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  • So I took a break from the world of Godzilla after MECHAGODZILLA II and SPACE GODZILLA disappointed me and the 1954 original (which I appreciated for what it was) bored me. But I'm a glutton for punishment, and I decided to try again and find a Godzilla movie that's more my speed. My next excursion brought me to GODZILLA: TOKYO S.O.S. While it has a lot in common with his run-in with Space Godzilla, I found that I enjoyed it a bit more. I don't know if I'm just getting used to the genre or it the movies just got better as the years went on. I guess TOKYO S.O.S. was the second-to-last of the Toho series films so I guess it's better late than never. Just because the movie's an improvement over the previous installments I've seen, that doesn't mean it's any less insane. The movie opens with the arrival of Mothra, heralded by his twin space fairies warning Dr. Shinichi Chujo that Mothra demands that Godzilla's remains (which had been used in the construction of Mechagodzilla) be returned to the sea where they belong. It never really explains why so I just assume Mothra's a stickler for proper burial procedures. Anyway Godzilla awakens (I thought he was dead and his bones were in Mechagodzilla?) and returns to Tokyo to exact revenge on Mechagodzilla for…having his bones? Mothra has offered to defend Tokyo in Mechagodzilla's place if the Japanese government comply with his request, and he is summoned to battle Godzilla when the beast arrives. Then, human characters step aside and we're treated to an hour of Godzilla, Mothra, and Mechagodzilla going to battle.

    So, the first thing I noticed is that this movie trades in some elements of crazy (there are no psychics in this movie) for others (space fairies and a giant benevolent moth). Let's go ahead and just get this reminder out of the way. I am not a long-term Godzilla fan and only started watching the series when I realized that I was excited to see Gareth Edwards' 2014 reboot and wanted to get some history on the series. I did not watch them in order and I've only seen a handful of them. So I'm sure there are perfectly "logical" explanations for all of the weirdness I get such a kick out of but I'm more entertained by just assuming it was the writer's love for LSD. For example, why is Mothra's offspring born from an egg more resembling that of a bird than any insect? It doesn't matter. He's a space moth with hot twin space fairies that act as his voice to mankind. I'd always wondered why it appeared that Mothra had such a huge fan base and I think I get it. It's probably the most interesting of the monsters I've seen so far. It's not just some mindless beast rampaging through Japan. It's got personality and it's own agenda. It wants Godzilla's remains returned to the sea (again, for reasons unknown to me) and it's willing to become the nation's guardian in exchange for the disassembly of Mechagodzilla.

    At the start of the movie, Mechagodzilla is in a state of disrepair and the government is weighing the option of shutting down the program. If Godzilla's thought to be gone, why continue shelling money out to repair their giant robot? While the government gives it consideration, Godzilla decides to pop in for some Tokyo- stomping and Mothra steps in, quickly proving that his offer to protect Japan was worthless. While I actually really liked the human story element here better than I have in any of the other movies, TOKYO S.O.S. suffers from the same issue that really bothered me about SPACE GODZILLA. The movie is 90 minutes long and 60 of those minutes is dedicated to the final battle. No joke. I'm sure all the loyal Godzilla fans out there are shrugging and mumbling to themselves, "Well, yeah, man. That's what these movies are all about." Well, I need more than just 60 solid minutes of monster vs. monster vs. giant robot. Admittedly, this battle was way more entertaining than those in both MECHAGODZILLA II and SPACE GODZILLA and the ending was a nice resolution, even if I didn't totally follow it. I was unaware that Mechagodzilla has a history of spirit possession, but there it went. Anyways, my final verdict on GODZILLA: TOKYO S.O.S. is that it's a nice improvement over the other Godzilla movies I've seen. Mothra was way cooler than I thought a giant space moth had any right to be. The final battle, while still excessive, was pretty cool and the visual effects have gotten much better so if I were going to recommend any Godzilla movie to a newbie, it would probably be this one.
  • Get ready to crumble because there goes Tokyo! Finally, some continuation in the Millennium series. Previously, Godzilla once again faced off against his mechanical double in "Godzilla Against Mechagodzilla." Both monsters return alongside Mothra in one hell of a battle between man, monster, and goddess. The result is Godzilla Tokyo SOS.

    Plot: One year after the epic battle between monster and machine, Mechagodzilla is still undergoing repairs as is Tokyo. Meanwhile, Mothra, Earth's insect guardian, demands that the bones of the original Godzilla creature, currently inside Mechagodzilla, because apparently humans should never touch the souls of the dead. Soon enough, Godzilla returns, forcing the government to make rushed adjustments and send in their mech after the beast with Mothra's help. Can their combined might defeat the King of the Monsters?

    Basically, it's Godzilla vs the world and I just love it. This is practically a fan's dream battle as Godzilla faces both Mothra and Mechagodzilla at the same time, the latter two being challenging opponents. The action scenes are totally crazy as these monsters beat the living (and metal) crap out of each other and buildings everywhere get smashed and blown up. The designs of the creatures are just excellent from Godzilla's awesome Hensei/Millenuim hybrid look to Mothra's insectoid features.

