Editorials
Tokyo in Ruins: Top 10 Toho ‘Godzilla’ Films!
With Michael Dougherty’s Godzilla: King of the Monsters just around the corner, we thought it would be a great time to revisit the classic Toho series that started it all. To date, there are 32 Japanese films in the Toho canon (including the three anime productions released to Netflix). These titles all span across various continuities: the Shōwa period (’54 – ’75), the Heisei era (’84 – ’95), the Millennium series (’99 – ’04), and the current timeline – Reiwa. Each era carries with it a distinct style and flavor. The original films grew progressively more silly as they went along, playing more and more to a Saturday morning crowd. The films throughout the 90s saw fit to make Godzilla scary again by amping up the tension and monster on monster carnage. Millennium films are…well, they had a bit of an identity crisis. Most of the films in the 2000s acted as direct sequels to the original, ignoring all that had come before. Each film crafted their very own sandbox to play in, and the results were all over the place.
Below is a Top 10 ranking of my personal favorite Godzilla films, and I’ve made an effort to ensure the list represents a well rounded sampling of all the different flavors of ‘Zilla. I honestly thought compiling this would be super easy. As a lifelong fan of the King of the Monsters, I assumed I would just jot down my ten favorites and be done with it. Nope. I put way more thought into Godzilla this past week than any normal human ever should. After several drafts and switching titles and ranks around, I finally landed on what we have before us.
#10 Godzilla 2000: Millennium (1999)
With the completion of the Heisei era, producers intended to give the battered man in a big green suit reprieve for at least 10 years. The thought behind this hiatus was it would allow Sony Pictures the room they needed to grow their own trilogy of American Godzilla films. The swift and brutal blowback from critics and fans alike upon the release of Godzilla ’98 left Toho reconsidering that whole “time apart” thing. Only four years after the death of Godzilla in Godzilla vs Destroyah, Toho was prepared to relaunch the franchise with an all new continuity. Godzilla 2000 was a direct sequel to the original ’54 production, ignoring everything that had come before it (and started a trend that would be carried through most of the Millenium era).
The plot is classic kaiju insanity: Godzilla versus some alien who absorbs Godzilla’s DNA to morph into a giant-sized monster named Orga. Lots of destruction and beatdowns ensue. The film is most notable for being the last import to receive a wide theatrical release in the US. Sony (likely trying to build off the notoriety of their own stinker from the year prior) scooped up the rights, put several million into dubbing the film in english, trimming the runtime, remixing the soundtrack, and advertising the film as a major release. Had it been a success, we may have seen a string of Toho films given the big ol’ American release treatment. Unfortunately, the film barely grossed $10 million in the states, falling shy of TriStar’s ambition.
On the plus side, fans now have an American version that is somewhat superior to its Japanese counterpart, a first in the tradition of meddling with the films for an American audience (see Gojira and Return of Godzilla). The goofier tone of this cut is set in stone by the intentionally tongue in cheek dubbing, an effort to pay homage to the earlier films. The sound design and score feel epic compared to the lackluster original, and the abbreviated runtime keeps things moving at a fun clip.
#09 Terror of Mechagodzilla (1975)
Ishirō Honda, the man who started the pop culture phenomenon that is Godzilla, stepped in to direct the final Godzilla picture of the Showa era, Terror of Mechagodzilla. It would also prove to be Honda’s final film as well. The opening titles play out against a “best of” clip package from Godzilla vs Mechagodzilla, making this the first entry to serve as legit direct sequel to the film prior. This time out, more conniving aliens are seeking world domination. They’ve dug up the remains of Mechagodzilla with intent to turn him against all of humanity. A mad scientist and his cyborg daughter who’s in love with an Interpol agent round out the human element.
The film is notable for being the first “finale” showdown and the last go-round for Honda. Terror does move at a snail’s pace, but there are several fun twists along the way to keep things engaging. Furthermore, the tag team of Mechagodzilla 2 and Titanosaurus make for worthy adversaries against The King.
