. He’s thoughtful, but courageous. He’s a gentle father to Iyo, even allowing himself to follow her lead at home and at CCI. Yet he is firm and decisive with Kataghiri at Tokai Mura and after escaping with his life after the destruction of Tokyo Tower. Shinoda’s interest is the science behind the return of Godzilla and the advent of the aliens: “A thousand year kingdom.â€
“Godzilla is a force. He is not something that can be stopped by human weapons. He is brutal and severe. My Godzilla will be the cruelest and fiercest in the history of the series.â€
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Postby jamaal7 » Wed May 18, 2011 9:21 pm

[color=darkred]Oh my God! What a wild ride!

After watching Gojira X Mekagojira (Godzilla x Mechagodzilla) very recently, I must say that I was thoroughly entertained and moved. Masaaki Tezuka's second Godzilla film works on many different levels.

The Story
There is a central theme at the core of the film, the value of all life, even that of a bio-robot, in this case, Kiryu. This theme is made to embrace Akane (Yumiko Shaku), the heroic but almost tragic central figure. That this theme is most eloquently driven home by the daughter of the scientist most responsible for Kiryu's creation is significant. Sara (Kana Onodera) and Kiryu both, together, represent Japan's hope for the future. She relates to the bio-robot in a way that nobody else does or can, for that matter. Sara is both an advocate for Kiryu and a redeemer for Akane, affirming that latter's innate worth as a human being: that she has a place in the world, that her life is important. This is an interesting and thought provoking juxtaposition. With all of the death (mostly implied) and destruction (not so implied) on display in GXMG, that there should be this moving affirmation of life and the worth and beauty of living creatures, is really quite remarkable. The survival of a nation and it's people, Japan, which has been compelled to develop and deploy an anti-megalasaurous component of its military to mitigate the attacks of giant monsters, is at stake. This leads to Kiryu, the building of which is both expensive and politically dangerous. It's a great risk, but the country's political leadership decides to take it. And, judging by the media's reaction, it is not universally popular. The prime minister has to sell and justify the building of Kiryu not only to the country, but to the world. “Is this the rearming of Japan?â€
“Godzilla is a force. He is not something that can be stopped by human weapons. He is brutal and severe. My Godzilla will be the cruelest and fiercest in the history of the series.â€
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Postby MouthForWar » Wed May 18, 2011 11:34 pm

[quote="jamaal7"][color=darkred]Oh my God! What a wild ride!

After watching Gojira X Mekagojira (Godzilla x Mechagodzilla) very recently, I must say that I was thoroughly entertained and moved. Masaaki Tezuka's second Godzilla film works on many different levels.

The Story
There is a central theme at the core of the film, the value of all life, even that of a bio-robot, in this case, Kiryu. This theme is made to embrace Akane (Yumiko Shaku), the heroic but almost tragic central figure. That this theme is most eloquently driven home by the daughter of the scientist most responsible for Kiryu's creation is significant. Sara (Kana Onodera) and Kiryu both, together, represent Japan's hope for the future. She relates to the bio-robot in a way that nobody else does or can, for that matter. Sara is both an advocate for Kiryu and a redeemer for Akane, affirming that latter's innate worth as a human being: that she has a place in the world, that her life is important. This is an interesting and thought provoking juxtaposition. With all of the death (mostly implied) and destruction (not so implied) on display in GXMG, that there should be this moving affirmation of life and the worth and beauty of living creatures, is really quite remarkable. The survival of a nation and it's people, Japan, which has been compelled to develop and deploy an anti-megalasaurous component of its military to mitigate the attacks of giant monsters, is at stake. This leads to Kiryu, the building of which is both expensive and politically dangerous. It's a great risk, but the country's political leadership decides to take it. And, judging by the media's reaction, it is not universally popular. The prime minister has to sell and justify the building of Kiryu not only to the country, but to the world. “Is this the rearming of Japan?â€
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Postby king_ghidorah » Thu May 19, 2011 5:46 am

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Postby Pkmatrix » Thu May 19, 2011 3:20 pm

I've gotta side with jamaal7 on this, guys. GMK may be more subtextually deep, but but there is some subtext in GxMG and its a FAR more entertaining movie.

This is more a preliminary ranking, as I probably should rewatch all of these first, but here's how I rank the Millennium anthology:

1. Godzilla x Mechagodzilla
2. Godzilla 2000
3. GMK
4. Godzilla Final Wars
5. Godzilla x Megaguirus
6. Godzilla: Tokyo SOS

The only one of these I really didn't like was Tokyo SOS. GxMG deserved FAR better out of a sequel than that.
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Postby jellydonut25 » Thu May 19, 2011 4:45 pm

GxMG is an odd film for me.

On the one hand, I look at it and say to myself, "This is what GxMegaguirus COULD have been" while on the other hand I think to myself, "Tezuka had a LOT of time to think about the mistakes of GxM and THIS is the best correction???"


it's an uneven film, and it does seem to be little more than an attempt to exploit the 1954 film, but I think that saying it NEVER utilizes the potential of the 1954 stuff isn't quite accurate.

for one thing, GxMG is the first (and perhaps ONLY) Godzilla film to offer up a REASONABLE explanation for creation of a MechaGODZILLA instead of just a big tank.
for another, there is the Kiryu rampage scene...granted, the plot is completely dropped and left to not develop any further from that point (and that includes TSOS...the lack of this plot point ever coming up again is a serious damper)

i also don't think the fight scenes are the WORST in any Godzilla film. Actually, IMHO, the hand-to-hand combat is some of the very BEST in the entire series. It's actually what makes the ridiculously pathetic projectile scenes look even worse...

like I said, it's a very uneven film, and being my personal favorite Tezuka film, its obvious flaws certainly speak quite a bit about the director's abilities...
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Postby king_ghidorah » Thu May 19, 2011 7:03 pm

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Postby MekaGojira3k » Fri May 27, 2011 10:10 am

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Postby jellydonut25 » Fri May 27, 2011 10:58 am

Gills.

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