GODZILLA: The Planet Eater (2018)
Bow down and worship the Golden Demise (黄金の終焉を伏して拝むがいい)
GODZILLA: The Planet Eater (ＧＯＤＺＩＬＬＡ 星を喰う者 Gojira Hoshi o Kū Mono) is an anime science fiction kaiju film produced by Toho Animation and animated by Polygon Pictures, and the third entry in a trilogy of animated Godzilla films. After making its world premiere at the Tokyo International Film Festival on November 3, 2018, it was released to Japanese theaters on November 9 and became available to stream worldwide via Netflix on January 9, 2019.
- 1 Description
- 2 Plot
- 3 Marketing
- 4 Staff
- 5 Cast
- 6 Appearances
- 7 Gallery
- 8 Soundtrack
- 9 Theatrical Releases
- 10 Foreign Releases
- 11 Reception
- 12 Novelization
- 13 Video Releases
- 14 Videos
- 15 Trivia
- 16 External Links
- 17 References
- 18 Comments
"A door opens and a golden seal shatters a star...
In the early 21st century, Mankind lost the battle for planet Earth to Godzilla, and has taken to the stars aboard the migrant ship, Aratrum, in search of a new home. Unfortunately, the search ends in vain, forcing them and their alien allies back to Earth. But, due to a distortion in space-time caused by the long-distance sub-space jump, 20,000 years have passed in their absence, and the Earth is a wholly different place.
The planet's flora and fauna now embody and serve Godzilla. Earth is a monster's planet, ruled by the largest Godzilla ever at 300 meters in height… Godzilla Earth.
The human protagonist, Captain Haruo Sakaki, yearns to defeat Godzilla and retake the planet for mankind. There, he meets the Houtua tribe, aboriginal descendants of the human race. The Houtua twin sisters, Maina and Miana, lead him to the skeletal remains of Mechagodzilla, an old anti-Godzilla weapon, which to everyone's surprise is still alive in the form of self-generating nanometal. Taken from the Mechagodzilla debris, the nanometals have gradually been rebuilding a “Mechagodzilla City,” a potential weapon capable of destroying Godzilla Earth.
As the strategy develops, a rift forms between the humans and the Bilusaludo, one of two alien races that had joined the humans on their exodus from Earth. Their leader, Mulu-elu Galu-gu, believes that the secret to defeating Godzilla lies in the use of superhuman powers — namely, the nanometal integration — but Haruo resists, fearing that in defeating monsters, they must not become monsters themselves. Haruo ultimately uses his means for defeating Godzilla Earth to destroy the Mechagodzilla city so as to prevent nanometal assimilation, killing Galu-gu. However, his childhood friend, Yuko Tani, has been absorbed by the nanometal integration and fallen into a coma.
Once again, the human race is lost. Metphies, the archbishop of the religious Exif alien race, marvels that Haruo once again survived the battle with Godzilla. He espouses that Haruo's life is a “miracle”, and begins to attract a stronger following to the Exif faith. The aliens have secretly harbored this outcome as their ultimate goal. Miana and Maina issue warnings against Metphies, while Haruo begins to question mankind's next move.
With no means for defeating Godzilla Earth, mankind watches as King Ghidorah, clad in a golden light, descends on the planet. The heavens and earth shake once again as the war moves to a higher dimension.
What is Godzilla, exactly? Does mankind stand a chance? Is there a future vision in Haruo's eyes? Find out in the finale, when it all becomes clear..."
Following the destruction of Mechagodzilla City, Martin Lazzari and Josh Emerson observe Godzilla as he stands motionless. Josh asks Martin if Godzilla is dead, but Martin replies that the creature is simply dormant. Josh asks Martin what Godzilla really is, to which Martin responds that the accepted theory has always been that Godzilla and monsters like him arose due to humanity's tampering with Earth's environment. But he says that perhaps this interpretation is incorrect, and humanity existed for the sole purpose of bringing Godzilla, the ultimate lifeform, into being. Josh tells Martin that Captain Haruo Sakaki wouldn't want to hear this, and Martin replies that as a human being he doesn't want to accept it either. Aboard the Aratrum, members of the Central Committee listen to the last broadcast received from Mechagodzilla City. It contains a conversation between Mulu-elu Galu-gu and Haruo, where Galu-gu urges Haruo to do what is necessary to destroy Godzilla, even though it means Mechagodzilla City's Nanometal will continue to spread. Just as Haruo screams defiantly, the broadcast ends. The Bilusaludo chieftain Halu-elu Dolu-do is infuriated and demands that Haruo be executed for treason. Takeshi J. Hamamoto argues that it was Galu-gu who committed an act of treason by unwillingly subjecting soldiers to Nanometal assimilation, and expresses suspicion that Mechagodzilla and its Nanometal were in reality a tool the Bilusaludo intended to use for the conquest of Earth. Unberto Mori sits silently as Dolu-do and Hamamoto's argument becomes increasingly heated. Back on Earth in the Houtua's village, Haruo watches as Martin examines Yuko Tani's partially Nanometal-assimilated body. Martin sadly reports that there is nothing he can do for her. Haruo insists that Yuko's heart is beating and she is still alive, but Martin responds that she is brain-dead and will never awaken, and that the Nanometal is simply keeping her heart beating. Metphies then walks into the room along with Adam Bindewald and a few others. He explains that they cannot withdraw to the Aratrum now, as opinions there are split regarding how Haruo should be dealt with, with the Bilusaludo specifically arguing he should be punished. Haruo asks if this is because he ended their one chance of defeating Godzilla. Martin says that they indirectly ended up proving Galu-gu was right, as without Mechagodzilla City's Nanometal they now have no way to defeat Godzilla. Metphies counters by saying that Haruo's dedication to the idea of humanity ensured that the Bilusaludo could not create their own Godzilla through Mechagodzilla. Haruo asks why he was the only one saved from the Nanometal assimilation, and Adam asserts that it was a miracle from God. Yuko, he