GODZILLA VS. SPACEGODZILLA (1994)
While this isn't the last of the 1990s Godzilla series it's certainly the least, in a real scraping the barrel lack of creativity kind of way. Apparently Toho were resting on their laurels at this stage after the popularity of the prior instalments and decided that a 'same but different' approach was the best way forward. When the resulting film is so lethargic and the new additions are so trivial it's hard to say why they thought this was such a great idea. It's an oddity that feels sluggish at best and like a toy commercial at its worst. However, it's an essential stumbling block for the franchise which would at least go out with a bang. But before we get to the finale it's time for a monster-sized snooze-fest.
The catalyst for the story is Mothra who left the Earth two movies earlier, and who is now flying in outer space... for some reason. While it's true that they also say a possible origin for a 'SpaceGodzilla' could be Biollante, this theory is never elaborated on. Instead there's a bunch of Mothra stuff for general audience appeal, despite the giant bug making no real appearance in the story. It's a sign of the real weaknesses of this instalment, which often feels like a bunch of directionless filler. Recurring psychic Miki (Megumi Odaka) talks to the Mothra fairies in a series of visions. They offer no real information besides a repeated message that things will be okay after the latest crisis. Which kills the pacing and the suspense.
People talk in vague terms about how Godzilla's cells got into space and how a black hole created a new monster from them. Which is pretty poor stuff even for this series during this decade. Meanwhile the usual military types discuss yet more plans on how to be rid of the giant monster problem. Some still think that telepathy could be useful and are pushing for 'Project-T' to begin as a result. It didn't really help that much before and it sure doesn't help this time, making Miki and her endless fawning over a creature that keeps causing disasters feel dumber than ever. The opposing plan is to use a new machine called Mogera (or MOGUERA if you prefer) to kill Godzilla.
Which highlights another issue here: Mogera was a robot from Ishiro Honda's 1957 film The Mysterians. Why is it here and why haven't they rebuilt a bigger and better MechaGodzilla this time? Probably so that they can sell more merchandise. The machine itself even looks like a cheap plastic toy in many sequences. It's odd that they moved away from one established type of fan service and just added another. They probably should have just used Gigan instead of SpaceGodzilla, as the results would have been the same. At least that way there could have been some alien antics and some fun bad guys instead of a mindless creature with only a basic motive and no personality.
Some actual plot eventually arrives in the form of a team of G-Force recruits on an island where Godzilla Junior is living. Who still looks too cute; again suggesting the figurine sales angle was a focus of the production. But the firepower versus telepathy debate barely takes off, with a plan to transmit thoughts via some new gadget and a plan to use a blood coagulant both leading nowhere. The whole thing is so meandering and slow with a subplot about a kidnapping and a revenge mission leading to more narrative dead-ends. Some of these ideas have merit but it's all so weirdly constructed. There's never any sense of momentum or drama so this all feels way longer than its contemporaries despite the same running time.
When some action set pieces come around they're equally as dull, as the film-makers resort to a lot of laser beams and energy blasts. SpaceGodzilla has some sort of telekinetic powers but they're never used for anything interesting, or even discussed as something Miki shares. Instead there are a few scenes in which suit-mation actors float around on wires. The new villain also has some connection to crystals growing on the island, but the reason for these being on Earth ahead of time is never explored. There are some brief lines about its power being drawn from inside the planet (via the Fukuoka Tower for some reason) but a potential ecology theme is also never explored.
The result is a bizarre slog and a series of missed opportunities. Despite this being several movies down the line Miki is more useless than ever and she has no chemistry with newcomer Koji (Jun Hashizume). It's unclear why they're still using the ESP storyline at this stage, or why they thought a tepid romance would be a good idea. In the end it all comes down to blowing up a few crystals, meaning that all that Mothra stuff and the (very brief) danger to Godzilla Junior is totally pointless. Even the city miniatures and the musical themes aren't up to the usual standard; the whole thing is tedious and lame. It comes across as padding before the main even, although it's clear that if it was received more favourably the series would have gone on longer.
2/5
BONUS REVIEW
GODZILLA VS. DESTOROYAH (1995)
Fortunately the last entry in the Heisei Godzilla series picks up the pace in more ways than one. It's a brisker experience with some new elements, even if many of them are call-backs to Godzilla 1954. Cuteness is thrown out right away as Godzilla Junior's island is found to be destroyed by an eruption. Meanwhile research into 'micro-oxygen' using soil samples from the original Oxygen Destroyer results in the discovery of a new life-form and a potential for new weapons. It's a darker story that includes debates about scientific progress while linking back to the origins of the titular creature. It's also a film that remembers monsters can be used for suspense and horror scenes.
Godzilla might have been partial antagonist before in this era, but this time around the big guy's body itself is starting to meltdown in a very apocalyptic sense, as shown by more than one computer simulation. Impending doom is back after being overlooked for so long. While visions of an inferno are depicted researchers digging at the location of the 1954 film's ending discover a tiny creature. This 'abnormal mutation' and Godzilla's imminent nuclear demise form a dual ticking clock, offering both giant monster action and Aliens inspired shoot-outs. There are even flame-throwers and tracking devices. It doesn't shy away from death and destruction even as a new Super-X plane and new laser tanks are wheeled out.
It still misses the mark when it comes to Miki Saegusa (her one scene contemplating a normal life is embarrassingly short) but elsewhere the melodrama is occasionally effective. Destroyer, (or Destoroyah) in its tiny, medium sized, or giant forms, is depicted as a real threat. It even gets a few special moves that aren't just energy beams. Despite the silliness of Godzilla Junior's underdog battle or the idea of Godzilla Senior 'exploding' the end result is often compelling. The fire and smoke effects are improved, the monster injuries are nicely realised, the sense of gravitas is engaging, and the Akira Ifukube score is great. In the end it serves as a good conclusion that goes beyond several middling entries to cap off what started in 1984.
4/5
