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Shin Godzilla: Movie [Blu-ray]
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Genre | Science Fiction & Fantasy, Horror, DVD Movie, Pacific Rim, FUNimation, Attack on Titan The Movies (Live Action), Blu-ray Movie, King Kong, Art House & International, Action & Adventure See more |
Format | NTSC, Subtitled, Color, Animated, Widescreen |
Contributor | J. Michael Tatum, Todd Haberkorn, Cris George, Trina Nishimura |
Language | Japanese |
Runtime | 2 hours |
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From the manufacturer
Shin Godzilla
"A rebirth for both Godzilla and Hideaki Anno: A match made in kaiju heaven”
OTAKU USA Magazine
Product Description
Product Description
When a massive, gilled monster emerges from the deep and tears through the city, the government scrambles to save its citizens. A rag tag team of volunteer’s cuts through a web of red tape to uncover the monster’s weakness and its mysterious ties to a foreign superpower. But time is not on their side—the greatest catastrophe to ever befall the world is about to evolve right before their very eyes. Subtitles available in English.
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Review
A rebirth for both Godzilla and Hideaki Anno: A match made in kaiju heaven. --OTAKU USA Magazine
A reboot that is unquestionably Godzilla. --Jay Hawkinson, BLOODY DISGUSTING
Product details
- Aspect Ratio : 1.78:1
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 6.75 x 5.3 x 0.45 inches; 2.4 ounces
- Director : Cris George
- Media Format : NTSC, Subtitled, Color, Animated, Widescreen
- Run time : 2 hours
- Release date : August 1, 2017
- Actors : Todd Haberkorn, Trina Nishimura, J. Michael Tatum
- Subtitles: : English
- Studio : Funimation
- ASIN : B071S71D4N
- Number of discs : 2
- Best Sellers Rank: #29,778 in Movies & TV (See Top 100 in Movies & TV)
- #70 in Foreign Films (Movies & TV)
- #1,438 in Horror (Movies & TV)
- #2,701 in Drama Blu-ray Discs
- Customer Reviews:
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Shin has a few meanings in Japanese including “new”, “true” and God” and it’s pretty clear that this is not the Godzilla fans are used to. To me, Shin Godzilla the movie is more of a horror than a Kaiju film. Shin Godzilla, the monster, goes through several mutations but the first is a massive awkward, crawling creature that occasionally exudes a foul dark liquid. It resembles something injured as it drags its bulk through Tokyo leaving destruction in its wake. Godzilla has always had a devastating glare, but every mutation of Shin Godzilla has disk like eyes with pupils in the center that focus on nothing. There is no malice in the vacant stare of Shin Godzilla which makes it all the more terrifying. Shin Godzilla is no hero or villain, he is a purposeless engine of destruction. If any intelligence can be seen in the eyes of Shin Godzilla it is pure madness.
The special effects in Shin Godzilla are a mixed bag. Toho’s experiments with CGI have been pretty awful and although they are much improved here, they are still way behind the US. The first form of Shin Godzilla looks terrible but once he reaches his third form I think Toho may have switched to practical effects because he looks much better. There is a scene where 8 or so explosive trains are sent at Shin Godzilla but when they strike they all fly up nearly to the height of Shin Godzilla and it all looks patently fake and the CGI physics are all wrong. On the other hand, when Japan starts using bombs and missiles to start toppling buildings onto Shin Godzilla it looks fantastic. It may be the most impressive special effects I’ve ever seen Toho pull off.
After Shin Godzilla ventures onto land and begins tearing Tokyo apart by his mere presence, he is attacked by American stealth bombers and this is when you see the true horror of the monster. Shin Godzilla’s jaw separates and he begins breathing fire that bathes the city, but that beam becomes tighter and tighter developing into a purple laser that slices buildings in half. His power builds to a frenzy as beams start emanating from all over his body cutting through everything including the bombers. With his fury spent, Shin Godzilla’s beam changes back to fire and then snuffs out. At this point, Shin Godzilla goes into hibernation where he remains for almost the entire rest of the film. When I first saw photos of Shin Godzilla with the massive gaping cavernous maw and emotionless eyes it looked ridiculous to me but the ridiculous appearance only serves to make Shin Godzilla even more horrifying. It is the contrast between the absurd and the terrible that makes Shin Godzilla so frightening.
