|“||Japan vs. Godzilla. (ニッポン対ゴジラ。)||„|
— Japanese tagline
|“||A god incarnate. A city doomed.||„|
— North American tagline
Shin Godzilla (シン・ゴジラ?), also known as Godzilla Resurgence, is a Shin Gojira2016 Japanese tokusatsu kaiju film produced by Toho Company Ltd., and the thirty-first instalment in the Godzilla series. It was released in Japanese theatres on July 29, 2016, and was also theatrically released in limited runs during late 2016 in 100 international territories, including North America, Central America, South America, and the Caribbean.
Shin Godzilla was co-directed by Hideaki Anno and Shinji Higuchi, with a screenplay written by Anno. The film acts as a reboot to the series, and details Godzilla's origins, and his arrival in Japan for the first time, while also showcasing the human response to the disaster.
Shin Godzilla was the start of a reboot series of Godzilla films for Toho, and while it wasn't followed by a direct sequel, the film was followed by Godzilla: Planet of the Monsters and its sequels, which began to be released in 2017 and wrapped up in 2018. It should be noted that despite this reboot series, dubbed the Reiwa era, having started alongside Legendary Pictures' MonsterVerse, the two series are canonically unrelated.
The Japanese Coast Guard boards a small boat in Tokyo Harbor. Its occupant, a scientist, has vanished, despite the boat's interiors being clean, and nearly untouched, with the scientist's slippers being the only visible remains. Suddenly, the boat rocks violently due to an exterior explosion. Meanwhile, a large amount of what appears to be blood crashes into an underwater tunnel, causing multiple car accidents.
People evacuate while the Japanese government desperately tries to determine what caused the incident. At first, they insist that it's impossible for it to have been caused by a living thing, much to the chagrin of certain officials, but to their surprise, a news report shows footage of the appearance of an enormous serpentine tail splashing out of the ocean. The Prime Minister proceeds to make a press statement, announcing that it's scientifically improbable for the creature to make landfall, however, mid-speech, it does, much to his surprise.
The fish-like creature that emerges from the bay resembles a hybrid between a moray eel and a frilled shark, but with spiky dorsal plates on its back and a pair of stubby, undeveloped forelimbs. Bleeding from its gills as it struggles to breathe on land, it thrashes about and drags itself down the streets of Tokyo, pushing ships and cars in front of it out of the way, crushing everything in its path as well as climbing on buildings, causing them to collapse, and leaves an immense trail of destruction in its wake. Government meetings continue.
Suddenly, the creature stops moving and collapses in the street. Then, it begins to grow, its rubbery yellow skin grotesquely rippling and hardening to a tougher, scaly burnt-orange shade. Its gills shrink and close up, the stumpy growths on its side emerge into a pair of small, clawed arms, and its hind limbs grow in size and strength, allowing it to stand upright. As it stumbles through the city in its new form, the Self-Defense Force arrives to attack it. However, the Prime Minister refuses to allow the attack to begin, as there are still people in the vicinity. The monster roars loudly at the attackers nearby and then proceeds back to the harbor as its dorsal spines begin to glow red, destroying a large building as it escapes, and disappears into the sea. Now the government must figure out what has happened, try to prevent it from happening again, and clean the mess up.
Committees are formed. A group of marginal scientists gathers to try to research the monster with what limited knowledge they have. Talks begin with governments around the world, most of all the U.S. government. Due to its large size and rapid mutations, they speculate it requires an enormous amount of energy, not only to move but to maintain its metabolism. They speculated its energy comes from nuclear fission, speculation confirmed by traces of radiation that match the creature's trail. Nuclear fission also produces an enormous amount of heat, which is cooled by the dorsal spines on its back. They speculated the creature had to retreat to the sea because its rapid mutation used too much energy and thus produced too much heat for its body to cool itself down, thus it retreated to the sea to lower its body temperature to prevent overheating. They also discover its genome has eight times as much DNA as humans, explaining its ability to self-mutate seemingly at will.
Then, appearing in the Tokyo Harbor comes the monster who, based on the missing scientist Goro Maki's research, has been dubbed "Godzilla" by the American military. Having mutated further, the creature is now several times as large as its previous form, with a far bulkier body, a longer tail, and a dark, nearly black skin glowing red with energy in some parts of its body. It slowly enters Tokyo, wreaking havoc with every step, destroying the city with its movement alone. The government struggles to come up with answers and a means to counter the threat. The Self-Defense Force then returns. The Prime Minister reluctantly gives permission to hit Godzilla with everything they have, with which they do. Godzilla, however, maintains an undamaged state and destroys much of the nation's ground force in the process.
The U.S. government steps in, dropping bombs on Godzilla's back. They detonate, causing much of Godzilla's blood to spill onto the ground, visibly injuring and enraging the beast. Godzilla's spine suddenly begins to glow an ominous purple, leaving the city lit up by the effect. As Japanese personnel comment on it, Godzilla begins to vomit black and purple fumes, which flow throughout the city around it. Suddenly, in an instant, it ignites the smoke with a large ball of fire-breath, lighting up a large part of the city within seconds, causing immense amounts of destruction from the sheer force of the blast. This wide fire spray is then slowly intensified into a concentrated purple beam emitting a high-pitched noise, which Godzilla aims to the sky, taking out the B2 Bomber that hit it in the first place, much to the shock of the U.S.