#08 Godzilla Against Mechagodzilla (2002)
This was a tough decision. Almost anytime that Mechagodzilla makes an appearance, you’re pretty much guaranteed a good time. With that in mind, my number eight spot was a toss up between two dueling Mecha-battles, Godzilla vs Mechagodzilla II (’93) and Godzilla Against Mechagodzilla (’02). In the end, Against won out by a hair. The plots for both films are fairly similar. The government has decided to take a hard stance against Godzilla by creating the ultimate weapon, Mechagodzilla. The Millenium version takes the idea one step further by actually harvesting DNA from the bones of the original monster from the ’54 film. Yes, this film posits the idea that the current monster attacking Japan is merely the same species as Gojira.
The human story is rather engaging, focusing on Lt. Akane Yashiro who inadvertently causes the deaths of several soldiers during a Godzilla attack. She blames herself and reluctantly takes charge when tasked with piloting the new mech, named Kiryu. What makes the film work so well is its simplicity. Where Mechagodzilla II keeps things interesting by throwing in several curve balls in the way of Rodan and Godzilla Jr., Against sets up the world cleanly. We know the rules of Kiryu’s operation early on: its battery is good for 2 hours, the Absolute Zero laser (the machine’s death blow) will wipe out 40% of the mech’s power. Knowing these rules makes it all the more exciting when our characters are forced to think fast and break them during the impressive finale.
Yashiro might not be the best lead in Godzilla history, but she’s a complex character that is forced to use brain and brawn while coming to terms with some pretty dark personal demons. She takes priority in the final shot of the film, one of the best in the series, as she stands tall atop the shoulders of a giant, watching a battered G’ waddle off into the sunset.
#07 Monster Zero/Invasion of the Astro Monster (1965)
The always reliable Ishirō Honda jumps back into the director’s chair for another round of King Ghidorah versus Godzilla with old faithful, Rodan, thrown in for good measure. While this film is one of the silliest of the Showa era, and oh-so 60s it hurts, Invasion of the Astro Monster is quintessential Godzilla. Not only do you have two of the most well known combatants (Ghidorah and Rodan), but you’ve got a wacky human plot involving spies and aliens (recurring themes through most of the late 60s/early 70s entries).
When a couple of astronauts uncover the seemingly friendly Xiliens of Planet X, they’re quickly pulled into a scheme to help save the alien race from the treacherous King Ghidorah. The monster’s repeated attacks on their planet has driven the Xiliens to dwell underground. They promise their human visitors a cure for cancer (or “all diseases” depending on the version you watch) in exchange for Godzilla and Rodan on loan. What seems like a win-win situation, relieve earth of two giant monsters that are always causing death and destruction so they can go whoop some three-headed dragon ass on Planet X, quickly turns into a trap that puts the fate of the Earth at risk! Dun-dun-dunnn.
#06 Godzilla vs King Ghidorah (1991)
Director Kazuki Ōmori came in with a quick one-two punch of fan favorites early in the Heisei era. First he delivered one of the gnarliest foes ever put to screen with Godzilla vs Biollante. His second round in the giant monster battle ring saw fit to bring back the most popular of Godzilla villains, King Ghidorah. Godzilla vs King Ghidorah features one of the most outlandish plotlines in all of Godzilla history. A group of time travelers from the future show up in Japan to warn of Japan’s impending destruction at the hands of Godzilla – the type of destruction they won’t ever bounce back from. SIDE NOTE: We need a moc-doc about Tokyo’s repeated rebuilding efforts after Kaiju invasion.
So, our intrepid heros tag along with the visitors and their android muscle, M-11 (heavy Terminator vibes with this one), and they zip back to the future to Lagos Island, 1944. Their goal is to stop a random dinosaur discovered by a bunch of WW2 soldiers from sticking around long enough to get nuked, ultimately morphing into a destructive behemoth dead set on attacking Tokyo every couple of years. Yes, they basically want to erase Godzilla’s creation from history.