Once Shin Godzilla goes into hibernation there is a massive block of the film that is nothing but humans trying to figure out how to deal with Shin Godzilla before he regains power. Things are made all the more urgent because Shin Godzilla has shown that he is able to adapt and mutate meaning he only grows more dangerous. We get a whole lot of political wrangling including with foreign leaders and analysis of the biology of Shin Godzilla. Besides a few occasionally glimpses of the statue-like Shin Godzilla it is almost 100% human beings doing stuff. There isn’t even much character building which seems like a missed opportunity. One misfire is the casting of Satomi Ishihara as an American born Japanese with aspirations to be the US president someday. The problem is that even as she speaks English her thick Japanese accent betrays her country of origin. It’s weird because the film does have some American actors so why couldn’t they find an American Japanese.
What worked well in the section of the movie is how real it feels. People’s actions feel legit and there are no cardboard characters. Even the foreigners seem earnest in trying to do what’s right. The Americans plan a nuclear strike in the middle of Tokyo and one of the Japanese mentions how easy it is for the Americans to make these decisions from half a world away and the other Japanese replies that the Americans said that if the situation were in NYC their response would be exactly the same. I found that to be a very powerful moment and for the most part foreigners come out better than in some other Toho films. Americas plan is a bit blunt but Shin Godzilla isn’t the regional threat of the traditional Godzilla. It’s clear that it has the potential to be a worldwide calamity.
Shin Godzilla won seven Japan Academy Prize categories including picture of the year and director of the year. It also did very well at the Japanese box office and looks pretty darn good for a film with a tiny $15 million budget. I can’t say it’s my favorite Godzilla movie because it’s such a departure, but it does feel like it was incredibly successful in achieving what it set out to do. It feels real in a way that the 2019 Legendary film doesn’t. There are no futuristic scientific weapons or crazy plans to stop Shin Godzilla. There are different views on how to get stop Shin Godzilla but none of them are outrageous or overtly evil. Toho seems to be saying that there will be no direct sequel to Shin Godzilla and, honestly, I can’t see where they could take this one unless Shin Godzilla becomes active again and continues to mutate. I do recommend this one but be prepared for a whole different kind of Godzilla movie.
Don't misunderstand me. I really enjoyed this movie. I remember seeing 1954's Godzilla many years ago when I was about 15. Unfortunately, I have not had the honor of watching it since. I do, however, still remember the sheer terror that the mere suggestion of Godzilla (which, by the way, they call Gojira) having sunk boats/ships and injured or killed people evokes within the people in the film. When one of the young women calls the old man proclaiming that Godzilla's responsible crazy and delusional, he harshly scolds her, threatening that if she continues to deny Godzilla and joke about it that she'll end up as its next meal. That is how petrified people were back then of any negative repercussions that might've resulted from the two atomic bombs that laid waste to Nagasaki and Hiroshima as well as from the extensive nuclear testing taking place in the Pacific Ocean. Godzilla was created to represent Japan's political, societal, and environmental fears tangibly. Godzilla (1954) treats its subject matter extremely seriously, never detracting from it by inserting overly humorous dialogue/scenes or by intentionally making their source material campy or cheesy. It will be cheesy and campy nowadays, in the age of extreme technological advancements, because, of course, the effects are extremely dated, since it was released in 1954. It's obvious that the special effects used were not going to hold up 67 years later (that's about two-thirds of a century later, just to put it in perspective).
I've always been somewhat of a Godzilla fan, but as I've mentioned before, I've been a fan of the original more than of any of its sequels and various reboots. None of them have been done with reverence to their source material. They have all been done extremely campy and cheesy, which seems to have begun as a trend after King Kong vs Godzilla (1963). Goodness gracious, that was horrible! The campiness got so bad that Godzilla's suit in Godzilla vs Megalon was derided as a large Kermit the frog suit. All the movies after the 1954 original continued to make extensive use of miniatures and men in suits stomping around small-scale sets. I say that's fine, but perhaps using a bit more stop-motion animation would've been better in the long run in setting the stage for the serious kaiju film. That hasn't been the case, since anyone hearing the name "Godzilla" will immediately think of campy monster movies. One of the more recent "reboots", Godzilla 2000, was even worse because that one involved a very sloppy blending of practical and CGI effects, which results in massive headaches. It looks like if sixth graders were allowed to do the digital editing during post-production.