Godzilla then stops and bends over, the spines on its back glowing a brighter purple as the remaining B2s drop their payload as an act of "payback". Godzilla then fires multiple beams from its dorsal plates, systematically destroying each missile, while bisecting and destroying the remaining bombers. It then unleashes another torrent of its concentrated, purple atomic breath, cleaving the city's skyline in half like butter, before hitting the helicopter carrying the Prime Minister and other government members. Both nations armies are destroyed, and with the city in flames, the government shattered, and many people dead, Godzilla finally begins to cease its attack; the glow on its dorsal plates subsiding as it slowly comes to a stop, freezing in place like a giant statue.
Now there is an even bigger incentive to find Godzilla's secrets and stop it. The places in the city where Godzilla's beams touched have severely high nuclear radiation readings, while the radiation plume caused by its breath and fire are drifting out to sea. They study the immobile Godzilla and find that it is slowly producing nuclear energy. Godzilla runs on nuclear power, and it has depleted all of its power in its recent rampage, which is why it's frozen. It's replenishing its energy to continue, a process that will take a few weeks. In addition, they figure out it possesses a "radar-like" system in its body, which is how its dorsal beams were able to destroy each bomb and bomber with pinpoint accuracy.
On top of that, its dorsal spines and blood act as a cooling system, and as long as air and water are available to the creature, it will survive. This is coupled with the new knowledge of its ability to regenerate, as a severed dorsal plate is discovered to be beginning to regenerate a body of its own. The scientists become concerned that due to this ability Godzilla's severed parts could potentially grow into new Godzillas.
The scientists find that Godzilla has more DNA information than any other creature on Earth, at least eight times more than the human genome. It is highly evolved and may continue to evolve further, with one scientist commenting on how it may sprout wings, provide the opportunity and motive. The U.S. government wants to take over dealings with Godzilla, and begin planning to drop a nuclear bomb on Tokyo in an attempt to kill the monster. They begin a countdown and give the Japanese 2 weeks to evacuate.
The scientists and government formulate a plan in a desperate attempt to avoid another nuke being dropped on the country: the Yashiori Strategy. This strategy involves creating a blood coagulant that would cool Godzilla's internal temperature to the point where the monster would freeze, due to the inability to sufficiently regulate its body temperature. The team narrowly manages to create the coagulant, with hours left to spare due to Patterson's ability to buy the team time, despite the risks.
They send driverless trains, carrying bombs, to crash into Godzilla's legs who wakes up immediately after. They then use American drones to drop bombs on Godzilla. In defense, it begins shooting beams out of its mouth, spikes, and even the growth at the end of its tail, much to the Japanese's shock. This, however, expends Godzilla's energy swiftly, given the sheer number of bombs and bombers Godzilla must strike down, leaving the creature defenseless as it walks into the line of skyscrapers nearby. The Japanese then knock these multiple large skyscrapers down on Godzilla to stun and immobilize the monster, pinning it down to the ground. The first team of pump trucks are then rapidly sent in, and begin to pump the coagulant into Godzilla's mouth. This first attempt results in failure as Godzilla recovers quickly enough to obliterate the pump truck formation to ashes with a powerful blast of atomic breath, before standing up, roaring furiously, and beginning to walk away. One of the leads of the operation comments on how Godzilla's skin's stiffening.
However, shortly after, a second, larger force of driverless trains are sent en masse towards Godzilla. The overwhelming force of the explosion chains sends Godzilla falling forward, sprawled on top of a large building. This allows the second pump truck force to finish what the first group started, pumping the full amount of coagulant into the monster's open mouth. Godzilla quickly recovers, however, and swiftly stands once more, destroying the second pump group and begins to walk forward again, seemingly unfazed. Godzilla then lets out a loud roar, and suddenly freezes in place, stopped completely in the middle of Tokyo.
It's stated that after this, the Americans' countdown has been paused, but not canceled; if Godzilla reawakens, Tokyo will be impacted with a nuclear strike. The people of Japan have no choice but to live together and rebuild their country with an immobilized Godzilla. The final shot depicts a frozen Godzilla and then focuses on the splitting end of its tail, out of which multiple skeletal, humanoid figures can be seen on the tail's now split open tip, frozen in their seeming escape, all of them possessing Godzilla-esque dorsal plates.
Staff role on the left, staff member's name on the right.
