#Godzilla planet eater miana series#
But who does duologies? Apparently nobody-both JCs tried, once apiece, and see how that worked out-and that's a shame.Įven so, watching City and Planet Eater without a pause between them (and with Planet of the Monsters in the receding distance of more than two years ago) was probably to their benefit, and it's worth pointing out that the main story of the trilogy (minus the opening and minus an interestingly-detached series of epilogues) is told in something very close to real time, with City starting up right where Planet of the Monsters ended, shortly after a costly victory against a creature that turned out to only be Godzilla's son (and Minya has, somehow, never looked worse), which awakened the real Godzilla, 20,000 years old, grown to the size of a mountain, and more than capable of scattering Haruo's strike force to the winds. That would leave us with a Planet of the Monsters/ City hybrid and Planet Eater (untouched) as its follow-up, and that would be precisely fine. In any event, there's no reason Planet of the Monsters couldn't have been folded into City on the Edge of Battle, if pared down to half an hour (and if City were pared down to one), which is surely all that would've been required to hit all of their actual plot points.
#Godzilla planet eater miana movie#
Yet in the light of its two sequels, I suppose that I must like Planet of the Monsters even less than I did at the time, because it becomes so redundant in context with them, essentially a scene-setting prologue to a single unified Godzilla movie that for some reason runs 289 minutes, despite only having enough material for about 200, even taking into account certain indulgences-in other words, pretty much exactly the not-entirely-well-used runtime occupied by these very sequels, released year-on-year in 20 respectively. By way of relativistic effects that are, of course, not presented with any particular mathematical rigor, 20,000 years have passed on Earth for the mere 20 they've been gone. Haruo Sakaki (Mamoru Miyano) to retake the planet humans had once called home. But life aboard their ark became stagnant, and a plan was hatched by Capt. Its premise, perhaps you recall, was as tantalizing as anything ever dreamed up in a franchise that's rarely wanted for intriguingly goofy ideas: in the first part of the 21st century, Godzilla and other monsters arose from the radioactive, polluted detritus of civilization, and humankind was more-or-less exterminated by them, with only a mere 4000 managing to escape the cursed Earth by way of an interstellar ark built with the assistance of a pair of alien species who arrived too late to help, the stern engineers of the Bilusaludo and the ethereal techno-priests of the Exif. Godzilla: City on the Edge of Battle and Godzilla: The Planet Eater continue the would-be-TV-show-redeveloped-into-a-feature-film trilogy that was begun back in 2017 with Godzilla: Planet of the Monsters, a film which I had no love for at the time, except for a contradictory impulse to value it for its originality while sadly deploring many of the ways it actually brought that originality to the screen.
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