Toho’s famous atomic beast, and easily the most recognisable kaiju in the entire world, Gojira first emerged from the waters of outside of Japan to wreck the city of Tokyo on this day all the way back in 1954. In 2016, the day was declared “Godzilla Day” and, as a result, I am also appropriating November 3^rd to shine a spotlight on the undisputed King of the Monsters.

Released: 25 July 2016
Director: Hideaki Anno and Shinji Higuchi
Distributor: Toho Pictures
Budget: $15 million
Stars: Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Mikako Ichikawa, Ren Ôsugi, and Mansai Nomura

The Plot:
When the gigantic, atomically-charged Godzilla (Nomura) wrecks the Kamata district of Tokyo, the Japanese government, military, and scientific communities debate endlessly about how combat the threat. Their procrastination costs countless lives and proves futile when Godzilla spontaneously evolves and threatens all Japan!

The Background:
When Gojira (more popularly known worldwide as Godzilla) made its big-screen debut in Godzilla (Honda, 1954), it represented very real lingering fears regarding the threat and consequences of nuclear war. Since then, the titanic monster has appeared in numerous films and been depicted as both a saviour and destroyer of Japan, a protector and an unrelenting force of nature that has become an iconic figure in pop culture over its many decades of cinema. While Godzilla’s first big-budget American debut didn’t quite land as well as producers Toho had expected, the success of the 2014 version inspired the studio to resurrect their famous monster after some twelve years in hibernation. Unrelated to the many Godzilla movies that had come before it, and the ongoing Legendary Pictures films, the film redesigned Godzilla into a terrifying new form, one that would dwarf all previous iterations of the character, and sought to use the creature as a terrifying allegory not just to the threat of nuclear disaster but also natural disasters such as tsunamis and earthquakes while at the same time providing a realistic critique on the ineffectiveness of governments to respond to such devastation events.

The Review:
I am a pretty big fan of the Godzilla franchise; thanks to a massive marathon that was on television years ago when I was a kid, I can comfortably say that I have seen pretty much every single one of Godzilla’s big screen ventures with the exception of maybe a handful of the early ones. One thing I’ve learned about watching Godzilla films is that they are just as much about procrastination and long-winded side plots as they are about massive kaiju levelling cities and kicking seven bells out of each other. Usually, Godzilla movies involve a side plot revolving around a plucky Japanese report (or two) and/or military figures and scientists; sometimes, they even involve bizarre concepts like time travel and aliens but no matter what type of side plot they choose to employ it all comes down to one word: filler.

Shin Godzilla is rather unique in its use of filler in that the vast majority of its runtime is devoted not to the titular creature but to the seemingly endless debates and meetings within the Japanese governmental body. Prime Minister Seiji Okochi (Ôsugi) and his cabinet are understandably caught completely off-guard when what appears to be an underwater volcano or similar, relatively simple natural disaster floods the Tokyo Bay Aqua-Line turns out to be a gigantic quadrupedal creature that flops and flails its way through the Kamata district of Tokyo, leaving buildings destroyed and countless people homeless, injured, or dead, before promptly disappearing back to the sea. Initially, Okochi’s closest advisors and endless swarm of fellow politicians and officials are dismissively of young Deputy Chief Cabinet Secretary Rando Yaguchi’s (Hasegawa) instance that the initial phenomena could be a giant creature and that ignorance costs them precious response time and the lives of many. To solve the problem, the government decides to debate the matter, jumping from political opinions, to military options, to the baffled assumptions and confusion of scientists in a desperate bid to agree upon the correct and most appropriate course of action.

Eventually, the United States begins to show an interest when the creature’s radioactivity is discovered to be a very real threat and sends Kayoko Ann Patterson (Ishihara) as their representative to help aid the Japanese government in discovering the creature’s origins. This, of course, leads to yet more debate and procrastination; there was seriously an extended sequence in the film’s first ten minutes or so that saw the P.M. ferried from one meeting to the next and to the next as meetings were organised and adjourned faster than any military action could be agreed upon, and these debates were focused on (almost to the point of parody) at the expense of any other onscreen action. I get it; the idea is to convey that the government is absolutely ineffectual, powerless, and ignorant when it comes to massive disasters. They would rather debate the matter in a committee, lying to the public to calm any discontent and lingering fear over organising any kind of actual military action to avoid causing unnecessary collateral damage. Placing a destructive force like Godzilla into the modern world, where policy and procedure and semantics are often more important than any actual action, makes for a startlingly effective allegory for the ineptitude of the world’s governmental bodies (and politics in general) but it doesn’t necessarily equate to a particularly exciting or engaging Godzilla movie. Characters appear and disappear on a whim and it doesn’t help that very few of them have a chance to stand out thanks to Japan’s strict code of honour and professionalism meaning that people spend more time changing into appropriate outfits, being respectful, and mulling over treaties and documents than actually showcasing any real personality.

