I grew up on Showa Godzilla but still liked 2014. Shin Godzilla was obviously on a totally different, much higher level, but it was also not really about Godzilla at all.
Have we got any word on a sequel to Shin Gojira? Beause it was fucking good, and i'd love to see a sequel. (And if you haven't seen it, go and see it. It's very much it's own beast, and it'as fantastic)
I have mixed feeling about Shin Godzilla. On the one hand, it does a really really great job of recapturing the feel of the original Godzilla movie, with Godzilla as a totally unstoppable force of city-leveling destruction (very much like an atomic bomb). The part where he first winds up with his fire breath is horrifying and awesome all at once, fitting perfectly with what the movie is going for. There's an obnoxious amount of people sitting around discussing stuff in committees, but that's thematic too and is a halfway-interesting counterpoint in how humans can overcome quite a bit when they actually cooperate.
Then they go and completely fuck up the tone of the movie by giving laser-disco Godzilla, which is just too dumb-looking and silly to take at all seriously. The fire from the tail already pushes things, but then they go a step beyond that and it looks so terrible.
They were so so dang close to a really serious and great Godzilla movie, then completely blow it with discoZilla. So annoying.
- The main character pulls his handgun on a MUTO right before Godzilla kills it. What the fuck was that gonna accomplish? The futile gesture drew a laugh in my theater.
I mean, he was literally about to die. Why the fuck not?
This is one of my biggest gripes in movies. And it happens all the time, often when a character selflessly sacrifices themselves so that others can get away: the Killer / Monster / bad guys just rush in to kill them and they don't even fight back. Like, yeah no shit a handgun isn't going to kill a MUTO, but the alternative is to just sit there and die. TAKE YOUR FUCKING SHOT. Sure, you're 99.99% still going to die, but at least you went down swingin'.
Shin Godzilla strikes me as In The Loop by way of a giant monster attack. The human need to have existing systems deal with a new problem leads to this convoluted bureaucracy which only becomes more absurdly complicated as time goes on and things fall apart, and as this obsolete, confusing mess of a governing body tries harder and becomes more complicated, the problem they're trying to deal with outpaces them by becoming even more outrageous, gigantic, and absurd as well. It's all completely intentional, and while the movie does excel at making Godzilla a terrifying force of nature when it wants to, it also doesn't shy away from the silliness of the whole thing when that serves the film's needs. Sometimes it even manages both tones at the same time! When Godzilla first shows up, it's all the more horrifying because it's so weird.
Shin Godzilla strikes me as In The Loop by way of a giant monster attack. The human need to have existing systems deal with a new problem leads to this convoluted bureaucracy which only becomes more absurdly complicated as time goes on and things fall apart, and as this obsolete, confusing mess of a governing body tries harder and becomes more complicated, the problem they're trying to deal with outpaces them by becoming even more outrageous, gigantic, and absurd as well. It's all completely intentional, and while the movie does excel at making Godzilla a terrifying force of nature when it wants to, it also doesn't shy away from thesilliness of the whole thing when that serves the film's needs. Sometimes it even manages both tones at the same time! When Godzilla first shows up, it's all the more horrifying because it's so weird.
I thoroughly enjoyed Godzilla 2014, I enjoyed the "Godzilla from the view on the ground" take on it.
Also Skull Island was pretty boss in setting up Kong and the background of the monsters and Monarch
I haven't seen KotM yet but I'm happy that Legendary jumped straight into the deep end with this shit
My first exposure to Godzilla was while staying at my grandparents. Bro and I wanted to watch muppets and grandad went "I ain't watching that cartoon shit" and slammed Godzilla into the vcr.
I agree. I feel like I'm the only one who liked the 2014 one. Then again, I also liked Peter Jackson's Kong with Naomi Watts. *swoon*
It was definitely deeply flawed - killing off the two best actors relatively early (Cranston and Binoche) was a huge mistake, and the main lead wasn't good. But I actually liked that they teased Godzilla, and didn't make it gratuitous fighting all the time. I mean, at least compared to that 2000s Godzilla that ends with "there's a little bit of Godzilla in all of us", 2014 did alright.
I grew up on Showa Godzilla but still liked 2014. Shin Godzilla was obviously on a totally different, much higher level, but it was also not really about Godzilla at all.
