Shin Godzilla

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Shin Godzilla
Shin Godzilla.png
Theatrical release poster
Directed by Hideaki Anno
Shinji Higuchi
Written byHideaki Anno
Produced byMinami Ichikawa
Taichi Ueda
Yoshihiro Sato
Masaya Shibusawa
Kazutoshi Wadakura
CinematographyKosuke Yamada
Edited byAtsuki Sato
Hideaki Anno
Music by Shirō Sagisu
Distributed byToho
Release date
  • July 25, 2016 (2016-07-25)(Tokyo)
  • July 29, 2016 (2016-07-29)(Japan)
Running time
120 minutes [2]
BudgetUS$15 million [3]
Box officeUS$78 million [4]

Shin Godzilla (シン・ゴジラ, Shin Gojira) [lower-alpha 1] is a 2016 Japanese kaiju film directed by Hideaki Anno and Shinji Higuchi, with a screenplay by Anno and special effects by Higuchi. Produced by Toho Pictures and Cine Bazar and distributed by Toho, it is the 31st installment in the Godzilla franchise, the 29th Godzilla film produced by Toho, Toho's third reboot of the franchise, [6] [7] and the first film in the franchise's Reiwa period. [lower-alpha 2] The film stars Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara. In the film, politicians struggle with bureaucratic red tape in order to deal with the sudden appearance of a giant monster that evolves whenever it is attacked.


In December 2014, Toho announced plans for a new domestic Godzilla film. Anno and Higuchi were announced as the directors in March 2015. Principal photography began in September 2015 and ended in October 2015. Inspiration for the film was drawn from the Fukushima Daiichi nuclear disaster and the 2011 Tōhoku earthquake and tsunami. [10]

Shin Godzilla was theatrically released on July 29, 2016 to critical acclaim from Japanese critics [11] and mixed reviews from Western critics. [12] The film grossed US$78 million worldwide and was the highest-grossing live-action Japanese film of 2016 [13] and became the highest-grossing Japanese-produced Godzilla film in the franchise. [14] It received 11 Japan Academy Prize nominations and won seven, including Picture of the Year and Director of the Year.


When the Japan Coast Guard investigates an abandoned yacht in Tokyo Bay, their boat is destroyed and the Tokyo Bay Aqua-Line is flooded. After seeing a viral video of the incident, Deputy Chief Cabinet Secretary Rando Yaguchi theorizes that it was caused by a living creature. His theory is confirmed when news reports show a massive tail emerging from the ocean. Shortly thereafter, the creature moves inland and crawls through the Kamata district of Tokyo in the midst of inadequate evacuation. The creature leaves a path of destruction and numerous casualties, and evolves into a bipedal red-skinned form before it begins to overheat and returns to the sea. The government officials focus on military strategy and civilian safety, while Yaguchi is put in charge of a task force to research the creature. Due to high radiation readings, the group theorizes that it is energized by nuclear fission. The U.S. sends a special envoy, Kayoco Anne Patterson, who reveals that a disgraced, vehemently anti-nuclear zoology professor, Goro Maki, had been studying mutations caused by radioactive contamination and theorized the appearance of the creature, but he is disbelieved by both American and Japanese scientific circles. The U.S. then prevented him from making his conclusions public. The abandoned yacht discovered in Tokyo Bay was Maki's, and he left his research notes, jumbled into a code, in the boat before disappearing.

The creature, named Godzilla after Maki's research, reappears, now twice its original size, and makes landfall near Kamakura en route for Tokyo. The Japan Self-Defense Forces mobilize, but their attacks have no effect and they are forced to withdraw when Godzilla breaks through their defenses into the city. The U.S. intervenes with a massively-destructive air strike plan, prompting the evacuation of civilians and government personnel. U.S. B-2 bombers wound Godzilla with MOP "bunker-buster" bombs. Godzilla recovers quickly and responds with highly destructive atomic rays fired from its mouth and dorsal plates, which hit and destroy the helicopter carrying the top government officials, and all of the B-2s, as well as incinerating and irradiating large swaths of Tokyo. Depleting its energy, Godzilla enters a dormant state and becomes immobile. Yaguchi's team discovers that Godzilla's plates and blood work as a cooling system and theorize that they could use a coagulating agent to freeze it. After analyzing tissue samples, they find that Godzilla is an ever-evolving creature, able to reproduce asexually. The United Nations, aware of this, informs Japan that thermonuclear weapons will be used against Godzilla should the Japanese fail to subdue it on their own in a few days. Evacuations are ordered in multiple prefectures in preparation for the nuclear attack. Unwilling to see nuclear weapons detonated in Japan again, Patterson uses her political connections to buy time for Yaguchi's team, who the interim government has little faith in.

