On a dare, Ayana ventures into a cave near the village. The cave is rumored to be the resting place of a legendary monster called “Ryuseicho.” Ayana succeeds in moving the sacred stone that is said to restrain the monster.

Meanwhile, Gyaos have been reappearing around the world. The busy nightlife of Shibuya is shattered when Gamera confronts two Gyaos there. In the most incredible scene of urban destruction in any kaiju eiga, Gamera destroys the Gyaos…at a tremendous cost to the human population. When the battle is over, the smoke from the raging inferno left in the monsters’ wake obscures the stars in the once clear night sky.

Returning to the cave, Ayana finds that a strange tentacled creature has hatched. She also uncovers a crescent-shaped stone (similar to the one that allowed Asagi to communicate with Gamera in GOTU). The creature and Ayana share a common bond: A seething hatred for Gamera. Ayana names the creature "Iris," and decides to raise it as her own.

As the government desperately tries to come up with a plan to deal with the giant monsters, Iris increases both its size and its connection to Ayana. It feeds on forest animals, and then moves on to the people of the village, draining their life with its tentacles. Upon reaching true daikaiju proportions, Iris takes to the sky and heads toward Kyoto for a showdown with Gamera.

Gamera 3: Revenge of Iris is the culmination of both the Gamera trilogy, and modern kaiju eiga as a whole. This somber, serious, multi-layered film is considered by many fans to be the greatest work in the genre since the original 1954 Gojira. G3 seamlessly combines the human drama with the monster action, so that one cannot proceed without affecting the other. The human characters are likeable and interesting. Dr. Nagamine, former police inspector Osako, and Asagi are reunited from the previous Gamera films. It’s great to see how these characters have grown and developed since GOTU in 1995. The character of Ayana is played and presented so sincerely that the audience can sympathize with her, while still realizing that her path of revenge is misguided. There are several new characters: Asakura Mito sees herself as the rightful human guide for Iris and thus tries to manipulate Ayana for her own purposes. Her companion is Kurata Shinya, an eccentric computer programmer whose simulations predict the interrelations of humankind, giant monsters, and Mana (the Earth’s life-force). Moribe is a young man whose family has guarded the secret of the Ryuseicho for generations, and who tries to protect Ayana from herself.

On the monster side of things, Gamera is looking and acting a whole dimension meaner than before. The flying Gyaos are leaner and more convincing than ever. Iris is an odd creation. When flying, it’s hauntingly beautiful as it propels itself through the skies with translucent membranes stretched between its tentacles. It looks like a deep-sea creature swimming through the night, and the sounds it makes are melancholy and mysterious, like the song of a whale. On land though, it is largely immobile (except for its flailing tentacles) and doesn’t look organic enough to be believable. Otherwise, the special effects are excellent. G3 is by far the most successful integration of suitmation and CGI to come out of Japan. The CGI elements, such as the flying monsters, raging fires, and Iris’ tentacles, are effective and convincing. The destruction of Shibuya is the best FX sequence in kaiju history. It brings the long-absent element of horror back to the genre by convincingly showing what happens to human bystanders when giant monsters fight to the death in the heart of a populated city. The final battle between Gamera and Iris takes place in a Kyoto that has been drenched by a typhoon. The monsters face off amidst the misleading calm and quiet of the eye of the storm. The last stage of the battle takes place indoors (a first in daikaiju history!) at the cavernous Kyoto railway station. Without giving anything away, the ending of the film is somber and poetic. It leaves the audience with a true sense of respect for Gamera as he marches toward what could be the Earth’s final chapter. Also deserving of our respect is director Shusuke Kaneko, FX director Shinji Higuchi, writer Kazunori Ito, and composer Ko Otani. Their Gamera 3, and the trilogy as a whole, is a masterpiece. Grade: A

This is confirmed when subway passengers are attacked by a horde of insect-like creatures. Soon, downtown Sapporo is shattered by the blooming of a huge flower that is tended by the creatures. Investigators correctly deduce that the flower pod is gathering oxygen to launch its seed into space. The force of this explosion will wipe Sapporo off the map, but it’s too late for the military to do anything about it! Luckily, the Earth’s guardian Gamera senses the threat and arrives in time to destroy the flower. Afterward, he is injured by the swarm and retreats back to the sea.