    The story is pretty interesting, though most of the new human characters are not as charismatic as the ones from the previous film who also show up here. What's really cool, though, is veteran Godzilla actor Hiroshi Koizumi returning as his character Dr. Shinichi Chujo from the original Mothra movie! He has a prominent role here and it's so nice to see an old face from the original series. The music is also a real treat, especially the classic Mothra song sung by none other than the twin fairies, the Shobijin.

    Nothing much to say other than this Godzilla film is a blast. With epic action scenes, an intriguing story, good cast, and a surprise creature cameo, this is sure to please any fan and beyond, so check it out. All hail the King of the Monsters!
  • r-c-s20 November 2005
    Warning: Spoilers
    This one spots the most mobile and actually threatening mecha-godzilla since the original 1974 one. Perhaps because the bones of the 1954 Godzilla lie inside the cyber armour of the robot. As with late G movies, this spin is present: Godzilla is summoned by its "relatives"...with Spacegodzilla it was G's cells coming back from the outer space; with Biollante it was the G's cells cross-bred into the giant weed; this time the bones of the original Godzilla cry for resting in peace. The miniature Mothra priestesses are there, and this represents an ideal sequel to the 1961 Mosura, with one leading character reprising his role 43 years later! The little girls want humankind to drop the project Kyriu (= mechagodzilla ), otherwise Mothra would have no choice but to fight humankind, being else ready to fight for it against Godzilla. This subplot is rather obscure. The grandchild of the returning character "draws" the Mothra symbol (another 1961 legacy ) using his school's desks, and Mothra re-appears to fight Godzilla, but in vain. Logically, Kyriu is sent to Mothra's rescue... Lethally wounded, Mothra had -on the other hand- previously forecast her demise, thus laid an egg on a neighboring island. Twin Mothra larvae are then born, and proceed to attack Godzilla that -seriously wounded by Kyriu- can be enveloped with their web flakes, thus made powerless. At this point a rather bizarre plot spin takes place, but let's see the movie. In the background a few minor characters. A nice movie & the logic sequel to the 1961 Mosura. The cast is good and acting is as well, genre-wise ( again that is a monster movie, not Kafka ). Special effects are definitely 2000ish and let nothing to be desired in an Hollywood comparison (budget-wise). Mothra is once again the most sympathetic of all Toho monsters. Godzilla is still a big beaver with green scales (looks a bit more threatening & lizardish, though ). Some music reminiscent of more famous Ennio Morricone.
  • The one thing that gets me is how some reviewers rate movies, but only tells the parts that they hated. What about the rest of the movie. This one is much better than the first (Godzilla vs Mechagodzilla 2002) by far. The story is very interesting this go around. The people of Japan are warned that if they do not dismantle Kiryu then Mothra will not fight for them rather against them.

    This movie also has key elements from previous movies such as Mothra, and Godzilla vs Mothra, while still staying true to the 2002 flick. The special effects get better with each movie especially Godzilla's thermanuclear blast. The monster battles in this one were good as well, some reviewers think Godzilla has to be super evil to have good monster battles, shame on them. Mothra did her parts to hold off Godzilla until Hio and Mana (the larva) shows up.

    I won't spoil the movie or the ending for you, but the doorway for Godzilla Final Wars has been busted open. Again don't trust reviews from critics whom couldn't tell you the difference between Godzilla and Zilla. This is a definite buy and an enjoyable movie. Who says you have to be a kid to appreciate the action of a Godzilla movie? Check this one out, you won't be disappointed.
  • winner5512 October 2006
    I agree with reviewers who write that the film is competently made and reasonably entertaining, but I also agree that with this movie, the series seemed to have gotten stuck in a rut.

    In fact, towards the end of what is known as the "Hesei" period of Godzilla films, the film-makers of the series developed a formula which became standardized for the "Millenium" phase: as the movie opens, we find the humans worried about a possible attack from Godzilla. Then they either build another monster, or have one flown in. The two (or three) monsters have a big fight in down-town Tokyo, Godzilla is tossed back into the sea, the end.

    Of course, all genre films use formulas and conventions. But the stronger entries in any genre are precisely those in which the film-makers try out new approaches and variations to these formulas. In the so-called "Showa" phase of the Godzilla films (1954- 1985), there were plenty of multi-monster wrestling matches and attacks on Tokyo, etc.; but there were also some weird experiments, some that worked (Son of Godzilla is highly entertaining, if one doesn't ask for much) and some that didn't (Godzilla's Revenge). But the real point is that they were different, and challenged their viewers to decide whether the differences ought to be kept or scratched for the next episode in the series.

    But with Tokyo S.O.S, it became clear that the 'Millenium" series writers and directors could only rarely innovate or improvise. The fight scenes in Tokyo became pretty much same-old same-old, film-to-film, and this is a dangerous thing to do when your protagonist is a guy in a rubber monster suit. When we see the same thing, film after film, we start getting bored, and when we start getting bored, we get distracted, and notice things like, hey, isn't that really just a guy in a rubber monster suit? Tokyo S.O.S. isn't quite down to this level; it is very professionally made. But there's no doubt that by the time it was made, it was time for something new.
  • First, a disappointment: Megumi Odaka, the young woman with the very large ears who communicates with Godzilla telepathically, is NOT in this one...My children and I have dubbed her "Mickey Mouse" and enjoy seeing her in the series...