Yaguchi's team has a breakthrough when they decipher Goro Maki's encoded research. They adjust their plan and procure the means to conduct their deep freeze plan with international support. Mere hours before the planned nuclear attack, Japan enacts the deep freeze plan. Godzilla is provoked into expending its atomic breath and energy against American drones. The team then detonates explosives in nearby buildings and in trains sent towards Godzilla's feet, knocking the monster down and giving tankers full of coagulant an opportunity to inject it into Godzilla's mouth. Though many are killed in the process, Godzilla is frozen solid. In the aftermath, it is discovered that the Godzilla fallout has a very short half-life and that Tokyo can soon be reconstructed. The international community agrees to cancel the nuclear attack but has the new Japanese government agree that, in the event of Godzilla's reawakening, an immediate thermonuclear strike will be executed. On Godzilla's tail, humanoid creatures appear frozen in the process of emerging.


The film features several cameos and supporting appearances, including Kengo Kora, Ren Osugi, Akira Emoto, Kimiko Yo, Jun Kunimura, Mikako Ichikawa, Pierre Taki, Takumi Saito, Keisuke Koide, Arata Furuta, Sei Hiraizumi, Kenichi Yajima, Tetsu Watanabe, Ken Mitsuishi, Kyūsaku Shimada, Kanji Tsuda, Issei Takahashi, Shinya Tsukamoto, Kazuo Hara, Isshin Inudo, Akira Ogata, Shingo Tsurumi, Suzuki Matsuo, Kreva, Katsuhiko Yokomitsu, and Atsuko Maeda. [15] Mansai Nomura portrayed Godzilla through motion capture. [17] Jun Kunimura previously appeared in Godzilla: Final Wars . Akira Emoto appeared in Godzilla vs. SpaceGodzilla .


Whereas the original Godzilla was conceived as a metaphor for the atomic bombings of Hiroshima and Nagasaki, [18] Shin Godzilla drew inspiration from the Fukushima Daiichi nuclear disaster and the 2011 Tōhoku earthquake and tsunami. Many critics noted similarities to those events. [10] Mark Schilling of The Japan Times wrote that the Godzilla creature serves "as an ambulatory tsunami, earthquake and nuclear reactor, leaving radioactive contamination in his wake". [18] Roland Kelts, the author of Japanamerica, felt that the "mobilizing blue-suited civil servants and piles of broken planks and debris quite nakedly echo scenes of the aftermath of the great Tohoku earthquake, tsunami and nuclear disaster." [19] Matt Alt of The New Yorker drew similar parallels with "the sight of blue-jumpsuited government spokesmen convening emergency press conferences ... [and] a stunned man quietly regarding mountains of debris, something that could have been lifted straight out of television footage of the hardest-hit regions up north. Even the sight of the radioactive monster's massive tail swishing over residential streets evokes memories of the fallout sent wafting over towns and cities in the course of Fukushima Daiichi's meltdown." [20]

Robert Rath from Zam argued that Shin Godzilla is a satire of Japanese politics, and likened the protagonist Rando Yaguchi to the Fukushima plant manager Masao Yoshida. [21] William Tsutsui, author of Godzilla on My Mind, wrote in the Arkansas Democrat-Gazette that "Shin Godzilla leaves no doubt that the greatest threat to Japan comes not from without but from within, from a geriatric, fossilized government bureaucracy unable to act decisively or to stand up resolutely to foreign pressure." [22] In his review for Forbes , Ollie Barder wrote that the film depicted the Japanese government's "complex and corpulent bureaucratic ways ... unable to deal with a crisis in any kind of efficient or fluid way", noting that the government members use the hierarchical system to protect their positions at the expense of citizens' lives. [23] According to Schilling, the government officials, Self-Defense Forces officers and others working to defeat Godzilla are portrayed as hardworking and intelligent, despite "some initial bumbling". [18]

Japan's Prime Minister Shinzō Abe had spoken positively of the film's pro-nationalist themes, stating, "I think that [Godzilla’s] popularity is rooted in the unwavering support that the public has for the Self-Defense Forces." [24]


Production credits [1]

Mansai Nomura portraying Godzilla through motion capture. Mansai nomura godzilla.jpg
Mansai Nomura portraying Godzilla through motion capture.


