Godzilla vs. Biollante (1989) – Review

Have you ever watched a Godzilla movie and thought, “You know what this franchise needs? A kaiju that’s part Godzilla, part rosebush, and part nightmare fuel!” Well, buckle up, because Godzilla vs. Biollante delivers exactly that, and it’s glorious.

The plot? Oh, it’s gloriously bonkers. In the aftermath of The Return of Godzilla, Japan is still picking up the pieces from Big G’s last rampage. The government, realizing that Godzilla’s still out there just waiting to cause more property damage, sets out to find new ways to stop him. Enter G-cells: Godzilla’s regenerative DNA, which scientists are way too eager to experiment with. Because when has playing with radioactive monster DNA ever gone wrong? Others hope to use Godzilla’s cells to genetically modify plants so that they can turn a desert fertile. Enter Dr. Genshiro Shiragami’s (Kōji Takahashi), who was working on that noble application, but before you can say “tragic backstory,” his daughter, Erika (Yasuko Sawaguchi), is killed when industrial saboteurs bomb the institute’s laboratory, ruining the cells and killing Erika. 

 

Tragic Backstory Achievement…Unlocked.

Flash forward five years and Shiragami, who has refused to work with Godzilla’s cells ever since the death of his daughter, has suddenly agreed to work on the project because it looks like Godzilla is waking up, having fallen into a volcano at the end of The Return of Godzilla, and they need him to create “Anti-Nuclear Energy Bacteria” (ANEB), hoping it can serve as a weapon against Godzilla. Shiragami only agrees to join the project if he’s first given seven days to study Godzilla’s cells, alone in his own lab. So instead of, you know, grieving like a normal person, Shiragami had merged her DNA with a rose (okay, odd choice) and now he’s able to splice in some of those G-cells (oh no), creating something totally new: Biollante, a massive, mutated plant kaiju with Erika’s essence.

 

Could this be Audrey II’s cousin?

Before Japan can even process this botanic horror show, Godzilla wakes up from his volcanic nap, thanks to some careless submarine activity. The government panics and launches the Anti-Nuclear Energy Bacteria (ANEB), a biological weapon designed to infect and kill Godzilla from the inside. But deploying it isn’t so easy, especially with corporate spies, mercenaries, and psychic teenagers running around. Speaking of psychics, Miki Saegusa (Megumi Odaka), a young woman with ESP who has been running around trying to warn the Government that Godzilla is waking up, and she senses that Biollante is alive and suffering, which is the last thing you want from a skyscraper-sized monster. 

 

“Looks like someone paid for the Godzilla channel.”

Godzilla, as expected, shows up, and the military scrambles to stop him, deploying new anti-Godzilla technology, including the Super X2, a more advanced version of the original aerial weapon. However, Godzilla easily withstands their assault, forcing Japan to prepare for an all-out battle. Godzilla senses the presence of another kaiju, Biollante, now grown into an enormous, plant-based colossus rooted in Lake Ashino. The two monsters clash, with Biollante lashing out using its long, vine-like tendrils, equipped with razor-sharp teeth. Despite its resilience, Biollante proves no match for Godzilla’s atomic breath, and the creature is seemingly destroyed, dissolving into golden spores that ascend into the sky, but this is Godzilla, where monsters don’t stay dead for long.

 

“It’s the eye of the tiger, it’s the thrill of the fight.”

After wrecking Osaka (because why not?), the humans desperately try to infect Godzilla with the ANEB, but his nuclear-powered metabolism keeps burning it off. Scientists struggle to deliver the bacteria effectively, as Godzilla shrugs off conventional attacks and continues his rampage. While they work on overheating him to force the bacteria to work, Biollante returns, having evolved into an even more terrifying final form: a massive, glowing, rose-dragon hybrid with a gaping, crocodile-like mouth full of fangs and golden spores floating around it like some unholy dandelion from hell.

 

“You’re one ugly motherfucker.”

This time, the battle is brutal. Biollante wraps Godzilla in its thorny tendrils, spews acid sap in his face, and drags him around like a ragdoll. But Godzilla, being the ultimate kaiju brawler, blasts his atomic breath down Biollante’s throat, sending spores into the sky. As they drift upward, a ghostly vision of Erika appears, implying that she’s finally at peace (somehow). With Biollante gone, Godzilla—weakened but not beaten—lumbers back into the ocean, because, at the end of the day, no amount of military tech or science experiments can actually stop him. The humans celebrate their small victories, but deep down, they know Godzilla will always return.