Now, this movie (Shin Godzilla), while mostly enjoyable, does have quite a few flaws that still don't allow it to be hailed as the ultimate Godzilla incarnation. Firstly, while the movie isn't intentionally campy/cheesy, the practical and digital special effects, while done very well, are still not on par with mainstream high-budget theatrical films. Comparing this film with Legendary's Godzilla (2014) only the basis of special effects, this film's effects largely still look cartoonish and as if taken from a PS3 console videogame cut-scene. Most notable for this is when Godzilla's first or second form begins crawling through the city. Its eyes don't look real. They look, again, overly cartoonish, not really focusing on anything. That is, they don't have a synchronized plane of view. Another scene that definitely shows the subpar CGI is when, while standing upright, as some scientists say that it's evolving, you see what appears to be a strange energy aura surrounding it and circulating around its massive body. That part just doesn't look convincing. To a lesser extent, the close-up shots of buildings and vehicles tearing apart and flying in every direction also appear somewhat like videogame cut-scenes. Continuing the comparison of both films in this area, what was done very well is when Godzilla uses different versions of its atomic breath and laser beams to shoot down military aircraft and incinerate the entire city of Tokyo. That part even gave me chills because it was done so well. I was in disbelief at Godzilla's sheer destructive capability. My reaction slowly changed to parallel that of Satomi Ishihara's Kayoko Ann Patterson when the prime minster's helicopter explodes midair while transporting him to safety.
Secondly, this film takes a lot of time setting up and explaining the bureaucratic entanglements inherent in endorsing and authorizing massive multi-agency, multi-governmental, and even international response teams. Anyone watching this must understand that this film was catered to a Japanese audience, which might make it appear to move along at a very sluggish pace. While explaining the red tape, the filmmakers decided to make the film extremely accurate and precise in naming each and every gathering location and every individual involved in that gathering/meeting. That decision makes it very hard to follow the film without pausing it to read the lines of text on the screen. If the person, such as myself, doesn't mind reading subtitles and such, this won't pose much of a problem, but many people either really dislike doing that or are unable to do so, so this type of film will not be appealing to them.
Thirdly, the one major inaccuracy of this film, simply for the sake of the supremely high improbability of such a situation every occurring, is the casting of Satomi Ishihara as Kayoko Ann Patterson, the Japanese-American Special Envoy for the President of the United States. Now, while Satomi is extremely attractive and appears to be a very talented actress, her character's specific background and rank in the film (officially representing the President of the United States) is not only highly unlikely, but pretty much hinges on being impossible. I'm not saying that Japanese-Americans can't rise to such positions, but I think such a character in a Japanese movie is overly-stretching the imagination to conjure an as-of-yet impossible realistic element to what is trying to be a more or less realistic kaiju film. This, again, makes the movie feel more like a comic book, cartoon, or videogame. Kayoko's curriculum vitae, as it's being read in the film, has so many writing errors that trying to read it while pausing the movie becomes a laughable experience. Nevertheless, Kayoko does present the only real personable character in the movie. That is to say, she is the only character in this movie with any type of arc: she begins being extremely proud, flirtatious, and even kind of snobbish and indifferent as to what happens to her grandmother's homeland, but throughout the film changes to actually care about the future of her roots, even speaking to Rando Yaguchi with a broken voice and appearing to shed a few tears. This was refreshing to watch, as the film seriously needed some humanity.