The P.M. is hesitant to make any rash decisions out of fear of injuring innocents or causing undue damage, which costs the military perhaps their best chance at destroying the creature before it evolves into its bipedal form and, ultimately, his procrastination and hesitancy costs him his own life and those of his closest advisors. This allows for Yaguchi to eventually step into the role of the lead character after he manages to formulate one last desperate bid to subdue the creature with a coagulating agent. He is able to reach this conclusion thanks to intelligence provided by Patterson, a smarmy and self-aggrandising character with aspirations on becoming the President of the United States. When the many older interchangeable politicians eventually fail to agree on a viable plan of action (or die thanks to their incompetence), the film’s focus falls back onto these younger characters and a gaggle of misfits and scientists, a handful of whom are able to showcase a little more personality beyond spouting nonsense, such as Hiromi Ogashira (Ichikawa), whose pragmatic nature helps her to stand out in a sea of stuffy politicians.

The Nitty-Gritty:
Amidst all of this pointless, senseless, endless political debate, there actually is a few appearances of Godzilla to be found here and in forms that we haven’t really ever seen before. Sadly, though, there’s a strange hypocritical attitude towards Godzilla in this film; on the one hand, it’s clearly this unstoppable force of nature that threatens Japan and is apparently resistant to all forms of military reprisal and, on the other, the film mocks its name and even the very idea of it as a creature. Sure, a kaiju wrecking downtown Tokyo is an outlandish concept and one that is laughable in its ridiculousness, but in the context of the film it’s actually happening so it kind of feels like mocking the word “tsunami” after the weather formation has decimated an entire city. When it first emerges on land, Godzilla is this strange, floppy beast that lumbers around on four rudimentary flipper-like legs. Though the effects look really good, especially compared to the suits worn in some of the early films (which, to be fair, have their charm and the model and design work used to realise them is admirable), this first form looks really weird and it’s mainly because of Godzilla’s weird, floppy head and unblinking, gawping eyes.

Biologically, it makes a lot of sense of Godzilla to begin in this form, which is much more marine-like and hampered by an overactive metabolism that causes it to soon overheat and retreat to the sea but, in execution, it just looks very goofy and unsettling and I’m not entirely certain why the filmmakers chose to not have the creature blink. Godzilla’s big thing in this film is its ability to evolve; soon into its crawling rampage, it attempts to transform into a bipedal form and, when it finally re-emerges from the sea, it has assumed an upright form that is largely familiar to any Godzilla fan…but dramatically larger and far more menacing than any other Godzilla seen before it. With rudimentary dinosaur-like arms (which are weaker and more useless than any previous Godzilla, being little more than static claw-like appendages for the most part), massive chunky legs, and an ostentatiously-large tail, this Godzilla sports jagged teeth, a rock-like hide, and small, piercing eyes (that still don’t blink; I’m sorry to harp on about it but I don’t really get that choice) in addition to his iconic roar.

Completely resistant to all forms of attack, this Godzilla also boasts the most powerful and destructive version of its atomic breath yet; beginning as a plume of fire, it quickly becomes a devastating purple ray of death that fires from the creature’s gruesome split-jaw. Later, when the American’s actually manage to damage the creature, it starts spewing lasers from its back/fins and even from its tail, making it probably the most diverse and powerful of any Godzilla before despite the fact that it likes to just stand around as still as a statue or plodding slowly forwards with little to no purpose. Eventually, when all other conventional weapons have failed, Yaguchi spearheads a ludicrous plan to stave off an impending nuclear assault by launching a focused and co-ordinated attack on the creature’s head and legs and bury it under collapsing skyscrapers so a series of cranes can inject a coagulating agent into its mouth that, after the deaths of many and even more destruction, eventually manages to literally freeze Godzilla in place. Luckily, its radioactive half-life is conveniently discovered to be surprisingly short, meaning Tokyo can be reconstructed without fear of millions dying from radiation sickness. I find this extremely unlikely and actually quite odd; I would have expected Godzilla’s radioactivity to have been far more devastating in this film considering the climate at the time) but, instead, the creature is anti-climactically stopped just as its rampage was kicking up a notch and the film abruptly ends having wasted far too much of its run time on pointless and frankly boring political discussions.