argues, turned her back on humanity by siding with the Bilusaludo and died for it. Haruo becomes furious and pins Adam to the wall, but eventually releases his grip and falls onto his knees next to Yuko, continuing to grieve over her. Adam and the others with him continue to insist that Haruo was protected by God, and his survival was nothing short of a miracle. Later, Metphies attempts to enter the Houtua's temple, but Miana stops him, saying it is the place of the Houtua's God and that he needs permission to enter. Metphies apologizes and says he must have been lost, then leaves. It soon becomes clear that Metphies is attracting a devoted religious following, as a congregation is held in the village where soldiers insist they were spared from the Nanometal through their devotion to God. Martin pulls Haruo aside and reminds him how many soldiers experienced poor physical health when inside Mechagodzilla City, Haruo included. He says that all of these soldiers had been treated medically by the Houtua, and he believes the scales they secrete from their skin must react negatively with Nanometal. This is why Haruo was spared from the Nanometal infection while Yuko was not, as Miana had healed him with these scales. As Metphies passes by followed by several devotees, Haruo asks to speak with him privately. The two enter a room where Haruo explains to Metphies the truth about why he resisted the Nanometal infection. To Haruo's shock, Metphies replies that he figured as much. Haruo asks Metphies if he has been deliberately lying to mislead the others into believing God had intervened. Metphies replies that it is necessary to finally summon God so that He can destroy Godzilla. He says that sufficiently advanced science and magic are one and the same, as human scholars have argued in the past. Humans regard magic and religion as occult, as they have not reached the Exif's level of understanding. Humans can only accept the existence of God if they are following another human who has; a hero. Metphies says Haruo is this hero, but Haruo is disgusted by Metphies' deception and storms off.
Back on the Aratrum, Mori and Hamamoto discuss on the bridge what to do with Haruo. Suddenly, alarms are sounded on the ship and they are contacted by Dolu-do. He informs them that he and the other Bilusaludo on the ship have seized control of the engine room and have shut down all power to the ship. He says they will not restore power until Captain Sakaki is dealt with. The Aratrum is able to operate on auxiliary power, but Hamamoto reminds Mori that the ship can only support life for a few days unless power is restored. When Martin learns of the events transpiring on the ship, he tells Haruo that their best option for resolving the crisis is for him to disappear. It is unsafe for Haruo to remain in the village due to the fervor of Metphies' cult, who have been convinced by Metphies that Haruo is chosen by God. He also can't return to the Aratrum since the Bilusaludo are calling for his head. If no one can locate Haruo, he says, Mori and Hamamoto may be able to reason with Dolu-do and restore power to the ship without needing to arrest Haruo. While Haruo is hesitant to sit idly by, Martin insists that the correct thing to do in this situation is nothing. He tells Haruo that Miana will be watching over him, and she happily repeats Martin's instructions in broken speech, indicating she understands. That night, while inside Miana's hut, she notices that Haruo is acting very sad and withdrawn. He explains his regrets for not being able to defeat Godzilla, even when the chance was right in front of him. Miana tries to comfort him by saying he did not lose, because in the Houtua's culture simply living is to win. Because Haruo survived, he has won. To Haruo's surprise, Miana begins removing her clothes and embraces him, claiming that she wants to "connect life" with him. She tries to remove Haruo's suit, but cannot figure out how. Haruo politely rejects her advances, saying that she doesn't need to do that and asking her to just let him sleep. Miana understands, and leaves him be. Meanwhile, Metphies stands before a makeshift altar to God inside the Houtua village. Using his Garbetrium, he begins telepathically conversing with Endurph aboard the Aratrum. As Miana exits the hut, she overhears the telepathic communication. Things have become dire aboard the Aratrum as unrest and panic spread. In the chaos, Endurph has attracted a similar following devoted to bringing forth God to kill Godzilla. Endurph reports his success to Metphies and acknowledges that their plan is proceeding at last, although he does not understand Metphies' fixation with Haruo. Metphies says that Haruo is special, and his cooperation is needed to ensure humanity offers itself to God. As he lays on the ground in Miana's hut, Haruo sees Miana leaning over him and again trying to remove his suit. He remembers that his suit was removed when he first awoke in Miana's hut after she had saved him, and as such she should have known how to remove his suit earlier. He finally deduces that she is not Miana but rather Maina pretending to be her. After successfully removing Haruo's suit, Maina again disrobes and embraces Haruo. She says that she is scared and worried that Haruo looks so sad, and wants to connect life so she can make him "win." Haruo admits that he is scared too, and embraces Maina back. As his conversation with Endurph ends, Metphies detects Miana watching him in the room. He tells her to show herself, and she confronts him. She says that Metphies was always silent around the Houtua, and they were never able to read his mind like they did the humans and Bilusaludo. She asks why he was hiding his telepathy, and Metphies replies that it was necessary to guide the lost to salvation. She asks where Metphies is guiding humanity, but he threatens her by saying that if he were to tell her he would need to sacrifice her. As Miana understands his threat and tries to flee, Metphies grabs her by the arm and restrains her. He whispers to her to get on her knees and pray for the "Golden Death." He then forcibly shows her the vision of an approaching three-headed winged figure, terrifying her.