In December 2014, Toho announced plans for a new Godzilla film targeted for a 2016 release, stating, "This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with Legendary places no restrictions on us making domestic versions." [25] The new film would have no ties to Legendary's MonsterVerse and instead would serve as a reboot to the Toho series. Minami Ichikawa would serve as the film's production manager and Taiji Ueda as the film's project leader. Ueda confirmed that the screenplay was in development and filming had been planned for a summer 2015 shoot. Toho would additionally put together a project team, known as "Godzilla Conference" or "Godzi-con", to formulate future projects. [26]

In March 2015, Toho announced that the film would be co-directed by Hideaki Anno and Shinji Higuchi (who both collaborated on the anime Neon Genesis Evangelion ), in addition to Anno writing the screenplay and Higuchi directing the film's special effects. [27] [28] [29] In addition, Toho announced that the film will begin filming in the fall of 2015 set for a summer 2016 release. [30] Promotional artwork of the new Godzilla's footprint was also released, with Toho confirming that their new Godzilla will surpass Legendary Pictures' Godzilla as the tallest incarnation to date. [31]

Toho had approached Anno in January 2013 to direct the reboot but Anno initially declined due to falling into another depression after completing Evangelion: 3.0 You Can (Not) Redo , stating, "A representative from Toho contacted me directly, saying, 'We'd like to direct a new Godzilla film.' At the time, I was still recovering from EVA 3.0, and right on the spot, flatly refused the offer, 'It's impossible. Even to begin work on the next Eva is impossible.'" However, Toho's sincerity and his longtime friend and co-director, Shinji Higuchi, eventually convinced him to accept the offer in March 2013. [30] Anno had also refused the offer due to a lack of confidence, stating, "I refused [the offer] since I didn't have confidence that I could exceed the first film or come close to equaling it. But I thought that if I were to come close even a little, I would have to do the same thing [as the first film]." [32] Mahiro Maeda provided the new design for Godzilla while Takayuki Takeya provided the maquette. [33] Director Higuchi stated that he intended to provide the "most terrifying Godzilla that Japan's cutting-edge special-effects movie-making can muster." [34] A variety of techniques such as puppets, animatronics, and digital effects were initially considered [33] and an upper-body animatronic was produced but went unused after Toho decided to create a completely CG Godzilla. VFX Supervisor Atsuki Sato stated, "CG production had already been determined when I began participating. In the end, it was the best option to allow quick edits as creative visions changed and produced a high quality film." [35] A colorless maquette was built for CG animators to use as a reference when rendering the CG Godzilla model. [36] Mansai Nomura provided the motion capture performance for Godzilla. [17]


Principal photography began on September 1, 2015, with a large on-location film shoot at Kamata station in Tokyo under the working title "Shin Gojira". [37] [38] On September 23, 2015, Toho revealed the film's official title as Shin Gojira and that the film will star Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara. [39] [40] Producer Akihiro Yamauchi stated that the title Shin Gojira was chosen for the film due to the variety of meanings it conveys, such as either "new" (), "true" (), or "God" (). [41] Yamauchi also confirmed that the film has been planned for quite some time, stating, "It's been in the works a long time. It's not like it was produced just because of the Hollywood Godzilla". [20] Principal photography wrapped at the end of October 2015, with special effects work scheduled for November 2015. [42] [43]


Shiro Sagisu scored the film. The score features various remixes of "Decisive Battle" from Sagisu's Neon Genesis Evangelion score [44] and recycles several Akira Ifukube tracks. [45] Anno had decided to use Ifukube's music while writing the screenplay and attempted to adapt the old Ifukube tracks to modern stereo settings but the task proved too daunting and eventually settled on using the mono mixes instead. [44] The soundtrack was released on July 30, 2016, and sold 8,427 copies in 2 weeks. [46] Entitled Shin Godzilla Ongakushuu, the soundtrack album sold 43,951 copies in Japan. [47]



StarFlyer Shin Godzilla jet (JA08MC) JA08MCShinGodzillaJet.jpg
StarFlyer Shin Godzilla jet (JA08MC)

