132) Ebirah, Horror of the Deep (1966)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #7...For the Love of Godzilla.

All Hail, the Monster King!

"You gotta pick your battles." 

Director

Jun Fukuda

Cast

Akira Takarada - Yoshimura

Toru Watanabe - Ryôta Kane

Toru Ibuki - Yata Kane

Kumi Mizuni - Daiyo

Pair Bambi - the Shobijin

Jun Tazaki - Red Bamboo Commander

Right off the spikey tail, I get the impression that the seventh installment in the Godzilla series, "Ebirah, Horror of the Deep" takes inspiration from the James Bond films.
Released in the United States as "Godzilla vs. the Sea Monster," the world had seen four Bond films by 1966. 

Even the soundtrack kind of resembles Bond's famous theme. And the overall plot could easily be a 007 mission if Godzilla and the sea monster were not written in. I watched the Japanese version for this post. 

The movie takes audiences firmly back to Earth after the space adventure seen in the last movie, "Invasion of Astro-Monster." 

The movie starts off with a guy (how all good movies start) named Ryôta (Tôru Watanabe) who's looking for his brother Yata (Tôru Ibuki) who is lost at sea.
Ryôta and some of his buddies steal a yacht that they don't realize belongs to a bank robber.
When they board the boat, the robber happens to be on board as well.
After a few moments, he invites them to rest up before kicking them off.
While they're all sleeping, the boat sails off and they run into a giant lobster creature called Ebirah.
After it attacks their boat, they wash ashore on Letchi Island, which they initially think is deserted.
How wrong they are.
A terrorist group called "The Red Bamboo" is occupying the island with manufacturing facilities to make WMDs.
They also make this yellow chemical used to keep Ebirah away from their ships.

The movie takes us to an island we've seen before. Infant Island. 

We've been there already in the 1961 movie "Mothra" and in "Mothra vs. Godzilla."  
Most, if not all, of the natives from Infant Island are enslaved to the Red Bamboo. They hope that Mothra will someday soon awaken and rescue them.
Ryôta and his crew find a native girl named Daiyo (Kumi Mizuno), whom they befriend.

Together, they happen to stumble upon Godzilla sleeping deep within a cave. He had fought against King Ghidorah in the previous movie, "Invasion of Astro-Monster" (aka "Monster Zero"). In that movie, the monster Rodan grabs Godzilla and flies directly into King Ghidorah, causing all three monsters to fall over a cliff and into the water below. I guess this is why he's asleep? Honestly, I don't know.

So, they come up with the "brilliant plan" to wake him up so he can attack the Red Bamboo and save all the natives. 

They do this by harnessing lightening with a metal rod, hoping the voltage will wake him up. And it does. 

As soon as he's up, Godzilla immediately attacks Ebirah by hurling a boulder at him. 

When Ebirah escapes, a random giant bird suddenly attacks Godzilla. I don't know who this bird is, nor what his motives are. I guess monster birds don't necessarily need motives. He doesn't appear again in the rest of the film. 

The Red Bamboo send out fighter planes to attack Godzilla. But Godzilla takes them down, including the giant bird, with his atomic breath. Classic!

Godzilla battles Ebirah in "Ebirah, Horror of the Deep."

Godzilla soon sets his eyes on Daiyo and falls in love. Human females must be attractive across the spectrum of all giant monster species. 

Meanwhile, Yata is found among the natives and reunited with Ryôta. Together, they free all the slaves as Godzilla attacks the facilities operated by the Red Bamboo.

He then sets his sights on Ebirah and the two battle it out. 

Mothra finally wakes up, and the natives eagerly await her help. When she flies to the island, Godzilla attacks as the two already have a sour history as seen in "Mothra vs. Godzilla." I'll add here that in "Ghidora: The Three-Headed Monster" Godzilla helps Mothra after she's nearly killed by King Ghidora. But who cares about continuity?

Mothra manages to fight off Godzilla, save her people, and flies back to her island.

Godzilla also escapes Letchi Island just before a giant bomb destroys the entire island. 

Rather than carry out a monster brawl in Tokyo, the story takes place on an island out in the Pacific. 

The original concept for this movie was to have King Kong battle Ebirah. 
Toho later put Godzilla in Kong's place.

After "King Kong vs. Godzilla," Toho had permission from RKO Pictures to use Kong for the next five years. It carried over into 1967 when Toho released "King Kong Escapes."

As I mentioned, lightening is used to revive Godzilla. In "King Kong vs. Godzilla," Kong is awoken the same way. Incidentally, Frankenstein was originally meant to face off with Godzilla in "King Kong vs. Godzilla" but he was replaced by Kong. Hence, the electricity.   

Evidently, Godzilla was supposed to perform a helicopter spin on Ebirah. The image exists only as a publicity still. That would have been great scene to include. Oh, what could have been!

Also, Godzilla's romantic blossoming at the sight of Daiyo resembles King Kong's love for the lady as depicted in all the Kong movies from 1933, to 1976, to 2005. 

After all is said and done, the movie is a let-down. 

After 40 minutes, the only monsters we see are a sleeping Godzilla, a few quick scenes of Ebirah's giant lobster claw, and a sleeping Mothra. 

Finally, after close to an hour, Godzilla wakes up. Right away, he approaches Ebirah, throws a boulder at him, and the two literally play a game of catch. It's confusing. 

In the middle of things, a random giant bird suddenly flies into scene and attacks Godzilla. The fight between the two is terrible with the constant closeups and rapid cutaways, I couldn't tell what was happening. 

When jet fighters start flying in to attack Godzilla, some out-of-place 60s music begins playing. 

And Godzilla blindly flails his arms. 

Godzilla and Ebirah do take the fight underwater. I appreciate the work that went into this one scene in order to make the brawl different from what we've seen in the previous movies. Still, the camera work is bad making it difficult to watch.

One scene in which Ebirah attacks a military boat out in the ocean reminds me of childhood bath time. 

Surely, many a child imagined themselves as a sea monster as they attacked their bath toys. This is the movie that planted that image...I'm sure of it. 

Godzilla's costume looks like its falling apart. You can see pieces of rubber dangling off the suit in some scenes. 

"Ebirah, Horror of the Deep" is the first in the franchise to have Jun Fukuda in the director's chair. 

He went on to direct "Son of Godzilla," "Godzilla vs. Gigan," "Godzilla vs. Megalon" and "Godzilla vs. Mechagodzilla." 

Story-wise, it's alright. But audiences want to see monsters, especially Godzilla. It's another wrestling match. The action doesn't happen until near the end of the movie. So, audiences who just want to see the fight have to sit through the rest of the movie before the real action takes place. That's disappointing.

131) Invasion of Astro-Monster (1965)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #6...For the Love of Godzilla.

All Hail, the Monster King!

"Mutual trust is a beautiful thing."