The Summary:
One of the issues I had with Godzilla (Edwards, 2014) was that the film spent way too much of its time teasing the titular creature and cutting away from Godzilla’s rampage; I got why, as it was a great way to introduce new audiences to the character and to build suspense but, for those of us who are big Godzilla fans, we want to see the actual creature in action not spend all of our time with the human characters. This is, however, the price one must pay for being a Godzilla fan; human characters and side plots always exist in these films and distract from the kaiju action. It makes sense as you want to have characters you can relate to and root for and it helps put the film’s devastation and themes into context but it doesn’t change the fact that the kaiju action is what makes these films so enjoyable. And, in that respect, Shin Godzilla fails quite spectacularly; Godzilla has never looked more terrifying or displayed such incredible power and yet it’s largely just a massive, shambling slab of meat that barely moves and reacts to being attacked not because it’s in pain or enraged but more because that’s what the plot expects it to do. The film just spends way too much time focusing on its critique of government, politics, and red tape than it does actually focusing on Godzilla’s presence and threat, which is a shame as there was so much potential for a big-budget, traditional kaiju film but Shin Godzilla doesn’t really impress much beyond its commendable effects.

My Rating:

Pretty Good

What did you think of Shin Godzilla? How did you feel about its pacing and focus? Did you like Godzilla’s redesign or do you feel it strayed a bit too far from its traditional appearance? Were you also disappointed by the film’s lack of focus on Godzilla and commentary on politics or do you feel it did a good job of shaking up the traditional Godzilla formula? What is your favourite Godzilla movie and why? How are you celebrating Godzilla Day this year? Whatever your thoughts on Shin Godzilla, or Godzilla and kaiju films in general, feel free to leave a comment below.

Toho’s famous atomic beast, and easily the most recognisable kaiju in the entire world, Gojira first emerged from the waters of outside of Japan to wreck the city of Tokyo on this day all the way back in 1954. In 2016, the day was declared “Godzilla Day” and, as a result, I’m only celebrating the undisputed King of the Monsters.

Released: 3 November 1954
Director: Ishirō Honda
Distributor: Toho
Budget: ¥100 million
Stars: Akira Takarada, Momoko Kōchi, Akihiko Hirata, Takashi Shimura, and Haruo Nakajima and Katsumi Tezuka

The Plot:
When a gigantic creature (Nakajima and Tezuka) born from nuclear radiation destroys a Japanese freighter, ransacks Odo Island, and rampages through Tokyo, Doctor Daisuke Serizawa’s (Hirata) experimental “Oxygen Destroyer” becomes the only hope of saving Japan!

The Background:
On August 6^th, 1946, at the height of the Second World War, a nuclear weapon code-named “Little Boy” was dropped by the United States military on the Japanese city of Hiroshima, killing 70,000 people. A second bomb strike Nagaski three days later, killing a further 35,000 people, and in the Japanese Imperial Army summarily surrendered in aftermath of these devastating attacks. Since then, radiation and atomic fallout from the bombings have resulted in thousands of people falling sick and dying, and post-war Japan was gripped with fear regarding nuclear weapons and the threat of nuclear destruction. From this fear was born Gojira, the living embodiment of nuclear destruction, and was as inspirational to producer Tomoyuki Tanaka as King Kong (Cooper and Schoedsack, 1933) and The Beast from 20,000 Fathoms (Lourié, 1953) in Godzilla’s development. Director Ishirō Honda’s war-time experiences made him idea to the task of taking the concept seriously, while the titular creature went through a number of concepts before Teizo Toshimitsu, Akira Watanabe, and Eiji Tsuburaya settled on its final design.Combining elements of numerous dinosaurs, Tsuburaya initially planned to bring the creature to life using stop-motion animation but reluctantly utilised suitmation, resulting in a 220-pound suit that was so heavy, hot, and cumbersome that it took two stuntmen to wear it. Though the origin of the creature’s name is the subject of many tall tales, his iconic roar was the work of composer Akira Ifukube and Tsuburaya directed the film’s many complex models, miniatures, and special effects. In its original Japanese run, Godzilla was a modest financial success but was criticised for glorifying a real tragedy with an unbelievable, fire-breathing monster. Still, the film did well enough to receive an international release, where it was retitled Godzilla, King of the Monsters! (Morse and Honda, 1956) and featured a number of edits, including the insertion of Raymond Burr, where it made a further $2 million the original’s bleak themes. Since then, Godzilla spawned easily the greatest and most iconic monster movie franchise of all time and enjoyed a legacy that spanned over sixty years of invention, reinvention, and creativity and it all began here, with a metaphorical mediation on  the horrors of nuclear war.