    This movie has the BEST SPECIAL EFFECTS of ANY Godzilla movie that I have seen. The planes look like planes; the tanks look like tanks; and, Godzilla looks so COOL! He has gone through another make-over and has been given a cobra-like neck to go with the newer, smaller head and the glowing spinal plates.

    Who else has a new look? The women that Dennis Miller refers to as the Mothra Chicks. New outfits, bare midriffs, ugly shoes...more contemporary ideals of beauty. And, they sing just as well as the originals...

    The effects are most spectacular with Mothra, although I hear that Mothra is not really a moth, but a stunt butterfly in a moth-suit. The look of the giant insect is most realistic and the effects of his near miss flybys can almost be felt by the viewer.

    Mechagodzilla looks pretty neat as well.

    I won't give much of the plot away. There is less screen time for the child actors, but the movie is perfectly fine for children. No discernible death, just a lot of good clean monster fun...
  • Direct sequel to Godzilla Against Mechagodzilla. Surprise, surprise, Godzilla returns for revenge against his robotic counterpart. This time the end of the world may also follow suit, as humans have managed to annoy Mothra as well. I loved the way in which Godzilla's bones helped create Mechagodzilla, and save humanity, are now the cause of all the controversy may destroy humanity. There is less human conflict in this film, but the action more than makes up for it. Another wonderful Godzilla movie then. I'm sad I only have one left to watch. But I must stress, don't just tune into this and expect the effects to win you over. You have to make an effort.
  • Godzilla: Tokyo SOS is the only film of the Millennium series that is preceded by another film. Picking where Godzilla X Mechagodzilla left off, the Japanese Defense Force is in the process of repairing Mechagodzilla after his last outing with Godzilla. Yoshito Chûjô, played by Noboru Kaneko, is an mechanic working on Mechagodzilla and was visited by the tiny twin fairies of Mothra, the Shobijin. They warned him that the people must return Mechagodzilla to the sea, for the dead must not be disturbed (Mechagodzilla was created from the bones of the original Godzilla). If the people do not heed to their warnings, Mothra will declare war on mankind, which I think is a departure from Mothra because she has always been depicted as a benevolent creature. But, without Mechagodzilla, Japan has no defense against Godzilla.

    This film provides many references to previous Toho films, including bringing back the two character leads from Godzilla X Mechgodzilla, containing footage from the previous movies and even bringing back Kameba, the gigantic turtle from "Yog, Monster from Space" (1970). Perhaps the most notable mention is the return of Professor Shinichi Chujo, played by Hiroshi Koizumi, from the original 1961 Mothra movie. Koizumi reprises the role he did 42 years earlier, and delivers drama about Mothra's previous attack on Tokyo and referenced photographs from his trip to Infant Island in the original Mothra film.

    The movie is filled with drama and heroism. The part where Chujo's grandson made the Mothra sign to call her for help was one of my favorite scenes. Michiru Ôshima gave another brilliant music score and Eiichi Asada did an awesome job on the special effects. Mechagodzilla's rockets and Mothra's wing attacks were among my favorite special effects in the film - all contributed to exciting action-packed monster mayhem. Some downsides to this movie is that as this movie also serves as a sequel to the original Mothra movie, Mothra and her larvae were not emphasized enough. Godzilla was also portrayed as very weak - in some of the battle sequences with the robot, Godzilla just stands there as if he is letting Mechagodzilla attack him. And, Godzilla rarely gets any chance to do some city stomping. As with most films in the Millennium series, this movie focuses on the military - an element that gets repetitive. But, on another note, the cast of characters are likable for the most part and Mothra's design is this film is my favorite of the monster, though she is really overused by this time.

    Grade B-
  • I am a huge Godzilla fan, I grew up with Godzilla, I just love seeing this awesome monster just destroy cities and fighting other monsters. I like his enemies as well but Godzilla is the Icon!

    This Godzilla film is a great one. The story is very good and I really love the way Godzilla looks in this film. I love it when he roars and moves his tail. As for his enemies Mechagodzilla and Mothra, they too is awesome and arguably looks neater than the other Mechagodzilla and Mothra did in previous films. I love they when he roars. The fights between the two monsters is really good. The acting by the film's human stars are also good. The music is just excellent! I really love this Godzilla film for many reasons and its arguably the best! If you love Godzilla I strongly recommend that you do what I did and buy Godzilla, Mothra, Mechagodzilla: Tokyo S.O.S. today!
  • Kiryu is awesome and so is this movie! Cool effects, memorable fights plus nice music makes this one a worthy addition. The story also nicely follows-up the events of the previous film.