 

“Screw this, I’m going to go and find King Ghidorah.”

Stray Observations:

• Using Godzilla’s cells to genetically modify plants, in the hope of transforming deserts into fertile land, is classic mad science. No notes.
• This was the first Godzilla film to use computer-generated imagery (CGI). Specifically for some computer-generated schematics.
• Dr. Genshiro Shiragami has a strange claim that Godzilla and Biollante are identical, “Made from the same cells. It’s just one is an animal and the other one is a plant.” Which kind of means they’re not identical. Are we sure of his scientific credentials?
• This is the first film where Godzilla demonstrates a surprising new weapon, the Full-Body Radiation. First, a short burst of radioactive breath flashes in Godzilla’s mouth, and then, a powerful pulse of bright, circulating energy is emitted from his torso.
• Miki Saegusa makes her first appearance, kicking off her recurring role as the franchise’s go-to psychic. Does she ever stop Godzilla from destroying things? Not really. But she feels that he’s about to do it, which is kind of helpful… maybe?
• The Super X2, the upgraded version of the first film’s Super X, has a cool heat-resistant mirror to deflect Godzilla’s atomic breath. Turns out, that only works until Godzilla decides to breathe a little harder.

 

“Why do we even bother?”

Written and directed by Kazuki Ōmori, Godzilla vs. Biollante stands as one of the most unique and ambitious entries in the long-running Godzilla franchise. Released as the second film in the Heisei era of Godzilla films, this instalment took the series in an unexpected direction by blending traditional kaiju action with elements of genetic engineering, horror, and psychological themes. With its complex narrative, impressive practical effects, and one of the most original kaiju adversaries ever conceived, Godzilla vs. Biollante remains a standout film that deserves greater recognition. Koichi Kawakita’s groundbreaking use of animatronics and intricate puppetry brought Biollante to life in an unsettlingly realistic way. The film’s visual effects, while adhering to the traditional suitmation techniques of Godzilla films, pushed the boundaries of what was possible in the genre at the time. 

 

This film offers some nice city rampaging.

Unlike many previous Godzilla films that focused primarily on nuclear allegory, Godzilla vs. Biollante explores the dangers of genetic manipulation. Dr. Shiragami, the film’s central scientist, seeks to preserve the memory of his late daughter by fusing her DNA with plant and monster cells, ultimately creating a monstrous being beyond his control. The film raises ethical questions about the unintended consequences of playing with nature—an issue that became particularly relevant during the late 20th century, as genetic research gained traction. But where the film does make a little misstep is the amount of time spent on the espionage subplot, when kaiju are destroying cities, I couldn’t care less about spies running around stealing stuff.

 

This guy does not have atomic breath, thus he is irrelevant.

Biollante also stands apart from most other kaiju in the Godzilla universe. Rather than being an ancient creature or an alien invader, Biollante is a creation of human experimentation gone horribly wrong. Her grotesque, ever-mutating form—from a giant rose to a nightmarish, tentacle-laden behemoth—adds an eerie, horror-like quality to the film. Unlike traditional villains, Biollante is portrayed as tragic, making her conflict with Godzilla feel more layered and emotionally complex than the typical kaiju showdown.

 

“Hey, this isn’t some of that creepy hentai shit, is it?”

Godzilla’s Role: Anti-Hero or Pure Menace? In this instalment, Godzilla is depicted as a force of destruction, yet his presence also serves as a counterbalance to Biollante’s unchecked growth. Unlike earlier portrayals of Godzilla as either a protector or a mindless villain, here he is a more ambiguous figure—an unpredictable force of nature. His battles with Biollante are not just about territorial dominance but also reflect the film’s overarching theme of humanity’s inability to control its own scientific advancements.

 

These guys are all about themes and symbolism.

In conclusion, Godzilla vs. Biollante is one of the strangest, most creative Godzilla movies ever made, blending sci-fi horror, bioengineering gone wrong, corporate espionage, and kaiju beatdowns into one unforgettable film. Whether you love it for its weirdness, its deeper themes about the dangers of genetic manipulation, or just because you want to watch a giant lizard fight a plant monster, it’s an absolute must-see for kaiju fans. If you like your kaiju fights with a side of mad science and existential dread, this one’s a must-watch.