New facial cleanses have gotten out of control!
Godzilla was on one of his occasional breaks after his Final War while the US developed their own Godzilla franchise. But after that monster hit, Godzilla reawoke in Japan to return with a spiritual successor to the original Gojira that is also one of the most successful films in Japan. Godzilla is back as a force of nature, the appearance and response directly referencing the Japanese Fukushima earthquake/nuclear disaster. Much of the film is spent in a West Wing style series of high level government meetings, in which entrenched minsters and officials do little of consequence in order to avoid looking bad if their actions don’t have the desired effect. While that sounds like it could be terrible, it’s actually really good, the scenes are cut quickly and innovatively to keep things moving briskly along while still giving you the feeling that the characters were in long unproductive meetings.
Hideaki Anno and Shinji Higuchi were given free reign to tell their story, the pair having collaborated on Evangelion, with Anno subsequently directing cult live action films such as Cutie Honey and Higuchi doing effects work on the Gamera trilogy and directing the Attack on Titan features. Their strong pedigree promised that we would get something unique and entertaining, and the pair delivered with a strong entry.
The effects are a bit mixed, the final form of Godzilla is well done, but the earlier forms look goofy and some effects with them seem more rushed. While most of the music is new, there is some nice Akira Ifukube put in at the right time, with tanks driving around and blasting away that helped made the scene come together, you won’t care that everything is now CG instead of models and a guy in a suit. It really is modern mixed with the past, besides the retro tank fight, we have unmanned drones attacking Big G at one point, and the final sequence has a bunch of industrial and civilian vehicles that make up the heart of Japan’s economic might being used to save Japan.
Categories: Bad, Movie Reviews Tags: Akira Emoto, Arata Furuta, Godzilla, Hideaki Anno, Hiroki Hasegawa, Issei Takahashi, Japan, Jun Kunimura, Kanji Tsuda, Keisuke Koide, Ken Mitsuishi, Kengo Kora, Kenichi Yajima, Kimiko Yo, Kyūsaku Shimada, Mansai Nomura, Mikako Ichikawa, Pierre Taki, Ren Osugi, Satomi Ishihara, Sei Hiraizumi, Shinji Higuchi, Shinya Tsukamoto, Takumi Saito, Tetsu Watanabe, Yutaka Takenouchi
K-20: Legend of the Mask
aka K-20: Kaijin niju menso den
Directed by Shimako Sato
In a world where Japan avoided going to war with the US, the Meiji Era nobility continues to exist in 1949. This has created a huge divide between the rich and the poor in the capital city of Teito. Yes, Teito. Stay with me here. No social mobility leads to a massive poor underclass and a tiny fraction of superrich. This playland for the rich is not without costs, as a masked villain known as K-20, the Fiend with 20 Faces, drives fear in their hearts as he steals their money. K-20 is not a noble thief or a Robin Hood, he is just a jerk who robs jerks.
There are also police zeppelins that drop police gyroplanes, because that always happens in comic books.
Series creator Edogawa Rampo is a popular horror and mystery writer whose work has been turned into cinema since 1927. After WWII, most samurai and similar films were banned, and Edogawa Rampo’s vast contemporary work was quickly put on the big screen. The K-20 stories originate in a Boy Detectives series launched in 1936 that lasted 26 years. Edogawa Rampo’s character of The Fiend With Twenty Faces is a mysterious master of disguise, and Detective Kogoro Akechi is called Rampo’s alter ego. Other early Rampo films include 1946’s The Palette Knife Murder (Palette Knife no Satsujin) and 1947’s Ghost Pagoda (Yurei To) and Phantom With Twenty Faces (Kaijin Nijumenso), which is the same Phantom story that inspired the novel this film is based on.
Said novel is the 1989 work from playwright Soh Kitamura, which updates the classic Rampo Akechi tales. Kitamura’s completely new take on the tale caused much controversy among Rampo Edogawa’s fans, much like many remakes.
More about Edogawa Rampo: Yes, Edogawa Rampo is not his real name, Taro Hirai named himself after Edgar Allen Poe! His first writing successes were in 1923, his erotic horror style is called eroguro-nansensu. Other Rampo stories on film include 1969’s The Blind Beast (Moju), 1969’s The Horror of Malformed Men (Kyofu Kikei Ningen), 1976’s The Stroller in the Attic (Yaneura no Sanposha) and 1968’s Black Lizard (Kurotokage). Rampo eventually became a character in mystery films of his own, in the movie Rampo (and this film has two wildly different versions.)