Director

Ishirō Honda

Cast

Akira Takarada - Kazuo Fuji
Nick Adams - Glenn
Akira Kubo - Tetsuo Torii
Keiko Sawai - Haruno Fuji
Kumi Mizuno - Namikawa
Yoshio Tsuchiya - Xilien Controller

Jun Tazaki - Dr. Sakurai
Haruo Nakajima - Godzilla
Masaki Shinohara - Rodan
Shoichi Hirose - King Ghidorah

"Invasion of Astro-Monster" continues the story from the last movie, "Ghidorah, the Three-Headed Monster." 

This sixth film in the Godzilla franchise was released in the U.S. in 1970 with the title "Monster Zero." It's also known as "Godzilla vs. Monster Zero." Back during its initial release, it was double billed with another Toho film, "War of the Gargantuas." 

I previously mentioned that "Ghidorah, the Three-Headed Monster" is where the franchise really gets immersed in science fiction as far as all the standard sci-fi tropes go. While the other Godzilla movies are obviously science fiction, "Ghidorah, the Three-Headed Monster" suspends reality even further than before. Previously it was just about Godzilla, the monstrous result of atomic testing, destroying Tokyo. Then as the franchise carries on, new monsters emerge from the Earth for Godzilla to fight. In "Ghidora, the Three-Headed Monster," a new foe descends from the outer reaches of space. So, it's an alien invasion movie. 

The theme of space exploration was huge at this time. It's fitting Godzilla is brought into this chapter of sci-fi movies during this atomic age of horror. The monster brawl that Godzilla fans love takes place this time on a different planet. On top of that, there's an alien race threatening to dominate Earth. 

Toho coproduced this movie with an American studio - a first for the Godzilla franchise. Hence, American actor Nick Adams is cast in this movie.

The story takes place in the year 196X. So, I guess it takes place sometime in the remaining five years of the decade but still in the unknown future. 

Astronauts Kazuo Fuji (Akira Takarada) and Glenn (Nick Adams) are travelling through space towards an unknown planet called Planet X. 

Shortly after they land and walk around to check stuff out as men are inclined to do, they meet an alien race called Xiliens. These aliens basically look just like humans but wear typical shiny alien outfits and sport some fancy alien shades. The leader of the Xiliens is the "Controller" (Yoshio Tsuchiya). 

They invite Fuji and Glen into their underground domain just moments before a flying monster, whom the local aliens call "Monster Zero" attacks the surface above. Monster Zero happens to be Ghidorah himself... triple heads and all. 

The astronauts know Ghidorah all too well as he attacked Earth in the last movie. 

Godzilla takes on Ghidorah once again in 
"Invasion of Astro-Monster."

The Controller tells Glen and Fuji that, thanks to Monster Zero's constant attacks, the Xiliens are forced to live underground, and it sucks to be down there. So, he asks if they can borrow Godzilla and Rodan for, like, a little bit to conquer Monster Zero. Since these two monsters fought Ghidorah before (in the last movie! Remember?), the Controller thinks they can conquer Ghidorah again. Sadly, they're without Mothra for this round. Mothra's absence is always a bummer.

In return, the Controller promises to send Earth a miracle cure for any disease. In the Japanese cut, they promise a cure for cancer. Either way, it sounds like a big win for Earth. No Godzilla nor Rodan destroying cities. And they get a miracle cure!

So, Glen and Fuji merrily bring the Xiliens' request back to Earth. 

And speaking of Earth, that's where Tetsuo Torii (Akira Kubo) has invented a personal alarm system which gives off an ear-piercing siren. 

Tetsuo is also dating Fuji's sister, Haruno Fuji (Keiko Sawai), much to Fuji's chagrin. He doesn't think Tetsuo can support his sister by being an inventor. 

Tetsuo previously sold his alarm invention to a businesswoman named Namikawa (Kumi Mizuno). But she took his invention without paying - a really douchebag thing to do.

To his surprise, Tetsuo sees Glenn with Namikawa as the two are having a romantic fling. 

Glenn and Fuji begin doubting the true motives of the Xiliens. It turns out they've been hiding on Earth before meeting up with the astronauts on Planet X. Some Xilien spies arrest and imprison Tetsuo after he tries following Glenn and Namikawa. 

Later, Xilien flying saucers emerge from the lake where Godzilla is sleeping. The aliens also locate Rodan. With their weird alien transporting technology, they take both monsters back to Planet X. They also take Glenn, Fuji and a scientist named Dr. Sakurai (Jun Tazaki).

The monsters wake up on Planet X and start fighting Ghidorah. After the initial fight, Glen and Fuji wander off and happen to run into some super sexy Xilien women. These women identically resemble Namikawa. 

They're caught, however, and taken to the Controller.

He gives them instructions for the miracle cure he promised and sends them back to Earth.

But Godzilla and Rodan are left behind. 

When they get back to Earth and hand the instructions over to world leaders, they all learn they've been conned! 

Instead of being the promised miracle cure, the message is an ultimatum for the entire planet. The Xiliens want the planet surrendered to them, or they will unleash Godzilla, Rodan, and Ghidorah on all mankind. The monsters are under the mind-control of the aliens and will do whatever they want them to.

Well, that's just a naughty thing to do. 

Meanwhile, Glenn goes to pay Namikawa a visit in her office and finds her wearing a Xilien uniform. Though she tells Glenn that she's an alien spy, her feelings for him are real and true. 

Yoshio Tsuchiya as the Xilien Controller (center) with
some other Xiliens, doing Xilien things.

Her leader barges in and kills her. Before he does, she slips a note into his pocket. Glenn is then arrested and placed in the same jail cell as Tetsuo. 

Glenn finds the note which states that Tetsuo's high-pitched alarm device can defeat the Xiliens. 

At the same time, Dr. Sakurai and Fuji create a machine that will obliterate the Xilien mind-control over Godzilla, Rodan, and Ghidorah. 

They manage to escape from their cell by ... I don't even remember how they did it.  

Tetsuo's alarm is played over the radio, and citizens are asked to tune in and play it as loud as they can. This defeats those jive-turkey Xiliens. 

And the monsters awaken from their mind control trance and start fighting again like they're supposed to. 

Gone is the schtick of having two news reporters involved trying to figure stuff out. Overall, the story feels like a Buck Rogers style sci-fi adventure suited to American audiences. That's not to say "Invasion of Astro-Monster" doesn't feel like a Japanese monster movie. It is, right to the core. 

Despite the typical era schlocky space and alien premise, the movie is really fun to watch. It's as though the writers just wanted to go out on an extra-terrestrial limb just to make something entertaining and new for the franchise. So, they did. For what it is, the story is well constructed. 

Unfortunately, the premise makes Godzilla and his pals look like side characters. The Xiliens are the main antagonists. Godzilla and the other monsters are simply weapons in their arsenal.  

The pacing takes its time compared to the last film. And the film takes Godzilla and friends to some place not seen before.   