The insects (dubbed “Legion,” a Biblical reference) amass their forces for a second try. This time, the giant Queen Legion runs interference against Gamera. Against all odds, Gamera again destroys the flower, but at a terrible price. The city of Sendai is completely annihilated, with Gamera at ground zero! Can anything revive Gamera, or give the military the edge it needs, to stop the Legion’s relentless march towards Tokyo?

Gamera 2: Attack of Legion is the follow-up to 1995’s Gamera: Guardian of the Universe. The first film was widely hailed as one of the best kaiju eiga since Toho’s golden age in the 1960s. As such, it’s a tough act to follow, but Shusuke Kaneko and his crew do so brilliantly. G2 moves along at a quick pace. Despite the fact that Gamera doesn’t show up until the half-hour mark, the film never drags. In best X-Files fashion, the mystery of the Legion grows and develops ominously. When the monsters engage in battle, there is a real sense of urgency that is lacking in many monster films. Far from being merely a technical exercise, the fights are true struggles for survival. The overwhelming Legion needs to reproduce at any cost, and the audience gets a real sense of the painful sacrifices made by the noble Gamera to stop it. Legion is by far Gamera’s largest and most powerful opponent. Its strength is incredible, and it is able to neutralize Gamera’s attacks. It is a creature which neither Gamera nor humanity alone can destroy. Both must work together to preserve the planet.

There are great scenes in G2. It may seem like a simple thing, but snow is rarely seen in kaiju eiga. The winter setting serves to add some great atmosphere to the early scenes in Sapporo. Another memorable scene is when a group of people, mostly children, gathers in the ruins of Sendai to watch over the defeated Gamera. This reflects back on Gamera’s legacy as the “friend to children,” without descending into silliness or camp. The main characters (both new and returning) are still quite engaging. There are a few CGI shots that are pretty obvious. Ko Otani’s score is less memorable, but this may be because it is intentionally more low-key. Any problems with the film are very minor. Overall, G2 is a triumph. Grade: A

However, an artifact recovered from the atoll has given a young girl (played by Ayako Fujitani, Steven Seagal’s daughter) a psychic connection with Gamera. She believes that Gamera was created by an ancient civilization to protect the world from Gyaos. As the ravenous Gyaos grow to monstrous proportions, the benevolent Gamera is caught between his ancient enemy and the Japanese military. Which monster will triumph, and how will humanity deal with the survivor?

Given the success of the Heisei Godzilla series at Japanese theaters, Daiei decided to revive their own monster star after a long absence. More than the updating that Godzilla got, this film is a complete rebirth for Gamera. Gamera: Guardian of the Universe is a very well made kaiju film with a serious, adult tone (and just enough of a sense of humor to keep the enjoyment level consistently high). While the Showa films were aimed squarely at a kiddie audience, this film makes the kaiju threat believable by placing the monsters in a world that seems very real. In this world, the presence of giant monsters is shown to have real political and economic impact. People’s everyday lives are drastically changed.

This film is the first in a trilogy of Gamera adventures directed by Shusuke Kaneko (GMK), with special effects by Shinji Higuchi (Sakuya: The Slayer of Demons), written by Kazunori Ito (Ghost in the Shell), and scored by Ko Otani (GMK). The character of Gamera would continue to grow and evolve throughout the series. Kaneko’s visual style and Higuchi’s attention to detail would elevate these films above Toho’s contemporary efforts, making the Heisei Gamera trilogy the best kaiju eiga since the “golden age” of the 1960s. Grade: A

Gamera: Guardian of the Universe (Version 2): An atoll in the South Pacific turns out to be the hibernating guardian of Atlantis, Gamera. Awakened by the reappearance of his ancient enemies, Gyaos, Gamera heads to Japan for a series of great battles with the flesh-eating flying reptiles. There, he also runs afoul of the military, but gains psychic support from a teenage girl. Excellent comeback vehicle for the titanic terrapin! Final Analysis: ADV’s previous Gamera: GOTU disc has been tweaked for re-release. In addition to the improved English audio, the method for translating Japanese text has been changed. On the original disc, large video graphics with English text were overlaid on the Japanese credits and place names, and the film was given an English title card. Now, the Japanese title screen has been reinstated, and the credits and other text are translated via subtitles. This method is less obtrusive and more natural-looking. While these improvements are appreciated, it’s too bad ADV didn’t fix the main deficiency of the previous disc by providing a new anamorphic transfer. Final Grade: B+