    8 Kiryus out of 10 from me!
  • ThyDavideth12 June 2019
    Warning: Spoilers
    Godzilla Tokyo S.O.S. is about Godzilla attacking Japan and so forth. Again Godzilla gets robbed by those two insufferable worms. The only satisfaction I will get out of this whole endeavor is the fact that Godzilla killed Mothra by incinerating her with his projectile weapon but I wish to God that he would step on those stupid worms until they became nothing but mush. Anyways, I enjoyed the monster action but the story and acting was just ridiculously idiotic but that's expected.
  • The Millennium-Era series of "Godzilla" features - released over a five-year period between 1999 and 2004 in Japan - is an interesting film series, to say the least. I have been slow in getting to it, having grown up on both the Showa-Era (1954-1975) and Heisei-Era (1984-1995) "Godzilla" film series. The first film I ever saw from the Millennium Era was 1999's "Godzilla 2000" - which, as I remarked in another review - was the last film I ever saw at the now-defunct Cineplex Odeon at my local shopping mall before it closed down forever in early 2000. I was 14 when that movie came out and when the Cineplex Odeon finally closed its doors.

    Just yesterday, I watched "Godzilla Against Mechagodzilla" (2002). Today, I just finished watching its direct 2003 sequel, "Godzilla: Tokyo S.O.S." When I remarked how interesting the Millennium Era is, I mean that it's interesting in that like the Heisei-Era "Godzilla" films, it completely disregards all the films that came before it - pretending that they never happened - and instead goes right back to "Gojira" (1954), the gloomy black & white monster flick that started it all. But unlike the Heisei Era, each film in the Millennium series is a stand-alone feature that not only disregards all previous "Godzilla" features from different eras, but each film in the Millennium Era prior to it is also disregarded. So, in other words, "Godzilla Against Mechagodzilla" disregarded the three films that preceded it.

    "Godzilla Against Mechagodzilla" is the only film to have a sequel, which is "Godzilla: Tokyo S.O.S." "Tokyo S.O.S." is a better film than its predecessor, and also a unique one. Since "Godzilla Against Mechagodzilla" and "Godzilla: Tokyo S.O.S." are stand-alone features that started 45 years after "Gojira" - these two films are unique in that they also include a loose continuity of sorts with other non-Godzilla-related Toho "kaiju-eiga" (Japanese giant monster films), namely "Mothra" (1961) and "War of the Gargantuas" (1966); for this sequel, "Mothra" is the film most referenced and shares the greatest continuity, and it also includes a few references to "Godzilla vs. Mothra" (1964) - the latter film of which has the benefit of being Godzilla's last portrayal as the bad guy in the Showa-Era film series.

    "Godzilla: Tokyo S.O.S." is set in 2004, one year after Godzilla ravaged Japan, but was thwarted by the Japan Self-Defense Forces' (JSDF) Mechagodzilla, a.k.a., "Kiryu" (meaning, "Machine Dragon" in Japanese). Mechagodzilla, as you remember, was built around the remains of the first Godzilla that was killed in 1954, and shares that long-dead monster's genetic memories. Though Mechagodzilla managed to save Japan from Godzilla, the monster cyborg was heavily damaged and needed to be repaired.

    Now, the JSDF is pondering whether or not to deploy Mechagodzilla into the field again, being that its most powerful weapon, the Absolute Zero, is damaged beyond repair and without it, Mechagodzilla will not be able to defend the country against Godzilla. Japan Air Self-Defense Force (JASDF) mechanic Yoshito Chujo (Noboru Kaneko) is on vacation at his uncle's house when he's visited by the Shobijin (Masami Nagasawa and Chihiro Ohtsuka), the miniature twin fairies who act as guardians for the benevolent insect monster-god Mothra. Chujo's uncle is none other than Dr. Shinichi Chujo (the late Hiroshi Koizumi), the Japanese linguist who first discovered Mothra and the Shobijin on their native Infant Island and witnessed Mothra's subsequent destructive rampage in Japan 43 years earlier in 1961.

    The Shobijin have come to warn them that because Mechagodzilla is built around the skeletal remains of the original 1954 Godzilla, that this is why Godzilla keeps returning to attack Japan. If Mechagodzilla is returned to the bottom of the Pacific Ocean, then Mothra will gladly take its place to guard Japan from Godzilla's attacks. Meanwhile, Godzilla surfaces once again to attack Japan, and Mothra joins the fray. Pretty soon, though, the JSDF also realizes that Mothra alone will not be enough, and that they have no choice but to deploy Mechagodzilla once again into battle - but the question remains of whether or not the mighty Mechagodzilla will survive another lethal encounter with Godzilla?

    Maasaki Tezuka returns behind the camera to direct this stellar follow-up to "Godzilla Against Mechagodzilla." The greatest thing to be said about this feature is to see Hiroshi Koizumi, a regular during the Showa Era in numerous Toho kaiju-eiga, reprising a role he first took on over 40 years earlier. As a supporting player to a younger generation of cast members, Noboru Kaneko makes for an effective leading performer who is dedicated to his job and knows every inch, inside & out, of the cyborg creature that he has been charged with maintaining. He also has a close friendship with Kiryu pilot Azusa Kisaragi (Miho Yoshioka) - having replaced Akane Yashiro (Yumiko Shaku) from the previous film and who appears here in a brief cameo. I was a little startled to learn that Yumiko Shaku wasn't going to be the lead in this sequel, as I did find her replacement in Miho Yoshioka to not be as engaging or sympathetic as she was in "Godzilla Against Mechagodzilla." This was really my only serious disappointment with this flick.

