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portypaper · 1 year

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My 10 favorite things of 2022

10 - mcdonald's fan owns burger king in epic video

Sometime in 2018 I discovered the comedian/actor/writer Connor O'Malley's youtube channel filled with some of the best cringe comedy vidz I've ever seen. One of my favorites being "mcdonald's fan owns burger king in epic video" a pretty self explanatory video where O'Malley plays an angry McDonald's fan trying to fuck over Burger King and try to convince the customers to go to McDonalds. Around the time I discovered the video my friends had a little get together and I made sure to show everyone there the video, shit was just that good dude.

Unfortunately because there is this little scene where just a little bit of king of the hill porn is shown, I think it was hank hill wackin' his willy silly or some shit and because of that those FUCKERS at YouTube took it down, basically destroying the Mona Lisa of cringe videos. Now normally a video uploaded by a notable person getting deleted would be no big deal, it's like I was told as a kid "stuff on the internet lives forever" so I could probably just find a reupload of it on another site right? I ended up not being able to find any reuploads dailymotion, vimeo, or even porn sites.

Every few months something would come up that would remind me of this masterpiece and I'd start searching again, of course never finding anything except dead links, a single clip, and posts asking what happened to the video. That was until 4 months ago when I found this, some mad man actually had the full video and shared a full download. After 4 years I was finally able to watch one of my favorite cringe videos and brother it was even better than I remembered it being, if you're a fan of cringe stuff please do yourself a favor and watch it.

9 - Showa-Era Godzilla

As a teenager I started to notice a handful of people that I looked up to and thought were really cool mostly had a lot of the same interests, one of them being kaiju films. So sometime during Q1 of 2022 when I found out that almost every showa-era godzilla film was free to watch on YouTube I binged em with some of my friends.

Honestly the whole thing was a bit of a blur, like we were doing 2 or 3 a day for a week but I can say (with the exception of Son of Godzilla) they were all a really great time. If I had to choose a favorite I think Invasion of Astro-Monster takes it easy, small part because MF DOOM sampled it in the greatest opening track ever but, also because everything about the film is just so cheesy and charming, the costumes the sets just looking at it all makes me want to finally bite the bullet and make a cool low budget sci-fi movie.

I feel like I should explain the appeal of Godzilla since as an outsider I never really got it but I still feel new to being a fan and might not explain it the right way so I'll just say to check the films out yourself, aside from Invasion of Astro-Monster I also really fucked with Godzilla vs. Megalon and Terror Of Mechagodzilla. Godzilla vs. Megalon has Mr. Zilla himself teaming up with a neat lookin' robot Jet Jaguar and Terror Of Mechagodzilla has a great mixture of main character doing shit and big monsters fighting so nothing really feels like it drags on for too long.

8 - Norm Macdonald - Nothing Special

It's been too long since I watched it for me to really remember anything other than how much I enjoyed it so I'll just write down how I felt instead.

One thing I'm sure you've worried about is legacy, how you'll be remembered or if anyone will even care about your leaving. Something that really felt good about this comedy special was after the jokes were over we got a half an hour of Norm's comedy peers looking back at just what a funny and great person he was, a person who would hide his battle with cancer just so no one would worry. I don't really know what people think of me but I hope I end up being looked at the same way people look at Norm.

Oh also if you've never heard any of Norm Macdonald's comedy there are a whole lot of compilations of his stuff on YouTube, and also obviously this comedy special but I'm a bit unsure if this would be a good first watch since it's the last we'll ever get.

7 - King of Fighters XV

I've had a small problem with fighting games for the last 10 years, I love em but since I started getting into them there always felt like there was something off to where I couldn't fully click with one, like I could still enjoy the games I played like Street Fighter V or Tekken 7 but I just never felt like I got into a nice flow with them or if it was a game I clicked with it wouldn't last very long (R.I.P. MvCI)

Then late last year some friends were hyping up the next KoF game to me, I'd been burned in the past by taking one of their recommendations before so I wasn't super interested at the time then fast forward to February 2022 I was feelin pretty bored and decided to just say fuck it and buy King of Fighters XV and brother this shit just clicked instantly, the execution is a bit tighter than what I've gotten used to from modern fighting games but it all just feels so good I don't even mind when I accidently drop a combo. Oh my god and the characters fucking rule there is this one dude who has the Android 16 dunk and MvC ironman's unibeam. My favorite dude is the one who looks like a phone game icon and has a shit ton of grabs

This is easily the best fighting game of 2022, sadly the only bad thing about this game is the online matchmaking is pretty broken like the game plays like a slideshow with my friend who lives down the street but it plays perfectly with my friend who lives a few miles away. This game is a hardcore recommend if you're willing to risk the possibility of the online being dogshit with one of your friends.

6 - Zero Escape: Nine Hours, Nine Persons, Nine Doors and Zero

I've never really been a visual novel guy, the whole genre just felt like reading a book with extra steps. Then after trying to watch some stupid ass death game anime that just wasn't clicking I said fuck it I'll just play this to get my death game fix.

I actually tried to get into this game about 7 year ago? I remembered reading about it in Nintendo Power back in the day and decided to pick it up, unfortunately I tried playing it during a very stressful time and after playing the tutorial I put the game down intending to come back once things started to feel normal, anyways 7 years later I started up the PC port and had a lot of fun. The puzzles were clever and I had a great time trying to figure out if one of the characters were working behind the scenes of this death game.

I'd like to share more but I also really don't want to spoil this game so I'll just say "Snake" is the best character in the game :)

5 - Wolfenstein: The New Order

At the end of 2021 I was looking back at the games that releasing during the year and got really bummed, it really started to feel like games were just getting worse. Either stuff was coming out blatantly unfinished like Battlefield 2042 or It was just a flash in the pan game like Back 4 Blood or Halo Infinite that I couldn't even run on my little 1060. Games just started to feel so disposable and greedy, what was the point in installing the hot new thing when it took over a hundred gigs of space and wouldn't even last long enough to even be remembered? So at the start of 2022 I said fuck it I'm done with video games until I realized how boring life was so I said alright fuck it if the new shit sucks I'll just play the old shit.

I randomly decided to play Wolfenstein: The New Order and dawg this shit is one of the finest single player first person shooters I've played, everything about it was just so perfectly crafted. It's a game you can beat in a day and 100% in two, the guns and ammo is perfectly paced where I felt like I was always getting a fun new weapon to use on the nazis, and the story has just the right amount of silliness to keep my attention the whole time. If you felt the same way as I did at the start of the year please play it, or check out your backlog to find a gem like this.

4 - The Rehearsal

Have you ever wished you could go back in time and fix a mistake you've made? Well Nathan Fielder's The Rehearsal is sorta like that, Fielder being the absolute insane crazy person he is helps people rehearse things they're scared of doing, like in the first episode he meets a dude who lied about having a master's degree to his bar trivia friends and has him go through every possible scenario so he can confess to his one friend who he is certain will not take his lie well.

Some other stuff happens too, but this show left me fuckin' mouth agape in complete shock multiple times an episode and I don't want to spoil some of the absolute insane shit that happens in this show, so just trust me when I say this shit rules and you've gotta watch it, also watch Nathan for You if you haven't.