Gamera 2: Attack of Legion (Limited Edition): A meteorite crash marks the arrival of a swarm of insect-like aliens on Earth. The creatures’ reproductive cycle leads to devastated cities, and the appearance of a giant adversary that neither Gamera nor the Japanese military alone can defeat. Gamera is tested as never before in this triumphant sequel. Final Analysis: The only significant difference between this “limited” G2 disc and the previous version is the expanded “Lake Texarkana Gamera.” Overall good presentation of the movie and a solid batch of supplements make this disc a winner. Highly recommended for all kaiju fans. Final Grade: A-

Gamera 3: Revenge of Iris: A teenage girl who hates Gamera finds her instrument of revenge when a local shrine turns out to be the resting place of an ancient monster. A tentacled creature hatches and grows. The girl raises it with one goal: To kill Gamera, who already has a shell of a problem with increasing numbers of Gyaos. This somber masterpiece is a near-perfect fusion of human drama and monster action, with incredible FX. Final Analysis: Gamera 3 may be the greatest modern kaiju film. It looks and sounds great on this DVD. Every kaiju fan will want to complete their Gamera collection with this fine disc. Thanks again, ADV! Final Grade: A

Please refer to the individual reviews for detailed specs and features of each disc. There are a few differences in the DVDs included here and the ones previously released. On Gamera: GOTU, the English audio track (but not the Japanese) has been upgraded from 2.0 stereo to 5.1 surround. The translations of credits and place names are displayed differently as well. On G2, the humorous “Lake Texarkana Gamera” feature has been expanded from a few scenes to a feature-length alternate audio track. G3 remains unchanged.

The box itself is sturdy and pretty cool-looking. It’s shiny and textured with “scutes,” like a turtle shell. If there’s one problem with this set, it’s that ADV didn’t go further in improving the disc specs. By moving some of the special features to one or more bonus discs (like the region 2 set), the films themselves could have been given more “breathing room” on their respective discs. Encoding the films at a higher bitrate would allow for improved audio and video performance. Still, for when it was released, this is by no means a bad deal. The upgraded discs and spiffy box make this the best way for U.S. fans to collect the Heisei Gamera films. Highly recommended. Grade: A

Japan has been forced to abandon nuclear energy, for fear of drawing the monster back to the mainland. Even plasma energy, a supposedly "clean" energy source, attracts Godzilla's attention. In an effort to rid Japan of the monster, the Japanese government establishes a counter-G task force, the "G-Graspers." Their leader is the determined Kiriko Tsujimori (the stern but pretty Misato Tanaka). She has a very personal reason for fighting Godzilla: Her commanding officer died while saving her life from the monster.

Japan's newest weapon is the Dimension Tide, an artificial black hole fired from an orbiting satellite. The G-Graspers are determined to erase Godzilla from existence. They test the weapon and unwittingly release strange creatures from a rift in the space / time continuum: Meganeuron, a giant prehistoric dragonfly. The larvae of these creatures breed in the sewers of Tokyo, flooding much of the city. The mature dragonflies swarm Godzilla. They siphon enough of his energy to feed their growing queen, Megaguirus. Now, the G-Graspers rush to perfect the Dimension Tide as Godzilla and Megaguirus battle for dominance.

Godzilla vs. Megaguirus (GxM for short) is an odd combination of high-tech and 1970s-style camp. The special effects are a mixed bag. While the CGI and compositing are generally improved over the previous year's Godzilla 2000, the monsters are filmed in such a way that Godzilla and Megaguirus look just like a guy in a rubber suit and a puppet, respectively (which they are). The human characters are a "who's who" of sci-fi clichés: The embittered warrior-with-a-grudge, the cocky young genius, the corrupt bureaucrat, the "Kenny," and not one, but two wise old scientists-who-know-all.