Fourthly, the most annoying part of this film was the character played by Mikako Ichikawa, Hiromi Ogashira. Now, while Hiromi is extremely bright and intelligent, Mikako plays her in such a way that she delivers all of her lines without ever making eye contact with whomever she's speaking or without even looking at the camera. All of her lines, as good as they might be, are annoying because she never makes the dialogue personable to the audience, never showing an ounce of emotion. As such, her line delivery could probably qualify more as dry, bland, generic, or cookie-cutter monologue, which means that all she did is deliver her lines the way a robot would. I would say this alludes to a severe lack of self-esteem for Hiromi, or even for Mikako herself. What a shame! She could be a very talented actress. I don't know. She surely doesn't demonstrate it here. I'm not sure what the filmmakers were aiming for here.
I believe those are all of the major flaws with this film. The ending where humanoid creatures appear frozen on Godzilla's tail as they seem to be emerging from it was actually rather chilling. It was a very good twist for the movie. It ends with a good cliffhanger that could be explained with a follow-up.
While the 1954 film projected and anthropomorphized Japan's fears post World War II and concerning the at-the-time ongoing Pacific Ocean nuclear tests, Shin Godzilla similarly voiced Japan's fears following the 2011 Tōhoku earthquake and tsunami, which caused the Fukushima Daiichi nuclear disaster, which was the worst nuclear accident since Chernobyl in 1986. Indeed, this film carries with it a very profound message of the imponderable, unthinkable, unimaginable horror we ourselves or nature itself can potentially unleash upon our weary planet.
Top reviews from other countries
Reviewed in Mexico on July 13, 2021
Nachdem die Dreharbeiten zum Jahresende 2015 abgeschlossen waren, ging es an die Post-Produktion und schlussendlich wurde der Film unter dem Titel "Shin Godzilla" am 29. Juli 2016 in Japan veröffentlicht. Dort lief er sehr erfolgreich, erklomm am Startwochenende den ersten Rang der japanischen Kino-Charts, nahm in diesem Zeitraum dreimal soviel Geld ein wie "Final Wars", übertraf hinsichtlich des Einspielergebnisses nach einem Monat auch "Evangelion 3.0" und war am Ende des Jahres 2016 der zweiterfolgreichste Film nach Makoto Shinkais "Your name". Insgesamt konnte "Shin Godzilla" in rd. 100 Länder verkauft werden, erlebte aber meistens nur beschränkte Kinoauswertungen, so auch in Deutschland.
Die Kritiken waren durchaus unterschiedlich. Gegenstand von Diskussionen waren neben der Geschichte selbst vor allem das Design sowie die Umsetzung der Spezialeffekte i. All., die im Gegensatz zu den japanischen Vorgängern vorrangig auf Computeranimationen setzen.
Soweit es mich betrifft, gehört "Shin Godzilla" zu den besten Filmen der Serie und hebt sich gleichzeitig stark von allen Vorgängern ab.
Zentrales Unterscheidungs- und Qualitätsmoment ist der ausgeprägte Realismus, der sich aus zwei Umständen ergibt. Zum Ersten aus dem völligen Verzicht auf Mystisches: Hier gibt es nichts Uraltes, aus jahrmillionenlangem Schlaf Erwachtes oder Inkarniertes. Dieser Godzilla ist vergleichsweise sehr jung, kein durch Radioaktivität mutierter Dinosaurier, sondern ein direkt aus ihr hervorgegangenes neuartiges, überaus instabiles Wesen, das zugleich größer und mächtiger ist als alle seine Vorgänger. Insofern verkörpert er sowohl den japanischen Respekt vor Naturgewalten als auch das Trauma von Nagasaki und Hiroshima mindestens so eindringlich wie der Godzilla von 1954, der ebenso unaufhaltbar wie unberechenbar war und nur durch eine Waffe vernichtet werden konnte, die noch tödlicher war als er selbst. Die zweite Grundlage des Realismus ist die Gestaltung seiner menschlichen Gegenspieler. Diesmal sind es Mitglieder der japanischen Regierung, die in den zu oft zu engen Grenzen politischer und administrativer Hierarchien sowie der Zeit eine Lösung für das fast 120 Meter große Problem finden müssen. Die hierbei auftretenden Probleme und vor allem Konflikte muten dabei sehr realistisch, weil folgerichtig an, denn es geht um Entscheidungen, die extreme Auswirkungen für das ganze Land haben, woraus sich ein für jeden nachvollziehbarer enormer Druck ergibt, der durch interne Konkurrenzen und den politischen Druck eines ganz bestimmten "Verbündeten" noch größer wird.
