REVIEW: Godzilla vs. King Ghidorah (1991)

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Directed by Kazuki Omori
Written by Kazuki Omori
Starring Kosuke Toyohara, Anne Nakagawa, Megumi Odaka, Katsuhiko Sasaki, Yoshio Tsuchiya

I always wonder what the Heisei series of Godzilla films would have been like had Godzilla vs. Biollante not been a box office disappointment. The seeds were all there for an interesting science fiction franchise: a return to big-budget productions, new monster characters, a strong emphasis on high sci-fi concepts with consistent narratives. Such a shame that Toho decided to play it safe and redo the Showa series for the 90s. Don’t get me wrong, I still enjoy these films, but I ponder what could have been.

When a mysterious UFO is seen flying over Tokyo, tensions mount as the craft lands–and the occupants reveal themselves to be time travelers from the 23rd Century. Their mission: to warn mankind that Godzilla will soon awaken and wreak havoc upon the Earth unless he is destroyed. Meanwhile, a double-threat emerges in the form of King Ghidorah, a massive, flying three-headed dragon. The suspense builds to terrifying levels as the time travelers’ sinister true objective in the present is gradually revealed, and Godzilla must wage a solo battle against those who would destroy our future.

For Godzilla’s third outing in the Heisei continuity, Toho brought back his old nemesis, King Ghidorah, but more importantly, decided to create a trilogy cycle by delving into the origin of the second Godzilla. While I could argue all day about the dramatic deficiency of this move, namely, the destruction of the mystery surrounding this Godzilla’s existence, the end result is a bit more complicated than that.

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Beginning with a UFO streaking across the skies of Tokyo, GvKG quickly sets up the Godzilla origin arc with the main players of Terasawa (Kasuke Toyohara), a non-fiction writer investigating the kaiju’s past, dinosaur expert Professor Mazaki (Katsuhiko Sasaki), and the psychic from GvB, Miki Saegusa (Megumi Odaka). Their investigation reveals the existence of a massive dinosaur, a survivor of the KT Extinction, on Lagos Island in 1944, saving a garrison of Japanese soldiers from an American landing party. This revelation collides with the UFO story when the craft’s occupants reveal themselves as humans from the 23rd Century, come to save Japan from the devastation Godzilla will soon bring.

While the story itself seems sound, what really fails in GvKG for me is, well, everything else. Omori’s screenwriting takes a turn for the worse in this film, with his first deficiency being in his time-travel logic. Early on, one of the ‘Futurians’ insists that an individual from one time cannot coexist with his past-self at the same time, but this assertion is clearly proven wrong at several points later on, and the consistency of time theory is way off (at one point, their actions cause already established events to happen, and at others they change events). While this isn’t too grievous of a gaffe, as time travel is a messy storytelling subject, Omori’s seeming glorification of Japanese nationalism and the Imperial Army certainly is.

Image result for godzilla vs king ghidorah stillsYes, I’m going to toss my hat into this little controversy. I do indeed recognize the argument of the old guard and Ishiro Honda that perhaps depicting the killing of American soldiers by the Godzillasaurus went a little too far, considering the context in which these men fighting for an imperialist power would go on to become the founders of the modern Japan, in the case of Shindo (Yoshio Tsuchiya). However, this is rooted in historical fact, and the theme of the country’s roots in the war have been done with relative respect even in American films such as The Wolverine and Letters from Iwo Jima. Additionally, Shindo’s arc isn’t even indicative of the typical conservative Japanese attitudes, as he ends up at the mercy of his ‘savior’ at the end, perishing in the nuclear fire of a destructive god that does not, in fact, take sides, effectively nullifying any nationalistic fervor Omori may have fostered. In short, Shindo may have thought the divine wind was at his back, but he found in his tragic fall that it never cared about him at all.

As for the visual side of things, it doesn’t fare much better. Much of the futuristic elements are hokey at best and laughable at worst, with the biggest offender being the M-11 android. With his soft, almost unintelligable voice and dopey still-face, he already obliterates the Terminator-like image I’m sure Omori wanted to convey, and that’s long before we get “the run.”