Plus, Godzilla and Rodan are under alien mind control. Another first for Godzilla. 
Stock footage from the movies "Rodan" and "Mothra" are used. 
Even with its dated, campy sci-fi style and storyline, somehow "Invasion of Astro-Monster" manages to be a superior film than the previous "Ghidorah, the Three-Headed Monster." Good writing certainly plays quite the role in good movie making, and it shows here, even for a movie like this. 
During the initial fight, as Ghidorah flies off, Godzilla does a victory dance. It's a trip to watch. 

Again, Godzilla is a good monster in this movie, but still bad. 

"Invasion of Astro-Monster" is certainly among the more entertaining movies of the franchise.  

130) Ghidorah, the Three-Headed Monster (1964)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #5...For the Love of Godzilla.

All Hail, the Monster King!

"These monsters are as stupid as human beings." 

Director

Ishirō Honda

Cast

Yuriko Hoshi - Naoko Shindo

Yosuke Natsuki - Detective Shindo

Akiko Wakabayashi - Princess Mas Dorina Salno

Yumi Ito and Emi Ito - The Shobijin

Hiroshi Koizumi - Professor Murai

Takashi Shimura - Dr. Tsukamoto

Hisaya Ito - Malmess

The fifth movie in the Godzilla franchise, "Ghidorah, the Three-Headed Monster" marks 10 years of the Monster King versus some other monster.

Though Godzilla fans will likely label all Godzilla movies as being "classic." this one can legitimately take the claim. 

This movie debuts a new foe for Godzilla, and for all the world- Ghidorah. This time, rather than rise out of the earth like monsters have done in films past, this monster descends from space.

Also, Godzilla doesn't just take on one ginormous foe. He's joined in an all-out monster brawl with Rodan and Mothra. Yes, Mothra is back!

The monster Rodan makes his film debut in Toho Studio's 1956 kaiju movie "Rodan." 

He appears again (via stock footage) in "Valley of the Dragons" (1961). "Ghidorah, the Three-Headed Monster" is his third movie. 

And I've talked about Mothra in my review of the 1961 movie "Mothra."

Though Rodan, Mothra, and Ghidorah appear in further Godzilla movies singularly or two at a time, this foursome of monsters appear together again in the films "Destroy All Monsters" (1968), and "Godzilla: King of the Monsters" (2019). 

"Ghidorah, the Three-Headed Monster" was released in the United States the year following the Japanese release. In the U.S. it's titled "Ghidrah, the Three-Headed Monster." One letter makes all the difference, apparently. The three-headed dragon is also often referred to as "King Ghidorah" as well.

I watched the English dubbed version for this review as my kids, again, watched with me. They can't read subtitles as quickly as I can.

In his book "A Critical History and Filmography of Toho's Godzilla Series", author David Kalat claims the American version is superior to the Japanese version thanks to some editing and continuity corrections. So, I'll take his word for it.

This movie starts like the rest seem to...with a news reporter.
Naoko Shindo (Yuriko Hoshi) goes to cover a UFO Society conference for a television program. The society members, however, don't appreciate her skepticism when it comes to aliens and stuff. 

During this conference, a meteor shower falls over Tokyo, and a huge meteor crashes into the side of Mt. Kurodak.

Meanwhile, Princess Mas Dorina Salno of Selgina (Akiko Wakabayashi) is flying to Tokyo unannounced due to an assassination threat. Shindo's brother (Yosuke Natsuki), a police detective, is given the task of guarding the princess. 

While the princess is flying to Japan, a mysterious alien entity takes possession of her and tells her to jump out of the plane, which she does. 

Shortly after, her plane explodes.  

After that happens, an expedition team led by Professor Miura (Hiroshi Koizumi) heads to Mt. Kurodak to check out this large meteor that crashed. 

While studying it, the team discovers the meteor emits magnetic waves. 

Meanwhile, Princess Salno survives. When Naoko goes to interview her, the princess claims to be from the planet Venus. She then warns mankind that the monster Rodan is going to rise from underneath Mt. Aso.

Ghidorah takes on Godzilla.

Now that the princess is appearing in front of the press and their news cameras claiming to be an alien from Venus, she catches the attention of her uncle who thought she died in the plane explosion. He's also heading up her assassination plot. 

So, he sends a hired assassin named Malmess (Hisaya Ito) to kill her. And when he lands, Rodan happens to wake up.
The Shobijin, Mothra's twin fairies, are preparing to head back to Infant Island after making a TV appearance when the princess warns them not to sail back. She says something terrible will happen to their ship. 

Naoko scores an interview with the princess in her royal hotel suite. Unbeknownst to the two, the Shobijin follow them back to the hotel room curious about the situation behind the dire warning she gave. 

And sure enough, Godzilla attacks and sinks the boat that the ferries would have sailed on had the princess not warned them. 

Malmess also shows up at the hotel to kill the princess. She's saved, however, by her guard, Det. Shindo.

After a psychiatric evaluation, the princess is deemed to be normal. But she insists she's from Venus and that King Ghidorah destroyed her home. 

Now, she says he's coming to Earth. 

The expedition team over on Mt. Kurodak witness the meteor crack open. And out comes the three-headed dragon, Ghidorah.

He...or, they... soon rampage through Matsumoto City. 

Japanese forces beg and plead with the fairies to summon Mothra for help. 

The fairies tell them that Mothra is no match for King Ghidorah. If only Godzilla and Rodan would fight alongside Mothra, then there's a huge chance they can defeat this beasty. 

Later, when Godzilla and Rodan are fighting, Mothra comes and tries to convince the other two monsters that they must join with her and turn their aggression towards this new foe. Godzilla and Rodan don't think they need to help the humans and save the planet. 

But Mothra is finally able to convince them, and the three monstrous titans face off against the space monster in an all-out match. 

In this movie, Godzilla and Ghidorah not only fight, but they also have an argument with some sort of monster sign language and monster dialogue. 

Also, the old Mothra we've seen in "Mothra" and "Mothra vs. Godzilla" has died. So, this is a new Mothra. . 

Godzilla and Rodan are persuaded to join and fight
against Ghidorah to save the earth.

This movie turns Godzilla from a raging destructive monster into a monstrous hero. He has a more distinct personality this time which is rather campy and hilarious. But I'd hate to laugh at a king. 

For me, this is where the Godzilla franchise really gets immersed in science fiction. 

I mean, the previous Godzilla films are clearly all science fiction. But in this movie, it's lathered on nice and thick. In the next movie, "Invasion of Astro-Monster" which is a direct sequel, the sci-fi tone practically drips off the screen. I'll get to that one next, of course. While the story part isn't necessarily bad, the majority of attention goes into the monster fight to give audiences something a better than before.

In one scene, Rodan hoists the Mothra larva on his back and flies around Ghidorah as Mothra sprays the monster with its silk. 

The fight scenes are mixed with effort and detail to get it all right, along with poor puppetry and dull repetition.