    "Godzilla: Tokyo S.O.S." has some stellar monster battles, a beautiful reappearance of Mothra, and an awesome mix of old & new (in more ways than one). This was the last film before the all-out monster battle royale that was this series' epic closer, "Godzilla: Final Wars" (2004).

    7/10
  • Warning: Spoilers
    Godzilla: Tokyo S.O.S takes place shortly after Godzilla against Mechagodzilla, with MechaG still being repaired from the last battle. As they do, the twin fairy goddesses of Mothra appear to, in a nice touch, the person who helped them in the original Mothra movie in the sixties. "People made a weapon out of the bones of Godzilla. That was a mistake." They say, and then warn them that unless MechaG, who uses the skeleton and DNA of the first Godzilla, is dumped into the sea Mothra will declare war on the human race.

    It's a nice start, but the middle is somewhat dull, as we follow the man's relative,who is one of the mechanics of MechaG. Millennium-series Godzilla films tend to have a very formulaic plot: person in military has issues, Godzilla appears, military tries to fight him off with the help of other monsters, they win. Person resolves their issues. This doesn't break the trend, and honestly you'll wish they just dropped the mechanic altogether at times.

    What saves it is some very nice direction. Tokyo S.O.S. has some striking shots for a Godzilla movie. Mothra, outside on a mountain as the snow falls, MechaG ducking behind a building to fire its missiles at Godzilla, who retaliates by firing his breath through it. Mu favorite is just a simple long shot of mechaG with all three white heron craft hovering overhead, staring down Godzilla.

    The designs are also nice. The White Heron craft and MechaG are nicely made, and this version of Mothra seems much better than in other movies, like Mothra and Godzilla: the battle for earth. The battle is okay, but like in Godzilla against Mechagodzilla, Godzilla is a bit too immobile and nonreactive. Though he is better here than in that film. That sense of polish is why I rate it a 7 rather than a 5, as apart from it, it really is an average Godzilla film unlikely to convert anyone into being a G-Fan.
  • Warning: Spoilers
    As my summary says, how often is the sequel better than the first movie? Not very often, but here it is. While I rated both Godzilla Against Mechagodzilla and this one a 7/10, I'd actually rate this one a 7.5/10 if I could. Why? The human side of the movie, but more on that later. Just as an FYI if you already didn't know, this is the only sequel in the Millennium series. Godzilla vs Megaguirus, for example, does not acknowledge Godzilla 2000 or any other movies. Same for G2K or GMK, etc. Final Wars is a bit more debatable in that they show footage from each of the three series.

    Characters are much better than in previous film. True, the lead character is the same seemingly depressed military member that we've seen for the third time now in the Millennium series, but here his life his just plain carried out better and explored more. It feels like less than an excuse to cut away from the monster action.

    The monsters look good. Godzilla is the same as last year, and with the exception of the replacement for MG's Absolute Zero Cannon, Mechagodzilla is the same as well. Mothra looks pretty decent, although certainly not as good as she did in GMK. Her larvae look better than they ever have with their mouth movements. Action wise, these monsters carry themselves very well and their movements aren't always predictable, making for an entertaining watch.

    So as I said, I like this even more than GAMG, and if I could I'd give it that extra half point in the ratings. I genuinely am saddened when it is first revealed that Mothra is dying, yet she fights on. What courage and selflessness. Then she makes the ultimate sacrifice that much more real to the audience when she saves her offspring at the expensive of her own life. The first time you watch it, it might just water your eyes a bit. And these emotions are part of the beauty that make it better than GAMG.

    As a side note, some viewers have suggested that the lab scene post-credits indicates that Toho wanted to follow up this series with a third installment as opposed to doing something new like Final Wars. This is not the case, but rather a reminder that sometimes we humans just don't learn, even after we've seen the effects of our actions.
  • I liked this Godzilla movie, but it does share a few to many similarities with the previous Godzilla movie. On the plus side there was a longer fight sequence in this one, but in the end you really end up knowing the outcome of the fight well before it is over. Especially when they add Mothra to the equation, Godzilla was considerably weaker than MechaGodzilla in the last movie so I don't see why they felt he needed another opponent. They really should have added Godzilla some help instead. As it is, Godzilla gets his shots in, but not enough to make the outcome of the fight ever be in doubt. They do add a rather different ending to this one slightly reminiscent of "Godzilla vs. Mothra", with a twist. In the end though this Godzilla is just not nearly as tough as the demon Godzilla of the movie before the MechaGodzilla movies. In fact, this one isn't as tough as the two before that either. To bad it was not more like the demon one though as that one you could really pull against it, this one you feel sorry for. There are some returning stars in this as the pilot of the previous movie has a little more than a cameo, but this time the focus is more on a mechanic of MechaGodzilla. Good movie, but nothing new.
  • This is a continuation of the previous Godzilla movie, but where the previous movie was one of the best Godzilla movie, this one falls way short. The biggest culprit is the poor choice of actors which Toho seems to be an expert at. They had a pretty good combo in the previous version with Koh Takasugi, and Yumiko Shaku, but this one had bunch of kids which really had no acting abilities which really drew all life out of the plot. This is shown in the fact that this movie had such a poor turnout at the box office in Japan (13 million dollars) , that it was officially decided that the next Godzilla movie Godzilla Final Wars will be the final Godzilla movie.

