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Godzilla Vs. Megalon Retro Review: Jet Jaguar’s Kitschy Origin

Jet Jaguar and Godzilla exchanged a friendly handshake in the 1973 Godzilla vs.  Megalon.

Now here we go teamwork.
Screenshot: What

In a few more weeks, Godzilla Singular Point it is finally blames Netflix, and that means we get a new version new from one of our favorite super robot friends, Jet Jaguar. To celebrate, let’s look back at their home history Godzilla Vs. Megalon, and find a movie that is, for better or worse, the movie’s embodiment of mute-funny monsters.

Treat monster movies like nothing but dumb schlock which is all a big stupid fight and nothing below the surface is anything new. From the origins of the genre to Western successes like this year Godzilla Vs. Kong, there will always be a place for a monster movie that shifts depth — or in some cases even logical coherence-For the spectacle of wide-eyed monster action on monster. Who needs intellectual abilities when you can have cities leveled by life’s greatest titans, though? Godzilla’s film career is no exception to this, of course, but since 1973 Godzilla vs Megalon could be the last example of a movie riding or dying on how much you can appreciate some giant-sized shenanigans and cheerful ignorance above any appearance of seriousness.

A film that feels almost equal parts embraced (especially for its special guest star and its final fight sequence) and insulted (for its different plot, over-reliance on reused movies and its absurd elements). ) from the great fandoms of G in the years since, Godzilla vs Megalon it’s really the kind of movie to know your expectations to get into. It never presents itself as trying to be more than the sum of its parts (parts that are certainly stretched to break at times), but if you’re waiting for the franchise to say something in the world like its most great entries are able to do, well, what you’ll find here is instead something more along the lines of “What if Godzilla dropped a fool, and it was so nice that he did it twice?”

Godzilla vs MegalonThe sharp plot of the thread takes us away from Godzilla as a focus. After their underwater civilization has been devastated by the nuclear tests of humanity – the same tests that gave us the King of Monsters in the first place – the vengeance Seattle, led by Emperor Anthony (Robert Dunham), erupts his monstrous god Megalon to destroy the surface world. While Godzilla and his friends on Monster Island are put on the sidelines by the shock waves of a recent nuclear test, Seattleans are looking at a Japanese inventor named Goro Ibuki (Katsuhiko Sasaki). They want to use Ibuki’s latest invention, a humanoid robot called Jet Jaguar, to control Megalon’s destruction path on Earth. While Goro and his assistants fight with prisoners to regain control of Jet Jaguar — and the JSDF struggles to stop Megalon’s assault on Tokyo – in the end, Goro succeeds and uses Jet Jaguar’s control system to gain the robot to call Godzilla for help. After Jet Jaguar inexplicably has his Ultraman and grows to the monstrous dimension, the robot and the King of Monsters join the tag-team fight of both Megalon and then-Godzilla rival, Gigan (mostly via videos reused by 1972’s Godzilla vs Gigan).

It is … it is, really. Godzilla vs Megalon just doesn’t really have much to justify its rather discordant 80-minute runtime time, as it runs between the Seattle’s unconvincing threat and Goro’s attempts to free his prisoner to regain access to Jet Jaguar. The focus on Jet Jaguar — infamously created as part of a children’s competition by Toho production studio to conceive a new monster for the franchise-face the film feels less like a Godzilla film and more of a pastiche of Ultramanthe greatest successes. As funny as the robot is, it’s hard not to feel like you’re almost out of place for what Godzilla was at this point in its history, even in its arc of evolution from a monstrous, horrible threat to one of Japan’s greatest heroes. Even then, the film struggles with what it wants to do with Jet Jaguar when it clashes with the liberal reuse of previous films, whose production stops under the intense demand of Godzilla’s rebirth in cultural consciousness. post-Re Kong vs Godzilla.

However, when you put aside the pieces of Godzilla Vs. Megalon which doesn’t freeze enough (which is certainly a significant piece) there’s also something here, deeply primed in its basic simplicity, that makes it fascinating elements. The last fight between Jet Jaguar, Godzilla, Gigan and Megalon is a messy joy, and the first time the film seems to actually have any kind of kinetic energy after its snake builds up. Even if you put it on the famous dropkick aside-In which Jet Jaguar hits Megalon so Godzilla can slip on her tail like she’s spitting in the face at whatever God’s physique responds so she can bring a kick to two feet right to her chest – it’s a beautiful piece of monster-on-robot-on-monster action. After doing 80 minutes you feel more like 120, you feel it Godzilla Vs. Megalon finally he just says “Well, you like fights, don’t you?” The film never had higher goals, and at least it offered.

Whether it’s the legacy he’s left on the franchise in this regard – the genre’s perception of monster movies as nothing more than shock and fear, and the silly rubber clothes smashing one against the other. on the other – being an entirely positive thing is an entirely different matter. On the one hand, Godzilla Vs. MegalonThe cultural cache over the years has meant monster movies, Godzilla or else, always face that upward battle of whether or not they want to be more than a spectacle. On the other hand, there’s a reminder that big franchises like this, varied like this, have room to go just for the economic thrills that make blockbusters the joy they are. It doesn’t matter how you feel Godzilla vs MegalonThe fragility, or strange origin of Jet Jaguar in its filial roots, here it is something satisfying for a giant robot and the King of all Kaiju who shake hands after a job well done and call it a day, no matter how serious you take your monster movies.

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