Godzilla & Kaiju General!

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Postby Chuckman » Sat Jul 21, 2018 10:58 pm

My guess from the trailer is that

SPOILER: Show
She either sets off that explosion we see that awakens Rodan and does something to bring the other monsters out to fight Ghidora, or she wakes Ghidora up her self for some reason. Maybe the old "humanity must be cleansed to save the world yadda yadda" motivation.

Honestly if the whole movie looks as cool as the trailer does and it has Kong levels of monster fight scenes and not 8 minutes of edging, her motivation to release Ghidora could be "fuck it lol let them fight" and I won't care.


Edit: Is Charles Dance's character...

SPOILER: Show
Tom Hiddleston's character? I've heard that a bunch of times already. That'd be cool.
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Postby silvermoonlight » Sun Jul 22, 2018 6:58 am

View Original Postmovieartman wrote:
SPOILER: Show
Charles Dance is the villain & has convinced her to side with him.
It's not her colleagues calling her out its her husband & daughter.


SPOILER: Show
Personally I kind of wish she was the villain because I'm a little bored of the trope that its only guys who want to wreck the world for a change I'd like a film to throw shade on a female character and go you know what some women want to fuck up the world to because not all of them have maternal instinct or give a damn about people.

The movie Rampage tried to do this but in my view failed in its delivery because the female villain just didn't have the emotional force on screen also her death of being eaten alive was very uncool because it took away the momentum of what she did or that she should have been punished by law for her crimes on humanity and the people who got eaten and killed.
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Postby Gendo'sPapa » Sun Jul 22, 2018 11:38 am

If that’s the route they’re going I’m certain Vera Farmiga won’t be a “Let’s Destroy the World Hahahahaha!” Villain but more of a misguided scientist blinded by her own hubris.

Either way, I’m super excited about Godzilla: King of the Monsters and the only thing that gives me pause is I hope the film doesn’t spend much/if any time setting up the future of the MonsterVerse or the Godzilla Vs. Kong that will come out basically one year later to the day. I just hope we’ll be able to walk out of King of the Monsters going “Man that was a great movie” & not “Well, I’ll have to see Godzilla Vs. Kong to get the whole story. Plus I’ll have to see the Mothra movie, the Rodan movie & the Ghidorah standalone films they all set up to get the whole story.

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Postby movieartman » Sun Jul 22, 2018 4:23 pm

Some notes & thoughts...

- This shot reminded me of the pre 2014 Godzilla Encounter.
SPOILER: Show
Image
Image
Image


- Rodan appears to be following a flying wing aircraft. It's also visible when Ghidorah spreads his wings.
Presumably this is what Fermiga & Dance's characters are operating put of to lure the monsters around.
SPOILER: Show
Image


- Pleased to see fighter jets being used in multiple scenes, one of my complaints against the 2014 film was not showing us much military vs monster combat.

- Appreciate that while this is more colorful & majestic, It maintains much of the style, scale & feel of what Gareth Edwards set up.
Ghidorah's silhouette for example looks just like several shots of Godzilla amid smoke & haze in the trailers & the 2014 film.

- After how wonderful this looks I question the decision to not have Michael Dougherty do both this & Vs Kong.

- Really hope if both of these films are received well Toho will allow WB/Legendary to renew their Godzilla license to do more films regardless of Toho's own Kajiu cinematic universe plans.

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Postby FreakyFilmFan4ever » Sun Jul 22, 2018 5:45 pm

The trailer is really dialogue heavy. I normally wouldn’t mind, but a lot of the dumb trailer lines end up being awkwardly hung in the film somewhere. (Thanks, Snyder.) But THAT MUSIC, THO. It’s really good.

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Postby Blue Monday » Mon Jul 23, 2018 6:10 am

Man, the King of the Monsters trailer is awesome, it's really looking like the film I'm hoping it will be. Hyped for some super-cute Mothra moments. Also, I like the shot of Rodan's air wake completely leveling entire city blocks, reminds me of the imagery of the nuclear bomb shockwave hitting the houses from the Nevada tests back in the 50s.
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Postby Chuckman » Mon Jul 23, 2018 11:39 am

View Original PostFreakyFilmFan4ever wrote:The trailer is really dialogue heavy. I normally wouldn’t mind, but a lot of the dumb trailer lines end up being awkwardly hung in the film somewhere. (Thanks, Snyder.) But THAT MUSIC, THO. It’s really good.


HOLLYWOOD: USA, 2014

TUESDAY


Executive 1: Very well, we approve, or as the common folk say, 'greenlit' this new Godzilla film.

Executive 2: You mean greenlight, Glen. Greenlit is past tense.

Executive 1: Right, we greenlighted it.

Executive 3: What's it called?

Executive 4: "Godzilla: King of the Monsters"

Executive 2: "Is someone going to say 'long live the king?"'

CEO President Man: Steeples fingers "Bring me Charles Dance."
the prophecy is true

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Postby Kazuki_Fuse » Fri Jul 27, 2018 12:55 am

No worse than that line at the end of the 2017 CGanime movie.

"It's been a long time, oh King of Destruction."
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Postby silvermoonlight » Mon Jul 30, 2018 6:09 am

So I watched the second Netflix animated movie Godzilla City on the Edge of Battle and I didn't feel it improved much over the original if I'm honest.

SPOILER: Show
It has some really interesting ideas but there not delivered well. I kept wanting so badly for something awesome to happen like Mothra showing up since they bring in the twins but she never does and it was all we gotta kill Godzilla plus it has one of the worst crow barred in romance scenes ever which makes no sense since the one girl in the whole army suddenly decides hey I'm in to the lead all of sudden which was purely so they could use her as a romantic prop to force his character to make a choice between saving her or killing Godzilla.

The ending just had me rolling my eyes because I know its just a stupid death fake out because they'll need there forced romance for the final film and killing there only female solider will make them look so bad since other than in the Mothra tribe there are no female characters in the army or in positions of power on the ship above something I really thought the second film would have fixed.
Last edited by silvermoonlight on Tue Jul 31, 2018 2:05 am, edited 1 time in total.
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Postby Chuckman » Mon Jul 30, 2018 5:22 pm

I watched that this weekend, in the sense that I actually watched about twenty minutes of it while fast forwarding through the rest.

Let me sum up the plot for you:
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Postby silvermoonlight » Tue Jul 31, 2018 3:11 am

View Original PostChuckman wrote:I watched that this weekend, in the sense that I actually watched about twenty minutes of it while fast forwarding through the rest.

Let me sum up the plot for you:


I see no lie :lol:
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Postby movieartman » Wed Aug 22, 2018 2:11 pm

Good size comparison chart of the Legendary monsterverse.
SPOILER: Show
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Postby Chuckman » Mon Oct 15, 2018 8:57 am

https://www.youtube.com/watch?v=4mTUi2stGEM

This is the trailer for the third Godzilla anime.

I suggest watching it with auto-translated subtitles, because that is far more entertaining than the actual movie will be.
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Postby silvermoonlight » Tue Oct 16, 2018 12:18 pm

View Original PostChuckman wrote:https://www.youtube.com/watch?v=4mTUi2stGEM

This is the trailer for the third Godzilla anime.

I suggest watching it with auto-translated subtitles, because that is far more entertaining than the actual movie will be.


I love King Ghidorah but god do I ever hate that design and it will cause a mix up since there's another Godzilla monster called Manda and it clashes with his appearance big time...

https://wikizilla.org/wiki/Manda
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Postby FreakyFilmFan4ever » Wed Oct 17, 2018 11:07 am

This trilogy has absolutely no idea what it’s doing anymore. Like, it was always bad, but now it just doesn’t have a clue either.

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Postby silvermoonlight » Wed Oct 17, 2018 2:45 pm

View Original PostFreakyFilmFan4ever wrote:This trilogy has absolutely no idea what it’s doing anymore. Like, it was always bad, but now it just doesn’t have a clue either.


Its interesting you say that because I've been trying to work out what the animation room is like on this one and if there's someone going do what I say because I say so and the other guys and women in the room are going but thats not Godzilla and the person is going you do what I say because the kids will love it. Also never thought I'd say this but Godzilla and Smog Monster and Godzilla's Revenge are better than these three film combined because though they suck they still have some sense of knowing what they are and what the franchise is where as this series is just lost like driftwood in the middle of a black ocean.
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Postby Chuckman » Wed Oct 17, 2018 3:04 pm

The problem is that it's one mediocre short film (on the order of say, 60-75 minutes, just enough to explore a nifty concept of the character) stretched out into three movies. Sort of like certain other trilogies. Trilogies about stout squat fellows seeking a treasure of some sort.
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Postby silvermoonlight » Wed Oct 17, 2018 4:03 pm

View Original PostChuckman wrote:The problem is that it's one mediocre short film (on the order of say, 60-75 minutes, just enough to explore a nifty concept of the character) stretched out into three movies. Sort of like certain other trilogies. Trilogies about stout squat fellows seeking a treasure of some sort.


Yeah I had heard that it was cut in to three but even then I just thought the filler would be better but I agree it does scream Hobbit problem and I'm convinced fantastic beasts is heading for that same kind of issue because unlike Potter it just doesn't have the full character depth since its not based on any real series of books JK has written only one and she's crafting by the seat of her pants and this always causes issues when your world building at that break neck speed and very few creators can pull it off well.
Last edited by silvermoonlight on Thu Oct 18, 2018 2:56 am, edited 1 time in total.
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Postby FreakyFilmFan4ever » Wed Oct 17, 2018 10:08 pm

View Original Postsilvermoonlight wrote:Also never thought I'd say this but Godzilla and Smog Monster and Godzilla's Revenge are better than these three film combined because though they suck they still have some sense of knowing what they are and what the franchise is where as this series is just lost like driftwood in the middle of a black ocean.

I see where everyone is coming from when they diss on Godzilla's Revenge, and I agree to a certain extent, but I'm going to critically defend and even celebrate Godzilla's Revenge anyway just to rub in how much better it genuinely is than this animated trilogy, watch me.

No, seriously, Godzilla's Revenge is fucking awesome  SPOILER: Show
Godzilla's Revenge was originally known in Japan under the title "Gojira-Minira-Gabara: Ōru Kaijū Daishingeki," or, "Godzilla, Minilla, and Gabara: All Monsters Attack." It was directed by the extraordinary director Ishiro Honda, who was affectionally known in Japan as the "King of Wood Grain" given then lived-in aspects of many of the traditional Japanese houses that were feature in many of his films. Honda directed many different kinds of movies in Japan, Godzilla being no exception. In fact, in my humble opinion, Honda held the title as the best director to work on Godzilla until Hideaki Anno was able to make a Godzilla movie that lived up to the feats of Honda with his 2016 film Shin Godzilla. Now, Shin Godzilla has many of its quirky features and traits about it that distinguish it from other titles in the Godzilla franchise. It's not just about a giant monster wreaking havoc in Japan, it's actually about how the Japanese government generally tends to respond to natural disasters.

Likewise, Honda, being the one of the best Godzilla directors in town, makes Godzilla movies that aren't simply about monsters either. Every Godzilla movie he has directed has either centered around or has featured one very important aspect to arguably all of Honda's prevailing works: The importance of the family structure and how it changes throughout Japanese culture. Don't take my word for it, go back and look at every single Godzilla movie directed by Honda, and you'll see family units of some kind play a very important aspect in his Godzilla filmography. In the original 1954 film, it was about the traditional family traditions of Japan (that of arranged marriages that Dr. Yamane holds to) slowly breaking down in light of the more new, more Western ideas of family and marriage (such as Ogata's courting Emiko without the permission or knowledge of Dr. Yamane.) In the first two Godzilla movies that feature King Ghidorah, Honda implements two differing sibling relationships in each film, almost comparing a more care-free and whimsical sibling relationship in Ghidorah: The Three-Headed Monster, with the other relationship in Invasion of Astro Monster, in which the brother is why to over-bearing and protective over his completely matured sister. I could go on and on, listing even more examples, but I'm not here to defend these Godzilla movies. Both Godzilla fans and even those outside of the Godzilla fandom have seen these movies and have recognized them for the pieces of entertainment that they are. But I do need to refer to these films in order to establish Honda's narrative patters before going on into his magnum opus of family narratives in his Godzilla films: Godzilla's Revenge.