- Directed by Hideaki Anno, Shinji Higuchi
- Written by Hideaki Anno
- Produced by Minami Ichikawa, Taichi Ueda, Yoshihiro Sato, Masaya Shibusawa, Kazutoshi Wadakura
- Music by Shiro Sagisu
- Cinematography by Kosuke Yamada
- Edited by Atsuki Sato, Hideaki Anno
- Assistant directing by Kimiyoshi Adachi
- Special effects by Shinji Higuchi, Katsuro Onoe
- Deputy Chief Cabinet Secretary (Rando Yaguchi 矢口 蘭堂?, Yaguchi Randō): (Hiroki Hasegawa 長谷川 博己?, Hasegawa Hiroki)
- Special Adviser to the Prime Minister (Hideki Akasaka 赤坂 秀樹?, Akasaka Hideki): (Yutaka Takenouchi 竹野内 豊?, Takenouchi Yutaka)
- (Kayoko Ann Patterson カヨコ・アン・パタースン?, Kayoko An Patāsun): (Satomi Ishihara 石原 さとみ?, Ishihara Satomi)
- Prime Minister (Seiji Okouchi 大河内 清次?, Ōkouchi Seiji): (Ren Osugi 大杉 漣?, Ōsugi Ren)
- Chief Cabinet Secretary (Ryuta Azuma 東 竜太?, Azuma Ryūta): (Akira Emoto 柄本 明?, Emoto Akira)
- Deputy Chief Cabinet Secretary for Crisis Management (Hajime Kooriyama 郡山 肇?, Kooriyama Hajime): (Tetsu Watanabe 渡辺 哲?, Watanabe Tetsu)
- Minister of Defense (Reiko Hanamori 花森 麗子?, Hanamori Reiko): (Kimiko Yo 余 貴美子?, Yo Kimiko)
- Minister of Agriculture, Forestry and Fisheries (Yusuke Satomi 里見 祐介?, Satomi Yūsuke): (Sei Hiraizumi 平泉 成?, Hiraizumi Sei)
- Cabinet Office Minister of State for Special Missions (Koji Kanai 金井 光二?, Kanai Kōji): (Ikuji Nakamura 中村 育二?, Nakamura Ikuji)
- Minister of Internal Affairs and Communications (Jun Kawano 河野 純?, Kawano Jun): (Akira Hamada 浜田 晃?, Hamada Akira)
- Minister of Land, Infrastructure, Transport and Tourism (Kunihiko Yanagihara 柳原 邦彦?, Yanagihara Kunihiko): (Kenichi Yajima 矢島 健一?, Yajima Kenichi)
- Minister of Education, Culture, Sports, Science and Technology (Goro Sekiguchi 関口 悟郎?, Sekiguchi Gorō): (Toru Tezuka 手塚とおる?, Tezuka Tooru)
- Minister of Economy, Trade and Industry (Tatuya Hayama 葉山 達也?, Hayama Tatuya): (Masayuki Shida 信太昌之?, Shida Masayuki)
- Minister of the Environment (Shunsuke Kikukawa 菊川 俊介?, Kikukawa Shunsuke): (Katsuhiko Yokomitsu 横光克彦?, Yokomitsu Katsuhiko)
- Minister of Health, Labour and Welfare (Tsuyoshi Iwata 岩田 剛?, Iwata Tsuyoshi): (Raishin Kodama 児玉頼信?, Kodama Raishin)
- Minister of Justice (Komahito Tsukuda 佃 駒人?, Tsukuda Komahito): (Tsuto Kawai 川井 つと?, Kawai Tsuto)
- Deputy Prime Minister & Foreign minister (Shuichi Kunihira 国平 修一?, Kunihira Shūichi): (Takeshi Obayashi 大林 丈史?, Ōbayashi Takeshi)
- Minister of Finance (Shinichiro Ukai 鵜飼 真一朗?, Ukai Shinichirō): (Hiroaki Matsuzawa 松澤 仁晶?, Matsuzawa Hiroaki)
- Minister of State for Economic and Fiscal Policy (Takahiro Ōno 大野 孝博?, Ōno Takahiro): (Takahiro Ono 小野 孝弘?, Ono Takahiro)
- Minister of National Policy (Shuji Oyama 大山 修治?, Ōyama Shūji): (Shuji Otsuki 大槻 修治?, Ōtsuki Shūji)
- Minister of State for Financial Services (Takefumi Kawamizo 河溝 丈文?, Kawamizo Takefumi): (Takefumi Kawaguchi 川口 丈文?, Kawaguchi Takefumi)
- Minister of State for Government Revitalization (Manabu Mori 森 学?, Mori Manabu): (Kiyomitsu Miura 三浦 清光?, Miura Kiyomitsu)
- Deputy Chief Cabinet Secretary (Haruomi Aita 会田 晴臣?, Aita Haruomi): (Tomonori Mizuno 水野 智則?, Mizuno Tomonori)
- Deputy Chief Cabinet Secretary (Shuji Morito 森戸 柊志?, Morito Shūji): (Ryota Tsuchiya 土屋 良太?, Tsuchiya Ryōta)
- Assistant Chief Cabinet Secretary (Kimio Hiraoka 平岡 君男?, Hiraoka Kimio): (Kozo Sato 佐藤 貢三?, Satō Kōzō)
- Private Secretary (Osamu Iki 壱岐 治?, Iki Osamu): (Yasukage Hinaka 日中 泰景?, Hinaka Yasukage)
- Meteorological Agency Deputy General Manager (Yoshiro Oki 沖 良郎?, Oki Yoshirō): (Masahiro Noguchi 野口 雅弘?, Noguchi Masahiro)
- Director-General for Policy Planning (Seiichi Matsumoto 松本 誠一?, Matsumoto Seiichi): (Jun'ichi Gamō 蒲生 純一?, Gamō Jun'ichi)
- 2nd Secretary (Akira Hisamatsu 久松 明?, Hisamatsu Akira): (Takahiro Kato 加藤貴宏?, Katō Takahiro)
- Foreign Ministry Secretary (Tatsuo Kazagoshi 風越 達雄?, Kazagoshi Tatsuo): (Yu Kamio 神尾 佑?, Yū Kamio)
- Deputy Prime Minister & Foreign minister (Shuichi Katayama 片山 修一?, Katayama Shūichi): (Kyūsaku Shimada 嶋田 久作?, Shimada Kyūsaku)
- Special Adviser to the Prime Minister (Shuichi Izumi 泉 修一?, Izumi Shūichi): (Satoru Matsuo 松尾 諭?, Matsuo Satoru)