The Review:
I can’t actually remember off the top of my head when I first became aware of Godzilla; I think it was just one of those cultural phenomenon’s that I had just picked up from references and homages in other media as I certainly don’t remember the movies being on television when I was a kid. I know I was fascinated by the creature, and the concept, in my pre-teen years and jumped at the chance to stay up late to watch a whole evening’s worth of content celebrating kaiju films, which included the first-ever Godzilla movie I ever watched from start to finish, Godzilla vs. King Ghidorah (Ōmori, 1991), which was all produced to coincide with the upcoming release of the 1998 American version of the film. After that, I was as hooked as I could possibly be and made a point to tape any subsequent Godzilla movies when they aired, and even went out of my way to get box sets from Australia to own the films (since hardly any of them are available here in the United Kingdom). Consequently, I’m more a fan of the Heisei and Millennium eras of the franchise, but I’m always up for a bit of black Showa action since that is where the series started, after all. The first thing to note about this review is that I am watching the original black-and-white version of the film with Japanese subtitles, meaning there’s no Raymond Burr and no hilariously bad dubbing; however, this isn’t actually my preferred way of watching Japanese films or anime and I’m perfectly fine with dubs over subtitled films. Still, it would be remiss of me to mention that the film quality hasn’t actually aged all that well; it’s quite grainy and dark, and actually seems inferior to even King Kong, but I’m hardly going to begrudge the film based on the technology and film quality of the time.

The film begins with a sudden and violent flash of light destroying the Japanese freighter Eiko-maru just outside of Odo Island; when the Bingo-maru is sent to investigate, it is also destroyed, the locals are thrown into a panic at the loss of life and the few survivors tell tales of the ocean simply exploding around them. Of course, the press catches wind of the story and speculation as to the cause of the accidents is only exacerbated after the natives of Odo Island find their fishing efforts ruined and stories of an ancient sea monster named “Godzilla” being blamed for it all by an elderly native (Kokuten Kōdō). Although these are initially dismissed, they turn out to be true when the island is ravaged by a fierce storm and a gigantic, dinosaur-like creature is briefly seen laying waste to the village. Traumatised by the devastation, the natives appeal for an investigation, which renowned palaeologist Doctor Kyohei Yamane (Shimura) agrees is the best course of action. Accordingly, he heads to the island to assess the damage and is accompanied by a team of scientists, his daughter Emiko (Kōchi), and Hideto Ogata (Takarada), a salvage ship captain who steers the boat. Amidst the wreckage on Odo Island, Yamane discovers that the village well has been contaminated by radioactive fallout and that massive radioactive footprints and extinct trilobites are littered throughout the village; the cause is immediately identified when the alarm bell rings and Godzilla is fully seen, and heard, for the first time, quite rightly sending everyone into a screaming panic! Although the creature disappears back into the ocean as soon as it emerges, Yamane has seen enough to postulate an original for the creature, believing that it is an ancient, sea-dwelling dinosaur of sorts that survived the extinction of its brethren to become the legendary creature the natives refer to as Godzilla and apparently disturbed from its long sleep at the depths of the ocean by recent atomic tests being conducted at sea.