It’s a wild film, and that brief description only covers the first act in this out there adventure. King Ghidorah’s origin story here is absolutely absurd, but it’s all part of the fun. Plus, we finally get Mecha-King Ghidorah! The battle scenes between G’ and King G’ are vicious and imaginative. Even if you’re not a huge Big G fan, I dare you not to have fun with this entry.
#05 Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack (2001)
Considered by many fans to be the best sequel, the obnoxiously titled Godzilla, Mothra, King Ghidorah: Giant Monsters All-Out Attack (mercifully abbreviated to GMK) is pretty damn near perfect. Writer/director Shūsuke Kaneko wanted to take the series away from its sci-fi horror roots and lean into the fantasy element. In the film, Godzilla is the manifestation of lives lost at the hands of the Japanese military during WWII. Japan’s only hope is the “Monster Guardians,” originally to be made up by the trio of Anguirus, Varan and Baragon. Toho felt ol’ Ang’ and Varan didn’t have the cachet needed to draw in audiences, so they imposed two marquee names into the fold: Mothra and King Ghidorah. Baragon stuck around but failed to receive the title treatment.
This time out a reporter for a trash rag (think “National Enquirer” meets “TMZ”), Yuri, is convinced there’s a story to be made about the Guardians and Godzilla’s eventual return. Kaneko builds a fantastic sense of mystery as we follow Yuri throughout her investigation of these ancient creatures and the legends that have built up around them. There’s an intriguing concept at play, the idea that folklore is lost in the modern age of technology. Godzilla returns among numerous whispers of “he’s dead” and “Godzilla’s not real.”
The prehistoric monster is presented as a boogeyman returned from the grave to seek revenge on an entire country. His nearly demonic appearance, complete with milky white orbs for eyes, matches the revamped backstory. And for the first time in a while the loss of human life is felt and even highlighted. Numerous vignettes introduce us to characters quivering in terror as Godzilla approaches…it doesn’t end well for most of them. As fun as all the fantasy elements are in GMK, the movie still takes its title villain very serious. Of course, we also get King Ghidorah in the hero role for the fist (and likely last) time in the series. This is simply the best the Millenium series has to offer.
#04 Shin Godzilla (2016)
When Shin Godzilla was released, it was hailed as a masterpiece by many. I 100% agree. Acting as more of a remake than reboot, this was the first time Toho completely disregarded every film prior, including the original. Godzilla’s redesign was the most drastic we’d ever seen as well. Taking various forms throughout the runtime, ‘Zilla’s final form (seen above) is pure horror.
While the monster attack sequences are jaw-dropping in their scope and often beautifully rendered, the main thrust of the story follows the Japanese government’s inability to settle on a plan of action. Writer/director Hideaki Anno once again takes the overgrown dinosaur and molds it into a metaphorical monster. Instead of the embodiment of nuclear war, Godzilla represents the destruction from natural disasters and the failings of man to prepare or prevent mass casualties. One of the strongest allusions calls to mind the Fukushima Daiichi nuclear disaster of 2011 brought on by one of the largest tsunamis on record. The fallout from the nuclear shutdown could’ve been avoided had those in power taken the necessary precautions when trouble signs first arose.
It’s a shame we may never get a direct sequel to Shin as the final image leaves the audience with many questions and a desire to see just what happens next. Toho has already announced plans to build a shared universe of monster films moving forward that will likely disregard the events of Shin. That’s, of course, discounting the fact that they’ve always had a sort of shared universe with their staple of kaiju. Nonetheless, Shin Godzilla is a rare standalone entry in the canon that will surely last the test of time right along the ’54 original. Speaking of..
#03 Godzilla/Gojira (1954)
Ishirō Honda had no idea what he was creating when Gojira first hit movie screens back in 1954. What started as an allegorical tale of nuclear war by way of a marauding, fire breathing beast has become the longest running franchise in cinema. Naturally, us Americans took what was a quiet, chilling film and dubbed it poorly, sloppily inserted new scenes featuring Raymond Burr and packaged the whole thing as Godzilla: The King of the Monsters. The “Americanized” version neutered most of the metaphorical impact.
