The "original G" has returned to American theaters to reclaim his throne after his name was profaned in the 1998 U.S. version. And, thankfully, he hasn't changed a bit.
Godzilla is still fire-breathing, still destroying Tokyo (how many times has it been stomped and rebuilt now?), still fighting gigantic enemies from outer space, and he still looks like a guy in a green rubber suit.
If the film ever had any plot, the U.S. distributor probably cut it all out to mold it into a slam-bang monster mash for American audiences.
What's left is the story of a journalist (Naomi Nishida) trying to get pictures of Godzilla with the aid of the Godzilla Prediction Network (GPN). She gets more than she bargains for as she encounters the "king of monsters."
GPN, which consists solely of a father and his daughter, tries to study Godzilla to learn his biological secrets. Before long, they run up against an evil corporation that wants Godzilla destroyed at any cost. They still haven't learned that no matter how powerful the weapon, it still won't leave so much as a scar on the big G.
They soon discover that Godzilla has an enzyme that allows his flesh to regenerate after it has been destroyed. Realizing its potential for the good of mankind, they try to obtain more from the creature.
Unfortunately, a giant alien also has his eyes set on this chemical and attacks and sucks Godzilla's life force to acquire it.
Big mistake. Godzilla gets mad and the film erupts into some spectacular battles between the two giants in downtown Tokyo.
Special effects work well in scenes where Godzilla is in the distance and the citizens of Tokyo are driving around or panicking in the foreground. Computer-assisted effects are included, but the monster is always portrayed by a good old man in a suit.
The Japanese Godzilla films have always had an undercurrent of the monster's abusive love for Tokyo. He stomps it until another monster invades his territory and starts hurting it. Then Godzilla fights the enemy for his beloved citizens of Tokyo. After he triumphs, he batters Tokyo and they let him do it, fighting back only occasionally.
The monsters display true emotion during their battles. As the monster from space attacks and uses his alien technology to assimilate the giant green lizard, he looks genuinely bent on destroying Godzilla and stealing his identity. Fierce looks of rage cross Godzilla's face and burn so bright, the audience can feel them.
"Godzilla 2000" is terribly derivative of American films. It lifts visuals and ideas directly from "Jurassic Park" and "Independence Day" as well as "The Abyss," among others. However, the film stands on its own and moves at such a fast pace, it's easy to overlook these flaws.
Some terrible dubbing turns the potentially serious film into an unintentional comedy. With lines such as "Great Caeser's ghost! It's Godzilla!," the film easily could become a camp classic proving that crude humor is not a requirement for some cheap laughs.
This is the original Godzilla's first appearance on U.S. theater screens since the ridiculous but fun "GODZILLA 1985." If they plan on waiting another 15 years so they can release "GODZILLA 2015," it'll still be worth the wait.
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