Unfortunately, Godzilla's triumphant return to its Japanese roots was a middling affair hampered by a lackluster script, bland human characters, an even blander monster foe, and a dwindling budget. While not necessarily a bad film, it was not the type of thing that could compete with the likes of the recent Gamera series, which set the bar exceptionally high for special effects, story, and characters - and did it for less money. Toho, it seemed, was becoming a cranky old man out of touch with modern fans, unwilling to try anything different, and at times downright hostile to those who would otherwise be supporting them. While Daei Studios rushed to release all the Gamera films both new and old onto DVD, Toho played the stubborn Luddite and refused to put much faith in the new medium, allowing scarcely a trickle of Godzilla's back catalog to get the digital treatment. Fans both in Japan and overseas - a population Toho has never given a damn about in the first place - were even further alienated from the proprietors of their beloved atomic powered behemoth.

When 2001 rolled around, Toho rolled out another Godzilla film, Godzilla vs. Megaguiras. The budget was still small, and Toho still seemed to regard their once-mighty franchise with more contempt than support, but even a bad Japanese Godzilla film is still a better time at the movies than a good Meg Ryan romantic comedy or any of those movies where a sincere outsider teaches us the beauty of the human soul while lots of people "smile through their tears" as that emotional "revelation" type orchestration plays. You know the movies I'm talking about.

Godzilla vs. Megaguiras is, in many ways, a return to the wacky spirit of the 1970s Godzilla films. After the relatively dark and somber-colored Godzilla 2000, Godzilla vs. Megaguiras goes for a more vibrant and rich approach, resulting in the revitalization of that comic book feel that permeated so many of Godzilla's adventures a couple decades ago. While certain key aspects are lacking - specifically the cool human characters and the funky action music - it's still a step back in the direction of entertaining audiences after the relatively drab outing that was Godzilla 2000.

But it ain't all wine and roses. Toho has become addicted to stories that immediately establish that none of the other movies ever happened, and this is an entirely new timeline. That's okay once, but they're pressing the reset button after every film now, and that smacks of desperation. For you wrestling fans out there, think of how many times WCW did the exact same thing, ushered in "a brand new era," in the year leading up to them just going belly up. It betrays the lack of faith Toho has in their own films, not to mention the ability of their script writers to pay attention to continuity - at least as much as Godzilla films have ever worried about such things. It's like saying all the previous films were so lackluster, or that the current writers are so unimaginative, that the best thing to do is ignore history completely. Why even bother then? It's not like Godzilla fans are Star Trek fans, people who will boycott an entire series because a character says an alien race came from Delos VII when it was stated twenty-two years earlier in some Trek novel that these aliens came from Delos V. As long as there are some tenuous links, we're happy.

In the timeline of this Godzilla series, which is apparently going to last one movie and probably be reset again, Godzilla has attacked only a handful of times. There was the first time back in the 1950s - depicted in black and white recreations of scenes from the original movie, but featuring the new monster design. Then there were a couple other attacks that resulted in the capitol of Japan being moved from Tokyo to Osaka. It might be a good idea to move your capitol inland, especially when said capitols have a tendency to get soundly trounced by a giant monster who lives just off the coast of your nation. At least make him hike a little rather than simply being ale to swim right up and blast things with no real effort.

Godzilla's history is recounted through us via one of those newsreel type things that went out of fashion round about the end of World War II, but apparently in this alternate reality, Japan still loves them. There is some cool recreation of a couple famous scenes from the original Godzilla so that we can see familiar destruction with the new monster design.