Godzilla and Rodan get violent with each other. When Godzilla starts kicking boulders at him, Rodan manages to lift Godzilla by the tail and drop him, groin first, onto an electrical tower. Rodan starts laughing at Godzilla's demise. It looks ridiculous. Since when do monsters laugh? 

We're then "treated" to a scene in which Godzilla laughs at Rodan after inflicting some pain. 

Then, once Ghidorah shows up and starts causing havoc, and Mothra tries to convince Godzilla and Rodan to stop fighting each other and go up against him together, the monsters start to learn the importance of diplomacy and teamwork. They also talk to each other, and the twins understand what they're saying. This diplomatic monster negotiation is a trip!

As for the human characters, there's nothing very interesting about them except for the princess who is suddenly taken over by a being from Venus. But Hiroshi Koizumi is stoic and monotone while she acts as a person under alien control.  

I think the problem with "Ghidorah, the Three-Headed Monster" overall is that the movie feels like a rushed production. That's not to say the entire movie completely bad based on a few bad effects and forced pace. 

Godzilla's bout with Ghidorah is done rather well. And the look of Ghidorah is great! 

On top of all these monsters attacking, they try to give the movie some originality with an assassination attempt. In other words, the effort to tell a compelling story on top of having monsters fight once again is clearly there. Again, the problem lies with the overall movie having a rushed feeling, and not-so-interesting human characters.

Regardless, for Godzilla fans, the movie ambitiously succeeds in accomplishing what it set out to do, with its monster versus monster, versus monster action. 

129) Raw (2016)

"I'm sure you'll find a solution..."

Director

Julia Ducournau

Cast

Garance Marillier - Justine

Ella Rumpf - Alexia

Rabah Naït Oufella - Adrien
Laurent Lucas - The Father
Joana Preiss - The Mother

Somewhere on the internet, I read that the 2016 film "Raw," which is currently streaming on Netflix, has been a difficult horror movie for audiences to watch in its entirety. I can't seem to find that article I read. It recommended the movie, but simply because of its shock value. Another article from 2016, this one on ScreenRant.com, claims that audiences who attended a midnight showing of this movie at the Toronto International Film Festival passed out in horror because of what's depicted in this movie and had to be taken to the hospital.

So, I watched it. 

"Raw" is a French-made coming to age horror flick that approaches gruesome horror with complete realism.

The movie surrounds a 16-year-old girl, Justine (Garance Marillier), who's a life-long vegetarian thanks to her vegetarian parents. 

She's on her way to veterinary school. Her older sister, Alexia (Ella Rumpf) is currently attending the same school. And her parents also met at the vet school when they were enrolled.

When Justine arrives, she meets her roommate, Adrien (Rabah Naït Oufella). She's a little perturbed at having a male roommate as she requested a female roomie. But he reassures her that he's gay. So, that somehow makes the situation all better for her. 

That night, Justine, Adrien, and all other new students are forced to undergo an extended hazing ritual. 

At one point in the ritual, she's taken to a wild party where Alexia shows her group photos of previous classes where students are covered in blood. 

The next day, her new class poses for a picture during which they're doused in blood seconds before the picture is taken. Now, they can have their class picture on the wall with the previous classes.

The following morning, the higher classmen force Justine and other first-year students to eat raw rabbit kidneys.

Justine refuses at first as she's a vegetarian. Alexia pressures her to do it, however. Then, just like that, Justine has her first taste of meat. 

That night, Justine wakes up with a terrible rash covering her body. A doctor says it's food poisoning and gives her a rash cream to help alleviate the problem.

But while the rash slowly heals, Justine has cravings for raw meat which don't subside. 

In one scene, Adrien catchers her in their fridge eating raw chicken. 

Later, Alexia offers to give Justine a hair wax in her private area. At one point, the wax sticks to Justine's inner-thigh, and Alexia tries to use scissors to remove the wax. 

Justine reacts and kicks Alexia, causing her sister to accidentally cut off her own finger. 

When Alexia passes out in shock, Justine calls the paramedics who say it's going to be a 15-minute wait. 

Justine finds the severed finger and can't resist tasting the blood. 

The urge takes her to start eating her own sister's finger. 

Alexia wakes up during this moment and sees what her sister is doing. At the hospital, Justine tells her parents that Alexia's dog, Quicky, ate the finger. 

The next day, Alexia takes Justine to a deserted road. She jumps out in front of an on-coming car, causing it to veer off the road and smash into a tree. 

Unharmed, Alexia gets up and takes Justine to the car where two passengers are either knocked out completely, or dead. 

She then starts eating one of the passengers, telling Justine that she needs to learn how to do this. Justine can't help but be shocked by this experience and walks off. Still, her craving for meat grows. 

Soon, she starts lusting after Adrien despite his sexual orientation. 

During another party, someone throws blue paint on her as another part of the hazing ritual. 

Then they force her into a bathroom with a male student covered in yellow paint. Soon, they start making out. 

Garance Marillier as Justine in "Raw."

Suddenly, the boy runs out of the bathroom bleeding as Justine has taken a bite out of his bottom lip. 

Shocked, Justine goes back to her dorm room to shower and gather herself.

Adrien is laying on his bed when Justine finishes her shower and starts confiding in him.

In no time, they start having sex. 

She wants to bite him but ends up biting her own arm until it bleeds. 

Later, at yet another party, Justine gets good and plastered. Alexia takes her sister and other party goers to a morgue.

The day after the party, Aiden shows her a video posted online of Alexia dangling the arm of a deceased person in front of Justine, who's completely drunk and crawling on her hands and knees trying to take a bite out of the arm like a dog. Some people are cheering her on. Others are booing and trying to get Alexia to stop.

Justine confronts Alexia about the video and the two sisters start fighting until they're locked together, biting each other.

Other students pull them apart, and the two of them walk back to the dorms together. 

The following morning, Justine wakes up in Aiden's bed. 

She quickly notices she's covered in blood. 

Justine rips the blankets off, and discovers Aiden is dead in a pool of blood. A huge piece of his leg is missing. And Alexia is passed out on the floor, shocked and dazed, and covered in blood. 

Justine goes into a fit at seeing Aiden dead, but then cleans Alexia up. 

We later see Alexia in prison for Aiden's murder. And Justine is back at home with her vegetarian parents. 

Considering the film's themes of conformity to "social norms" mixed with individuality, the movie seems to try to get one point across while unravelling itself. 

While the movie challenges conformity to standard norms, no matter who surrounds Justine, they're going to expect her to conform.

Graphic body horror is a common theme in Director Julia Ducournau's movies. It's no surprise she made this movie. Her fascination with the subject matter is meant to challenge these social norms we hear so much about, for the sake of being progressive. But people/ characters are going to have to conform to some set of rules or another, even while challenging the idea of conforming in the first place. 