- Director-General of the Cabinet Legislation Bureau (Matsuzawa 松沢?): (Shin Nakajima 中島 伸?, Nakajima Shin)
- Giant Unknown Creature Disaster Affairs Administration
- Executive Secretary to Chief Cabinet Deputy Secretary (Yusuke Shimura 志村 祐介?, Shimura Yūsuke): (Kengo Kora 高良 健吾?, Kōra Kengo)
- Ministry of Health, Labor and Welfare Bureaucrat (Fumiya Mori 森 文哉?, Mori Fumiya): (Kanji Tsuda 津田 寛治?, Tsuda Kanji)
- Ministry of the Environment Bureaucrat (Hiromi Ogashira 尾頭 ヒロミ?, Ogashira Hiromi): (Mikako Ichikawa 市川 実日子?, Ichikawa Mikako)
- Biology Associate Professor (Kunio Hazama 間 邦夫?, Hazama Kunio): (Shinya Tsukamoto 塚本 晋也?, Tsukamoto Shinya)
- Ministry of Education, Culture, Sports, Science and Technology Bureaucrat (Tatsuhiko Yasuda 安田 龍彦?, Yasuda Tatsuhiko): (Issei Takahashi 高橋 一生?, Takahashi Issei)
- Ministry of Defense Bureaucrat (Yasushi Sodehara 袖原 泰司?, Sodehara Yasushi): (Shota Taniguchi 谷口 翔太?, Taniguchi Shōta)
- Ministry of Foreign Affairs Bureaucrat (Jun Komatsubara 小松原 潤?, Komatsubara Jun): (Koichi Miwa 三輪 江一?, Miwa Kōichi)
- Agency for Natural Resources and Energy Bureaucrat (Hajime Tachikawa 立川 始?, Tachikawa Hajime): (Toru Nomaguchi 野間口 徹?, Nomaguchi Tōru)
- Ministry of Land, Infrastructure, Transport and Tourism Assistant Secretary (Mamoru Takeo 竹尾 保?, Takeo Mamoru): (Toshimasa Komatsu 小松 利昌?, Komatsu Toshimasa)
- Nuclear Regulation Authority Bureaucrat (Tatsuya Negishi 根岸 達也?, Negishi Tatsuya): (Daisuke Kuroda 黒田 大輔?, Kuroda Daisuke)
- Ministry of Economy, Trade and Industry Bureaucrat (Kazuaki Machida 町田 一晃?, Machida Kazuaki): (Oolongta Yoshida 吉田 ウーロン太?, Yoshida Ūronta)
- National Police Agency Bureaucrat: (Kosei Kato 加藤 厚成?, Katō Kōsei)
- Fire and Disaster Management Agency Bureaucrat: (Shohei Abe 阿部 翔平?, Abe Shōhei)
- Japan Self-Defense Forces
- Joint Staff Office Chief (Masao Zaizen 財前 正夫?, Zaizen Masao): (Jun Kunimura 國村 隼?, Kunimura Jun)
- Joint Staff Office Vice-Chief (Yajima 矢島?): (Shingo Tsurumi 鶴見 辰吾?, Tsurumi Shingo)
- Joint Staff Office Minister (Hamada 浜田?): (Atsushi Yamanaka 山中 敦史?, Yamanaka Atsushi)
- Chief of Staff, Ground Self-Defense Force (Ishikura 石倉?): (Shoken Kunimoto 國本 鐘建?, Kunimoto Shōken)
- Chief of Staff, Air Self Defense Force (Ozawa 小沢?): (Shunsuke Nakata 中田春介?, Nakata Shunsuke)
- Chief of Staff, Maritime Self Defense Force (Kitano 北野?): (Nikichi Kondo 近童 弐吉?, Kondō Nikichi)
- Joint Staff Office Bureaucrat (Yamamoto 山本?): (Masahiro Kishibata 岸端 正浩?, Kishibata Masahiro)
- JGSDF Eastern Army General (Yamaoka 山岡?): (Takashi Kobayashi 小林 隆?, Kobayashi Takashi)
- JGSDF Eastern Army Chief to Staff (Miki 三木?): (Jun Hashimoto 橋本 じゅん?, Hashimoto Jun)
- JGSDF Eastern Army Minister (Samejima 鮫島?): (Akihito Yoshiie 吉家 章人?, Yoshiie Akihito)
- Taba Regimental Combat Team Captain (Saigō 西郷?): (Pierre Taki ピエール 瀧?, Piēru Taki)
- JGSDF 32nd Infantry Regiment Captain (Tanba 丹波?): (Masakatsu Toriyama 鳥山 昌克?, Toriyama Masakatsu)
- Communication Captain (Matsui 松井?): (Shoki Matsui 松井 晶熙?, Matsui Shōki)
- JGSDF 32nd Infantry Regiment Vice-Captain (Nojiro 野城?): (Atsuo Ouchi 大内 厚雄?, Ōuchi Atsuo)
- JGSDF 32nd Infantry Regiment #3 Section Chief (Kai 甲斐?): (Makoto Horioka 堀岡 真?, Horioka Makoto)
- Special Building Squad #1 Captain (Murayama 村山?): (Murayama J Sarshi ムラヤマ・J・サーシ?, Murayama J Sāshi)
- Special Building Squad #2 Captain (Kikuchi 菊池?): (Yasuhiro Kikuchi 菊池 康弘?, Kikuchi Yasuhiro)
- United States
- Tokyo Governor (Kozuka 小塚?): (Ken Mitsuishi 光石 研?, Mitsuishi Ken)
- Tokyo Deputy Governor (Kawamata 川又?): (Takashi Fujiki 藤木 孝?, Fujiki Takashi)
- Tokyo Deputy Governor (Tahara 田原?): (Taro Suwa 諏訪 太朗?, Suwa Tarō)
- Superintendent General (Onchi 恩地?): (Yoichiro Kono 河野 洋一郎?, Kōno Yōichirō)
- Veteran Journalist: (Yota Kawase 川瀬 陽太?, Kawase Yōta)
- Young Journalist: (Takahiro Miura 三浦 貴大?, Miura Takahiro)
- National Police Agency Commissioner-General (Tatsuhiko Sawaguchi 沢口 龍彦?, Sawaguchi Tatsuhiko): (Arata Furuta 古田 新太?, Furuta Arata)
- National Police Agency Criminal Investigation Bureau Director (Honbu 本部?): (Moro Morooka モロ 師岡?)
