Shin Godzilla

Shin Godzilla

Plot

Shin Godzilla, a 2016 Japanese monster film directed by Hideaki Anno and Shinji Higuchi, is a gripping tour de force that reimagines the classic Kaiju genre. On the day of the Spring Festival, a colossal, gilled creature rises from the waters of Tokyo Bay, leaving a trail of destruction in its wake. The massive, amphibious monstrosity, referred to as Shin Godzilla, emerges in the vicinity of Tokyo, instantly plunging the city into chaos. Initial assessments from the Japanese government predict devastating consequences, and a state of emergency is declared. As the creature wreaks havoc, devouring the very fabric of the city and claiming countless innocent lives, the government scrambles to contain the situation and devise a survival plan. However, as the crisis deepens, bureaucratic inefficiencies and infighting between government agencies hinder efforts to mitigate the disaster. Enter Hirokichi Shirakawa, the outgoing and diligent head of the Ministry of Education, Culture, Sports, Science and Technology's disaster preparedness division. Shirakawa's diligent efforts to leverage Japan's resources to combat the monster are eclipsed by the government's power struggles, as the Ministry of Economics and his contemporaries contest jurisdiction over the crisis. Meanwhile, in the Ministry of Foreign Affairs, a small clique of seasoned officials - including the diplomatic advisor, Rando Yaguchi - suspect a profound connection between Shin Godzilla and neighboring countries. Speculation arises among diplomatic circles that this may not be a freak event, but instead an experiment or a mishap orchestrated by foreign powers with unknown objectives. Beyond official lines, a clandestine team of scientists - engineers led by Rando Yaguchi's sister, Yumi Yaguchi, an expert on genetic engineering - step up to decode the monster's secrets. Drawing from academic knowledge and improvisation, they manage to temporarily stall the creature's trajectory by applying liquid nitrogen and initiating the process of refrigeration. This breakthrough purchase valuable time, but raises the stakes of potentially unraveling even better secrets behind this deadly adversary. However, with days running out as Tokyo teeters on the brink of collapse, Rando, Hirokichi, Yumi, and a handful of fellow authorities dare to challenge conventional protocols in favor of bold, innovative, and intuitive approaches to tackling the impending calamity. When the stakes are at their highest, they collectively challenge the system to discover the underlying driver behind the cataclysm. Scientists and medical staff are increasingly disoriented due to the abnormal bio-kinetics of the creature and numerous dead informants who've documented unusual bio- mechanical processes for this beast - all of this serves as an ominous cue that Shin Godzilla is not just an unusual manifestation of death but an 'industrial' process. However time works against its defenders. An emerging link unfolds suggesting this Kaiju is more than just haphazard accident: an event of terrible gravity and industrial complexity. It becomes increasingly clear that the existence of the Kaiju is not a force of nature but a mastermind product born for the intention of its creators. A link arising between Shin Godzilla and foreign sources is set against the dark backdrop of the day while pointing at an uncalled conclusion which brings to mind the need for international solidarity.

Reviews

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Steven

Seventy percent feels like a Japanese rendition of "The Founding of a Republic," with big names in suits endlessly repeating the cycle of meetings, panicking, more meetings, and more panicking, all while testing the audience's limits with rapid-fire, standard Japanese. The remaining thirty percent? It's the same old recipe, the familiar taste. Anno and Higuchi, those old rogues, sneak in their personal touches with bargain-basement special effects, recreating a live-action, rampaging Angel attack. As for the political metaphors, the Japanese themselves are selectively ignoring them, so why should outsiders read too much into it?

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6/5/2025, 6:17:47 AM
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Giovanna

This film feels like Mamoru Oshii's "Patlabor" brought to life. It demands a lot from its audience – a decent understanding of Japanese political history and Japanese special effects cinema (Tokusatsu). If you're not into Tokusatsu, don't follow politics, and aren't familiar with Hideaki Anno's work, then, as others have said, save your money and buy something tasty instead.

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6/4/2025, 9:56:15 AM
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Mason

You want Ultraman, but you give me a political lecture; you want to watch monster battles, but you stuff it with a patriotic theme. Am I being too shallow, or are you just too pretentious?!

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6/4/2025, 9:56:07 AM