Shin Godzilla (2016)

In many respects my standard review opening paragraph, which relates a film's basic storyline, is unnecessary here. Shin Godzilla is the latest feature film in Toho's long-running Godzilla franchise, and the general destructive formula of the series remains largely unchanged. The continuity may be completely rebooted, and some new ideas thrown in around the titular monster's design and abilities, but the standard narrative remains. Godzilla comes to Tokyo and destroys a lot of expensive real estate, and the Japanese government and military scramble to stop him from doing it.

Shin Godzilla is Toho's first new Godzilla movie in 12 years, following the rather over-the-top and deliberately silly Godzilla: Final Wars. While both films are clearly works of the same franchise, they could hardly be more different. While Final Wars presented a string of wrestling-style fights between Godzilla and a host of rival giant monsters, Shin Godzilla is a slightly odd political satire with no rival monsters in sight but a seemingly endless string of meetings, briefings, press conferences and diplomatic negotiations. It is a film less about giant monsters and a lot more about the inefficiencies of bureaucracy and the obfuscation of politics. I loved it. I strongly suspect most international viewers are going to hate it.

Cutie Honey (2004)

Many Western filmgoers bemoan Hollywood’s constant strip-mining of its audience’s youth, producing new adaptations of Saturday morning cartoons, classic TV shows and action figure lines. I suppose it’s a little reassuring that the same thing goes on in other countries and cultures as well. Cutie Honey is one of countless live-action remakes of a popular anime; in this case of Go Nagai’s 1970s hit TV series and manga of the same name (Nagai himself has a brief cameo in the film).

It does a serviceable job of retelling the origin story, and Cutie’s first battle against the villainous Panther Claw crime gang. It’s a non-stop hyper-active sort of a film, full of colour, movement and near-constant action. Any scene that doesn’t involve a vivid superhero fight seems to feature the lead actress lounging around in lingerie.

Director Hideaki Anno is best known for his animation work, particularly directing the Neon Genesis Evangelion TV series and films. Cutie Honey is his third live-action feature, and about as far from the serious character study of his previous works that you could get. Hiring an animation director for this film has definitely worked in its favour, since its visual aesthetic and pace owes far more to animation than it does to live-action cinema. The action sequences are boosted by hand-drawn animation effects, which not only reflect the film’s origins but also give it a fairly unique and colourful look.