Despite all that, GxM still manages to be a solid Godzilla movie. There are some great scenes, including Kiriko "surfing" on Godzilla's back, and Godzilla battling the Meganeura swarm. (Meganeura was a real prehistoric insect that also appeared in Toho's 1956 classic Rodan.) It's directed with a lot of energy and enthusiasm by first-timer Masaaki Tezuka. Megaguirus is an interesting opponent. Her speed makes it easy to dodge Godzilla's attacks. He must actually think and strategize; he can't simply overpower the flying insect. The film also benefits from an excellent score by Michiru Oshima (the first woman to score a G-film). The score is rousing and powerful, in the spirit of Akira Ifukube's classic scores. All in all, this is a flawed but entertaining movie. Grade: B

Park Hee-bong, patriarch of the Park family, owns a food stand along the Han River. Assisting him in running the business (at least when he’s not sleeping) is his adult son, Gang-du. One day, shortly after Gang-du’s daughter Hyun-seo arrives after school, a crowd of onlookers spots something strange hanging from the Han River Bridge. The dark form drops into the water and makes its way towards shore. Emerging from the water is a grotesque mutant creature. It’s the size of a city bus, and very fast. The vicious monster goes on a feeding frenzy, rushing through the panicked crowds, grabbing and swallowing victim after victim. As the horrified Park men watch helplessly, the creature makes Hyun-seo its final victim, snatching her up with its tail before diving back into the river.

The shocked witnesses are evacuated to City Hall, where a memorial display is set up. There, Gang-du is joined by his younger siblings: His sister Nam-joo, a competitive archer, and his brother Nam-il, an unemployed, heavy-drinking college grad. Their tearful reunion is short-lived, however. Everyone present is ushered away into medical quarantine. Gang-du, who was splattered with mutant blood, is singled out for extensive (i.e. gruesome and painful) testing. It seems the creature is the host (hence the title) of a deadly unknown virus. Late that night, Gang-du is shocked when he receives a phone call from Hyun-seo! His daughter is still alive in the creature’s sewer lair. When their pleas for help are dismissed, the Park family has to escape the hospital and take matters into their own hands. However, standing between them and Hyun-seo are corrupt bureaucrats, a paranoid public, a concrete labyrinth, and a deadly monster.

Over the years, Korea’s monster movie output has been sporadic and the overall quality wanting. That makes it all the more surprising that The Host is one of the best films in the genre. The reason is, it’s more than just a clichéd thriller or popcorn action movie. At its core is a dysfunctional family that must come together in the face of adversity to rescue one of their own. The tribulations they face are not strictly of the mutant variety; the film has a palpable sense of mistrust towards government and authority. The chemical-dumping incident that opens the film is based on a true event. Not only is the overbearing presence of the U.S. responsible for the creature’s birth, but America also strong-arms its way into deploying a deadly biological weapon against it. The virus scare is reminiscent of overblown concerns about SARS and “bird flu.” From national governments all the way down to the cop who refuses to do a simple check of cell-phone records, the institutions that are supposed to help people fail miserably.

Of course, even when the Park family sets out on their own, things don’t go swimmingly. This motley group are not action heroes by any stretch, despite Nam-joo’s skill with a bow and Nam-il’s experience as a former student protester. The audience comes to like and identify with these characters, but not all of them are going to survive. This makes the film powerful and involving, and keeps it rooted in reality. Far from being a downer, however, the film has a healthy dose of dark humor to lighten things up, but never at the expense of thrills or scares.

At the heart of the film is the adorable schoolgirl, Hyun-seo. She is smart, resourceful, and mature beyond her years (no doubt because her single father is more like a doofus big brother). She even becomes the guardian of a little boy who’s trapped with her in the creature’s lair. As for the monster, it’s kind of like a mutant tadpole with multiple appendages, a multi-hinged jaw, and a long prehensile tail. It can gallop swiftly after prey, and even defy gravity by swinging like a monkey under the bridge; but it’s also clumsy at times, tripping over its own webbed feet or belly-flopping onto a truck. In best kaiju fashion, it’s a cunning monster with personality. The CGI used to bring it to life is very good. It makes its first appearance at about the 12-minute mark, and starts its rampage (in broad daylight none the less) soon thereafter. It’s one of the most exciting and effective monster attacks ever filmed. There are only a few fakey shots later on that are easily overlooked given the overall quality of the production.