Each of Godzilla's attacks have come at key moments in the development of the Japanese energy policy. He shows up to smash nuclear power plants, so those are banned in favor of plasma generators. When those too attract Godzilla's attention, they are banned as well, so I guess Japan then converts entirely to a power system based on hamsters running on treadmills. The movie proper opens during Godzilla's final attack on some plasma generators before they are banned, and we meet a group of very stupid special-forces operatives who attempt to combat Godzilla with the use of bazookas. Missiles and tanks leave nary a scratch on the beast, but these guys are going after him with handheld rocket launchers. What's next? Pistols at twenty paces? Stepping into his path and doing that thing where you flip open and shut your butterfly knife to show what a bad-ass you are? Well, the team calls themselves the "G-Graspers," so we have to assume their initial plan was to simply walk out and grasp Godzilla as a way of defeating him. You know, grab it by the shoulder and sternly admonish the monster with a "Look what you did!" Could be worse, I suppose. At least they're not the G-Gropers or the G-Goosers.

Not especially amused with the antics of the ground forces, Godzilla simply squashes most of them, leaving only one survivor, a young woman named Kiriko. Naturally, she swears revenge on Godzilla for killing all her comrades, but stops short of shaking her fist at the monster. At least it gives Kiriko some sense of motivation. Godzilla 2000 had that businessman looking scientist determined to kill Godzilla, but he had no real back story, no motivation to give some sense of depth to his character. Kiriko's story may be cliché, but at least it's there.

Skip ahead a few years, and just when Japan thinks they have everything solved and are on a clean energy source that Godzilla won't feel the need to come push over, their old nemesis shows up yet again. After enlisting the aid of the standard-issue scruffy young computer genius, the G-Grasper team devises a plan that is as idiotic as just about every other plan devised to kill Godzilla. They have developed a weapon that actually shoots man-made black holes! Hit Godzilla with one of those suckers, and even it won't be able to escape the gravitational pull. Once Godzilla is sucked in, the black hole will dissipate, leaving only a very large portion of land completely charred and ruined. The black hole idea sounds pretty daft at first, but weirdly enough there are scientists (up at MIT I believe) working on this very idea. Well, on manmade black holes; not necessarily a gun to shoot them at large monsters.

The team tests their new weapon -- one that could potentially rupture the entire fabric of space-time and send the whole solar system plunging into oblivion - about a hundred yards from a heavily populated area. Frankly, as an inhabitant of Earth, I'm not so wild about the Japanese shooting black holes around just to kill Godzilla. I'm not wild about a bunch of crackpots up at MIT doing it either. It seems the sort of thing that could go horribly wrong and destroy the entire world. It would be nice if they consulted with other countries first, or maybe thought up a different plan, like using bigger missiles than those piddly little things they usually lob at Godzilla. You know, something smaller than an atom bomb but larger than those skinny little frog stickers launched by two F-14 fighters. Why not try, I don't know, fifty fighters and a few bombers dropping those 5,000 pound bunker busters? I mean, I don't go out and attempt to solve every little problem I have by creating black holes and jeopardizing the very structure of existence. I'm just saying maybe they should try something a little more conventional before they go shooting black holes at everything.

With the potential to destroy the entire solar system in their hands, I guess it really doesn't matter that the G-Graspers decide to test the weapon scant yards from a suburb, with little more than a unkempt hedge as a security perimeter. On top of that, they apparently decide the best target is a school building, which it seems is still in use since we soon meet a young lad walking to the school to return a bug collection he borrowed. You'd think they would do this sort of thing on an island or something away from the people. Everyone's probably going to be pissed that not only did the G-Graspers test a potentially catastrophic weapon in the middle of a heavily populated area, they also sucked the local school into the nether regions of reality.

As is par for the course in most Japanese monster films, the little kid manages to breach the tight security of the test site, foiling the whole two or three guards scattered throughout what must be several miles of woods. After they shoot off their little gun and he sees it, Kiriko catches him and makes him promise not to tell anyone he's just seen the government shooting black holes into the local school. Man alive, I thought American security at our nuclear research centers was bad! The kid witnesses one of the most top-secret super-ultra tests ever to be performed a hundred yards from a heavily populated suburb, and when he's caught they make him promise not to tell? Boy howdy, did Wen-ho Lee ever get the shaft!