I hope this one is at least entertaining enough, and has some good payoff moments when the music kicks in.
Yeah we watched the original black and white at the grandparents.
After that anytime we stayed over we'd always rent another Godzilla or King Kong movie
I grew up on Showa Godzilla but still liked 2014. Shin Godzilla was obviously on a totally different, much higher level, but it was also not really about Godzilla at all.
Have we got any word on a sequel to Shin Gojira? Beause it was fucking good, and i'd love to see a sequel. (And if you haven't seen it, go and see it. It's very much it's own beast, and it'as fantastic)
I have mixed feeling about Shin Godzilla. On the one hand, it does a really really great job of recapturing the feel of the original Godzilla movie, with Godzilla as a totally unstoppable force of city-leveling destruction (very much like an atomic bomb). The part where he first winds up with his fire breath is horrifying and awesome all at once, fitting perfectly with what the movie is going for. There's an obnoxious amount of people sitting around discussing stuff in committees, but that's thematic too and is a halfway-interesting counterpoint in how humans can overcome quite a bit when they actually cooperate.
Then they go and completely fuck up the tone of the movie by giving laser-disco Godzilla, which is just too dumb-looking and silly to take at all seriously. The fire from the tail already pushes things, but then they go a step beyond that and it looks so terrible.
They were so so dang close to a really serious and great Godzilla movie, then completely blow it with discoZilla. So annoying.
To me, that's the core of the movie, and maybe why I don't mind the Godzilla craziness - I think Godzilla was just a vehicle to lampoon stupid bureaucracy. Obviously it was a critique on the handling of Fukushima, but I thought it extended further than that. I interact a lot with people in our Japanese business partner and I loved seeing all that stupidity, like having to change meeting rooms to hold a different meeting with the same audience. I've felt like I've been in the middle of that before.
Jibba on
+3
Options
AstaerethIn the belly of the beastRegistered Userregular
After a physically and emotionally strenuous family trip to Slovakia and a night on the world's second-worst night train (okay, to be fair: the train was okay, but the mattress was a narrow, lightly-padded slab of concrete) we decided to watch something pulpy and disposable last light: Split. It's not a good film and there is some stuff in there that is in decidedly poor taste, not to say offensive, but it reminded me that MNS can be quite the craftsman when it comes to staging effectively unsettling scenes. Does it hold up? Is it coherent? Not particularly, and I definitely think that especially the theme of child abuse was handled dreadfully, but for about 3/4 of the film I did rather enjoy it for the mood it establishes and for the interplay between the main characters. I do wish that it had ended differently, though, namely with Casey telling the Beast to shove it and blowing its/his head off. As it is, the film veers too closely towards leaving the Beast's world view unexamined, if not actually stealth-validating it.
Split:
The Beast's worldview is, "Because Kevin suffered, I am going to become something unstoppable, and I'm going to do it by killing and eating people who have not suffered." We're led to believe by the climax of the film that Casey's abuse has made her strong--she's willing to accept her situation enough to try and figure a way out, she behaves with intelligence, she picks up a gun and knows how to use it and is willing to shoot her captor--but in the end what saves her is none of that, but simply that the Beast finally recognizes that Casey has suffered and therefore is deserving of his respect. Arguably the reverse is also significant, that Casey progresses largely because she's willing to engage with the Horde and sympathizes with Kevin.
I don't think we're meant to agree with the Beast (Split is a lot of things, but it is not pro-"women being killed and eaten", and we are meant to be upset by the deaths of the other kidnapped girls and of Kevin's therapist), but we are meant to have sympathy and even pity for Kevin and many of his alter egos; they're literally a broken person, and there's something almost as admirable as it is horrifying in the way they've stretched the limits of human possibility in their effort to feel safe from Kevin's childhood tormentors.
These ideas are extended and expanded upon in Glass, but I won't go into that since you haven't seen it. Suffice to say that even going by Unbreakable and Split, this series holds a nuanced view of suffering, between villains who embrace faith (but also violence) as a result of suffering, and heroes who come to understand (but not fully share) that path.
I think Unbreakable is amazing, Split is fine, and Glass is pretty good. One thing you can at least say about all of them is that they are unique, interesting, unexpected, and nuanced examinations of superheroes and supervillians, which is something I think we can all really use in the age of the MCU and general superhero pop culture dominance. I like the trilogy for the same reason I like Amazon's The Tick TV show - superheroes are so "in" right now that it's great to get fun, fresh takes on this stuff.
Summary from the other thread. I loved KotM's but it's a not a great movie and I can see why it's not doing well on Rotten Tomato's. That said, it may be the first movie I go back to see in the theater again since Return of the King. I had a child like grin on my face through most of the movie. Just needed more Maser tanks haha.
I really liked Godzilla 2014 but it suffered a lot in replayability. The 2nd time I watched it on bluray, I wanted to fast forward through quite a few parts. I think that is one thing KotM's will have going for it. The plot makes no sense and several good actors are wasted; but it moves quick and has plenty of action.
Waiting for Godzilla to start, but I just realized that I'm probably going to see Terminator: Dark Fate, just to find out what the fuck they did with the continuity.
0
Options
-Loki-Don't pee in my mouth and tell me it's raining.Registered Userregular
Waiting for Godzilla to start, but I just realized that I'm probably going to see Terminator: Dark Fate, just to find out what the fuck they did with the continuity.
They ignored it. It’s a direct sequel to Terminator 2, fuck everything else.
+3
Options
AbsoluteZeroThe new film by Quentin KoopantinoRegistered Userregular
Waiting for Godzilla to start, but I just realized that I'm probably going to see Terminator: Dark Fate, just to find out what the fuck they did with the continuity.
They ignored it. It’s a direct sequel to Terminator 2, fuck everything else.
This is probably the right move, but the better move would be to stop making Terminator movies. Give that shit a rest.
I literally took a power nap during the last “watch humans babble about nonsense” scene in Godzilla. Everything involving the human characters was beyond stupid. How you can take that cast and make them suck is beyond me.
But to be clear, I woke up from that nap ready to watch fucking titans rip each other apart, excited as hell about it. Loved that movie.
Waiting for Godzilla to start, but I just realized that I'm probably going to see Terminator: Dark Fate, just to find out what the fuck they did with the continuity.
They ignored it. It’s a direct sequel to Terminator 2, fuck everything else.
This is probably the right move, but the better move would be to stop making Terminator movies. Give that shit a rest.
I'll give the franchise one more shot. If Arnold and Linda Hamilton can't get the new one to work, that's the end.
I grew up on Showa Godzilla but still liked 2014. Shin Godzilla was obviously on a totally different, much higher level, but it was also not really about Godzilla at all.
Have we got any word on a sequel to Shin Gojira? Beause it was fucking good, and i'd love to see a sequel. (And if you haven't seen it, go and see it. It's very much it's own beast, and it'as fantastic)
I have mixed feeling about Shin Godzilla. On the one hand, it does a really really great job of recapturing the feel of the original Godzilla movie, with Godzilla as a totally unstoppable force of city-leveling destruction (very much like an atomic bomb). The part where he first winds up with his fire breath is horrifying and awesome all at once, fitting perfectly with what the movie is going for. There's an obnoxious amount of people sitting around discussing stuff in committees, but that's thematic too and is a halfway-interesting counterpoint in how humans can overcome quite a bit when they actually cooperate.
Then they go and completely fuck up the tone of the movie by giving laser-disco Godzilla, which is just too dumb-looking and silly to take at all seriously. The fire from the tail already pushes things, but then they go a step beyond that and it looks so terrible.
They were so so dang close to a really serious and great Godzilla movie, then completely blow it with discoZilla. So annoying.
Honestly at this point i've watched so many Toku things with god-awful cgi that i didnt even blink at this. I mean, it was a bit naff - but as other people have mentioned, the heart of the movie was a lot of the bureaucracy vs gojira and the issues surrounding it. Which is why i want to see a sequel, if it's handled with the same deftness - How does the beaurcracy respond when the ticking time bomb goes off?
The bit that nearly killed me with laughter was DRAMATIC EVANGELION MUSIC... over document filing etc. That was goofy and beautiful in equal measures.
Edit: Doing some research on Shin Gojira, apperntly Toho's contract with Legendary restricts them from releasing any live-action Godzilla movies the same year as Legendary releases ones. Which is rather Gah! but oh well. So it looks like after 2020, as that's when the contract expires?
Godzilla coming up out of the ocean like fuckin' Jaws to snatch Ghidorah was choice.
But the only real problem I had was with the kinds and levels of radiation being reported on by the characters.
If Godzilla really was hot enough to go critical, then Millie Bobby Brown's character would have been dead before she had a chance to throw the Macguffin machine to get stomped on.
Martini_Philosopher on
All opinions are my own and in no way reflect that of my employer.
But the only real problem I had was with the kinds and levels of radiation being reported on by the characters.
If Godzilla really was hot enough to go critical, then Millie Bobby Brown's character would have been dead before she had a chance to throw the Macguffin machine to get stomped on.
Yeah, that was my main problem, too. I think these films should deemphasize that Godzilla is radioactive, just like most of the Japanese movies where Godzilla is not himself the threat do. As it stands now there are too many occasions where I would briefly think “man, they’re awfully close to this radioactive monster...”
If you are at all bothered by pants-on-head physics, Godzilla is so not the right movie for you.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
If you are at all bothered by pants-on-head physics, Godzilla is so not the right movie for you.
I always liked the moment in 1984/85 where Godzilla steps and the street gives way under him, causing him to almost lose balance. Sort of a wink at the fans moment for everyone that complained about physics; like "here's a little nugget for you".
Origin ID\ Steam ID: Warder45
0
Options
cj iwakuraThe Rhythm RegentBears The Name FreedomRegistered Userregular
If you are at all bothered by pants-on-head physics, Godzilla is so not the right movie for you.
Godzilla isn't pants-on-head bad. Just takes me out of the movie since in a past life I lived with a nuclear engineer. Pants-on-head bad physics are the railguns from Eraser.
All opinions are my own and in no way reflect that of my employer.
Waiting for Godzilla to start, but I just realized that I'm probably going to see Terminator: Dark Fate, just to find out what the fuck they did with the continuity.
They ignored it. It’s a direct sequel to Terminator 2, fuck everything else.
This is probably the right move, but the better move would be to stop making Terminator movies. Give that shit a rest.
You can't stop the creation of terminator movies, you can't bargain with them, you cannot kill them, they WILL NOT STOP.
+14
Options
AtomikaLive fast and get fucked or whateverRegistered Userregular
I mostly hated only one part in King Godzilla
When they blow up the just-rediscovered Atlantis (or whatever)
So, having watched John Wick again recently, a question occurred to me. The movie begins with something that takes places at the end of the movie. We see John lying injured on the ground, he looks at a video of his wife, he slumps over, cut back to "Earlier....". And we've all seen this before. TV writers on network shows seem to fucking love it in my experience. I swear every procedural ever, if it runs more then like 3 seasons, will have at least one episode structured like this.
And I just wonder ... why? Has this "X Time Period Earlier" thing ever done anything good or useful for a story? Has there ever been a purpose to it? Has it ever been executed well and for a meaningful reason? Basically, what the heck is the point of this narrative structure.
Because despite it's seeming to be common enough that everyone recognizes it, I can't think of a single example of it happening where I thought it wasn't entirely pointless. Am I wrong?
So, having watched John Wick again recently, a question occurred to me. The movie begins with something that takes places at the end of the movie. We see John lying injured on the ground, he looks at a video of his wife, he slumps over, cut back to "Earlier....". And we've all seen this before. TV writers on network shows seem to fucking love it in my experience. I swear every procedural ever, if it runs more then like 3 seasons, will have at least one episode structured like this.
And I just wonder ... why? Has this "X Time Period Earlier" thing ever done anything good or useful for a story? Has there ever been a purpose to it? Has it ever been executed well and for a meaningful reason? Basically, what the heck is the point of this narrative structure.
Because despite it's seeming to be common enough that everyone recognizes it, I can't think of a single example of it happening where I thought it wasn't entirely pointless. Am I wrong?
I thought it was a pretty effective way to kick off Fight Club, but it probably wasn't necessary.
+2
Options
TexiKenDammit!That fish really got me!Registered Userregular
Goodfellas does it halfway through the movie, and Casino does it at the end, although Casino sort of cheats with it's flashforward at the end to throw you off and that's why it worked. Goodfellas is more to show this mundane goomba life ramping up immediately to stabbing a guy who for all we know is innocent and then shooting him, all while Henry is saying this what he always wanted to do. If they just started with Rags to Riches you don't have a connection to the Henry we see though most of the film (and also how unhinged Tommy is). Oldboy does it too to establish why this dude holding another over a roof yo is he our protagonist?
But let's put it this way, those only work because of the directors and the technique is good 1/100th of the time, so those movies alone used it up for the others out there in recent years.
So, having watched John Wick again recently, a question occurred to me. The movie begins with something that takes places at the end of the movie. We see John lying injured on the ground, he looks at a video of his wife, he slumps over, cut back to "Earlier....". And we've all seen this before. TV writers on network shows seem to fucking love it in my experience. I swear every procedural ever, if it runs more then like 3 seasons, will have at least one episode structured like this.
And I just wonder ... why? Has this "X Time Period Earlier" thing ever done anything good or useful for a story? Has there ever been a purpose to it? Has it ever been executed well and for a meaningful reason? Basically, what the heck is the point of this narrative structure.
Because despite it's seeming to be common enough that everyone recognizes it, I can't think of a single example of it happening where I thought it wasn't entirely pointless. Am I wrong?
I don't mind seeing the "end" of a story and then going back to how we get there.
The recent season of Bosch even does that, where the show opens up at a part the show doesn't catch up to till around I think episode 4? It's an interesting hook. Show us something shocking and then work our back to it.
In John Wick we see John fucked up driving a broken ass SUV and possibly spending his final moments watching a video of his wife, and it does make you go "how did we get here."
Fight Club even uses it to make a joke "Huh flashback humor."
I would like some money because these are artisanal nuggets of wisdom philistine.
The "Out of Gas" episode of Firefly started pretty much at the end, but the entire structure of the episode was a series of flashbacks in between short stints in the 'present' instead of one switch like John Wick.
It almost feels like a book hook, a way for an author to grab you and hope you keep reading. Which isn't really an issue with a movie, but still it's not a terrible technique. I can think of worse ways for movies to open.
Like
Directed By Micheal Bay
I would like some money because these are artisanal nuggets of wisdom philistine.
Generally, I think that device is used as a crutch when the writer doesn't think the story itself is interesting enough to start at the beginning.
There are times when a movie or show do it well enough that it covers for the fact that it's a lazy storytelling device - John Wick, Breaking Bad, Ratatouille - but the number of times it actually adds to the narrative versus just being something shocking is pretty small.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
I think viewer reviews are largely driven by the accuracy of the trailers and marketing. Like, if you're dropping money to see a Michael Bay movie, you're probably the kind of person who's going to dig a Michael Bay movie. Conversely, something like Hereditary is definitely not going to appeal to everyone, and the trailer doesn't really prepare you for what you're about to see.
Mother's Basement had a good video about all this:
I think viewer reviews are largely driven by the accuracy of the trailers and marketing. Like, if you're dropping money to see a Michael Bay movie, you're probably the kind of person who's going to dig a Michael Bay movie. Conversely, something like Hereditary is definitely not going to appeal to everyone, and the trailer doesn't really prepare you for what you're about to see.
Mother's Basement had a good video about all this:
I think viewer reviews are largely driven by the accuracy of the trailers and marketing. Like, if you're dropping money to see a Michael Bay movie, you're probably the kind of person who's going to dig a Michael Bay movie. Conversely, something like Hereditary is definitely not going to appeal to everyone, and the trailer doesn't really prepare you for what you're about to see.
Mother's Basement had a good video about all this:
Because judging from the title I'm not sure I can take it seriously if it doesn't think critics value spectacle.
That critics, being in a profession built around using words (whether spoken or written) to create images and transmit ideas, tend to overfavor the elements of media closest to their wheelhouse.
Generally, I think that device is used as a crutch when the writer doesn't think the story itself is interesting enough to start at the beginning.
There are times when a movie or show do it well enough that it covers for the fact that it's a lazy storytelling device - John Wick, Breaking Bad, Ratatouille - but the number of times it actually adds to the narrative versus just being something shocking is pretty small.
I actually think the flash-forwards in the final season of Breaking Bad were a fun tease when they aired, but in retrospect they did kinda spoil the finale. I was really hoping for a fake-out or a red herring, but nope, he used that giant machine gun just like I thought he would.
Generally, I think that device is used as a crutch when the writer doesn't think the story itself is interesting enough to start at the beginning.
There are times when a movie or show do it well enough that it covers for the fact that it's a lazy storytelling device - John Wick, Breaking Bad, Ratatouille - but the number of times it actually adds to the narrative versus just being something shocking is pretty small.
I actually think the flash-forwards in the final season of Breaking Bad were a fun tease when they aired, but in retrospect they did kinda spoil the finale. I was really hoping for a fake-out or a red herring, but nope, he used that giant machine gun just like I thought he would.
It didn't bother me there because the final season or two were meant to be a slow motion trainwreck that you couldn't look away from. We pretty much knew what was coming, and that dramatic irony just upped the tragedy factor.
As to Deadpool, I mentally distinguish between something like a single scene followed by TWO WEEKS EARLIER, and something like Deadpool, where the narrative structure just contains an extended flashback, or flips between multiple timelines.
I don't know if there's a good reason for that distinction, but I make it anyway.
I submitted an entry to Lego Ideas, and if 10,000 people support me, it'll be turned into an actual Lego set!If you'd like to see and support my submission, follow this link.
Posts
I have mixed feeling about Shin Godzilla. On the one hand, it does a really really great job of recapturing the feel of the original Godzilla movie, with Godzilla as a totally unstoppable force of city-leveling destruction (very much like an atomic bomb). The part where he first winds up with his fire breath is horrifying and awesome all at once, fitting perfectly with what the movie is going for. There's an obnoxious amount of people sitting around discussing stuff in committees, but that's thematic too and is a halfway-interesting counterpoint in how humans can overcome quite a bit when they actually cooperate.
Then they go and completely fuck up the tone of the movie by giving laser-disco Godzilla, which is just too dumb-looking and silly to take at all seriously. The fire from the tail already pushes things, but then they go a step beyond that and it looks so terrible.
They were so so dang close to a really serious and great Godzilla movie, then completely blow it with discoZilla. So annoying.
This is one of my biggest gripes in movies. And it happens all the time, often when a character selflessly sacrifices themselves so that others can get away: the Killer / Monster / bad guys just rush in to kill them and they don't even fight back. Like, yeah no shit a handgun isn't going to kill a MUTO, but the alternative is to just sit there and die. TAKE YOUR FUCKING SHOT. Sure, you're 99.99% still going to die, but at least you went down swingin'.
Yeah it's got that Attack on Titan effect.
Yeah we watched the original black and white at the grandparents.
After that anytime we stayed over we'd always rent another Godzilla or King Kong movie
To me, that's the core of the movie, and maybe why I don't mind the Godzilla craziness - I think Godzilla was just a vehicle to lampoon stupid bureaucracy. Obviously it was a critique on the handling of Fukushima, but I thought it extended further than that. I interact a lot with people in our Japanese business partner and I loved seeing all that stupidity, like having to change meeting rooms to hold a different meeting with the same audience. I've felt like I've been in the middle of that before.
Split:
I don't think we're meant to agree with the Beast (Split is a lot of things, but it is not pro-"women being killed and eaten", and we are meant to be upset by the deaths of the other kidnapped girls and of Kevin's therapist), but we are meant to have sympathy and even pity for Kevin and many of his alter egos; they're literally a broken person, and there's something almost as admirable as it is horrifying in the way they've stretched the limits of human possibility in their effort to feel safe from Kevin's childhood tormentors.
These ideas are extended and expanded upon in Glass, but I won't go into that since you haven't seen it. Suffice to say that even going by Unbreakable and Split, this series holds a nuanced view of suffering, between villains who embrace faith (but also violence) as a result of suffering, and heroes who come to understand (but not fully share) that path.
I really liked Godzilla 2014 but it suffered a lot in replayability. The 2nd time I watched it on bluray, I wanted to fast forward through quite a few parts. I think that is one thing KotM's will have going for it. The plot makes no sense and several good actors are wasted; but it moves quick and has plenty of action.
They ignored it. It’s a direct sequel to Terminator 2, fuck everything else.
This is probably the right move, but the better move would be to stop making Terminator movies. Give that shit a rest.
But to be clear, I woke up from that nap ready to watch fucking titans rip each other apart, excited as hell about it. Loved that movie.