3 - Cyberpunk Edgerunners

Dawg, Edgerunners is the best animated project I watched in 2022. If you've watched it I don't need to say shit because you already know this shit rules, if you haven't watched it you should watch it. I think in the future when we look back at animation that dropped this decade we're gonna be remembering Edgerunners as one of the best of the 2020's. When I was watching there were just so many "holy shit this is so beautifully animated" moments, the story isn't anything super groundbreaking but god it's just so pretty and the characters are so charming.

2 - Pulp Fiction

Good Movie. Everything I want to say has been said by people way smarter than me so yeah, good movie is all that needs to be said from me.

1 - JPEGMAFIA

I'm no Fantano so I can't really properly explain what it is that made me love this dude's music so much but I randomly stumbled upon him in March and he's slowly been growing on me more and more til I eventually ended up just playing all his stuff on repeat for days without listening to anything else. Instead of going on and on I'll just list some of my favorite for you to check out.

BALD!

HAZARD DUTY PAY!

FREE THE FRAIL

THOT TACTICS

JESUS FORGIVE ME, I AM A THOT

I CANNOT FUCKING WAIT TIL MORRISEY DIES

1539 N. CALVERT

dude is just great and I wish I discovered him sooner.

Thanks for reading sorry if I explained myself poorly hopefully my writing will get better by doing this more alright I'm gonna go piss and play cyberpunk xoxoxo 😘😘

#Lists #Connor O'Malley #Godzilla #Norm Macdonald #King of Fighters XV #9 hours 9 persons 9 doors #Wolfenstein #The Rehearsal #Cyberpunk Edgerunners #Pulp Fiction #JPEGMAFIA

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mattkeepsrambling · 2 years

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Random Rambling: Thoughts on the Jurassic Park/Jurassic World Series

In preparation for Jurassic World: Dominion, I decided to rewatch all the Jurassic movies. Here are my thoughts

Jurassic Park: -This is a perfect movie; I have no notes. -I have watched this movie over a dozen times, and I just now noticed that Lex grabs Dr. Grant's hand when they are going to see the sick Triceratops. -I watched this on HBOMax (despite having it on Blu-ray), and whatever transfer they are using, while great, makes the special effects look dated. It made me realize that the version of the movie I own is the last version I will buy. The special effects still hold up on the disc I own. -Seriously, this is a perfect movie.

The Lost World -This applies to every single sequel (except the third). No one learns the lesson of "Jurassic Park." This is a bad idea. Don't do it. Yet…everyone seems to think they can do what John Hammond couldn't. -That kid is so annoying. -Do you know how many people die in the original? 4. Every sequel needs to up the ante and makes the deaths more brutal. This is also a flaw in this and the four other sequels. -The high shot of the raptors walking through the tall grass as they hunt is fantastic. -The T-Rex on the mainland could have led to something interesting. It just ended up being a knock-off Godzilla.

Jurassic Park III -This is my least favorite of the Jurassic Park movies. -Another annoying kid. -I have always hated the fact that the Spinasauras kills the T-Rex. To me, that says, "Screw that old movie. This is a more dangerous dinosaur. This movie is cooler and scarier." I will have a similar thought when we get to "Fallen Kingdom." -We have established that raptors are intelligent. This movie makes them super-intelligent creatures who can play tricks on their prey. The first one we see is laying its head behind a jar of formaldehyde (I think) to fool the humans into thinking it is a specimen in a jar. It is an idiotic scene. -I do not buy Dr. Grant's motivation to return to the island. He knows how dangerous it is, and no amount of money should change that. -The reveal that they are on the island to find a kid is dumb. It also turns Mr. and Mrs. Kirby into the most insufferable assholes in the movie.

Jurassic World -I will fully admit that I still love the reveal of the original T-Rex at the end of this movie. It is 100 percent a cheap nostalgia trick, but I love it nonetheless. -I forgot how insufferable Claire (Bryce Dallas Howard) is as a character. Chris Pratt's Owen is not much better. -I remember liking this movie initially, but I have very much soured on it since I last watched it. -The two kids are less annoying than the one in "The Lost World," but no one will ever be as great as Lex and Tim from the original. -I have always hated the death of the assistant who is looking after the kids. A Pteranodon picks her up, and as it flies away, the Mosasaurus leaps out of the pool and eats them both. This has always been the cruelest death to me. It is very excessive for a character who didn't do anything to deserve it. The lawyer's death in the original is easier to take (he just abandoned the kids at the first sign of the T-rex moments before he is eaten).

Jurassic World: Fallen Kingdom -For being such a massive part of the marketing, Jeff Goldblum's Dr. Malclom is barely in the movie (and he might be one of the only good things about the movie). -The only reason I am invested in this movie at all is because of Blue (the velociraptor). I care about her more than any of the humans. -One of the reasons I dislike this movie is that it is confirmed that the brachiosaurus who dies as our heroes leave the island is the same one that Dr. Grant and Dr. Sadler see when they first get to Jurassic Park. That is a pointless bit to include and a slap in the face of the fans of the original. -I cannot count how many times I said, "The movie is so stupid." during its over 2-hour runtime. Stupid things happen, characters say dumb things, and the plot gets so stupid. I would rather watch "Jurassic Park III" again.

#movie review #jurassic park #the lost world #jurassic park 3 #jurassic world #jurassic world fallen kingdom

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balioc · 4 years

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A Taxonomy of Magic

This is a purely and relentlessly thematic/Doylist set of categories.

The question is: What is the magic for, in this universe that was created to have magic?

Or, even better: What is nature of the fantasy that’s on display here?

Because it is, literally, fantasy. It’s pretty much always someone’s secret desire.

(NOTE: “Magic” here is being used to mean “usually actual magic that is coded as such, but also, like, psionics and superhero powers and other kinds of Weird Unnatural Stuff that has been embedded in a fictional world.”)

(NOTE: These categories often commingle and intersect. I am definitely not claiming that the boundaries between them are rigid.)

I. Magic as The Gun That Can Be Wielded Only By Nerds

Notable example: Dungeons & Dragons

Of all the magic-fantasies on offer, I think of this one as being the clearest and most distinctive. It’s a power fantasy, in a very direct sense. Specifically, it’s the fantasy that certain mental abilities or personality traits -- especially “raw intelligence” -- can translate directly into concrete power. Being magical gives you the wherewithal to hold your own in base-level interpersonal dominance struggles.

(D&D wizardry is “as a science nerd, I can use my brainpower to blast you in the face with lightning.” Similarly, sorcery is “as a colorful weirdo, I can use my force of personality to blast you in the face with lightning,” and warlockry is “as a goth/emo kid, I can use my raw power of alienation to blast you in the face with lightning.”)

You see this a lot in media centered on fighting, unsurprisingly, and it tends to focus on the combative applications and the pure destructive/coercive force of magic (even if magic is notionally capable of doing lots of different things). It often presents magic specifically as a parallel alternative to brawn-based fighting power. There’s often an unconscious/reflexive trope that the heights of magic look like “blowing things up real good” / “wizarding war.”

II. Magic as The Numinous Hidden Glory of the World

Notable examples: Harry Potter, The Chronicles of Narnia, H.P. Lovecraft’s Dream Cycle

The point of magic, in this formulation, is that it is special. It is intrinsically wondrous and marvelous. Interacting with it puts you in a heightened-state-of-existence. It is -- ultimately -- a metaphor for The Secret Unnameable Yearnings of Your Soul, the glorious jouissance that always seems just out of reach.

It doesn’t so much matter how the magic actually functions, or even what outcomes it produces. The important thing is what magic is, which is...magical.

This is how you get works that are all about magic but seem entirely disinterested in questions like “what can you achieve with magic?,” “how does the presence of magic change the world?,” etc. One of the major ways, anyway.

The Numinous Hidden Glory fantasy often revolves around an idea of the magic world, the other-place where everything is drenched in jouissance. [Sometimes the magic world is another plane of existence, sometimes it’s a hidden society within the “real world,” doesn’t matter.] The real point of magic, as it’s often presented, is being in that magic world; once you’re there, everything is awesome, even if the actual things you’re seeing and doing are ordinary-seeming or silly. A magic school is worlds better than a regular school, because it’s magic, even if it’s got exactly the same tedium of classes and social drama that you know from the real world.

Fantasies of this kind often feature a lot of lush memorable detail that doesn’t particularly cohere in any way. It all just adds to the magic-ness.

III. Magic as the Atavistic Anti-Civilizational Power

Notable examples: A Song of Ice and Fire, Godzilla

According to the terms of this fantasy, the point of magic is that it doesn’t make sense. It doesn’t make sense within the logic of civilized human thought, anyway. It is nature and chaos given concrete form; it is the thing that tears away at the systems that we, in our [Promethean nobility / overweening hubris], try to build.

There’s not a baked-in value judgment here. This kind of magic can be presented as good, bad, or some of both. Same with civilization, for that matter.

It’s often presented as Old Myths and Folkways that have More Truth and Power Than Seems Reasonable. Narratively, it often serves as a dramatized version of the failure of episteme, and of the kind of entropic decay that in real life can take centuries to devour empires and ideologies.

This kind of magic is almost always the province of savages, actual inhuman monsters, or (occasionally) the very downtrodden.

(I think it is enormously telling that in A Song of Ice and Fire -- a series that is jammed full of exotic cults and ancient half-forgotten peoples, all of whom have magic that seems to work and beliefs that at least touch on mysterious truths -- only the Westerosi version of High Medieval Catholicism, the religion to which most of the people we see notionally adhere, is actually just a pack of empty lies.)

IV. Magic as an Overstuffed Toybox

Notable examples: Naruto, JoJo’s Bizarre Adventure

Or, sometimes, we care about what magic actually does. More than that -- sometimes we want to see magic doing really interesting things, and then other magic intersecting with it in ways that are even more interesting.

The fantasy here, in simplest terms, is “magic can achieve any arbitrary cool effect.” There doesn’t tend to be an overarching system that explains how it’s all supposed to come together, or if there is, it tends to be kind of lame and hand-wavey -- a rigorous system of Magic Physics, delineating the limits of the possible, would get in the way of all the cool effects we want to show!

Once again, this shows up a lot in combat-heavy narratives. Less with the genericized D&D-style “magic is a fist that can punch harder than your regular meat fist,” and more with people throwing weird and wacky powers at each other in order to show how those powers can be used creatively to overcome opposition. Sometimes, instead of combat, you get magicians using their cool-effects magic to MacGuyver their way out of problems or even trying to resolve large-scale social problems. Issues of magic usage within the narrative being “fair” or “unfair” or “cheesy” are important here in ways that they generally aren’t elsewhere, since the fantasy on offer comes close to being a game.

(Ratfic often falls into this category.)

V. Magic as Alternate-Universe Science

Notable examples: the Cosmere books

This covers most of what gets called “hard fantasy.” The fantasy on offer is a pretty straightforward one -- “magic has actual rules, you can learn them, and once you’ve learned them you can make predictions and achieve outcomes.” It’s puzzle-y in the way that the previous fantasy was game-y. It’s often a superstimulus for the feeling of learning a system in the way that video game grinding is a superstimulus for the feeling of rewarding labor.

The magic effects on offer tend to be less ridiculous and “broken” than toybox magic, because any logic you can use to achieve a ridiculous effect is going to influence the rest of the magic system, and special cases that aren’t grounded in sufficiently-compelling logic will ruin the fantasy.

Not super common.

VI. Magic as Psychology-Made-Real

Notable examples: Revolutionary Girl Utena, Persona

This kind of magic makes explicit, and diagetic, what is implicit and metatextual in most fantasy settings. The magic is an outgrowth of thought, emotion, and belief. Things have power in the world because they have power in your head. The things that seem real in the deepest darkest parts of your mind are actually real.

This is where you get inner demons manifested as actual demons (servile or hostile or anything in between), swords forged from literal hope, dungeons and labyrinths custom-tailored to reflect someone’s trauma, etc.

The fantasy, of course, is that your inner drama matters.

My personal favorite.

VII. Magic as Pure Window Dressing

Notable examples: later Final Fantasy games, Warhammer 40K

This one is weird; it doesn’t really make sense on its own, only metatextually. I think of its prevalence as an indicator of the extent to which fantasy has become a cultural staple.

The fantasy on offer in these works is that you are in a fantasy world that is filled with fantasy tropes. And that’s it.

Because the important thing here is that the magic doesn’t really do anything at all, or at least, it doesn’t do anything that non-magic can’t do equally well. It doesn’t even serve as an indication that Things are Special, because as presented in-setting, magic isn’t Special. Being a wizard is just a job, like being a baker or a tailor or something -- or, usually, like being a soldier, because the magic on offer is usually a very-simple kind of combat magic. And unlike in D&D, it’s not like magic is used only or chiefly by a particularly noteworthy kind of person. It’s just...there.

The great stories of the world, in these works, don’t tend to feature magic as anything more than a minor element. The point is to reassure the audience that this is the kind of world, the kind of story, that has magic.

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Thoughts? Critiques? Other categories to suggest?

#media analysis

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smokeybrand · 3 years

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Smokey brand Reviews: Force Sensitivities

I love Star Wars. I have since i was a kid. It just missed the Trinity of my Childhood, Spider-Man, Godzilla, and Transformers, by inches but i hold it in high regard. I’d say that it’s only a step behind the big three, along with the Alien franchise. I enjoy both franchises for a lot of the same reasons; Expansive lore, impeccable world building, and fantastic characters. I have a strong emotional connections to all things a galaxy far, far, away so the past few years have been difficult to witness. Under the “guidance” of Kathleen Kennedy, i watched my space wizards and cyborg warlocks, decline considerably. I saw all that creativity and inspired storytelling fall by the wayside in favor of identity politics and ego driven agenda.

Then, The Mandalorian dropped and everything changed. There’s been an infusion of quality, a resurgence of the creative, and one of the things to come out of this brand new inspiration is Star War: Visions. Visions is an anthology series of original stories, created by some of the top anime studios in Japan. That, alone, is enough to pique my interests. I love anime and the world Lucas created, lends itself to the medium almost effortlessly. It finally released yesterday and i was able to check out all of them, twice. Is this thing everything i dreamed of? Kind of? Sometimes?

The Duel

The first of the shorts presented and easily the most visually striking. This thing is a CG animation, usually kind of wonky but not so much with this short. I’m more a fan of traditional cell animation but Kamikaze Douga does a fantastic job with the new computer flavor. That expertise is put on full display with this Kurosawa inspired epic, an irony not lost on me. Old Kurosawa films like Yojimbo and Seven Samurai were direct inspirations for Star Wars so seeing it come full circle like this, is very rewarding. Overall, i liked this entry. It’s a great introduction for the anthology and delivers a strong viewing experience.

Tatooine Rhapsody

True to it’s anthology nature, the very next episode delivers something completely different than the last. This entry, made by Studio Colorado, is traditional animation with a heavy, heavy, influence from Leiji Matsumoto. One can definitely make the argument that this is what Interstella 9999 would look like if i had a Star Wars skin and i wouldn’t fight you about it. That’s kind of the art direction being leaned into with this short, that Captain Harlock/Galaxy Express 9999 look. I’m a sucker for that classic aesthetic so i kind of loved it. Didn’t care for the music but seeing a stylized Boba Fett was a real treat. This one is the most original of the anthology, so far from the overall Star Wars theme, and i think that hurts it some. As it’s own thing, though? Fantastic.

The Twins

This one is top tier for me and not just because it’s the first entry from Trigger. This one is good. It’s the first to really nail that more kinetic feel of the prequel lightsaber duels and, if you know anything about Studio Trigger, of course it would. These people gave us Kill la Kill and Brand New Animal. In fact, the overall look of this thing has shades of both Dead Leaves, Gurren Lagann and Promare all over it. It reminds me a great deal of the conflict between the Solo twins in legends. This thing is beautifully animated and tells it’s story with with skill. That said, it’s to one of my favorites. I love Trigger but this one, i think, doesn’t really live up to the Star Wars standard. Still, there is a lot of cool sh*t in here. Kyber powered Sith armor is something to behold, for sure.

The Village Bride

This one is the one for me. I f*cking LOVED this entry. I think it’s the nest of the lot for a lot of reasons. This thing feels the most like a Lucas or Filoni entry into the franchise. It delivers u to an alien world where we get to see the people interact with their surroundings. It delivers a personal conflict juxtaposed against a very real, very, worldly danger. It grounds us with great characters and does so with a beautifully rendered style. For me, The Village Bride is everything i want in a Star Wars story and i need to see more of these characters, more of this world, more of F, herself. She’s f*cking amazing! The Lady Jedi does some sh*t with her lightsaber that left me in awe. Kinema Citrus animated this one in the style of Katanagatari and it really works for this style of narrative.

The Ninth Jedi

This one is real special. It feels right at home in a Clone Wars narrative or something from the Old Republic. I adore the look of this one. Its one of my favorites, after The Village Bride and Lop and Ocho, but is far more action oriented than those to. This one focuses on lightsaber duels and delivers the best of the anthology, in my opinion. This f*cking thing goes hard to deliver that visceral, aggressive, fancifal style you see in the Prequel films but completely stylized in this wonderfully fluid animation. The overall narrative is pretty simple but loaded with potential and i hope we get a continuation in the inevitable second season of Visions. Production IG really did their thing with this entry and i really hope it becomes something more.

T0-B1

If Astro Boy took place on Tatooine, you’d have T0-B1. This thing really leans into Tezuka’s style and is all the better for it. I can’t say i really enjoyed the overall narrative but the look of this thing really stays with you. It’s incredibly distinct from everything in this anthology mostly because you don’t see the Tezuka style all too often nowadays but this entry definitely has more heart than most of it’s contemporaries. I was surprised by how much emotion was packed into this little cartoon and can definitely recommend it on the strength of that, alone. While not one of my favorites, i can definitely appreciate what Science SARU delivered.

The Elder

I didn’t like this one. The pacing was too slow and the characters were forgettable. I kind of hated the overall aesthetic and the narrative told was one we’ve seen from this universe a few times. That said, it has a dope ass lightsaber duel toward the end. That’s really the only good aspect of this short, in my opinion. Interestingly enough, this is the second entry from Trigger which makes it incredibly disappointing because they usually kill it. They did not kill it with this one. Not at all.

Lop and Ocho

This one was my second favorite of all nine shorts. It is the most “anime” of the lot and really leans into that genre with gusto. It also feels a lot like Star Wars as far as narrative is concerned. Similar to The Twins, this is a story of forced sensitive sibling, clashing over ideals, told through the crossing of their blades. It’s definitely interesting to watch, especially considering our heroine is an anthropomorphic bunny, something you don’t see too often in the Star Wars universe. I really enjoyed Lop and hopes she garners enough popularity to explore her character further in either a second season of Visions or an actual series dedicated to her personal journey. Geno Studio really impressed with this one.

Akakiri

This one might be the weakest of the lot, until you realize what you’re watching. All of these stories focused on Jedi and their perspective on the world but Science SARU went in a different direction. This is the story of how a Jedi falls. It’s an amazingly emotional watch once that revelation is delivered, putting everything before into perspective. It’s deftly told and works, for the most part, but i feel like this one needed an extra few minutes to develop fully. Still, as the booked to a rather excellent anthology, Akakiri does it’s job well.

The Verdict

This thing is pure Star Wars. It's everything that made Lucas' magnum opus fantastic. Some of these entries hit harder than others, my favorite being The Village Bride, but the overall content in this anthology is f*cking spectacular. I love the different animation styles and how these bite sized stories are told. Some of them take a great many liberties with he world rules whole others are fantastic homages to the genres that make up the Star Wars skeleton. Visions is work of love and passion. These shorts are made with care and not only revere the franchise which came before, but really lay the ground work for potential future exploration, which is what Star Wars has always been about. I still think Mando is the best thing to come out of Favreu's era, so far, but Visions is something very special and is a fantastic example of what can be coming next. If you love Star Wars, you'll love this show. If you left the fandom over Kennedy and her polarizing rhetoric, Visions is a great point to jump back in. Star Wars: Visions is f*cking exceptional and everyone should check it out if they can.

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frankendykes-monster · 3 years

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On revisiting Mothra vs. Godzilla (1964)

Mothra vs. Godzilla is an interesting film to say the least. On the surface it looks like nothing special, if anything you could call it an example of how Japanese science fiction films were stagnating only a decade after Godzilla (1954), considering this film barely does anything new, just aping material that was already handled by its two predecessors: Mothra (1961) and King Kong vs. Godzilla (1962). But somehow it’s become one of the most beloved entries in the series and something of a gold standard for everything that came after.

Mothra vs. Godzilla opens with a title credit sequence over a hurricane, with Godzilla’s theme from 1962 transitioning into an instrumental version of Mothra’s theme. The hurricane has caused property damage along the Japanese coast, but most notable is the washing ashore of a giant egg. We soon get introduced to Ichiro, a news reporter, Junko, a news photographer, and Dr. Miura, the leader of a scientific team called in to study the egg, who serve as our three main three heroes for this story. The egg is bought by Happy Enterprises, headed by a Mr. Kumayama, who is in turn financially backed by a younger Mr. Torahata, who plan to turn the area surrounding the egg into an amusement park. They and the three leads are both confronted by Mothra’s twin priestess fairies from Infant Island about returning the egg (the current adult Mothra is nearing the end of her life, and the egg secures Mothra’s legacy), and the efforts to retrieve it are also squashed, forcing the fairies and the indigenous people of Infant Island to turn their backs on the outside world. When Godzilla appears, having also been caught up in the hurricane and thrust onto the mainland, he immediately goes onto another rampage, and it seems the best option is to ask Mothra for help (personally I find it humorous that there needs to be some reason for monsters to fight in these early films given they’d eventually go at it on instinct). Some arguing is done but the fairies and Infant Islanders agree in return for the possibility of a better world to be built. Both Kumayama and Torahata are killed in Godzilla’s attacks, and the monster seemingly can’t be stopped, as even the adult Mothra succumbs to battle, before the newly hatched larvae from the egg eventually stop Godzilla, and all seemingly returns to normal, in a cautiously optimistic way, as the protagonists have vowed to make a world better for everyone.

Mothra vs. Godzilla switches from the intense anti-commercialism satire of King Kong vs. Godzilla to some more general anti-capitalist themes. Near the opening when the damage of the hurricane is being documented by Ichiro and Junko, and unnamed capitalist protests about such possible news coverage as it could damage public opinion on an industrial project being built there. Later the same capitalist protests about the protagonists returning to test the area for radiation (as Godzilla is buried in the general vicinity and is contaminating the soil). There’s some inherent ridiculousness that’s openly stated about Kumayama buying the egg in general, but the cost is 1,224,560 yen (i.e. the logic is since a chicken egg costs 8 yen, and the giant egg is approximately 153,820 times larger, it’s a fair price). It’s explained “[the egg is] not private property, the public can watch it incubate for an admission fee.” A musical cue used in the series to hint at some under-the-surface tension and dread is used in this film when we discover that the egg’s incubator has been built and is already operational. Kumayama later stiffs the fishing village who brought the egg to shore out of the money he owes them, only to later on in the film be scalped by his superior Torahata (the two of them turning on each forces Torahata to shoot Kumayama, and in turn Torahata has wasted too much time before Godzilla destroys the hotel they’re in). Torahata is explained to have originally been some trust fund kid to some larger businessman before heading up his own endeavors. When the public discovers that it’s Mothra’s egg and it will not be returned, Kumayama effortlessly throws a PR stunt to counteract.

Functionally it’s a repeat of the plot from the first Mothra film, only here it’s Mothra’s egg and not the twin fairies that have not been kidnapped. I feel as if everything works smoother here as this film definitely has more weight to the proceedings and isn’t nearly as theatrical; the villian in Mothra, Clark Nelson, is often times a bit too exaggerated. (There’s something to be said about how Kumayama and Torahata have zero concern about provoking the wrath of Mothra considering she partly destroyed Tokyo and NYC in the previous film in the effort to get her fairies back; I guess it’s more accurate than capitalists just giving up possible investments.) I’ve seen some fans vouch for Mothra as anti-colonialist story but this film allows concepts such as that much more room to breathe given how the Infant Islanders have actual agency in the story, turning down the possibility of Mothra fighting Godzilla on behalf of Japan, whereas in the previous film they didn’t have much of anything to do given Mothra immediately goes on the attack upon discovery that the fairies were kidnapped.

The rather dense first 30 minutes of the film gives way to the reveal that Godzilla was also thrust ashore by the hurricane, and buried underground in the process, before reawakening. The entire film shifts into a mode of immediate urgency, as everyone now has to confront Godzilla. A lot of Godzilla’s scenes are far more detached than what else the film has to offer, as we’re following mostly nameless crowds fleeing and evacuating and JSDF officials trying to handle the situation. Once again it resembles the previous film, which had all the main characters more closely associated with King Kong. This film spends a much more notable amount of time showcasing military strategies being implemented against Godzilla with tanks and land mines and air strikes and giant electrocuted nets being thrown at him. I think it’s this film that fully established that while Godzilla could take a beating, the character is functionally indestructible, as nothing leaves any lasting damage.

Even though this film isn’t as upfront with the nuclear text as the first Godzilla film (which openly compared the coming of Godzilla to the atomic bomb attacks and brought up Godzilla being born out of hydrogen bomb tests as the most likely origin), it’s still the only other entry in the Showa series aside from that first film which brings it up in any meaningful capacity. Initial news reports call Godzilla “the atomic monster”, and when our protagonists first ask for Mothra’s help because of the attacks, the Infant Island chief shoots back with, “it’s your fault for playing with the devil fire!” Both on a narrative and thematic level, Godzilla and the age of nuclear warfare are one and the same, and everyone from Kumayama/Torahata to any number of offscreen civilians to the people of Infant Island to even Mothra must contend with Godzilla; a deadly force that threatens everyone. Godzilla’s characterization in this matches with the first film more so than the previous two; Godzilla Raids Again doesn’t have much interesting to say given it’s a cash-in sequel, and the explicitly comedic tone of King Kong vs. Godzilla makes him out to be much more jovial than expected, taking delight in dishing out death and destruction. (An added detail in this film is the subtle inquiry that Godzilla is like a natural disaster, you can only move out of the way in the same capacity that you can’t physically fight a tsunami or a hurricane. This was an element of the first film with Godzilla’s first landing being obscured by a hurricane or the electrical towers set up outside Tokyo resembling sand bags defending against a flood.) But this film is the only sequel of the Showa era to maintain Godzilla in a purely threatening, antagonistic role.

The decision to feature both Mothra and Godzilla in a single film does produce more interesting results than having done so with King Kong. King Kong vs. Godzilla only really happened because Kong, in the real world, was the only extremely notable giant monster of the movies prior to Godzilla, and this limitation extends into the film with how the characters remarked over how their individual rampages were like a ratings battle, with constant “who’s going to win?” fights over the stronger of the two. There’s much more thematic depth with this entry, even on immediate visual level; Mothra is quite dainty and gentle compared to how dark and brutal Godzilla is. (Kong was blown up from approximately 20 feet to 45 meters to fight Godzilla for that film, and this film does so in turn. Mothra was absolutely massive in the first film with a wingspan of 250 meters, she’s been shrunk to 135 for this film. Whether it’s succumbing to radiation or just a natural part of Mothra’s life cycle is never openly mentioned.) The first Mothra film made mention of how nuclear testing occurred near Infant Island because no one knew an indigenous population lived there, and upon seeing it, both the characters and the audience discover a lush paradise that has somehow survived the radioactive fallout. This film stands in stark contrast; when the protagonists land on Infant Island, we discover it’s become a desolate graveyard, with only a hidden oasis being what sustains the local population. It’s not just that the egg was stolen, the Infant Islanders are initially non-compliant because their home has been destroyed. (For narrative purposes, Ichiro, Junko, and Miura function as representatives for the outside world, and are confronted about the atomic age despite them, you know, being Japanese. It works in context of the rest of the series wherein nuclear warfare isn’t blamed on any single country and is viewed as something that threatens the human race equally regardless of nationality.) Bringing in Godzilla as the overarching threat thematically completes the mythos surrounding Mothra. Mothra has the upper hand during the entire initial fight, what with her being able to fly and Godzilla being a slow lumbering animal, but one hit of Godzilla’s atomic breath is all it takes to finish her off.

Director Ishiro Honda has mentioned that the driving thesis across all his films (except maybe Matango) is the quest for peace amongst people, considering Honda embraced pacificism following WWII. Mothra vs. Godzilla is possibly the least subtle about this, with the scene where Junko makes a statement to the Infant Islanders might as well being directly aimed at the audience. “I understand why you don’t trust us, but even as we speak many are dying because of Godzilla. Many of them are good people, but even bad people have a right to live. You may call it divine retribution...but all are equal before the gods. They don’t choose sides. Please. We need your help.” Mothra eventually appearing to stop Godzilla comes alongside the fairies stating “we always keep our promises”, a reversal of the unnamed capitalist saying the same line about his industrial project being completed by the target date.

Some have complained that the final act loses steam, as the film has already finished on a thematic level, with the antagonists killed by Godzilla and the vows of a better future already ensured. To which I respond if some people have ever heard of the concept of a final action scene, but I digress; what caught my eye with this viewing is that Godzilla’s final targets are a group of schoolchildren on an island that can’t escape because all the boats have already left. The protagonists are able to have time to rescue them as the Mothra larvae contend with Godzilla, and it stands in contrast to the first Godzilla film where we know that children are amongst the body count, children suffer from radiation exposure by being in Godzilla’s presence alone, and had to see their parents die in front of them. Children in this film being rescued without harm feels like the closest this film gets to putting “a better world” into action, moreso than just a means to artificially increase the runtime.

The ending is what gets me. It essentially combines the endings of the first Godzilla and Mothra films. Godzilla was killed in the first film but forced back into the sea in this one, but regardless, while the immediate danger has been averted, nuclear testing still occurs, the conditions that allowed Godzilla to come into existence haven’t changed. With Mothra, she is able to return to Infant Island with what is hers and the Infant Islanders’ been rightfully returned. They’re sobering and delightful respectfully, but combined we know that forces that created Godzilla have also terribly weakened Mothra and her people, and a better world being made by the protagonists includes rectifying this specific situation. You know the scene in Ratatouille (2008) where Remy shows his brother that while strawberries and bananas taste good on their own, the flavor is far greater when eaten together? Yeah.

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canmom · 3 years

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Toku Tuesday 16 - Godzilla’s Lesser Known Robot Friends

Hi there friends, I hope you are all well! It is once again time for tokusatsu.

Last week I messed up and convinced myself I had downloaded Godzilla vs SpaceGodzilla when in fact, I had not. This week I have in fact downloaded Godzilla vs SpaceGodzilla.

But also by audience request we’re going to dig back to watch one of the older Godzillas: Godzilla vs Megalon, from the early Showa era of Godzilla movies, in which she fights alongside a large robot called Jet Jaguar... who you might know as the inspiration for the robot Jet Alone who features in Neon Genesis Evangelion episode 7. Another version of Jet Jaguar features in the recent anime Godzilla Singular Point. But the one we’re going to watch tonight is the earliest incarnation... which has to be one of the dorkiest looking suits in the franchise:

Godzilla vs Megalon seems to be a somewhat controversial film in the long history of the franchise, standing as rather the opposite extreme to the bleak dread of the original. Which, to quote Wikipedia, proved unpopular:

Godzilla vs. Megalon has attracted the ire of many Godzilla fans in the decades since its original release. The film contributed to the reputation of Godzilla films in the United States as cheap children's entertainment that should not be taken seriously.[21][22] It has been described as "incredibly, undeniably, mind-numbingly bad"[23] and one of the "poorer moments" in the history of kaiju films.[22]

Which, if it provokes such strong reactions, hopefully means it is going to be interesting. (It’s also possibly the victim of a bad dub.) Despite this negative reputation, the film made its way into the Criterion Collection, so we can look forward to a nice print.

In any case, part of the reason for its unfortunate reception may be an extremely rushed production:

According to Teruyoshi Nakano, Godzilla vs. Megalon was a replacement project for another film that was cancelled at the last minute,[7] and evidence suggests this cancelled film was Godzilla vs. Red Moon, slated for 1973.[9] As a result, the project was postponed during pre-production. Screenwriter Shinichi Sekizawa had no time to write out a full script, and instead thought out a general story. Director Jun Fukuda ultimately ended up writing the screenplay.[10] To make up for lost production time, the film was shot in a hasty three weeks. The production time totaled nearly six months from planning to finish.

There’s an interesting story about Jet Jaguar as well:

Rather, the creation of Jet Jaguar was the result of a contest Toho had for children in mid-to-late 1972. The winner of the contest was an elementary school student, who submitted the drawing of a robot called Red Arone. Red Arone was turned into a monster suit, but when the child was shown the suit, he became upset because the suit did not resemble his original design. The boy's original design was white but the costume was colored red, blue and yellow. Red Arone was used for publicity, but Toho had renamed the character Jet Jaguar and had special effects director Teruyoshi Nakano redesign the character, only keeping the colors from the Red Arone suit. The Red Arone suit had a different head and wings.[6][7][8]

It’s cute that the bright primary colours were not something the kid came up with, and in fact disliked. I would love to see the original Red Arone drawing if it still exists.

Right, so what’s this film actually about? By this point in the Showa continuity, Godzilla is no longer a terrifying force of nature punishing humanity for our nuclear sins, but a heroic protector of humanity from various other kaiju. But nuclear testing is still a problem: a nuclear test earns the ire of an ancient underwater civilisation called Seatopia, who dispatch their god Megalon to fuck up humanity. A trio of inventors have created a giant robot called Jet Jaguar, and send it to recruit Godzilla to save everyone. Unfortunately, the Seatopians are allied with aliens from the previous film, from somewhere called... Space Hunter Nebula M? Anyway they send the last movie’s monster, Gigan, to help Megalon fight Godzilla and Jet Jaguar.

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Honestly, I have no idea how we’ll react to this film, but it will be cool to see a typical Showa era film to contrast with our next one... Godzilla vs SpaceGodzilla! For real this time!

Here’s what I said last week:

Unlike Godzilla herself, who is an ambiguous figure with a wide emotional range, SpaceGodzilla is a being of pure hostility, much more like the American attempts. The JSDF, apparently not having learned their lesson, build yet another giant mecha, the burrowing MOGUERA. And baby Godzilla has grown up a little… and has become really chibi.

You can watch a little about its production here. Produced for the 40th anniversary of Godzilla, SpaceGodzilla had to scale back its ambitions slightly after the failure of Toho’s other movie Orochi the Eight-Headed Dragon. The main attraction is of course the big crystalline alien SpaceGodzilla - they used some translucent material to make them glow internally.

Having a flick through the film, it look like we can expect the aesthetic hallmarks of Heisei era Godzilla: implausibly good looking ocean shots, lots of city destruction, etc. etc. SpaceGodzilla, like many of Godzilla’s Heisei-era foes, goes through a variety of forms, from ‘Godzilla but with big crystals and a mean expression’ to ‘huge mass of flying crystals’. I’m quite looking forward to it, both in its own right, and because it will set the stage for the final Heisei film, Godzilla vs Destoroyah, in which Goji faces off against the kaiju personification of the Oxygen Destroyer which killed the first Godzilla.

If watching some Godzilla movies sounds fun, please join me at https://twitch.tv/canmom, and we’ll start in 15-20 minutes at around 8pm UK time!

#toku tuesday

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kokichi-and-co-imagine-blog · 4 years

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To everyone: what would your Pokemon teams be and why?

Oh good god.

Well… this is going to get complicated. At least from me.

Let’s start with assuming no legendary Pokemon. Makes life a bit easier. Of course only a bit.

So… first off a lot of this depends on generation and limit. If you’re asking for a full team that I would have with rotations and stuff, we’re looking at… probably close to 10 full teams of 6, maybe even more.

In my defense, I’m a major Pokemon fan and I really really like a lot of them.

Of course, if we’re going to cut down the team to a more manageable six which can be from any region/gen, but only one from each region/gen to keep things interesting and varied… well, it would depend on a lot of things, including mood and such, so if one were to ask me this question again it would likely change. But, here would be, as I feel right now, the team I would use if I was limited to only six, one per region/gen.

1: Lucario. I’ve been a fan of this guy for so so long, ever since it was first introduced. I loved Lucario and the mystery of Mew as a kid (still kinda do). The whole concept behind aura is amazing. One’s spiritual energy/life force/ soul being utilized in combat? Being able to sense others and see without seeing? So awesome. Lucario is just SO. FREAKING. COOL. It’s design is wonderful as well. Jackel/Anubis? Yes please. Plus, I’ve been maining Lucario in Smash Bros. ever since Brawl. You better believe it’s making my team.

2: Tyranitar. Is it probably the weakest pseudo legendary when it comes to typing? Yes. Do I care? No. Tyranitar is BA. First, it’s one of the only two pseudo’s to not be a dragon. Yes, 8 regions, 9 pseudo’s, and only 2 are not dragons. Don’t get me wrong, I love me some dragons. But… variety would be nice, you know? But yeah, not a dragon, still awesome. It’s Godzilla for crying out loud! Plus, its design is just so good. It’s simple but perfect. It’s a giant Lizard creature that could fell mountains. It doesn’t need to be complicated, and is perfectly awe-inspiring and terrifying without being complicated. I also used a Tyranitar in my Ultra Sun playthrough, a male one named Typhon, Man was he fun to use.

3: Golisopod. Listen, if a Pokemon is good enough for YOUR BOI GUZMA to use it on his team, you know it’s a good pokemon. It’s the Alola take on Gyarados and Milotic (weak pathetic first stage with few moves and while those two do have a slightly higher BST, that ain’t enough to keep my boy Golisopod down. Golisopod’s design is just so good. An Isopod mixed with a Samurai? Sign me right up thank you. It mixes the creepy crawly aesthetic of the bug type with the strong proud samurai perfectly and I love it. And yeah, sure Emergency Exit can be kind of annoying, but it allows you a second usage of First Impression. That is worth it. Also, it’s shiny is dope.

4: Toxtricity. Part of building a team means keeping in mind type composition. I love Grimmsnarl dearly and equally, if not more so, but I already have one Dark-type on the team, so Toxtricity manages to bag this spot. At least, for now considering my current mood. Ask me again tomorrow, or even in an hour, my answer may very well change. Anyway, Toxtricity itself. When I fist saw the design, I wasn’t entirely sure how I felt. It was… interesting to say the least, but I couldn’t figure out what I was looking at, or what it was supposed to be. But after some more time with it, learning more about it and using one I can say that Toxtricity is easily one of my new favorites. Quite possibly my absolute fave from Gen 8. A punk lizard that plays music? Rock/Metal? HECK. YES. The form change is also pretty nice. The stats don’t change between the two, but I honestly like it that way. Just the idea that more energetic natures would have an ‘Amped Up’ form based on an electric guitar while the more mellow natures would have a ‘Lowkey’ one based on a bass is ingenious. Same with the movepool changes. It makes sense that the different forms with their different music preference would have different moves. (My personal fave is the Amped Up, especially with its shiny colors.) Plus, an electric posion type? SO. COOL. Who cares about 4x weak to earthquake, this thing is boss! And Punk Rock is an amazing ability.

5: Flygon. Man oh man was Flygon treated poorly. Added in Gen 3 as a solid pokemon, but with a better attack stat than a special attack one. True, not bad in it of itself but before the Special/Physical split, ALL Dragon-type moves were special. Meaning Dragon Claw, a solid dragon type move back in Gen 3, wasn’t yet a physical move. And Outrage wasn’t even something Flygon could learn yet (it wouldn’t be until Gen 7 that it became a TM). Then came gen 4. Now, I love gen 4. I truly do. It is by far my favorite Gen. And it did do something very good for Flygon. It gave the special/physical split, allowing some Dragon type moves to now be physical as well. But you know what else came along? Garchomp. Honestly, I like Garchomp, I do. But suddenly here we are with a new Dragon/Ground type that is a pseudo-legendary? My poor poor Flygon. And it didn’t get any better. I mean seriously, give Mewtwo and Charizard two megas but none to Flygon? WHILE GIVING ONE TO GARCHOMP WHO DIDN’T NEED IT AND WAS ITS BIGGEST COMPETITION?! Why Game Freak? Why?Anyway, mini-rant aside, I love Flygon. The design is incredible. The line is based on an antlion and is so cool. That sweet green design and the little lenses over the eyes? Perfect, just perfect. Plus, it has some sweet lore. Appearing in sandstorms with haunting music coming from its wings? Yes please. Beautiful pokemon that was done such disservices. It’s a shame really. With Megas gone, Flygon will likely never get that final boost it needs. Though considering it is in Galar while Garchomp isn’t… maybe Flygon will have a chance to shine again. (A shame though that it will never get to have a type change to Bug Dragon. Would be sick.) Regardless of the future though, Flygon will always have a place in my heart, and in my team.

6: Zoroark. Yeah, I know what I said about team composition above with Toxtricity and Grimmsnarl. But I also pointed out mood has a lot to do with it. Anyway, for Zoroark itself. Like Lucario, I’veb een a fan for so long, ever since it was first introduced. It’s kinda funny in a way. Zoroark acts as the perfect yin to Lucario’s yang. Lucario uses aura to sense things and to see, Zoroark is the maser of illusions. In it of itself, this illusion business is awesome, but add in how it counters Lucario and it works just so well. Typing as well, Lucario is a fighting steel, the type you’d think of for a chivalrous paladin of justice and truth, while Zoroark is dark (evil type in Japan), perfect for a sly illusion master. Of course, it’s not just dualism with Lucario. The line is just so amazing itself. Clearly drawing from Kitsune, Zoroark is a sly fox that is able to not just use illusions, but masters them to the point of being able to create solid constructs out of them (see the anime). It is just so cool, how can I not love it? Also, like Tyranitar before it, I used a female one named Vixen in my Ultra Sun playthrough and it was a delight.

Anyway, that would be my team. You know, assuming all the limitations I put on myself and my mood at this moment. But if you guys enjoyed this and want to know more about my favorite pokemon, please let me know. I’m always happy and excited to talk about Pokemon.

Anyway, going to hand this over to the other mods. I’ve been monopolizing this ask for too long.

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Ooo!! This’ll be fun to answer! Cause, well, I love Pokémon!!!

But, forgive me for this; I haven’t played any of the games.

So im just saying my favorite characters!!!

1: Glacieon, I really, really like glacieons and have always loved ice type Pokémon. Mainly because I really like the cold. Like; really, really, like the cold. I also really like her attacks, their cool!!! (Pun intended)

2: Furret. Absolutely furret, I never knew why I liked furret, but. I’m just gonna blame it on me really liking Ferrets and cause I honestly have really liked normal types for some reason.

3: Vulpix (either one), I really like any fire type Pokémon mainly because I’ve always just had a very weird interest in fire and because vulpix can be either a fire or ice Pokémon I love that about them. And they remind me of a bunch of irl animals that I love!!