The test goes remarkably well despite having been infiltrated by a pre-teen, up until the distortions in space-time start happening. Even that isn't of great concern to them, but when a small dragonfly darts into the field of distortion, things start to get complicated. The bug begins to mutate and multiply. Why? Because it's a Godzilla film. It also starts to get really big. Meanwhile, a shady scientist has secretly been storing some plasma energy, you know, just in case. Just in case what? Just in case Godzilla detects it? That better be the case, because that's exactly what happens. You can't hide Scooby Snacks from Shaggy, and you can't hide volatile sources of energy from Godzilla. You might not be able to hide Scooby Snacks from Godzilla, either, but I've never seen anything on screen to confirm or deny it, so let's just leave it in the realm of potential fan fiction ideas.

While the G-Graspers rush to get their weapon launched into space so it can target Godzilla, Tokyo finds itself under attack from the swarm of mutant bugs, who are laying eggs in the sewer system and causing the vibrant youth-oriented neighborhood of Shibuya to flood. They're also sucking precious bodily fluids out of people, but that's hardly as big a problem as ruining the Tower Records and chasing away all those looney club kids making the scene. Upset by the flooding of the vibrant entertainment and consumer district, yet no doubt happy about all the soaking wet kogals running into their waiting arms, the Japanese military immediately deploys a crack team of uniformed operatives to tool about in little rubber dinghies.

No one seems all that surprised to find out that it's that damn kid's fault for bringing an egg with him from the countryside when he and his mom moved to Tokyo, then just going and dumping it in the sewer. Despite the fact that this kid has actually caused as much damage to Tokyo as Godzilla, everyone seems happy to just pat him on the head and go, "Get on outta here, ya little scamp!" as if flooding Tokyo and causing billions of dollars of damage was about as serious as the time Spanky was trying to scare Buckwheat and accidentally freed a gorilla from the local zoo. This kid really needs to be chased by those monkey-faced space agents from Godzilla vs. Mechagodzilla.

The first chance to use the black hole gun, or Dimension Tide as they call it, comes when Godzilla wanders up onto the beach of a sparsely populated island. Unfortunately, the bugs show up as well, fouling up the targeting computer and generally annoying the hell out of Godzilla as they poke him with their stinger and suck energy out of his body. Dimension Tide fails to hit its mark, and eventually Godzilla just heads back into the water. Luckily, they can track him since, in one of the movie's cooler scenes, Kiriko actually scales his back while they are in the ocean and plants a tracking device on him. Unfortunately, Godzilla decides a more populated area would be fun to visit, and you don't really need a tracking device to tell you when Godzilla has entered Tokyo.

As you would expect, a big bug shows up, the Megaguiras, and has to fight with Godzilla. Godzilla wants that plasma energy, and Megaguiras wants that Godzilla energy. Well, whatever, so long as it gets our pals together for a couple big battles while the G-Graspers ho and hum and try to target their little black hole gun. You should pretty much know the drill from here on out.

All in all, Godzilla vs. Megaguiras is a fun film, certainly a more interesting adventure than the previous Godzilla 2000. I compared it to the films of the 1970s, which of course would make some people groan. I, on the other hand, always loved how full of action, hijinks, and color they were. This movie is a return to that sort of action-adventure spirit. Godzilla is still a menace, but at the same time it's given more of a character than it has shown in most of the more recent films. It even breaks out the classic "Godzilla move that makes you groan with laughter" tradition when Godzilla delivers a flying body press to Megaguiras. There's a lot of monster wrestling in here, just like the good ol' days. The 1990s "heisei" series relied far too much on "beam weapon" warfare, resulting in Godzilla and his foe standing at opposite ends of the screen shooting pretty lights at each other. This time around, we get down and dirty with some solid, old school grappling, and that's a big plus in my book.