    The story plot was boring, and also annoying with all the young actors trying to steal the lead which added to the unfocused plot. I think it was a bad idea to make a mechanic the main character of the movie. He was having a hard time being a hero. The guy who should have been the hero - the pilot of Kiryu was a horrible actor and he wouldn't have engaged the audience to a degree Yumiko Shaku did. Music was way down from the previous movie.

    Special effects was pretty good, and might be the best part of this film. Mothra's depiction was the most realistic of all Toho movies. But somehow I can't get used to the millennium Godzilla's face. It has no expression, and I don't get the sense that it's such a big menace. Godzilla looks small throughout the series after Godzilla 2000.

    So nothing as its center piece, this movie falls apart as plot moves forward.
  • With GFW closing in fast and the dawn of another retirement for the big guy the fans will be in for a lot of treats. Some will be big (GFW, bringing back classics like Anguirus), some will be small (TONS of new Bandais to collect!), and others will be forgotten all together. GMMG is a forgotten film. In all the hoopla of the 50th anniversary last years film has quietly slipped under the radar, sure we all know it exists but most don't care, most only care about Kitamura's oncoming epic and this is SAD! Sad because GMMG is truly an epic Godzilla film, an epic that is good enough to be the 50th anniversary film in fact! GMMG truly is Masaaki Tezuka's masterpiece, GxM and GxMG were mere warmups for the exciting romp that GMMG is. I've heard many say that GMMG is just a GxMG retread and is about on par with the previous film in the Kiryu saga, how unjust, how totally unjust... GMMG takes everything from GxMG and improves upon it, it is a MUCH better film but with all the improvements GMMG also suffers from the same flaws, mainly character development. GMMG doesn't have time to properly build it's characters and many in the supporting cast seem totally useless, the leads are all serviceable though and seeing Koizumi again is a real treat I must say! The lack of character development nicely works into the films greatest strength though, the action! GMMG is the most action packed G film probably ever and it features possibly Godzilla's greatest battle, yes it really is THAT cool. Honestly this film is about 2/3rds action and yet it never gets boring, which is more than we can say for other films *cough*SpaceGodzilla*cough*. The monsters themselves have rarely looked this impressive either, Mothra is a true sight to behold, not since the days of Tsuburaya has the kaiju looked this grand. Asada really nailed the effects, I couldn't find a single flaw in them. The music is without doubt Oshima's best G score to date and provides unique and memorable motifs for each monster, in many ways her Mothra themes outdo Ifukube's! Bravo Mr. Tezuka, you truly will go down as a legendary kaiju director thanks to the throughly amazing Godzilla X Mothra X MechaGodzilla, bravo. **** out of *****
  • Warning: Spoilers
    The only sequel in the millennium series, "Godzilla: Tokyo S.O.S." is a very impressive G-film. I'm conflicted if it surpasses "Godzilla vs. Megaguirus", although in the end this film has a few flaws that weaken it a bit. Still, Mazaaki Tezuka did generally well here and overall the film is fantastic. I've kind of embraced Kiryu as the 'lead' monster, although in this film the two's fates are entwined beautifully. The story, by Tezuka himself and Masashiro Yokotani, is probably one of the best I've seen so far in a G-film. Michuru Oshima scores the film, and the music is spectacular. Godzilla's theme is back, and the climatic piece as Godzilla's is cocooned up is touching to say the least. On one side, none of the characters from the previous film appear, except for Akane and the government guys. And she only appears briefly. Apparently she wanted to be with someone who didn't need Viagra. All jokes aside, if you're a G-fan you're kind of used to this. New characters show up, including Hiroshi Koizumi who we haven't seen since 1984 in "Return of Godzilla". Chujo (Noboru Kaneko) is well played and I love how he's clueless to how much Miho Yoshioka's character likes him. The human characters are put in peril here and this was a very well done aspect of the film I must say.

