Godzilla vs. Mothra ain’t bad. It ain’t bad at all. While Ohmori Kazuki’s script leaves something to be desired in general, it doesn’t leave anything in specific to be desired. It doesn’t fail to do something. It sets forth its concept and fulfills it. I’m thinking mostly in terms of the human stories, which are contrived but genial enough to get through, as it’s director Okawara and the technical crew who desire the credit for the amazing giant monster battles.
Mothra already has something going for it just in how sincerely the film deals with the giant moth meant to protect the planet Earth from environmental dangers. It’s this gorgeous moth with very pretty theme music, how can you not like Mothra? Mothra is like the potpourri of Kaiju. Really, you don’t like pleasant smells? And Okawara and the effects team go all out on Mothra; she’s got flying battles with actual good matte work, she’s got multiple iconic shots. It’s a pilot for a Mothra spin-off. A really effective one.
The entire cast is strong. Even Bessho Tetsuya’s deadbeat dad Indiana Jones knock-off (he gets better once he’s out of the fedora and trying to make amends for kidnapping to pay alimony). Because Mothra’s actually from Yonezawa Shiori’s perspective. She’s Bessho’s daughter–Kobayashi Satomi, in a solid supporting lead performance, is the mother. It’s about the magic of Mothra getting Mom and Dad back together, but with strong enough special effects values for it not to seem condescending. Okawara doesn’t shortchange the human actors. They don’t have the best material, but he takes it seriously.
Except poor Odaka Megumi, of course, who’s just in the movie because it’s a Godzilla movie.
Great photography from Kishimoto Masahiro, especially with the effects work. Nice score from Ifukube Akira. Godzilla vs. Mothra is an entertaining, technically outstanding giant monster outing.