Also a big plus is the latest Godzilla design. He looks boss, not to mention bad-ass. Very ferocious-looking. Now if we can just avoid the seemingly inevitable urge on Toho's part to inject a cutesy super-deformed baby Godzilla into later films. While Godzilla may look sharper than ever, the same can't be said for Megaguiras. On the surface, there's nothing overly wrong with the monster design. It's okay looking, based loosely on the Megaguiron from the original Rodan. But it lacks any real character, as all big monsters tend to. Megaguiras is an improvement over Orga from Godzilla 2000, but there's still no real depth to the monster that makes it memorable. I keep hoping for a new Ghidrah (instead of them just always falling back on Ghidrah when all else fails - he's the Borg of the Godzilla universe), or even a new Gigan, but all I get is a bunch of Gimantises and Spigas.

Adding to Megaguiras' lack of any real appeal is the fact that after all these years, Toho is no better in 2001 than they were in the 1960s at making a believable flying monster. Sure, they're okay when they are gliding or just lounging about, but the minute those huge wings start shakily flapping at a rate of about one flap every thirty seconds, things start to look silly, even for a Godzilla film. Megaguiras is actually a couple steps back in this regard, and there are several times when he just seems to be hanging there, motionless in the air, not moving his wings even a lick. It's just lazy looking. I know it's a giant dragonfly, and dragonflies can hover like the dickens, but in doing so they flap their wings about a hundred thousand times a second (don't quote me on that). Megaguiras goes for the more laid back "a couple times every few minutes" approach to hovering.

Confounding this is the fact that from time to time, they throw in some computer animation to give Megaguiras super-fast and realistically beating wings. This is his special attack, allowing him to dart to and fro just like a tinier dragonfly, but it looks great, reflects nature, and should have been the rule rather than the exception. I guess a taste of an advance in Toho flying technology is better than nothing at all, but a boy can dream, can't he? The worst part is how Megaguiras can somehow fly right and left without moving his wings at all, topped only by the scene where Godzilla catches Megaguiras' tail, thus causing the big bug to completely freeze in mid-air. Maybe shooting all those black holes around did more damage to the local gravity than people thought.

Speaking of computer animation, like Godzilla 2000, this movie relies on it heavily, at least relative to Godzilla films. The CGI in Godzilla 2000 was pretty bad, especially in the case of the UFO and a few other key parts. Toho may not be ILM yet, but they certainly learned something between films. For the most part, the CGI on display avoids being embarrassing. There are a few weak moments, specifically some very slow-moving and video game looking fighter jets. One of the great mysteries of the world is why people would develop multi-processor supercomputers and $10,000 a user software packages, then devote days upon days of time for some computer programmer to painstakingly render in CGI a series of effects that are nearly as believable as what Eiji Tsubaraya did with models back in the 1960s.

There's also a weird slo-mo effect that looks like that "step by step" sort of slo-mo you get on consumer VCRs rather than actual slow motion. Other than a few weak spots, though, the CGI is pulled off well, which is fitting for a movie that, other than a few weak spots, is itself pulled off pretty well. Sure there is an annoying kid, but he's not that annoying - unless you happen to work in the Akihabara district, that is. The other characters are bland but inoffensive. Kiriko at least has some character, but everyone else is pretty much there to fulfill a stereotype. The sloppy young computer genius. The dastardly old scientist. The benevolent old scientist. The nameless military guy who barks orders into a walkie-talkie for the entire film - you know the cast. I really hope that future Godzilla films continue to rediscover the influences of the previous films and give us some cool characters. Not since the 1970s have we had any human characters worth talking about. There have been no Nick Adamses or Akira Takarada's. There hasn't even been anyone to match the ambiguously gay suaveness of those two guys from Godzilla vs. Megalon or the hippy, karate girl,a nd cartoonish from Godzilla vs. Gigan. There certainly haven't been any Robert Dunhams or Kumi Mizunos. We've had a fairly bland parade of pretty but uninteresting human characters who neither add nor detract from the film around them, which is a shame. Sure, there was Miki the psychic girl in all the "heisei" films, but she wasn't really interesting. She was just driven into our memory through repetition. I'd like to see subsequent films give us a cool cast again.