- Journalist (Tatsuya Hayafune 早船 達也?, Hayafune Tatsuya): (Matsuo Suzuki 松尾 スズキ?, Suzuki Matsuo)
- Paleontologist (Shiga 志賀?): (Isshin Inudo 犬童 一心?, Inudō Isshin)
- Marine Biologist (Yanagi 柳?): (Akira Ogata 緒方 明?, Ogata Akira)
- Biologist (Hanawa 塙?): (Kazuo Hara 原 一男?, Hara Kazuo)
- Fire Brigade Captain: (Keisuke Koide 小出 恵介?, Koide Keisuke)
- Ambassador of France Morelli: Daniel Aguilar
- Refugee: (Atsuko Maeda 前田 敦子?, Maeda Atsuko), (Ren Mori 森 廉?, Mori Ren)
- Professor (Goro Maki 牧 悟郎?, Maki Goro): (Kihachi Okamoto 岡本 喜八?, Okamoto Kihachi)(Photo Only)
- Godzilla (Motion Capture): (Nomura Mansai II 二世 野村 萬斎?, Nisei Nomura Mansai)
- AH-1 Cobra
- AH-64 Apache
- Northrop Grumman B-2 Spirit
- Mitsubishi F-2
- Type 10
- Type 96 Multi-Purpose Missile System
- Type 99 155mm Self-propelled Howitzer
The film was revealed through Godzilla.jp. The movie was set to be in production from summer to autumn 2015. In addition, Toho inaugurated "Godzi-Con" to discuss and determine strategies for future Godzilla films, including this one. On March 31, 2015, it was officially confirmed that Hideaki Anno, known for his work on the popular anime Neon Genesis Evangelion, would be writing the screenplay for the film and serve as executive director, and that Shinji Higuchi, who provided the special effects for the Heisei Gamera trilogy, the upcoming Attack on Titan live-action films, and a scene in Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, would be the film's director as well as the director of special effects.
Due to this version of Godzilla being even bigger than the previously largest Legendary version (as well as the translation of Shin Gojira as "True Godzilla"), a common misconception that arose was that Toho disliked the 2014 American film and was trying to "outdo" Legendary's version in a similar vein that Godzilla 2000 was made as a backlash to the much-disliked 1998 TriStar film. On the contrary, Toho actually praised and approved of the 2014 film, and in fact, produced Shin Godzilla to celebrate the new attention the American film brought to the franchise. In a complete inversion of the Legendary portrayal of the character, however, they depicted Godzilla as a horrifying force of chaos and death, as opposed to the noble and majestic semi-heroic treatment of Legendary toward the famous monster.
In an interview with the Associated Press conducted on July 31, 2015, Shinji Higuchi revealed that Hideaki Anno had recently completed the film's script and that filming would begin in September. Higuchi stated that he was under strict orders not to reveal any specific details about the film, but he did state that Godzilla would be portrayed in the film using a combination of computer graphics and traditional tokusatsu techniques, a style that Higuchi called "hybrid," which he also utilized to portray the Titans in the recent live-action Attack on Titan film. Higuchi stressed that he wanted to create the most terrifying depiction of Godzilla possible with the resources available to modern Japanese cinema, to reflect the world's recent "loss of innocence" from modern real-life tragedies like the 9/11 terrorist attacks and the tsunami and nuclear disaster in northeastern Japan, which Higuchi called "the real monsters of the world."
In the 2015 Tsuruoka Kamakura Hachiman Paper Lantern Festival, a Godzilla paper lantern signed by Hideaki Anno could be found. It read "・ゴジラ・再上陸 Godzilla Relanding!"
Filming began on September 6, 2015 at the Kamata Railway Station, from 8:00 AM to 12:00 PM.
A smaller scale shoot took place in Yokodai Station in Yokohama, Japan. Filming wrapped up at about 6:00 PM JST.
Another small scale shoot took place in Kamakura Station in Yokohama.