Haruo enters the room with Metphies' altar to God and sees him standing over a pot. Metphies says that Haruo has arrived in time for the banquet, and instructs Haruo to drink from a bowl that he fills with liquid from the pot. Haruo obliges and begins to approach the pot. To his horror he sees Miana floating inside it, then promptly awakens next to Maina, realizing it was a dream. He looks next to him and notices that Maina is paralyzed with fear. She says that she heard her sister say the name "Ghidorah." Concurrently, Metphies assembles a gathering before the altar, pouring soup from a pot and giving it to his followers. He says that the soup which was once in the pot is now inside each of them, and likewise they will all become part of something greater when God arrives. Metphies delivers a sermon while Endurph delivers a similar one to his followers aboard the Aratrum. They both ask their followers if they are willing to accept their destiny and sacrifice themselves to God so he may destroy Godzilla, and they all enthusiastically reply that they are. Metphies says then that the time has come to call forth God and reveal His sacred name. Metphies places a crystal onto his Garbetrium and speaks God's name: Ghidorah. The Garbetrium glows bright yellow as his followers feverishly chant Ghidorah's name and call upon the "Wings of Death" to destroy Godzilla. Metphies instructs his followers to close their eyes as they continue to chant. Three shadows emerge from the Garbetrium and begin to creep across the floor. As they pass the shadows of the cultists they bite down on them, which dismembers their actual bodies. Adam opens his eyes and sees his fellow congregation members being torn apart and collapsing to the ground dead one by one. He realizes his situation too late as he sees the winged silhouette of Ghidorah approaching him, and can only scream as he too becomes the monster's victim. The cultists aboard the Aratrum continue chanting as a singularity suddenly opens in the space right next to the ship. The ship's crew try to understand the phenomenon as a golden dragon-like head atop a spiky serpentine neck emerges from the singularity. The creature begins circling around the Aratrum, trapping it in a strong gravitational field and causing havoc with its systems. As it coils around the ship, the monster begins emitting lightning strikes from its neck that strike and damage it. Passengers aboard the Aratrum begin to flee in terror as the ship collapses from the inside and many are crushed by falling debris. Endurph stares euphorically as he sees Ghidorah's head approaching the ship, and begins cackling maniacally as he is killed in an explosion. Dolu-do contacts the bridge from the engine room and tries to restart the ship's engine, but is subsequently killed as the engine explodes. The Controller on the bridge informs Mori and Hamamoto that the engine room was destroyed 40 seconds ago even though they just received Dolu-do's transmission. She then reports that all life signs on the bridge had ceased; it's as if they are already dead. Mori and Hamamoto stare in disbelief and terror as Ghidorah's head lunges directly at them. They can only scream before Ghidorah's gravity crushes the ship and it completely explodes, killing all aboard.
On the planet's surface, Martin loses contact with the Aratrum. He and Josh look into the sky and see that it has suddenly turned black as cumulonimbus clouds begin to form. Huge bolts of lightning strike the ground while three swirling vortexes appear in the sky. They retreat to the Houtua's watchtower and are joined by Haruo and Maina. Black portals open inside the vortexes in the sky. Martin and Josh can find no explanation for the phenomena, as their computer is only registering a growing gravitational field. The computer detects faint life signs on a nearby hill, and Haruo determines that Metphies must be behind this. He then leaves to confront Metphies. The bizarre weather draws the attention of Godzilla, who awakens and begins to approach the portals in the sky. As Godzilla draws near, Ghidorah's head slithers down from one of the portals and approaches the ground. Godzilla begins coursing with electromagnetic energy and fires his atomic breath at Ghidorah. Inexplicably, the beam seems to curve harmlessly around Ghidorah's head. Godzilla charges and fires the beam again; this time it is reflected directly at the ground. Martin wonders if Ghidorah had somehow distorted the beam with gravity waves or bent space-time around it. Josh says that the computer shows no sign of Godzilla's beam being reflected, and indicates that it fired in a straight line. In fact, he reports, the computer cannot detect Ghidorah at all, only the gravity wells in the sky. Only their eyes and ears could perceive Ghidorah. Ghidorah lunges at Godzilla, who swipes at him with his hand. Godzilla's hand phases harmlessly through Ghidorah, who circles behind Godzilla and bites down on his shoulder. Godzilla roars out in pain and tries to grab Ghidorah's neck, but his hand again completely phases through it. Josh says the computer shows Godzilla's electromagnetic energy dropping, which Martin says is impossible since Godzilla was only bitten and his shield should protect him. Godzilla swipes at Ghidorah with his tail, which also harmlessly passes through him. Josh detects further gravitational disturbances as two more heads emerge from the other portals and attack Godzilla, one biting his other shoulder and the other biting his leg.