Okay, so we did have that M-11 android in Godzilla vs. King Ghidrah.

Plotwise, it's business as usual. Toho definitely has the scriptwriters on cruise control here. Characters are, as I said, flat, and there's no real underlying message here other than the usual Godzilla fare of "don't ruin the planet," which is a given. At least the characters this time around are given some sort of motivation, lifting them beyond the characters from the last film, but there's still not a whole lot going on int he plot department -- not that this is a bad thing. Not every movie can be as multi-layered as Citizen Kane or as complex and plot-heavy as, say, Girls Gone Wild: Sexy Sorority Sweethearts, and while Godzilla vs. Megaguiras takes a very straight-forward approach to the plot, it is at least well-paced and exciting, lacking any of the dull, dragging spots that marred Godzilla 2000.

The final scorecard sees Godzilla vs. Megaguiras skewed heavily toward the positive side, however. It's not a work of art, but it's a solid, action-packed monster fest that delivers with gusto and spirit that help elevate it above the obvious short-comings in budget and script. Godzilla 2000 wasn't exactly a misstep, but this film is certainly a step in a slightly different, and in my opinion, more enjoyable direction.

Yuen Biao plays Hsia Ling-Cheng, a newly examined prosecutor whose mentor, an outspoken judge, is brutally murdered in front of him. This triggers a series of events where all Hsia Ling-Cheng's key witnesses in a drug case are killed off and with no faith in the law anymore, he decides to take care of the bad guys himself. Hot on his tail is the female cop Cindy (Cynthia Rothrock from Yes, Madam) but she doesn't care whether the truly bad ones are solely arrested. For her a killer is a killer and therefore she is only out to catch Hsia Ling-Cheng. Through different turn of events it is discovered that the head of the criminal organization is a well respected police man (Melvin Wong from Eastern Condors) and now Hsia Ling-Cheng and Cindy have to join together to bring him to justice...

Corey Yuen has on several occasions worked as an action choreographer in films such as Jet Li's Hollywood efforts and you're pretty much guaranteed a good execution in that department when his name pops up on the screen. In Righting Wrongs, he has together with his team of choreographers, which include Yuen Biao himself, come up with some truly excellent fight- and action scenes. He never fails to show off Yuen Biao's amazing acrobatic- and martial arts skills but the feeling of these scenes is more towards brutality and grittiness. Something which suits the movie very much in tone. Among the highlights in the choreography is the garage scene where Biao is fighting both cars and humans plus the almost shocking climax of the movie with Yuen Biao, Cynthia Rothrock and Melvin Wong. There are only a few select times where the editing of the action is a bit hard to follow but this is just a minor point. The action generates wonderful entertainment despite the movies dark undertones.

Righting Wrongs is a pretty straightforward and simple story that one would argue shouldn't be analyzed to the extreme but I feel there were still flaws that needed to be addressed. It's mainly Corey's work as a director of actors and the way he shoots those scenes, that is really average. Most of the dialogue scenes are ok on a directorial level but they still feel somewhat flat and lifeless. All in all they work for this kind of movie and they're just really interludes in between the action.

The movie has a furious pace in the beginning parts but after that it sort of drags a bit while we get to see the little but serviceable plot develop. Yuen Biao's character actually goes missing for a fair amount of time here while we follow Cynthia Rothrock and Corey Yuen's (yes, that's the director in a fairly significant role) investigation of the trails left behind by Hsia Ling-Cheng. Despite a less than complicated plot, characters enter the movie very quickly and we have to ponder a bit as to how they fit into the picture. You eventually have everyone and everything laid out clear and can enjoy the next hard hitting action scene. When Yuen Biao eventually goes into action again the remainder of the running time goes by at a smooth pace.