In a 2016 interview with "The Gaurdian" Ducournau says, "A body is a body. In every movie we see, women have to be beautiful and fit or whatever the hell, and they have to fit a certain box, and no: women fart, poop, pee, burp. This is why you can relate to them, because they are not these heavenly creatures; they are real people with real feelings, and when they go down, they go down. This is something we don’t see enough of. Always in movies when people cry, they cry like this' – she mimes a sorrowful weep – 'like Saint Mary crying. We’re all equal with our bodies, so fuck off.”

It sounds like she thinks women's body are important, but also not important because they're like all other bodies. She doesn't present women in a beautiful light because society expects women to be beautiful. 

Ducournau claims we can only relate to women because they "fart, poop, pee, burp" like everyone else. Does she think women should be reduced to their bodily functions and desires just to avoid meeting social expectations? She, a woman, claims women should not be held in any high level of beauty and admiration for the glorious creatures they are because societies world-wide raise them to such levels of prestige, in some way or another, depending on the culture. 

She even throws women in the dust by claiming "they are not these heavenly creatures." I take it that in her mind, women have no need to reflect greatness, heavenly or otherwise, and everyone else should just see and accept women as people who defecate and fall apart. That's how we should relate to them. 

I understand Ducournau is trying to depict female characters as human as possible. But to then negate the ability to reflect greatness and beauty is unfair and strange. Still, women can be greater and more miraculous than their human frailty. The fact that men and women have that ability is miraculous in itself. Women can and should rise above their mere human susceptibilities. And when they do, we can still relate to them, follow their examples, and aspire to greater things. We're all called to perfection.  

Ella Rumpf (left) and Garance Marillier.

Ducournau certainly depicts the worst in humanity in this one film. In the same interview, she says, "Cannibalism is part of humanity. Some tribes do it ritually and have no shame doing it. You have this feeling when you bite someone’s arm for fun, that you want to go a bit further, but you don’t because you have a moral canvas. This thing is in us, we just don’t want to see it. So, I thought, since my characters always feel like monsters deep inside, I wanted the audience to feel like a monster as well, and to understand what she’s doing. Because we are all monsters, really.”

Cannibalism is no more a part of humanity than murder, rape, or any other horrific sin. I don't know if Ducournau is trying to be sound offensive, progressive, edgy, or merely stupid? I say "stupid" because it is stupid to believe that since we, a fallen people, might have inclinations to do horrible things like eat other people (thankfully I have never had that inclination) because "we're all monsters deep inside" that we should and need to embrace that. How will embracing the inner "monster" (i.e. our unrestrained lower passions) will just make us monsters outwardly. Women, too. You know what else people have inclinations to do? Practice self-control! Achieve higher standards.  

This obsession with the human body she claims comes from her parents' medical professions. Her father is a dermatologist and her mother a gynecologist. In her youth, she overheard many of their medical discussions. 

The conclusion I come to is that she depicts the worst animalistic instincts in us and leaves the audience with the notion that that's really what we're all about. There's nothing we can do about it. There's no redemption, so f--k off. How depressing and sad that idea is. And sad and depressed is exactly how I felt after watching this movie. 

The movie ends on a note of no aspiration nor redemption. In the final scene, her father unbuttons his shirt to reveal scars and missing tissue on his chest. He then leaves Justine with the "advice" that she'll just have to find a solution with what she's dealing with. In other words, there's nothing she can do to change her destructive appetites, so she'll just have to indulge in it without getting into trouble.  

Otherwise, as far as horror goes, Europeans seem to take moral depictions to levels Hollywood seldom goes. I think there's still some sensitivities among American audiences that I wonder if European audiences share.

This cannibalistic horror story is presented in a completely serious, real life, tone. So much so that it felt more like a social commentary surrounding our inherent appetites, conformity with societal standards which are slowing sinking lower and lower, carnal desires, and the guilt that follows our submission to our lower desires. Afterall, the tagline reads, "What are you hungry for?" That's the conclusion I walked away with.

As disturbing as it is, the cannibalism aspect seems to fit in a film depicting such elements, especially when considering where the director comes from. It doesn't just seem like a metaphor for self-destruction. Nor is it horror for its own sake. 

Garance Marillier and Ella Rumpf are such strong female leads. Just as the writers don't hold back in the horrific elements to tell their true-to-life story, Marillier and Rumpf (together, their names sound like a European law firm of the 1930s) treat their roles with sincerity and seriousness. The entire film simply does not hold back. For what it is, it is well structured and well-acted.  

The message the movie puts forward leans in the direction of voyeurism disguised as art and virtue. For a movie about cannibalism mixed with sexual awakening, this movie takes itself very seriously. Hidden in the cracks lies commentary about fallen human nature that I agree with. I don't think the movie can help it. Otherwise, it is graphic with some scenes of cannibalism. Despite that, I couldn't recommend it as it leaves the audience with ideas that are as repulsive as cannibalism itself. 

128) Mothra vs. Godzilla (1964)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #4...For the Love of Godzilla.

All Hail, the Monster King!

"We, too, want a world where we can trust one another."

Director
Ishirō Honda

Cast
Akira Takarada - Ichiro Sakai
Yuriko Hoshi - Junko Nakanishi
Hiroshi Koizumi - Professor Shunsuke Miura
Yū Fujiki - Jiro Nakamura
Emi and Yumi Itō - the Shobijin
Yoshifumi Tajima - Kumayama
Haruo Nakajima - Godzilla

I think in my monster-loving heart that after King Kong, Mothra, the giant sentient larvae and/or moth, is the second most well-known Japanese monster whom general audiences can name from memory when it comes to Godzilla movies.

For this review I watched the U.S. version of the fourth Godzilla film "Mothra vs. Godzilla." American audiences in 1964 and later knew it under the title "Godzilla vs. The Thing." 

As Columbia Pictures released the 1961 movie "Mothra," American Pictures, which released this movie, likely wanted to avoid legal issues. So, Mothra became "the Thing." But she's just as majestic as I mentioned it my review of "Mothra."

I own both versions of the movie, but as my kids were watching this with me, I put on the American version so they wouldn't get bored. They simply can't read subtitles fast enough yet. And they know as much Japanese as I do, which is to say none! Unfortunately, they still claimed the movie was boring. 

The film starts with a massive storm hitting the shores of Kurata Beach. When it subsides, and the sun rises in the morning, journalist Ichiro Saki (Akira Takarada) and a photojournalist Junko Nakanishi (Yuriko Hoshi) discover a weird object floating among the rubbish left by the storm. 

Soon after, a giant egg is spotted floating out in the ocean. 

When the egg washes ashore in Shizunoura, a scientist named Professor Shunsuke Miura (Hiroshi Koizumi) goes out to study it, and look at it, and pretend he knows something about it. 

However, the villagers of Shizunoura take it upon themselves to sell off the egg to a greedy businessman named Kumayama (Yoshifumi Tajima).

His plans are to build an attraction around the big egg and bring in tourists with money. The money part is especially important.

Kumayama meets with his financial broker, Jiro Torahata (Kenji Sahara) to discuss his giant egg attraction, which he's calling the "Shizunoura Happy Center."