I’m sure the suitmation technique did not change at all since GvB, but the emphasis on daytime battles in this film limits the believability of the kaiju action, and doesn’t do the action scenes any favors while the special effects artists grapple with new problems introduced by the heavy new Ghidorah suits. What do I mean by that? Well, for starters, Ghidorah can’t even walk anymore. This unfortunate side effect of the new suit leads to the proliferation of the Heisei series’ beam battles, which are spectacular to a child on his first viewing but to my eyes, very boring. And while the great Akira Ifukube returns to score the film, his themes are simple rehashes of old pieces, most notably the use of the King Kong vs. Godzilla theme as Ghidorah’s. Great piece, just not every original to reuse it.

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I suppose I shouldn’t be too harsh on GvKG, as it did introduce Mecha-King Ghidorah and played with the idea of Godzilla being a more elemental being, a god of destruction to his Japanese homeland. I just wish there were a better way to do it than what Omori and Tanaka came up with. For the rest of the Heisei series, the emphasis would be on monster mashes with returning Showa characters and threats, and while even those tired concepts would prove to be interesting later on in the Millennium series, they just don’t have the same power here. Sorry fellow G-fans, but Godzilla vs. King Ghidorah started the 90s downfall that led straight to Emmerich’s odd one out, and that can’t be changed with a time-travelling mothership.

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Maestro’s Picks – August 25, 2017

It’s Friday, and that means it’s time for Maestro’s Picks!

Because this is the glorious(?) return of my first on-going series, I’ve decided to go with two picks this time around. Also, because I just couldn’t pick one of them. This time, both are from the illustrious and bottomless world of Tumblr!

First, as you may or may not know, I am working on my first full-length fan edit, and a major factor in this finally happening is the excellent editor Red Menace, of RedMenaceOfficial on Tumblr. Specializing in HD reconstructions, Red Menace has delivered the kaiju goods on multiple occasions, bringing back to life such lost American versions of Godzilla films as Godzilla 1985, Destroy All Monsters, and Monster Zero, in addition to a fan edit series of Neon Genesis Evangelion. He is currently working on several projects including a hotly-anticipated Godzilla vs. The Thing reconstruction, and of course, makes tons of shitposts. Check him out!

Second is the interesting newcomer Alien Covenant: A Gothic Fiction in Space. My recent rewatch of Covenant has convinced me of its merits as a great science fiction and horror story, and this Tumblr came along at the right time to help form words to my exploding thoughts regarding Ridley Scott’s newest piece. Prerusing the table of contents post reveals an expansive attention to the details of Covenant, analyzing everything from character motivations to specific, indelible images that link Scott’s film with the greatest gothic fiction of the past, including, yes, Mary Shelley’s Frankenstein. Give this one a serious read, even if you weren’t a fan of Covenant. You just might change your mind.

And now, here comes the second half of Maestro’s Picks: where I share one video and one image which I found myself drawn to this week: Presenting:

The new poster for Blade Runner 2049, opening October 17 of this year and starring Ryan Gosling, Harrison Ford, and Jared Leto:

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Medley Weaver‘s mashup trailer for Godzilla (1954), featuring the music and editing of the 2014 film’s famous trailer:

Well, that’s all for today! Stay true, believers!

New Fan Edit – Godzilla: Resurrection

The time has come, folks! Time for me to embark on my own fan edit!

For my first project, I’ll be tackling a fanmix of The Return of Godzilla and its Americanized recut, Godzilla 1985. While the original Japanese version of the film is still the definitive one, I’ve always held a soft spot in my heart for Raymond Burr’s scenes in 1985, and had always wondered what the final film would have been like had he been present in the Japanese cut.

This re-edit seeks to accomplish just that, while also streamlining the slower pacing of the original cut with suggestions from 1985 to combine the best of both worlds. The film will still be highly critical of both the United States and the Soviet Union, and will work to marginalize the more humorous aspects of the added Pentagon scenes. Finally, this cut will feature a brand new opening to the film, one that seeks to definitely tie the new Godzilla to the original beast in an eerie and unforgettable way.

To read more about the project, please visit my official page on it here, and keep your eyes peeled for a trailer on YouTube and Vimeo, coming soon. Until then, enjoy my custom poster!

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Godzilla: Resurrection will be available for viewing and download this fall.