    Godzilla returns, now with a chest scar, a nice touch. In this film he isn't tossed around so much and the battles are much more realistic, something I for one appreciated. Kiryu looks better than he did last time, sparring some very well done new weapons. His 'backpack' is now two individual missile launchers that have a bad-ass new feature....moving on before I spoil it. Mothra looks incredible and this has to be the most realistic version of the giant feminine moth ever. She throws several attacks that are impressive and fans won't be disappointed I'm sure. The Mothra larvae looked spectacular and their web-effect was quite the effect. Kameba, or Kameboas, although merely a dead turtle, his scene is excellent way to display some CG effects. People are not only next to Kameba, but on top of him, walking around. Great!! The action is non-stop and Godzilla really gets to show his power. The SFX were probably one of the most incredible I have ever seen, thanks to Eiichi Asada. The rescue to save Chujo is one amazing feat that you'll be surprised Toho could afford. The only part I didn't like was how Tezuka punked out with the drill scene. If the blow was so painful to actually cripple the Monster King, wouldn't blood and flesh be everywhere? It was hard to believe the severity of the wound if all we see is flakes of Godzilla's skin flying. If Kaneko had done that scene, MechaG would've pulled out a drill soaked in blood, but I can let it go I guess. The only other flaw is the film's run time, a mere 90 minutes. This film has twice the monsters but is somehow only two minutes longer. The characters could've used a bit more time to develop, and this would've put this film more on the level of "Godzilla vs. Megaguirus" and "GMK". The Shobijin also return, and so does that beautiful song as well. I find it does give a little kind of feeling of awe to Mothra and the film itself. The film does deliver some of the best SFX, monster fights and good enough drama. I still find this G-film one of the best.
  • Hey, I like this movie, I've only seen several trailers and have read many reviews, but I pretty much know what goes on in the movie. Mothra and Mechagodzilla are really cool in this movie. I like any movie with Mothra or Mechagodzilla in it no matter how many people may dislike it. In fact I like all the movies. I mean there is some that aren't as high on my favorite list as others, but hey, there is no Godzilla, or Mothra movie that I dislike. Their special effects are getting better and better every year that they are making movies. I do not like it when people say mean things about Mothra. They might think that she is a girly monster but face the facts, she's the only monster who has ever really defeated Godzilla, and she's a GIRL!! I know everyone is entitled to their opinion. I'm a Mothra fan as you can tell.....I can't wait till I get to see the whole movie. I would go to G-Fest but it is too far away from where I live. Still, I'm sure that the movie is worth the wait!!!
  • Very good, puts a nice end to the Kiryu Saga of Godzilla films, a solid 6/10
  • Wow. Just wow!

    This 2003 is without a doubt one of the all-time better of the "Godzilla" movies in the franchise. I was so pleasantly surprised with this movie as I sat down to watch it for the first time in 2019, 16 years after it was released.

    The storyline in the movie is fairly straightforward, just as they always are in these kaiju movies; Godzilla returns to duke it out with some other kaiju somewhere in Japan. Yeah, not much of any new creative thinking there. However, the Mechagodzilla aspect of the storyline was actually downright ridiculous, and it didn't really do much for the movie. Luckily the rest of the storyline was strong enough not to be weighed down by the stupidity of the Mechagodzilla aspect.

    But still, it was so very enjoyable to watch the movie, not really because of the storyline, but because of the action and the special effects.

    The acting in the movie, well, let's just say it is a "Godzilla" movie and leave it at that? You know what you are getting here if you have seen at least just one kaiju movie before.

    Now, the special effects in "Gojira tai Mosura tai Mekagojira: Tôkyô S.O.S." (aka "Godzilla: Tokyo S.O.S.") were phenomenal and some of the best I have seen in a Godzilla movie predating the most recent "Godzilla" movies. I was so impressed with the way that Godzilla looked and moved in this 2003 movie, but even more so with Mothra. Wow, she was just phenomenal in this movie, and so much more life-like than in any other movie previously seen with Mothra.

    As for the fight scenes. Again, I must say wow! Yeah, I have been bedazzled by the "Godzilla: Tokyo S.O.S." movie, no doubt about it. The fight scenes throughout the movie were phenomenal and very, very satisfying to us whom enjoy watching these kaiju movies.

