Godzilla: Tokyo S.O.S.

I really liked how the end of the first act was met with a delightful little musical number sung by the twins. It made me both pumped for the next segment and feeling good about the old one. Fastidious piece of music.

But, about the human segments. Because when I close my eyes I hear the action hero dramatics of the the late 1950s. Don't believe me, try it next time you watch it and tell me that doesn't sound like the Van Johnson heroics of the big studios.

I think it's funny as hell a corps of professional aviators not once ever thought about having a mechanic as part of the plane's (Mechagodzilla) crew. Their response to the suggestion makes them look very foolish. I mean- isn't knowing that stuff part of their job?

Another thing is I think the director would be good at directing westerns.

I liked when humans mazered Godzilla and he just turned around and his face was like 'what the fuq, man'. Then, when Mechagodzilla was coming out of the sky right in his path all dramatic-like, Godzilla's face: 'you got to be shitting me' (ha!). Godzilla's whole posture is like a mom come home from a long days work, and she's got five kids, and all the stuff that's thrown at her from every direction, and all she really wants to do is sit down for five minutes. His face, when Mecha pulls out something flashy to use against him, I adore it. It's definitely 'mom when she throws up her hands and is all 'I give up goddamnit''.

This next part kind of needs you to know your Godzilla chronology so bear with me.

And then, when I mistakenly thought the Godzilla bones hugging Godzilla was Papa hugging Junior (Godzilla was a dad), I don't know who I need to tell that to, but that wasn't Papa. Papa wouldn't kill Junior. That was some unknown, third party, spirit who grabbed and ran away with Godzilla to the bottom of the sea just because that (whatever makes sense to a maniac). A monster who makes you want Papa Godzilla to come back.

Finally, I like to think the Prime Mi...