The next large-scale shooting was on September 20, 2015, at the city of Utsunomiya in the Tochigi Prefecture of Japan. The shoot lasted from 5:00 AM to 10:00 PM.
On September 22, 2015, the film's official title was revealed to be Shin Gojira (シン・ゴジラ?), which translates to New, True, or God Godzilla in English. According to executive producer Akihiro Yamauchi, the title was chosen to exemplify how the film is a "rebirth" or "revival" to the franchise. Hideaki Anno reportedly decided upon the title to bring about various meanings. On the same day, three of the main cast members were also revealed. Hiroki Hasegawa, who played Shikishima in Shinji Higuchi's Attack on Titan, was cast as the lead, a man working for the Japanese government when Godzilla appears. Japanese Academy Award-winning actor Yutaka Takenouchi was cast as another government operative, while actress Satomi Ishihara, who played Hange Zoe in the Attack on Titan film, was cast as an American agent. Toho also launched an official website for the film.
Toho screened a test reel for the film at the annual American Film Market (AFM) in Santa Monica, California, which ran from November 4th-11th. It was at this festival that Toho revealed the original official English title of the film: Godzilla: Resurgence.
On December 9, 2015, Katsuro Onoue, special effects director under Shinji Higuchi for the Attack on Titan films, tweeted a teaser poster for the film, featuring a close-up of the new Godzilla's face along with the film's Japanese title and a release date of July 29, 2016. This poster reveal was soon followed by the release of a brief teaser trailer featuring footage from the Kamata Station shoot and the 1954 Godzilla's roar.
The new head design for Godzilla is heavily based on his 1954 design and preserves the traditional maple-leaf shape of his dorsal plates. Unlike previous designs, this Godzilla has countless rows of jagged sharp teeth in his mouth, giving him a much more grotesque, disfigured and savage appearance. His eyes are also much smaller than previous suits. That same day, it was also revealed that the new Godzilla's official height was 118.5 meters tall, making him officially the tallest Godzilla to appear in a film (about 10.3 meters taller than the Legendary version, mostly due to its longer neck and more upright posture).
On December 10, Toho's official website revealed that Shiro Sagisu had been selected to compose the film's score. Sagisu had previously worked with both Hideaki Anno and Shinji Higuchi, scoring Anno's Neon Genesis Evangelion series and Higuchi's Attack on Titan films.
On January 3, 2016, images of the new Godzilla suit were leaked to the internet.
In March 2016, Toho ran a short interview with the three main cast members of the film during intermissions in their theaters. This interview revealed the names of the actors' characters: Satomi Ishihara's character's name is Kayoko Ann Patterson, Yutaka Takenouchi's is Hideki Akagi, and Hiroki Hasegawa's is Ladou Yaguchi.
On April Fool's Day in Japan (March 31 in the United States), Toho announced a fake Godzilla vs. Evangelion film, even releasing artwork showing Godzilla with Evangelion Unit-01. This April Fool's joke was likely done as a nod to Hideaki Anno's work on both franchises. Toho later revealed the announcement was a prank, but also announced an official collaboration between themselves and Gainax involving Evangelion Unit-01 being featured on exclusive tickets for Shin Godzilla.
On April 13, Toho released an official trailer for the film, showing several of the characters from the film along with Godzilla's full design in action, rendered through CGI. A shorter 32-second version of the trailer was released as well. Toho also updated the film's official website with cast and staff information of the film, as well as a new screenshot of Godzilla in the website's background. Composer Shiro Sagisu's website announced that the soundtrack for Shin Godzilla would go on sale on the film's release date of July 29, and would be sold by King Records.
On May 25, it was announced that the company Intercontinental Film Distributors (H.K.) Ltd., who has distributed various Hollywood films in Hong Kong in theaters and on home video, would be giving Shin Godzilla a theatrical release in Hong Kong starting on August 25. It had recently been confirmed that the film would also be released theatrically in Taiwan starting on August 12. On June 1, the Thai film production and distribution company Sahamongkol Film International Co. Ltd. announced via Twitter that it would be distributing Shin Godzilla theatrically in Thailand starting on July 28, one day ahead of the film's Japanese release.
Shinji Higuchi was present at Tokyo Toy Show on June 9, where he took the stage at Bandai and Tamashii Nations' Godzilla presentation. Accompanied by MireGoji, Higuchi showcased the upcoming S.H. MonsterArts Light Sound Songs Godzilla (1989) figure, and also unveiled the new S.H. MonsterArts Shin Godzilla figure. While at the presentation, Higuchi confirmed that Shin Godzilla was currently in post-production and not yet fully completed, as he and everyone else working on the film were continuing to work until the very end to make something great.
A report published by SciFi Japan on June 13 clarified that Shin Godzilla would not be a sequel to the original 1954 film, and will instead feature a story where Godzilla appears in Japan for the very first time.
On September 2, 2016, Funimation revealed Shin Godzilla's release structure, stating that the movie would get a limited theatrical run starting October 11, through 18 in more than 440 theaters across both the United States and Canada, with locations being revealed later. Alongside this, they also announced two premiere dates for the title, one in Los Angeles for October 3, and one in New York on October 5, one day before New York Comic Con's opening date.
The film's official poster was also revealed by Funimation at this time.
September 9 opened up with the reveal of a new Shin Godzilla trailer promoting the film for its North American audience. Pre-orders for tickets began upon this date.