REVIEW: The Return of Godzilla (1984)

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Directed by Koji Hashimoto
Written by Hideichi Nagahara, Story by Tomoyuki Tanaka
Starring Ken Takaka, Yasuko Sawaguchi, Yôsuke Natsuki, Shin Takuma, Kaiju Kobayashi, Raymond Burr (American Version “Godzilla 1985”)

By 1975, I think it was safe to say that Godzilla had very little bite left, if any. His films played to the youngest of audiences, with such a juvenile and playful tone that none of the worldly, nuclear menace was left. After several box office failures, Godzilla went on a nearly ten-year vacation, in which many attempts were made to reboot the series, with as many different visions as to where it should go. The big guy would have to wait until 1984, but it was a wait well worth it.

While day sailing in the Pacific, reporter Goro Maki (Ken Tanaka) finds a missing fishing vessel, Yahata Maru, and discovers that all the hands have been killed by a giant sea louse except for one. The lone survivor, Okumura (Shin Takuma), then tells the reporter that the ship was attacked by a new Godzilla. Fearing a panic, the Japanese government attempts to cover up the news, failing when a Soviet nuclear submarine is destroyed and the situation puts them and the United States on the brink of nuclear war. Soon Japan and the rest of the world are on red alert as they wait for Godzilla to begin his rampage anew.

Opting for an almost completely clean reboot, producer Tomoyuki Tanaka brought to the table a story which respected not only the allegorical roots of the creature, but the fact the original film just couldn’t be remade in a modern setting. While his original conception pitted Godzilla against yet another monster, screenwriter Hideichi Nagahara thankfully dropped the second kaiju and concentrated on the geopolitical effects of the existence of such a monster. This was quite the revolutionary approach to a kaiju film; while tokusatsu cinema of the ’70s included some epic thrillers, Japan Sinks being one I can recall, kaiju films were purely the realm of the little ones. The Return of Godzilla expertly reverses this dynamic by only acknowledging the original film in its continuity.

Watching The Return of Godzilla, or Godzilla 1985 for you casual G-fans, you really get the sense that it was a Tom Clancy political potboiler before Tom Clancy was a thing. So much of the government procedural is there on the screen, with just enough military action and suspense to sex it up, the film is quite tense where it should be dull. The film starts off with a minor mystery in the form of Okumura and his missing fishing vessel, then swiftly enters the halls of the Japanese government and their desperate attempts to keep Godzilla’s return a secret. While the Prime Minister (Keiju Kobayashi) and his cabinet deal with the broad strokes, Okumura, his sister Naoko (Yasuko Sawaguchi), Maki, and Professor Hayashida (Yôsuke Natsuki, in a role very evocative of Dr. Yamane in the original film) study the monster, hoping to find some way of halting his coming landing.

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The Return of Godzilla fits more as a 70s film than an 80s one, even including a few visual effects shots from the Japanese thriller Prophecies of Nostradamus during Godzilla’s Tokyo rampage. But it’s more than a few homages; TROG carries with it a distinct contempt for the Cold War and its major players, the United States and the Soviet Union. About 30 minutes in, a Soviet submarine is destroyed under mysterious circumstances, triggering a standoff between the superpowers until the Japanese government reluctantly reveals that Godzilla was the culprit. You’d think this would be the end of the hostilities and the beginning of international cooperation, but you’d be wrong. Instead, both nations begin pressuring Japan to allow them to use nuclear weapons against the monster, no matter its location. It’s a uniquely Japanese viewpoint on the stupidity of nuclear brinkmanship that also earns the film a home among American cinema of the decade prior, with its distrust of the American government post-Nixon.

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The film moves nicely from each mini-crisis to the next, both edifying and decrying Japanese bureaucracy in much the same way Shin Godzilla would over 30 years later, while Hayashida provides the story’s philosophical heart. And at the halfway point, we finally get city-stomping Godzilla action. The monster’s new design is positively menacing, from its dead eyes to its sharp fangs. Portrayed mainly with tried-and-true suitmation, the 84Goji, as this design is referred to, is a quantum-leap above it’s predecessors, harkening back to the raw savagery of the original whilst conveying impressive mass. Yes, the special effects appear quite dated today, but look at the film through the lenses of the time and setting of its release, and TROG delivers the epic goods in a way the goofy late-Showa outings couldn’t muster.

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Shortly after its original release, TROG was picked up by New World Pictures for an American exhibition, cutting approximately 30 minutes of the Japanese print and adding ten more of new scenes involving a Pentagon response team viewing the destruction from Washington, joined by Raymond Burr, reprising his role as Steve Martin from Godzilla, King of the Monsters. While Burr is true-to-form, the other actors are comically unneeded and hollow, and the film unfortunately loses its pacifist stance with several changes to the narrative that paints the Soviets as villains. But all is not lost; some editorial changes do much to help the pacing of several sequences, and selections of Christopher Young’s Def-Con 4 score are used to great effect. In short, Godzilla 1985 is a mixed bag, but not entirely without merit.

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The Return of Godzilla, as the first film of the “Heisei” saga, works overtime to reestablish Godzilla’s destructive roots, and wins the day with its interesting fusion of government procedural and monster smash. More than anything, however, TROG will be remembered among fans and newcomers as probably their first introduction to an alternative point of view on the Cold War, one from a nation that would caught in the crossfire of the end of the world.

REVIEW: Shin Godzilla (2016)

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Directed by Hideaki Anno and Shinji Higuchi
Written by Hideaki Anno
Starring Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Osugi (get accent mark), Akira Emoto, Kengo Kora (accent), Mikako Ichikawa, Jun Kunimura, Pierre Taki

With the success of Legendary Pictures’ Americanized reboot of Godzilla, Toho back in Japan wanted to get back into the action. While still retaining the rights deal with Warner Brothers, allowing the Monsterverse to continue, Toho set about producing a new film to be directed by Hideaki Anno, the famous creator of Neon Genesis Evangelion. If you’re a fan, than you are probably assuming right now that Godzilla goes all metaphysical, right? Eh, not quite.

An unknown accident occurs in Tokyo Bay’s Aqua Line, flooding the underwater passageway as citizens scramble to evacuate. An emergency cabinet meeting is assembled, just in time to witness a giant creature surface from Tokyo Bay and make its way across land in the heart of the city. Growing in size and mutating with each unsuccessful attack against it, the creature seems unstoppable. Government official Rando Yaguchi (Hiroki Hasegawa) is placed in charge of a special research team to investigate ways to kill or incapacitate the beast, now dubbed “Godzilla.”

More than several kaiju and tokusatsu films have tried to establish a realistic scenario for the appearance of a giant monster; the original Godzilla and the Heisei era films The Return of Godzilla and Godzilla vs. Biollante presented the effect of the titular kaiju upon various geopolitical aspects of the world, while “foreign” monster films like the British Gorgo and Korean The Host carried an air of authenticity and spectacle to their visions of creature carnage. Shin Godzilla can easily be added to this fraternity, but its approach to the material is substantially more plausible and researched. Why? Because Shin Godzilla can be referred to as “Politicians vs. Godzilla.”

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The film begins with a brief mystery in the form of a deserted pleasure craft in Tokyo Bay before the water erupts in a large steam eruption, causing damage and flooding to the Tokyo Aqua Line highway. We as an audience are then treated to 13 minutes of dry bureaucracy. Yes, you read that right. As we are introduced to protagonist Rando Yaguchi, Deputy Cabinet Chief, we are also introduced to his world of relentless politics and red tape as Cabinet meeting after government committee after press conference seeks to establish just what is going on, and what to do about it. If this sounds incredibly boring, than I wouldn’t blame you, but I would rest easy–with the quick pace and sheer amount of subtitles you’ll be reading, I’m sure you won’t be too listless during your viewing.

Close viewing during this opening sequence will reward inquisitive viewers, however, as Anno’s intent quickly becomes apparent among every ignorant assumption and naive rush to judgment several government officials make, always rewarded with a simple, fast cut to a harsh reality check in the form of the giant monster now wading out of the bay and into metropolitan Tokyo. Again and again, even with the best of intentions, Japan’s flat-level democratic government, following the exact letter of the law, fails against the nuclear menace, resulting in one of the most salient and darkly humorous satires of government around today.

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But this is a Godzilla movie, you shout, and I soothe and calm with my analysis of the character, as this Godzilla is probably the most unique iteration on screen. First appearing quite alien to previous versions in the form of a bizarre, fish-eyed, bleeding-gilled monstrosity that can barely support its own week, it soon begins to mutate, revealing the most innovative addition to the Godzilla mythos: this Godzilla is highly adaptive, capable of mutating its body and DNA at will. Resulting in a changing creature that forms the most hideous Godzilla design yet, this film hits a home run in devising a new spin on the Big G.

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Further building on the design is co-director and special effects artist Shinji Higuchi’s work in creating Godzilla, this time done almost completely with CG effects. A clear break from tokusatsu tradition, to be sure, but the end result is incredibly convincing, due to the effects team’s efforts to keep Godzilla as stiff and suit-like as possible, which ironically gave the design a lifelike quality that accurately conveyed size and power. Their finest work probably comes at the halfway point in the film when Godzilla is bombed by American B-2 bombers, enraging the beast and prompting his first use of his destructive atomic beam.

Most of these scenes are accompanied by an equally-unusual sound design, employing a mixture of classical Toho sound effects and Akira Ifukube music with new sounds and music cues. When I first saw the film in theaters during its short American run, I was unimpressed and even bothered by the use of the old sounds and music, feeling that their limited dynamics were out of place. Now I’m convinced it was the fault of the cinema’s speaker system, as the blu-ray’s uncommon 3.1 mix produces a deep fidelity and bass I do not recall encountering before. In short, Shin Godzilla should highly please fans of the classic films with regards to their ears.

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After the mounting destruction of the first half, Godzilla falls into a long hibernation, and Rando’s research team reforms to discover a way to defeat him before a UN coalition employs nuclear weapons to resolve the situation. After systematically deconstructing the helplessness of Japan’s democracy to handle the crisis, Anno’s film then abruptly turns about face, giving Rando and his nerds the reigns to save the day with democracy. They bend only the rules they cannot follow to the letter, and break none, showing that even below the layers upon layers of tape, the right men and women with the right combination of ambition, compassion, and courage can prevail and make this world a better one.

Now I know that sounds very different from what is expected from a serious Godzilla movie, but fret not–the final scene brings one final revelation, one I won’t reveal here. Let’s just say that Godzilla’s origins as Nature’s reaction to the ravages of the human race are preserved in full with this film, and while Shin Godzilla requires an open mind and a quick eye for subtitles, to the right viewer, it is a real gem of modern tokusatsu. With Shin Godzilla, Anno has shown what humans can be capable of when working together toward a noble goal…but nature is patient, and she never forgets our crimes.

REVIEW: Godzilla (1954)

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Directed by Ishirô Honda
Written by Takeo Murata and Ishirô Honda, Story by Shigeru Kayama
Starring Akira Takarada, Momoko Kôchi, Akihiko Hirata, Takashi Shimura, Fuyuki Murakami, Sachio Sakai

The Big One. Or rather, the Big G.

Godzilla, the first of many films starring the titular gargantuan reptile, ignited a tradition in the then-infant Japanese film industry, the tokusatsu, or special effects, film, and forced the island nation to come to grips with their unique and unfortunate history with humanity’s deadliest invention: the nuclear weapon. Godzilla still stands as a triumph above that final chapter of imperial shame, above much of tokusatsu that came after, and indeed, above most science fiction cinema in general.

Japan is thrown into a panic after several ships explode and are sunk, the results of neither natural phenomenon nor foreign action. An expedition to Odo Island, close to where several of the ships were lost, led by paleontologist Professor Kyôhei Yamane (Takashi Shimura), his daughter Emiko (Momoko Kôchi), and young navy frogman Hideto Ogata (Akira Takarada), soon discover something more devastating than imagined in the form of a 164-foot-tall monster whom the natives call Gojira. Now, the monster begins a rampage that threatens to destroy not only Japan but the rest of the world as well.

I’m sure most of you know the story by now: several Japanese fishing vessels are lost at sea, while a giant creature living off the coast of Odo Island is discovered to be at fault. An ancient reptile awakened by nuclear weapons testing, it is dubbed Godzilla by the inquisitive Dr. Yamane before it begins walking ashore towards Tokyo, bringing a trail of fiery destruction with it. What some of you may not know is just how topical and in tune with the events of the time this film was, or how unfortunately relevant it remains today. Conceived by producer Tomoyuki Tanaka after another project fell through, Godzilla is still the apex of tokusatsu, equaled by none.

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Tanaka’s idea was born out of two of Japan’s biggest events of 1954. That year saw the official end of the American occupation and the return of complete control to the new republican government and the newly-established Self Defense Forces. Before Godzilla, all Japanese entertainment had to be approved by the occupation, which severely limited portrayals of Japanese military might and government stability. Watching the film proves that this was no longer the reality by the time of its release, with the valiant efforts of the SDF against the monster and the scenes of the Diet locked in fierce debate.

The other major event of 1954 was the Lucky Dragon incident, from which the film’s first act takes heavy inspiration. During the American Castle Bravo H-bomb test of that year, the fishing trawler Lucky Dragon No. 5 strayed too close to the fallout, resulting in the crew suffering radiation sickness and even one death. This sparked a chill in American-Japanese relations right after the occupation, and stunned a population who still harbored fresh memories of Hiroshima and Nagasaki. Cue the opening scene of Godzilla, aboard the fishing vessel Eiko-maru:

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In the midst of this fealty to the outside world, director Ishiro Honda presents some fairly traditional scenes of two lovers, Ogata and Emiko, trying to navigate their young relationship in the face of not only the fishing disasters, but Emiko’s father Yamane, and her fiancé Dr. Daisuke Serizawa, a reclusive, scarred war vet with a terrible secret locked in his lab. Their affair quickly spirals into the background of a bitter debate when Godzilla is revealed to the world at large: Honda’s film excels at navigating the moral and ethical grey areas of the existence of such a monster, whether in the salient Diet debate over whether to publish the truth of Godzilla’s threat or conceal it to preserve order and the economy, or in Yamane’s quiet torment over being the only person to want to save the creature, seeing only its potential to unlock the secrets of radioactivity, and its resistance to it.

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In this subplot is where Honda and screenwriter Takeo Murata begin to truly play with the real-world consequences of the nuclear age. While the original storywriter Shigeru Kayama made Yamane a Phantom-of-the-Opera-esque cloaked figure, engaged in sabotage against the SDF to protect Godzilla, Takashi Shimura’s Yamane is much more contemplative and down-to-earth, desperately trying to salvage something noteworthy and meaningful to mankind out of its most foolish and terrible mistakes, manifest in the monster itself. Shimura becomes the easily the best performer in a strong collection of actors on screen, preserving a countenance of regret over the futility of his efforts.

Image result for godzilla 1954 serizawaSo too Akihiko Hirata as Serizawa, whose secret lab is revealed to house a new and terrible superweapon: the Oxygen Destroyer, a substance capable of liquefying any organic material in water, a sure way to kill Godzilla. But therein lies his dilemma: the Oxygen Destroyer is an easy contender for a new weapon of mass destruction in the ever-escalating Cold War, and he fears that his discovery will become another tool of the superpowers against innocent people unless he can find a better, more humane use for his compound. Like Yamane, Serizawa seems to be trying to salvage a workable future from mankind’s violent past and present, although his character arc is much more reminiscent of the real life J. Robert Oppenheimer, the remorseful creator of the atomic age.

Undoubtedly, however, the main event of Godzilla to most viewers would be Godzilla himself. Portrayed by a combination of puppets and a large, 200-lb rubber suit, Godzilla, in this original film at least, remains a wholly-convincing special effect. While the puppet shots have most certainly aged poorly and don’t fit with the rest of the footage, the cumbersome suit, worn valiantly through fainting spells and buckets of sweat by Haruo Nakajima, portrays a confused and tortured beast, staggering around a highly-detailed miniature Tokyo as if it is constantly in searing pain (the presence of keloid scars across its hide does much to bolster this observation). Honda’s stark black-and-white photography captures all of the nuances of Nakajima’s performance and Eiji Tsuburaya’s special effects work, resulting in an image eerily reminiscent of wartime footage that would have been very hard to watch for those who had survived it. Combined with Akira Ifukube’s still-haunting score, the effect is palpable.

