Movies
RANKING THE GODZILLA ERAS: Giant Monster Greatness, Time After Time
Leaving a screening of Godzilla: Minus One late last year, the same usual conversations of our favorite Godzilla films ripped through my friend group as we processed the spectacle we had just seen (and lamented that Minus One would never win an Oscar, since I had very little faith in the Academy, but I stand corrected).
We praised the film’s incredible cinematography, performances, and all it had managed to do on a reported budget of $15 million. But in my mind, I was starting to think back through the many years and years of Godzilla films that had been made, and wondered: if this was how the current era of Godzilla was shaping up, how did the others? Was the best yet to come, or has it already happened?
Every Godzilla Era RANKED
Today is an attempt to try and organize my thoughts on them, by ranking each of the four major eras: Showa, Heisei, Millenium, and Reiwa.
If you’re curious why they’re designated this way, it’s because each era is named after a corresponding political period in Japan, with each period itself named after the posthumous name of Japan’s emperor.
Except for Millenium, they just call it that because the first film was Godzilla 2000: Millenium.
Weird.
I’ll also include a “Highlight of the Era” for each that details the films I believe best capture the spirit of the time and are just fun films to watch in isolation. So, let’s start with an…
Honorable Mention: THE LEGENDARY ERA
The Legendary Studios films, dubbed the Monsterverse for marketing purposes, are not great. With the exception of Godzilla (2014), they have some truly atrocious writing and world-building. But they are undeniably very fun to watch if you can disregard quality and just love ridiculous monster fights, so I felt obliged to mention it.
They may deserve a whole article of their own just trying to decipher how they ended up that way, but that is not this article.
4. THE MILLENIUM ERA
Home of arguably the best Godzilla suit design, the Millenium era was marked as a bold venture into the 2000s with a series of six standalone movies, each one branching off as an independent continuation of the original 1954 Godzilla. The Millenium Era is home to many good Godzilla films and has no poorly made ones. But it does come in last because it doesn’t have any truly great films in its ranks. There are no showstopping Millenium era entries, despite all the fun that is to be had here.
On top of that, the Millenium films were intended as more of a Godzilla anthology than a line of sequels. Still, that concept is abandoned halfway through since there is a duology in the middle of the era with Against Mechagodzilla and Tokyo S.O.S.. The last film, Final Wars, feels much more like a Heisei or Showa era tribute film that is even more disconnected. Though the Millenium Era has plenty to offer in its many parts, a lack of cohesion makes it less enjoyable as a whole.
Highlight of the Era: A much younger version of myself would say Godzilla: Final Wars was the end-all-be-all of Godzilla films. It’s the “cereal and Saturday morning cartoon” of Godzilla films that will make you feel like a child again. And though that is very appealing, cereal doesn’t have the most complex flavor profile. So, in retrospect, the most balanced and well-made of the Millenium films to introduce someone to is Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack. This is kind of a crazy sentence when you read that title, but it is the best of the era.
3. THE REIWA ERA
The fledgling of the list, the Reiwa Era has only really just begun. It might seem strange to rank this above the Millenium films, which are fully developed as an era, but Shin Godzilla and Godzilla Minus One are both solidly top ten Godzilla movies of all time right out the gate, and I can confidently say it has nothing to do with recency bias. That is a real marker of quality, and a great sign of things to come.
They are truly compelling stories that utilize Godzilla perfectly, both as a player on the stage and as a strong thematic core to the narrative. Like the Millenium Era, however, it’s lacking a strong backbone that will have to be built up over time. The animated Netflix features that accompany this era is a trilogy of films that feel fairly far off from any conventional Godzilla film, with some sci-fi plots and creature designs that felt flat at release and upon rewatch.
Takashi Yamazaki, director of Godzilla: Minus One, has expressed in interviews that he has an interest in following up on his phenomenal work in that film. If the sequel is to happen, there’s supposedly going to be a stronger focus on “[pulling] off a more serious tone of kaiju-versus-kaiju with human drama”. If the Reiwa era belongs to him, and more passionate filmmakers with clear direction like him and Hideaki Anno, then it’s safe to say this era is in good hands.
Highlight of the Era: All of it I guess? Again, only two live-action films. I will give a cheat answer and say that the animation and character designs in the Godzilla: Singular Point series are pretty great, so you should also check that out if you haven’t yet.
2. THE SHOWA ERA
The longest-running of all the eras with an astounding fifteen films, it’s incredibly hard to encapsulate a period of Godzilla history as sprawling as this one. Steered by the on-and-off direction of Ishirō Honda, 21 years of Godzilla history seem to blur together in the mind’s eye if you haven’t seen any of these recently. Details mix, and sometimes plots repeat. But this is the quintessential era for viewing Godzilla and understanding how the icon evolved from an avatar of cultural memory and the atrocities of war into children’s favorite monster.
Though the period saw diminishing financial returns at the box office, almost every movie of the Showa Era became a staple through their television releases and engrained themselves into the minds and hearts of everybody who came across them. The period gets a lot of flak for the handful of films that reuse footage and only show sparing creativity, but the hit rate for the Showa Era when it comes to films that are both successful and enjoyable films is uncanny. Few franchises are as reliable as Godzilla, and only one era is consistently better in quality.
Highlight of the Era: The very obvious answer is to say the original Godzilla (1954), but saying it’s a highlight would be like saying the Taj Mahal is a “highlight” of international architecture, it’s an understatement. I will instead go with Godzilla vs Hedorah. I didn’t vibe with it in the past, but can now appreciate it for its very out-there visuals, laying the groundwork of unique environmental conservation themes that resurface in later films, and for having some of the best special effects of the era.
1. THE HEISEI ERA
But the Heisei Era? The Heisei Era is a different animal altogether. Running for a paltry 9 years compared to its predecessor, the cycle that began with The Return of Godzilla followed through to its bloody, wonderful end in Godzilla vs Destoroyah with some of, if not the best, kaiju movies to ever grace our screens.
Getting a high-quality sequel to a monster movie, let alone a trilogy that works well is hard. But there has never been a back-to-back seven-movie hot streak in horror like the Heisei era’s. The cinematography got better with each film, and the effects flounce every other era with ease. The writing is solid and captures all the fun of the Showa era while giving it some emotional weight; it even manages to pull off the especially difficult task of giving Godzilla and his cohorts some real personality and life to them.
Of course, I’d be remiss not to talk about the effects here more. The kaiju designs of Koichi Kawakita are the best to grace the series and played no small part in making the Heisei era a visual powerhouse. His work brought us a score of new creatures, automatic fan favorites like Battra, Moguera, Biollante, and, of course, the menace that is Destoroyah. It’s hard to overstate how influential these designs and the art direction of the films were, since they affect every other movie that comes after them. Heisei is at the head of the pack, and like Godzilla himself, it’s going to be hard to unseat the king of the monsters.
Highlight of the Era: Now, Godzilla fans will know the objectively right answer here is Godzilla vs Destoroyah. It’s a masterpiece, it’s the only film that feels like it’s really closing out an era, and it serves as a satisfying finisher to the insanely good series that precedes it. It’s incredible, no arguments here.
…But I have to choose Godzilla vs Space Godzilla, because it has the best enemy kaiju in all regards. A good friend of mine once said, “Space Godzilla is the most frightening villain of any Godzilla film because he’s the only one to attack Godzilla psychologically”.
I know that sounds ridiculous but trust us. Godzilla vs Space Godzilla is the way.
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The Silent Hill game franchise has been considered among players to be one of the biggest influences in the horror genre. Between its thought-provoking plots and truly unnerving monsters, complemented by the incredibly atmospheric music composed in most installments by Akira Yamaoka, it’s no wonder that the first game was chosen to be adapted into a feature film.
In April 2006, Silent Hill broke into theaters in the United States. I was still rather new to the world of horror gaming. With no real context or knowledge of the series, I went to see the movie anyway. Now I know that although the story of the film may change several key concepts about the plot (Rose taking the place of Harry being the biggest one and focusing hard on the whole, “Mother is God in the eyes of a child” thing). Overall, the film wasn’t necessarily a masterpiece. Still, there was something in that movie that amazed me: The incredible police officer Cybil Bennett, portrayed by the gorgeous Laurie Holden.
Cybil initially appears in the movie as a motorcycle-riding, no-nonsense, dedicated, driven cop. She even wears riding-appropriate attire, donning a leather jacket and a helmet! I immediately admired her for not only looking awesome but being smart. (I know wearing her sunglasses at night isn’t at all practical, but it still made her look tough and cool, okay?) However, what sealed the deal for me was in her first scene against a monster. A shambling creature approaches and spews noxious, acidic black goo all over Cybil, who stumbles away for a moment before ripping her helmet off. The rage on her face as she turns back around and fires on the monster, her short platinum blonde pixie cut mussed in this super slick and sexy way… I was taken aback at the level of unabashedly badass this character was. It might also have been one of the first times I realized I thought girls were cute.
In a world full of horror adaptations, it seems many of them feature women with shoulder-length or longer hair (looking at you, Alice from Resident Evil), which I couldn’t identify with because I’d always kept my hair on the much shorter side. When Cybil graced the screen, it was incredibly refreshing to see that the film had shunned some of the more Hollywood-insisted “feminine” aspects that many female leads get pigeonholed into. She had short hair, she literally kicked ass, she carried confidence on her left and cunning on her right; she was a fighter that exhibited courage to the very end.
Laurie Holden gave a performance that was moving and empowering, especially to a teenage girl looking for new role models (even if they were fictional). I had experimented with my hairstyle and color for years, but I will be damned if Holden’s short blonde pixie cut didn’t inspire me to keep my hair short and, years later, be comfortable being a blonde bombshell. Cybil’s portrayal of strength and powerful, capable femininity was a mind-blowing concept for me. I have seen some women in horror films be fearless and tough, but in the face of nightmarish abominations and the fires of misguided cults, Cybil remains at the top of my list for one of the baddest bitches in cinema.
The movie may not be the greatest, and it definitely changes things from its source material, but Silent Hill gave me more than entertainment value. Because of Cybil, I found the ability to embrace my own strength in a way that is both powerful and feminine. I have developed an appreciation for the horror genre and its representation of women. I have gained confidence in rocking short hair. Most of all, however, I experienced a whirlwind of inspiration that has stuck with me for the last 18 years.
The horror film Multiple Maniacs, released in 1970, was John Waters’ debut (talking) feature. In one hour and thirty minutes, we see murder, mariticide, sodomy, “actual queers kissing on the lips,” and cannibalism. The last of these sins is a personal favorite of Waters.
Waters has been known throughout his career to give great film advice, from B-movie gems to wacky splatter flicks. Notably, Waters has always been fond of films featuring cannibalism and often includes them in “best of” lists and film articles. While some, like Texas Chainsaw Massacre (1974) and Night of the Living Dead (1968), have been admired by audiences for decades, several of Waters’ favorites have been left in the gore-y past of midnight movies and grindhouse picture houses. I have unearthed just a few from the archives of Waters, and I am not at all surprised at just how depraved and trashy they are.
Mainly found in the pages of Crackpot, in which Waters’ film knowledge is impressive and intimidating, the following list can give you a glimpse into the gooey, delightfully twisted mind of the Pope of Trash. Here is a selection of cannibalistic films applauded by Waters throughout his career.
Warning: these films are not for the faint of heart. Luckily, some of them barely last an hour!
A Selection of Films Recommended By John Waters
Blood Feast (1963)
Directed by Hershell Gordon Lewis
Duration: 1 hour 7 minutes
Streaming: Tubi
“Can we watch that scene again? You know, the one where he rips her heart out? Please?” – Mrs. Beverly Sutphin, Serial Mom
As with TCM and NOTLD, Blood Feast is an obvious favorite of Waters. He has cited Blood Feast as an inspiration for his early filmmaking and included scenes and posters for the film in his 1994 horror comedy Serial Mom. In a world of CGI and now AI technology, the graphic practical effects of Blood Feast feel incredibly refreshing when watching today. Blood Feast was produced, scored, and directed by gore legend Herschell Gordon Lewis. Mr. Ramses, a local butcher and original “Florida Man,” manipulates a housewife into letting him cater her daughter’s birthday with an Egyptian blood feast. This blood feast uses the flesh, blood, and organs of beautiful young women, all blonde and white (just like the film’s ancient Egyptians). One of these women, Connie Mason, graced the centerfold spot in PlayBoy magazine when the film was released! Bad acting, great interior decorating/costuming, and long takes with few cutaways would ultimately influence Waters’. And don’t worry: the tongue scene is still gooey after sixty years.
The Undertaker and His Pals (1966)
Directed T.L.P. Swicegood
Duration: 1 hour 3 minutes
Streaming: Tubi
“Our host’s office was the original one where the Watergate scandal was born… We ate in the White House dining room for guests and talked about movies such as Chesty Morgan’s Deadly Weapons (she kills people with her breasts), The Undertaker and His Pals, Please Don’t Eat My Mother, and other cinematic shockers… Only in America could you get invited to a Republican White House for making films that the very administration would pay to have burned.” – Waters in Crackpot
This film must have engrained itself in Waters’ psyche, particularly regarding the color palette and opening credits complete with rockabilly surf music. If you enjoy A Bucket of Blood (1959), The Undertaker and His Pals will not disappoint. Armed with a phone book, vicious motorcyclists target random locals to provide a funeral director with fresh bodies. This gooey horror comedy incorporates actual medical footage, resulting in, among other factors, canceled film screenings and confiscations by authorities.
The Corpse Grinders (1971)
Directed by Ted V. Mikels
Duration: 1 hour 12 minutes
Streaming: Internet Archive
“It used to be the way to start [in film] was to make a low budget exploitation film […]. But now it’s not so simple. Hollywood has co-opted the slash-and-trash formula, and these days garbage needs a big budget. It’s not nearly as much fun. A $10 million version of The Corpse Grinders just wouldn’t have the charm of the original.” – Waters in Crackpot
The Corpse Grinders is grainy, extremely low-budget, and bizarre. To make extra money, a poverty-stricken couple provides dead bodies to Lotus Cat Food. Local cats soon crave human flesh and start attacking their owners. Local veterinarians and lovers Dr. Glass and Nurse Robinson investigate the phenomenon. This grindhouse flick opts for joltingly fast cutaways to dripping meat grinders, though unfortunately, most of the muscle and bone evisceration happens off-screen.
Bloodsucking Freaks (1976)
Directed by Joel M. Reed
Duration: 1 hour 24 minutes
Streaming: Tubi
“I’m the happiest in my office… First duty— call the box offices of the theaters in town playing the most embarrassing movies so I can hear the mortified employees say the title. ‘Yes, what’s playing, please?’ ‘Bloodsucking Freaks…” Waters in Crackpot
This is one of the nastiest movies I have ever seen.
Villain Sardu (Seamus O’Brien) is Master of the Theater of the Macabre. With a personality teetering between Allister Crowley and Andrew Tate, Sardu performs live mutilations, torture, and murders of naked young women before a captivated yet skeptical audience. Torture is art! This film has surprisingly beautiful cinematography at times and is quite hypnotic. Blood Sucking Freaks has since been hailed a cult classic, and was re-released by Troma Entertainment in 1981. Sadly, director Joel M. Reed passed away due to complications from the COVID-19 virus in April 2020. The Brooklyn native directed other bloody gems such as Night of the Zombies (1981) and Blood Bath (1976), and even wrote a book about Donald Trump’s scandals in 1990. Scary! And another frightening note, O’Brien was murdered in his Greenwich Village apartment a year after the film’s release! Blood Sucking Freaks walked so Hostel (2009) could run.
Zombie Holocaust (1980)
Directed by Marino Girolami
Duration: 1 hour 24 minutes
Streaming: Plex!
“Being a Catholic, guilt comes naturally. Except mine is reversed. I blab ad nauseam about how much I love films like Dr. Butcher, M. D. …” – Waters in Crackpot
Zombi Holocaust is an Italian grindhouse picture rereleased as Dr. Butcher M.D. in the U.S. in 1982. Twenty-five minutes in, I wished death upon all characters. Luckily, most of them meet their demise by the film’s end! The dialogue is all overdubbed and questionable, and the script holds plenty of racist tropes. Along with general silliness, the gruesome practical effects that undoubtedly inspired the torture porn subgenre make this a fun watch. The attempts to make this film look New York City enough are comical and add to its overall charm.
If you ever walk into a medical school that looks like this one, be prepared to receive no scientific help and run like hell!
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