During their business meeting, tiny twin fairies called Shobijin (Emi and Yumi Itō) appear to beg and plead with them to return the egg to Infant Island where Mothra abides. 

But being the bumbling greedy businessmen that they are, Torahata and Kumayama try to kill the fairies. 

Friggin' Mothra!

So, they ditch the businessmen and appear to Saki, Nakanishi, and Miura to tell them the egg belongs to Mothra and was washed away from her island during the storm. 

I'll add here that twenty minutes in, we haven't yet seen Godzilla. 

Anyways, the three of them agree to try and get the egg returned to mommy Mothra. 

Saki gets to work by writing a venomous article about this proposed Shizunoura Happy Center.

Also, still no Godzilla. 

I'll skip to that part. After the three of them find out that the object they found at the beginning of the movie is radioactive, and they have to be decontaminated, Godzilla emerges from underground and starts tearing sh*t up. 

Everyone panics and starts screaming and yelling, and running for safety. You know the drill. 

The Japanese Self-Defense Forces are deployed to try and lead Godzilla away from the heavily populated areas and towards the coast. 

Saki, Nakanishi, and Miura head to Infant Island to plead with the Shobijin and the natives to talk to Mothra and maybe...you know...send her over to help take care of Godzilla. 

They're surprised to find Infant Island desolate and bleak thanks to all the nuclear testing Japan was involved with. 

The island natives capture them. So, they take that opportunity to make their pleas. Both the natives and the Shobijin refuse without hesitation. They're royally pissed with all the nuclear testing, and what that did to their beloved island. And, to add insult to injury, the folks over in Shizunoura won't return Mothra's egg. 

Saki and Nakanishi start pleading even harder. They point out how flawed society is, and the need to make the world better, and the importance for all of us to trust one another, and the cruelty of deciding who "deserves" to live. 

Somehow, their preaching works, and Mothra herself agrees to help.

Meanwhile. Kumayama loses his finances and is ruined. He confronts Torahat, beats him up, and steals from his hoard of cash.

Torahata shoots him and tries to escape. But Godzilla destroys the building they're in. So much for corporate greed. 

Godzilla continues to head for the egg. 

The Shobijin warn that Mothra is actually sick, and if she flies to the mainland, she won't have the strength to return to Infant Island. But Mothra still flies over regardless. 

Emi and Yumi Itō as the Shobijin in "Mothra vs. Godzilla."

She attacks Godzilla before he can destroy her egg. 

Finally, the egg hatches, and two twin larvae crawl out and head straight for Godzilla. 

Mothra gets in the fight. And the monster brawl is on. 

Mothra manages to get in some hits. She grabs Godzilla by the tail and drags him around. 

The fight really takes place between the twin larvae and Godzilla. 

They maneuver around Godzilla, shoot out silk to cover him as he flays around and roars. And then falls into the ocean while completely covered in their silk webs.
The larvae win and swim to Infant Island. The end!

I've often found Mothra to be a strange opponent to the King of the Monsters. 

I think her history deserves mentioning.

The giant moth made her first appearance in the 1961 Japanese Kaiju movie "Mothra" produced by Toho Studios and directed by Godzilla director Ishirō Honda.

After her bout with Godzilla in this movie, both titans would go head-to-head later in their next one-on-one duel movie "Godzilla vs. Mothra: The Battle for Earth" (1992). 

Again, Mothra against Godzilla seems like an unfair fight. No doubt the folks over at Toho thought the same thing. So, they gave her some powers. They had to.

Of course, Mothra can fly which works in her favor. 

And she can spin miles and miles of silk. That proved victorious for her twin babies in this movie. 

She's also durable as seen when the Japanese military hurls what they got at her in other films. 

Her wings can create winds of hurricane speed. She has used her tiny claws to do Godzilla some physical damage as well. 

In this movie, she drags Godzilla by the tail which shows she has some strength. She also flies right into Godzilla and knocks him down. 

And when a last resort is needed, Mothra can emit a yellow poisonous powder from her wings which disorients Godzilla. However, it hinders her ability to fly. 

Mothra's larvae have enough strength to plow right through buildings. Granted, these abilities gradually reveal themselves through multiple Godzilla films co-starring Mothra. 

In "Mothra vs. Godzilla," the fight is more between Godzilla and the larvae of Mothra. 

Despite the nostalgic fun at seeing Godzilla take on Mothra, the movie goes on and on about the egg, and corporate greed before getting to the act audiences really came to see. Godzilla doesn't show up until 30-minutes into the story. And it feels like a longer journey until the fight at the end. 

Mothra brings the Godzilla franchise into a mystique fantasy realm, primarily with her fairies. These fairies accompany her in the movies that follow.

There's a blatant anti-nuclear message in the movie. It's mixed in with an anti-corporate greed message as well as depicting people unifying for the sake of peace, despite their differences. Maybe I'm reading too much into it. 

Godzilla's epic intro scene from "Mothra vs. Godzilla."

The best I can say is that this isn't the worst Godzilla film, but it's certainly nowhere close to being the best, nor among the best.

Emi and Yumi Itō, real life identical twin sisters and a Japanese vocal group who portray the Shobijin, were professionally known as "The Peanuts." They play Mothra's fairies in "Mothra" as well, so it makes sense they carry over to this movie. They also play the fairies in "Ghidorah, the Three-Headed Monster" which is coming up next.

Most of the movie is slow as it tries to continually bolster up intrigue about an egg until the monsters finally fight in the last act of the movie.

When Godzilla and Mothra do fight, Mothra does a lot of hovering while Godzilla does a lot of flaying and swinging.

The depiction of widespread panic is much better shot than in previous movies. Before, especially in "King Kong vs. Godzilla, a lot of green screen is used.
Here, they have great shots of terrified people running through the streets and roadways.
For it's place in Godzilla filmography, and what it sets up for future films, "Mothra vs. Godzilla" is decent enough. But it feels precisely like a movie meant to serve as a set-up for something later. Still, it brings a smirk to my face and earns the label of "classic."

127) King Kong vs. Godzilla (1962)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #3...For the Love of Godzilla.

All Hail, the Monster King!

"I want my own monster. Find me a monster, fast!"

Director
Ishirō Honda

Cast

Tadao Takashima - Osamu Sakurai

Yū Fujiki - Kinsaburo Furue
Ichirō Arishima - Mr. Tako
Mie Hama - Fumiko Sakurai
Shoichi Hirose - King Kong
Haruo Nakajima - Godzilla

Spoilers ahead, even though this movie has been available for the last 60 years. I mean, if you haven't seen this by now, that's your fault. Enjoy!

No doubt the seven-year wait between "Godzilla Raids Again" and the third movie in the franchise "King Kong vs. Godzilla" was a tedious one for Godzilla fans back in the late fifties to early sixties. 
By this time, Godzilla was rooted deep in popularity.