Beautifully filmed, with involving characters, excellent performances, good special effects, political subtext to spare, a dark sense of humor, and a nifty new monster, The Host is one of the best monster movies ever made. It’s a quantum leap in quality over Korea’s previous kaiju entry Reptilian, and it puts most American giant-critter-on-the-loose pictures like The Relic to shame. No wonder it became the biggest box-office draw in South Korean film history.

Final Analysis: Every monster movie fan should see The Host. It’s a surprisingly deep, artistic, and affecting genre effort.

Grade: A

Godzilla vs. King Ghidorah: A UFO appears in the skies over Tokyo. Its occupants are people from the year 2204. They have come back to 1992 with a warning for the Japanese government: In the 23rd century, Japan no longer exists! The Futurians blame this unfortunate turn of events on Godzilla. To spare Japan from the monster’s wrath, they propose going even farther back in time to prevent Godzilla’s birth.

The Futurians are accompanied by three 20th century advisors: Terasawa (a writer), his associate Masaki (a dinosaur expert), and Miki Saegusa (the psychic girl introduced in Godzilla vs. Biollante). Emi Kano (a Japanese woman from the future) and her assistant, Android M-11, lead the expedition. They arrive on Lagos Island, in the South Pacific, circa 1944 (during WW2). There, they witness Godzillasaurus save the desperate Japanese soldiers from the advancing Americans. The Japanese commander, Major Shindo, regards the dinosaur as his savior. Shindo would go on to rebuild Japan’s post-war economy as the head of a huge conglomerate.

Emi and M-11 teleport the injured dinosaur away, so that it will never be exposed to H-bomb tests and mutate into Godzilla. Emi leaves behind three dorats, cute little flying creatures created by 23rd century biotechnology. Exposed to massive radioactivity, the dorats become King Ghidorah! Back in 1992, Terasawa and the others begin to expect a double-cross when Ghidorah starts demolishing Japan! Even Emi is uneasy with how her comrades control the monster. She informs Terasawa that the Futurians’ true mission is to subjugate Japan in the past to prevent it from becoming the dominant world superpower in the future. Japan’s only hope is to turn to Mr. Shindo’s savior, and somehow revive Godzilla!

GvKG is one of the best films of the Heisei series. It has a fascinating plot, interesting characters, and it moves along at a quick pace. The time-travel scenario is full of holes and inconsistencies (for example, how do people remember Godzilla when he was supposedly erased from history?). However, the film’s core appeal is emotional rather than logical. It examines Godzilla’s dual role as both the scourge and savior of Japan. The character of Mr. Shindo best illustrates this conflict. His final meeting with Godzilla is one of the most poignant moments in the Godzilla canon. As for the special effects, they’re a mixed bag. There are some silly effects involving M-11’s android antics. The scenes featuring the Godzillasaurus are clumsily executed, and the stiff Ghidorah prop used for some flying scenes looks straight out of Godzilla vs. Gigan. Godzilla himself has rarely looked better though; he’s buffed out and very expressive. The King Ghidorah suit is well done, and a real highlight is Mecha-King Ghidorah. MKG’s first appearance is an homage to the original Ghidorah’s fiery birth in 1964. The miniatures and pyrotechnics are great. The monsters’ final showdown takes place among the towering skyscrapers of Shinjuku (Tokyo’s government and business district), a setting used to great effect. Overall, the monster battles are the best filmed up until that time. Logical flaws and uneven effects aside, GvKG is a fascinating series entry. Grade for GvKG: A-

Godzilla And Mothra: The Battle For Earth: A large meteorite crashes into the Pacific Ocean, initiating a string of natural disasters. It even awakens Godzilla! On one of the Indonesian Islands, a landslide uncovers a gigantic egg. The Marutomo Corporation, in partnership with the Japanese government, had planned to exploit the island. They recruit a tomb-raiding adventurer named Takuya to investigate the strange object. He, his ex-wife Masako, and company man Ando, make contact with tiny faeries called Cosmos. The egg is Mothra’s, and the Cosmos detail their history. Their ancient race was wiped out by environmental tampering, with their guardian Mothra locked in mortal combat with her dark counterpart Battra. The current instability of the Earth mirrors that ancient time, and Battra has reawakened! The Battra larva tunnels underground, and attacks Nagoya.