Throughout Honda's Godzilla career, we see Honda's commentary on the family structure take on a more and more concerned tone as the films progressed. Families didn't start in a completely healthy state at the start of the film, as I already demonstrated in Honda's film The Invasion of Astro Monster. In Godzilla's Revenge, Honda takes on the most concerned he's been over a family structure than he's even been in any of his other Kaiju works. In it, Honda tells the story of a young boy named Ichiro Miki (skillfully performed by child-actor Tomonori Yazaki, seriously this kid is an amazing actor as he accurately captures the every-day life of a kid with a pure professionalism to his craft). Ichiro's family is strained and spread very thin in this film. His father (played by Kenji Sahara) is never depicted at home in the first half of the movie, instead being shown operating a freight train in a very urban (and polluted) city of Kawasaki, a rough part of town where housing doesn't seem to be all that expensive. And yet, despite Ichiro's father's job, a second income still needs to be provided by Ichiro's mother (played by Machiko Naka), who works as a host of a vaguely-defined establishment. (I'm thinking he's a waitress of some kind, but the film itself isn't interested in her job. It's only interested in the fact that she's not at home most of the time either.) Despite the double-incomes of both parents, they can't live in any other places other than the rough part of town (as demonstrated by the bullies and robbers constantly running amok in the city). As a result, Ichiro spends most of his day with a family friend who is also a toy-maker (played by character actor Hideyo Amamoto). The city in which they live tears the family apart itself when the robbers kidnap Ichiro, making the parents worried sick over his whereabouts. When the boy escapes from the robbers, Ichiro's mother embraces him and promises to take more time off from work in order to spend more time with him. (Keep in mind that this wouldn't help the living situation of these character at all.) This film shows the effect the Japanese failing economy was having on its inhabitants at the time, and how the family was suffering as a result. Despite the parents' best efforts to keep their head above water, they cannot progress into a city more safe for the family, and struggle to even keep their only child safe from the dangers in which they live. It's a strong massage to the children for which this film was produced to speak up more about spending time with their moms and/or dads.

And children was the main demographic for this particular Godzilla movie. Godzilla's Revenge was originally produced for a children's monster film festival, and considering that, an astonishing amount of time and effort went into this film's production. This could have simply been only a clip show of different monster fights featuring Godzilla. But, instead, Honda went the extra mile, shooting new scenes and recontextualizing everything to fit his specific goal and to proclaim his own unique message about family. The most impressive part is that he did all of this without once reusing Godzilla footage from a film that he directed himself. He was able to give new context to Godzilla scenes that he didn't even have creative control over to begin with, using scenes from Godzilla movies that other filmmakers had directed. And the fact that we here in the United States have aches to a film that was only meant for a one-time screener at a film festival for children makes this an even more special Godzilla movie. The fact that we can see even the quirky festival specials that Toho made means a lot to me personally, and should mean a lot more to the film community as a whole than they currently realize. Only a truly great director can take material by other people and put his own unique and personal touch on it in such a way that the film becomes far more important and outlives whatever festival it was intended to die with. While Godzilla's Revenge isn't anywhere near Ishiro Hona's best work, it is the greatest testament to his abilities as a director of film and his control over the medium as a whole.


Now tell me what in the actual fuck the animated Godzilla trilogy is about. What are its underlying themes, and how does the director seed those themes seamlessly into his work? I can't answer that because there's nothing to those movies, really. And, honestly, I've gotten myself all too emotionally worked up writing in earnest about the inherent greatness of one of the poorer Godzilla movies ever made to really say anything nice or healthy about the animated trilogy, so I'll just stop typing now.
Last edited by FreakyFilmFan4ever on Thu Oct 18, 2018 9:03 am, edited 1 time in total.

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Postby silvermoonlight » Thu Oct 18, 2018 3:21 am

View Original PostFreakyFilmFan4ever wrote:I see where everyone is coming from when they diss on Godzilla's Revenge, and I agree to a certain extent, but I'm going to critically defend and even celebrate Godzilla's Revenge anyway just to rub in how much better it genuinely is than this animated trilogy, watch me.


I had no idea about the failing economy and family side in that period of Japan and that's really interesting as it sheds new light on the film that I wasn't aware off thank you for that deeper view point as it suddenly makes that side of the film have more sense to me and explains why the boy is having these escape fantasies.


Now tell me what in the actual fuck the animated Godzilla trilogy is about. What are its underlying themes, and how does the director seed those themes seamlessly into his work? I can't answer that because there's nothing to those movies, really. And, honestly, I've gotten myself all too emotionally worked up writing in earnest about the inherent greatness of one of the poorer Godzilla movies ever made to really say anything nice or healthy about the animated trilogy, so I'll just stop typing now.


The only plot line of the two I could find and there is only two which is revenge and betrayal, betrayal coming from the aliens who are helping the human's that's it that's all there it and I've just noticed that in the new trailer they've also just dug themselves a very big hole plot wise...

SPOILER: Show
Because you see the colony ship that's above the earth just got blown up and guess what that had human's on it to and that means if there stuck on earth there hundreds of dudes and one woman and yeah you can't restart civilization with that and there no guarantee they can breed with the natives because there biology may have changed that much and they don't look like they have a great deal of women ether and this was one of the reasons I pointed to there lack of female characters in the last two movies because it could end up a problematic scenario like this and how not thinking your issues with gender balance through in film can cause you to end up with issues like this.
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