In that time, director Ishirō Honda was busy making other monster movies - "Rodan" (1951), "Mothra" (1961),  and "Veran the Unbelievable" (1958). 

So, I get the sense that Toho wanted this third Godzilla movie to be as colossal as the King himself. 

It's in color unlike the previous two movies. It co-stars King Kong, one of the first world renowned giant monsters, squaring up with the King of the Monsters himself. And the fight culminates right at the foot of Mount Fuji. Surely audiences and fans thought this would be a Godzilla movie worth waiting seven years for. It's east versus west.

The numbers speak for themselves. "King Kong vs. Godzilla" still maintains the highest number of attendees upon its release.

According to an April 1, 2021 article, "A History of ‘Godzilla’, Coming Full Circle with ‘Godzilla vs. Kong’" on hollywoodinsider.com, "King Kong vs. Godzilla" sold 11.2 million tickets at the time of its first theatrical release. 

One thing I love about Toho Studios is that when it comes to many of their movies, they really take their time and put in some thought to tell as compelling a story as they can in these monster versus monster movies. They do, at least, in their earlier films which I'm most familiar with. I can't think of a Japanese monster movie that feels rushed. 

"King Kong vs. Godzilla" certainly takes its time as it all builds up to the two monstrous titans facing off. I watched the American version for this post.

The Hollywood Insider article also claims director Ishirō Honda wanted to include a satirical element to this movie, poking fun at Japan's TV industry which would most certainly, in his opinion, use giant monsters to boost their ratings if they actually existed and terrorized the Japanese people. 

And that's just how the film begins. 

Mr. Tako (Ichirō Arishima), the head of a pharmaceutical company, is peeved because a television show his company sponsors needs a ratings boost. 
Someone mentions to him that a giant monster was recently discovered on the secluded Faro Island which is inhabited by a native tribe.

Mr. Tako thinks this monster can bring in big bucks and publicity, and is just what he needs to solve his financial issue. 
So, he delegates two guys, Kinsaburo Furue (Yū Fujiki) and Osamu Sakurai (Tadao Takashima), to find this huge creature and simply bring it back to Japan.

While these two are out looking for this supposedly profitable monster, a U.S. submarine gets itself stuck in an iceberg. Thanks to the submarine, the iceberg collapses, and those onboard quickly discover that Godzilla is right were we left him in the last film. That is, he's still on ice...but not for long. 
Now unleashed, Godzilla attacks the submarine. He then heads right towards Japan. 
Back on Faro Island, the natives cultivate a fruit called Farolacton which grows solely on the island. They use it primarily for its juice. 

When a giant octopus attacks the island, Sakurai and Furue quickly learn that the monster they were sent to obtain is none other than King Kong. 

The giant ape victoriously takes on the octopus. Afterwards, he chugs some of the natives' Farolacton juice and then passes out. 

Sakurai and Furue manage to get Kong on a huge raft attached to a large boat, and take him back to Japan. 
But as they approach the mainland, they hit a little snag. The Japanese government has sent out their Self-defense Forces to tell the ship they're forbidden to bring the monster into Japan. 

While they're forced to comply, Kong cares not for such orders. He wakes up and makes his own way into Japan. 
When he finally reaches land, Kong and Godzilla meet up and fight. 
Kong starts throwing rocks at Godzilla, which doesn't phase him in the least. Godzilla uses his atomic breath, hitting Kong square on the chest.  

Japan's Self-Defense Force digs trenches filled with dynamite and poisonous gas in an attempt to stop Godzilla, which doesn't work. 

They also set up high-voltage wires, which also fails to stop Godzilla. 

Kong, however, starts feeding off the one-million volts of electricity running through those wires which makes him stronger. 

Both monsters enter Tokyo and start tearing sh*t up. There, Kong happens to find Sakurai's sister, Fumiko (Mie Hama). He takes her and then climbs the capital building, known as the National Diet Building. 

The Defense Force shoot capsules of the Farolacton juice at Kong, which again knock him out. 

Fumiko is rescued, but now they have to deal with Kong sleeping in the middle of Tokyo. 

Experts decide to hoist Kong up with balloons and carry him with the aid of helicopters to where Godzilla is currently stomping around and roaring a lot. They hope Kong and Godzilla will fight and ultimately kill each other. 

Godzilla happens to be at the foot of Mt. Fuji, so that's where they take Kong. Kong awakens while he's up in the air strapped to balloons and helicopters. And in no time, the two are fighting once again. 

As the two monsters brawl, Godzilla uses his atomic breath again, trying to fry Kong to death. He's knocked down, but not defeated.

Kong is struck by lightening, which increases his power. As the battle escalates, the two fall off a cliff and into Sagami Bay. 

They continue fighting for a moment under water. But only Kong pops his head out of the water, making it look as though he defeated Godzilla. 

However, the Defense Force thinks Godzilla is still alive since he can't be so easily defeated. 

The original concept for "King Kong vs. Godzilla" was to have Frankenstein's monster take on Godzilla. That's not a typo. Frankenstein's monster! According to a 2014 article in HorrorHound magazine, Kong creator Willis O'Brien wanted to put the great ape against a monster created by Dr. Frankenstein. 

Toho later dropped Kong in Frankenstein's place. Hence, the reason electricity gives him power. That was written for Frankenstein, and they left that plot point in the movie. Why not?

After "King Kong vs. Godzilla," Toho had permission from RKO Pictures to use Kong for the next few years. Their permission carried into 1967 when Toho released "King Kong Escapes."

Toho had plans to use Kong in the Godzilla movie, "Ebirah, Horror of the Deep" (1966). I'll get to that movie later.

This movie is loaded with constant cuts to a news broadcast that works as exposition to tell the audience what they're already watching. All these news breaks are distracting and annoying. I understand that the writers are trying to make the story feel real, and tell it in real time. 

At times, the camera work and special effects are reduced to a simple green screen and a puppet show. Scenes with Kong and Godzilla fighting off in a distance make me think a kid is hiding behind the sets and banging two action figures together to simulate fighting. 

This movie veers the Godzilla franchise slightly into the realm of true campiness, which I know sounds funny to say as I'm talking about a film starting two actors in monster suites attacking each other. The campiness stems from the acting which seems just a bit more slapstick and goofy than before. 

The first two movies take themselves rather seriously. Considering that they carry Japan's point of view with nuclear warfare, this is understandable. 

As far as the fight scenes go, it seems that's where the majority of the attention goes to. Kudos to Shoichi Hirose, who plays Kong, for managing to flip Godzilla (Haruo Nakajima) over his back. That truly deserves to be mentioned. There's also a scene where Godzilla dropkicks Kong right in the chest. 

Little did people back in 1962 know that a rematch between these two titans wouldn't take place for another sixty years with 2021's "Godzilla vs. Kong." By the way, that movie sold 390,000 tickets during the first three days of its release in Japan. I'm anxious to talk about that movie. but it'll have to wait.