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Godzilla would become a smashing success in Japan and several other markets in its original release in 1954, convincing a skeptical public that Japan was a new contender in big special effects pictures, while still telling a dark and emotional story at its core. For its wide American release, Transworld Pictures commissioned a re-edited version, starring Raymond Burr in reshoots as Steve Martin, a newspaperman on whom the altered story would center. While toning down its more anti-war and nuclear age arguments (most certainly due to American Cold War attitudes of the time), Godzilla, King of theImage result for godzilla raymond burr Monsters! is still a solid Americanization of the original film, indeed, probably the best of them. Burr’s Martin, acting as a narrator to smooth the gaps in the story caused by the editing, is a fascinating character in his own right, and unlike later dubs, much of the original characters’ dialogue remain intact, creating a respectful image of the actors and their heritage. Indeed, without this version of the film, Godzilla may not be as popular as he is today, owing to the fact that King of the Monsters! was much more widely distributed across the world.

Godzilla seems to be an acquired taste, even with viewers who claim to be fans. Still thought of by the general populace as “that green dinosaur who fights aliens,” Godzilla may surprise those folks with its chilling realism and somber tone–if they manage to survive a viewing. It isn’t for everyone, but it’s a film that I wish was, for in today’s world, it seems the threat of nuclear annihilation isn’t taken seriously anymore. I can’t count on my hands how many times in a week I hear co-workers or passersby dismiss the Middle East or North Korea with a simple ‘nuke-em’ statement, and I can’t help but wonder if the Earth decided to regurgitate a monster born from this ignorant view to wreak havoc upon their lives, would they regret what they so often think?

This is the message of Godzilla. Heed it well.

Maestro’s Picks – March 31, 2017

Been awhile since I’ve done one of these, boy has a lot happened!

Several new trailers have dropped, each more thrilling than the last:
Justice League‘s second teaser trailer hit the internet Saturday the 25th, sending shockwaves through the DC and larger comic book communities. At the same time, a whole set of teaser and character posters dropped, offering new looks at the League. I’ve already commented on those posters on my Instagram and Tumblr, but if you’d like to check them out in large form, click here. Also revealed was the film’s runtime: 2 hours and 50 minutes. Too long? We’ll have to see.

Justice League hits theaters November 17, 2017.

On the Marvel side of things, Spider-Man: Homecoming also had a second trailer drop, to less fanfare but still a lot of hype. This one features a lot more Iron Man and Vulture, and some good looks at the homemade Spidey suit Peter Parker very briefly wore in Captain America: Civil War. You can also check out several new teaser posters here.

Spider-Man: Homecoming swings into cinemas July7, 2017.

And finally…..the big scary one. Stephen King’s It was probably one of the first things of my adolescence that actually scared me, and the book was the most disturbing thing I’ve ever opened (save for the odd sock drawer). So color me giddy when this teaser trailer appeared on my feed and absolutely blew me away. I used to think nothing could touch the 1990 miniseries, being one of the best King adaptations; now, I’m sold. How about you?

It Part 1: The Loser’s Club releases September 8, 2017.

I don’t feel like I need to beat a dead horse in the ass, but yes, I’m a complete Godzilla fanatic. And now that Ghost in the Shell is in theaters, Toho has decided to grace us all with new images and info regarding a new Godzilla project: an anime film in collaboration with Polygon Pictures, known as Godzilla: Monster Planet. A new plot summary for the film details the future setting, depicting humanity leaving Earth in the wake of kaiju rampages, only to find that the distant planet they hoped to settle in inhospitable to humans. Undetered, a small group of soldiers lead by protagonist Haruo journey back at relativistic speeds, finding Earth 20,000 years after they actually left, a true planet of monsters ruled by Godzilla.

An official website has been launched, offering the poster, synopsis, and character images and bios. The poster does not contain a glimpse of Godzilla, I’m afraid, but there is a nice helping of mechs and spaceships behind Haruo to wet the sci-fi fan’s appetite. Check out the poster below:

Godzilla: Monster Planet reaches Japanese theaters in November 2017, followed by a worldwide Netflix release at a later date to be determined.

That’s all for this week! If you’d like to stay further up to date, follow my Twitter, where you’ll find a lot more up-to-date movie news. Til next time, true believers!