Diesen Voraussetzungen entspricht die Dramaturgie des Films perfekt. Es existiert kein Anfang im eigentlichen Sinne, da der Zuseher direkt in die Situation einer aufkommenden Bedrohung geworfen wird und so die prekäre Situation der Verantwortlichen nachvollziehen kann, die möglichst rasch und sachlich angemessen auf ein zunächst völlig unbekanntes Problem reagieren müssen. Dementsprechend besteht der Film aus zwei, in sich stark gegliederten Teilen: Dem fast 90 Minuten langen "Mittelteil", in dem die Protagonisten mit dem Problem konfrontiert werden und nach Lösungen suchen, sowie dem Schlussteil, in dem die Lösung realisierbar gemacht und erfolgreich in die Tat umgesetzt wird. Mit dem Element der Unbekanntheit und Unberechenbarkeit wird bis zur Hälfte der Geschichte sehr geschickt gespielt, da sich der Gegner zunächst in sehr verschiedenen Formen zeigt, ohne direkt auf menschliche Intervention zu reagieren und erst nach Treffern bunkerbrechender Waffen seine Macht vollends offenbart, wobei nicht nur das Zentrum Tokios innerhalb weniger Sekunden in Flammen aufgeht, sondern auch modernste Waffentechnik fast spielerisch vernichtet wird. Unbekanntheit und Unberechenbarkeit weichen dann in der zweiten Hälfte zunächst einer kurzen, aber intensiven Ratlosigkeit, der eine negative Gewissheit folgt, die dann jedoch der Entschlossenheit weicht, den gewaltigen Gegner zu neutralisieren. Gerade die angesprochene negative Gewissheit könnte für einen Zuschauer mit regional- und wirtschaftsgeographischen Kenntnissen die Spannung noch erhöhen, da er weiß, wie extrem verwundbar Japan aufgrund seiner Physiogeographie und der durch sie determinierten Siedlungsstruktur gegenüber allen Arten von Katastrophen ist.
Der Kreis der Beteiligten ist sehr groß. Alle wichtigen Figuren werden innerhalb weniger Minuten eingeführt und mithilfe von Untertiteln vorgestellt. Tiefergehende Hintergründe erfährt man von keinem der Handelnden, die Hintergrundinformationen beschränken sich ausschließlich den beruflichen Bereich. Auch dies stützt den Realismus des Werkes, da eine derartige Krise nur durch die Kooperation vieler Experten aus verschiedenen Fachgebieten gemeistert werden kann.
Die schauspielerischen Leistungen sind gut, obwohl hier keine Charakterstudien zu finden sind. Gerade die wichtigsten Figuren agieren adäquat, um sich zumindest über ihr Überleben Gedanken zu machen.
Ein großes Plus vor allem gegenüber dem in vieler Hinsicht eindrucksvollen 2014-er Godzilla ist das prozesstechnisch tadellose Funktionieren der Handlung, da die gezeigten Ereignisse streng und folgerichtig auf vorherigen aufbauen. Kolossale Lücken vor allem im Zeitablauf, von denen der 2014-er Film leider strotzt, wurden hier vermieden, was wiederum dem hohen Realismus zugutekommt.
Die hier dargestellte Geschichte wäre ohne adäquate Spezialeffekte nicht glaubwürdig. Diese sind insgesamt sehr gut, wenngleich das Niveau US-amerikanischer Produktionen noch nicht erreicht wird. Offenkundig ist die Dominanz von Computeranimationen bzw. deren Kombination mit realen Vorder- bzw. Hintergründen. Für mein Auge, das die Qualität von Effekten ausschließlich nach ihrer Wirkung beurteilt, ist "Shin Godzilla" diesbezüglich besser als alle japanischen Vorgänger mit Ausnahme des 2001-er Films "Godzilla, Mothra King Gidorah", der auf geniale Weise Kostüme, Modellkulissen und Rechneranimationen zu einem harmonischen Gesamtbild vereinte.
