aka. Godzilla's Revenge
Original Gojira director Ishiro Honda returns to direct All Monsters Attack, his second to last Godzilla film, with Kunio Miyauchi providing a bouncy surf-rock score. From the get go, it's clear that Attack All Monsters will be a far cry from the spectacle of Destroy All Monsters. Set in a real-world Japan where Godzilla may or may not exist, All Monsters Attack follows a young boy named Ichirô (Tomonori Yazaki) who lives in industrial Japan and fantasizes about monsters as a way to escape his alienated latch-key existence and the torments of some local schoolyard bullies. All the monster action happens exclusively within his dreams, and a lot of it is stock footage compiled from Son of Godzilla and Godzilla vs. The Sea Monster. In his fantasies, Ichirô travels to Monster Island to cavort with Godzilla's son Minilla (who talks) and to watch Godzilla beat up on other monsters. However, just like Ichirô at home, Minilla is also having bully troubles. He's being picked on by a bigger monster named Gabara, which just happens to be the name of Ichirô's bully. You see where this is going right?
|Dadzilla to the rescue|
|Surprisingly, Ichirô is the least obnoxious of the two|
|Take your kid to work day|
Attack All Monsters is truly a low-point in the Godzilla franchise and a sign of the decreasing production values in the years to come. However, before Godzilla films would fall completely into the tired mediocrity of the 1970s, one film would emerge to fight against the tide and deliver something original. Something so insanely original, in fact, that it would become almost inexplicable. For our next chapter in 30 Days of Godzilla, we'll attempt to explore the psychedelic, the bizarre, the baffling, and the altogether schizophrenic anti-pollution monster movie GODZILLA vs. HEDORAH