The Marutomo Corporation orders the egg and the Cosmos brought back to Japan. En route, both Godzilla and Battra converge on the ship. Battered by two larger and brutal foes, the newly hatched Mothra larva swims back to Infant Island. Godzilla and Battra continue their battle underwater, and disappear into a volcano. In Japan, the Cosmos are abducted for commercial exploitation. Mothra comes to Japan to rescue them, and matures into her adult form. Just in time: Godzilla emerges from Mount Fuji, and Battra erupts from the sea and morphs into a flying form. While Mothra and Battra battle in the skies above Yokohama, Godzilla lays waste to the city below. When the three monsters meet, the battling bugs will have to put their differences aside to overcome the power of Godzilla.

G&M is another strong entry in the series. It has a lighter tone than the previous Heisei films. There is some blundering by the amateur explorers on Infant Island (Ando even wears a suit in the jungle), and bickering between the estranged couple of Takuya and Masako. Their daughter, Midori, is the first prominent child character in the Heisei series. Psychic Miki Saegusa returns, though in a smaller role. The film re-uses some plot elements of the original 1961 Mothra, and has a prominent environmental message. There are some great FX sequences, including Battra’s attack on Nagoya, Godzilla and Battra’s underwater battle, Godzilla emerging from Mt. Fuji, and the aerial dogfight between Mothra and Battra. Battra is an aggressive and formidable creature; it charges into battle against Godzilla without hesitation. Even when airborne, it proves to be a fierce physical fighter, butting heads with Mothra, collapsing a building on Godzilla, and even whacking him with a giant Ferris wheel! G&M is a visual treat. Grade for G&M: B+

Video: The two films are consistent. There are some specks and lines on the prints, but it’s no real problem. The images are sharp, with good detail and color reproduction. (This sometimes makes the wires visible, especially during the climatic battle in G&M.) Quite a few scenes are grainy, mostly darker scenes and FX shots. By far the biggest problem is that the films are presented in fullscreen. This very, very poor choice on Sony’s part really hurts what would otherwise be a pretty good presentation. Grade: C-

Audio: English dubbing is the sole option. It’s presented in basic 2.0, and the quality is quite good. The monster roars, explosions, and Akira Ifukube’s powerful scores are all reproduced faithfully. The dubbing is mediocre at best. GvKG includes some laughable English performances by Western “actors” in small roles (in all fairness, they’re in the original version as well). Robert Scott Field (Android M-11) is very familiar to attendees of G-Fest, and it’s odd hearing him dubbed over with someone else’s voice. Overall, the GvKG dub is tolerable; it’s reminiscent of those for the 1970s Godzilla movies. G&M is definitely the poorer of the two dubs. The Cosmos sound like they're dubbed by the same actress as Emi in GvKG. Both of them. Some genius sound mixer thought it would be a good idea to simulate the Cosmos’ speaking in unison by having Emi TALK REALLY LOUD. The Cosmos alone are enough to ruin this soundtrack. Grade: C

Extras / Menus: The original Japanese theatrical trailers for both films are included. The specs are better than the films themselves! Both are in widescreen (non-anamorphic), and Japanese language with (non-removable) English subtitles. They show more print damage than the films though, and there are a few minor typos in the subs (Battra is spelled “Batra,” for example). Mecha-King Ghidorah is announced as “Most powered up New King Ghidorah!,” and both trailers end with toy promos for an all-around fun presentation.

The menus are still images, with no sound or music. The trailers are reproduced on both sides of the disc. The DVD insert includes printed liner notes that give a brief history of the Heisei Godzilla series up to G&M’s release in 1992. Grade: C

Final Analysis: On the plus side, we get two great Godzilla films, with the original trailers, on a single disc. On the minus side, the transfers are fullscreen, and the audio is dubbed only. The end credits are also cut from both films. Hopefully, Sony will see fit to reissue these movies in better form someday. Final Grade: C-

The Marutomo Corporation orders the egg and the Cosmos brought back to Japan. En route, both Godzilla and Battra converge on the ship. Battered by two larger and brutal foes, the newly hatched Mothra larva swims back to Infant Island. Godzilla and Battra continue their battle underwater, and disappear into a volcano. In Japan, both Ando, and later Takuya, abduct the Cosmos for commercial exploitation. Mothra comes to Japan to rescue them. After battling the military, she makes a cocoon on the Diet Building and matures into her adult form. Just in time: Godzilla emerges from Mount Fuji, and Battra erupts from the sea and morphs into a flying form. While Mothra and Battra battle in the skies above Yokohama, Godzilla lays waste to the city below. When the three monsters meet, the battling bugs will have to put their differences aside to overcome the power of Godzilla.

