A brilliant film that helped define a genre

Although it has its amusing moments, in eneral the plot does not convince.

if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

By the time the dramatic fireworks start popping off, each one feels earned.

The beast Godzilla movie is Godzilla (1998). Maybe you don't think so that's o.k. But if your mad about pick something more important to get angry about you pee pee heads. This is a great movie. It is the 13th M.o.t.h.r.a movie. It is also part 27 to the Japan Godzilla series. Part 24 to the Japan Godzilla series Godzilla vs M.e.g.a.g.u.i.r.u.s is better. The 12th M.o.t.h.r.a movie which is also part 25 to the Japan Godzilla series Godzilla M.o.t.h.r.a and King G.h.i.d.o.r.a.h giant monsters all out attack is also better. The 14th M.o.t.h.r.a that would also be part 28 to the Japan Godzilla series is called Godzilla final wars. That one is also better. But still this is a great movie. All the M.o.t.h.r.a movie are good. Most of Godzilla movies are pretty cool to. This is a very scary movie see. See it. See all the M.o.t.h.r.a movies.

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.

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.

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.