In November 2015, without any prior announcement, Toho screened a promo reel at the American Film Market for a potential sale for overseas markets, marketing the film (for a while) as Godzilla: Resurgence. [5] In December 2015, Toho unveiled the film's first teaser trailer [48] and teaser poster revealing Toho's new Godzilla design and the film's July 29, 2016, release date. [49] Chunichi Sports reported the size of the new Godzilla to be 118.5 metres (389 ft) tall, over 10 metres (33 ft) taller than Godzilla (2014), but not taller than Godzilla from King of the Monsters. Shin is the second tallest live action Godzilla in history. [50] [51]

In January 2016, images of the Godzilla suit were leaked online. [33] [52] In late March 2016, it was announced that Toho's Godzilla and Anno's Evangelion intellectual properties will form a "maximum collaboration" for merchandise in April 2016. [53] In mid-April 2016, Toho revealed the complete design of the new Godzilla and that it is a completely CG-generated character, as well as a new trailer, details regarding the principal and supporting characters, and that the film will be released in IMAX, 4DX, and MX4D formats for its domestic release. [15]

For summer 2016, the Namja Town amusement park held special Godzilla cross-promotion activities. The park unveiled a new virtual reality game, the food court produced kaiju-inspired food dishes, and a Godzilla foot on display as though it had crashed through the roof of the attached Sunshine City Alpa shopping center. [54] Sports equipment manufacturer Reebok released limited-edition Godzilla sneakers featuring a black reptilian skin pattern and either red or glow-in-the-dark green coloring in Japan. [55] In early 2017, Universal Studios Japan featured a temporary 4D Shin Godzilla attraction as part of its Universal Cool Japan 2017 program [56] as well as the addition of music from the film to the tracklist of the Hollywood Dream – The Ride roller coaster. [57]


Funimation's North American theatrical release poster. Shin Godzilla US poster.jpg
Funimation's North American theatrical release poster.

Shin Godzilla was theatrically released on July 29, 2016 in Japan in IMAX, 4DX, and MX4D in over 350 theaters [58] and 446 screens. [59] It had its red carpet premiere on July 25, 2016. [60] The premiere took place in Tokyo along Kabuki-cho Central Road, with a red carpet from the Hotel Gracery Shinjuku, the hotel which has the large Godzilla head peering over, 118.5 metres in length, the same distance as the height of Godzilla. [61] In April 2016, New World Cinemas was named one of the distributors to release the film in the United States, [62] later confirming via their official Facebook that they were "working hard to bring Godzilla to every state." However, in June 2016, New World Cinemas clarified on their official Facebook that "New World Cinemas are not the distributers [ sic ] for the new Godzilla Film. The mistake was make [ sic ] because we said Godzilla coming soon. This was merely a post to promote Godzilla as we too are big fans. We apologise for any confusion regarding this film." [63]

In July 2016, Toho announced that the film had been sold to 100 territories (including Asia, Africa, Europe, and North America) in 19 days after opening to foreign sales and will be released in Taiwan on August 12, the Philippines on August 24, Hong Kong and Macao on August 25, and Thailand on September 8. [64] At the 2016 San Diego Comic-Con, it was announced that Funimation would distribute the film for North America, Central America, South America, and the Caribbean for a late 2016 release [65] as Shin Godzilla, instead of Godzilla: Resurgence, at the insistence of Toho. [66]

In early September, Funimation officially announced that the film was to be given a one-week limited release in the United States and Canada from October 11–18 on 440 screens, in Japanese with English subtitles, making it the first Japanese Godzilla film to receive a theatrical North American release since Godzilla 2000 . Funimation hosted two North American premieres for the film, one premiere on October 3 in Los Angeles and the other on October 5 in New York. [67] Due to popular demand, Funimation extended the film's North American theatrical run with encore screenings for October 22 and select theaters offering daily screenings through October 27. [68] In the same month, Indonesian Film Censorship Board listed and registered both Shin Godzilla and Doraemon: Nobita and the Birth of Japan 2016 . [69]

In the UK, Altitude Films screened the film at FrightFest in Glasgow on February 24, 2017. [70] Altitude Films later dropped the film, with The Electric confirming in a Tweet: "the UK distributor Altitude have dropped it, and Toho aren't allowing any UK screenings at the mo." [71] The UK theatrical rights were later acquired by Manga Entertainment for an August 10, 2017 release. [72]