I'll give the franchise one more shot. If Arnold and Linda Hamilton can't get the new one to work, that's the end.
Honestly at this point i've watched so many Toku things with god-awful cgi that i didnt even blink at this. I mean, it was a bit naff - but as other people have mentioned, the heart of the movie was a lot of the bureaucracy vs gojira and the issues surrounding it. Which is why i want to see a sequel, if it's handled with the same deftness - How does the beaurcracy respond when the ticking time bomb goes off?
The bit that nearly killed me with laughter was DRAMATIC EVANGELION MUSIC... over document filing etc. That was goofy and beautiful in equal measures.
Edit: Doing some research on Shin Gojira, apperntly Toho's contract with Legendary restricts them from releasing any live-action Godzilla movies the same year as Legendary releases ones. Which is rather Gah! but oh well. So it looks like after 2020, as that's when the contract expires?
Steam: https://steamcommunity.com/id/TheZombiePenguin
Stream: https://www.twitch.tv/thezombiepenguin/
Switch: 0293 6817 9891
Now that's out of my system, I had a great time.
Yeah, that was my main problem, too. I think these films should deemphasize that Godzilla is radioactive, just like most of the Japanese movies where Godzilla is not himself the threat do. As it stands now there are too many occasions where I would briefly think “man, they’re awfully close to this radioactive monster...”
I always liked the moment in 1984/85 where Godzilla steps and the street gives way under him, causing him to almost lose balance. Sort of a wink at the fans moment for everyone that complained about physics; like "here's a little nugget for you".
Split was a fantastic horror film, I thought. Glass is a mess.
Unbreakable is still the best of the three, but Split is wild.
Godzilla isn't pants-on-head bad. Just takes me out of the movie since in a past life I lived with a nuclear engineer. Pants-on-head bad physics are the railguns from Eraser.
You can't stop the creation of terminator movies, you can't bargain with them, you cannot kill them, they WILL NOT STOP.
That’s some Library of Alexandria shit
And I just wonder ... why? Has this "X Time Period Earlier" thing ever done anything good or useful for a story? Has there ever been a purpose to it? Has it ever been executed well and for a meaningful reason? Basically, what the heck is the point of this narrative structure.
Because despite it's seeming to be common enough that everyone recognizes it, I can't think of a single example of it happening where I thought it wasn't entirely pointless. Am I wrong?
I thought it was a pretty effective way to kick off Fight Club, but it probably wasn't necessary.
But let's put it this way, those only work because of the directors and the technique is good 1/100th of the time, so those movies alone used it up for the others out there in recent years.
I don't mind seeing the "end" of a story and then going back to how we get there.
The recent season of Bosch even does that, where the show opens up at a part the show doesn't catch up to till around I think episode 4? It's an interesting hook. Show us something shocking and then work our back to it.
In John Wick we see John fucked up driving a broken ass SUV and possibly spending his final moments watching a video of his wife, and it does make you go "how did we get here."
Fight Club even uses it to make a joke "Huh flashback humor."
pleasepaypreacher.net
Like
Directed By Micheal Bay
pleasepaypreacher.net
There are times when a movie or show do it well enough that it covers for the fact that it's a lazy storytelling device - John Wick, Breaking Bad, Ratatouille - but the number of times it actually adds to the narrative versus just being something shocking is pretty small.
Mother's Basement had a good video about all this:
What's the thesis here?
Because judging from the title I'm not sure I can take it seriously if it doesn't think critics value spectacle.
That critics, being in a profession built around using words (whether spoken or written) to create images and transmit ideas, tend to overfavor the elements of media closest to their wheelhouse.
I actually think the flash-forwards in the final season of Breaking Bad were a fun tease when they aired, but in retrospect they did kinda spoil the finale. I was really hoping for a fake-out or a red herring, but nope, he used that giant machine gun just like I thought he would.
It didn't bother me there because the final season or two were meant to be a slow motion trainwreck that you couldn't look away from. We pretty much knew what was coming, and that dramatic irony just upped the tragedy factor.
As to Deadpool, I mentally distinguish between something like a single scene followed by TWO WEEKS EARLIER, and something like Deadpool, where the narrative structure just contains an extended flashback, or flips between multiple timelines.
I don't know if there's a good reason for that distinction, but I make it anyway.
Masers?