This day also came with the news that Shin Godzilla had surpassed 4.2 million in attendance with its overseas run, becoming more successful than the 2014 Godzilla, alongside becoming more successful than any movie in the Heisei era or Millennium series.
On October 18, shortly after Shin Godzilla's North American debut, it was announced that the film would be getting an extended theatrical run in select theaters due to immense popularity. This was extended to roughly a week after the original release's end date.
During the month of December, a Japanese site by the name of Yodobashi put up a pre-order listing for Shin Godzilla's home media release, slated for March 22, 2017 in Japan. It was taken down shortly after but had multiple media listings, including a four-disc special edition that clocks in at 238 minutes with regards to its runtime. Well over that of the regular movie's 118 minutes.
In January 2017, a trailer was released for a 4-D Shin Godzilla attraction, to be opened in Universal Osaka under the banner of "Godzilla: The Real 4D".
On January 11, it was revealed within the movie magazine Kinema Junpo, that Shin Godzilla's director Hideaki Anno won their award of Best Screenwriter, and the film was listed within the top 10 films of 2016 in the same magazine.
Less than two days later on the 13, the European debut of the film was finally announced, with the film's release being set on February 24, 2017 at Glasgow's Frightfest Film and Horror Festival.
On March 3, 2017, it was reported that Shin Godzilla had taken 7 victories at the Japan Academy Prize Awards, most notably, that of Best Picture. Anno and Higuchi both took the award for best director with their work on the film.
On May 15, the film was officially announced to be coming to DVD and Blu-ray by FUNimation.
On July 11, 2017, the film's United Kingdom release date was unveiled, being August 10, 2017. This announcement yielded a poster for the film, alongside a trailer. The UK trailer for the film was simply an edited version of the original North American trailer released for the film's October 11, 2016 release, with the primary differences laying in the bookend title cards fitting those of the UK release.
- Japan - July 29, 2016
- Thailand - July 28, 2016
- Taiwan - August 12, 2016
- Philippines - August 31, 2016
- Hong Kong - August 25, 2016
- Macao - August 25, 2016
- Singapore - August 25, 2016
- Malaysia - September 22, 2016
- USA - October 11, 2016 (October 7, 2016 in Columbus)
- Canada - October 12, 2016
- Australia - October 13, 2016
- Mexico - January 13, 2017
- Europe - February 24, 2017
- United Kingdom - August 10, 2017
- Chile - Third quarter, 2017
The film was financially successful within Japan, having earned ￥625 million (US$6.1 million) on its opening weekend. It shoved Finding Dory and One Piece Film: Gold to second and third place, respectively, having been number one for that weekend. Compared to the 2014 film, it earned 23% more upon its release in Japan. It also tripled Godzilla: Final Wars' initial weekend's gross, that being US$12.3 million.
For its second weekend, the film was projected to finish at US$40 million domestically, and it remained in its number one spot during this time. During its third weekend, the film dropped to second place, being topped by The Secret Life of Pets, and it went on to gain U$S33.5 million after 17 days.
The film reached ￥5.3 billion (US$51.63 million) following a month after its initial release. This managed to top Hideaki Anno's previous film's (Evangelion: 3.0 You Can (Not) Redo) earnings, which was ￥5,267,373,350.
For the movie's sixth weekend, it managed to claw its way back to the number two spot, having been topped by Your Name, however, it earned an additional US$3.2 million, raising Shin Godzilla's domestic gross to US$60 million from 4.1 million admissions.
The movie ended up exiting the top ten in late September, and by then had managed to gross close to US$77 million dollars from 5.6 million admissions. With this, the film became the high grossing live-action Japanese film of 2016, as well as the second highest grossing film in Japan for the same year.
Shin Godzilla garnered another US$1.9 million dollars during its 31 day, North American run. This popularity resulted in an extension for screenings.
Shin Godzilla was given mostly positive reviews by critics.
Simon Abrams of Roger Ebert gave the film a 3.5 out of 4 stars, stating that the film's "probably drier, and more dialogue-centric than fans may want." He, however, considered the emphasis on endless discussions and politics to be genuinely exciting. He also went on to say that the style in which these conversations were presented (Cross-cut) resulted in a film that "never slows down long enough to feel boring".
He ended his review stating that one shouldn't watch Shin Godzilla for Godzilla alone, and praised the main human cast, emphasizing they were the stars of the show, while stating they "credibly resist the end of the world with ingenuity and teamwork."
Mike Rougeau of IGN also gave the film a positive score, stating that, while the initial reveal of the creature was extremely silly and more than a little disappointing, it was obvious the directors had fun with Shin Godzilla, expressing how the creature's newfound powers were "really something to see."
He went on to speak about the film's dry humor, and stated that, while he eventually realized it's part of the film's joke, it most likely wouldn't be caught by the Western audiences the film was released to, especially with the film's dual subtitle tracks which may prove to be confusing.
Daniel Kurland of Blood Disgusting spoke greatly of the film's pacing, acknowledging that, while the film revealed the monster early on, it was only about halfway in where an actual counterattack was launched against him. This, in turn, made him feel that the film "ends up functioning as a very successful model on what to do if you’re actually being attacked by a giant monster."
The talk of pace was elaborated on more, where he states the film never feels like a drag, even in spite of its dialogue-driven nature, and also acknowledged how difficult a balance that was to obtain.