Home media

In Japan, Shin Godzilla was released on DVD and Blu-ray by Toho on March 22, 2017. [73] The film's Japan home video release sold 520,000 units for the DVD version, [74] 100,000 units for the Blu-ray Special Edition, [75] and 55,402 units for the Blu-ray Standard Edition, [76] totaling 675,402 DVD and Blu-ray sales in Japan. In North America, the film was released on Blu-ray, DVD and digital on August 1, 2017 by Funimation, which featured an English dub produced by Funimation. [77] In the United States, the Blu-ray and DVD grossed $4.5 million in video sales. [78] In the United Kingdom, the film was released on DVD and Blu-ray by Manga Entertainment on December 4, 2017. This release also included the Funimation dub. [79] The film was released on DVD and Blu-Ray in the UK on December 4. [80] The Blu-Ray edition of the film ranked at no.32 on the UK Blu-Ray chart for the week ending December 16. [81]


Box office

In Japan Shin Godzilla earned ¥625 million (US$6.1 million) on its opening weekend [10] and was number one at the box office for that weekend, placing Finding Dory at second place and One Piece Film: Gold at third place, and earned 23% more than 2014's Godzilla when it opened in Japan. [82] It was more than triple the first weekend's gross of 2004's Godzilla: Final Wars , the previous Toho film in the series, which in the end grossed US$12.3 million. [82] The film remained at number one during its second weekend and was projected to finish at US$40 million domestically. [83] The film dropped to second place during its third weekend, topped by The Secret Life of Pets , earning US$33.5 million after 17 days, topping the estimates for both 2004's Godzilla: Final Wars and 2014's Godzilla. [84] The film reached ¥5.3 billion (US$51.63 million) a month after its release, topping the earnings for Anno's previous film Evangelion: 3.0 You Can (Not) Redo, which earned ¥5,267,373,350. [85]

On its sixth weekend, the film climbed back to number two, topped by Your Name , with an earning of US$3.2 million, bringing the film's total domestic gross to US$60 million from 4.1 million admissions. On September 4, 2016, the film has grossed US$58.18 million. [86] After exiting the top ten in late September, the film has grossed nearly US$78 million from 5.6 million admissions. [87] Shin Godzilla became the highest grossing live-action Japanese film for 2016, [13] and the second highest grossing film in Japan for the year. [88] In the United States and Canada, the film grossed US$1.9 million during its limited 31 day run. [12] [89] Outside of Japan and North America, the film was released in a handful of International markets. In Taiwan, it grossed US$264,235; [90] in Australia it grossed US$84,090; in New Zealand it grossed US$13,892; in Thailand it grossed US$322,061; in South Korea it grossed US$36,915; and in Spain it grossed US$8,031. The film grossed US$75.4 million in Japan [91] and US$78 million worldwide. [4]

Critical response

Shin Godzilla received critical acclaim from Japanese critics, [11] while Western critics gave it a more mixed response. [92] [12] The special effects and new depiction of Godzilla were praised but the film was criticized for its long scenes, confusing dialogue, over-crowded characters and subplots. [10] On Rotten Tomatoes, the film has an approval rating of 86% based on 73 reviews, with an average rating of 6.70/10. The site's consensus reads: "Godzilla: Resurgence offers a refreshingly low-fi – and altogether entertaining – return to the monster's classic creature-feature roots." [93] On Metacritic, the film has a score of 67 out of 100 based on 14 critics, indicating "generally favorable reviews." [94]

Japanese pop culture site RO65 called the film a "masterpiece of unprecedented filmmaking", and felt that the film retains a "strong respect for the fundamental message within Godzilla". [95] Oricon Style praised directors Hideaki Anno and Shinji Higuchi for their realistic approach and the film's reality vs. idealism themes, calling it a "world class" Godzilla film. [96] [97] Cinema Today called the film a "thrilling experience" and a "masterpiece", feeling that the film was a return to form similar to 2004's Dawn of the Dead . [96] [98] Kazuo Ozaki from praised the film as well, stating, "Hollywood, even with all its money, can't approach this kind of perfection" [32] while Koichi Irikura of Cinema Today called it a "birth of a masterpiece that boldly announces the revival of a Japanese Godzilla". [32] Brian Ashcraft from Kotaku felt the film was a "letdown", though he praised the film's special effects and social reflection of Japan, he criticized the film's depiction of the human characters, stating, "I wish the movie explored the relationships between the politicians and the researchers more instead of glossing over it" and concluded that "This isn’t one of the best Godzilla films ever made, but it's certainly not one of the worst by any stretch, either. Godzilla: Resurgence is a series of compelling ideas in a so-so Godzilla movie". [99]

Ollie Barder from Forbes was surprised at "how good" the film was, praising Anno's classic Gainax motifs, though he was not completely fond of Godzilla's new design; he felt that the "googly" eyes made Godzilla look silly but that the design was more "organic and menacing" than previous incarnations and praised the film's depiction of Godzilla, stating, "I really liked the way Godzilla is handled in this new movie, as it feels a lot more like the God Soldier short that both Anno and Higuchi worked on" and concluded by stating that he "really enjoyed" the film and that it had a "far more coherent plot" than 2014's Godzilla. [23] Marcus Goh from Yahoo felt that the film was a better reimagining than 2014's Godzilla, though he criticized parts of Godzilla's design and the protagonists' plan to stop Godzilla. Goh gave the film a 3.1 score out of 5 and concluded that it "preserves the feel of Godzilla movies while updating it with modern responses". [100] Jay Hawkinson from Bloody Disgusting called the film a "very good Godzilla movie that teeters on greatness". However, he felt the film's drama "didn't always work" and that some of the English delivery felt "canned and often corny", particularly from Ishihara's character. Hawkinson praised the film's battle-scenes, Shiro Sagisu's score, and the film's homages to the franchise, and concluded that "Shin Godzilla may be a reboot sans the rubber suit we’ve grown to love but it's unquestionably Godzilla". [101] Guardian chief film critic Peter Bradshaw found Ishihara "slightly absurd" as an American "who bafflingly speaks English only with a strong and borderline unintelligible accent and comports herself with torpid model languor at all times". [102]

Elizabeth Kerr from The Hollywood Reporter felt that Anno and Higuchi had done "the big guy justice" and "created a Godzilla for this era". While she felt that "all the telling (or reading) rather than showing reduces the story's overall impact" Kerr concluded that "there's an intangible quality to this Godzilla that Edwards (Emmerich doesn’t count) never quite captured, and which is always welcome". [103] Matt Schley from Otaku USA called the film "A match made in kaiju-heaven", and praised Anno's directing: "It's also a reminder, after years in the Evangelion reboot woods, that Anno is one of Japan's most unique directorial voices in either animation or live-action filmmaking." Though he felt the special effects weren't as impressive as 2014's Godzilla, Schley stated that the film's CG "gets the job done, though there are a couple questionable shots" and concluded by stating that "Hideaki Anno has achieved a successful resurgence for both the Big G and himself". [104]


40th Japan Academy Prize Picture of the Year Shin GodzillaWon [105]
Director of the Year Hideaki Anno and Shinji Higuchi Won
Actor of the Year Hiroki Hasegawa Nominated
Supporting Actress of the Year Satomi Ishihara Nominated
Mikako IchikawaNominated
Best Music Shirou Sagisu Nominated
Best CinematographyKousuke YamadaWon
Best Art DirectionYuji Hayashida and Eri SakushimaWon
Best Lighting DirectionTakayuki KawabeWon
Best Sound RecordingJun Nakamura and Haru YamadaWon
Best Film Editing Hideaki Anno and Atsuki SatoWon
90th Kinema Junpo Magazine Prize Best Screenwriter Hideaki Anno Won [106]
59th Blue Ribbon Awards Best Film Shin GodzillaWon [107]
38th Yokohama Film Festival Special Grand PrizeHideaki AnnoWon [108]
71st Mainichi Film Awards Best FilmShin GodzillaWon [109]
Best Supporting Actress Mikako Ichikawa Won
Best Art DirectionYuji Hayashida and Eri SakushimaWon
11th Asian Film Awards Best Visual EffectsTetsuo OhyaWon [110]
Best SoundJun NakamuraNominated
43rd Saturn Awards Best International Film Shin GodzillaNominated [111]


Further films

In July 2017, Higuchi attended G-Fest XXIV and said that Toho could not make another Godzilla film until after 2020. [112] This was due to Toho's contract with Legendary Entertainment, which restricts Toho from releasing a live-action Godzilla film in the same year as Legendary's Godzilla films; Legendary released Godzilla: King of the Monsters in 2019, originally intended to be released in 2018, [113] and Godzilla vs. Kong in 2021, originally intended to be released in 2020. [114] At the time, Higuchi noted that Legendary's contract was effective until 2020. [115]

