Pacific Rim: Uprising is a 2018 American science fiction film directed by Steven S. DeKnight (in his feature-film directorial debut) and written by DeKnight, Emily Carmichael, Kira Snyder, and T.S. Nowlin. It is the sequel to the 2013 film Pacific Rim, with Guillermo del Toro, the director of the original, serving as a producer. The sequel stars John Boyega (also making his producer debut), as well as Scott Eastwood, Cailee Spaeny, Jing Tian, Adria Arjona, and Zhang Jin, with Rinko Kikuchi, Charlie Day, and Burn Gorman returning from the original film. Set in the year 2035, the plot follows humanity again fighting Kaiju, giant monsters set on destroying the world.

Principal photography began in November 2016 in Australia. The film was released in the United States on March 23, 2018, by Universal Pictures, in 2D, Real D 3D, IMAX 3D and IMAX, and has grossed $266 million worldwide, making it the ninth highest-grossing film of 2018. It received mixed reviews from critics; with some calling the film inferior to del Toro's first film and a "tedious watch", criticizing the script, humor and direction, and others praising it as "fun, goofy entertainment", while praising the visual effects and performances of Boyega and Spaeny.

​Jake and Nate travel to the area in their own Jaeger, but Obsidian Fury destroys the complex and engages them in battle. Upon destroying its reactor, they find that Obsidian Fury was controlled by a Kaiju's secondary brain, which testing shows was grown on Earth.

​When the drones reach their respective locations, they are taken over by cloned Kaiju brains and simultaneously attack Shatterdomes worldwide, inflicting heavy casualties on the PPDC forces and incapacitating almost all Jaegers. Hermann Gottlieb seeks out Geiszler for help, only to discover that Geiszler is the mastermind behind the attack. Geiszler’s mind has been taken over by the Precursors, the alien race who created the Kaiju, due to his regularly drifting with Kaiju brains. Seeking to destroy the world for the Precursors, Geiszler, now the Precursor Emissary, commands the drone-Kaiju hybrids to open new breaches all over the world. 

Although Shao is able to destroy the hybrids, three powerful Kaiju - Raijin, Hakuja and Shrikethorn - emerge from the breaches and unite in Tokyo. The team realizes that the Precursors' goal is to activate the Ring of Fire by detonating Mount Fuji with the Kaiju's chemically reactive blood, spreading toxic gas into the atmosphere and wiping out all life on Earth, terraforming the planet for Precursor colonization.

The cadets are mobilized while Gottlieb and Shao repair the PPDC's four remaining Jaegers; Gottlieb invents Kaiju-blood-powered rockets, which launch the team to Tokyo. Although the Jaegers initially repel the Kaiju, the Precursor Emissary merges them into one gigantic beast that quickly overpowers the team, killing Suresh, wounding Nate, and leaving Gipsy Avenger the only operational Jaeger. Jake and Amara pilot it against the "Mega Kaiju," with Shao remote piloting Amara's small, single-pilot Jaeger Scrapper aiding them by locating and welding a rocket to "Gipsy's" right hand and sending the larger Jaeger into the Mega Kaiju which kills the creature. Jake and Amara survives by transferring into "Scrapper" prior to the collision. Nate takes the Precursor Emissary into custody.

The captive Precursor Emissary threatens that his masters will attack the world over and over again. Jake replies that next time, humanity will be the ones attacking the Precursors.

Production
Development
In 2012, prior to the first film's release, del Toro noted that he had ideas for a sequel, noting in 2014 that he had been working on a script with Zak Penn for several months. In June 2014, del Toro stated that he would direct the sequel, and that it would be released by Universal Pictures, Legendary's new financing and distribution partner, on April 7, 2017. In July 2015, it was reported that filming was expected to begin in November, though production was halted following conflicts between Universal and Legendary. As the sequel's future became unclear, Universal indefinitely delayed the film. Still determined to have the film made, del Toro kept working and by that October announced that he had presented the studio with a script and a budget.

After the sale of Legendary to Chinese Wanda Group for $3.5 billion, observers noted an increased likelihood of Pacific Rim 2's production being revitalized because the first film was so successful in China.

In February 2016, the studio, and del Toro himself via Twitter, announced that Steven S. DeKnight would take over directing duties, with a new script written by Jon Spaihts, marking DeKnight's feature directorial debut. del Toro remained on the project as a producer. Derek Connolly was brought in on May 12, 2016, to rewrite the script again.

Casting
Cast announcements began in June 2016, with John Boyega accepting a role, and news that Scott Eastwood was in talks appearing later that month. Further announcements took place in September and November. A notable absence from the cast was Charlie Hunnam, who could not join the project because of his scheduling conflicts with King Arthur: Legend of the Sword.

Filming
Principal photography on the film began on November 9, 2016, in Australia. On December 14, 2016, the official title was revealed to be Pacific Rim Uprising. In February 2017, three new Jaegers for the film were revealed. On March 8, 2017, filming started in China.Filming was completed on March 30, 2017.

Music
Composer John Paesano was originally slated to be writing the score for the film, replacing the first film's composer Ramin Djawadi. However, in January 2018, it was announced that Paesano had been replaced by Lorne Balfe.

Marketing
Legendary Comics released Pacific Rim: Aftermath on January 17. 2018. The six-issue comic book series serves as a bridge between the two films.

Release
Pacific Rim Uprising was released on March 23, 2018 in the United States, in 3D, IMAX, and IMAX 3D, by Universal Pictures. Originally scheduled for release on April 7, 2017, the date was postponed multiple times. The film was pushed back to August 4, 2017, then to February 23, 2018, and one final time to March 23.

Reception
(Note - This section will be updated after final numbers come in on the film)
Box office
As of April 8, 2018, Pacific Rim Uprising has grossed $54.8 million in the United States and Canada, and $212.1 million in other territories, for a worldwide total of $266.9 million. In order to break even, the film needs to gross at least $350 million worldwide.

In the United States and Canada, Pacific Rim Uprising was released alongside Midnight Sun, Sherlock Gnomes, Unsane, and Paul, Apostle of Christ, and was projected to gross $22–29 million from 3,703 theaters in its opening weekend. The film made $2.35 million from Thursday night previews, down from the original's $3.5 million, and $10.4 million on its first day (including previews). It went on to debut to $28 million, becoming the first film to dethrone Black Panther (which made $16.7 million in its sixth week) for the top spot. It fell 67% to $9.2 million in its second weekend, finishing 5th.

In Korea, on March 22, the film ranked first, and the audience was recorded at 82,486. In China, the film opened at number one, grossing $21.36 million on its first day and $25.84 million on its second, for a two-day gross of $48.59 million. It went on to have a debut of $65 million in the country, as well as $6.9 million in Korea, $6.8 million in Russia and $4.9 million in Mexico, for an international opening weekend of $122.5 million.

Future
Pacific Rim Uprising is a springboard for a cinematic universe, where DeKnight revealed "If enough people show up to this, we've already talked about the plot of the third movie, and how the end of the third movie would expand the universe to a Star Wars/Star Trek-style [franchise or series] where you can go in many, many different directions... You can go main canon, you can go spin-offs, you can go one-offs. Yeah, that's the plan." DeKnight also talked about the possibility of a crossover with the MonsterVerse, as co-writer T.S. Nowlin is a member of its writers room.

Godzilla: Planet of the Monsters (GODZILLA -怪獣惑星- Gojira: Kaijū Wakusei) is a 2017 Japanese CG anime kaiju film featuring Godzilla, produced by Toho Animation and animated by Polygon Pictures. It is the 32nd film in the Godzilla franchise, the 30th Godzilla film produced by Toho, and the first animated film in the franchise. The film is co-directed by Kōbun Shizuno and Hiroyuki Seshita, with a screenplay by Gen Urobuchi. The film is the first of a trilogy and was released theatrically in Japan on November 17, 2017. It is scheduled to be released worldwide on Netflix after the film's theatrical release.

In August 2016, Toho announced that an animated Godzilla film was being developed, targeted for a 2017 release. Gen Urobuchi is the writer, and Kobun Shizuno and Hiroyuki Seshita are the directors. The film is animated by Polygon Pictures. In January 2017, Urobuchi announced the main cast who will star the film on his twitter account. In March 26, 2017, Toho announced that the film would be the first film in a new trilogy.

About the production, co-director Shizuno stated, "From the start, we had the blessing of Toho to not be constrained by previous entries in the franchise, and with the freedom of imagination offered by animation I feel we have come up with a cool new form for Godzilla." On Godzilla's new design, co-director Seshita stated, "With his masses of muscle fibers and unique body tissue to support his enormous bulk, this is an extraordinarily rugged-looking physique. It was an overwhelming presence that reverberated through the whole project, like a fearsome deity that even we who created it must prostrate ourselves before. That is our Godzilla."

Marketing
A stage event for the film was held at AnimeJapan 2017 on March 26, 2017. The film's directors are scheduled to attend the Annecy International Animation Film Festival to reveal more details regarding the film. In June 2017, a new poster detailing Godzilla's design was revealed with the tagline "Despair Evolves". On August 16, 2017, a new trailer and poster were released with the tagline "Who will go extinct — humans, or Godzilla?"

Release
In March 2017, it was announced that the film will be streamed in 190 countries via Netflix following the film's Japanese theatrical release. Greg Peters, President of Netflix Japan stated, "Working with the best creators such as Toho in bringing Godzilla to Netflix users in over 190 countries marks a major milestone for us". That same month, a teaser poster revealed that the film will be released theatrically in Japan on November 17, 2017.

​Box office
Godzilla: Planet of the Monsters reached #3 at the box office on its opening weekend, earning ¥103 million from 71,200 admissions within two days and is projected to earn an additional ¥500 million.

Critical reception
Brian Ashcraft of the Kotaku website felt that the characters "aren’t all that interesting" but did state that the "anime version of Godzilla is surprisingly effective and frightening" and that despite his complaints, the "overall experience was good" and "It’s not a perfect picture, but it was a powerful proof of concept: Godzilla works as an anime." Matt Schley from The Japan Times praised the film's CG animation, stating, "even skeptics will admit the 3-D version of the king of the monsters looks pretty darn cool" but felt the film wasn't "nearly as thematically ambitious as its predecessor" and concluded by stating, "But still, with its impressive 3-D animation and action sequences, 'Planet of the Monsters' has the makings of something interesting."

Sequels
Godzilla: Planet of the Monsters is the first film in a planned trilogy. The second film in the trilogy, titled Gojira: Kessen Kidō Zōshoku Toshi, (translations vary from Godzilla: Battle Mobile Breeding City to Godzilla: The City Mechanized for the Final Battle) is scheduled to be released in May 2018 and set to feature Mechagodzilla.

Trivia
This is the first animated Godzilla film, but not the first animated adaptation of the franchise. The first was an American animated series produced by Hanna-Barbera in 1978. A series of four educational OVAs titled Get Going! Godzilland that featured Godzilla and several other monsters were released in 1994 and 1996. Another American animated series, this time based on the 1998 American Godzilla film, ran from 1998 to 2000.

Released theatrically in Japan, distributed through Netflix's online service in other regions. This in theory allows for a wider distribution, since most Japanese films only get very limited and often belated releases internationally. For example the franchise's previous Japanese entry, Shin Godzilla (2016) was a blockbuster hit in its home, but it was only screened in a few foreign territories, mostly as a limited theatrical run, and in some cases over a year after its original release.

Originally envisioned as an anime series, but the success of Shin Godzilla (2016)'s Japanese theatrical release convinced the creators to combine the narrative into a trilogy of movies and put them into cinemas in Japan.

Kong: Skull Island is a 2017 American monster film directed by Jordan Vogt-Roberts and written by Dan Gilroy, Max Borenstein, and Derek Connolly from a story by John Gatins. The film is a reboot of the King Kong franchise and serves as the second film in Legendary's MonsterVerse. The film stars an ensemble cast consisting of Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, and John C. Reilly. The film follows a team of scientists and Vietnam War soldiers who travel to an uncharted island in the Pacific and encounter terrifying creatures and the mighty Kong.

Principal photography took place from October 2015 to March 2016 in Hawaii and various locations around Vietnam. Kong: Skull Island premiered on February 28, 2017, in London and was released in the United States on March 10, 2017, in 2D, 3D, IMAX 3D and in Dolby Cinemas. The film was a critical and commercial success, grossing over $566 million worldwide against its $185 million budget. A crossover sequel, Godzilla vs. Kong, is set for release on May 22, 2020.

​Packard regroups with some of the scattered survivors, including his door gunner Reles, pilot Glenn Mills, Cole, Landsat employee Steve Woodward, and Randa. After being confronted by Packard, Randa reveals his affiliation to the secret government organization Monarch, which was trying to prove the existence of monsters and determine their threat to humanity. The other survivors (Conrad, Weaver, Brooks, biologist San Lin, soldier Reg Slivko, and Landsat employee Victor Nieves) try to get to a rendezvous point to meet a resupply team arriving in three days' time. They encounter the local Iwi natives and an older Marlow. He reveals that the ape is Kong, the island's guardian, worshiped as a god by the natives for protecting the island's inhabitants from many predators, including reptilian underground monsters dubbed "Skullcrawlers". He informs them that Kong attacked and destroyed the air unit because their seismology explosives would bring the Skullcrawlers to the surface, and they are responsible for killing Kong's ancestors, leaving him as the last of his kind. He also tells them that he and Ikari became friends, but Ikari was killed by a Skullcrawler some time ago.

Packard's group begins making their way to Chapman, whose helicopter crash-landed elsewhere. Meanwhile, Chapman is ambushed and eaten by a Skullcrawler. Conrad's group helps Marlow complete a boat built from parts scavenged from Marlow and Ikari's downed planes. They ride the boat down the river, and manage to secure communication with Packard's group, but the boat is attacked by pterosaur-like creatures which kill Nieves. They regroup with Packard, who insists on searching for Chapman, though his true objective is to find and kill Kong, who he perceives as an enemy due to killing his men.

​Marlow leads the two groups to a mass grave littered with the bones of Kong's kin. There, the same Skullcrawler that killed Chapman attacks the group, killing Randa and many soldiers before dying in a flammable gas explosion triggered by Weaver. Learning about Chapman's death, a vengeful Packard blames Kong for the deaths of his men and becomes even more determined to kill him. The two groups part ways, with Packard's group laying a trap for Kong, while the non-military personnel head back to the boat. While scouting the path ahead, Conrad and Weaver encounter Kong up-close and, seeing his true benevolent nature, they resolve to save him.

As Conrad and Weaver encounter Kong, Packard's group uses the remaining seismic explosives to lure him in. Kong charges to the lake, where they manage to incapacitate him with ignited napalm, though Woodward is killed. Conrad's group arrives and persuades the other soldiers to spare Kong, but Packard refuses to stand down. A massive Skullcrawler emerges from the lake and Packard is crushed to death by a recovering Kong. The Skullcrawler overpowers Kong and chases the humans. Cole is killed in a failed suicide bomb attempt to kill it, but Kong returns to rescue the others and battles the beast. Weaver gets knocked into the marsh during the fight but Kong saves her from drowning. Then, he kills the Skullcrawler by ripping out its innards and allows the survivors to leave the island.

During the credits, Marlow returns home, reuniting with his wife, meeting his son for the first time, and watching a Chicago Cubs game on television. In a post-credits scene, Conrad and Weaver are detained by Monarch and informed by Brooks and San that Skull Island is just the beginning and that Kong is not the only monster king to roam the world. As proof, they are shown archive footage of cave paintings depicting Godzilla, Rodan, Mothra, and King Ghidorah.

Cast

• Tom Hiddleston as James Conrad, a broken but noble former British Special Air Service Captain who served in the Vietnam War with the Special Air Service Regiment, hired as a hunter-tracker for the expedition by Randa. Hiddleston described his character as a man who holds "no political allegiance in the conflict" but "understands conflict", further stating, "He’s a former soldier who has been formed by an understanding of war, but his specific skill set is something that's attached to the power of nature; and I think that's something people haven’t seen in a long time".
• Samuel L. Jackson as Preston Packard, a United States Army Lieutenant Colonel and leader of the Sky Devils helicopter squadron, assigned to escort the group of explorers on the expedition. Jackson compares his character to Captain Ahab from Moby-Dick, stating, "He does have to exact some measure of revenge for the people he's lost. That's just the nature of how we operate—eye for an eye!".
• John Goodman as William "Bill" Randa, a senior official in the government organization Monarch, who is in charge of the expedition.
• Brie Larson as Mason Weaver, a photojournalist and peace activist. Larson stated that her character has her "own sort of motive" as to why she joined the expedition: "That's the interesting thing about this movie. It's a group of misfits that are all coming from different angles looking at the same thing. You get to see how many different views in regards to nature and how we should handle it are dealt with from many different perspectives". Larson further added that Weaver has an "interest and respect for nature" and "Through that she has a closer, more loving, and intimate relationship with Kong".
• Corey Hawkins as Houston Brooks, a young geologist and graduate of Yale University, recruited for the expedition by Monarch for his groundbreaking theories on seismology.
• Toby Kebbell as Jack Chapman, a United States Army major and Sea Stallion helicopter pilot who is Packard's right hand man.
• John Ortiz as Victor Nieves, a senior Landsat official on the expedition.
• Jing Tian as San Lin, a young biologist working for Monarch. According to Vogt-Roberts and Borenstein, her role was originally larger but had been reduced. Alison de Souza of the Straits Times wrote that in the final film Jing Tian's role would be described in Chinese as a "hua ping" (花瓶), meaning a vase, which refers to insignificant roles, and that she "hardly does or says a thing."
• Jason Mitchell as Glenn Mills, a young loyal warrant officer and helicopter pilot of the Sky Devils and close friend of Cole.
• Shea Whigham as Earl Cole, a seasoned Captain of the Sky Devils who wields an AK-47 instead of an M16 and close friend of Mills.
• Thomas Mann as Reg Slivko, a young warrant officer of the Sky Devils, known for carrying a portable record player.
• Terry Notary and Toby Kebbell as King Kong (motion capture performance), a 104-foot-tall ape who is worshiped as the king and god on Skull Island by the Iwi natives. Notary stated that this Kong is an adolescent and he tried to play Kong like a "14 year old that's trapped in the life of an adult", stating that it took three days to film the motion capture scenes. In addition to playing Chapman, Toby Kebbell also provided some facial references for Kong, stating, "I gave some facial reference — certain subtleties, certain looks. Terry and I worked on stuff together and created what Kong needed. I was just there as backup for pieces that Terry really wanted to get details on. It’s a real honor to be asked by someone who’s a great performer, to come and help support their performance."
• John C. Reilly as Hank Marlow, a wise and virtuous Chicagoan and U.S. Army Air Forces lieutenant of the 45th Pursuit Squadron who has been stranded for nearly 29 years on Skull Island since World War II. He knows the creatures of the island, and is a friend of the Iwi natives. Will Brittain portrays a young Hank Marlow, and also plays Marlow's son.