Godzilla And Mothra: The Battle For Earth is a strong entry in the Heisei series. It has a lighter tone than the previous Heisei films. There is some blundering by the amateur explorers on Infant Island (Ando even wears a suit and tie in the jungle), and bickering between the estranged couple of Takuya and Masako. Their daughter, Midori, is the first prominent child character in the Heisei series. Psychic Miki Saegusa returns, though in a much smaller role. The film re-uses some plot elements of the original 1961 Mothra, and has a prominent environmental message. There are some great FX sequences, including Battra’s attack on Nagoya, Godzilla and Battra’s underwater battle, Godzilla emerging from Mt. Fuji, and the aerial dogfight between Mothra and Battra. Battra is an aggressive and formidable creature; it charges into battle against the larger and stronger Godzilla without hesitation. Even when airborne, it proves to be a fierce physical fighter, butting heads with Mothra, collapsing a building on Godzilla, and even whacking him with a giant Ferris wheel! G&M is a visual treat.

Grade: B+

The Futurians are accompanied by three 20th century advisors: Terasawa (author of a book on the origin of Godzilla), his associate Masaki (a dinosaur expert), and Miki Saegusa (the psychic girl introduced in the previous film, Godzilla vs. Biollante). Emi Kano (a Japanese woman from the future) and her assistant, Android M-11, lead the expedition. They arrive on Lagos Island in the South Pacific, circa 1944. The second World War rages on around them! They witness a dinosaur (Godzillasaurus, the future you-know-who) save the desperate Japanese soldiers from the advancing American forces. The Japanese commander, Major Shindo, regards the dinosaur as his savior. Shindo would survive the fighting on Lagos to rebuild Japan’s post-war economy as the head of a huge conglomerate.

Emi and M-11 teleport the injured dinosaur away, so that it will never be exposed to the Pacific H-bomb tests and mutate into Godzilla. However, Emi leaves behind three small creatures called “dorats.” Dorats are cute little flying animals created by 23rd century biotechnology. Exposed to massive radioactivity, the dorats combine and mutate into the three-headed flying dragon, King Ghidorah! Back in 1992, Terasawa and the others begin to expect a double-cross when Ghidorah appears and starts demolishing Japan!

Even Emi is uneasy with how effortlessly her comrades control the monster. She informs Terasawa that the Futurians’ true mission is to subjugate Japan in the past to prevent it from becoming the dominant world superpower in the future. Japan’s only hope is to turn to Mr. Shindo’s savior, and somehow revive Godzilla!

Godzilla vs. King Ghidorah is one of the best films of the Heisei series. It has a fascinating plot, interesting characters, and it moves along at a quick pace. The time-travel scenario is full of holes and inconsistencies (for example, how do people remember Godzilla when he was supposedly erased from history?). However, the film’s core appeal is emotional rather than logical. It examines Godzilla’s dual role as both the scourge and savior of Japan. The character of Mr. Shindo (well played by Yoshio Tsuchiya, the Controller of Planet X from Invasion Of Astro-Monster) best illustrates this conflict. His final meeting with Godzilla is one of the most poignant moments in the entire Godzilla canon. As for the special effects, they’re a mixed bag. There are some silly effects involving M-11’s android antics. The scenes featuring the Godzillasaurus are clumsily executed, and the stiff Ghidorah prop used for some flying scenes looks straight out of Godzilla vs. Gigan. Godzilla himself has rarely looked better though; he’s buffed out and very expressive. The King Ghidorah suit is well done, and a real highlight is its future counterpart, Mecha-King Ghidorah. MKG’s first appearance is an homage to the original Ghidorah’s fiery birth in 1964. The miniatures and pyrotechnics are great. The monsters’ final showdown takes place among the towering skyscrapers of Shinjuku (Tokyo’s government and business district), a setting used to great effect. Overall, the monster battles are the best filmed up until that time. Logical flaws and uneven effects aside, GvKG is a fascinating series entry.