After Shin Godzilla, Toho produced a trilogy of anime Godzilla films: [116] Godzilla: Planet of the Monsters (2017), [117] Godzilla: City on the Edge of Battle (2018), [118] and Godzilla: The Planet Eater (2018). [119] In May 2018, Toho announced that it would not make a sequel to Shin Godzilla, but would instead establish a shared universe model similar to the Marvel Cinematic Universe. [120]

Public attractions

In 2018, a statue of the film's version of Godzilla was erected in central Tokyo. The area was dubbed Hibiya Godzilla Square and is considered to be largest Godzilla statue in Japan, according to Toho. [121] On May 31, 2019, Universal Studios Japan opened the Godzilla vs. Evangelion: The Real 4D attraction, a crossover between Shin Godzilla and Neon Genesis Evangelion. It ran until August 25, 2019. [122] In October 2020, Nijigen no Mori opened a Shin Godzilla zip line attraction in Kobe, Japan. [123]

See also


  1. Also known as Godzilla Resurgence. [1] [5] [6]
  2. Japan's Reiwa era began on May 1, 2019, [8] however, Toho considers Shin Godzilla and the anime trilogy as part of the Reiwa era. [9]

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Hideaki Anno is a Japanese animator, filmmaker and actor. He is best known for creating the anime series Neon Genesis Evangelion. His style has become defined by his postmodernist approach and the extensive portrayal of characters' thoughts and emotions, often through unconventional scenes presenting the mental deconstruction of those characters.

<i>Godzilla vs. Gigan</i> 1972 film by Jun Fukuda

Godzilla vs. Gigan, released in Japan as Chikyū Kōgeki Meirei: Gojira tai Gaigan, is a 1972 Japanese kaiju film directed by Jun Fukuda, written by Takeshi Kimura and Shinichi Sekizawa, and produced by Tomoyuki Tanaka, with special effects by Teruyoshi Nakano. Distributed by Toho and produced under their effects-based subsidiary Toho-Eizo, it is the 12th film in the Godzilla franchise, and features the fictional monster characters Godzilla, Gigan, Anguirus, and King Ghidorah. The film stars Hiroshi Ishikawa, Yuriko Hishimi, Tomoko Umeda, and Minoru Takashima, alongside Haruo Nakajima as Godzilla, Kenpachiro Satsuma as Gigan, Koetsu Omiya as Anguirus, and Kanta Ina as King Ghidorah. It is the last film in which Godzilla was portrayed by Nakajima after playing the character since the original 1954 film; he subsequently retired from suit acting.

<i>Godzilla Against Mechagodzilla</i> 2002 film by Masaaki Tezuka

Godzilla Against Mechagodzilla is a 2002 Japanese kaiju film directed by Masaaki Tezuka, written by Wataru Mimura, and produced by Shogo Tomiyama. Produced and distributed by Toho Studios, it is the 27th film in the Godzilla franchise and the fourth film in the franchise's Millennium period, and is also the 26th Godzilla film produced by Toho. The film features the fictional giant monster character Godzilla, along with an updated version of the mecha character Mechagodzilla, who is referred to in the film as Kiryu. The film stars Yumiko Shaku, Shin Takuma, Kou Takasugi, Yuusuke Tomoi, Kumi Mizuno, and Akira Nakao, with Tsutomu Kitagawa as Godzilla and Hirofumi Ishigaki as Kiryu.

<i>Godzilla 2000</i> 1999 film by Takao Okawara

Godzilla 2000: Millennium is a 1999 Japanese kaiju film directed by Takao Okawara, written by Hiroshi Kashiwabara and Wataru Mimura, produced by Shogo Tomiyama and starring Takehiro Murata, Hiroshi Abe, Naomi Nishida, Mayu Suzuki and Shiro Sano. Produced and distributed by Toho Studios, it is the 24th film in the Godzilla franchise, as well as the first film in the franchise's Millennium period. The film was also the 23rd Godzilla film to be produced by Toho, and was Toho's second reboot of the Godzilla franchise after the 1984 film The Return of Godzilla. The film, along with the subsequent Godzilla films in the franchise's Millennium era, ignores continuity established by any previous films with the sole exception of the original 1954 film.