"King Kong vs. Godzilla" maintains the style of the previous films. It's a movie worth experiencing for its own sake. It certainly is one of the most renowned monster crossover films in sci-fi horror movie history. 

126) Godzilla Raids Again (1955)

Halloween 2022's Godzilla-Maniapalloza Extravaganza #2...For the Love of Godzilla.

All Hail, the Monster King!

"Is there a monster other than Godzilla?"

Director

Motoyoshi Oda

Cast
Hiroshi Koizumi - Shoichi Tsukioka
Setsuko Wakayama - Hidemi Yamaji
Mindru Chiaki - Koji Kobayashi
Takashi Shimura - Dr. Kyohei Yamane
Haruo Nakajima - Godzilla
Katsumi Tezuka - Anguirus

The Godzilla monster brawl is born in "Godzilla Raids Again."

This sequel to "Godzilla" was released in Japan in 1955 - just a year after the first movie. 

American audiences wouldn't get to see it in American theaters until 1959 where it was released under the title "Gigantis the Fire Monster."

I watched the Japanese version for this post. I haven't yet been able to find the American version, which features a young George Takei heard in the English dubbing.

Famed Kaiju director Ishirō Honda, who directed the first Godzilla movie and most of the others in the Showa era, didn't direct "Godzilla Raids Again." Motoyoshi Oda takes the director's chair as Honda was busy directing a movie called "Lovetide." 

Though quickly produced, this is truly the quintessential Godzilla movie. There's something about it that I enjoy more than the first film, and I love the first one.

Even though Godzilla is destroyed and reduced to skeletal remains that sink to the bottom of Tokyo Bay in the first film, he's back again.

Koji Kobayashi (Mindru Chiaki), a pilot for a fishing company, has to make an emergency landing on Iwato Island. He's rescued by another pilot named Shoichi Tsukioka (Hiroshi Koizumi) who's tracking a school of Bonito fish.

While both pilots are on the island, they witness Godzilla in battle with an unknown giant monster.

They manage to escape the island as Godzilla and this mysterious other monster submerge into the ocean.

The pilots make it to Osaka where they meet with Dr. Kyohei Yamane (played again by Takashi Shimura), from the first movie.

All of Osaka is still on edge from Godzilla's initial attack. The fear is there from the beginning of the movie.

Yamane shows them as well as his colleagues' footage of Godzilla's attack on Tokyo as seen in the first film. Yamane is also able to identify the other monster Kobayashi and Tsukioka saw on the island as an Ankylosaurus. They dub this prehistoric yet new monster "Anguirus."

They note how Godzilla was destroyed thanks to the oxygen destroyer invented by Dr. Swirizawa in part one. But the doctor is dead, and his oxygen destroyer is gone. 

I didn't catch any reference to how in the hell Godzilla came back, though? Rather, they claim killing Godzilla is hopeless. However, they take notice how he's also sensitive to light. Light pisses him off because it reminds him of the hydrogen bomb experiments that led to his creation, or mutation. So says the "experts." 

I have to say nothing works better at getting past a difficult plot point in a story than giving that hurdle the middle finger and moving on without it.

Anyways, Yamane and his scientist buddies come up with a plan should Godzilla ever return.

Since Godzilla hates light, they all suggest mandating complete blackouts throughout the city, so the monster won't head towards the light like a moth around a lamp. And while everyone has their lights off, Yamane wants to use flares offshore to lure Godzilla back towards the water.

The Japanese Air Defense Force fly off to search for Godzilla, which "experts" think will be futile as he could very well be hiding in a cave under the sea. Experts are great at killing hope.

Thankfully, the experts are proven wrong when Godzilla is seen heading towards the Kii Channel.

Godzilla takes on his first ever foe, Anguirus, for a
full-on brawl in "Godzilla Raids Again."

But Godzilla suddenly changes direction and starts heading towards Osaka Bay. Immediately the blackout policy is implemented, and the Air Force start dropping flares. Thankfully this works in luring Godzilla away from the shore, until some pain-in-the-ass escaped convicts overpower police, steal an oil truck, and accidentally crash into a refinery.

This collision causes a massive explosion and fire which catches Godzilla's attention. So, the monster starts heading back towards Osaka.

The only option left is for the Air Force to start attacking Godzilla with everything they've got.

And if things weren't bad enough with plans failing miserably, the flares attract Anguirus.

He makes his way to Osaka and starts picking a fight with Godzilla.

They bring their brawl straight into the city, and all hell breaks loose. They destroy pretty much everything, including the fishing company.

Godzilla finally kills Anguirus, and returns to the sea. But he's not quite finished yet.

News broadcasts start claiming that Godzilla attacked and sank a ship somewhere out in the ocean.

Tsukioka tries to help the Air Force locate the monster. And Kobayashi flies out to help Tsukioka.

The head of the head of the fishing company that Tsukioka and Kobayashi work for starts freaking out because should Godzilla kick up a fuss out there in the water, it can lead to huge financial losses for the company. The area Godzilla is heading towards is a prime fishing spot. 

When Kobayashi spots him on snow-packed Kamiko Island, Godzilla shoots his atomic breath at his airplane causing Kobayashi to crash into the mountain side and die. 

The impact causes an avalanche which buries Godzilla. The Air Force fly out to finish the job and make sure the monster is completely under ice. 

Haruo Nakajima dawns the Godzilla suit again. He portrays Godzilla through a majority of the Godzilla films.

His movements inside the rubber suit are masterful at making it seem the massive Godzilla has a lot of weight and mass to carry around as he fights Anguirus and trashes the city.

The fight scenes with Anguirus are done at high speed.

It goes without saying that this movie sees the first monster crazy enough to take on the "King of the Monsters" on screen. 

Anguirus appears again in later Godzilla movies - "Destroy All Monsters" (1968), "All Monsters Attack" (1969), "Godzilla vs. Gigan" (1972), "Godzilla vs. Megalon" (1973), "Godzilla vs. Mechagodzilla" (1974) and "Godzilla: Final Wars" (2004).

In "Godzilla: Planet of the Monsters" (2017) and "Godzilla: King of the Monsters" (2019), Anguirus's skeletal remains make an appearance.

"Godzilla Raids Again" certainly takes it time, despite the high-speed monster fights. It's not a slow movie. Rather, it's well paced, and I appreciate how producers are meticulous in telling another science fiction story with a serious tone centering on a 200-foot monster. I think they nailed it.

All things considered, and just like part one, "Godzilla Raids Again" accomplishes being a plausible movie. That is, the movie makes it easy to believe that if a giant monster like Godzilla were real, the reactions of the characters are reasonable and rational. Unlike other sci-fi monster movies of the 1950s, as well later Godzilla movies, the campiness isn't present in this sequel. 

The effects are a bit substandard compared to the first, but who really minds that? "Godzilla Raids Again" is both one of the best movie sequels, one of the best Godzilla films, and certainly one of the best sci-fi movies of the atomic age of horror.