Daniel went into the film's score as well, acknowledging Sagisu's composition of original pieces as respectful, while the new pieces, including Persecution of the Masses touched upon the franchise's sprawling legacy. Despite being a self-admitted casual fan, was able to pick up on and recognize the film's original musical cues, stating that "the real Godzilla nerds would be losing their minds and catching even more" upon hearing them.
Forbes' Ollie Barder was largely like-minded in enjoying the film, but also expressed certain criticisms. Criticism of the film was largely aimed towards the cast's grasp on English, which he found "painful to listen to", while he also considered some of the acting to be amateurish.
In addition, he also wasn't fond of the creature's design, but stated he liked how the creature was actually handled within the film's events.
Home media releases
|Toho||March 22, 2017||Region A||Japanese (DTS-HD Master Audio 3.1)
Japanese (DTS-HD Master Audio 2.0)
|Toho||March 22, 2017||Region A||Japanese (DTS-HD Master Audio 3.1)
Japanese (DTS-HD Master Audio 2.0)
|Subtitled||Codec: HEVC / H.265|
Resolution: 4K (2160p)
Original aspect ratio: 2.39:1
|FUNimation||August 1, 2017||Region 1||English
|English subtitles||16:9 aspect ratio|
|FUNimation||August 1, 2017||Region 1/A||English
|English subtitles||16:9 aspect ratio|
Special feature runtime: 34 min
Awards and accolades
|90th Kinema Junpo Magazine Prize||Best Screenwriter||Hideaki Anno||Won|
|59th Blue Ribbon Awards||Best Film||Shin Godzilla||Won|
|38th Yokohama Film Festival||Special Grand Prize||Hideaki Anno||Won|
|71st Mainichi Film Awards||Best Film||Shin Godzilla||Won|
|Best Supporting Actress||Mikako Ichikawa||Won|
|Best Art Direction||Yuji Hayashida and Eri Sakushima||Won|
|11th Asian Film Awards||Best Visual Effects||Tetsuo Ohya||Won|
|Best Sound||Jun Nakamura||Nominated|
|40th Japan Academy Prize||Picture of the Year||Shin Godzilla||Won|
|Director of the Year||Hideaki Anno and Shinji Higuchi||Won|
|Actor of the Year||Hiroki Hasegawa||Nominated|
|Supporting Actress of the Year||Satomi Ishihara||Nominated|
|Best Music||Shirou Sagisu||Nominated|
|Best Cinematography||Kousuke Yamada||Nominated|
|Best Art Direction||Yuji Hayashida and Eri Sakushima||Nomnated|
|Best Lighting Direction||Takayuki Kawabe||Nominated|
|Best Sound Recording||Jun Nakamura and Haru Yamada||Won|
|Best Film Editing||Hideaki Anno and Atsuki Sato||Won|
|43rd Saturn Awards||Best International Film||Shin Godzilla||Pending|
On September 16, 2016, the cast expressed their desire for a sequel to the movie, but director Hideaki Anno has said that development of a sequel to the film would be up to Toho.
It was later noted by Shinji Higuchi at G-Fest XXIV that any potential sequel to Shin Godzilla would have to wait until after 2020, due to Toho's contract with Legendary Pictures involving their own MonsterVerse series of films.
A sequel to Shin Godzilla was confirmed to not be in production in May of 2018, with Keiji Ota stating that Toho intended to start a new Godzilla shared cinematic universe, rather than "the obvious idea of making a Shin Godzilla 2". 
- The paper files used during a conference indicate that events in this film took place in A.D.12016.
- This movie was partially based on Kôujin (荒神?, lit. Ravaging God), a novelization by Miyuki Miyabe in 2014, and a live action TV drama was aired in 2018, and depiction of the monster was based on Godzilla. Kou Jin
- One of taglines in Japan, 現実対虚構 (Reality vs Fabrication) is similar to 日常を壊す非日常 (Extraordinary destroys ordinary), the tagline of Heisei Gamera series which both Anno and Higuchi have connections to.
- It was revealed in 2012 that a memo named Shin Godzilla was left by Ishiro Honda; he was planning to create a Godzilla able to self-divide, coalesce enemies, and grow larger, enabling aerification and solidification, and the ability to become inanimate.
- Interestingly enough, the film featured alterations from its theatrical release in its home media releases. They include:
- A scene with helicopters now including heat distortion.
- A scene involving Godzilla has its angle changed slightly.
- A deleted scene within the film features a slightly different take on Godzilla's continued adaptation and mutation. In the scene, the JSDF investigating areas around the now dormant Godzilla find biomass that was blown off of the monster. The biomass has developed eyes and teeth. However, the creators of the film thought this idea would be too disturbing, thus it was replaced by a scene where the JSDF find the cleaved off dorsal fin of Godzilla, instead.
- This is currently the only live-action Godzilla movie in the Reiwa era.
- Funimation's official English subtitles for the film spell Kayako Ann Patterson's name as "Kayoco Anne Patterson".
- This is the first Godzilla film since The Return of Godzilla where Godzilla does not battle another monster.
- This is the only Godzilla film that isn't canonically related to any other films.
Notes and references
This is a list of references for Shin Godzilla. These citations are used to identify the reliable sources on which this article is based. These references appear inside articles in the form of superscript numbers, which look like this: