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Godzilla: City on the Edge of Battle

Godzilla: City on the Edge of Battle

Animation · Science Fiction · 2018

Humanity's desperate battle to reclaim the Earth from Godzilla continues. The key to defeating the King of the Monsters may be Mechagodzilla, a robotic weapon thought to have been lost nearly 20,000 years ago.

Movie details

Godzilla: City on the Edge of Battle

“The last hope of mankind Mechagodzilla, is activated.”

2018 Animation · Science Fiction 1h 41m

Critical arithmetic

One number, for now.

TMDB

6.6 / 10

Community rating

Humanity's desperate battle to reclaim the Earth from Godzilla continues. The key to defeating the King of the Monsters may be Mechagodzilla, a robotic weapon thought to have been lost nearly 20,000 years ago.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Godzilla: City on the Edge of Battle?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Kobun Shizuno · Hiroyuki Seshita

Written by

Gen Urobuchi · Sadayuki Murai · Tetsuya Yamada

Mamoru Miyano

Mamoru Miyano

Haruo Sakaki (voice)

Yuki Kaji

Yuki Kaji

Adam Bindewald (voice)

Tomokazu Sugita

Tomokazu Sugita

Martin Lazzari (voice)

Takahiro Sakurai

Takahiro Sakurai

Metphies (voice)

Junichi Suwabe

Junichi Suwabe

Mulu-elu Galu-gu (voice)

Kana Hanazawa

Kana Hanazawa

Yuko Tani (voice)

Kenta Miyake

Kenta Miyake

Rilu-elu Belu-be (voice)

Court is in session

Put Godzilla: City on the Edge of Battle on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.