Additionally, Eugene Cordero appears as Reles, a warrant officer of the Sky Devils and Packard's door gunner; Marc Evan Jackson portrays Steve Woodward, a Landsat employee on the expedition; Richard Jenkins portrays Senator Al Willis, a politician who reluctantly funds the expedition; and Miyavi portrays Gunpei Ikari, a Japanese World War II pilot who crash-lands on Skull Island alongside Marlow.

Production
Development
Initially announced by Legendary Pictures at the 2014 San Diego Comic-Con, Universal Pictures was to be the distributor. The job of distribution would, however in 2015 move to Warner Brothers  in order for them to make a King Kong-Godzilla crossover film. 

Legendary offered Joe Cornish the job of directing the film, while previous King Kong helmer Peter Jackson suggested Guillermo del Toro. In September 2014, the studio announced that Jordan Vogt-Roberts would direct the film.

The script saw a number of screenwriters attached before filming. Seeking the continuity between the King Kong and Godzilla worlds, Max Borenstein (writer of 2014's Godzilla) wrote the first draft, while John Gatins was hired to write the second draft. Borenstein's initial influence was Apocalypse Now, revealing, "What popped into my head for the paradigm of the movie was Apocalypse Now. That’s obviously a war movie, but I liked the idea of people moving upriver to face a misunderstood force that they think of as a villain, but ultimately they come to realize is much more complicated." It was later revealed that Dan Gilroy had also collaborated on the Borenstein and Gatins draft. On August 18, 2015, it was confirmed that Derek Connolly was also doing script rewrites. Borenstein worked a final pass on the screenplay before shooting began, and credited the screenplay to all of the writers, saying, "It was definitely collaborative in terms of what’s on the screen, though none of us worked together. There are pieces of my work in there as well as the work of the other two writers and John Gatins, who was credited for story. Everybody had a really good hand in it."

In April 2016, artist Joe DeVito sued producers of the film for using elements of his Skull Island universe, which he claimed that he created and the producers used without his permission.

Creature design
Director Vogt-Roberts stated that he wanted Kong to look simple and iconic enough that a third grader could draw him, and the image would still be recognizable. Vogt-Roberts also wanted Kong to feel like a "lonely god, he was a morose figure, lumbering around this island," and took the design back to the 1933 incarnation, where Kong was presented as a "bipedal creature that walks in an upright position." Vogt-Roberts additionally stated, "If anything, our Kong is meant to be a throwback to the ’33 version. [Kong] was a movie monster, so we worked really hard to take some of the elements of the ’33 version, some of those exaggerated features, some of those cartoonish and iconic qualities, and then make them their own…We created something that to some degree served as a throwback to the inspiration for what started all of this, but then also [had] it be a fully unique and different creature that — I would like to think — is fully contained and identifiable as the 2017 version of King Kong. I think there are very modern elements to him, yet hopefully he feels very timeless at the same time."

Hayao Miyazaki's Princess Mononoke helped influence the design and approach of the monsters, Vogt-Roberts stated, "Miyazaki[‘s] Princess Mononoke was actually a big reference in the way that the spirit creatures sort of have their own domains and fit within that. So a big thing [was] trying to design creatures that felt realistic and could exist in an ecosystem that feels sort of wild and out there, and then also design things that simultaneously felt beautiful and horrifying at the same time." However, biophysical analysis of Kong and other creatures concludes that although biophysically they are viable, the ecosystem of the island could not support them.

The two-armed pit lizard from the 1933 King Kong film was used as a reference for the Skullcrawlers. They were also inspired by a number of other cinematic creatures; Vogt-Roberts stated, "That creature, beyond being a reference to a creature from the 1933 film, is also this crazy fusion of all of the influences throughout my life – like the first angel from Evangelion, and No-Face from Spirited Away, and Cubone from Pokémon."

Casting
At the same time of the announcement of Vogt-Roberts as director, the studio also announced that Tom Hiddleston would play the lead role. For a time both, JK Simmons and Michael Keaton were attached to roles however both left due to scheduling difficulties. . On July 23, 2015, Brie Larson was cast in the film to play the female lead. On August 5, 2015, it was announced that Corey Hawkins was cast in the film to play a supporting role. On August 6, 2015, Deadline.com reported that the studio was in early talks with Samuel L. Jackson to replace the role which Simmons vacated, while John C. Reilly was being eyed for Keaton's role, but not offered it yet. Tom Wilkinson was also offered a role in the film.

On August 20, 2015, Toby Kebbell joined the cast of the film, while Jackson and Reilly were confirmed for roles. On August 25, 2015, Jason Mitchell joined the cast, to play a pilot. On September 25, 2015, John Goodman was cast to play Randa, a government official and leader of an expedition, and Thomas Mann was also cast. On October 1, 2015, John Ortiz and Shea Whigham were added to the cast in unspecified roles. On October 13, 2015, Eugene Cordero joined the film, and on November 2, 2015, it was announced Will Brittain had joined the cast, portraying a pilot, in one of the last key leads in the film. In May 2016, Toby Kebbell revealed that Terry Notary would portray Kong through motion capture, and that Kebbell provided some guidance for Kong's motion capture sequences.

Filming
Principal photography on the film began on October 19, 2015, and concluded on March 18, 2016. Filming took place in the northern portion of Vietnam, including Tràng An, Vân Long and Tam Cốc (Ninh Bình Province), Hạ Long Bay (Quảng Ninh Province), and at the entrance of Tú Làn Caves System (Tân Hoá, Trung Hoá Village, Minh Hoá District Quảng Bình Province), the island of Oahu in Hawaii, and Australia's Gold Coast. Locations included Honolulu's Chinatown, and at the Kualoa Ranch and Waikane Valley (Ohulehule Forest Conservancy) on Oahu. In mid-January 2016, filming started in Gold Coast, Queensland, Australia.

Influences
Vogt-Roberts has cited a number of films that inspired Kong: Skull Island, stating, "If I were going to break it down for people, I’d say you obviously have Apocalypse Now and just the era of ‘70s filmmaking, with films like The Conversation, too. Also Platoon was an inspiration, and the South Korean film The Host as well. The entire Neon Genesis Evangelion series was a big influence." Vogt-Roberts also cited Princess Mononoke as an influence on the approach and design of the monsters. He cited Sachiel from Neon Genesis Evangelion, Cubone from Pokémon, No-Face from Spirited Away, and a creature from the 1933 King Kong as inspirations for the Skullcrawlers.

Music
The film's score was composed by Henry Jackman. To fit the '70s period of the film, Jackman blended '70s psychedelic guitars into the score. Regarding the music used in the film, Vogt-Roberts stated, "I wanted to use songs from the Vietnam era and a myriad of hits from the '70s... this provides a striking dichotomy, sets the tone and gives us great moments of fun."

Release
Kong: Skull Island was originally set for a November 4, 2016, release, but in December 2014, the date was moved from November 4, 2016 to March 10, 2017. The new release date coincides with the franchise's 84th anniversary. It was released in 3D and IMAX 3D, as well as in Dolby Vision High Dynamic Range, and Dolby Atmos sound in Dolby Cinemas. The film premiered at the Cineworld Empire Leicester Square in London on February 28, 2017.

Box office
Kong: Skull Island has grossed $168 million in the United States and Canada and $398.6 million in other territories for a worldwide gross of $566.6 million. Made on a production budget of $185 million, with about $136 million more spent on global marketing costs, the film needed to make at least $450–500 million worldwide in order to break even.

In the United States and Canada, Kong: Skull Island was projected to gross $40–50 million in its opening weekend, as well as a worldwide debut of $110–135 million. The film made $20.2 million on its first day from 3,846 theaters, including $3.7 million it made from Thursday night previews. In total, the film earned a better-than-expected $61 million on its opening weekend, defying the film's initial projection by 35%. In IMAX, it made $7.6 million from 382 theaters, repping 12.5% of the film's total opening weekend. In its second weekend the film grossed $27.8 million (a drop of 54.4%), finishing second at the box office behind newcomer Beauty and the Beast.

Internationally, the film debuted with $85.1 million from 20,900 screens in 65 markets. It opened in every market except Japan and China. In IMAX, the film scored the fourth-biggest March release with $4.8 million from 672 theaters (the second biggest without China in it). The biggest openings came from the United Kingdom, Ireland ($7.6 million), South Korea ($7.4 million), Russia ($6.2 million), Mexico ($5.7 million), France ($4.1 million), Taiwan ($3.6 million), Australia ($3.6 million), Brazil ($3.4 million), Germany ($3.4 million), Malaysia ($2.65 million), India ($2.4 million), Spain ($1.6 million) and Italy ($1.6 million), while in Vietnam (where the film was primarily shot and centered on), it scored the biggest opening of all time there with $2.5 million. This was a week following a huge model of the primate outside the theater caught on fire at the film's premiere. The film would eventually open in China with $71.6 million (its largest international market) and in Japan with $3.5 million, where the film was released as King Kong: Giant God of Skull Island (Kingu Kongu: Dokurotou no Kyoshin). After its overseas run, the film would gross US$398 million internationally.

Critical response
Kong: Skull Island received generally positive reviews from critics. On the film review aggregator website Rotten Tomatoes, the film has an approval rating of 76% based on 300 reviews, with an average rating of 6.5/10. The site's critical consensus reads, "Offering exhilarating eye candy, solid acting, and a fast-paced story, Kong: Skull Island earns its spot in the movie monster's mythos without ever matching up to the classic original." On Metacritic, the film has a weighted average score of 62 out of 100, based on 49 critics, indicating "generally favorable reviews". Audiences polled by CinemaScore gave the film an average grade of "B+" on an A+ to F scale.

Michael Phillips of The Chicago Tribune lauded the film, giving it three-and-a-half stars out of four: "I saw little in [Vogt-Roberts'] first feature to indicate the deftness and buoyant spirit he brings to Skull Island. This time, the money's on the screen, but it bought a really good movie, too." Mike Ryan of Uproxx gave the film a positive review, noting, "Kong: Skull Island is still a hoot. It was a movie that was not at all on my radar as something I was dying to see and yet I had way too much fun watching it. I just wished it had embraced its craziness just a little bit more. (But, yes, there’s still plenty of crazy to go around.)" Todd McCarthy of The Hollywood Reporter gave the film a positive review as well, stating that "all the requisite elements are served up here in ideal proportion, and the time just flies by, which can rarely be said for films of this nature." Kyle Anderson of Nerdist News found the film entertaining but flawed, saying, "It's certainly not a perfect movie, and a lot of the characters feel like sketches more than fully-fledged people, but it roars along enjoyably from start to finish." Math Blaster of actionawards.blogspot.com gave the movie 3.5 stars out of 4 praising the films cast and CGI naming the film superior to Godzilla.

Conversely, Peter Bradshaw of The Guardian awarded the film one out of five stars. In his negative review, he described the movie as a "fantastically muddled and exasperatingly dull quasi-update of the King Kong story." Matthew Lickona of The San Diego Reader also gave the film one out of five stars, writing: "It’s fun to watch [the monsters] in action, but on the human side, the film is clumsily written, over-cast and underacted, with only frustrated soldier Samuel L. Jackson striking the right tone of crazy amid the chaos." Chris Klimek of NPR mentions how "Kong is at its mediocre best when it pretends to be a nature documentary about Skull Island's bizarro flora and fauna," but lamented how "every time the movie threatens to get interesting, one of its hordes of ersatz, non-animated characters shows up and starts talking again." Anthony Lane of The New Yorker noted that what the film "yearns to be, is a pop-culture Apocalypse Now, with the human foe removed, the political parable toned down, and the gonzo elements jacked up." J.R. Jones questioned the film's setting, saying "this Jurassic Park knockoff takes place neither in the Depression era, which gave us the original King Kong, nor in the present, when satellite photos would surely alert us to the existence of a 100-foot gorilla. Instead—and for no reason I can fathom, except perhaps the classic-rock tunes desired for the soundtrack—the story takes place in 1973, when the Vietnam war is winding down and President Nixon is being driven from office."

Several critics have commented on Larson's role in the movie, having recently won an Oscar for Room, with Michael Salfino of The Wall Street Journal remarking that "a starring role in a popcorn movie on the heels of a passion project can open up an actor to ridicule."

Home media
Kong: Skull Island was released on HD Digital on June 20, 2017, and on 4K Ultra HD, 3D Blu-ray, Blu-ray and DVD on July 18, 2017. The film debuted at the top of the NPD VideoScan First Alert sales chart and the dedicated Blu-ray Disc chart for the week ending on July 23, 2017. As of August 2017, Kong: Skull Island sold $26.7 million worth of DVD's in North America.

Trivia
The magnificent scenes of mountains, rivers, and grass field were mostly shot in Vietnam (including Ninh Binh and Quang Binh). Jordan Vogt-Roberts and the cast members said they were the most beautiful places that they've ever been.

Sets were built at Kualoa Ranch, Hawaii, near the same filming locations as Jurassic World (2015).

The names of Marlow and Conrad are likely references to Joseph Conrad and the lead character, Marlow, from Conrad's novella Heart of Darkness. The novella, as well as the Vietnam War film it inspired, Apocalypse Now (1979), are thematic and visual inspirations for this movie. Heart of Darkness was also read by a character in an earlier King Kong (2005).

Marlow's mention of "really big ants that sound like birds" is undoubtedly a reference to Them! (1954), a science fiction film about giant ants. Clips of another 50's sci-fi movie about extra-large insects, The Beginning of the End (1957), are shown in the exposition. The latter movie features grasshoppers filmed walking across a photograph of a building, in an attempt to depict a plague of gigantic insects invading Chicago.

The Sker Buffalo resembles a larger version of a Yak but its horns resemble moose antlers and it bears close similarities to Cape Buffalo and the Philippine Water Buffalo (also known as a carabao).

Actor and stuntman Terry Notary motion-captures an ape in both this and the "Planet of the Apes" series where he plays Rocket.

Toby Kebbell did motion capture work as an ape (Koba) in Dawn of the Planet of the Apes (2014) with Andy Serkis, who did motion capture work as Caesar. Andy Serkis played King Kong in King Kong (2005).

Colossal is a 2016 science fiction black comedy film directed and written by Nacho Vigalondo. The film stars Anne Hathaway, Jason Sudeikis, Dan Stevens, Austin Stowell, and Tim Blake Nelson, telling a story about Gloria, an unemployed young writer played by Hathaway, who is unwittingly causing a giant monster to wreak havoc halfway across the world.

The film's world premiere was at the 2016 Toronto International Film Festival. It was released on April 7, 2017 by Neon, the company's first release. Filmed in six weeks on a budget of $15 million in Vancouver, the film received mostly positive reviews but only grossed $4 million at the box office.

Gloria ultimately tries to make amends by having the monster spell out an apology in Korean, to the delight of the South Koreans and the media, and begins to avoid both the playground and alcohol.

After spending the night with Joel, Gloria discovers that a drunken Oscar is using the robot to taunt South Korea. After a tense confrontation, Gloria manages to make him leave. Oscar is jealous, believing that something happened between Gloria and Joel. Later that night at the bar, he drunkenly insults his friends and demands that Gloria drinks, then orders her to by threatening to return to the playground if she does not. The next morning, a sobered-up Oscar confesses his remorse and pleads with Gloria to forgive him. Gloria accepts his apology, but Oscar's controlling attitude becomes clear.

Tim shows up in town on a pretense in order to see Gloria. Oscar provokes a confrontation that ends with him setting off a large firework inside the bar. He follows this up by boasting that, no matter how he behaves, he knows that Gloria will remain under his thumb. He later shows up at Gloria's house, telling her he is there to prevent her from going back to New York with Tim.

A flashback reveals how Gloria and Oscar are able to manifest their avatars in South Korea: a freak lightning flash struck both of them, a toy robot and a toy reptilian monster while they were passing through the playground when they were children. Gloria also realizes that Oscar has always been violent and manipulative because he hates himself, and resolves to leave town with Tim. Oscar, in response, heads for the playground. When Gloria follows, Oscar assaults her, leaving her on the ground while he terrorizes Seoul.

Upon returning to her house, Gloria comes up with a plan to stop Oscar. She flies to South Korea, apologizing to Tim for not coming with him. Once again at 8:05 am, U.S. time, Oscar causes the giant robot to manifest in Seoul. As she heads towards Oscar's avatar, Gloria causes her monster to appear again, this time at the playground back home. Clutching Oscar in her hand, Gloria's monster throws Oscar off into the distance, causing the giant robot to be launched into the sky, disappearing from Seoul.

Her mission accomplished, Gloria retreats to an empty bar in Seoul. Settling into her seat, Gloria promises the young waitress an incredible story. Offered a drink, Gloria simply lets out a long sigh.

Production
Hathaway was the first actress to sign on at a time when the project had no financial backing. Hathaway heard about the script after finding herself "in a little bit of an artistic no man's land" for inspiration. Director Jonathan Demme screened for her a copy of A Field in England, after which Hathaway decided that it represented exactly the type of movie she wanted to make. After asking her representation to see a similar script that she could join, she was sent the Colossal script. Hathaway found herself attracted to the genre-hopping nature of the script, later comparing it to Being John Malkovich, one of her favorite films.

Prior to the start of filming, Japanese company Toho brought a lawsuit against Voltage Pictures for unauthorized usage of Godzilla's image and stills from previous Godzilla films in emails and press documents sent to potential investors. A settlement was reached that October.

Principal photography on the film also began that month in Vancouver, and ended on November 25, 2015. No motion captured footage was used for the creation of the monster; rather, footage of Hathaway acting out her parts was given to the CG team, who used this as reference points. The CG artists, as opposed to Vigalondo, were responsible for the look of the monster itself. Vigalondo stated that this was partly due to his lack of artistic skill and partly due to him "[wanting] them to feel like characters that felt like a part of the genre we're playing with".

Release
The film had its world premiere at the Toronto International Film Festival on September 9, 2016. Shortly after, an unnamed Chinese company acquired distribution rights to the film, which was later announced as Neon, a newly-founded distribution company. The film went on to screen at the Sundance Film Festival on January 20, 2017. The film was released on April 7, 2017. It grossed $3,189,184 in the U.S. market and $1,151,575 in other markets, totaling $4,340,759.

Critical response
On review aggregator website Rotten Tomatoes, the film has an approval rating of 80% based on 194 reviews, with an average rating of 7.2/10. The site's critical consensus reads, "Colossal's singular strangeness can be disorienting, but viewers who hang on may find that its genre-defying execution—and Anne Hathaway's performance—is well worth the ride." On Metacritic, the film has a score of 70 out of 100, based on 36 critics, indicating "generally favorable reviews".

Writing for RogerEbert.com, Matt Zoller Seitz awarded Colossal 3.5 out of 4 stars, saying "the cast is quietly superb, that the movie always knows what it is and what it wants to say." IGN awarded it 7.0 out of 10, saying "It isn't always successful, but when the film works, it's a blast—another completely original and unique genre mash-up from the mad mind of Nacho Vigalondo." Peter Travers of Rolling Stone awarded it 3.5 out of 4, saying "Colossal is seriously unmissable".

Jake Coyle writing for the Associated Press gave it 2 out of 4 stars, saying "The one-trick act of 'Colossal' becomes tiresome even as its leads—particularly an excellent Hathaway—work to find some depth in the story." Mark Jenkins of NPR said "The longer the movie runs, the more its novelty fades. The tone wavers, and plot holes that appeared small at the halfway point start looking like chasms." Rex Reed of the New York Observer gave it 0 out of 4 stars, saying the film was "almost as unwatchable as it incomprehensible".

Shin Godzilla (シン・ゴジラ Shin Gojira, also known as Godzilla: Resurgence) is a 2016 Japanese kaiju film featuring Godzilla, produced by Toho and Cine Bazar and distributed by Toho. It is the 31st installment in the Godzilla franchise, the 29th Godzilla film produced by Toho, and Toho's third reboot of the franchise. The film is co-directed by Hideaki Anno and Shinji Higuchi, with the screenplay by Anno and special effects directed by Higuchi. The film stars Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara and reimagines Godzilla's origins in modern Japan.

In December 2014, Toho announced plans for a new domestic Godzilla film. Anno and Higuchi were announced as directors in March 2015. Principal photography began in September and ended in October with the special effects work following in November that year. Inspiration for the film was drawn from the Fukushima Daiichi nuclear disaster and the 2011 Tōhoku earthquake and tsunami.

Shin Godzilla had its premiere at the Hotel Gracery in Shinjuku, Tokyo on July 25, 2016 and was released nationwide on July 29, 2016, in IMAX, 4DX, and MX4D. It received acclaim from Japanese critics and mixed to positive reviews from Western critics. The film was the highest-grossing live-action Japanese film of 2016 and is the highest-grossing Japanese-produced Godzilla film. At the 40th Japan Academy Prize, it was nominated for 11 nominations and won seven, including Picture of the Year and Director of the Year.

​The creature, named Godzilla after Maki's research, reappears, now twice its original size, and makes landfall near Kamakura en route for Tokyo. The Japan Self-Defense Forces mobilize, but their attacks have no effect and they are forced to withdraw to protect civilians. The U.S. intervenes based on defending their embassy, prompting the evacuation of civilians and government officials. U.S. B-2 bombers bombard Godzilla; Godzilla responds with highly destructive atomic rays fired from its mouth and dorsal fins, which hit and destroy the helicopter carrying the top government officials. The battle leaves radiation fallout and destruction in a huge part of Tokyo. After depleting its energy, Godzilla enters a dormant state and becomes immobile.

​Yaguchi's team discovers that Godzilla's fins and blood work as a cooling system and theorize that they could use a coagulating agent to freeze it. After analyzing tissue samples, they find that Godzilla is an ever-evolving creature, able to reproduce asexually. The United Nations, aware of this, informs Japan that they will allow the use of thermonuclear weapons against Godzilla. Evacuations are ordered in multiple prefectures. Unwilling to see nuclear weapons detonated in Japan again, Patterson decides to use her political connections to buy time for Yaguchi's team, who the interim government has little faith in. Yaguchi's team has a breakthrough and procure the means to conduct their deep freeze plan through international cooperation.

Hours before the planned nuclear attack, Japan enacts the deep freeze plan. Godzilla is provoked into using its atomic breath with a large number of drones until it depletes. The team then detonates explosives in nearby buildings, knocking Godzilla down and giving the tankers full of coagulant access to inject it into Godzilla's mouth. Though many people are killed in the process, Godzilla is frozen solid. In the aftermath, it is discovered that the Godzilla fallout has a very short half-life and that the Tokyo can be reconstructed. The international community agrees to cancel the strike but has the new Japanese government agree that, in the event of Godzilla's reawakening, an immediate thermonuclear strike will be executed. Godzilla's tail shows humanoid Godzilla-like creatures frozen in the middle of emerging.

Cast
Hiroki Hasegawa as Rando Yaguchi, Deputy Chief Cabinet Secretary. After Toho offered him the role, Hasegawa immediately accepted, stating, "Who wouldn't want to be involved in a Godzilla production?"
Yutaka Takenouchi as Hideki Akasaka, Aide to Prime Minister. Takenouchi stated that the film will contain a "deeper message".
Satomi Ishihara as Kayoko Anne Patterson, Special Envoy for the President of the United States. She became excited after accepting the role but stressed that her character features "English-heavy dialogue", stating, "Sometimes it's so frustrating, I just want to cry."
The film features several cameos and supporting appearances, including Kengo Kora, Ren Osugi, Akira Emoto, Kimiko Yo, Jun Kunimura, Mikako Ichikawa, Pierre Taki, Takumi Saito, Keisuke Koide, Arata Furuta, Sei Hiraizumi, Kenichi Yajima, Tetsu Watanabe, Ken Mitsuishi, Kyūsaku Shimada, Kanji Tsuda, Issei Takahashi, Shinya Tsukamoto, Kazuo Hara, Isshin Inudo, Akira Ogata, Shingo Tsurumi, Suzuki Matsuo, Kreva, Katsuhiko Yokomitsu, and Atsuko Maeda. Mansai Nomura portrayed Godzilla through motion capture. Jun Kunimura previously appeared in Godzilla: Final Wars. Akira Emoto appeared in Godzilla vs. SpaceGodzilla.

Themes
Whereas the original Godzilla was conceived as a metaphor for the atomic bombings of Hiroshima and Nagasaki, Shin Godzilla drew inspiration from the Fukushima Daiichi nuclear disaster and the 2011 Tōhoku earthquake and tsunami. Many critics noted similarities to those events. Mark Schilling of The Japan Times wrote that the Godzilla creature serves "as an ambulatory tsunami, earthquake and nuclear reactor, leaving radioactive contamination in his wake". Roland Kelts, the author of Japanamerica, felt that the "mobilizing blue-suited civil servants and piles of broken planks and debris quite nakedly echo scenes of the aftermath of the great Tohoku earthquake, tsunami and nuclear disaster." Matt Alt of The New Yorker drew similar parallels with "the sight of blue-jumpsuited government spokesmen convening emergency press conferences ... [and] a stunned man quietly regarding mountains of debris, something that could have been lifted straight out of television footage of the hardest-hit regions up north. Even the sight of the radioactive monster's massive tail swishing over residential streets evokes memories of the fallout sent wafting over towns and cities in the course of Fukushima Daiichi's meltdown."

​Japan's Prime Minister Shinzō Abe had spoken positively of the film's pro-nationalist themes, stating, "I think that [Godzilla’s] popularity is rooted in the unwavering support that the public has for the Self-Defense Forces."

In December 2014, Toho announced plans for a new Godzilla film targeted for a 2016 release, stating, "This is very good timing after the success of the American version this year: if not now, then when? The licensing contract we have with Legendary places no restrictions on us making domestic versions." The new film will have no ties to Legendary's MonsterVerse and instead will serve as a reboot to the Toho series. Minami Ichikawa will serve as the film's production manager and Taiji Ueda as the film's project leader. Ueda confirmed that the screenplay is in development and filming has been planned for a summer 2015 shoot. Toho will additionally put together a project team, known as "Godzilla Conference" or "Godzi-con", to formulate future projects.

In March 2015, Toho announced that the film would be co-directed by Hideaki Anno and Shinji Higuchi (who both collaborated on the anime Neon Genesis Evangelion), in addition to Anno writing the screenplay and Higuchi directing the film's special effects. In addition, Toho announced that the film will begin filming in the fall of 2015 set for a summer 2016 release. Promotional artwork of the new Godzilla's footprint was also released, with Toho confirming that their new Godzilla will surpass Legendary Pictures' Godzilla as the tallest incarnation to date.

Toho had approached Anno in January 2013 to direct the reboot but Anno initially declined due to falling into depression after completing Evangelion: 3.0 You Can (Not) Redo, stating, "A representative from Toho contacted me directly, saying, 'We'd like to direct a new Godzilla film.' At the time, I was still recovering from EVA 3.0, and right on the spot, flatly refused the offer, 'It's impossible. Even to begin work on the next EVA is impossible.'" However, Toho's sincerity and his longtime friend and co-director, Shinji Higuchi, eventually convinced him to accept the offer in March 2013. Anno had also refused the offer due to a lack of confidence, stating, "I refused [the offer] since I didn't have confidence that I could exceed the first film or come close to equaling it. But I thought that if I were to come close even a little, I would have to do the same thing [as the first film]."

​Mahiro Maeda provided the new design for Godzilla while Takayuki Takeya provided the maquette. Director Higuchi stated that he intended to provide the "most terrifying Godzilla that Japan's cutting-edge special-effects movie-making can muster." A variety of techniques such as puppets, animatronics, and digital effects were initially considered and an upper-body animatronic was produced but went unused after Toho decided to create a completely CG Godzilla, VFX Supervisor Atsuki Sato stated, "CG production had already been determined when I began participating. In the end, it was the best option to allow quick edits as creative visions changed and produced a high quality film." A colorless maquette was built for CG animators to use as a reference and render the CG Godzilla model. Mansai Nomura provided the motion capture performance for Godzilla.

Principal photography began on September 1, 2015, with a large on-location film shoot at Kamata station in Tokyo under the working title "Shin Gojira". On September 23, 2015, Toho revealed the film's official title as Shin Gojira and that the film will star Hiroki Hasegawa, Yutaka Takenouchi, and Satomi Ishihara. Producer Akihiro Yamauchi stated that the title Shin Gojira was chosen for the film due to the variety of meanings it conveys, such as either "new" (新), "true" (真), or "God" (神). Yamauchi also confirmed that the film has been planned for quite some time, stating, "It's been in the works a long time. It's not like it was produced just because of the Hollywood Godzilla".

Principal photography wrapped at the end of October 2015, with special effects work scheduled for November 2015. In November 2015, without any prior announcement, Toho screened a promo reel at the American Film Market for a potential sale for overseas markets, marketing the film (for a while) as Godzilla Resurgence.

Music
Shiro Sagisu scored the film. There are also various remixes of "Decisive Battle" from Sagisu's Neon Genesis Evangelion score. The film also includes several pieces from previous Godzilla films composed by Akira Ifukube. Anno had decided to use Ifukube's music while writing the screenplay and attempted to adapt the old Ifukube tracks to modern stereo settings but the task proved too daunting and eventually settled on using the mono mixes instead. The soundtrack was released on July 30, 2016, and sold 8,427 copies in 2 weeks.

Release
Shin Godzilla was released on July 29, 2016, in Japan in over 350 theaters and 446 screens. It had its red carpet premiere on July 25, 2016. The premiere took place in Tokyo along Kabuki-cho Central Road, with a red carpet from the Hotel Gracery Shinjuku, the hotel which has the large Godzilla head peering over, 118.5 metres in length, the same distance as the height of Godzilla.

In April 2016, New World Cinemas was named one of the distributors to release the film in the United States, however, in June 2016, New World Cinemas clarified on their official Facebook that "New World Cinemas are not the distributors for the new Godzilla Film. The mistake was make because we said Godzilla coming soon. This was merely a post to promote Godzilla as we too are big fans. We apologise for any confusion regarding this film."

In July 2016, Toho announced that the film had been sold to 100 territories (including Asia, Africa, Europe, and North America) in 19 days after opening to foreign sales and will be released in Taiwan on August 12, the Philippines on August 24, Hong Kong and Macao on August 25, and Thailand on September 8. At the 2016 San Diego Comic-Con, it was announced that Funimation would distribute the film for North America, Central America, South America, and the Caribbean for a late 2016 release as Shin Godzilla, instead of Godzilla Resurgence, at the insistence of Toho. In early September, Funimation officially announced that the film was to be given a one-week limited release in the United States and Canada from October 11–18 on 440 screens, in Japanese with English subtitles, making it the first Japanese Godzilla film to receive a theatrical North American release since Godzilla 2000. Funimation hosted two North American premieres for the film, one premiere on October 3 in Los Angeles and the other on October 5 in New York. Due to popular demand, Funimation extended the film's North American theatrical run with encore screenings for October 22 and select theaters offering daily screenings through October 27.

A release for the United Kingdom was cancelled after Altitude Films, the distributor for that territory, dropped rights to the film after a showing at a FrightFest event in Glasgow on February 24. Toho did not allow any more screenings in the UK, according to a tweet made by The Electric Cinema in Birmingham, until it was revealed by the Film Distributors' Association on June 13 that National Amusements will release it in UK theaters starting July 26. However, it was later revealed that the UK rights to Shin Godzilla are held by Manga Entertainment (who once held the rights to the VHS releases of Godzilla vs. King Ghidorah and Godzilla vs. Mothra in the UK), and have announced a theatrical showing of the film for August 10 across the UK.

Marketing
In December 2015, Toho unveiled the film's first teaser trailer and teaser poster revealing Toho's new Godzilla design and the film's July 29, 2016, release date. Chunichi Sports reported the size of the new Godzilla to be 118.5 metres (389 ft) tall, over 10 metres (33 ft) taller than Legendary's Godzilla, which is 108.2 metres (355 ft) tall.

In January 2016, images of the Godzilla suit were leaked online. In late March 2016, it was announced that Toho's Godzilla and Anno's Evangelion intellectual properties will form a "maximum collaboration" for merchandise in April 2016.[63] In mid-April 2016, Toho revealed the complete design of the new Godzilla and that it is a completely CG-generated character, as well as a new trailer, details regarding the principal and supporting characters, and that the film will be released in IMAX, 4DX, and MX4D formats for its domestic release.

For summer 2016, the Namja Town amusement park held special Godzilla cross-promotion activities. The park unveiled a new virtual reality game, the food court produced kaiju-inspired food dishes, and a Godzilla foot on display as though it had crashed through the roof of the attached Sunshine City Alpa shopping center. Sports equipment manufacturer Reebok released limited-edition Godzilla sneakers featuring a black reptilian skin pattern and either red or glow-in-the-dark green coloring in Japan. In early 2017, Universal Studios Japan featured a temporary 4D Shin Godzilla attraction as part of its Universal Cool Japan 2017 program as well as the addition of music from the film to the tracklist of the Hollywood Dream – The Ride roller coaster.

Home media
Shin Godzilla was released on DVD and Blu-ray in Japan on March 22, 2017. It was released on Blu-ray, DVD and digital on August 1, 2017 in North America with a full English dub.

Reception
Box office
In Japan Shin Godzilla earned ￥625 million (US$6.1 million) on its opening weekend and was number one at the box office for that weekend, placing Finding Dory at second place and One Piece Film: Gold at third place, and earned 23% more than 2014's Godzilla when it opened in Japan. It was more than triple the first weekend's gross of 2004's Godzilla: Final Wars, the previous Toho film in the series, which in the end grossed US$12.3 million. The film remained at number one during its second weekend and was projected to finish at US$40 million domestically. The film dropped to second place during its third weekend, topped by The Secret Life of Pets, earning US$33.5 million after 17 days, topping the estimates for both 2004's Godzilla: Final Wars and 2014's Godzilla. The film reached ￥5.3 billion (US$51.63 million) a month after its release, topping the earnings for Anno's previous film Evangelion: 3.0 You Can (Not) Redo, which earned ￥5,267,373,350.

On its sixth weekend, the film climbed back to number two, topped by Your Name, with an earning of US$3.2 million, bringing the film's total domestic gross to US$60 million from 4.1 million admissions. After exiting the top ten in late September, the film has grossed nearly US$77 million from 5.6 million admissions. Shin Godzilla became the highest grossing live-action Japanese film for 2016, and the second highest grossing film in Japan for the year.

In the United States and Canada, the film grossed US$1.9 million during its limited 31 day run. Outside of Japan and North America, the film was released in a handful of International markets. In Taiwan, it grossed US$264,235; in Australia it grossed US$84,090; in New Zealand it grossed US$13,892; in Thailand it grossed US$322,061; in South Korea it grossed US$36,915; and in Spain it grossed US$8,031. The film grossed ¥82.5 billion domestically and US$78 million worldwide.

Critical reception
​Shin Godzilla received widespread acclaim from Japanese critics and mixed to positive reviews from Western critics. The special effects and new depiction of Godzilla were praised but the film was criticized for its long scenes and confusing dialogue between the politicians, military, and authorities, and introducing too many characters and subplots. Review aggregator Rotten Tomatoes has a rating of 84% based on 58 reviews, with an average rating of 6.6/10. The site's consensus reads, "Godzilla Resurgence offers a refreshingly low-fi – and altogether entertaining – return to the monster's classic creature-feature roots." On Metacritic, the film has a score of 68 out of 100 based on 12 reviews, indicating "generally favorable reviews."

Japanese pop culture site RO65 called the film a "masterpiece of unprecedented filmmaking", feeling that the film retains a "strong respect for the fundamental message within Godzilla". Oricon Style praised directors Hideaki Anno's and Shinji Higuchi's realistic approach and the film's reality vs. idealism themes, calling the film a "world class" Godzilla film. Cinema Today called the film a "thrilling experience" and a "masterpiece", feeling that the film was a return to form similar to 2004's Dawn of the Dead. Kazuo Ozaki from Eiga.com praised the film as well, stating, "Hollywood, even with all its money, can’t approach this kind of perfection" while Koichi Irikura from Cinema Today called it a "birth of a masterpiece that boldly announces the revival of a Japanese Godzilla". Brian Ashcraft from Kotaku felt the film was a "letdown", though he praised the film's special effects and social reflection of Japan, he criticized the film's depiction of the human characters, stating, "I wish the movie explored the relationships between the politicians and the researchers more instead of glossing over it" and concluded that "This isn’t one of the best Godzilla films ever made, but it's certainly not one of the worst by any stretch, either. Godzilla Resurgence is a series of compelling ideas in a so-so Godzilla movie."

Ollie Barder from Forbes was surprised at "how good" the film was, praising Anno's classic Gainax motifs, though he was not completely fond of Godzilla's new design, feeling that the "googly" eyes made Godzilla look silly but Barder did feel that the design was more "organic and menacing" than previous incarnations and praised the film's depiction of Godzilla, stating, "I really liked the way Godzilla is handled in this new movie, as it feels a lot more like the God Soldier short that both Anno and Higuchi worked on" and concluded by stating that he "really enjoyed" the film and that it had a "far more coherent plot" than 2014's Godzilla. Marcus Goh from Yahoo felt that the film was a better reimagining than 2014's Godzilla, though he criticized parts of Godzilla's design and the protagonists' plan to stop Godzilla, Goh regardless gave the film a 3.1 score out of 5 and concluded that the film "preserves the feel of Godzilla movies while updating it with modern responses."

Jay Hawkinson from Bloody Disgusting called the film a "very good Godzilla movie that teeters on greatness," however, he felt the film's drama "didn't always work" and some of the English delivery felt "canned and often corny", particularly Satomi Ishihara's character who he thought was "convincing" at times but a "hard sell in her role", but did praise the film's battle scenes, Shiro Sagisu's score, and the film's homages to the franchise, and concluded by stating that "Shin Godzilla may be a reboot sans the rubber suit we’ve grown to love but it's unquestionably Godzilla." Elizabeth Kerr from The Hollywood Reporter felt that Hideaki Anno and Shinji Higuchi did "the big guy justice", feeling that they "have created a Godzilla for this era" but felt that "all the telling (or reading) rather than showing reduces the story's overall impact" but concluded by stating that "there's an intangible quality to this Godzilla that Edwards (Emmerich doesn’t count) never quite captured, and which is always welcome". Matt Schley from Otaku USA called the film "A match made in kaiju heaven", praising Anno's directing stating, "It's also a reminder, after years in the Evangelion reboot woods, that Anno is one of Japan's most unique directorial voices in either animation or live-action filmmaking", though he felt the special effects weren't as impressive as 2014's Godzilla, Schley did feel that the film's CG "gets the job done, though there are a couple questionable shots" and concluded by stating that "Hideaki Anno has achieved a successful resurgence for both the Big G and himself."

Trivia
The only Japanese live-action Godzilla movie in which the monster was realized almost completely through CGI, abandoning the traditional suitmation effects. However, according to effects supervisor Atsuki Sato, Godzilla's skin was deliberately made to look like rubber as opposed to realistic animal skin, and his movements were performed via motion capture, adding a live performance element to the animation. Some of Godzilla's interactions with the environment were achieved via pushing a prop through miniatures, and the final shot of the monster is actually a sculpture instead of a digital effect, so the physical effects weren't entirely done away with.

This film was given a special advanced release in the United States on October 11-18, 2016, when it was shown in its original Japanese version (with English subtitles) and under a semi-translation of its original Japanese title, "Shin Godzilla".

The B-2 Spirit stealth bombers that appear in the film against Godzilla are identified with the onscreen subtitles as being from the 509th Operations Group. The 509th is a descendant unit of the (in)famous World War 2-era 509th Composite Group, well-known as being the unit that dropped the atomic bombs on Hiroshima and Nagasaki in August 1945. Today, the 509th is the sole U.S. Air Force unit equipped with the B-2 and is based at Whiteman Air Force Base in Missouri.

​Godzilla was portrayed in motion capture by Mansai Nomura, a Kyogen (traditional Japanese comic theatre) actor. To realize Godzilla's slow movements, a 10-kilo weight was strapped behind him, and he incorporated the technique of the traditional Japanese dance into his performance.

Godzilla is a 2014 American science fiction monster film directed by Gareth Edwards. It is a reboot of the Godzilla film franchise and retells the origins of Godzilla in contemporary times as a "terrifying force of nature". The film is set in the present day, fifteen years after the unearthing of two chrysalises in a mine in the Philippines. From the pods come two giant radiation-eating creatures, known as "MUTOs", which cause great damage in Japan, Hawaii and the western United States. Their awakening also stirs a much larger, destructive, ancient alpha predator known as "Godzilla", whose existence has been kept secret by the U.S. government since 1954. It stars Aaron Taylor-Johnson, Ken Watanabe, Elizabeth Olsen, Juliette Binoche, Sally Hawkins, David Strathairn, and Bryan Cranston. The screenplay is credited to Max Borenstein but includes contributions from David Callaham, David S. Goyer, Drew Pearce, and Frank Darabont.

The film is a co-production between Legendary Pictures and Warner Bros. Pictures. It was distributed by Warner Bros. worldwide, except in Japan where it was distributed by Toho. It is the second Godzilla film to be fully filmed and produced by an American studio, the first being the 1998 film of the same name. The project initially began in 2004 and was originally intended to be an IMAX short film titled, Godzilla 3D: To the Max, to be directed by Yoshimitsu Banno, director of Godzilla vs. Hedorah. After several years in development, the production was transferred to Legendary for development as a feature film. Producers Kenji Okuhira, Brian Rogers and director Banno were retained by Legendary. Shortly before filming began, several producers were dismissed from the production and a court case is ongoing between themselves and Legendary. The movie was filmed in the United States and Canada in 2013.

Godzilla was released worldwide in 2D, 3D and IMAX on May 15, 2014; in North America on May 16; with releases in China on June 13 and Japan on July 25, 2014. Critical reception for the film has been positive, with some praising the film for its slow pace and dramatic build-up, while others criticized the length of time before Godzilla's appearance, as well as his on-screen duration and the fact that the film does not focus primarily on him; however the film's direction, visual effects, music, characterization and creature designs were positively received. Critics and fans have also praised director Edwards for honoring the spirit and legacy of the Godzilla character and franchise.

Godzilla became an immediate box office success upon its release, earning $93.2 million during its U.S. premiere release and a worldwide estimate of $200 million on its opening weekend, the fourth highest for a 2014 film so far and one of the best late-night openings for a non-sequel. Godzilla has so far earned a total of $524,976,069 as of August 28, 2014 (domestic totals) and August 31, 2014 (International totals). Its box office success has prompted Legendary to proceed with sequels with Edwards confirmed to return as director for a planned trilogy, with the sequel targeted for a June 8, 2018 release.

Plot
In 1954, the United States Armed Forces are assembled to witness a secret nuclear test. A hydrogen bomb, decorated with a monster insignia, is detonated when a giant creature emerges from the ocean. In 1999, Project Monarch scientists Ishiro Serizawa and Vivienne Graham investigate a colossal skeleton in a collapsed mine in the Philippines. They find two chrysalises; one dormant, one broken open, and whatever hatched has made a trail through the forest to the sea. In Japan, the Janjira Nuclear Power Plant experiences unusual seismic activity. Joe Brody, the plant's supervisor, sends his wife Sandra and a team of technicians into the reactor. While the team is inside, the reactor is breached, releasing radioactive steam. Sandra and her team are unable to escape and the plant collapses into ruin.

Fifteen years later, Joe's son Ford is a US Navy explosive ordnance disposal officer, living in San Francisco with his wife Elle and son Sam. After Joe is detained for trespassing in the Janjira quarantine zone, Ford returns to Japan. Convinced of a cover-up of the cause of the disaster, Joe convinces Ford to help him retrieve vital data at their old home. They find the zone is not contaminated, but after recovering the data, soldiers detain them in a secret facility within the plant's ruins. Inside, a giant winged creature emerges from a massive chrysalis and escapes, destroying the facility. Joe is injured and later dies. The incident is reported as an earthquake.

Serizawa, Graham and Ford join a US Navy task force led by Admiral William Stenz on the aircraft carrier USS Saratoga to search for the creature, dubbed "Massive Unidentified Terrestrial Organism," or "MUTO." To Ford, the scientists reveal how a 1954 deep sea expedition triggered the appearance of Godzilla, a prehistoric alpha predator; how early nuclear tests were really attempts to kill it; that Project Monarch was formed secretly to study Godzilla; and that the MUTO caused the Janjira destruction. Ford reveals that Joe had monitored echolocation signals that indicated the MUTO was communicating with something.

The MUTO is found feeding off the wreckage of a Russian nuclear submarine it deposited in a forest in Hawaii. The military attacks and the battle shifts to Honolulu airport where Ford is waiting for a flight home. Godzilla arrives, causing a tsunami that devastates Waikiki. After briefly fighting Godzilla, the MUTO flies away, and Honolulu is left in ruin. Meanwhile, at a Nevada nuclear waste facility, a second, larger and wingless MUTO, emerges and devastates Las Vegas. The scientists deduce that the second MUTO is female, the two were communicating and will meet to breed.

The task force follows Godzilla, projecting that the monsters will meet in San Francisco Bay. Stenz approves the use of a nuclear explosion to kill the monsters, over the scientists' objections. Ford returns with the military to California and joins a team delivering warheads to San Francisco by train. The female MUTO destroys the train and devours one of the warheads. The remaining warhead is airlifted to San Francisco and activated. It is taken by the MUTOs, who construct a nest around it in the downtown area.

People are evacuating across the Golden Gate Bridge when Godzilla arrives. The Navy attempts to combat Godzilla, allowing many to escape before Godzilla destroys the bridge. Accepting Serizawa's advice, Stenz orders the military to allow the monsters to fight. While Godzilla battles both MUTOs, a team of soldiers, including Ford, enter the city by HALO jump to find and disarm the warhead. Unable to disarm the warhead, they put it on a boat for disposal at sea. Ford incinerates the nest, causing the female to leave the battle. Godzilla then uses its tail to kill the male, crushing him against a building. The female finds and kills the team on the boat. Ford is saved when Godzilla kills the female by firing atomic breath down her throat, decapitating her. Godzilla then collapses from injury and exhaustion. Ford pilots the boat out to sea, and is rescued before the warhead detonates.

The next day, Ford is reunited with Elle and Sam. Godzilla, thought to be dead, suddenly awakens and returns to the ocean, as survivors cheer.

Cast
Aaron Taylor-Johnson as Ford Brody
The son of Joe and Sandra Brody. After the plant collapse, he grows up in the United States and becomes a Lieutenant in the United State Navy as a explosive ordnance disposal technician. When Taylor-Johnson first met with Edwards, they talked for six hours about the archetype of the character. Taylor-Johnson stated that Edwards brought a level of "intimacy" to the film and praised him for treating it like a "big budget art film". He stated, "I think he went for the right balance of sensitivity and testosterone. I've probably been more emotionally challenged in this film than in any independent drama or thriller". Taylor-Johnson went through training to achieve military etiquette, and said he performed "quite a lot of the stunts". The role of Ford was reportedly offered to Joseph Gordon-Levitt in 2012, but he declined. By 2013, Henry Cavill, Scoot McNairy, and Caleb Landry Jones comprised the shortlist for the role before Legendary took interest in Taylor-Johnson. CJ Adams portrays Brody as a young boy.

Ken Watanabe as Dr. Ishiro Serizawa
The lead scientist for Project Monarch. Watanabe was initially skeptical about a new Hollywood version of Godzilla. However, after a meeting with Edwards, Watanabe was convinced that a Hollywood version can indeed be done and invested complete faith in Edwards. Watanabe stated, "If you are telling the Godzilla story, you cannot separate it from the nuclear element, and the first thing I asked was whether there was going to be the nuclear element, as that now, in Japan, is a really sensitive problem. I was worried about how I could use that and how I could make that okay, but Gareth understood those feelings." Watanabe's character is named after the director of various Godzilla films, Ishiro Honda, and after the scientist who killed Godzilla in the 1954 original film, Dr. Daisuke Serizawa.

Bryan Cranston as Joe Brody
Ford's father and former lead engineer at the Janjira nuclear plant until its destruction in 1999. Cranston has said that Edwards' approach to the film and to its characterization is what drew him to the project. He stated, "The most important thing about this version of Godzilla is the characterization. The characters in this are real, well drawn. [Edwards] takes the time to really establish who these people are, that you root for them, that you invest in these characters, and that you care for them. That's the best part of it." Cranston additionally added, "I wouldn't be here if it was just, 'Look out, this monster is crushing everything!' Instead of trying to humanize the beast what this film does - and, I think, rightfully so - is humanize the people. You root for them and sympathize with their plight". Cranston also joined the film because he has been a fan of Godzilla since childhood, stating, "Godzilla was always my favorite monster when I was young. He was unapologetic." Cranston had to wear a wig for his scenes due to finishing Breaking Bad days before joining Godzilla.

Elizabeth Olsen as Elle Brody
A nurse at San Francisco General Hospital. She is married to Ford Brody and is the mother of Sam Brody.

Juliette Binoche as Sandra Brody
A nuclear regulations consultant at the Janjira nuclear plant. She is married to Joe Brody and is the mother of Ford Brody.

Sally Hawkins as Dr. Vivienne Graham,
A scientist with Project Monarch. She has been Serizawa's "right hand" for many years. Hawkins was the last actress to be cast while the film was undergoing principal photography.

David Strathairn as Rear Admiral William Stenz, USN.
An Admiral in the Seventh Fleet of the United States Navy. He is the commander of the United States Navy task force in charge of tracking down the escaped MUTO.

Carson Bolde as Sam Brody
The young son of Ford and Elle Brody.

Richard T. Jones as Captain Russell Hampton, USN
The commander of the USS Saratoga, an aircraft carrier and the lead ship of the MUTO task force.

Victor Rasuk as Sergeant Tre Morales, USAF
A sergeant of the United States Air Force. He becomes friends with Ford after the battles at Honolulu.

Additional roles include: Patrick Sabongui as First Lieutenant Marcus Waltz, USAF, Jared Keeso as Jump Master, Luc Roderique as Bomb Tracker, Al Sapienza as Huddleston, the head of security at the Janjira MUTO facility, Brian Markinson as Whalen, a scientist at the Janjira MUTO facility, Catherine Lough Haggquist as PO #1 Martinez, Jake Cunanan as Akio, Warren Takeuchi as Akio's father, Yuki Morita as Akio's mother, Ken Yamamura as Takashi, Garry Chalk as Stan Walsh, Christian Tessier, Anthony Konechny, James D. Deaver as Captain Freeman, Primo Allon as a member of the mine team, and Jeric Ross.

Godzilla franchise actor Akira Takarada was cast as an immigration officer, but his scene was cut from the final film.

Production
The film is a co-production of Legendary Pictures and Warner Bros. Pictures, with the participation of Toho in creature design, sound design and plot. It has an estimated $160 million production budget, financed 75% by Legendary and 25% by Warner Bros. The movie has an estimated $65 million promotion and advertising budget, for a total estimated budget of $225 million. The film is Warner Bros. Pictures' first new Godzilla property since 1959's Gigantis, the Fire Monster.

Development
After the release of 2004's Godzilla: Final Wars, marking the 50th anniversary of the Godzilla film franchise, Toho announced that it would not produce any films featuring the Godzilla character for ten years. Toho demolished the water stage on its lot used in numerous Godzilla films to stage water scenes. TriStar Pictures, which had made the 1998 Godzilla film and held the rights to make a trilogy of films, let their rights expire in 2003.

Godzilla 3D
In August 2004, Yoshimitsu Banno, who had directed 1971's Godzilla vs. Hedorah, announced that he had secured the rights from Toho to make a Godzilla IMAX 3D short film at his Advanced Audiovisual Productions (AAP) production company. The film was tentatively titled Godzilla 3D to the Max, and was to be a remake of the Godzilla vs. Hedorah story. In 2005, American cinematographer Peter Anderson was added to the project as cinematographer, visual effects supervisor and co-producer. In 2007, American producer Brian Rogers signed on to the project after Anderson introduced him to Banno and AAP producer Kenji Okuhira. In 2007, also through Anderson, Kerner Optical then came on board to develop the technology and to produce the 3-D film. And with Kerner's backing, in the fall of 2007 the team met with Toho in Tokyo where they re-negotiated their license to allow the release of a feature-length 3-D theatrical production.

In 2008, Kerner was facing financial troubles that threatened to cancel the production. Rogers, Anderson and the then-proposed director Keith Melton met with Legendary Pictures to get their backing on a 3-D theatrical film. In 2009, it was green-lit by Legendary to go to production. From the AAP production team, Banno and Okuhira would remain on the project as executive producers and Rogers as a producer. In November 2013, Banno stated that he still planned to make a sequel to Godzilla vs. Hedorah.

Legendary production
In August 2009, rumors surfaced that Legendary was in talks with Toho to produce a new American Godzilla film to be released in 2012, and on March 29, 2010, it was officially confirmed by Toho and Legendary that Legendary had acquired the rights to Godzilla. According to Hideyuki Takai, president of Toho Co.: “We are delighted in rebooting the character together to realize its much-anticipated return by fans from all over the world. We are anxious to find out where Godzilla’s new stomping will take us.” Legendary announced it would reboot the franchise with Warner Bros. co-producing and co-financing. Legendary announced it would make the new film closer in style to the original 1954 film rather than the 1998 film and its "iguana-like creature". According to Thomas Tull, chairman and CEO of Legendary Pictures,  "Our plans are to produce the Godzilla that we, as fans, would want to see. We intend to do justice to those essential elements that have allowed this character to remain as pop culturally relevant for as long as it has." Film producers Dan Lin, Roy Lee, Doug Davison and Legendary's Thomas Tull and Jon Jashni were added to the project to work with Rogers, Banno and Okuhira.

At the 3D Summit conference held in September 2010 at Universal Studios, producer Brian Rogers confirmed a planned date of 2012. The reboot is a live-action project featuring a fully computer-generated Godzilla. Godzilla fought at least one or two monsters, rather than simply the military as seen in Emmerich's 1998 remake. Rogers also confirmed that the two Godzilla head designs that were floating around the Internet and rumored to have been designed by Legendary and sent to Toho for approval were fake, and were just simply fan-made. He also went on to say that he and Legendary Pictures wished to revive Godzilla in the same fashion Legendary had revived Batman.

In October 2010, it was rumored that Guillermo del Toro was approached to direct the film, which del Toro later denied. In January 2011, Legendary named British filmmaker Gareth Edwards, director of the 2010 film Monsters, to direct the film. In an interview publicizing the DVD release of his film Monsters, Edwards discussed the new film: "this will definitely have a very different feel than the 1998 film and our biggest concern is making sure we get it right for the fans because we know their concerns. It must be brilliant in every category because I'm a fan as well." "Without addressing anything specific, everyone knows how important it is to get it right."

The film remained in development into 2012, missing the planned release date. Edwards worked on his vision for the film at a stage at the Warner Bros. lot. The production team developed Godzilla models, artwork and pre-visualizations of the action scenes of the movie. From the lot, Edward directed a short teaser video, shown to Legendary executives and later shown at the San Diego Comic-Con International in July 2012.

Writing
In October 2010, the first script was commissioned and David Callaham (screenwriter of Doom and Horsemen) was named to write it. In an interview with Fresh-voices.com, Callaham spoke about his first draft of the film, stating, "Godzilla is a pretty cut and dry, giant monster that smashes stuff. But the reason I got excited about it is because I saw themes and relationships to the modern world that I could tell in this story that was important." Callaham did research on Godzilla's history, animal documentaries, as well as natural disasters and local government disaster planning in order to depict the events as close as possible to real-life disasters.

After Callaham, four more writers worked on the screenplay during the film's development. When Edwards' signing was announced, it was also announced that Callaham's first draft would be rewritten by another writer. In July 2011, David S. Goyer was attached to do the rewrite of the film's screenplay. Goyer only worked a few weeks on the script and did not get a screenwriter credit. In November 2011, Max Borenstein was hired to continue work on the script. In October 2012, Legendary announced that writer Drew Pearce would polish the script, making the principal characters older to suit the actors that Legendary had intended to cast.

In January 2013, Frank Darabont was added to write the final/shooting script. In interviews, Darabont described his plans for Godzilla as returning it to a "terrifying force of nature". The film will add a "very compelling human drama" and that Godzilla would be tied to a "different contemporary issue" rather than the original atomic bomb testing. In addition to contributing to the script, Darabont mainly focused on the emotional aspect and further development of the characters. Commenting on Darabont's work, Edwards stated, "We blocked out the whole story and Frank did a pass at helping the characters and emotions. He delivered on that. Frank brought a lot of heart to it and soul." Edwards additionally pointed out that one particular scene from Darabont's script convinced Bryan Cranston and Juliette Binoche to join the film. Edwards felt it was not believable that a creature as giant as Godzilla could go undetected by humanity, so the writers conceived of the idea that the monster's existence had been covered up by the United States government, and as such their nuclear tests in the Pacific during the 1950's were actually an attempt to kill the creature.

In July 2013, Edwards confirmed an origin story for the film. He also confirmed that Godzilla would be an anti-hero rather than a villain or a hero. He also discussed the themes incorporated into the film, stating "Godzilla is definitely a representation of the wrath of nature. We've taken it very seriously and the theme is man versus nature and Godzilla is certainly the nature side of it. You can't win that fight. Nature's always going to win and that's what the subtext of our movie is about. He's the punishment we deserve". Actress Elizabeth Olsen also confirmed that the film returns to the gritty roots of the original film and spoke about its themes as well, "There's a strong theme about the importance of family in it as well as the theme of trying to control nature and how that backfires in the end." Olsen has also stated in a different interview about the titular character that, "Godzilla is just so deserving of a good American remake, and I really hope we did it and I really feel like we did."

Actor Bryan Cranston praised Edwards' vision, tone, and pitch for the film and titular character. In an interview with Canada's Entertainment Tonight, he compared Edwards' approach similar to Steven Spielberg's style in Jaws where the film does not immediately show the beast but rather build up to its appearance while still delivering an eerie and terrifying off-screen presence.

In licensing Godzilla to Legendary, Toho set down some specific conditions: that Godzilla is born of a nuclear incident and it be set in Japan. The film has a title montage set in 1954, and then moves forward to 1999 and deals with a mysterious disaster at a fictional Japanese nuclear power plant named Janjira. Legendary rejected an origin story where a Godzilla carcass would be found entombed in Siberia. The idea was rejected after the production learned that Man of Steel had a potentially similar scene. The US Army reviewed the script, suggesting corrections for accuracy.

Creature design
In interviews at the 2013 Comic-Con, Edwards discussed the Godzilla creature design. He and the design group reviewed all previous incarnations of Godzilla's design for inspiration. Edwards commented, "The way I tried to view it was to imagine Godzilla was a real creature and someone from Toho saw him in the 1950s and ran back to the studio to make a movie about the creature and was trying their best to remember it and draw it. And in our film you get to see him for real." He went on to say that his Godzilla remains true to the original in all aspects. Edwards also stressed that, "It was important to me that this felt like a Toho Godzilla" and concluded by wishing, "I'd love ours (Godzilla) to be considered as part of the Toho group."

In October 2013, toy and collectible web sites offering pre-orders of merchandise for the film revealed aspects of the other creatures to appear in the movie. The other creatures are, as a group, known as "MUTOs", with some having the ability to fly and being multi-limbed.

In a January 2014 interview in Total Film magazine, it was revealed that Godzilla would be 350 ft (106 metres) tall, the tallest incarnation of Godzilla to date. According to special effect chief Jim Rygiel, the mechanics of Godzilla's fighting style is based on the study of animals, primarily bears and Komodo dragons.

For Empire magazine's April 2014 issue, the magazine cover featured a picture of Godzilla, revealing the monster's design. According to director Edwards, elements of the faces of bears, dogs and eagles were incorporated into the design of Godzilla's face. Motion capture by the special effects firm The Imaginarium was also utilized in the movement of the movie's monsters in film sequences. Andy Serkis provided consulting work on the film's motion capture sequences in order to "control the souls" of the creatures.

The Godzilla "roar" was revamped for the movie. Toho provided the original recording of the roar for use. Sound designer Erik Aadahl then utilized the original roar and improved on it, according to director Edwards. Aadahl and fellow sound designer Ethan Van Der Ryn spent six months over the three-year production span getting the roar right. Through the use of microphones that could record sound inaudible to humans, the team found sounds to match the initial shriek and the finishing bellow. The new roar retained the musical key and cadence of the roar, going from a C to a D on the piano. The final version was the 50th version produced. The pair tested the roar on a back lot at Warner Bros, using a tour speaker array for The Rolling Stones. They estimated the roar could be heard 3 miles (4.8 km) away. In IMAX theatres, the roar was integrated into the sound of the "Welcome to IMAX" sequence shown before Godzilla showings.

In an interview with The Verge, Edwards commented that it took over a year to design the MUTO creatures, stressing that it took that long to create something that was aimed to be new and different for contemporary society. Edwards and the design team looked towards past monster characters from such films as Jurassic Park, Alien, Starship Troopers and King Kong for inspiration and reflected back on what made these monsters and their designs so iconic. From this, the design for the MUTO monsters kept evolving and "mutating", according to Edwards, into a design he felt was more cohesive.

Pre-production
In late 2012, the plans for the film's filming, release and distribution were revealed. In September 2012, Legendary announced a theatrical release date of May 16, 2014 in 3-D. IMAX announced that the film would also be released in IMAX 3D on May 16, 2014. Warner Brothers distributed the film worldwide, except in Japan, where it was distributed by Toho. At that time, Legendary Pictures added Alex Garcia and Patricia Whitcher as executive producers. In December, Dan Lin revealed that the film would likely start filming in Vancouver in March 2013.

Legendary turned its attention to casting parts for the movie. On January 7, 2013, it was reported that Joseph Gordon-Levitt had turned down being cast in the film in the fall of 2012. It was reported that Henry Cavill, Scoot McNairy, and Caleb Landry Jones comprised the shortlist for lead of the film. On January 10, it was first reported that Legendary Pictures was interested in Aaron Taylor-Johnson for the lead role. It was reported that Bryan Cranston and Elizabeth Olsen were also in talks to co-star. Olsen confirmed her involvement at the 2013 BAFTA awards. Juliette Binoche and David Strathairn were then signed on to join Taylor-Johnson, Cranston and Olsen in the film.

As filming approached, more news was being made about the project. In January 2013, Mary Parent joined the project as a producer for Disruption Entertainment. and producers Dan Lin, Roy Lee and Doug Davison were dismissed from the project. According to The Hollywood Reporter, the producers left over creative and financial differences with Legendary Pictures, and Legendary was buying out their producer contracts, a move which led to court. On January 9, Legendary Pictures filed a 'Complaint for Declaratory Relief' lawsuit against Lin, Lee and Davison in California State Court to spell out any fees owed to the individuals, who had signed an agreement with Legendary and were working with Legendary on the film's development. According to the complaint, Legendary had decided in the fall of 2012 to not employ the three as producers on the film and the three were not eligible for any producer fees. The three filed a counter-claim, that the agreement cited by Legendary was not in force and that the original working agreement was breached by Legendary. The three argued that the suit should be decided in open court, not in arbitration, and that Legendary should be responsible for damages for breach of contract. At court, the judge dismissed the arbitration and ordered mediation followed by jury trial if necessary. Legendary appealed the decision and lost the appeal in March 2014, leaving the case in California Superior Court for trial.

At the start of principal photography in March 2013, Legendary formally announced the cast and producers. Yoshimitsu Banno, Alex Garcia, Kenji Okuhira and Patricia Whitcher were formally named as executive producers and Legendary announced the addition of Ken Watanabe to the cast. After filming started, Richard T. Jones and Sally Hawkins were added. From the film set, a photograph of actor Akira Takarada (star of the original Godzilla including five sequels) with director Edwards was released. Takarada had publicly appealed to be part of the production and the photo indicates some sort of role for the Japanese actor in the reboot. In April 2014, Takarada said in a interview that his role was cut from the final version of the film. He had the role of an immigration officer. Edwards stated that cutting Takarada's role was his "biggest regret".

Filming
Principal photography began on March 18, 2013 in Vancouver, under the working title of "Nautilus," with scenes shot at the Vancouver Convention Centre, inside BC Place, and at Hi-View Lookout in Cypress Provincial Park, West Vancouver (as San Francisco's Bay Area Park). This was followed by filming in the Richmond neighborhood of Steveston. A large battle scene was shot on Moncton St, involving approximately 200 soldiers and many military vehicles. Another scene was filmed at the fisherman's wharf along Finn Slough. Additional shooting took place on Vancouver Island, around Nanaimo and Victoria in British Columbia. Additional filming involving extras took place around industrial areas of Coquitlam, British Columbia.

The scenes at the Convention Centre stood in for the Honolulu and Tokyo airports, while other locations in Vancouver were used to simulate scenes in San Francisco, Tokyo and the Philippines. Filming also used the stages of Burnaby's Canadian Motion Picture Park, (CMPP) where crews built a San Francisco Chinatown street, a giant sinkhole set used for the Philippine mine and the MUTO nest and a 400 feet (120 m) section of the Golden Gate Bridge. The Chinatown street was built on the site of the New York City set built for the Watchmen film.

Further on-location filming was done in June and July 2013 in Honolulu, Hawaii. On June 2, 2013, over 2,000 people applied at an open casting call in Hawaii to be cast as extras. Over 200 extras were hired for the expected three weeks of shooting in Hawaii, which included dressing up Waikiki Beach as the site of disaster. Eastern Oahu was used as a double for the Marshall Islands. According to The Hollywood Reporter, principal photography on Godzilla wrapped on the weekend of July 13–14.

In an interview, Aaron Taylor-Johnson described the filming as mostly on-location, with very little use of green screens. He described the film crew as fairly small compared to other films he has worked on, "almost an independent production." CGI was used to add elements later.

Seamus McGarvey served as the film's cinematographer, shooting the film digitally using Arri Alexa cameras with Panavision C-Series anamorphic lenses. Sequences of the film set in the year 1954 were shot using vintage lenses from the early 1960s in order to give the film a "distant period feel." This effect was enhanced though the digital intermediate's colour grading, as McGarvey noted that the "look I wanted was a peeled look with muted colors and diffusion on the highlights, a sense of period distance. I found a lot of photographs and magazines, and I knew that I wanted the blacks to be imbued with a tint of magenta."[110] Though the film was made to be released in 3D, it will receive a predominantly 2D release. McGarvey himself decided to shoot the film as if it were only 2D, because he dislikes working with 3D filming equipment and the experience of watching 3D films in theatres.

The United States Navy co-operated in the making of the movie and filming took place on three United States Navy aircraft carriers: the Carl Vinson, the Nimitz and the Ronald Reagan. Part of the opening sequence was filmed on the USS Missouri at Pearl Harbor. The United States Army also participated in the movie with the support of three technical advisors. The United States Marine Corps, which had participated in the 1998 film, declined to participate after reviewing the script, which featured Navy personnel. Taylor-Johnson was put through a "mini-bootcamp" by retired Marine Sgt. Maj. James D. Dever, one of the film's military technical advisers, to "ensure he had good military bearing." Dever also helped stunt men train for high-altitude, low-opening jumps.

Post-production
Visual effects on the film were supervised by visual effects supervisor Jim Rygiel, best known for his work on The Lord of the Rings movie trilogy. Rygiel has stated that the effects are in the spirit of the original series, with the blessing of Toho, although the monster would be "more dynamic than a guy in a big rubber suit." Visual and special effects companies working on the picture include The Moving Picture Company (MPC), Double Negative, Weta Digital, Amalgamated Dynamics, ComputerCafe/CafeFX, Lidar VFX, Scanline VFX, Stereo D and The Third Floor.

The production used high-quality panorama photos of the San Francisco skyline, and built a three-dimensional map of the city. The map was used in the background of sequences shot on the bridge set in Vancouver. According to Jim Rygiel, “this technique gives you a real city that is accurate down to every piece of mortar in a brick building, so, using that, we were able to composite the live action shots with the key frame-animated monsters destroying digital buildings into a seamless whole.”

Army vehicles, including tanks were provided by CGI and not real vehicles. The studio digitized actual military equipment from the 7th Infantry Division of the Army.

The film's sound was mixed at Warner Bros.' studio in Burbank, California. The tracks were mixed by Gregg Landaker in the Dolby Atmos surround-sound format for exhibition in theaters with Atmos-equipped sound systems. Production of the movie was completed in the last week of March 2014.

Music
Film composer Alexandre Desplat was hired to compose an original soundtrack for Godzilla. Desplat had not composed previously for a monster film, having worked on movies such as The King's Speech, The Curious Case of Benjamin Button, and the final two Harry Potter films. Desplat accepted the contract after being impressed with Edwards' Monsters. Desplat describes the soundtrack for Godzilla as "non-stop fortissimo, with lots of brass, Japanese drums, and electric violin." The score is also conducted by Desplat. The film score was released by WaterTower Music on May 12 and 13, 2014.

The film also features György Ligeti's Requiem, Dusty Springfield's 1969 recording of "Breakfast in Bed," and Elvis Presley's "(You're the) Devil in Disguise."

Marketing
In promotion of the project, visitors to the 2010 San Diego Comic-Con (SDCC) received a t-shirt with an image of the new Godzilla design, an image credited to comics and manga publisher UDON Entertainment. Artist Gonzalo Ordóñez Arias worked with Legendary and Toho to create the painting. Further, visitors to the Legendary Pictures booth at the convention could view an animation of the new Godzilla breathing radioactive fire superimposed over their image captured via a webcam. The augmented reality promotion was designed by Talking Dog Studios of Saskatchewan, Canada.

At a session during the July 2012 SDCC, Legendary presented both a poster for the film and a teaser trailer. The teaser trailer included a depiction of Godzilla faithful to the Toho monster, including its roar, and a "gigantic centipede-like monster." The centipede-like monster was not used in the final film. Screenwriter Max Borenstein later confirmed that the centipede monster was conceived only for the teaser and only to indicate that Godzilla would fight another creature. It was included in the teaser before Borenstein completed writing the script.

During filming in Vancouver, Legendary released several videos and still pictures of filming in Vancouver on its Facebook site. Pictures included a destroyed subway car with a green screen backdrop, soldiers inspecting a radioactive vault and wreckage on a shoreline.

In July 2013, Legendary launched a "viral" website godzillaencounter.com in conjunction with the film. The company was promoting the film at the 2013 SDCC, and converted a warehouse in San Diego to the "Godzilla Encounter" exhibit in conjunction with the convention. According to USA Today, the exhibit was "part museum, part theme park" with displays to simulate an experience of a Godzilla attack. The exhibit also had artifacts from the franchise series, including the "Oxygen Destroyer" of the original film, and a Godzilla costume from Godzilla 2000. An audio sample was released on Godzillaencounter.com of an announcement suggesting Godzilla or a "gigantic atomic creature" attacking San Diego.

At a session at the 2013 Comic-Con, Legendary showed footage from the film. As reported by various media, the footage is of a large monster, reminiscent of the Cloverfield monster, attacking an airport, when Godzilla's foot appears next to the monster. Godzilla's height is revealed to be several times the size of the other monster and a battle ensues, but Godzilla's face is not revealed. Various clips of scenes with Cranston, Taylor-Johnson and Olsen were also shown.

In October 2013, the proof of concept footage shown at SDCC 2012 was leaked online and was available on several video sharing websites for several days before Warner Bros. and Legendary managed to have it fully removed.

The first official trailer was released online on December 10, 2013, and was attached to theatrical showings of The Hobbit: The Desolation of Smaug in select theaters. Also on December 10, Toho released a slightly different version of the trailer with Japanese subtitles, and a TV spot. Within two days, the trailer surpassed nine million views on YouTube. Legendary launched a viral web site www.mutoresearch.net just prior to the trailer release, with video from the trailer and the trailer itself. Toho launched a web site of its own, godzilla.jp, with a simple arcade game of Godzilla stomping on Tokyo and using his radioactive breath, as well as appearances from King Ghidorah and Mothra.

The second trailer was released on February 25, 2014. It revealed more scenes of destruction by Godzilla on San Francisco and Las Vegas, brief glimpses of other creatures, as well as a conspiracy plot intertwined with the atomic blast tests in the Pacific Ocean in 1954. Within three days, the video had recorded 13 million views on YouTube. Several more trailers were released, with variations for North America, Japan, Asia outside Japan and internationally. Several of the marketing materials won awards: the trailer ("Ravaged/Event"), the TV spot ("Fight"), and the Godzilla poster won Golden Trailer Awards.

In cross promotion, Godzilla appeared in a light-hearted commercial for the Snickers chocolate bar, playing ping pong and water skiing. The angry Godzilla is calmed by eating a Snickers bar. Godzilla is portrayed as both human-sized and much larger. Another cross-promotion commercial was made, featuring Godzilla in a Fiat 500L car commercial. In it, Godzilla is rampaging through a city, devouring Fiat cars as he goes, with a soldier claiming that he was "craving Italian." He then approaches to devour a Fiat 500L, but because of the car's size being larger than a 500 model, Godzilla cannot swallow it. Nearly choking on it, he spits out the car as it drives away.

Legendary Pictures had set up a new Applied Analytics Group to direct its marketing efforts, and Godzilla was the first film that used analytics, similar to the use of sports analytics, to direct its marketing. According to Legendary CEO Thomas Tull, it developed a news software program named "Eddington", which, based on a massive database, was able to determine demographic trends among sub-groups of core filmgoers. It extended the standard Hollywood four-quadrant analysis of male/female and under/over 25 years of age to smaller target markets. Godzilla beat predictions of an opening-weekend gross of $60 million by over $30 million, a difference Tull attributed to Eddington. According to Tull, Legendary spent less in marketing than it had in the past.

In July 2014, Japan completed a 6.6 meter statue in Tokyo Midtown area in Tokyo.

Merchandise
In June 2013, Variety reported that Warner Bros. Consumer Products and Legendary Entertainment had assembled a large team of partners to make licensed merchandise to be released in conjunction with the film. Bandai America produced a line of toys, and other products were produced by NECA, Jakks Pacific, Bioworld, Trevco, Rubie's and Sideshow Collectibles. Bandai and NECA produced toys inspired by the film; JAKKS Pacific produced large-scale figures and other toy products; Rubie's produced Godzilla costumes; and Sideshow Collectibles produced collectible statues.

A novelization, written by science-fiction writer Greg Cox, was published by Titan Books in May 2014, to coincide with the film's release. Cox has previously written novelizations for movies, including Legendary's own The Dark Knight Rises. He has written numerous Star Trek novels. Two other books are scheduled for release including Godzilla: With Light and Sound! for children, and Godzilla: The Art of Destruction, a collection of artwork, plus interviews with the director and cast members.

Legendary announced in January 2014, along with a video message by director Edwards, a tie-in graphic novel to be released on May 7, 2014, one week before the movie. Entitled Godzilla: Awakening, the novel's events take place decades before the events seen in the film. It is co-written by Greg Borenstein and the film's screenwriter Max Borenstein, with cover art by Arthur Adams and interior art by Eric Battle, Yvel Guichet, Alan Quah and Lee Loughridge. The tagline is "Delve into an incredible mystery, generations in the making. At the dawn of the atomic age, humanity awakens lifeforms beyond imagination, unleashing monumental forces of nature."

Pictures of the line of toys, including a Godzilla "Atomic Roar" model by Bandai were leaked to the internet in March 2014. The Godzilla model has "atomic fire breath." The toys shipped in March 2014.

A tie-in game for mobile devices was announced in March 2014. The game, titled Godzilla Smash 3, allows moves by matching three items of a similar type in a row. It is being made by Rogue Play and features puzzle-based gameplay similar to Candy Crush. Above the game board, a view of Godzilla destroying various military vehicles is featured and the different attacks correspond to the combinations the player scores. The game is set for release in May 2014.

Legendary's Godzilla is set to be featured as a playable character in Bandai Namco's PS3 exclusive fighting game simply titled "Godzilla", along with other playable incarnations including Toho's Heisei and Millennium era Godzilla incarnations.

Release
Godzilla had its world premiere at the Dolby Theatre in Los Angeles on May 8, 2014. Godzilla received wide release worldwide in 2D, 3D and IMAX 3D beginning May 16, 2014. In the United States, the film was given a PG-13 rating by the Motion Picture Association of America (MPAA) for "intense sequences of destruction, mayhem and creature violence." The film was released in China on June 13 and in Japan on July 25, 2014.

In April 2014, Toho had an early screening of Godzilla and gave a positive review. Edwards said, "They saw it yesterday and I got an e-mail saying they thought it was fantastic! So that was a relief." Legendary also held screenings for the military.

Box office
The film made $9.3 million in the United States at late-night screenings on May 15, the day before its release, the third highest for a 2014 film so far and one of the best late-night openings for a non-sequel. Its opening weekend gross of $93.2 million broke the records for the highest weekend debuts for a disaster film and a creature feature. It was estimated that approximately half of the gross was in 3D screenings. In its second weekend, which saw competition from X-Men: Days of Future Past, Godzilla had a 66% drop, similar to the second weekend drop of the 1998 film. The 1998 film had a final domestic tally of $231 million adjusted for inflation. "Overseas, steep declines were also witnessed on the second weekend. Godzilla fell by roughly two-thirds".

On its opening day of June 13 in China, Godzilla grossed $10.9 million for the largest opening day in China of 2014. Its opening weekend of July 25–27 in Japan netted $6.95 million, considered a "robust debut", and pushed its box office gross over $500 million. It was the number one movie in Japan, and had the second-highest opening weekend in Japan of any foreign film in 2014. At the end of its run in theaters, Godzilla grossed $200,676,069 in North America and another $324,300,000 from international markets for a worldwide total of $524,976,069.

Critical reception
Godzilla received "largely positive" reviews from film critics. Review aggregation website Rotten Tomatoes gives a 73% approval rating from critics, based on 254 reviews with an average score of 6.6/10. The site's consensus reads: "With just enough human drama to anchor the sweeping spectacle of giant monsters smashing everything in sight, Gareth Edwards' Godzilla satisfyingly restores the franchise's fire-breathing glory." On Metacritic, which assigns a weighted average based on selected critic reviews, the film has a score of 62 (indicating "generally favorable reviews") based on 48 reviews. CinemaScore reported that cinemagoers gave the film an average grade of B+ on an A+ to F scale.

Many critics praised the creature design, special effects and monster fighting. Richard Roeper stated, "Edwards and his team produce consistently stunning visuals." Tom Russo of the Boston Globe stated "Crafted with motion-capture technology and an aesthetic eye toward tradition, Godzilla is convincingly rendered here, making for some genuinely electrifying moments. There’s the monster’s battleship-buffeting partial reveal. That initial footfall, and the way it instantly communicates Godzilla’s impossible scale. That initial blast of his radioactive dragon’s-breath, and a stunning encore." Zacharek praised the scene where Godzilla "looms, glamorously and ominously, from behind a row of orange-red lanterns strung up in San Francisco's Chinatown: They tremble in the air, their cheerful serenity disrupted by the vibration of his bad-mood footsteps and even more punishing glare." A. O. Scott of the New York Times praised two sequences: "one on a rainy San Francisco bridge, the other at a railroad trestle somewhere in Nevada — offer master classes in how to create suspense out of shadows, quiet and the sheer agony of waiting for something to happen." 10 Second Reviews gave the film 7/10 "A rampaging disaster flick with a jaw-dropping title character. Subtlety & story aren't its strengths but it looks & sounds sensational." 

The screenplay, which held back revealing Godzilla until nearly an hour in, drew varying opinions. Peter Howell of the Toronto Star noted that "Edwards wants to do more than make our eyes bulge and our popcorn crunch. For most of the first half of the film, we get mainly tantalizing glimpses of Godzilla and its new sparring partner, a giant insect parasite called MUTO... But when the time comes to stop the fan dance, Edwards makes sure Godzilla is ready for its close-up, letting out a mighty roar directly to camera. The theatre literally seems to shake." Roth Cornet of IGN agrees, "As in the classic, they hold the titular monster back for quite some time, and while the slow burn may not agree with a modern audiences’ desire for rapid-fire storytelling, once the monster action really gets going it is glorious to behold, with the finale a thing of utter, spectacular beauty. I’ll confess, I would have liked to see more of that action, and Godzilla earlier in the film, but am equally struck by what is in many ways a bold and well-thought-out pacing choice." Stephanie Zacharek of the Village Voice felt that "The big guy's too small a part of his own movie." Norman Wilner of Now defended the screenplay, considering the movie "Spielbergian in its storytelling, guided not just by Jaws and Jurassic Park but by Close Encounters of the Third Kind as well." Empire gave the film three stars praising the filmmaking, noble intentions and "cracking" monster action but criticizing it for not reconciling the preposterous premise and clichéd characters of the B movies that inspired it with its solemn tone. In its "books, arts and culture" blog, The Economist, in a review that compares the film against the original, concluded "The right way to balance seriousness and silliness in a Godzilla film, it seems, is to have a thoughtful script about nuclear dread offset by some spectacular scenes of behemoth-vs-humanity devastation. Mr. Edwards' method is to switch things around, so that the screenplay is laughable but the mood and visuals are as drab as possible. His main achievement is to make Mr. Emmerich's version seem halfway decent after all."

One criticism several critics have leveled at the film is that the human characters are thinly developed. Todd McCarthy of The Hollywood Reporter considered it "superbly made but burdened by some dull human characters enacted by an interesting international cast who can't do much with them, this new Godzilla is smart, self-aware, eye-popping and arguably in need of a double shot of cheeky wit." Lou Lumenick of the New York Post said "even in 3-D, these human characters are barely one-dimensional, but in the end that doesn't really matter very much." Wilner agreed that "People are just there to bear witness or run like hell." Robbie Collin of The Daily Telegraph gave the movie four stars out of five, and echoed the Spielbergian references in the use of the human characters: "if anything, when the film introduces a plot-thread about absent fathers, the Spielberg-homaging start to feel a touch schematic. But hey: these are legitimate ways to build empathy into a special-effects film. Let’s not be picky." A. O. Scott, while stating that the movie surpasses the 1998 film, added, "One of the pleasures the movie offers is the thought that actors who have done splendid work elsewhere ... are being paid well for shouting, grimacing and spouting expository claptrap."

Analysis
William Tsutsui, author Godzilla on My Mind, discussed the new film in an article in Foreign Affairs magazine. "This latest reboot brings to the screen a Godzilla that remains true to the spirit of the Japanese series while creating a very American, very twenty-first-century monster." He noted that the film "depicts gluttony for food and sex in ways that were never a feature of Japanese productions. There are far more overt displays of affection in the first 15 minutes of the 2014 Godzilla than in the entire Japanese franchise, which totaled one very chaste kiss over 50 years." He also noted that the film is more violent than the Japanese series, showing more carnage. The Godzilla character, in its heroism, is reminiscent of the 1960s and 1970s Japanese Godzilla, but not anthropomorphized like those. Also, the identity of the character as Japanese is lost: "In the 28 films made by Toho, Godzilla is unmistakably identified as one of wareware Nihonjin (we Japanese). After liberating San Francisco from the spawning MUTOs, Godzilla is thus crowned as a defender of the United States."

Home media
Godzilla will be released on Blu-ray Disc and DVD formats on September 16, 2014 in North America. It was released for digital HD download on August 26, 2014. In an interview with Toho-Kingdom.com, producer Thomas Tull confirmed that an extended version of the film is planned. Target will release a target-exclusive edition of the Blu-ray featuring an additional exclusive featurette titled "Godzilla: Rebirth of an Icon".

Warner Brothers - Region A - Blu-Ray
Picture Format: 2.40:1 (1080p) [MPEG-4 AVC]
Soundtrack(s): English (DTS-HD Master Audio 7.1) Spanish (Dolby Digital 5.1) French [Canada] (Dolby Digital 5.1)
Subtitles: English SDH, French, Spanish
Extras: MONARCH: Declassified (1080p)
Operation: Lucky Dragon (2:44)
MONARCH: The M.U.T.O. File (4:29)
The Godzilla Revelation (7:25)
The Legendary Godzilla (1080p)
Godzilla: Force of Nature (19:18)
A Whole New Level of Destruction (8:24)
Into the Void: The H.A.L.O. Jump (5:00)
Ancient Enemy: The M.U.T.O.s (6:49)
Case type: Keep case with slipcover
Notes: Comes with DVD and Digital HD (UltraViolet) also available with Blu-ray 3D.

Sequels
Edwards stated that he wanted Godzilla to work as a standalone film with a definitive ending, and he opposed suggestions that the ending should leave the film open for a sequel. He states that he has no problem coming back to do a sequel if the movie does well, but his main concern was delivering a satisfying experience with the current film: "I want a story that begins and ends, and you leave on a high. That's all we cared about when we were making this; just this film. If this film is good, the others can come, but let's just pay attention to this and not get sidetracked by other things."

At WonderCon 2013, Guillermo del Toro expressed enthusiasm for a potential crossover between Godzilla and del Toro's Pacific Rim—another Legendary Pictures kaiju film—but stressed that no such plans are in place. In an interview at the 2013 San Diego Comic-Con, Edwards expressed an interest in making a sequel that uses the "Monster Island" concept used in Destroy All Monsters.

On May 18, 2014, Deadline.com reported that a Godzilla sequel was officially underway after a successful opening to over $196 million worldwide. The sequel will be a co-production of Legendary and Warner Bros. On May 22, Legendary executives confirmed that a trilogy of Godzilla films is planned, all to be directed by Edwards. The second film of the trilogy will be made after Edwards has directed the first Star Wars spin-off film.

At the 2014 San Diego Comic-Con in July 2014, Legendary and Edwards confirmed that they have acquired other Toho properties including Mothra, Rodan, and King Ghidorah. A short teaser movie clip showing concept art of all three with the ending tagline "Let them fight" was shown. Other details of their appearances in either of the two sequels were not announced.

In August, 2014, Legendary announced that the sequel will be released June 8, 2018.

Pacific Rim is a 2013 American science fiction action film directed by Guillermo del Toro and starring Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day, Burn Gorman, Robert Kazinsky, Max Martini, and Ron Perlman. The screenplay was written by Travis Beacham and del Toro from a story by Beacham. The film is set in the future, when Earth is at war with the Kaiju, colossal sea monsters which have emerged from an interdimensional portal on the bottom of the Pacific Ocean. To combat the monsters, humanity unites to create the Jaegers, gigantic humanoid mechas each controlled by at least two pilots, whose minds are joined by a mental link. Focusing on the war's later days, the story follows Raleigh Becket, a washed-up Jaeger pilot called out of retirement and teamed with rookie pilot Mako Mori as part of a last-ditch effort to defeat the Kaiju.

Principal photography began on November 14, 2011, in Toronto and lasted through April 2012. The film was produced by Legendary Pictures and distributed by Warner Bros. It was released on July 12, 2013, in 3D and IMAX 3D, receiving generally positive reviews; the visual effects, action sequences, and nostalgic style were highly praised. While it underperformed at the box office in the United States, it was highly successful in other markets. It earned a worldwide total of more than $411 million—$114 million in China alone, its largest market—becoming Del Toro's most commercially successful film to date.

A sequel titled Pacific Rim Uprising, directed by Steven S. DeKnight and produced by Del Toro, with Kikuchi, Day, and Gorman reprising their roles, and Universal Pictures taking the film distribution is scheduled for release on March 23, 2018.

​ In 2025, the world governments decide to end funding for the continuous construction of Jaegers, in favor of building massive coastal walls, but the Kaiju are growing more powerful, their attacks more frequent and Jaegers are being destroyed faster than they are built. The remaining four Jaegers are relocated to Hong Kong under the command of Marshal Stacker Pentecost, who plans to end the Kaiju War by destroying the Breach using a nuclear weapon.

​Pentecost tracks down Raleigh at a wall construction site and persuades him to rejoin the program. Traveling to the Hong Kong base, the Shatterdome, Raleigh is introduced to Mako Mori, director of the Jaeger restoration program and Pentecost's adoptive daughter. Four Jaegers remain in operation – the refurbished Gipsy Danger, the Russian Cherno Alpha, the Chinese Crimson Typhoon, and the Australian Striker Eureka that will carry the bomb, and piloted by father and son Herc and Chuck Hansen.

To find a new co-pilot, Raleigh participates in tryouts, assuming Mako is "drift-compatible", despite Pentecost's protests. During their first drifting test, Raleigh is distracted by the memory of Yancy's death. Mako, in turn, is lost in the memory of the Kaiju attack on Tokyo that orphaned her, and nearly fires Gipsy's plasma cannon. Mako is promptly relieved of piloting duties, and when Raleigh confronts Pentecost and tells him that he is being overprotective of her then Pentecost reveals that he is a former Jaeger pilot who fought and killed the Kaiju that attacked Tokyo and adopted Mako upon discovering her after the battle. He also further explains that he is dying as a result of radiation sickness from piloting a Jaeger built prior to implementation of shielding of their nuclear cores.

Pentecost consults Kaiju experts Newton Geiszler and Herman Gottlieb. Hermann claims that the Breach will stabilize and the Kaiju will increase in number, but it will allow the assault to succeed, while Newton suggests drifting with a Kaiju's brain to learn more about them. Newton goes ahead with his plan despite Herman's protests and discovers that the Kaiju are actually bioweapons grown by alien colonists, that live in the dimension on the other side of the breach called the Anteverse, who plan on wiping out humanity. With Pentecost's permission, Newton searches for black market dealer Hannibal Chau who sells body parts of dead Kaiju to obtain a fresh Kaiju brain to drift with. However, he soon figures out that since drifting is a two-way link, the Kaiju hive mind gained access to his knowledge just as he did theirs. Soon after, two new Kaijus, Leatherback and Otachi, emerge simultaneously to find Newton.

​All Jaegers except Gipsy Danger are dispatched to intervene. Otachi destroys Crimson Typhoon, while Leatherback destroys Cherno Alpha and paralyzes Striker Eureka with an EMP blast. Out of options, Pentecost reluctantly allows Mako and Raleigh to pilot Gipsy Danger. Gipsy successfully kills Leatherback and Otachi, while almost destroying Hong Kong in the process. Examining Otachi's body, Newton and Hannibal find out that it is pregnant. The infant Kaiju bursts out and devours Hannibal but soon dies from being strangled by its own umbilical cord. Newton and Hermann drift with the infant's brain, discovering that the Breach can only open in the presence of a Kaiju's DNA.

As Herc was injured during the previous fight, Pentecost pilots Striker Eureka with Chuck. Along with Gipsy Danger, they approach the Breach. Three Kaijus emerge from the Breach to defend it, one being the largest ever encountered. The Jaegers kill one Kaiju and injure the others, but Striker is immobilized by the largest Kaiju. Pentecost and Chuck decide to detonate the bomb, as they were easily overwhelmed, depending on Gipsy's nuclear reactor to seal the Breach. After the explosion leaves the largest Kaiju alive, Gipsy kills it and, considering Newton and Hermann's discovery, rides its corpse into the Breach. As the Jaeger reaches the other side, Raleigh successfully overloads the reactor and ejects Mako and himself using escape pods. The reactor explodes, killing a few nearby alien creatures and destroying the Breach, while Raleigh and Mako's escape pods surface in the Pacific Ocean. Herc, now the Marshal, orders the war clock to stop, indicating mankind's victory, and Raleigh and Mako embrace as rescue helicopters arrive.

In a scene at the beginning of the credits, Hannibal cuts his way out of the Kaiju infant, and looks for his lost shoe.

Cast
Charlie Hunnam as Raleigh Becket:
A washed-up former pilot called out of retirement by the Pan Pacific Defense Corps. On casting Hunnam, del Toro stated: "I saw him and I thought he had an earnest, really honest nature. And he was the kind of guy that I can relate to, as a male audience member I go, 'I like that guy. I would like to have a few beers with that guy' … he has an earthy quality." Describing the character, Hunnam stated: "When you meet me, in the beginning of the story, I've suffered a giant loss. Not only has it killed my sense of self-worth, but also my will to fight and keep on going. And then, Rinko and Idris, and a couple other people, bring me out of retirement to try to help with this grand push. I think that journey is a very relatable one. Everybody, at some point in their life, has fallen down and not felt like getting back up, but you have to, no matter how difficult it is." Hunnam was also considered for the role of Prince Nuada in del Toro's previous film, Hellboy II: The Golden Army. Paul Michael Wyers plays Raleigh as a child.

Idris Elba as General Stacker Pentecost:
Raleigh's commanding officer. On selecting Elba, del Toro stated: "This is a movie where I have had to deal with more dialogue than ever, and the way I cast the movie was—who do I want to hear say these things? Who do I want Charlie Hunnam to go against? Who can really tell Charlie Hunnam 'sit down and listen'?" In another interview, the director said: "I wanted to have Idris not be the blonde, square-jawed, Anglo, super hip marine that knows [everything]. I wanted somebody that could bring a lot of authority, but that you could feel the weight of the world on his shoulders. When I watched Luther, that's the essence of the character… Luther is carrying literally the evils of the world on his shoulders. He's doing penance for all humanity… Idris is one of those actors that is capable of embodying humanity, in almost like a Rodin sculpture-type, larger than life, almost like a Russian realism statue, you know, big hands, all the turmoil of humanity in his eyes. I wanted somebody that you could have doubts internally, and very few guys can do that." To prepare for the role, Elba watched footage of politicians David Cameron and Barack Obama, as well as Russell Crowe in Gladiator and Mel Gibson in Braveheart. Del Toro initially offered the role to Tom Cruise, who declined because of scheduling conflicts.

​Rinko Kikuchi as Mako Mori:
Raleigh's co-pilot who lost her family in a Kaiju attack. Though Mori possesses a strength and fury that should serve well against the Kaiju, Pentecost is reluctant to use her, partly because of a fatherly bond and partly because he knows she is still fighting the terror of her childhood. Del Toro stated: "I was very careful how I built the movie. One of the other things I decided was that I wanted a female lead who has the equal force as the male leads. She's not going to be a sex kitten, she's not going to come out in cutoff shorts and a tank top, and it's going to be a real earnestly drawn character." Noting that the other actors were exhausted and "destroyed physically" by filming in the intensive Jaeger cockpit harnesses, del Toro said: "The only one that didn't break was Rinko Kikuchi, the girl. She never complained… I asked Rinko her secret and she said 'I think of gummi bears and flowers.' I try to do that in my life now." Mana Ashida plays Mako as a child.

​Charlie Day as Dr. Newt Geiszler:
A scientist studying the Kaiju. Day stated: "Certainly myself and Burn Gorman provide a little bit of much needed levity, it's a break from the monsters and the guys fighting. But then the character gets thrust into the story in a way that his life is seriously at risk and it becomes a little more action oriented and a little more horror movie-esque. So, he kinda bounces back between being humorous and also being real… the rest of these guys, they look really good in their suits and they've got abs, they can kick and fight and punch. Newt is sort of the 'everyman' and he's flawed and he's arrogant." Del Toro gave Geiszler the mentality of a celebrity chef, with tattoos and a "big personality". According to the director, Day was cast based on his performance in an episode of It's Always Sunny in Philadelphia: "He comes out with a stick, and he has a monologue about what it is to hunt the rats in the basement. It was very funny, but he was coming from character. He was not doing big stuff, he was, like, really mourning and lamenting his job, you know, how inhuman it is. And I thought, 'This guy is great at shading and comedy.' There are moments in the movie where he delivers them both." Trek Buccino portrays Geiszler as a child.

Max Martini as Hercules "Herc" Hansen:
Chuck's father and co-pilot. Kazinsky stated Martini hated the fact that he was cast as Chuck's father, being only 13 years Kazinsky's senior. However, Kazinsky said they developed a bond while filming, "Because we were working so tight together, we would finish and then we would go out for dinner every night and we would go to the gym together on days off we had… The emotional scene toward the end with the father-son parting, it was very easy for me to play because I had grown to actually genuinely love Max as a man and as a friend." Kazinsky revealed that Herc and Chuck's pet bulldog was del Toro's idea and said, "The dog's name was Max, ironically, and we ended up using Max for so many things. The story was that Herc and Chuck have difficulty communicating, that they communicated via the dog, and all the love that they couldn't show each other they would show the dog." The role was originally written for Ron Perlman, but del Toro decided the scenes between Perlman's Herc and Hunnam's Raleigh "might start to feel like Sons of Anarchy 2.0".

Robert Kazinsky as Chuck Hansen:
An Australian Jaeger pilot considered the finest soldier left in the Resistance. He and his father pilot Striker Eureka, "the strongest and the fastest" Jaeger with eleven Kaiju kills, and make up the Resistance's "go-to team". Kazinsky, a fan of science-fiction, was initially drawn by the film's concept, "My immediate reaction was 'Holy crap, that's cool.' In the hands of somebody else, you might sit there and go, 'Well, this might be terrible,' but with del Toro doing it, you kind of go, 'This is going to be amazing.'". Reflecting on his experience in the film, Kazinsky said in an interview, "The most fun I have ever had in my entire life was Pacific Rim, playing Chuck was incredibly fun."

Ron Perlman as Hannibal Chau:
A black marketeer who makes a living dealing Kaiju organs. Perlman stated, "I actually think this character was designed to be played by another ethnicity other than myself. And somewhere along the way, [del Toro] had the notion, 'Wouldn't it be interesting to turn this guy into more of an invention.' So, in other words, somebody takes on a persona that completely sounds like he's someone else and acts like he's someone else but he's really, you know, as you see me. That added a dimension to the larger-than-life aspect of the character… I'm playing somebody very close to my own origins. But a completely made-up persona… which makes him even more full of shit. And I think that's the charm of the guy—that he's kind of elusive, hard to pin down." Pacific Rim marks Perlman's fifth appearance in a del Toro film. The director stated: "I think the moment you have a guy that is called Hannibal Chau and Ron shows up, and he's from Brooklyn and he's been selling black market organs, you know the whole story… That's all I need to know. If it's any other actor, there's a lot more explaining to do. But when Ron comes in with that look, you can make your own story and it'll be as compelling as anything I can invent. You do a little weightlifting with the audience." The bird tattoos on Chau's fingers indicate his past as a gangster. In the film, Chau states he took the name from his favorite historical figure and his second-favorite Szechuan restaurant in Brooklyn. Del Toro drew inspiration from Burt Lancaster's performance in Elmer Gantry when writing the character.

Clifton Collins, Jr. as Ops Tendo Choi:
A Chinese-American Jaeger technician. Collins described his character as the "brains" behind the Jaegers.

Burn Gorman as Dr. Hermann Gottlieb:
A scientist studying the Kaiju alongside Geiszler. According to del Toro, Gottlieb is a "tweed-wearing, English, phlegmatic introvert that never leaves the lab". The modest Gottlieb resents Geiszler's arrogance and radical behavior; the duo echo the film's theme of incompatible people functioning together when the time comes. Drew Adkins portrays Gottlieb as a child.

Diego Klattenhoff as Yancy:
Raleigh's older brother and co-pilot. Klattenhoff joined the project to work with del Toro. Describing his character, Klattentoff stated: "This is a guy who is looking out for his very eager, younger brother and they were enabled with this gift that gave them the opportunity to kind of save the world. Or help, at least." Tyler Stevenson plays Yancy as a child.

Ellen McLain as Gipsy AI:
The voice of Gipsy Danger's artificial intelligence system. Del Toro secured permission from Valve Corporation to cast McLain in homage to GLaDOS, her homicidal AI character in the Portal video games. The director stated: "It was clear to me that we needed something beautiful in that voice. My daughter is my wingman, we had done co-op on Portal 2 for a long time and I did Portal 1 when it came out. It becomes ingrained in you, that voice. I didn't want to use her as a negative force of evil. I called Valve and asked 'Can you give us the filter?' so we went full GLaDOS for the first commercial, but I thought it was too much. If you're a gamer, it's too distracting so we created our own GLaDOS 2.0 filter that's a little less full-on."

Additional Jaeger pilots include Charles Luu, Lance Luu and Mark Luu as the Wei Tang triplets (China), and Robert Maillet and Heather Doerksen as Sasha and Aleksis Kaidanovsky (Russia). Joe Pingue portrays Captain Merrit, the captain of a fishing boat caught in a battle between Jaeger and Kaiju. Santiago Segura plays an aide to Hannibal Chau. Brad William Henke and Larry Joe Campbell portray members of a construction team Raleigh joins after retiring from the Pan Pacific Defense Corps. Robin Thomas, Julian Barnes, and David Richmond-Peck portray U.N. representatives from the United States, Great Britain, and Canada, respectively. Sebastian Pigott appears as a Jaeger engineer and Joshua Peace appears as an officer, Jonathan Foxon appears as a frantic civilian. David Fox plays an old man on a beach, while Jane Watson portrays Raleigh and Yancy's mother in a flashback sequence. Producer Thomas Tull makes a cameo appearance

Themes
In the film, a Jaeger's neural load is too much for a single pilot to handle alone, meaning they must first be psychically linked to another pilot—a concept called "drifting". When pilots drift, they quickly gain intimate knowledge of each other's memories and feelings, and have no choice but to accept them; del Toro found this concept's dramatic potential compelling. The director expressed his intention that the empathy metaphors extend to real life:

"The pilots' smaller stories actually make a bigger point, which is that we're all together in the same robot [in life]… Either we get along or we die. I didn't want this to be a recruitment ad or anything jingoistic. The idea of the movie is just for us to trust each other, to cross over barriers of color, sex, beliefs, whatever, and just stick together."

Del Toro acknowledged this message's simplicity, but said he would have liked to have seen adventure films with similar morals when he was a child. The film's ten primary characters all have "little arcs" conducive to this idea; del Toro stated: "I think that's a great message to give kids… 'That guy you were beating the shit out of ten minutes ago? That's the guy you have to work with five minutes later.' That's life… We can only be complete when we work together." The director noted that Hellboy and The Devil's Backbone told the same message, though the latter conveyed it in a very different way.

The film centers on the relationship between Becket and Mori, but is not a love story in a conventional sense. Both are deeply damaged human beings who have decided to suppress their respective traumas. While learning to pilot their Jaeger, they undergo a process of "opening up", gaining access to each other's thoughts, memories and secrets. Their relationship is necessarily one of respect and "perfect trust". Hunnam commented that the film is "a love story without a love story. It's about all of the necessary elements of love without arriving at love itself". Both Becket and Mori have suffered profound personal tragedies; one of the script's central ideas is that two damaged people can metaphorically "become one", with their figurative missing pieces connecting almost like a puzzle. Del Toro emphasized the characters' emotional intimacy by filming their training fight scene the way he would a sex scene.

Del Toro, a self-described pacifist, avoided what he termed "car commercial aesthetics" or "army recruitment video aesthetics", and gave the characters Western ranks including "marshal" and "ranger" rather than military ranks such as "captain", "major" or "general". The director stated: "I avoided making any kind of message that says war is good. We have enough firepower in the world." Del Toro wanted to break from the mass death and destruction featured in contemporary blockbuster films, and made a point of showing the streets and buildings being evacuated before Kaiju attacks, ensuring that the destruction depicted is "completely remorseless". The director stated:

"I don't want people being crushed. I want the joy that I used to get seeing Godzilla toss a tank without having to think there are guys in the tank… What I think is you could do nothing but echo the moment you're in. There is a global anxiety about how fragile the status quo is and the safety of citizens, but in my mind—honestly—this film is in another realm. There is no correlation to the real world. There is no fear of a copycat Kaiju attack because a Kaiju saw it on the news and said, "I'm going to destroy Seattle." In my case, I'm picking up a tradition. One that started right after World War II and was a coping mechanism, in a way, for Japan to heal the wounds of that war. And it's integral for a Kaiju to rampage in the city."

Writing for the Los Angeles Review of Books, Wai Chee Dimock connected the film's central theme of togetherness to its recurring image of missing shoes, stating the "utopian dream" driving the characters is that puny humans like us could be "together"—not only in the specific neural melding that must take place between the two Jaeger co-pilots but also, more generally speaking, in a fractal web of resemblance, filling the world with copies of ourselves at varying orders of magnitude and with varying degrees of re-expression, beginning with the shoes on our feet.

Production
Development
In February 2006, it was reported that Guillermo del Toro would direct Travis Beacham's fantasy screenplay, Killing on Carnival Row, but the project never materialized. Beacham conceived Pacific Rim the following year. While walking on the beach near Santa Monica Pier, the screenwriter imagined a giant robot and a giant monster fighting to the death. "They just sort of materialized out of the fog, these vast, godlike things." He later conceived the idea that each robot had two pilots, asking "what happens when one of those people dies?" Deciding this would be "a story about loss, moving on after loss, and dealing with survivor's guilt", Beacham commenced writing the film. On May 28, 2010, it was reported that Legendary Pictures had purchased Beacham's detailed 25-page film treatment, now titled Pacific Rim.

On July 28, 2010, it was reported that del Toro would next direct an adaptation of H. P. Lovecraft's At the Mountains of Madness for Universal Studios, with James Cameron producing. When del Toro met with Legendary Pictures to discuss the possibility of collaborating with them on a film, he was intrigued by Beacham's treatment—still a "very small pitch" at this point. Del Toro struck a deal with Legendary: while directing At the Mountains of Madness, he would produce and co-write Pacific Rim; because of the films' conflicting production schedules, he would direct Pacific Rim only if At the Mountains of Madness were cancelled. Tom Cruise was attached to star in the Lovecraft adaptation.

On March 7, 2011, it was reported that Universal would not proceed with At the Mountains of Madness because del Toro was unwilling to compromise on the $150 million budget and R rating. The director later reflected, "When it happened, this has never happened to me, but I actually cried that weekend a lot. I don't want to sound like a puny soul, but I really was devastated. I was weeping for the movie." The project collapsed on a Friday, and del Toro signed to direct Pacific Rim the following Monday.

Del Toro spent a year working with Beacham on the screenplay, and is credited as co-writer. He introduced ideas he had always wished to see in the genre, such as a Kaiju birth and a Kaiju attack seen from a child's perspective. The script also received an uncredited rewrite from Neil Cross, who previously created the Idris Elba-starring drama series Luther and wrote the del Toro-produced horror film Mama. Patrick Melton and Marcus Dunstan were enlisted to perform uncredited rewrites when their spec script Monstropolis caught the filmmaker's attention. Drew Pearce also carried out uncredited work on the script.

Principal photography
Filming began on November 14, 2011, and continued in Toronto into April 2012. Del Toro gave an update after the second week on filming finished. The film was referred to as Silent Seas and Still Seas during production.

Del Toro had never shot a film in less than 115 days, but had only 103 to shoot Pacific Rim. In order to achieve this, del Toro scheduled a splinter unit that he could direct early in the day, before main unit, and on his off-days. The director worked 17 to 18 hours a day, seven days a week, for much of the schedule. Del Toro took a new approach to directing actors, allowing "looser" movements and improvisation; the director maintained tight control over the production: "Everything, 100% goes through me sooner or later. I do not delegate anything. Some people like it, some people don't, but it has to be done that way."

The film was shot using Red Epic cameras. At first Guillermo del Toro decided not to shoot or convert the film to 3D, as the effect would not work due to the sheer size of the film's robots and monsters, explaining

I didn't want to make the movie 3D because when you have things that big… the thing that happens naturally, you're looking at two buildings lets say at 300 feet [away], if you move there is no parallax. They're so big that, in 3D, you barely notice anything no matter how fast you move… To force the 3D effects for robots and monsters that are supposed to be big you are making their [perspective] miniaturized, making them human scale.

It was later announced that the film would be converted to 3D, with the conversion taking 40 weeks longer than most. Del Toro said: "What can I tell you? I changed my mind. I'm not running for office. I can do a Romney."

Del Toro cut approximately an hour of material from the film. The unused footage explored the characters and their arcs in greater detail, but the director felt it was necessary to strike a balance, stating: "We cannot pretend this is Ibsen with monsters and giant robots. I cannot pretend I'm doing a profound reflection on mankind." Each character's arc was edited down to its minimal requirements. The director wanted to keep the film around two hours, particularly for younger viewers. Alejandro González Iñárritu and Alfonso Cuarón helped with the editing; Iñárritu removed ten minutes of footage, while Cuarón removed "a few minutes" and rearranged several scenes. Iñárritu and Cuarón receive a "special thanks" in the film's end credits, as do James Cameron and David Cronenberg.

Design
Del Toro envisioned Pacific Rim as an earnest, colorful adventure story, with an "incredibly airy and light feel", in contrast to the "super-brooding, super-dark, cynical summer movie". The director focused on "big, beautiful, sophisticated visuals" and action that would satisfy an adult audience, but has stated his "real hope" is to introduce the Kaiju and mecha genres to a generation of children. While the film draws heavily on these genres, it avoids direct references to previous works. Del Toro intended to create something original but "madly in love" with its influences, instilled with "epic beauty" and "operatic grandeur". The end credits dedicate the film to Ray Harryhausen and Ishirō Honda, who helped to establish the giant monster genre with films such as The Beast from 20,000 Fathoms and Godzilla, respectively.

The film was to honor the Kaiju and mecha genres while creating an original stand-alone film, something "conscious of the heritage, but not a pastiche or an homage or a greatest hits of everything". The director made a point of starting from scratch, without emulating or referencing any previous examples of those genres. He cautioned his designers not to turn to films like Gamera, Godzilla, or The War of the Gargantuas for inspiration, stating: "I didn't want to be postmodern, or referential, or just belong to a genre. I really wanted to create something new, something madly in love with those things. I tried to bring epic beauty to it, and drama and operatic grandeur." Rather than popular culture, he drew inspiration from works of art such as The Colossus and George Bellows's boxing paintings. The film's designers include Wayne Barlowe, Oscar Chichoni, monster sculptors David Meng and Simon Lee, and Hellboy II and The Hobbit designer Francisco Ruiz Velasco. Del Toro has acknowledged that some designs created for his cancelled At the Mountains of Madness adaptation may have been used in Pacific Rim.

Approximately one hundred Kaiju and one hundred Jaegers were designed, but only a fraction of these appear in the film; every week the filmmakers would "do an American Idol" and vote for the best. In designing Kaiju, the film's artists frequently drew inspiration from nature rather than other works. The director commented: "Kaijus are essentially outlandish in a way, but on the other hand they come sort of in families: you've got the reptilian Kaiju, the insect Kaiju, the sort of crustacean Kaiju… So to take an outlandish design and then render it with an attention to real animal anatomy and detail is interesting." Del Toro avoided making the Kaiju too similar to any Earth creatures, instead opting to make them otherworldly and alien. Del Toro called the film's Kaiju "weapons", stating that they are "the cleaning crew, the cats sent into the warehouse to clean out the mice." Certain design elements are shared by all the Kaiju; this is intended to suggest that they are connected and were designed for a similar purpose. Each Kaiju was given a vaguely humanoid silhouette to echo the man-in-suit aesthetic of early Japanese Kaiju films. While del Toro's other films feature ancient or damaged monsters, the Kaiju lack scars or any evidence of prior culture, indicating that they are engineered creations rather than the result of an evolutionary system.

Knifehead, the first Kaiju to appear in the film, is a tribute to the plodding kaiju of 1960s Japanese films, and is intended to look almost like a man in a rubber suit; its head was inspired by that of a goblin shark. Leatherback, the bouncer-like Kaiju which spews electro-magnetic charges, is a favorite of del Toro, who conceived it as a "brawler with this sort of beer belly"; the lumbering movements of gorillas were used as a reference. The Kaiju Otachi homages the dragons of Chinese mythology. The director called it a "Swiss army knife of a Kaiju"; with almost 20 minutes of screen time, it was given numerous features so the audience would not tire of it. The creature moves like a Komodo dragon in water, sports multiple jaws and an acid-filled neck sack, and unfurls wings when necessary. It is also more intelligent than the other Kaiju, employing eagle-inspired strategies against the Jaegers. Onibaba, the Kaiju that orphans Mako Mori, resembles a fusion of a Japanese temple and a crustacean. Slattern, the largest Kaiju, is distinguished by its extremely long neck and "half-horn, half-crown" head, which del Toro considered both demonic and majestic.

Gipsy Danger, the American Jaeger, was based on the shape of New York City's Art Deco buildings, such as the Chrysler Building and the Empire State Building, but infused with John Wayne's gunslinger gait and hip movements. Cherno Alpha, the Russian Jaeger, was based on the shape and paint patterns of a T-series Russian tank, combined with a giant containment silo to give the appearance of a walking nuclear power plant with a cooling tower on its head. Crimson Typhoon, the three-armed Chinese Jaeger, is piloted by triplets and resembles a "medieval little warrior"; its texture evokes Chinese lacquered wood with golden edges. Striker Eureka, the Australian Jaeger, is likened by del Toro to a Land Rover; the most elegant and masculine Jaeger, it has a jutting chest, a camouflage paint scheme recalling the Australian outback, and the bravado of its pilots.

The film's costumes were designed by Shane Mahan and Kate Hawley, who spent several months on the costumes of the Jaeger pilots. The Russian pilot suits are old-fashioned and echo cosmonaut space suits.

Visual effects
Industrial Light & Magic was chosen to the visual effects for Pacific Rim. Del Toro hired Oscar winners John Knoll and Hal T. Hickel, both known for their work on the Star Wars prequel trilogy and the Pirates of the Caribbean films. Legacy Effects co-owner Shane Mahan, known for creating the armored suits for Iron Man, was tasked with building the suits, helmets and conn-pods. Oscar winner Clay Pinney, known for his work on Independence Day and Star Trek, was also brought on board. Hybride Technologies, a division of Ubisoft, and Rodeo FX also contributed to the visual effects.

Del Toro conceived the film as an operatic work:

"That was one of the first words I said to the entire team at ILM. I said, "This movie needs to be theatrical, operatic, romantic." We used a lot of words not usually associated with high-tech blockbusters … We went for a very, very, very, very saturated color palette for the battle for Hong Kong. I kept asking John to tap into his inner Mexican and be able to saturate the greens and the purples and the pinks and the oranges."

The classic Japanese woodblock print The Great Wave off Kanagawa by Hokusai was a common motif in the ocean battles; Del Toro recalled, "I would say 'Give me a Hokusai wave'… we use the waves and weather in the movie very operatically." The director asked that Knoll not necessarily match the lighting from shot to shot: "It's pretty unorthodox to do that, but I think the results are really beautiful and very artistically free and powerful, not something you would associate with a big sci-fi action movie." Del Toro considers the film's digital water its most exciting visual effect: "The water dynamics in this movie are technically beautiful, but also artistically incredibly expressive. We agreed on making the water become almost another character. We would time the water very precisely. I'd say 'Get out of the wave [on this frame].'"

The film also features extensive miniature effect shots provided by 32TEN Studios, under the supervision of ILM VFX Producer Susan Greenhow and ILM VFX Supervisors John Knoll and Lindy DeQuattro. Shot using RED Epic cameras on 3D rigs, the scenes produced by 32TEN involved the creation of a quarter-scale office building interior which was destroyed by the fist of a Jaeger robot which was on a separate pneumatically controlled rig, as well as a sequence which depicted several rows of seats in a soccer stadium being blown apart as a Jaeger lands in the stadium, which was created by using quarter-scale seats blown apart by air cannons. Additionally 32TEN provided several practical elements for ILM’s compositing team including dust clouds, breaking glass and water effects.

Marketing and promotion
On November 28, 2012, the official film website premiered alongside two viral videos—one depicting the initial Kaiju attack as captured by a handheld camera. Blueprints depicting the designs for the Jaeger machines were also released online. On June 5, 2013, the graphic novel Pacific Rim: Tales from Year Zero was released. Written by Travis Beacham and featuring cover art by Alex Ross, Tales from Year Zero serves as an introductory prologue to the film, and is set twelve years before its events. On June 18, Insight Editions published Pacific Rim: Man, Machines, and Monsters, an art book written by David S. Cohen. The book chronicles the film's production with concept art, photography, the cast and crew's accounts of the shoot, and a foreword by del Toro. On July 2, a viral video was released in which Ron Perlman's character, Hannibal Chau, advertises his fictional Kaiju organ dealership, Kaiju Remedies.

On the day of the film's release, July 12, 2013, another viral video was released to promote the film. It involved the collaboration of the film studio (including del Toro himself) and the YouTube network Polaris (also known as The Game Station). It featured members of the YouTube network (such as the Game Grumps) as Jaeger pilots fighting Kaiju.[98] On July 16, a novelization by Alex Irvine was released. NECA began selling action figures of the film's Kaiju and Jaegers.

Release
Pacific Rim was initially expected to reach theaters in July 2012. However, Warner Bros. decided to postpone the film's release date to May 10, 2013. In March 2012, it was announced that the film would be released on July 12, 2013. The film premiered in Mexico City on July 1, 2013.

Box office
Pacific Rim grossed $101.8 million in North America, and has had a favorable international release, grossing $309.2 million in other countries, for a worldwide total of $411,002,906.

The film grossed $3.6 million from Thursday night showings, 23 percent of which came from IMAX showings. It then faced competition from Grown Ups 2 and ultimately fell behind it on opening day, earning $14.6 million. The film reached the #3 spot during the opening weekend with $37.2 million, behind Despicable Me 2 and Grown Ups 2. This is the highest-ever opening for a film by del Toro, surpassing Hellboy II: The Golden Army. Around 50 percent of tickets were in 3D, which makes it the second-highest 3D share of 2013, behind Gravity. During its second weekend, the film dropped a steep 57% with a gross of $16 million, and during its third weekend, had dropped a further 52% with a gross of $7.7 million.

On July 22, 2013, it was reported that the film had reached #1 at the international box office over the weekend. The film had a successful opening in China, grossing $45.2 million, until overtaken by The Hobbit: The Battle of the Five Armies the largest opening in China for a Warner Bros. title, and the sixth-largest Chinese debut of all time for any Hollywood film. On August 19, 2013, its gross crossed $100 million in China alone, becoming the sixth-highest-grossing American film ever in China. It grossed a total of $114.3 million in the country, making China the largest market for the film. In Japan, the film landed in the fifth position on opening weekend, with an initial earning of $3 million (behind World War Z's gross of $3.4 million).

In September 2013, Forbes highlighted Pacific Rim as "the rare English-language film in history to cross $400 million while barely crossing $100 million domestic".

Music
The film's score was composed by Ramin Djawadi. Del Toro selected Djawadi based on his works on Prison Break, Iron Man, and Game of Thrones, stating: "His scores have a grandeur, but they have also an incredible sort of human soul." The director also stated that some Russian rap would be featured in the film. The soundtrack was released on digital download from Amazon on June 18, 2013, and CD on June 25, 2013. The physical version of the soundtrack was released on July 9, 2013, by WaterTower Music, three days before the theatrical release of the film itself. Guest musicians Tom Morello and Priscilla Ahn also feature as soloists on the score. Two songs appear in the film which are not included on the soundtrack are "Just Like Your Tenderness" by Luo Xiaoxuan, and the ending theme "Drift", performed by Blake Perlman featuring Rza. The OST received mostly positive reviews. The Action Elite rated the album with a perfect five stars, the Empire gave four, while MSN and Filmtracks also gave the soundtrack four out of five stars. On July 27, 2013, the soundtrack was appeared at peak position number 7 on "US Billboard Top Soundtracks.

Death Kappa (デスカッパ Desukappa) is an amphibious yokai created by Nikkatsu that first appeared in the 2010 Nikkatsu kaiju film, Death Kappa.

Appearance - Hangyolas
Hangyolas looks like a cross between the two Toho kaiju, Titanosaurus and Kaishin Muba. He stands upright and is covered in blue scales and orange fins.

Cast

• Daniel Aguilar Gutiérrez
• Matt Alt as Himself - Kappa Expert
• Hideaki Anno
• Michelle Ann Dunphy as Reporter (voice)
• Shinji Higuchi
• Misato Hirata
• Mitsuko Hoshi
• Ryûki Kitaoka
• Mika
• Yakan Nabe
• Hiroko Sakurai
• Cristina Valenzuela as Kanako (voice)
• Marc Walkow as Horrified Tourist
• Hiroko Yoda as Herself - Kappa Expert

Release
The film was actually released in the US (at the New York Asian Film Festival, June 2010) before being released in Japan, November 2010. It was also released on DVD in the US by Tokyo Shock (September 2010) before it's Japanese premiere.

The Monster X Strikes Back/Attack the G8 Summit (Japanese: ギララの逆襲／洞爺湖サミット危機一発 Girara no Gyakushū: Tōyako Samitto Kiki Ippatsu lit. Guilala Strikes Back: the Tōyako Summit Attack Crisis) is a 2008 Japanese kaiju comedy film, released by Shochiku and produced by the Guilala Production Committee.

​The leaders soon discover the reason for Guilala's appearance on Earth was due to a Chinese satellite that fell out of orbit and was the crashed "meteorite" in Sapporo. Assisting the leaders is Dr. Sano, a Japanese scientist who discovers that Guilala is actually a cosmic spore attached to the Probe that was exposed to the Earth's atmosphere, causing it to grow into the monster. He also figures out that the crash caused Guilala to lose a lot of energy and it is searching for "high temperature" energy to recharge. The doctor does not think the monster will leave Japan until it finds the energy it needs. Meanwhile, Guilala arrives at the Noboribetsu Power Planet and sucks all of the energy out of the plant.

Hoping to trap Guilala, the Japanese set up an earthquake generator near "Mt. Showa" to draw Guilala to a magma flow and destroy him with a super missile known as "The Vulture". Guilala arrives to feed, but he swallows the missile whole when it is fired at him. Soon, other countries are scrambling with their own "super" weapons, but each one fails in comedic fashion. In the middle of all this the Japanese Prime Minister is waylaid by diarrhea and is replaced by Junzaburo Ohizumi, a former Prime Minister and a friend of the US President. He arrives to help in the battle, but seems shifty. Ohizumi even suggests using nuclear weapons, but is stared down by the other leaders.

When Guilala's mind is damaged by a British brainwashing weapon, the monster begins a wild rampage. Ohizumi suddenly reveals that he is in fact the leader of the "North Country" (North Korea's Kim Jong-Il). He stole Ohizumi's identity during a state visit. He reveals that the Japanese interpreters attending the G8 Summit are all his spies and they all draw weapons, taking the world leaders hostage. He also announces that he plans on using a "limited" nuclear warhead to destroy Guilala. Meanwhile, President Sorkozy of France has finally bedded the translator, who confesses her true identity. Clad only in a towel, Sorkozy creates a distraction, which allows Japanese soldiers to rush the spies. The North Country leader is captured but not before managing to launch the nuclear missile at Guilala. Dr. Sano announces that Guilala's spores are re-energized and that if the missile strikes it will spread Guilala spores worldwide...

Subplot
Two Japanese journalists named Sumire Sumidagawa and Sanpei Toyama discover a hidden village full of worshipers. They are driven out as outsiders intruding on a sacred ceremony. Shortly afterward Guilala lands and begins searching for energy. Sumire and Sanpei are sent to get news on Guilala's rampage. However, their efforts prove unsuccessful as other news groups are looking for big news on Guilala. During the G8 Summit's efforts to stop Guilala, Sumire encounters a boy she saw at the village's ceremony. Believing that the village might know how to stop Guilala, Sumire and Sanpei return for answers.

They find a carving of Guilala which they also notice is battling another monster. That figure is known as "Take-Majin," a deity the villagers worship. An ancient prophecy predicted that Guilala was going to destroy the world, but he would be stopped by Take-Majin, who would awaken to save mankind from Guilala. The little boy Sumire met earlier worshiped Take-Majin, after his father was killed in a landslide. Concerned with the planet's safety over their own, Sumire and a reluctant Sanpei participate in Take-Majin's awakening ceremony. Just when Take-Majin is about to wake up, the entire village is evacuated by the army when a nuclear missile is fired at Guilala.

But Take-Majin suddenly awakens and stops the missile by catching it with his buttocks, allowing it to explode inside of him. He then confronts Guilala, preparing for battle. After a long battle Take-Majin is victorious, decapitating Guilala, saving all humanity as prophesied. Take-Majin then returns back into his shrine to sleep once again. The G8 Summit leaders celebrate their victory by taking a bath in a hot spring (despite the leader of the North Country escaping during the fight).

Reaction
When released at G-Fest, XVI the film received mostly good reviews. Fans felt the film was entertaining because it did not take itself seriously, since it was a comedic melodrama. However, some fans were disappointed that many sequences of Guilala in the film (Guilala's rampage on Sapporo, Guilala's attack on the power plant and almost every scene of Guilala shooting fireballs) were nothing more than stock footage recycled from the original film.

DVD release
The Monster X Strikes Back: Attack the G8 Summit was released in North American on DVD on June 30, 2009 by Media Blasters. The special features are a photo gallery and Tokyo Shock trailers.

Reigo: The Deep-Sea Monster vs. the Battleship Yamato (深海獣レイゴー Shinkaijū Reigō) is a 2008 independent tokusatsu film by Shinpei Hayashiya. Veteran artist Keita Amemiya designed the titular monster. The film's original working title was Reigo vs. Yamato (レイゴー対大和 - Reigô tai Yamatô).

The film, set in World War II, depicts the story of the real-life Japanese battleship, the Yamato, which is confronted in the Pacific Ocean by giant monsters, including the most fearsome of them all, Reigo.

But to Osako’s annoyance, Momoka brings along her elderly grandfather (Mickey Curtis) who insists on telling him a local tale about monsters that has been passed down for generations. The disbelieving naval officer is told that the surrounding waters are home to man-sized, carnivorous Bonefishes…and, as dangerous as the fish are, they are nothing more than an “opening act” for an even greater menace; the legendary Hell King of the Seas called Reigo.

The next night, a lookout spots a massive shape half-submerged in the distance. Believing it to be an enemy submarine, the Yamato fires on it and scores a direct hit. Osako is shocked when the object emits a strange cry as it sinks beneath the waves. He reports the incident and the story of Reigo to his commander and shipmates. Unbeknownst to the crew, they have killed the offspring of Reigo.

Not long after that first encounter, a school of luminous Bonefish launch themselves from the water like flying fish and attack a group of soldiers standing watch on the Yamato’s deck. Kaido hears their screams and rushes to the rescue, but finds the men already torn to pieces.

Just as the old man predicted, the Bonefish herald the arrival of Reigo, a beast 80 meters-long and resembling a cross between Godzilla and a shark. Seething with rage at the murder of its cub, the monster attacks the Combined Fleet with incredible ferocity and awesome destructive power. The naval forces are caught off guard, and Reigo is able to destroy escort ships and damage the Yamato before returning to the ocean depths.

The crew quickly regroups and plans a counterattack, but when Reigo returns it manages to stay one step ahead of the Japanese forces. Almost as if it is aware that the Yamato’s main guns are long range weapons which are ineffective up close, the monster attacks at close range or blasts the ships from underwater with blue bursts of electricity.

Thoughts of family and lovers back home… fear at being confronted by an unknown enemy…conflict and confrontation explode among the officers and crew over the best battle strategy to use against the threat of Reigo.

Over Osako’s loud objections, Kaido suggests a last-ditch plan of attack that will either stop Reigo or sink the Yamato. Now the stage is set for a final battle to unfold between the world’s largest battleship and the mysterious dragon-like monster that glides through the seas at will.

Which one will prevail… Reigo or the battleship Yamato?

Sequel
In 2009 director Hayashiya made a follow up entitled The Deep-Sea Monster Raiga (深海獣雷牙 Shinkai-jū raiba). The film features a more traditional Godzilla like kaiju called Raiga. The creature rises from the sea to do battle with another of his kind.