Die Gesamtbetrachtung zeigt eine Dominanz von Einstellungen aus sehr geringer und sehr großer Entfernung. Die meisten Szenen sind derart aufgebaut, dass nur wenig direkte Interaktion Godzillas mit der unmittelbaren Umgebung animiert werden musste. Dort wo dies nicht vermieden konnte, wurde ein sehr achtbarer Standard erreicht.
Die Bildkomposition ist außerordentlich gut gelungen. Viele Einstellungen wirken wie herrliche Gemälde, die die Größe des Monsters sowie das Bedrohliche der Situation exzellent transportieren. Es ist sehr beeindruckend, wie Godzilla in aller Ruhe durch den Hochhauscluster schreitet, danach von tausenden Granaten und Raketen getroffen wird und die Verteidigungslinie der japanischen Armee geradezu seelenruhig durchbricht. Die oben angesprochene Beinahe-Unverwundbarkeit wird durch den gestaffelten Einsatz immer stärkerer Waffen sehr eindrucksvoll verdeutlicht, die abgesehen von der MOP II wirkungslos bleiben.
Godzilla selbst erscheint sehr detailliert, unmittelbar offensichtlich ist jedoch die vergleichsweise sehr langsame Fortbewegung, vor allem im vierten Stadium, die möglichweise in einem Mangel von Rechenleistung begründet ist, dramaturgisch allerdings sehr vorteilhaft erscheint. Godzillas Behäbigkeit steht in reizvollem Kontrast zu seiner Beinahe-Unverwundbarkeit und seiner Schlagkraft, die er nach rd. einer Stunde mehr als eindrucksvoll demonstriert. Spätestens zu diesem Zeitpunkt greift der Ausspruch: "Ihr könnt vor mir weglaufen, aber euch nicht dauerhaft verstecken, geschweige denn mich aufhalten oder gar vernichten."
Das Monsterdesgin wird durch das Publikum offensichtlich sehr unterschiedlich bewertet und weicht in der Tat sehr von allen Vorgängerentwürfen ab. Zentral sind die Gestaltung des Schädels, der keine Verwandtschaft zu echsen- oder katzenartigen Arten erkennen lässt, sowie die besondere Proportionierung des Körpers, vor allem die sehr verkümmert wirkenden Arme. Jedoch unterstützt dieses Design das Konzept eines instabilen, in schneller Entwicklung befindlichen Wesens ganz hervorragend und ist deshalb auch dramaturgisch gerechtfertigt. Ich selbst betrachte den Entwurf als sehr gelungen, weil wirksam und in zahlreichen Einstellungen auch durchaus furchterregend, wozu vor allem die kleinen, silberglänzenden Augen beitragen.
Die Strahleneffekte überzeugen, wobei der zunächst übertrieben wirkende Einsatz der Rückenpartien zur Emission die Fremdartigkeit und Gefährlichkeit des Monsters sehr gut unterstützt.
Die musikalische Untermalung ist exzellent und kombiniert äußerst geschickt sowohl klassische Godzilla-Themen als auch solche von "Neon Genesis Evangelion". Hervorzuheben ist hierbei der offensichtliche Verzicht auf eine Neueinspielung entsprechender Themen, der dem Film so ein zusätzliches authentisches Element verleiht. Ihre Platzierung innerhalb des Films könnte nicht besser sein.
Die deutsche Bearbeitung ist sehr gut, da sämtlich passende Sprecher ausgewählt wurden, die ausnahmslos professionelle Arbeit abliefern. Das Bild der DVD geht für meine Ansprüche völlig in Ordnung.
Insgesamt ist "Shin Godzilla" eine überaus eindrucksvolle Fortsetzung der japanischen Reihe, der dringend weitere Realfilme folgen sollten. Das offene Ende gibt hierfür bereits ausreichend Substanz.
4,5 Sterne, die ich auf 5 aufrunde.
And the inside cover is sick!
Reviewed in the United Kingdom on March 25, 2024
And the inside cover is sick!