Oddly enough, the US cut was the only readily available version up until 2004. It’s hard to imagine how long we were deprived of Honda’s true vision of Gojira. Thankfully, we never have to look back, and nor should you. This film brought us the magic of suitmation and a horror icon that shows no sign of slowing down
#02 King Kong vs Godzilla (1962)
It’s surprising to realize this was only the third film in the Godzilla franchise. You would think a marquee showdown such as King Kong vs Godzilla would be something filmmakers might play with on down the line to help breath life into a sagging IP. In fact, this really is the film that cemented the formula of what we think of when we hear the word “kaiju”: two actors dressed up in absurd creature suits, stomping through little model cities, and throwing down in vast open spaces until one of them is deemed “champion.”
For some, gifting King Kong vs Godzilla the number two spot might seem a tad too generous. Ultimately, this a big nostalgia pick for me. I had seen the King of the Monsters and enjoyed it, but it wasn’t until a thankful night in front of my TV with a full Godzilla marathon that my lifelong love for the G Man was solidified. I caught the tail end of Godzilla vs The Sea Monster and marveled as a giant crab creature had its claws ripped from its body, lumps of what looked like imitation crab meat dangling from the open wounds. This less than stellar entry (I had no idea at the time) was quickly followed by the big ape versus the green destroyer.
It’s a delight from start to finish, featuring some of the tightest pacing of the entire Showa era. Sure, Kong’s suit looks like it’s been dragged through a few dozen model cities and left to bounce around in the heavy wash cycle a tad too long, and ultimately, there’s no clear winner. Despite the drawbacks, King Kong vs Godzilla is one of the perfect starting places for those interested in deep diving through the Godzilla filmography.
#01Godzilla vs Destroyah (1995)
There’s not much to say about Godzilla vs Destroyah that I didn’t already mention here, but to reiterate – this is simply one of the strongest follow-ups to the original film. It might not be too concerned with social commentary or tapping into national fears, but it’s a perfect example of kaiju entertainment. From start to finish, the story moves at a breakneck pace as we watch Destroyah grow from a microscopic organism, a Xenomorph-esque terror, and finally to a giant demonic creature hellbent on Godzilla’s destruction.
The big promise made by the film’s advertising was “the death of Godzilla.” The plan was to put Godzilla to rest for at least ten years while Sony went off and made a trilogy of American G films. That didn’t actually pan out, but Toho ensured the last in the Heisei line of films was one to remember. Godzilla is actually given somewhat of a story arch through the piece. From frame one he is on the verge of a literal nuclear meltdown and all he seems to want is to make it back to Godzilla Jr.’s side. The final battle is of epic proportions and Godzilla’s send-off, passing what’s left of his energy to his child, is one that is sure to misty up the eyes of diehard fans.
Godzilla vs Destroyah was the end of an era, and for my money, one of the best Godzilla films ever made.
With a franchise such as Godzilla spanning seven decades and no signs of slowing down, everyone’s Top 10 will be wildly different. Sound off below with your favorite adventures featuring Toho’s crown jewel.
Five decades ago, Stephen King published the story of a bullied girl with telekinetic powers and forever changed the world of horror.
Carrie follows a high school misfit who seeks revenge for a hideous prank by psychically destroying her senior prom. The name Carrie White has become synonymous with the concept of a formal dance thanks to a flawless adaptation from Brian De Palma. Now fifty years after the film’s release, Mike Flanagan is putting his own stamp on the troubling story.
Rather than a feature film, the writer/director will expand King’s relatively slim debut novel into an eight-episode miniseries for Amazon Prime set to premiere on October 7.
Flanagan is no stranger to the world of Stephen King. A long-time Constant Reader, he first made waves with his daring adaptation of Gerald’s Game (2017), a novel many fans considered un-filmable. His underrated Doctor Sleep merges the disparate plot of Stanley Kubrick’s The Shining with King’s original source material, and his 2024 genre-bending tearjerker The Life of Chuck faithfully executes one of the author’s most metaphysical novellas.
