Godzilla: The King of Monsters Returns in a New Epic Adventure

Biollante, the hybrid female human plant from Godzilla vs. Biollante, escaped to a black hole after her fight with Godzilla. Due to cross-pollination and an unexplained space phenomenon, a Space Godzilla was born. The space creature proves a formidable foe for the Earth-dwelling Godzilla as it has hard crystal spikes on his body that offer a great deal of protection and power. When the space monster dares to do harm to Baby Godzilla and the people of Earth, Godzilla steps up to protect them. This movie marks the 40th anniversary of the series.

[Movie] Godzilla

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Afterward, Shakman was asked about whether he collaborated with the movie team helmed by director Adam Wingard. Considering both the show and untitled sequel film are produced by Legendary and follow-up Godzilla vs. Kong in their own ways, there was bound to be some conversation between the two teams regarding the future of the MonsterVerse. According to Shakman, however, both are largely sticking to their respective projects. He teased that, while there will be shared elements between the series, it's far more self-contained than anyone hoping for an MCU-level connection might expect:

Director Ishiro Honda returned again for the first Godzilla movie expressly for children. Economizing by reusing effects shots from other films in the series, All Monsters Attack tells the story of Ichiro, a lonely latchkey kid who finds solace in his dreams of befriending Minilla, the titular progeny of Son of Godzilla, whose parent is also often absent. In this thoughtful, human-scale story, boy and monster learn together what it means to grow up.

This is a list of all official feature-length Godzilla movies. There are currently 36 films in the franchise: 15 authored by Toho; one by Toho and Benedict Pictures; three by Toho Eizo; 13 by Toho Pictures; one by TriStar Pictures, Fried Films, and Independent Pictures; and three by Warner Bros. Pictures and Legendary Pictures. Toho only considers the live action films that it or its subsidiaries create to comprise the numerical entries in the franchise; as such, it excludes the Hollywood adaptations and animated films from the numerical order and maintains that Shin Godzilla is the 29th Godzilla film.[1] There are two upcoming Godzilla films currently confirmed to be in development. The first, given the working title Blockbuster Monster Movie, will be the 30th mainline entry in the series and is set for release on November 3, 2023. The other, under the working title Origins, will be the fifth entry in the MonsterVerse series of films produced by Legendary and will release on March 24, 2024.

There are a total of 29 Godzilla movies which comprise the mainline series, with a 30th in development. The movies are split into four distinct subseries: Showa, comprising the first 15 films; Heisei, comprising the next seven films; Millennium, comprising the next six films after that; and Reiwa, which includes the most recent film Shin Godzilla and three animated films which are considered spinoffs. Despite the Showa, Heisei, and Reiwa series being named after political periods of Japan, the series do not neatly map on to the eras; the first film of the Heisei series, The Return of Godzilla, was in fact released during the Showa era, and Shin Godzilla in the Heisei era. Moreover, all of the Millennium series was released during the Heisei era.

Four Godzilla movies have been produced entirely by Hollywood studios, with a fifth in development. However, it should be noted that three of the Japanese Godzilla films were brought to the United States with new footage shot by American studios inserted into them. These include Godzilla, King of the Monsters! (a 1956 Americanization of 1954's Godzilla), the 1963 American release of King Kong vs. Godzilla, and Godzilla 1985 (a 1985 Americanization of 1984's The Return of Godzilla). Though these are generally not included in the tally of American Godzilla films, the 2016 book Shin Godzilla Walker: The New Legend of the King of the Monsters does treat Godzilla, King of the Monsters! as a distinct work.[2]

Peculiarly, Godzilla.com, the official international website for the Godzilla franchise, counts the shows Godzilla, Godzilla: The Series, and Godzilla Singular Point as "films," bringing its tally of animated movies to six.[3]

This is a list of references for List of Godzilla movies. These citations are used to identify the reliable sources on which this article is based. These references appear inside articles in the form of superscript numbers, which look like this: [1]

CANNES, France--Going to see "Godzilla" at the Palais of the Cannes Film Festival is like attending a satanic ritual in St. Peter's Basilica. It's a rebuke to the faith that the building represents. Cannes touchingly adheres to a belief that film can be intelligent, moving and grand. "Godzilla" is a big, ugly, ungainly device to give teenagers the impression they are seeing a movie. It was the festival's closing film, coming at the end like the horses in a parade, perhaps for the same reason.

