Godzilla and his horny pal Anguirus battle King Ghidorah and his cyborg bud Gigan!
50 years ago, today Toho Studios released Godzilla vs Gigan, the twelfth flick in the series at the time. It had alien cockroaches attacking earth using the space monsters King Ghidorah and Gigan to lead the charge. Godzilla and former foe Anguirus take on the invaders to save the world! It’s not the best of the series but is a lot of fun and Gigan has become a cult favorite character. I actually saw it in a theater as a kid when Cinema Shares released it five years later as Godzilla on Monster Island.
HAPPY 50th ANNIVERSARY GODZILLA vs GIGAN!
The original Japanese release poster!
The US release poster for Godzilla on Monster Island!
Ordered this awesome Godzilla vs Hedorah (The Smog Monster) 50th Anniversary tee shirt from the equally awesome folks at Cavity Colors! It arrived today! I remember back in 71 when this flick came out and played at the State Theater in Jersey City, NJ. My folks didn’t want to drive down there to take me to see it and I was one bummed kid. LOL!
Here’s a better look from the Cavity Colors web store!
Godzilla vs Kong opens a few years after Godzilla’s battle to the death with King Ghidorah in Boston. Godzilla has left mankind in peace, till suddenly launching an attack on an Apex Cybernetics facility in Florida. Meanwhile, Skull Island is becoming unstable and Dr. Ilene Andrews (Rebecca Hall) seeks to find Kong a new home. As fate would have it, scientist Dr. Nathan Lind (Alexander Skarsgård) needs a titan to lead the way to the Hollow Earth, which may be the original home of Kong’s race. As Andrews and Lind, with the help of Apex, begin to move Kong from his ill-fated island home, Madison Russell (Millie Bobby Brown) teams with Titan Truth Podcast host Bernie Hayes (Brian Tyree Henry) to find out what Apex is really up to and why it’s provoking Godzilla to attack. As there can be only one alpha titan, the paths of Godzilla and Kong are fated to collide and as they are destined to meet in combat, Apex is about to unleash a threat that may be the end of all titans on Earth.
Sequel to Godzilla, Godzilla: King of the Monsters and Kong: Skull Island is directed by Adam Wingard (The Guest, You’re Next) from a script by Eric Pearson and Max Borenstein, based on a story by Terry Rossio, Michael Dougherty and Zach Shields. As such, it is a fun monster battle blast. Sure the plot is a bit convoluted and character development/motivation is kept to a bare minimum, but we don’t watch a Godzilla or Kong movie expecting Shakespeare. Adam Wingard delivers what might be one of the most visually sumptuous kaiju flicks ever made, as well, as some of the most vicious and intense monster fights once Kong and Godzilla collide. His previous films showed a man who loves movies and it’s his inner film geek that best serves this fun, popcorn monster mash. The film gives us a giant monster flick that delightfully flaunts it’s influences, as G vs K evokes Ishirō Honda with it’s spectacular battles, Edgar Rice Burroughs, as Kong and his handlers explore the lost world of the Hallow Earth, and a touch of James Bond as Madison, her bud Josh (Julian Dennison) and Bernie sneak into Apex’s secret underground lab in Hong Kong. Wingard also gives us a Godzilla whose appearances evoke Jaws in the very best way. The human characters may be shortchanged, and Kong is far more the focus than Godzilla, but the action is fast and furious and comes quick enough for what exposition there is, to not get in the way of the entertainment. The battles between Godzilla and Kong are both visually spectacular and extremely brutal and Wingard does deliver what he promises…a definite winner. The script also cleverly finds a way to get the loser of the battle back in action and a chance to redeem themselves, when Apex unleashes a common enemy that presents a danger to both combatants. The digital SPFX are absolutely top notch, especially when pitting Godzilla and Kong against each other in neon drenched Hong Kong, and in the exploration of the Hallow Earth world. The cinematography by Ben Seresin is absolutely gorgeous and compliments Wingard’s expert shot composition and visual design very well. The score by Tom Holkenborg/Junkie XL is simply one of the best non Akira Ifukube scores attached to a Godzilla flick. All in all, story and character weaknesses aside, this is a roller coaster, fun ride of monster movie mayhem.
Wingard has assembled a good cast that help make two dimensional characters a bit livelier. Rebecca Hall is noble and strong-willed as the Jane Goodall-like Dr. Ilene Andrews. She’s likable and has Kong’s best interests in mind. Alexander Skarsgård is also endearing as the slightly timid but driven Dr. Nathan Lind. He lost a brother to a Hollow Earth expedition and is dedicated to successfully exploring it. Millie Bobby Brown is once again spunky and strong-willed as Madison. She is sworn to clearing Godzilla’s name and prove he is no enemy to man. Brian Tyree Henry is fun as eccentric podcaster Bernie, seeking to uncover Apex’s secret, as is Julian Dennison as the reluctant tag-along Josh. Rounding out our good guys is the charming Kyle Chandler in a smaller role as Dr. Mark Russell and adorable Kaylee Hottle as Jia, a little deaf girl and last survivor of Skull Island’s indigenous people. Her handicap gives her the ability to sign, which she teaches Kong, in a clever story device to have the massive simian emote and communicate more. Kong is presented as a noble hero here, while Godzilla is clearly the aggressor and bad guy, till a last act reveal unveils his motivation for the attacks. As for our underdeveloped bad guys, Demián Bichir is appropriately sinister as Apex CEO Walter Simmons, who wants to destroy all monsters, sexy Eiza González gets some of the worst lines as the apple that doesn’t fall far from the tree, his daughter Maya and Shun Oguri has sadly little screen time as Ren Serizawa, the son of Dr. Ishirō Serizawa, who wants payback from Godzilla over his father’s death. A plot-line that definitely needed more attention. Thinly written characters, yes…a good cast, definitely!
Overall, those expecting a monster flick with the story depth of some of the recent high-end superhero epics might come away disappointed. Those going in expecting a monster Wrestlemania of epic portions, will probably be very entertained and on that level, Wingard and company deliver big time. The action is fast and furious, human interference is kept to a minimum and it is one of the most visually dynamic giant monster movies ever. The battles are brutal and intense and, for the most part, Wingard lets his titans go at it with the human interactions kept on the down low. Sure, the character development could have been stronger, but it’s somewhat convoluted story allows film geek Adam Wingard to delightfully reference a number of flicks both within and without the monster movie world. It also has some clever touches like Kong’s equalizer, an ancient axe made from a Godzilla ancestor dorsal spine. It makes for a wonderfully fun, popcorn flick that has wonders for the eye, plenty of adventure and some of the best monster fights yet captured on film. The Legendary Monster-verse seems to be finally finding it’s stride. Let’s hope they keep it going if this flick is a monster success.
With Legendary’s rematch finally on the horizon for release, maybe it’s time to look back at Godzilla and Kong’s first cinematic slugfest. This review is of the original Japanese language version.
The story finds Godzilla breaking out of his icy prison after seven years and, once more, heading for Japan, after he makes a quick snack of a nuclear submarine. Meanwhile, pharmaceutical company CEO Tako (Ichirō Arishima) is looking for something big to boost the ratings of the TV shows his company sponsors. Rumors of a large creature on a Pacific island may be just what he needs. The creature is a massive ape known as Kong and Tako plans to bring the beast to Japan. Obviously, Godzilla and an escaped Kong arrive on Japanese shores at the same time and are destined to cross paths and lock horns.
Flick is directed by Ishirō Honda from a script by Shinichi Sekizawa. The film is a lot lighter than the first two Godzilla films and goes for more comical situations than dramatic intensity…though it has that, too. Godzilla is clearly the bad guy here with Japanese authorities even provoking a second fight between the titans, after Godzilla’s heat ray cause Kong to retreat the first time around. The film is colorful, as were most of the 60s era Godzilla flicks and the FX from the legendary Eiji Tsuburaya range from some really elaborate model work to the sadly inadequate Kong costume, which looks like a Halloween ape suit. The arms laughably and drastically change length from shot to shot. Kong is the underdog here, with Godzilla portrayed as bigger and more powerful. Kong is given an added caveat of being able to absorb power from electricity to even up the odds. The battles are fun, though keeping in consistency with the rest of the flick, carry a lighter, more humorous tone. There is a lot of damage caused by both Kong and Godzilla when they are apart and utter destruction when they are in combat. The human drama is amusing enough to occupy us whenever our colossal critters are not on screen, which isn’t often and Kong gets to show he still has a way with the ladies. Legendary Toho composer Akira Ifukube provides another classic score. It’s a fun movie, though slightly disappointing for those expecting the more serious tone of both Godzilla and Kong’s original movies.
The cast are all good. Ichirō Arishima was known in his native land as the “Japanese Chaplin” and one can see why, as the actor delivers a fun performance of both exaggerated line delivery and physical comedy. Toho veteran Tadao Takashima and Yū Fujiki share hero duties as Osamu Sakurai and Kinsaburo Furueshare, the two PR men sent to retrieve Kong and then get involved with the carnage between the big ape and his opponent. Joining the two is Bond girl Mie Hama as Osamu’s sister Fumiko and Toho veteran Kenji Sahara as Kazuo Fujita, her boyfriend. Haruo Nakajima once again does a great job in the Godzilla suit, as does Shoichi Hirose give Kong a lot of character despite the sub-par gorilla suit. Ironically Nakajima would get to play Kong, too, in Toho’s only other Kong adventure, King Kong Escapes.
Despite being a sillier entry in Godzilla’s early filmography, Kong was said to be popular in Japan, so the film pairing of the two monsters was a big hit and remains one of the top grossing Toho Godzilla flicks. It’s a lot of fun and fast moving at 97 minutes long. The FX are standard for Toho sci-fi flicks of this era, save for the awful Kong costume, and there is a lot of destruction for the buck. For almost 60 years, a rumor has persisted that there are two versions of the film, with Godzilla winning in the Japanese version and Kong winning in the U.S. version. Despite Universal’s U.S. version being heavily edited, with some new footage of Western actors added in, the ending remains the same with both monsters tumbling into the sea. Kong surfaces, swimming off and Godzilla remains underwater, his fate uncertain until the next flick. Godzilla would re-emerge in 1964 for Mothra vs. Godzilla and Kong would fight his mechanical double for Toho in 1967’s King Kong Escapes also starring Mie Hama.
CRITERION ANNOUNCES GODZILLA-THE SHOWA ERA FILMS 1954-1975!
Godzilla fans rejoice! Criterion has offically announced what we have been hearing about for months…the Godzilla: The Showa Era Films 1954-1975 collection blu ray! This magnificent set of the original Godzilla films streets on 10/29/19 right before Halloween 🎃 and will include the following films…
Godzilla 1954
Godzilla Raids Again 1955
King Kong vs Godzilla 1963
Mothra vs Godzilla 1964
Ghidorah, the Three Headed Monster 1964
Invasion of the Astro Monster (Monster Zero) 1965
Ebirah, Horror of the Deep (Godzilla vs the Sea Monster) 1966
Son of Godzilla 1967
Destroy All Monsters 1968
All Monsters Attack (Godzilla’s Revenge) 1969
Godzilla vs Hedorah 1971
Godzilla vs Gigan 1972
Godzilla vs Megalon 1973
Godzilla vs Mechagodzilla 1974
Terror of Mechagodzilla 1975
Direct from Criterion themselves, features will include…
High-definition digital transfers of all fifteen Godzilla films made between 1954 and 1975, released together for the first time, with uncompressed monaural soundtracks
High-definition digital transfers of Godzilla, King of the Monsters, the 1956 U.S.-release version of Godzilla; and the 1962 Japanese-release version of King Kong vs. Godzilla
Audio commentaries from 2011 on Godzilla and Godzilla, King of the Monsters featuring film historian David Kalat
International English-language dub tracks for Invasion of Astro-Monster, Son of Godzilla,Destroy All Monsters, Godzilla vs. Megalon, Godzilla vs. Mechagodzilla, and Terror of Mechagodzilla
Directors Guild of Japan interview with director Ishiro Honda, conducted by director Yoshimitsu Banno in 1990
Programs detailing the creation of Godzilla’s special effects and unused effects sequences from Toho releases including Destroy All Monsters
New interview with filmmaker Alex Cox about his admiration for the Showa-era Godzilla films
New and archival interviews with cast and crew members, including actors Bin Furuya, Tsugutoshi Komada, Haruo Nakajima, and Akira Takarada; composer Akira Ifukube; and effects technicians Yoshio Irie and Eizo Kaimai
Interview with critic Tadao Sato from 2011
Illustrated audio essay from 2011 about the real-life tragedy that inspired Godzilla
New English subtitle translations
Trailers
PLUS: A lavishly illustrated deluxe hardcover book featuring an essay by cinema historian Steve Ryfle, notes on the films by cinema historian Ed Godziszewski, and new illustrations by Arthur Adams, Sophie Campbell, Becky Cloonan, Jorge Coelho, Geof Darrow, Simon Gane, Robert Goodin, Benjamin Marra, Monarobot, Takashi Okazaki, Angela Rizza, Yuko Shimizu, Bill Sienkiewicz, Katsuya Terada, Ronald Wimberly, and Chris Wisnia
Set is available for preorder through Criterion’s website for $179.96 before tax and shipping!
Sequel takes place five years after the events of Godzilla 2014 with Godzilla keeping a low profile and being monitored diligently by the Monarch organization. Other creatures, or “Titans” have been discovered across the globe and the military wants them all destroyed, while Monarch believes they represent a balance in nature. Eco-terrorist Colonel Alan Jonah (Charles Dance) feels the Titans should all be freed to restore that balance and plans to steal the Orca…a device capable of communicating with, and possibly controlling the monsters…to accomplish this. He kidnaps Orca creator Dr. Emma Russell (Verga Farmiga), her daughter Madison (Millie Bobby Brown) and her invention and thus sends Monarch and Emma’s estranged husband Dr. Mark Russell (Kyle Chandler) in hot pursuit. But Jonah gets more than he bargained for, when he uses it to release the three-headed space monster Ghidorah from his icy prison and the beast challenges Godzilla for the title of King of the Monsters. Add in the Queen of the Monsters Mothra and the fire demon Rodan and earth soon becomes a monster sized war zone.
Trick r Treat director Michael Dougherty takes over from Gareth Edwards and seems to have a far better grasp of the material. He also does script duties along with Zach Shields, from a story by they and Max Borenstein. What we get is far closer to a Toho Godzilla film than the 2014 flick and one that is a lot more fun. Sure the plot is a bit goofy, but no goofier than an alien race building a robot Godzilla or a creature created completely from pollution. It’s filled not only with tons of fun references to Godzilla flicks of the past, but we get all the traditional story elements like devious villains, stalwart scientists, brave military types and a smarter than the adults kid. Not only are all the tropes proudly paraded out for those familiar with the series, but it has some of the most spectacular monster battles ever presented, as Godzilla, Ghidorah, Rodan and Mothra all converge to duke it out and destroy everything in their paths. The final showdown in the city of Boston is absolutely amazing and Yankee fans might even get a giggle over Godzilla and Ghidorah throwing down in the middle of Fenway Park. It’s also a true popcorn blockbuster, so even those not too familiar with the Big G and his 65 year history, can still enjoy the flick on a purely entertainment spectacle level and monstrously entertaining it is. Not to mention, the film’s final image is something every Godzilla fan has wanted to see from day one. On a technical level, the SPFX are amazing, the monsters are truly titanic and majestic and their destruction is on a totally massive scale. The score by Bear McCreary is far more fitting than Alexandre Desplat’s ho-hum score for Zilla 2014 and delightfully mixes in some of Akira Ifukube’s classic Godzilla themes to add a nice touch of nostalgia to the film.
The cast are good and all of them get the material. They play it seriously…but not too seriously. Leads Farminga, Chandler, Brown and Dance all do well in essaying their roles. Vera Farming as the scientist with a personal reason to get involved, is solid and helps us understand her decisions, even when they are the wrong ones. Chandler is fun as the father and husband trying to get his estranged family back. He’s a good lead and his old fashioned character fits this kind of movie well. Charles Dance is impeccable as ever as the villainous Alan Jonah, who like Thanos, thinks he is doing the right thing by trying to unleash these creatures. Millie Bobby Brown is especially endearing as Madison and in many ways is the emotional center of the flick. The supporting cast are all good, too, especially Ken Watanabe returning as Dr. Ishirō Serizawa and Zhang Ziyi playing Dr. Ilene Chen, a character who pays tribute to a familiar Mothra trope in a very fun and clever way. A good cast that even give some very corny dialogue a little dramatic weight.
Overall, this was a really fun and action packed sequel to a film widely criticized for skimping on the monster action. It has monster battles to spare, but still gives us some people time along with a very Toho-esque storyline. Michael Dougherty keeps the 132 minute flick moving very fast and pays loving tribute to the classic Godzilla flicks in some fun and very clever ways. Stay through the credits for not only an end credits scene, but for some amusing interwoven news items that echo what is to come. A gargantuan blast of a good time!
A new trailer recently landed for the highly anticipated Godzilla sequel, now we get character posters for all the creatures featured! Michael Dougherty’s Godzilla : King of the Monsters arrives in theaters on May 21st, 2019!
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This new version of the King Kong legend takes place in 1973 at the end of the Viet Nam War when an uncharted island is discovered by satellite in the center of a perpetual storm system in the South Pacific. The monster hunting Monarch organization from Gareth Edwards’ Godzillawants to send an expedition in, with the hopes of getting there before the Russians find out about it. Agent Bill Randa (John Goodman) heads the expedition team, including former SAS tracker, James Conrad (Tom Hiddleston), combat photographer, Mason Weaver (Brie Larson) and a military escort lead by Lt. Colonel Preston Packard (Samuel L. Jackson). Immediately upon reaching the island, they find a hostile environment populated by hostile creatures and manage to piss off the ruling predator, a 100 foot tall ape the local natives and stranded WWII airman Hank Marlow (John C. Reilly) call Kong. After a confrontation with Kong that leaves the military escort decimated and the expedition stranded, the group begin to plan their escape from the island…all but the vengeful Packard, who wants to finish what he and the enormous simian started. Little do they realize, that there is a greater threat living beneath the grounds of Skull Island and Kong may be their only hope of surviving it.
The entire reason this reboot exists is to set up the eventual collision between the giant ape and Godzilla, now that Warner Bros has the rights to both and is starting their proposed Marvel-esque “Monster-verse”. In a way it shows, as this flick is directed somewhat by-the-numbers by Jordan Vogt-Roberts from a script by three writers, no less, including Godzilla scribe Max Borenstein. This new interpretation is a fun monster movie that is loaded with action and filled with an assortment of critters, but by removing the tragic elements and the Beauty and The Beast angle from the original story, the makers remove the parts of the tale that resonated the most and gave it emotional depth. Now it’s just a routine monster movie and while it does entertain, it is also a bit forgettable once the credits finish rolling. Vogt-Roberts moves things fast enough, but never succeeds in giving the film a sense of wonder or an emotional center. Even Kong seems more of a generic monster here, though a bit of a noble one and we don’t endear to him like previous incarnations. The film is still a fun time, but not much is going to stick with you after it’s over. The FX are top notch and the monster scuffles are fast and furious, but the film lacks the heart and soul that the original classic…and even, to a lesser extent, Peter Jackson’s remake…had that made them memorable and endearing. Aside from re-introducing Kong in order to set up another movie with The Big G, there really isn’t a point to this version and despite the monster menagerie and some likable characters, it’s a bit shallow, when all is said and done.
The cast are all good, though and overcome some stale dialog to make their characters enjoyable to watch, aside from the big CGI ape. Hiddleston is solid as former military man Conrad and proves again he is leading man material. Here he plays a tough guy with a heart and does so very well. Brie Larson is also very charming and likable as seasoned photographer Mason Weaver. She can scrap and battle monsters with the boys and hold her own with both Kong and Samuel L. Jackson and not loose her girl-next-door appeal. She conveys a strength and grace that should bode well for her upcoming MCU turn playing Marvel super-heroine Captain Marvel. Goodman avoids the clichés that come with government operative characters and gives his Bill Randa a boyish sense of wonder at what he has found on Skull Island. While the character did keep secrets, he is never portrayed as a villain. Samuel L. Jackson is dead-on as the battle-hardened warrior who is not going to let a giant ape get away with wiping out his squad, especially after a disappointing exit from the Viet Nam conflict. Jackson’s bravado and intensity does make him a suitable adversary for the gigantic ape. Rounding out the leads is John C. Riley, who gives the film a little comic relief and some heart as a man who has been stranded on the primordial island since WWII and has bonded with the natives and learned how to survive it’s beastly population. His Hank Marlow provides us with some important exposition about Kong and his homeland, too. The supporting cast are all fine, as well and the strong cast helps make this as fun as it is.
Overall, this is a fun Saturday or Sunday matinee monster movie with plenty of creatures and numerous monster brawls to pass the time. The solid cast elevates a routine script and some stale dialog and the film is fast paced enough to keep us from thinking too much about things. The tragic soul of the original story is lacking and while there is a brief bonding moment between Kong and Larson’s Mason Weaver, the epic Beauty and the Beast element is missing as well. This Kong never gets to see New York or fall in love, but if he is still a growing boy as Hank Marlow seems to suggest, he should be big enough to lock horns with Godzilla as Warner Brothers plans them to do in 2020…which is the entire reason we got this movie. A fun, but forgettable monster mash.
Be sure to stay through the credits for a Marvel-esque post credit sequence that reveals Godzilla’s “co-stars” in the upcoming Michael Dougherty directed sequel Godzilla: King Of The Monsters due in 2019.
(Remember, clicking the highlighted links brings you to other reviews and articles here at The Movie Madhouse!)
Shin Godzilla…meaning “true” Godzilla…is a reboot of the classic Godzilla series from Toho Studios and the imaginative minds behind Neon Genesis Evangelion, Hideaki Anno and Shinji Higuchi. In this new incarnation, Godzilla starts out as a mysterious tadpole-like creature that appears in Japanese waters causing structural damage to its Tokyo Bay Aqua-Line before making landfall. It cuts a path of destruction as the Japanese government flounders over what to do. As they struggle over how to handle this unprecedented event, the creature mutates growing larger and more destructive as it does. Worse still, this beast, the prying U.S. government calls “Godzilla”, is a walking nuclear reactor heading into the heart of Tokyo.
In this new incarnation of the long enduring classic character, Godzilla is a true monstrosity as it has the power to mutate itself at will, as it returns to Japan, no longer content or satisfied with feeding on the nuclear waste the Asian nation dumps into its oceans. There are hints that he is a nuclear created amalgamation of all sorts of sea and other life that now has formed into an ever-changing leviathan in search of nuclear fuel. The creative duo also uses the creature as a metaphor for the recent earthquake and typhoon disasters that struck Japan in 2011 and the Japanese government’s mishandling of it, due to being mired in bureaucratic red tape and politics. They also take some jabs at the United States prying into Japanese affairs and being a bit of a bully towards the island nation in bending to its will. This works for the most part, though if the film has an Achilles heel, it’s that it allows its political satire to get a bit heavy-handed and overloaded in the second act, while we wait for an immobile Godzilla to recharge after battling a U.S. bomber attack with its new version of the atomic heat ray. The film does drag a while before it’s impressive but over-too-quick climax, at a point where it should be ramping up. Having Godzilla dormant for a good chunk of time after a fairly action-filled first half, really slows the film’s momentum. That and the points made here were pretty much the same made in the first half and it starts to get redundant. On a technical level, the FX are mixed. There are some truly spectacular sequences of destruction unlike any seen in a Godzilla film, including the multimillion-dollar American flick from 2014. In contrast, there are some weak CGI FX that hinder the impact of some scenes, such as Godzilla’s creepy amphibious first form and some shots during his overall impressive unleashing of his new nuclear capabilities. Tonally, the film takes itself fairly seriously, though there is some humor and plenty of satire. The last half could have used more tension instead of talk and after a spectacular battle with U.S. B2 bombers, it’s off-putting to see Godzilla just stand there for so long, allowing Japan to re-group. The traditional Godzilla gave little rest for the weary. Fans will be pleased that the film does use some of Akira Ifukube’s classic Godzilla music for mood and nostalgia and there is also an effective score from Shirō Sagisu as well.
The cast, for the most part, perform well with lead Hiroki Hasegawa standing out as Rando Yaguchi, a young Deputy Cabinet Secretary who sees the flaws in the system and how they are negatively affecting Japan, especially in a crisis. Beautiful Satomi Ishihara plays Kayoko Ann Patterson, a U.S. born senator’s daughter who is the envoy to Japan during Godzilla’s attack. She could have been a bit stronger in a smug role and the fact that her English is terrible, doesn’t bode well for her playing a U.S. born character to an American father. Other than that, the cast all get the tone of their parts and balance the satirical humor with the more serious facets of the story fairly on-point. As for Godzilla, he is for the first time really creepy. He has nuclear energy glowing from points under his skin, like the burning Godzilla from Godzilla vs. Destroyah and actually evokes Hedorah, The Smog Monster, in the way it evolves from a disturbing reptilian-slug thing to a creature that resembles a giant walking, grinning zombie dinosaur. It is a startlingly original take on this iconic beast and his new way of unleashing his nuclear power was shocking and impressive. Too bad a few shots suffered from weak CGI as this sequence was one of the most powerful in the film.
Overall, this was a very interesting, entertaining and sometimes disturbing new incarnation of one of film’s most classic characters. It is still the Godzilla we know, yet with some daring new characteristics and a more contemporary origin. The film is more moderately paced than these movies usually are and comes with a lot of political commentary on Japanese government and its relationship with the U.S. It does stumble a bit with a very talky second half and by getting a little too heavy-handed with its messages, though it does recover somewhat with an impressive, if not a bit too quickly resolved finale. A bold new start for a franchise and a character that has endured for over 60 years and one of the most unique films in the series.
New trailers for Ash vs Evil Dead season 2 and Godzilla Resurgence!
Starz’s Ash vs. Evil Dead series (click HERE for our season 1 review!) is set to return this fall for a second season. The adventures of Ash, Pablo and sexy Kelly will continue on 10/2/16! For now, here’s a full NSFW trailer sampling some of the bloody fun!
Toho Studios has released an all new trailer for their upcoming Godzilla reboot! Check out the latest chaos and carnage as the Big G returns to Japan in Godzilla Resurgence! Flick opens in Japan 7/29/2016!
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