Haruo passes through the Houtua village and heads to the hill. As he approaches he sees Ghidorah locked in battle with Godzilla. When he finally reaches the top of the hill, he finds Metphies watching the battle and Miana tied to a wooden structure. Metphies tells Haruo that Miana is alive, and Haruo demands to know what Metphies has done. Metphies replies that he is finally fulfilling his divine purpose. He has brought forth the Golden Demise: King Ghidorah. Haruo recognizes Ghidorah as the being which Metphies said destroyed the Exif homeworld. Metphies explains that the purpose of life is to be an offering to Ghidorah. Planets are the seeds of civilization, and Godzilla is the fruit of civilization. Ghidorah is that which harvests that fruit. There is no greater blessing than to meet one's end at the hands of Ghidorah, Metphies says. He turns to face Haruo, showing that he has replaced one of his eyes with the Garbetrium crystal. As he stares into the glowing crystal, Haruo tries to reach Metphies only to collapse to the ground. He finds himself inside a telepathic vision, inside which Metphies speaks to him. Metphies explains that long ago, the Exif scientifically advanced to the point they made contact with a higher-dimensional lifeform. They learned that existence was finite and meaningless, and that the only path to eternity was to offer themselves to Ghidorah, something from beyond this existence. Meanwhile, Godzilla continues unsuccessfully to struggle with Ghidorah, his attempts to grab the creature's necks resulting in his hand phasing through them. Martin and Josh, observing the battle, determine that despite Godzilla's shield being activated, he is still taking damage from Ghidorah's assault. Godzilla begins converting the electromagnetic energy in his body into heat, as he had done in his battle with Mechagodzilla City. Godzilla's skin begins to crack and glow scarlet, as the area around him becomes superheated. Still, Ghidorah appears completely unaffected by the heat. He continues biting down on Godzilla, and gradually the scarlet glow begins to disappear from his body. Martin and Josh determine that Ghidorah is absorbing the heat as fast as Godzilla can produce it. As a result, Godzilla's body begins to cool as the surrounding heat vanishes without producing any steam. Martin finally determines that Ghidorah isn't from this dimension, and as such its physical laws don't apply to him. Josh asks if this means Ghidorah can kill Godzilla, but Martin says it means he can destroy the entire planet. Ghidorah begins to lift Godzilla into the air effortlessly, despite his incredible size. Martin says that since Ghidorah is from another universe, Godzilla is totally powerless against him. From Godzilla's perspective, Ghidorah is essentially an illusion, but for Ghidorah Godzilla is physically present and can be attacked. Martin realizes that the only way for an extradimensional creature like Ghidorah to operate in this dimension is if someone is guiding it, and that someone must be Metphies. Martin declares that he has to go warn Haruo, but Maina insists on coming to save Haruo too, saying that he is already fighting with Ghidorah as well. As Ghidorah lifts Godzilla further into the air, Josh notices that Godzilla's measurements are becoming impossible to detect as well, as if Ghidorah is eroding reality.
Within Haruo's vision, Metphies subjects him to events from his past such as the death of his parents and his harsh life aboard the Aratrum. He tries to convince Haruo that the only way to have meaning in his life and achieve his goal of destroying Godzilla is to accept Ghidorah, to convince the rest of mankind that Ghidorah is the only path to salvation. He brings Haruo to the Tanzawa Forest, near the wreckage of a Multipodal Battery. He asks Haruo if he is going to let all those who gave their lives against Godzilla die in vain. A procession of soldiers who died in the fight against Godzilla begins walking past. Next, a gruesomely charred Eliott Leland emerges from the burning wreckage and asks Haruo why he won't do what is necessary. The Nanometal-infected Yuko appears next to him, accusing Haruo of letting her die so that he can live with Miana and Maina instead. Next, Haruo finds himself inside a study, with a chalkboard containing various mathematical formulas. He is transported inside a Boeing B-29 Superfortress flying above a Japanese city, and witnesses an atomic bomb being dropped onto it. Metphies, seated next to him in the cockpit, explains how humanity's scientific advancement led to the development of such terrible weapons and consequently the emergence of Godzilla himself, the instrument of human extinction. In the real world, Maina brings Martin into the Houtua temple and into the passage containing the Egg left behind by the Houtua's God. They place their hands onto the Egg, as Maina beseeches it to bring their message to Haruo. Hearing Maina's plea, the Egg enters Haruo's vision in the form of the adult Mothra. Mothra flies over the B-29 and tears Haruo free from the cockpit. As he falls from the sky, Haruo hears Maina and Martin contacting him. Martin explains that Metphies must be guiding Ghidorah in this dimension somehow, and Haruo realizes that Metphies is doing so through the Garbetrium crystal in his eye. Ghidorah appears in the vision and engulfs Haruo, who next finds himself reliving the destruction of Mechagodzilla City from inside the Vulture. He asks Metphies why he is showing him this, and is transported aboard the Aratrum. He witnesses Metphies handing an elderly passenger a bomb before he boards the Landing Ship bound for Tau-e. Haruo realizes that it was Metphies who orchestrated the destruction of the ship all along. Daichi Tani and the other elderly passengers then appear before Haruo. Daichi explains that they wanted to die, as it was a form of mercy, and asked Haruo to understand. Metphies continues subjecting Haruo to more visions. Haruo finds himself as a child standing next to Metphies on the Aratrum launch pad once again, witnessing Godzilla appear over the horizon, but this time the shadows of Ghidorah's heads stretch across the ground. Haruo frees his arm from Metphies' grasp and walks backwards to pick up the flower locket his parents had given him. This triggers a flashback of Haruo's parents watching him inside his crib as a baby. They discuss his name, Haruo, which comes from the Japanese word for "spring." They say this name is perfect, because spring always comes even in as despairing a time as this. Haruo is whisked back aboard the Aratrum where Daichi pleads with him again to give in. Haruo musters the strength to reject Daichi and grab him forcefully by the head. This snaps Haruo out of the vision, and he finds himself now holding Metphies by his head. Haruo firmly rejects Metphies' ideology, saying he will not let Ghidorah destroy everything just so he can defeat Godzilla. He presses onto the Garbetrium crystal with his thumb, shattering it.