The makers of the film, director Roland Emmerich and writer Dean Devlin, follow the timeless outlines of many other movies about Godzilla, Rodan, Mothra, Gamera and their radioactive kin. There are ominous attacks on ships at sea, alarming blips on radar screens, and a scientist who speculates that nuclear tests may have spawned a mutant creature. A cast of stereotyped stock characters is introduced and made to say lines like, "I don't understand--how could something so big just disappear?" Or, "Many people have had their lives changed forever!" And then there are the big special effects sequences, as Godzilla terrorizes New York.

One must carefully repress intelligent thought while watching such a film. The movie makes no sense at all except as a careless pastiche of its betters (and, yes, the Japanese Godzilla movies are, in their way, better--if only because they embrace dreck instead of condescending to it). You have to absorb such a film, not consider it. But my brain rebelled, and insisted on applying logic where it was not welcome.

How, for example, does a 300-foot-tall creature fit inside a subway tunnel? How come it's sometimes only as tall as the tunnel, and at other times taller than high-rise office buildings? How big is it, anyway? Why can it breathe fire but hardly ever makes use of this ability? Why, when the heroes hide inside the Park Avenue tunnel, is this tunnel too small for Godzilla to enter, even though it is larger than a subway tunnel? And why doesn't Godzilla just snort some flames down there and broil them? Most monster movies have at least one bleeding-heart environmentalist to argue the case of the monstrous beast, but here we get only Niko Tatopoulos (Matthew Broderick), an expert on the mutant earthworms of Chernobyl, who seems less like a scientist than like a place-holder waiting for a rewrite ("insert more interesting character here"). It is he who intuits that Godzilla is a female. (You would think that if a 300-foot monster were male, that would be hard to miss, but never mind.) The military in all movies about monsters and aliens from outer space always automatically attempts to kill them, and here they fire lots of wimpy missiles and torpedoes at Godzilla, which have so little effect we wonder how our tax dollars are being spent. (Just once, I'd like a movie where they train Godzilla to do useful tasks, like pulling a coaxial cable across the ocean floor, or pushing stuck trains out of tunnels.) In addition to the trigger-happy Americans there is a French force, too, led by Jean Reno, a good actor who plays this role as if he got on the plane shouting "I'm going to Disneyland!" All humans in monster movies have simple-minded little character traits, and Reno's obsession is with getting a decent cup of coffee. Other characters include a TV newswoman (Maria Pitillo) who used to be the worm man's girlfriend, a determined cameraman (Hank Azaria), a grim-jawed military leader (Kevin Dunn) and a simpering anchorman (Harry Shearer). None of these characters emerges as anything more than a source of obligatory dialogue.

Oh, and then there are New York's Mayor Ebert (gamely played by Michael Lerner) and his adviser, Gene (Lorry Goldman). The mayor of course makes every possible wrong decision (he is against evacuating Manhattan, etc.), and the adviser eventually gives thumbs-down to his reelection campaign. These characters are a reaction by Emmerich and Devlin to negative Siskel and Ebert reviews of their earlier movies ("Stargate," "Independence Day"), but they let us off lightly; I fully expected to be squished like a bug by Godzilla. Now that I've inspired a character in a Godzilla movie, all I really still desire is for several Ingmar Bergman characters to sit in a circle and read my reviews to one another in hushed tones.

There is nothing wrong with making a Godzilla movie, and nothing wrong with special effects. But don't the filmmakers have some obligation to provide pop entertainment that at least lifts the spirits? There is real feeling in King Kong fighting off the planes that attack him, or the pathos of the monster in "Bride of Frankenstein," who was so misunderstood. There is a true sense of wonder in "Jurassic Park." "Godzilla," by contrast, offers nothing but soulless technique: A big lizard is created by special effects, wreaks havoc and is destroyed. What a cold-hearted, mechanistic vision, so starved for emotion or wit. The primary audience for "Godzilla" is children and teenagers, and the filmmakers have given them a sterile exercise when they hunger for dreams. 2ff7e9595c