<i>Godzilla</i> (franchise) Japanese-American media franchise

The Godzilla franchise is a Japanese media franchise created and owned by Toho, centered on the fictional kaiju character Godzilla. It is the longest-running film franchise, having been in ongoing production from 1954, with several hiatuses of varying lengths. The film franchise consists of 36 films; 32 produced by Toho, one produced by TriStar Pictures, and three produced by Legendary Pictures.

<i>Rebuild of Evangelion</i> Film series based on Neon Genesis Evangelion

Rebuild of Evangelion, known in Japan and on Prime Video as Evangelion: New Theatrical Edition, is a Japanese animated film series and a retelling of the original Neon Genesis Evangelion anime television series, produced by Studio Khara. Hideaki Anno served as the writer and general manager of the project, with Kazuya Tsurumaki and Masayuki directing the films themselves. Yoshiyuki Sadamoto, Ikuto Yamashita and Shirō Sagisu returned to provide character designs, mechanical designs and music respectively.

<i>Evangelion: 2.0 You Can (Not) Advance</i> 2009 Japanese animated film

Evangelion: 2.0 You Can (Not) Advance. is a 2009 Japanese animated science fiction action film directed by Kazuya Tsurumaki and Masayuki, and written by Hideaki Anno. It is the second of tetralogy of films released in the Rebuild of Evangelion. The tetralogy is based on the original anime series Neon Genesis Evangelion. It was produced and co-distributed by Hideaki Anno's Studio Khara in partnership with Gainax.

Khara (studio) Japanese animation studio

Khara, Inc. is a Japanese animation studio best known for its work on the Rebuild of Evangelion film tetralogy. Studio khara is the primary animation production studio. It was founded by Hideaki Anno in May 2006, and was shown publicly on 1 August when recruitment notices were posted on his website; Anno remains its president. The name khara comes from the Greek word χαρά, meaning joy. In 2016, Khara sued Gainax for 100 million yen in unpaid royalties from an agreement that Khara would earn royalties from income received on works and properties that founder Hideaki Anno had worked on. The suit alleged that Gainax delayed on paying royalties and incurred a large debt with Khara, which had loaned 100 million yen in August 2014, but had yet to receive payment on the loan.

Gojira (ゴジラ) is the original Japanese name for Godzilla, a giant monster at the center of a media franchise. It may also refer to:

<i>Evangelion: 3.0 You Can (Not) Redo</i> 2012 Japanese animated film

Evangelion: 3.0 You Can (Not) Redo. is a 2012 Japanese animated science fiction action film written and chief directed by Hideaki Anno and the third of four films released in the Rebuild of Evangelion series, based on the original anime series Neon Genesis Evangelion. It was produced and co-distributed by Anno's Studio Khara and released in Japanese theaters on November 17, 2012. It was followed by Evangelion: 3.0+1.0 Thrice Upon a Time in 2021.

<i>Evangelion: 3.0+1.0 Thrice Upon a Time</i> 2021 Japanese film

Evangelion: 3.0+1.0 Thrice Upon a Time is a 2021 Japanese animated science fiction film written and directed by Hideaki Anno and produced by Studio Khara. It is the fourth and final film in the Rebuild of Evangelion film series, part of the Neon Genesis Evangelion franchise.

<i>Godzilla: Planet of the Monsters</i> 2017 Japanese animated film

Godzilla: Planet of the Monsters is a 2017 Japanese computer-animated kaiju film directed by Kōbun Shizuno and Hiroyuki Seshita, written by Gen Urobuchi, and produced by Toho Animation and Polygon Pictures, in association with Netflix. It is the 32nd film in the Godzilla franchise, the 30th Godzilla film produced by Toho, the first animated film in the franchise, and the second film in the franchise's Reiwa period.

<i>Shin Ultraman</i> 2021 Japanese film directed by Shinji Higuchi

Shin Ultraman is an upcoming Japanese superhero kaiju film directed by Shinji Higuchi and written and produced by Hideaki Anno. A reimagining of Ultraman, the film is a co-production between Toho Pictures and Cine Bazar, with the film presented by Tsuburaya Productions, Toho, and Khara. The film is scheduled to be released in Japan in 2021 to commemorate the 55th anniversary of the Ultra Series.


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