I do think that Righting Wrongs could've gained more power if it had been been played serious all the way through the end. Here and there, mainly in the first half, there are a few of your usual Hong Kong slapstick scenes thrown in. This is nothing new in Hong Kong filmmaking but it still doesn't really fit when we're soon after get to see a serious scene or a brutal one. It's not as extreme as the juxtaposition between the nasty stuff and the humour in Dr. Lamb though.

The theme of taking the law into your own hands is one we've seen before and the motivation of Yuen Biao's character is passable considering the genre of movie it is. The character of Hsia Ling-Cheng quickly loses confidence in the law and when he's asked which ones he thinks the law protects, he sorrowfully says: the bad guys. So almost from the beginning the character has hit the point of no return and from this the movie carries with it a very dark and pessimistic tone about a world with no real justice. I personally think that films need to put that message up on the big screen at times. We don't live in a perfect world and sometimes it's easy to forget that fact. Another movie that I think dealt with this subject is Alfred Cheung's On The Run.

In the above mentioned On The Run Yuen Biao showed me the definite sign that he has what it takes to to be a dramatic actor. In that film he threw one kick and the rest was him showing a dramatic and gritty side to his acting, something which made the character more human. In Righting Wrongs he does well in the balance act between playing the lost character of Hsia Ling-Cheng and the performance in the action scenes. It must be said though that the script isn't that well written even though Biao's character is the most fleshed out one. His acting doesn't quite reach the height that the movie aims for but Biao's central performance is still quite good despite those flaws.

I must admit that I hadn't seen any movie with Cynthia Rothrock prior to this one and I didn't expect a whole lot from this fast kicking American female. Her cop role isn't exactly multi layered and original but, despite the often horrible Cantonese dubbing of her, she handles herself in a perfectly acceptable way. She adds strength to the movie through her skills as an action actress and by the looks of it performs a good slew of the stunts herself. There were some very obvious doubling of her and you'll especially laugh at that during her introductory scene. While Biao beats her in the acting department, she is a good match and counterpart to him when it comes to the martial arts itself.

As the film's bad guy we see Melvin Wong and, once again, his character arc is nothing new to Hong Kong movies but I thought Melvin put in a good performance. He managed to show the almost cold blooded nature of his character who will stop at nothing when it comes to silencing people. There are some fairly gruesome scenes involving him and this is a movie bad guy that I will remember for a little while. Other actors could act out this role way over the top and almost make it comedic but Melvin stays well within those borders and is actually at times quite scary.

One supporting player worth mentioning is veteran actor and director Wu Ma who plays the father of Corey Yuen's character. Their scenes are the so called funny ones in the movie and while they were not entirely non-humerous, I could've done without them. Wu Ma does have a memorable dramatic scene later in the film that involves the death of one of the police men and his understated reaction in that scene is probably what earned him the supporting actor nomination that year.

When we start to approach the final 15 minutes of the film, the expectations are high for a killer climax and the choreographers certainly was at the top of their game when it came to the end. If the fight between Yuen Biao and Melvin Wong had been the final scene of the movie, I would've been very satisfied but there's more! Melvin's character takes off in a small air plane with Yuen Biao's character pursuing on foot! Here Yuen shows his most crazy side and the stunt work on display here is absolutely amazing. It doesn't even look like they took any security measures at all, they just did it apparently. Whether Yuen himself performed all the aerial stunts is unknown to me but regardless it's still a highly impressive climax to this movie. Just like the final reel of On The Run there's some sometimes shocking and brutal violence being shown but I think it's all very reasonable to present it that way since that tone has been set early on.

Righting Wrongs is a movie I will be revisiting many times but I think that it would've been even better if the filmmakers had chosen to leave out the humour and gone with the serious tone all throughout the movie. Don't let these negative remarks stop you from adding this movie to your collection though. It's a very good piece of Hong Kong cinema but if you want to see Yuen Biao showing his acting skills, I recommend watching On The Run before this. It will make a great double bill!