With the crystal destroyed, Ghidorah loses his connection to Metphies and becomes bound by this dimension's physics. He shrieks and releases Godzilla, who finds that he can now make physical contact with his enemy. As he falls back to the ground, Godzilla courses with electromagnetic energy and swings his tail to fire a plasma cutter which produces a cloud of smoke and debris that extends all the way to the hill where Haruo is. Ghidorah tries to bite down on Godzilla again, but he swings his tail at one of Ghidorah's necks, knocking it to the ground. The head cries out before dissipating into golden particles. Godzilla grabs another head and tears off its lower jaw, causing it to vanish as well. Ghidorah's last remaining head releases Godzilla and tries to retreat back into its portal, but Godzilla fires his atomic breath directly into its mouth. The beam penetrates through Ghidorah's head and destroys it, then strikes the black portal from which it emerged. The portal explodes, and Godzilla promptly charges and fires his atomic breath at the next one. Godzilla finally destroys the last portal, and the swirling vortexes disappear as the sky becomes clear again. On the hill, Haruo regains consciousness and finds Metphies laying against a rock. He approaches Metphies, who places his hands on him and declares that for as long as Haruo lives, Ghidorah will be watching him. Metphies then lowers his hands and dies. Despite what he had done, Haruo still grieves for the person he long considered his closest friend. He cradles Metphies' body in his arms and sobs.
Months later, and the surviving humans have integrated with Houtua society. They laid down their weapons and abandoned their armors, adopting the culture and clothing of the Houtua and living alongside them. Maina is pregnant with Haruo's child, and Haruo at last seems to have found some measure of peace and happiness with his new family. Miana brings Haruo outside to show him a field of blooming flowers. Haruo remarks that even though he was named after spring, this was the first time he truly saw it. Martin sees Haruo and calls him over to show him something. He explains that he finally figured out how to reactivate the last surviving Vulture from Mechagodzilla City using Nanometal he harvested from Yuko's body. With the self-replicating ability of Nanometal, he explains, they will be able to completely rebuild human civilization and abandon the Houtua's primitive lifestyle. Haruo experiences a sudden vision and hears Metphies' voice explain that the cycle of destruction will continue and that time is on his and Ghidorah's side. Haruo returns to the village and sits next to Miana and Maina. Miana notices that he seems distressed, but he declares he is fine and leaves. Miana follows him and finds him picking up Yuko's body. She asks what he is doing, but he asks her if she thinks Godzilla is scary. She says that Godzilla is scary, so Haruo says she must hate him. Miana replies that the Houtua do not have a word for "hate," and while Godzilla is scary storms and natural disasters are scary as well. The Houtua do not hate Godzilla any more than they hate tornadoes or earthquakes. She tells Haruo that she doesn't understand what he is saying, and he responds that if he stayed that she might understand him, which is what he is afraid of. That is why he must leave, he says. He picks up Yuko's body and leaves the village, then brings her into the last Vulture. He activates it and begins flying toward Godzilla, who is standing dormant in the open. As the Vulture approaches, Godzilla awakens and begins charging his electromagnetic energy. Haruo yells at Godzilla that he is the last remnant of humanity's past, and represents all the lives and dreams Godzilla destroyed. He asks Godzilla to completely burn away the hatred of the past and this time leave nothing behind. Haruo becomes silent and accepts his fate peacefully as Godzilla obliges and fires his atomic breath at the Vulture, which crashes and explodes.
Many years later, a ritual is held in the Houtua temple. A group of children, descendants of humans interbreeding with the Houtua, offer up cords they made representing negative emotions and ask to be protected from things that scare them. A priestess burns these cords along with a wooden effigy of the Vulture, asking their "vengeful god" to keep them safe. Seated off to the side, a now elderly Maina proudly looks on.
The Japanese title and release date for the third entry in the AniGoji trilogy were revealed on May 18, 2018, via promotional pamphlets distributed during the Japanese theatrical release of the second entry, GODZILLA: City on the Edge of Battle. The front of the pamphlet depicts three intertwined glowing dragon-like necks and heads, clearly representing Ghidorah. The back of the pamphlet features an Exif symbol glowing like the dragon heads on the front, along with a tagline that roughly translates to "Bow down and worship the golden demise." On May 28, Toho and Polygon officially announced the film and released the teaser poster online. The official website stated that the film would be the "final chapter" of the saga and would reveal the meaning of the name "Ghidorah" spoken by Metphies. It also promised that the film would finally feature a monster showdown. On August 1, a brief 15-second teaser for the film was uploaded to the TOHO animation YouTube channel, featuring a clip of Godzilla Earth from the end of the previous film and narration from Metphies before showing the teaser image of Ghidorah, while his roar can be heard. The teaser also revealed the film's English title as GODZILLA: The Planet Eater.