Although there is some debate about how public to make these events, the press print their story anyway, though few seem to take the impending threat of Godzilla seriously and find the idea of retreating to the safety of bomb shelters to be too much of an inconvenience. The military’s efforts to destroy the creature using depth charges are met with failure, and only cause further lives to be lost at sea when Godzilla retaliates, destroying both military and civilian vessels with its atomic breath. Yamane is distraught at the military’s efforts to kill Godzilla, as he wishes to study the creature further to discover the secrets of its biology and resistance to radiation, though he asserts that the creature is virtually indestructible since was able to absorb massive amounts of radiation and survive for millions of years without being harmed. One newspaper agrees one the scientific merit of the creature and sends a reporter, Hagiwara (Sachio Sakai), to interview Dr. Serizawa, a reclusive scientist horrifically scarred from and traumatised by the war, and to whom Emiko is engaged. Emiko agrees to take Hagiwara to see Serizawa since she wants to break off their engagement in favour of Ogata anyway, but he staunchly refuses to divulge any information on his latest research to Hagiwara. He does, however, provide a secret demonstration of his Oxygen Destroyer to Emiko, who is so traumatised by the devices ability to strip marine life to the bone through aggressive asphyxiation that she forgets all about mentioning their engagement. However, after Godzilla finally makes landfall and begins rampaging through first Shinagawa and then central Tokyo, shrugging off the fighter jets, missiles, and electrified fences erected to slow and stop its progress, she has no choice but to betray Serizawa’s confidence and goes to him with Ogata to plea for his help. Serizawa, however, is reluctant to employ the Oxygen Destroyer since he fears, and knows, that the military or other superpowers of the world will see its awesome destructive power as a weapon and force him to make more, but is spurred to assist after witnessing the sheer destruction caused by Godzilla.

The Nitty-Gritty:
As is to be expected from a Godzilla movie, much of Godzilla’s runtime is spent following a handful of human characters who react to the titular creature in different; thankfully, for a long-time Godzilla fan such as myself, the original film doesn’t actually set the template that so many others would follow and veers away from following reporters and/or soldiers and mostly focuses on Dr. Yamane, his concerned daughter, and her bland, would-be-lover. Yamane is different from every other character in the film in that he doesn’t want to see Godzilla destroyed; instead, he wishes to study the creature, to uncover the secrets of its strength and the potential benefits it could bring to mankind, and this even brings him into conflict with Ogata, who tries in vain to argue that the creature’s threat outweighs Yamane’s scientific curiosity. Were it not for the presence of Dr. Serizawa, Yamane would easily be the most interesting human character; while the reporters, soldiers, and government officials we do see are overwhelmed by Godzilla’s rampage, Serizawa is more concerned with the potential of others to pervert his research into something equally, if not more powerful, than nuclear weapons.

Considering that Godzilla is the embodiment of nuclear terror and exudes radioactivity, the scientists don’t really do all that much to protect themselves from radiation; Yamane handles radioactive evidence with his bare hands and his team simply tell bystanders to stand back when they pick up signs of radiation, however once it makes landfall, its threat is taken very seriously. While the miniatures and model shots would improve over time (vehicles, such as helicopters, cars, and trains, suffer the worst in this film, though houses and structures tend to simply crumble and topple with ridiculous ease), the rear-projection effects are pretty ambitious for the time. Honestly, the entire film is bolstered by being in black-and-white and the graininess of the film stock; this, and the darkness that constantly bathes Godzilla, goes a long way to hiding some of the cruder effects and presenting the creature as a terrifying force of nature. I do have to commend the suit work, though; sure, it’s probably cheaper, easier, and less impressive than stop-motion effects but it definitely allows for a far ore versatile kaiju, one who can crash through a miniature version of Tokyo with ease and leave thousands either dead or slowly dying from radiation sickness. Of course, the star of the show, and the main reason that anyone watches this and any of the Godzilla films, is the Big-G himself. The film spends a great deal of time building anticipation to Godzilla’s full reveal, showing merely the flash of its atomic breath or the dark shadow of its leg as it topples buildings; even when we see its head and torso emerge over the mountains of Odo Island and out at sea, were still barely have an idea of what it actually looks like, which is a great way to paint it as this mysterious, fearsome, and almost mythological being. Long regarded as a creature of legend, Godzilla is like a living force of nature, easily shrugging off gunfire, missiles, and every attempt by the military to harm it. Seemingly without conscience, the creature emerges from the ocean and tramples its way through Shinagawa, killing untold numbers and causing devastation in its wake; while the military scrambles to organise mass evacuations and erect massive electrical fences, their efforts are entirely in vain (despite the incredibly speed that they’re able to put these defences together) and Godzilla easily tears its way into downtown Tokyo. The shot of the creature, seeped in darkness and with fire rage all around it as it roars in triumph and unleashes its destructive atomic breath, perfectly encapsulates everything that this original version of Godzilla represents: fear. Fear of the unknown, fear of the power of nature, fear of radiation, fear of nuclear fallout, and fear of our impending demise against forces we cannot possibly understand or hope to fight back against.

You can make all the jokes you want about how ridiculous it is to see a man in rubbery suit flailing around and slapping at model buildings, but there’s a raw power to Godzilla in this film that is often forgotten in many of his interpretations; it’s not some cute, cuddly mascot or a benevolent creature looking to defend us from some greater evil, it’s all the fury of nature and man’s inhumanity to man given physical form, and nothing showcases the awesome ferocity of its nature than seeing it lay waste to one of the greatest and most prolific cities in the modern world. Although Dr. Serizawa is moved by Emiko and Ogata’s plea to help get rid of Godzilla, he is so determined to keep his Oxygen Destroyer from falling into the wrong hands or being perverted into a superweapon that he destroys all of his research notes and all evidence of the device save for the one he has created. Realising that he could be coerced into making another, but fully aware of the destruction and devastation being caused by Godzilla, he sees only one viable option: he must personally deliver the device to the bottom of Tokyo Bay, where Godzilla has retreated following its most recent rampage, and kill himself along with the creature to end two threats against the world in one blow. He does this willingly, despite Emiko’s (unconvincing) tears and Ogata’s insistence that he go in Serizawa’s place since the doctor has no experience using a diving suit; although Ogata insists on accompanying him to where the creature lies on the seabed, Serizawa refuses to leave and severs his lifeline to the ship after depositing the Oxygen Destroyer. The device has a near-instant and fatal effect, suffocating the creature and stripping it away to its bones, and sparing Serizawa’s loved ones from its threat. Those who are familiar with the multitude of Godzilla sequels and movies may be surprised to learn that Godzilla dies so conclusively (and, if we’re being honest, anti-climatically), but, while the crew and Serizawa’s friends salute his bravery, a troubled Dr. Yamane believes that another Godzilla may come into being if humanity is unable to learn from its mistakes and stop screwing around with nuclear weapons and technology.

The Summary:
Godzilla obviously isn’t going to appeal to everyone; I’ve known a lot of people who straight-up refuse to watch black-and-white films, let alone ridiculous kaiju movies featuring a man in a rubber suit smashing apart model buildings, but I think it’s still an important film for movie fans, especially, to check out for its message on the horrors of nuclear weapons if nothing else. The themes of fear and apprehension regarding nature and man’s destructive potential haven’t been diluted over time; if anything, they’ve only strengthen over the decades as global conflicts and arsenals have escalated, meaning that we’ve never been closer to blasting our world into oblivion than we are right now. Godzilla represents the fear of that threat; a literal beast that rises from the darkest depths of the ocean and punishes humanity for their stupidity and hubris, shrugging off all modern weapons and only being defeated by employing a weapon even more devastating than both it and the weapons that awoke and empowered it. While the human characters aren’t all that interesting and some of the effects haven’t aged too well, this is true of many kaiju movies from this period, and films in general from back in the day, and I think it’s better to concentrate on what does work about the film. The model shots, rear projection, and practical effects are all very ambitious and, arguably, allow the film to hold up a little better without the jerkiness of stop-motion animation. Characters like Dr. Yamame and Dr. Serizawa are clear standouts against the bland Ogata and the largely inconsequential Emiko; speaking out on the scientific potential of Godzilla and the harmful potential of scientific research, both characters help to drive home the primary themes of the movie (that war has brought about terrible consequences and that nature will punish us for our violent tendencies) as much as the titular creature, which makes an immediate impact as a ferocious and terrifying monster in its debut appearance.

My Rating:

Pretty Good

Are you a fan of the original Godzilla? Which version do you prefer, the original Japanese movie or the American dub with Raymond Burr? What did you think to the build up to Godzilla’s appearance and the lore surrounding the creature? Were you a fan of the film’s characters and what did you think to the suitmation used to bring Godzilla to life? What is your favourite Godzilla movie and why? How are you celebrating Godzilla Day this year? Whatever your thoughts on Godzilla, or Godzilla and kaiju films in general, feel free to leave a comment below and be sure to check out my other Godzilla content!