Godzilla: Tokyo S.O.S. – Japan, 2003 – reviews

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Godzilla: Tokyo S.O.S., released in Japan as Godzilla × Mothra × Mechagodzilla: Tokyo SOS (ゴジラ×モスラ×メカゴジラ 東京SOS Gojira tai Mosura tai Mekagojira Tōkyō Esu Ō Esu), is a 2003 science fiction kaiju film directed by Masaaki Tezuka. It was the twenty-seventh film to be released in the Japanese Godzilla series. It stars Noboru KanekoMiho YoshiokaMitsuki Koga,

Plot teaser:

Mechagodzilla is undergoing repair modifications after its battle with Godzilla. Prime Minister Hayato Igarashi accepts Lead Scientist Yoshito Chujo’s choice to replace the Absolute Zero Cannon with a powerful Tri-Maser.


The Shobijin (Mothra’s twin fairies) warn the Japanese government that Godzilla continues returning to Japan because they used the original Godzilla’s bones in Kiryu’s design. If they return the bones to the bottom of the sea, Mothra would gladly take Kiryu’s place in defending Japan, but if they do not, Mothra will declare war on humanity. Soon enough, Kamoebas, a giant mata mata turtle, is found washed ashore on a Japanese beach…

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Reviews [click links to read more]:

” … almost completely disregards story and structure, characterization and emotion in favor of mindless mayhem with only the most basic story-advancing plot elements to allow for some “logical” progression towards the end battle. The movie is very much a Western-inspired one, in that regard, favoring big action and speed rather than depth and meaning. Of course, some viewers might find that a positive, and that’s a justifiable position to take given that Godzilla is a series with its roots in the fantastical.” Martin Liebman, Blu-ray.com

“The music found in Tokyo S.O.S. is one of the better scores for a Godzilla film, composed once again by Oshima. Like Oshima’s previous work, there is some repetition here in the music; however, like Akira Ifukube, Oshima can get away with this as her music works so well even as a stand alone experience … Tokyo S.O.S., at heart, is simply one lengthy kaiju brawl between the three title monsters, who are entangled in a battle that lasts most of the film, something which hasn’t been seen since 1972’s Godzilla vs. Gigan.” Anthony Romero, Tokyo Kingdom


Bereft of characterization, GMMG contains far too many characters for so little time devoted to them. Still, Tezuka imbues a fanciful aura hearkening back to the magical works of Toho’s monster master, Ishiro Honda. GMMG often feels like 90 minutes cut from the previous movie, but is still a lot of fluffy fun replete with spectacular effects work.” Cool Ass Cinema


Godzilla: Tokyo S.O.S. features plenty of monster combat, for a change minimizing character inner struggle (it’s still there, unfortunately). Godzilla, Mechagodzilla, and Mothra—as well as two new Mothra larvae—get lots of screen time, as Japan is once again obliterated. Fans of atomic breath, light canons, and organic scales and cocoon webbing are in for a treat. The plot is pretty straightforward, but the American dubbing misses many of the nuances of the Japanese version.” Octavio Ramos, Examiner.com

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