It was announced on September 12 that GODZILLA: The Planet Eater would be making its premiere as the closing film of the 2018 Tokyo International Film Festival on November 3, 2018, the 64th anniversary of the release of the original Godzilla. A new screenshot of protagonist Haruo Sakaki from the film was also released, along with a brief description of the story, stating that the film would feature Godzilla Earth facing off against Ghidorah. On September 14, the official poster was revealed for the film, depicting Godzilla Earth locked in battle with Ghidorah while Metphies cradles Haruo's seemingly lifeless body in his arms. The official website for the film was updated, providing both Japanese and English story descriptions for the film as well as updated cast and staff lists. It was also announced that singer XAI would be returning to perform the theme song for the film, "live and die."
On September 20, Toho released 13 new screenshots from the film, most of which were previously included in a short brochure for the film distributed in Toho's cinemas. It also revealed some more details on Ghidorah, explaining that he has destroyed thousands of planets since destroying the Exif home planet of Exifcalus 100,000 years ago, and is worshiped by the Exif as the "Golden King." On September 25, it was announced that a world premiere event would be held for the film on November 3, which is now certified as the national holiday Godzilla Day in Japan, as it premieres at the Tokyo International Film Festival. Directors Kobun Shizuno and Hiroyuki Seshita and voice actors Mamoru Miyano, Takahiro Sakurai, Kana Hanazawa, Reina Ueda, and Ari Ozawa will all be in attendance at the premiere. On October 8, an artwork collaboration between GODZILLA: The Planet Eater and Mobile Suit Gundam Narrative was announced. Like the previous collaboration between GODZILLA: City on the Edge of Battle and Pacific Rim Uprising, the artwork for this collaboration is illustrated by mecha artist Hidetaka Tenjin. The first official trailer for the film was uploaded to the TOHO animation YouTube channel on October 10. On October 19, it was announced that a red carpet event for the film would be held at the Roppongi Hills Arena on October 25, the first day of the Tokyo International Film Festival. Kobun Shizuno, Hiroyuki Seshita, Mamoru Miyano, Takahiro Sakurai, and "Godzilla" himself will all be in attendance.
In an article published on October 30, The Washington Post reported that film directors Hiroyuki Seshita and Kobun Shizuno acknowledge that their film is so different it might disappoint some hardcore fans, but also say that is an intentional attempt to reach out to new audiences. Seshita states that he and Shizuno "welcome getting bashed by traditionalists," arguing that it proves more than anything they succeeded in creating something different. The two directors then state that rather than simply transferring the well-known tale into a computer animation, they have focused on what they call Shakespearean "human drama" and tackle complex issues, including the meaning of religion, in a futuristic post-apocalyptic universe. Shizuno admits that he is not a Godzilla "expert," so he simply made a film he thought would be enjoyable.
Staff role on the left, staff member's name on the right.
Standard Spanish Dub
Castilian Spanish Dub
Actor's name on the left, character played on the right.
Standard Spanish Dub
Castilian Spanish Dub
Weapons, Vehicles, and Races
- Main article: Godzilla: The Planet Eater/Gallery.
- Main article: Godzilla: The Planet Eater (Soundtrack).
View all posters for the film here.
- Japan - November 3, 2018 (world premiere); November 9, 2018 (nationwide)
Like the previous two entries in the GODZILLA anime trilogy, GODZILLA: The Planet Eater was released via Netflix exactly two months after its Japanese theatrical premiere, on January 9, 2019.
Dubs are available in the following languages:
- Standard Spanish
- Castilian Spanish
Subtitles are available for the following languages:
- Traditional Chinese
- Simplified Chinese
Compared to GODZILLA: City on the Edge of Battle, GODZILLA: The Planet Eater has received more consistently positive reviews from Western media outlets. The first review for GODZILLA: The Planet Eater came from Joshua Meyer of /Film, following an advance press screening ahead of the film's premiere at the Tokyo International Film Festival. Meyer gives the film a positive review, and he argues that it "vindicates the trilogy in a way that manages to stay true to it while also being true to the franchise and what fans have come to expect when they sit down for a Godzilla movie." Meyer elaborates, saying that Ghidorah and the cult of characters surrounding him manage to provide the film with strong themes throughout its action scenes and character drama. Meyer is complementary of the character of Metphies, expressing his belief that the character's ambiguous intentions at the start of the film provide a fair deal of intrigue. Meyer goes on to say that there are many "wacky scenes and wacky lines of dialogue" in the film, but that they are "my kind of crazy." He acknowledges that a major criticism of GODZILLA: City on the Edge of Battle is that Godzilla only appears in the film's third act for a total screentime of five and a half minutes. Here, according to Meyer, scenes of monster action seem to come earlier in the movie, and despite a lack of cities to be destroyed, the sequences of Ghidorah approaching the Aratrum and Godzilla's confrontation with Ghidorah in an open expanse are highlights that make the movie feel like a Toho Godzilla film. Meyer believes that this film manages to provide a strong and satisfying conclusion to the trilogy: "When the cultists beseech Ghidorah, 'Bring us a glorious finish,' it seems those prayers have been answered for the trilogy itself." Meyer does point out flaws in the film, such as sub-par CG effects in one sequence and unfittingly peaceful music being used in the climactic battle between Godzilla and Ghidorah. He also says he feels that the framing for the monsters' battle is more impressive than the battle itself. Meyer raises the possibility that the theatrical presentation of the film may have helped it, and that he is unsure if it would leave the same impression for a viewer watching it on Netflix. Despite all the flaws, Meyer suggests that GODZILLA: The Planet Eater has many positive aspects and memorable moments that both make it stand apart from the previous films and retroactively improve the perception of those films. Meyer summarizes his thoughts with "Rather than revert to a big dumb monster movie, The Planet Eater is able to balance its kaiju action with life-and-death concerns while wrapping up threads of character drama woven through the trilogy as a whole... The movie plays with rich themes that might leave you thinking (or scratching your head) as you wait for the post-credits scene." Meyer says that the film's post-credits scene is worth watching if viewers are confused by the ending and seeking explanation, which was how he felt at first after finishing the film. However, he goes on to say that "the more I thought about the movie, the more I felt I understood the spirit of it and what it was trying to say about human nature through the lens of Japanese filmmaking." Meyer concludes by reflecting on the questions proposed on the film's official website: "What is Godzilla?" and "What should people 'do?'," and says "The Planet Eater raises interesting questions and the answers to those questions might be challenging for some viewers."
