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The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

The acting in this movie is really good.

Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

This film came to my attention when I attended the first Monsterama Con in 2014 in Atlanta. One of the honored guests was Robert Scott Field who played an android. According to Fields, this film has been recognized as the third best Godzilla movie of all time. In Japan it received the equivalent to our Oscar Award. This film delves back to the origin of Godzilla and the epic battle with his equal King Ghidorah. The future visitors to modern 1990 Japan warn of destruction and want to change the course of the future but manipulating the present. A fun use of old school special effects and fun to see movies made pre- CGI. This movie is a joy for any Godzilla enthusiast. His name is Godzilla!

This film is probably the most wonderful mess I've ever seen. It's loaded with plot holes, full of terrible dubbing and dialogue, and some hysterical 'special' effects (I'm looking at you, sprinting future android...)To summarise the plot (probably an exercise in futility):Some future dudes come back in time and offer to save Japan from Godzilla, who in their time has totally destroyed the country. They go back in time some more, to WWII, and teleport the dinosaur that would become Godzilla under the polar ice cap so he's safely out of the way (because just killing him would be too hard, I guess). However, before leaving, the future dudes leave some future furbies behind.Upon returning to the present (where everyone still knows about Godzilla, even though he never existed) it turns out the furbies were turned into King Ghidorah by the nuclear testing that would have created Godzilla, and the future people are using him (somehow) to smash the hell out of Japan. Turns out those naughty future people lied - in their time Japan is an economic megapower that basically rules the world, and they hijacked the time machine to come back and destroy them in the past... or something. Not sure why they bothered to enlist the the help of present-day Japanese to achieve this, rather than just doing it themselves.But anyway, the future dudes are undone when their Japanese team-member (who was apparently fine with this scheme until now) betrays them, and hatches a plan with the Japanese government to re-create Godzilla using a nuclear submarine in the hopes he will destroy King Ghidorah. But it turns out Godzilla has in fact already been created because a Russian nuclear sub just happened to crash in the exact same spot where the future people had dumped the dinosaur in the past (again begging the question why they didn't just kill it). Godzilla heads to a Ghidorah- ravaged Japan and monster smackdowns ensue. Godzilla wins, Ghidorah is destroyed and the evil future people are killed. The end, right?Nope. Godzilla now turns on Japan and begins smashing things up big time. So the future Japanese lady goes back to the future (where apparently the plan to destroy Japan has been abandoned), finds King Ghidorah's corpse, turns him into cyborg Mecha-King Ghidorah and pilots him back in time to fight Godzilla in the ruins of Tokyo. More questions, such as why didn't you travel back to a point *before* Godzilla trashed half of Japan, arise. Mecha-King Ghidorah eventually emerges from the brawl victorious, crashing into the ocean and taking Godzilla with him.Future heroine returns to her own time, but not before telling one of our heroes she is in fact a descendant of his in an apparently emotional scene that adds precisely nothing to the film. Beneath the ocean, Godzilla awakens as the credits roll.And all that happens in *one* movie.Seriously, you owe it to yourself to watch this mess. Despite only being an hour and forty-five long, with all the stuff going on it feels like a three-hour epic. There's so much crazy - the future android in particular is absolutely hysterical pretty much any time it's on screen - and the needlessly convoluted plot has more holes than Swiss cheese. Add to that those classic Godzilla model effects that manage to be both very impressive and utterly lame all at the same time and you're onto a winner.I don't even know what score to give this. But it's best taken with a healthy dose of alcohol.

The Achilles heal of these filmed has always been the humans who by default can never be as interesting as the monsters. 'Godzilla vs King Ghidorah' makes up for this somewhat with a goofy but sincere look at time travel that tries to delve into the origins of the big green guy. The faults are as one might expect, the monsters are under utilized for a great deal of the film and those wanting to see the film in the US have to suffer through a pretty awful dubbed version. The strengths? This Godzilla film has an interesting look into the past of the monster even in it's diluted time travel plot. Godzilla films are nothing if not ambitious. So many of these films try their absolute hardest to deliver layers of exposition of how each entry relates to the monster and how the citizens of Japan try to stop it. The problem is that there is so much repetition of the ideas over and over again. 'Godzilla vs King Ghidorah' deserves some level of praise because of it's time travel plot. The time travelers themselves seem like they've come out of 'Plan 9' but I really like the idea of the monster originating in a World War II subplot. It is an ambitious idea that sort of finds that balance of making up for the fact that Godzilla can be a hero amidst his total destruction of Japan. You do get a satisfaction once Godzilla is brought back to life because this film does sort of have a sense of stakes behind it.Ghidorah on the other hand does not have a character behind him. We don't really get to grasp why Ghidorah is Godzilla's greatest arch nemesis. The creatures Ghidorah spawns from are beyond ridiculous looking and so any sense of menace the character might have had is greatly limited in the long run. The actual time travelers seem to have complete control over him and so Ghidorah is never able to become his own entity. I imagine a great many Godzilla fans might have been disappointed by this characterization.The monster battles are all golden. The suits look realistic and menacing and a great deal of destruction is thrown on the screen. This thing has an epic quality that the lesser giant monster films sometimes lack. Unfortunately once we get past the monsters this film is inhabited by goofy humans. Like I said earlier the time travelers remind me so much of characters from 'Plan 9'. It isn't even the disconnect from adapting the film for Americans, these characters have legitimately bizarre dialogue that is meant to sound poignant but comes off as laughable. Godzilla gets some decent treatment here. He is the main reason to see this film. Ghidorah and his handlers leave a lot to be desired.

Suddenly finding myself determined to watch a loony Toho kaiju extravaganza from beginning to end, I caught 1991's "Godzilla vs. King Ghidorah" (hereafter "GVKG")on Tuesday, September 10, 2013 at 8:15 p.m. on Encore. I am indebted to many of the posters who have already meticulously explained GVKG's contorted "time travel" plot. They probably did a better job than I could. Crazy as it is, that plot at least provides a semi-believable origin for both the atomic-powered lizard and the three-headed electricity spewing dragon. They were both mutated by the fallout of American H-Bomb test blasting during World War II, though not at the same time. Godzilla was originally the dinosaur Godzillasaurus, and King Ghidorah was a giant fusion of three cat-sized flying dragon things call dorats. As usual, it takes more than half the movie for the two behemoths to meet, but meet they do, not once but twice.Until the monsters' cataclysmic clash, we have to endure the usual, somewhat effeminate English dubbing of not only Japanese scientists, military personnel, and corporate CEOs, but also that of futuristic time travelers (including a Terminator-like android called M-11) who arrive in '90s Japan to offer a seemingly magnanimous chance for the nation to get rid of Godzilla forever - go back to the past before the Godzillasaurus was mutated, let the "imperialist" American World War II leave him mortally wounded, and then transport him back to the present to let him die in the ocean. Of course the aliens are not benevolent; fearing the rise of Japan as a conquering superpower, they resurrect and manipulate King Ghidorah to destroy Japan without any interference. The Japanese then decide to mutate the dying Godzillasaurus to help save them, but a nuclear sub explosively beats them to the punch. Godzilla is back but, as they say, the cure is worse than the disease. Now the Japanese must hijack an alien time travel ship to go back to the future to reanimate King Ghidorah, cybernetically fit him out, even give him a human-operated mechanical neck and head to replace the one Godzilla severed in the first battle, and send him back for a rematch. Which monster wins? Does it matter? Is Japan doomed anyway? Oops, I guess I regurgitated the plot again! :S GVKG is goofy typical Toho monster mashing, enhanced somewhat by the nuclear genetic mutation and time-spanning plot, and sometimes remarkable special effects, including a pre-Jurassic Park animation of the Godzillasaurus which "saves" a "noble" Japanese regiment, and especially its deeply grateful commander, from American naval annihilation. Also lurking in the movie is the ambivalent regard Japan has of itself as both a nationalistically and technologically proud but also reckless and potentially destructive (economically and ecologically) Japan. GVKG seems to view America that way as well. Godzilla is the "unfriendly" undying symbol of that country-conquering spirit.