Grade: A-

Fast-forward to 2006. For young Toru Aizawa, this will be his first summer without his mother, who died the previous year. While still saddened by the loss, life is returning to normal for Toru and his father (who, it is worth noting, witnessed Gamera’s final battle when he was just a boy). As his father re-opens his diner, Toru spends his days playing with his friends.

One day, Toru spots a strange flashing light coming from a nearby island. Little does he know, the island was the site of Gamera’s last stand. Swimming out to investigate, he finds an egg nestled atop a glowing red stone. The egg hatches in Toru’s hand, revealing an adorable baby turtle! Toru takes the diminutive reptile home and names him Toto (a nickname originally given to Toru by his mom).

Meanwhile, reports of missing ships appear in the news, and Japan’s “Unusual Organism Task Force” has been disbanded. Under Toru's care, Toto grows at an alarming rate. Not only does he exhibit unusual intelligence and a deep emotional bond with Toru, the little turtle can also fly! Even though Mai, the girl next door who is like an older sister to Toru, warns that Toto is somehow related to the giant monster Gamera, Toru is unfazed. When Toto grows too big for Toru to hide in his room, he moves Toto to an outdoor shed. When Mai checks into the hospital for a heart operation, Toru gives her Toto’s red stone as a good-luck charm. While flotsam from the missing ships is recovered from the sea, Toto seems to sense…something. Soon thereafter, the strange turtle disappears.

The culprit behind the shipping disasters is revealed when a huge, hungry monster, like a giant frilled dinosaur, attacks the village! When Toru and his friends are in danger, a giant turtle appears to challenge the lizard-like creature, named Zedus. While his father sees the turtle as Gamera, Toru recognizes him as Toto! After repelling the much larger Zedus, the injured Toto / Gamera is transported to Nagoya by the military. However, it isn’t long before Zedus surfaces in Nagoya harbor, spoiling for a rematch! Can the heroic young Gamera stand up to the vicious predator again? What is the secret of the red stone that may tip the balance of power to Gamera the Brave?

Gamera The Brave is the titanic terrapin’s 40th anniversary movie, and number twelve in the series. It establishes its own continuity, and is not a continuation of either the Showa series, or the acclaimed 1990s trilogy. It is, however, a return to form in that Gamera is firmly re-established as “friend to children.” Please don’t sell the film short before seeing it, though. Many viewers may be skeptical of its kid-centric tone (especially after the dark and mature Heisei trilogy), but it is a very effective combination of the children's POV of the Showa series, and the realism and visual impact of the Heisei films.

The special effects are excellent. (Yes, up to Heisei standards!) In a series known for its outrageously bizarre monsters, Zedus is Gamera’s most realistic foe to date. Though its body type is similar to Godzilla’s, Zedus is very slender, with authentic reptilian features. Neither it nor Gamera move awkwardly. Worthy of particular note here is the prologue. It’s a trend in recent kaiju eiga to feature exciting, knockout “money shot” sequences (Mothra’s appearance in Godzilla: Tokyo SOS comes to mind), and this is one of the best. The old Gamera is a battle-hardened warrior, and the CGI Gyaos are expertly realized.

The miniature work is very well done, and there is great attention to visual detail throughout. (Gamera now makes spiraling vapor trails as he flies). The performances are sincere and believable (especially from the young leads). There is a cute and funny nod to the Showa series, where little Toto faces off against Mr. Aizawa’s butcher knife. Even the “kiddie” scenes (such as the procession of children who relay the red stone to Gamera) are well done enough to avoid cheesiness. The one glaring misstep in the film is Toru pausing to lecture Gamera at a very inopportune moment. Unlike Rebirth Of Mothra II, this isn’t just a kid’s movie; it’s a family film anyone can enjoy. It would also be an excellent start to a new Gamera series. Grade: A-

Japanese Title: Chiisaki Yushatachi - Gamera (“The Little Heroes - Gamera”)
Director: Ryuta Tasaki (Masked Rider 555: Paradise Lost, Pretty Guardian Sailor Moon: Act Zero)
Original Release Year: 2006
Official Website: http://www.gamera.jp/