The Return of Godzilla is the first film that in the second series - or Heisei era - of Godzilla films and functions as a direct sequel to the original 1954 film, ignoring all other films in-between. The film tries to emulate the potent anti-nuclear allegory of the original, updated to reflect then-contemporary nuclear fears and anxieties - namely the tensions between the United States and the Soviet Union that threatened to break out into a full-scale nuclear war. In many ways, it is just as somber as the original film due to its moody atmosphere and darkly lit cinematography with deep shadows.

The overarching plot concerns Godzilla being awoken by volcanic activity and returning to menace Japan 30 years after its initial rampage with the main focus being on a scientist, his assistants and the Japanese government attempting to navigate the geopolitical ramifications and determine a means of stopping the monster. It's a strong premise, and for the first time allows the series to explore the real-life implications the appearance of a giant radioactive monster would cause. The segments with the politicians discussing the impact of Godzilla's activities are actually my favorite parts of the movie, even more so than the parts featuring Godzilla himself, as it allows for some interesting political commentary on Japan's role in global politics and feel like a spiritual predecessor to Shin Godzilla in many ways.

However, while I found the scenes with the politicians compelling, the scenes following the main human characters are a bit of a letdown. Goro Maki (Ken Tanaka),Naoko Okumura (Yasuko Sawaguchi) and her brother Hiroshi (Shin Takuma) are all a bit bland and forgettable; particularly disappointing is Tanaka as Maki, a reporter, as his role starts off interesting but the script runs out of things for him to do in the second half of the film once his character's main conflict - his frustration over the government's decision to keep Godzilla's return a secret - is resolved. There's also a half-hearted romantic relationship between Maki and Naoko that isn't developed well or all that consequential to the story. It's the supporting cast, namely the Prime Minister (Keiju Kobayashi) and Prof. Hayashida (Yosuke Natsuki) who are carrying the weight acting-wise in the film and their characters have much more depth as a result. Kobayashi's performance makes the pressure the Prime Minister feels over his country's situation tantalizing real. Natsuki as Hayashida is essentially a rehash of the Dr. Yamane character from the 1954 film although his backstory - both his parents were killed by Godzilla in 1954 - adds an interesting twist to his character. Fans of classic Japanese cinema may also note many prominent actors from other Japanese films making small appearances in the movie, such as Hiroshi Koizumi as a geologist, Kei Sato as a newspaper editor and Eitaro Ozawa and Mizuho Suzuki as cabinet ministers.

One final review note on the plot, I admit to becoming a bit confused trying to figure out if this Godzilla was the same Godzilla that attacked in 1954. The script seems to imply that it is the same Godzilla, despite the fact that the Godzilla in the 1954 film was killed by the Oxygen Destroyer. The final film in the Heisei era, Godzilla vs. Destoroyah retcons this to state that this was in fact the second Godzilla to attack Japan. It's a minor quibble all things considered.

Koji Hashimoto is the director of the film and while his work is a bit dull and workmanlike at times, he doesn't really do anything wrong from a technical or artistic point of view either. Suffice to say, direction isn't one of the movie's strengths but it's hardly a detriment either.

In terms of the special effects and Godzilla himself, there are some high highs but also a few disappointing aspects. In terms of highs, the miniature work is fantastic as are the optical effects. However, the decision to use a large cybertronic Godzilla for several shots looks a bit...off, especially when compared with shots of the actor in the suit. And while the effects used to show the aftermath of an attack by a mutated sea louse on the crew of a fishing boat are eerie and striking, the sea louse itself does not really convince.

Another major positive in the film's favor however is the music by Reijiro Koroku. It gives off a mournful vibe that strongly invokes a sense of tension and dread, especially whenever Godzilla shows up. The only minor blemish in terms of the film's soundtrack would be the song used for the closing credits which I feel clashes a bit tonally with the rest of the film. The cinematography by Kazutami Hara is fantastic, complimenting the dark feel of the movie very well. In terms of editing, Yoshitami Kuroiwa's work is satisfactory though I due think the sequences of the human leads trying to escape from a skyscraper damaged during Godzilla's rampage could have been shortened without sacrificing much, as they become somewhat problematic from a pacing point of view.

Overall, I feel like The Return of Godzilla is as a whole greater than the sum of its parts. While several aspects of the film are a bit of a mixed-bag, the highlights - namely the character of the Prime Minister and Kobayashi's performance - elevate the whole movie. It gets a solid 8/10 from me and is well worth seeking out if you are a fan of Godzilla, monster movies or science fiction in general.

After nearly a decade of silence, the Godzilla series makes a return with a film that sought to resurrect the thematic potential seen at it's inception. While Terror of Mechagodzilla was never intended to end the series, it would serve as a send off as the series succumbed to a struggling film industry. Producer Tomoyuki Tanaka sought to revive the series in the modern era with a more thoughtful and politically driven film that attempts to harken back to the original. With this film I'd say that Toho was overall successful.

The moody tone is were the strength of the film lies as it attempts to bring back the horror element of Godzilla. Th slower pace gives the monster a more grandiose entrance and makes his rampage feel like an actual disaster. The characters express disbelief that Godzilla has returned, showing that despite all the economic prosperity Japan has achieve, the shadow of Godzilla and what the monster represents still looms. This is emphasized by the first half of the film with a strong focus on the response of the Japanese government as well as the involvement of the United States and Soviet Union. It's very much a tactical film that allows for build up. The side-effect however is that this takes away some of the development for our main characters. There are some interesting ideas given to them, but they aren't full explored as deep as they should be. Still, there are some stand out performance such as Keiju Kobayashi as the Prime Minster. Despite his limited role, he gives the film some much needed pathos. Some of the foreign actors aren't that good but I don't hold it against film aimed first and foremost to a Japanese audience.

Special effects director Teruyoshi Nakano is finally given a budget to showcase his talents. The towering landscape of the Tokyo skyline is recreated in wonderful miniaturized detail. There are so many small details to appreciate like signs, billboards and the lights inside windows. Another thing to note is the scale as the modern skyscrapers of Tokyo manage to tower over Godzilla in size. The design is also quite nice, with Godzilla having large expressive eyes and sharp dragone-sque fangs. There are a few hiccups such as the use the giant animatronic that doesn't match the suit, as well as the giant life-size Godzilla foot. Sill it doesn't detract from all the effort and hard work shown on screen. Another issue is that there are moments where Godzilla feels rather aimless. Still, he does have a great presence and the musical score from Reijiro Koroku really helps accentuate the tone the film is going for. It is menacing as well as tragic.

While it is often cited as the birth of the Heisei era, it just as easily could be viewed as a final hurrah for the Showa era. It was technically made in the Showa era, and much of the crew were holdovers from the prior films. It really serves as a transitional point caught between two eras as the Godzilla series would be taken on by a new generation of filmmakers. While it may be slow at times, for anyone who enjoys the tone and artistry of these films, they will find plenty to appreciate here.

This and the 89(Biollante) film are the best in the series. They actually had a budget and you can see what happens when you invest in the film the product is amazing