Richard Eisenbeis of Anime News Network gave the film a "B" overall score in his review. He noted that the film was a grim and full of psychologically complex themes as one would expect from the work of Gen Urobuchi. He highlights the film's central themes, the first of which being the idea that civilizations are destined to advance to the point they create a civilization-destroying monster. For humanity, this monster was Godzilla, nature's response to their reckless destruction of Earth's environment. The Bilusaludo believed it was better to become that civilization-destroying monster so they can defeat any other monsters, and thus created Mechagodzilla. The Exif discovered that the universe was finite and embraced a nihilistic ideology, thus bringing Ghidorah into their reality to destroy their planet and all others in the universe. The second central theme, as Eisenbeis argues, is Haruo's desire for revenge against Godzilla. This desire is what drives Haruo to keep fighting even when victory over Godzilla seems impossible. Thus, it makes him vulnerable to the Exif's way of thinking; allow Ghidorah to destroy Godzilla and sacrifice the Earth and the rest of mankind in the process. However, the film shows that Haruo is not willing to give in to the Exif's nihilistic view, and instead accepts the Houtua's hopeful philosophy. They live in harmony with their monster, Mothra, and are able to coexist in a world with Godzilla just by living in harmony with nature and avoiding him. Eisenbeis says that the films of the anime trilogy therefore hinge on Haruo's internal battle and the conflicting ideologies of the various races. This is where he says the film places its focus, but as a result there is very little monster action, something one would expect from a Godzilla film. "s you may have guessed by this point in the review, for a movie about giant monsters fighting each other, there is very little of that in this film. Rather, it is about a battle of philosophies. However, while Haruo's internal battle takes place, Godzilla and Ghidorah do fight it out. Sadly, it's also the most boring part of the film." Eisenbeis points out that the battle between Godzilla and Ghidorah mostly consists of Godzilla standing still as Ghidorah bites him, which he feels is unfortunate as this version of Ghidorah is a very interesting and creative take on the character. He praises Ghidorah's new design which is radically different from past ones but still recognizable as Ghidorah. Furthermore, Eisenbeis compliments the visual spectacle of the film's climax, showing the internal conflict in Haruo's mind as Metphies attempts to convert him to his way of thinking. As he says, "where the film really stands out is its climax, which evokes the most taboo moment in Japanese history and uses it to build a beautiful yet haunting image that wordlessly reveals the state of Haruo's tortured soul." Eisenbeis concludes by saying the film's message is more polarizing than just the debate between the Exif and Houtua philosophies. Rather, he says the film's message is that technology will prove to be humanity's downfall, and the only salvation is living in harmony with nature. "It's a rather extreme message, but this is far from the first pro-environmental Godzilla film. If nothing else, you will be left mulling it over as the credits roll, which is probably exactly what the filmmakers intended." Eisenbeis summarizes the positive aspects to the film by calling it "As dark and psychologically complex as you'd expect from the writer of Madoka Magica and Psycho-Pass," but summarizes his criticisms of the film with "For a movie about giant monsters fighting, there's very little of giant monsters fighting."
Naoya Fujita of IGN, who previously gave GODZILLA: City on the Edge of Battle a 4.5/10 "bad" review score and deemed it "a huge failure," has a completely different opinion of The Planet Eater in his review for it, giving it an 8/10 "great" score and summarizing it with "Netflix's uneven animated Godzilla saga receives an emotionally satisfying conclusion in The Planet Eater." Fujita says that The Planet Eater is much better than the first two entries of the trilogy, which he found frustrating and was highly critical of. He says that "Getting through the first two films may have felt like a chore, but The Planet Eater offers an emotional payoff and makes the trilogy as a whole much better when viewed as the conclusion of a single, ambitious longform story." Fujita praises the film's presentation of Ghidorah, with his visually rich appearance and atmosphere serving to demonstrate his divine nature. While there still is not a great deal of kaiju action in the film, Fujita says that it does thankfully include more screentime for Godzilla in a trilogy consisting primarily of dialogue from the characters. While he feels disappointed by the trilogy's lack of monster action, Fujita pays notice to the pervasive sense of despair in the film, which he says is an important element in the best Godzilla films. Fujita goes on to say that the film manages to condense the essence of the franchise to a series of important philosophical questions, such as "What is the point in fighting a creature such as Godzilla, rather than simply accepting it and living alongside it? What is survival really worth? What is the meaning of civilization, and the damage it can cause?" Fujita says that he did not expect this level of thinking from a Godzilla anime, but finds that GODZILLA: The Planet Eater manages to bring the themes of the trilogy into better focus. Fujita notices that the trilogy also provides commentary on themes of mind control and conformity. In the first film, the United Earth military unquestioningly follows Haruo into battle. In the second, the Bilusaludo attempt to create a world of perfect logic where man and machine are one. And in this film, the Exif brainwash the survivors into their nihilistic religious doctrine, creating a death cult dedicated to Ghidorah. Fujita argues that the third film could not deliver the payoff of gripping human drama without the events of the previous two, thus justifying the process of watching all three films unfold. Fujita then shifts focus to the character of Haruo Sakaki, who he found to be a difficult character to relate to in previous films as he was driven by his own reckless desire for vengeance against Godzilla. Now, Fujita argues, his character seems to have been built that way by design, as the third film manages to deliver a satisfying emotional payoff to the character that makes the unsympathetic character of Haruo seem more like a major highlight of the trilogy than a glaring fault. Fujita concludes, "This had-to-define, complicated, bitter flavor is the essence of the best Godzilla movies, and The Planet Eater offers this in spades. While it took awhile to get there, the animated Godzilla trilogy ends with a fascinating chapter that – while unexpected – is worthy of the franchise." Fujita's final verdict for the film reads: "The three chapters of this animated Godzilla saga -- where the titular monster has sadly played second fiddle throughout -- gets a strong, more emotional payoff in The Planet Eater. It may have been a long and uneven journey but The Planet Eater ultimately makes it all one worth taking for Godzilla fans."
- Main article: Godzilla: The Planet Eater (novelization).
GODZILLA: The Planet Eater received an official novelization published by Kadokawa on December 22, 2018. Like the novelization for GODZILLA: Planet of the Monsters, it is written by Takahiro Okura and supervised by the film's writer Gen Urobuchi.
Toho Blu-ray (2019) [Collector's Edition]
- Region: A/1
- Discs: 2
- Audio: Japanese (DTS-HD Master Audio 5.1 Surround, DTS-HD Master Audio 2.0 Stereo)
- Subtitles: Japanese
- Special Features: Special three-way back case; illustrated digipack; 31st Tokyo International Film Festival World Premiere Screening; opening night stage greetings; "WHITE OUT" music video GODZILLA ver.; "THE SKY FALLS" music video GODZILLA ver.; "live and die" music video GODZILLA ver.; director Hiroyuki Seshita's sketch collection; special booklet (32 pages); trailer; special information trailer; TV spot; staff audio commentary by directors Kobun Shizuno and Hiroyuki Seshita and screenwriter Gen Urobuchi
- Notes: To be released on May 22, 2019
Toho Blu-ray / DVD (2019) [Standard Edition]
- Region: A/1 (Blu-ray) or 2 (DVD)
- Discs: 1
- Audio: Japanese (DTS-HD Master Audio 5.1 Surround and DTS-HD Master Audio 2.0 Stereo for Blu-ray; Dolby Digital 5.1 Surround and Dolby Digital 2.0 Stereo for DVD)
- Subtitles: Japanese
- Special Features: Special sleeve case; special booklet (32 pages); trailer; special information trailer; TV spot; staff audio commentary by directors Kobun Shizuno and Hiroyuki Seshita and screenwriter Gen Urobuchi
- Notes: To be released on May 22, 2019
- This film marks the first onscreen appearance of King Ghidorah in nearly two decades, as he last appeared in 2001's Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack. The character's next onscreen appearance will come only six months later in Godzilla: King of the Monsters. It is also the first Godzilla film to depict King Ghidorah as a space monster since Godzilla vs. Gigan in 1972.
- GODZILLA: The Planet Eater is only the second Godzilla film to be released in the same year as the previous entry in the series, coming out six months after the theatrical release of GODZILLA: City on the Edge of Battle. Ghidorah, the Three-Headed Monster was released theatrically in December of 1964, while Mothra vs. Godzilla was released in April of that same year.
- GODZILLA: The Planet Eater is the final Godzilla film to be released during the political Heisei period.
- Kana Hanazawa receives third billing among the cast for her role as Yuko Tani despite only having a single line in the film. Likewise, Daisuke Ono is billed fifth for his role as Eliott Leland and also only has a few brief lines of dialogue. Kenta Miyake is credited as Rilu-elu Belu-be despite not having a single line in the film, and Junichi Suwabe is credited as Mulu-elu Galu-gu while his only dialogue is archived from the previous film.
- GODZILLA: The Planet Eater is one of the most violent films in the entire Godzilla series, with possibly the most onscreen deaths and the majority of its named characters being killed off by the end. It also features scenes of dismemberment, although a bluish glow is substituted for blood.
- It is also the only film in the series to feature a sex scene, though it is mostly implied and no direct nudity is shown.
This is a list of references for Godzilla: The Planet Eater. 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: