With a revisit of Godzilla 1985, the biggest question isn’t why it took Toho more than a decade to bring the king of the monsters back from retirement. The biggest question also isn’t why it ignores the 14 sequels following the 1954 original Godzilla. Rather, the biggest question is why the opening introduces some kind of flying tick the size of an Igloo ice chest, only for it to never reappear.

At least that’s my biggest question. More serious G-fans may wonder otherwise, like, “This was the first Godzilla movie you saw in full?” It sure was! Before I could drive, it took some convincing for my mom to rent it for me. New World Pictures’ VHS release had Marv Newland’s immortal Bambi Meets Godzilla cartoon playing upfront, too.

But to answer the inquiries posed in paragraph one: Who cares when Raymond Burr is back! Returning for the first and last time since the Americanized franchise-starter, Burr (Gorilla at Large) is the barrel-chested newspaperman Steven (née Steve) Martin. Also returning: Godzilla, re-emerging in Japan after all these years, taking out a Russian sub in the process. The Russkies blame the U.S., not the big lizard, thereby stoking nuclear fears.

As the lone Western Hemisphere-based survivor of Godzilla’s initial stampede three decades prior — you know, before the world discovered color — Martin is summoned to the Pentagon as an adviser. The Pentagon is played by a darkened room, plus one hallway to allow for product placement for Dr Pepper, so misunderstood.

That’s about all the “story” Godzilla 1985 requires. The Japanese authorities employ bird chirps to lure our favorite kaiju into a volcano; luckily, Godzilla takes a detour to stomp the shit out of downtown Tokyo first — the film’s raison d’être. Having previously performed assistant duties on King Kong vs. Godzilla and others, director Koji Hashimoto understands his simple mission and rises to the occasion: Showcase the nice model work and get out of the way.

By contrast, the Burr/Pentagon/American footage handled by R.J. Kizer (Hell Comes to Frogtown) is all passive spectatorship. However, it does allow for the introduction of, despite his red hair, a U.S. military major (Travis Swords, Pink Cadillac) who milks his second-banana status for all it’s worth. For example, while monitoring the sitch in Japan, he notes, “That’s quite an urban renewal program they’ve got going over there.” He’s not wrong. —Rod Lott

Get it at dvdrparty.

A disgraced journalist (Lily Sullivan, Evil Dead Rise) attempts to rebuild her career — if not her credibility — by starting Beyond Believable, an investigative podcast on unexplained events. One night, the subject for a potential first episode falls in her lap via an anonymous email. Bearing the subject line “The Truth Will Out,” it contains only a name, a phone number and a cryptic reference to a brick.

As the saying goes, curiosity killed the podcaster, so she takes the bait. A couple of calls later, she’s nose-deep in the mystery — or conspiracy? —regarding these black bricks of unknown origin and composition, and containing odd symbols inside.

One unsolicited tip is all it takes to lead her down a rabbit hole. For a good while, the same holds true for Monolith viewers as well, thanks to Sullivan’s engaging performance — all but required when you’re the lone actor onscreen. Unlike the recent, similarly themed First Time Caller, the Australian Monolith benefits from its always-on lead character not being abhorrent.

As first-time filmmakers, director Matt Vesely and scripter Lucy Campbell take a lot of correct steps upfront. Ultimately, their conclusion’s dogged ambiguity could work against the film’s potential life span. Sci-fi viewers don’t demand complete, lock-and-key explanations — witness The X-Files — but for Monolith to pivot so hard to the abstract after an hour of Sullivan’s methodical info-gathering feels indolent. Nevertheless, I look forward to whatever they direct their energy toward next. After all, the truth will out. —Rod Lott

Get it at Amazon.

Cobbled from episodes of the children’s TV series Masked Ninja Red Shadow, this Japanese feature has popped up under numerous titles in its lifetime. Thanks to importing, white people like me are apt to encounter it as Ninja Scope. Whichever name it bears, the flick packs a lot of action in a mere 52 minutes.

It pits the red-masked, swoopy-haired superhero Akakage (Yuzaburo Sakaguchi, Lone Wolf and Cub: Baby Cart at the River Styx) and kid-ninja sidekick Akokage (Kaneko Yoshinobu, Watari) against a cult. Do you think the cult leader is cool with this? No, he is not, so he sends in his clowns to battle. By “clowns,” I mean creatures of all shapes and sizes and sativa-inspired designs, including a:
• rock monster
• giant, flame-breathing toad
• rectangle-faced goon with sawblade sandals

For these and other colorful storybook shenanigans in which our heroes find themselves, the matinee movie occasional pauses to allow Akakage to bust that fourth wall and inform audience members to don their 3-D viewers. With each fight sequence, Ninja Scope diverts to black and white to allow for anaglyph antics; while it’s kind of a bummer to lose color, when it comes to pushing objects toward the lens, the filmmakers didn’t dick around. 

With a pantyhose-headed puppeteer, exploding plums and a dude on a kite, Ninja Scope never rests to allow itself to get dull.  It’s as if your eyes ate 12 bowls of cereal in a sitting. —Rod Lott

Get it at Amazon.

Although The Animal Kingdom won five of its 12 nominations for the Césars, France’s equivalent to the Oscars, don’t mistake it for homework. It’s a superb work of fantasy. With feet planted on terra firma as its head takes a flight of fancy, the picture draws influence from David Cronenberg’s The Fly to the X-Men franchise, while somehow pulling off the appearance of originality.

Director and writer Thomas Cailley (Love at First Fight) presents a world challenged by a new pandemic, in which people undergo zoological mutations that may as well be named for Dr. Moreau. “Critter” is considered a slur; they’re “creatures,” TYVM, and they grapple with adjusting to feathers, tentacles, scales and prehensile tails.

One of the infected is the wife and mother to, respectively, François (an excellent Romain Duris, 2022’s Final Cut) and teenaged Émile (How to Make Out’s Paul Kircher, quite the young find). She’s also vanished. François can’t face the prospect of losing her, although most would agree that, in a way, he already has.

Meanwhile, while searching high and low, Émile comes face to face with startling examples of evolution’s next step. Whether said step leaps forward or diverges off to the side, the path he’s shown goes further than he’s willing to follow. He may not have a choice.

The Animal Kingdom operates on multiple levels of allegory: mortality, minority, puberty — take your pick! Cailley holds such tight control over his material, he’s able to steer deftly from moments of compassion to comedy (a visual gag involving kayaks slays) with no swerve feeling false. One memorable scene nails the tricky balance of conveying both heartbreak and joy as François and Émile drive through the forest at night while blasting their missing matriarch’s favorite song in hopes of triggering recognition.

Irony exists in The Animal Kingdom having the most humanistic viewpoint among movies in recent memory. Technically impeccable with seamless effects, it makes the case for Cailley being his country’s Steven Spielberg. A feel-good film about a bad hand dealt to all involved, it ends not in a cop-out, but a triumph. —Rod Lott

Get it at Amazon.

As the titular physician, Gang Won-dong (Train to Busan Presents: Peninsula) ditches psychiatry for a more lucrative living: as the charlatan behind an exorcism startup. With YouTube prankster Kang (Lee Dong-hwi of Park Chan-wook’s The Handmaiden) hired for technical trickery, Dr. Cheon chases bank via the gullibility of a desperate citizenry.

Soon, a young woman (Esom, The Queen of Crime) offers them $100,000 to rid the demonic presence lurking inside her little sister (Park So-yi, Lingering). Easy cash, right? It would be, if the possession weren’t legit.

More than a little spirit of Ivan Reitman’s Ghostbusters lives within Kim Seong-sik’s Dr. Cheon and the Lost Talisman — right down to the ghost traps, even! But Dr. Cheon’s no Dr. Venkman. Rather than ape Bill Murray’s wiseass act, Won-dong exudes the cucumber cool of Sherlock-era Benedict Cumberbatch.

Meanwhile, Volcano High’s Huh Joon-ho plays the doc’s nemesis, a villainous mage who looks not unlike Ian McShane. In Lost Talisman’s best set piece, the mage conjures a blue light that hops from villager to villager, ordering them upon contact to attack Dr. Cheon.

As with the aforementioned American blockbuster, this South Korean film mixes the mythic and the mirthful, with first-rate effects that serve the story. The result? Serious franchise potential. —Rod Lott

Get it at Amazon.