He’s currently mired in pre-production for an expansive adaptation of The Dark Tower series, keystone to King’s connected universe, and Warner Bros. recently announced that Flanagan will helm a new version of The Mist, King’s 1980 novella which sees a small Maine town overrun by otherworldly monsters.
Considering the vast array of the author’s previously unadapted material, an obvious question arises. Why reimagine Carrie in 2026? Noting the timeless nature of the content, Flanagan expressed his desire to bring the story of a bullied girl into modern times, mirroring his approach to Shirley Jackson’s The Haunting of Hill House and Edgar Allan Poe’s The Fall of the House of Usher. He explained, “The only way to approach it was to build something new out of the ingredients of Carrie. Otherwise, there’s really no purpose in trying to retread ground that’s been so beautifully walked before.”
His miniseries will maintain the novel’s bloody bookends while delivering “big surprises” along the way.
A New Prom Night Nightmare
The roughly 60-second teaser introduces Summer H. Howell as Carrie White just before the moment of catastrophe. Standing in a prom dress, she smiles at her applauding classmates with an ominous crown perched upon her head. Moments later, Carrie unleashes a rage-filled scream into the night air while promgoers rush for the exit doors. But careful examination of this scene shows Carrie wearing a different, albeit dirty dress as she seems to telekinetically punish her peers.
In an exclusive first look with Entertainment Weekly, Flanagan explains that in his version of the story, “the events of that prom are going to be completely different.” An open trunk emitting a crimson glow does hint at the pig’s blood dumped on Carrie’s head, but it’s likely Flanagan’s formal dance will be a different kind of horror altogether. Despite these changes, the series may end with the widespread destruction outlined in the source material. Unlike any previous adaptations, King’s novel ends with the near-total destruction of Chamberlain, Maine. A flaming street in Flanagan’s trailer promises similar carnage no matter what prank sparks Carrie’s deadly revenge.
The Monstrous Addition of Social Media
On the opposite end of this fiery conclusion is an extreme act of bullying that brings together the story’s main cast. King’s novel begins as Carrie gets her first period while showering in the girls’ locker room. Completely unaware of the concept of menstruation, the sheltered girl thinks she’s bleeding to death. Her classmates respond with vitriolic rage. Led by ultra-mean girl Chris Hargensen (Alison Thornton), they mock the terrified teen while pelting her with tampons. Glimpses of this disturbing event reveal that Flanagan has excised the scene’s nudity while adding a seismic update. As Carrie sobs in the shower stall, Chris and her friends film the breakdown with their phones.
Other scenes note the presence of social media, bringing King’s fifty-year-old story into the digital age.
Flanagan’s adaptation promises to explore the destructive power of social media, an often invisible entity with a potential for harm rivaling Carrie’s own powers. While King’s tormented heroine suffers in front of a small group of girls, Flanagan’s version of the incident will likely become a viral video, potentially circling the globe on social media. Similar to Katt Shea’s criminally underrated The Rage: Carrie 2, which includes elements of revenge porn exploitation, Flanagan’s modern retelling will distinguish itself by exploring the nebulous cruelty of online bullying, a force ten times more powerful than the irl pranks King first envisioned.
A Completely Reimagined White Family
In addition to modernizing these canon events, Flanagan hints at updates to Carrie’s oppressive upbringing at the hands of her mother, Margaret White (Samantha Sloyan). Dead before the novel begins, we never meet Carrie’s domineering father Ralph, known to carry a bible alongside his gun. Flanagan’s White household will be an altogether different beast. In his version of the story, Carrie and her mother have been hidden away in the unassuming home, forced out of hiding by Ralph’s unexpected death. Perhaps we will finally meet this elusive man whose shadow hangs over his wife and child. Considering the White family’s fundamentalist lifestyle, this reimagining hints at tradwife culture and a home ruled by staunch patriarchal control.
Whereas King’s Carrie has been tormented by her classmates since Kindergarten, Flanagan’s Carrie will be a wide-eyed newcomer to public school, eager to make friends and engage with her peers. We glimpse Carrie cozying up to Chris and the equally popular Sue Snell (Siena Agudong) as she navigates a new social scene. Of course, we know this kindness is part of an elaborate plot designed to lull Carrie into a false sense of camaraderie, setting up an atrocious act of public humiliation. These brief moments of feigned compassion put Sue’s own complicity into question. Will Flanagan’s version of the character find the courage to defend Carrie from vicious bullies or will she succumb to peer pressure and join in the mob mentality?
Perhaps the biggest deviation from King’s original text is the relationship between Carrie and her mother. King’s Margaret White is a horrifically abusive religious zealot whose worldview has been hardened by internalized misogyny. She shames Carrie for menstruating, locks her in a closet to “pray,” and regrets not killing her child in infancy. She’s also responsible for Carrie’s social ostracization. Known to berate her neighbors for their “sins,” Margaret forces her daughter to live by an extreme code of conduct and disallows any potential friends lest they corrupt the girl with their worldly ways.
Flanagan’s version of the character is perhaps just as much a victim as Carrie herself. Also trapped inside her home, his Margaret is overly vigilant, her own trauma manifesting as strict control. Describing a more sympathetic depiction of the iconic villain, Flanagan explains, “Our Margaret White is a woman who fiercely loves her daughter and wants to protect her from this world … [She] doesn’t know how to do that and thinks the way to protect her is to close her off; not punitively, but to create this private utopia.”
Despite this potential softening, Sloyan’s Margaret may still have a sharp edge. Though she has appeared in many Flanagan projects, from Hush (2016) to The Fall of the House of Usher (2023), she is best known for her role as the abhorrent Bev Keane in the poignant saga Midnight Mass (2021). Perhaps inspired by King’s Margaret White, Bev is pious and sadistic, willing to punish anyone who does not adhere to her warped approximation of Catholicism.
Flanagan specifically wrote Margaret with Sloyan in mind, likely remembering the actress’s eerie ability to create deceptive empathy and shift our allegiances on a dime.
Expanding Stephen King’s Telekinetic Universe
While most of King’s story deals with an unthinkable prom night in Chamberlain, Maine, large sections of the semi-epistolary novel see experts debating the nature of telekinesis. Do Carrie’s frightening abilities represent a new phase in human evolution or is the prom night carnage merely a fluke? King settles the debate with a shocking denouement in which a young mother recounts her infant daughter’s ability to dangle her crib toys in midair. We’re left to wonder if she will become another tormented girl who surprises the world with metaphysical strength.
Flanagan plans to build out this brief scene while amplifying themes of female empowerment. After introducing our main cast of characters, episode two will open with an unrelated story in which we meet another girl with the TK gene. Each subsequent chapter will expand this world, building out a roster of telekinetic young women. Considering King’s fondness for stories about powerful kids, often described as possessing “the shining,” Constant Readers will no doubt have their eyes peeled for various Easter Eggs nodding to the author’s vast catalogue.
Giving Carrie Her Own Voice
Perhaps the most striking distinction in Flanagan’s new trailer is the extent to which we hear Carrie’s voice. The sneak peek is fully narrated by the titular prom queen as she demands accountability. “I want to know why,” she explains while detailing Chris’ elaborate plan. Aside from the aforementioned coda, King’s book essentially ends with the aftermath of the prom night tragedy, leaving little time for Carrie to reflect. His shifting narrative does bring the reader into her fragile mind, though not before she’s been cowed by relentless cruelty. We watch Carrie sink into bloodthirsty revenge, but never hear a considered desire for justice or repair.
Flanagan’s original monologue allows Carrie to voice her pain and mourn the life she could have had. We’re also treated to a mug shot-style photo of Chris with a bruised and bandaged face, implying that the mean girl will have to answer for her senseless sadism.
Flanagan is known for filling his series adaptations with heartwrenching speeches that cut to the heart of his thematic intentions, and this teaser seems to follow suit. After years of fans, critics, and scholars analyzing Carrie’s pain, perhaps his modern retelling will offer the titular anti-hero a chance to finally speak for herself.
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