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Almost as if still harboring a slight disdain for Roland Emmerich's Americanized attempt, the filmmakers take a quick moment to have two young sailors tell audiences that the giant radioactive lizard that attacked New York was not Godzilla.
In fact, as one of them points out, the verdict is still out on what exactly it was, but it mostly certainly was not the same rough-skinned, serrated-finned reptilian creature which 21st-Century Japan is about to encounter.
Loyal fans will quickly catch on to some alterations made in the classic monsters.
Baragon's horn doesn't glow, and Mothra is smaller and without her magical energy attacks.
While both movies come with their share of poorly-resolved sequences, likely due to the original photography and condition of the source, the first movie is blurrier and softer, but the second movie reveals negligible hints of noise and aliasing around the edges of many objects.
Presented in their original 2.35:1 aspect ratios, contrast is a tad on the hot side in the fight against Mechagodzilla while the all-out monster bash is duller and flatter.
But here is where the story really gets kooky: the idea is to take the DNA from the original Godzilla's skeleton into a giant robotic version.
The aforementioned officials plan to construct a monster of their own to defend against future attacks, not only from the gigantic roars of this overgrown lizard but from other unimaginable horrors yet to be revealed.Four years later, the government finally decides to do something about the country's monster epidemic, or as one character describes it as "Godzilla's curse." From a script by Wataru Mimura ('Godzilla 2000'), one of the great aspects of this storyline is that it follows in the continuity of Ishirô Honda's 1954 classic, along with a few other Toho favorites, like Mothra and Gaira.During a private conversation between government officials, Tezuka interlays clips from those films so as to quickly rundown the threats they've had to face in the past.Our guide through the folklore angle is the intrepid TV reporter Yuri (Chiharu Niiyama), working for a low-budget TV station and watching the mayhem from the sidelines, sometimes in the line of fire.
Her dramatic arc adds the necessary heart to one of the better entries in the modern Godzilla franchise. S.') immediately throws audiences into the middle of mass hysteria as the legendary Godzilla tramples unto Japanese shores.
As confusion and panic are amplified by unexplained earthquakes, massive landslides and enormous water cocoons, all which funnily bring harm to mischievous, shrine-disrespecting hoodlums, the plot carefully intensifies viewers' anticipation for when Godzilla will wreak endless havoc.