    If you haven't already seen "Godzilla: Tokyo S.O.S." and find yourself given the chance, I can strongly and warmly recommend that you do so, because this movie was really good.
  • A direct sequel to 2002's "Godzilla Against MechaGodzilla", this film opens with Mothra's twin-fairy familiars appearing at the home of Shinichi Chujo (Hiroshi Koizumi, last seen in this role in 1961's "Mothra") with a warning that unless the original Godzilla's remains (parts of which are incorporated into MechaGodzilla) are released into the ocean, Mothra will declare war on mankind; alternatively, if the mecha is decommissioned, Mothra will defend humans against incursions by Godzilla (last seen driven off by MechaGodzilla but still alive). When Godzilla reappears in Tokyo, Mothra does indeed attack him in her ineffectual way, blowing him about with the wind from her wings and, suicidally, sprinkling him with the scales that she need to stay aloft. At this juncture, MechaGodzilla is dropped into the fray. Both of mankind's defenders are defeated but, it is revealed, Mothra had laid an egg on a nearby island, which hatches releasing twin 'caterpillers', who quickly swim to Japan and attack Godzilla. As usual, the larval Mothras are more effective than the adult morph, biting the tip of Godzilla's tail (which he hates) and attempting to immobilize him with silk. What follows is the expected pyrotechnics, destruction scenes, and monster/human heroics, as attempts are made to resuscitate MechaGodzilla while Godzilla is distracted by the larva and the intrepid pilots of the "White Herons". As Godzilla films go, this one is pretty good, with great special effects (both CGI and models/suit-mation) and an entertaining story. Since MechaGodzilla was introduced in the previous film and Mothra is involved in this one, the usual kaiju pseudoscience is replaced by pseudo-spirituality (which seems inconsistent at times, as despite the fairies' warnings, both Mothra's larval and adult stages seem willing to accept MechaGodzilla's help in the fight). The deal the fairies make to Chujo would resonate in Japan, as the offer is essentially the choice between defending yourself or 'demilitarising' and relying on a powerful ally, issues the Japanese have been wrestling with since the end of the Pacific War in 1945. Once again, Toho brings back characters from the early kaiju films, which adds a nice touch of continuity of the Godzilla-verse (although collective kaiju amnesia is still at work, as previous interventions by Mothra (e.g. 1963's "Godzilla vs. the Thing") or MechaGodzilla (e.g. 1975's "Terror of MechaGodzilla") have been forgotten). The battle scenes (the raison d'être for everything else in the film) are very well done, especially destruction of Tokyo (the collapse of Tokyo Tower is a standout). The Mothra puppet looks much better than the wooly version in 1992's preachy "Godzilla vs. Mothra", as does the star-kaiju and his cybernetic twin. As usual, the mecha has to fire off all of its arsenal of cannon, missiles, masers, etc. before activating the weapon that might actually work, contributing to the collateral damage but making the movie more visually exciting. All of the standard Godzilla characters are back and the acting is typically melodramatic and over-the-top (I was watching a subtitled version but the tough-guy posturing and heroic sentimentality is unmistakable). The military mobilization scenes just get better and better as the series progresses (compare shots of tanks in this film with the wobbly plastic models rolling up to be melted in the '60's films). "Tokyo SOS", the 28th entry in the franchise, doesn't bring much new to the table, but is a well done and entertaining monster rumpus, although neophytes to the genre might be slightly put off by the new-agey spirituality as personified by the tiny, and now scantily clad, twin fairies. Unlike the preceding film, MechaGodzilla's name "Kiryu" is not used in the subtitles (but is spoken by the actors) and plot points involving the mecha's 'connection' with Godzilla and its reluctance to fight at times might seem inexplicable to viewers who have not seen the previous film.
  • Sorry people. I just saw this at the G-Fest. It was a let down! It really was missing something... Godzilla wasn't mean enough. Sure the affects were good. But it lacked the mean spirited fun of GMK(last years choice for G-Fest). The focus on a repair guy and his father was boring. Was it suppose to be dramatic? Shusuke Kaneko is a better director and he added his own take to GMK. I could let the lack of violence slide IF there was an awesome monster for G to fight. I am bored with MechaG and Mothra. They just aren't exciting anymore. Oh, and the prior reviewers jab at Space Godzilla are just pathetic. Space G is my favorite Godzilla from the 90's and deserves a second look. Godzilla rules despite SOS. I hope the next outing is more exciting.
  • Warning: Spoilers
    Two tiny twin fairies advise wise old scientist Dr. Sinichi Chujo (nicely played by Hiroshi Koizuma) to stop the repairs on the severely damaged MechaGodzilla. Their warning goes unheeded. Godzilla wakes up in one of his usual grouchy moods and heads towards Japan with the specific intent of trashing Tokyo. Mothra comes to mankind's rescue, but proves to be no match for the Big G. It's ultimately up to MechaGodzilla to defeat the brutish behemoth. Director Masaaki Tezuka relates the story at a constant brisk pace, maintains a refreshingly serious tone throughout, and stages the plentiful exciting action sequences with rip-roaring flair (the long and protracted mondo destructo monster fight scenes totally smoke). Better still, there's a mean'n'lean straightforward quality to the narrative, with very few lulls and a huge amount of wild'n'rousing action (Mothra's newly born larvae even join in on the battle against Godzilla!). The human characters are genuinely engaging and well acted, with especially winning performances by Noboru Kaneko as eager beaver young mechanic Yoshito Chujo, Miho Yoshioka as feisty pilot Azusa Kisaragi, Mitsuki Koga as the cocky Kyosuke Akiba, and Masami Nagasawa and Chihiro Otsuka as the adorable psychic singing twin fairies. Kudos are also in order for Michiru Oshima's stirring, majestic score, Yoshinori Sekiguchi's glossy widescreen cinematography, and Eiichi Asada's often stunning special effects (Mothra in particular is a strikingly graceful and beautiful giant creature). An excellent movie.
  • Essentially a remake of the first Godzilla vs. Mothra and the Godzilla vs. Megaguirus which has nearly the same kind of main characters. Apparently Toho has been running the recent Godzilla series as an advertisement for toys and collectibles since three films of the last four have been following a very restrictive formula.

    Not the best of the new series, the plot is incomprehensible to anyone who hasn't seen the previous film or hasn't watched the average Ultraman episode from the last twenty years. It was nice to see the actor from the first Mothra film and he actually lent some professionalism to the mostly light weight cast.

    The SFX were excellent at times but Mothra still looks like a plush toy on wires. The Godzilla suit looked very rubbery, like the cheap rubber animals you get at the toy store. Part of the problem is the Toho effect crew overlighting the scenes. I first noticed this in GMK:All Out Attack. The day scenes looked fine but anything set at night was overlit. The new Gamera films never had this problem so I attribute it to the Toho SFX style. The first full shot of Mothra in this film is so flat and phony it's like the FX guys were purposely trying to roll their craft back 40 years. In Godzilla vs. Megaguirus, the monster scenes were set almost entirely during the day and overall looked pretty good. Another problem was the stiffness of the Godzilla suit. Compare the puppetry in this film to the Godzilla in Megaguirus and you'll see what I mean.

    All told the film moves at a good clip and if you don't get too serious it's an OK way to spend 90 minutes.
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