4: Smom , I LOVE THOSE LIL ICE BABEYS SO MUCH!?!? They are so cute-!? I JUST LOVE THEM SO MUCH???! They are all my children and I want to adopt them all, and I will. No one can stop me………except maybe the other mods-

5: Sylveon, absolutely. I always have such an attachment even with digital animals, so I absolutely would give my eevee enough attention and love for them to evolve into sylveon. Honestly, it’d end up be accidental, but, I still really love Sylveon, and wouldn’t care if I got more than one of them-

6: Flareon, listen- I just love eevees okay-? I love them all so so much, and would lay down my life for each and every one of them. Just 💞💞💕💖💓💖💝💞💖💕💝💓💕💞💖💞💖💝💘💖💕💕💞

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Ah, I bet you missed hearing from me! No worries, I’ll tell you my pokemon team, even if it’s not particularly exciting.

First off, a Pachirisu is a must for my team. I’ve always loved how hyper it can be and the mishaps it would cause. Plus, c’mon- who doesn’t like its color scheme?

I’d also incorporate Chimchar to my team. I’ve always had a soft spot for Chimchar, since it was my first ever starter and I leveled mine all the way up to 100 in my Pokemon Platinum playthrough.

Yamper definitely had my heart the moment I saw it! I have a really strong love for dogs, and its addition to the game got me so excited!! Kirigiri can vouch for me on that one.

Growlithe is also integral to me. When my dog was a puppy, I used to jokingly call her a growlithe. I don’t think I still have pictures, but I even got her a floof for halloween once so she could be in a costume with me. Also... Arcanine is seriously badass.

Wooloo is super cute too! I love that it rolls away from its problems, and I, too, wish to do that. Plus the braids immediately reminded me of Peko, so I was super soft for it the moment it was revealed.

Finally, I’ll add my favorite Eeveelution to the team: Glaceon! Something about its sleek design always made me happy, and the way its fur sharpens as defense is super interesting!

(If legendaries were allowed on the team, I would’ve added either Giratina or Shaymin. They’re my favorites.

#Mod Makoto #Mod Ibuki #Mod Kokichi #Mod ask #Pokemon #Pokemon Preferences #Pokemon team #UwU #Thanks for the ask!#Ask

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waezi2okko · 5 years

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Top Ten OK KO episodes

In the "Incredibles" movie, the bad guy Syndrome plans on staging a fight to become a famous superhero. And when he eventually becomes too old for that, he plans on selling his technology so anyone can become super, arguing that if EVERYONE is super... no one is.

"OK KO, Let's Be Heroes" has a different view on this. In the show, EVERYONE is super, so everyone are AWESOME!

"OK KO" is one of those shows that are so wholesome and fun that you stop thinking about logic and just accept this strange world of heroes and villains who takes inspiration from video games, comicbooks, action movies, mangas and more stuff hero-related. It has a feel of a game being played in a sandbox by kids who brought their random toys and are just going with it.

In the show, our main character is KO, a 6-11 year old kid who wants to become a hero. In order to get experience and be more familiar with the world of heroes, KO takes a job in a bodega run by his idol Mr. Gar. KO befriends Enid and Rad, the teens who works in the store as well, and assists them in running the bodega as well as defending it from destruction whenever the evil scientist Lord Boxman(who lives at the other side of the street) attacks the bodega with his evil robot children.

Yeah, it's kinda silly:P But in an awesome way.

Besides the humor, the creative character designs and the many references that will make you feel old if you get them, it is also the modern cartoon show that I think does the best relationships as well developing said relationships(sorry Steven Universe). Anyways, made this blog because I feel my main one has too much OK KO stuff, so I will start of this one with a top ten of the best episodes of the series.

Number 10: We Messed Up.

I HAVE to include this episode on the list since it was the first I watched.

Mr. Gar is out, and he has SPECIFICALLY told his employees to stay away from his office.

... So they go to his office. And breaks his stuff. The three friends must figure out how to stall their boss as well as how to replace the picture of KO's mom(that he for some reason has) so Mr. Gar won't be... disappointed!

I HAD to include this episode on the list since it was the first OK KO ep I watched. Also, a lot of lore was revealed in this episode, leading up to future episodes and storylines as we learn that Mr. Gar used to be on a superhero team with KO's mom Carol AND that Mr. Gar apparently used to be a masked wrestler. That, and the episode is just plain funny, mostly because of Mr. Gar being extra as heck!

Number 9: Whacky Jaxxyz

When KO gets introduced to the game and toy Whacky Jaxxyz by his cool classmate Nanini, KO jumps aboard the trend and even enters a tournament with Nanini.

Buuuut then they meet other people who play Whacky Jaxxyz as well and realize that the game's fandom is rather toxic.

And by "rather", I mean "VERY".

As a kid from the late 90s and early 00s, I can relate to this episode since I collected stuff such as Bayblades, Yugioh cards and such. I still feel cheated sometimes by the Yugioh franchise as well as being irritated by the fans of it who can sometimes ruin it for me. This episode shows how something fun can get ruined by both the people who provides it as well as the people who obsess over it.

Also, famous YouTuber ProZD is guest star:)

Number 8: Let's Watch the Boxmore Show

When KO and his friends are about to defend the bodega against another robot attack from Boxmore, they realize that they don't have to lift a finger since the robots are fighting EACH OTHER. Wanting to know what is going on, Mr. gar gives his employees permission to use his monitor room since he has hacked the surveillance cameras of Boxmore, allowing them to see what is going on in the robot factory. Our heroes realize that there is a competition in Boxmore, EXTREMELY similar to a reality TV-show. KO, Rad and Enid ends up getting addicted to watching the "show", even rooting for their favorite robot and ends up quarreling about who deserves to win or lose.

I grew up in the golden age of reality TV-show and can recognize the stereotypes WAY too well, both the contestants as well as the fans who obsess over the shows. This was just such a stupidly hilarious episode to watch. And Christopher Niosi who voices minor characters was on the top of his game in this episode.

Also, if you don't know Christopher Niosi, you should check out his YouTube channel.

Number 7: My Dad Can Beat Up Your Dad

KO gets in an insult contest with another kid named Chameleon Junior. And like all kids, Chameleon Junior argues that his dad could beat up KO's dad. And this specific insult gets to KO since... well, he DOESN'T have a dad. So he tells CJ that he might not have a dad, but that his mom Carol can beat anyone up. The two boys part ways to get their parents to fight to prove who has the stronger dad/mom. Carol tries to teach KO a lesson about talking things out, and... yeah, things escalate when a godzilla-sized chameleon dad is involved.

I was tempted to place this episode on the number one spot imply because watching a very angry hand-to-hand fighter mom beat up a giant lizard was amazing. But the ending twist that is a reference to old Godzilla movies was clever as heck. Chameleon Senior is revealed to actually being a giant man in a lizard costume, kinda like how old Godzilla movies had a man in such a costume.

Number 6: T.K.O.

KO is frustrated since he still doesn't have powers like Rad and Enid and worries that he will never become a true hero.

But then he meets a shadowy figure who tells him that he can help him reach his true potential.

... Yeah, KO shouldn't have trusted the guy.

I kinda knew from the start that KO would end up having an evil side that made him powerful, especially since he looks so much like Ryu from Street Fighter. But the way his dark side(AKA Turbo KO) is introduced is actually rather creative. It isn't anger that makes KO go dark, it is a combination of a whole lot of negative emotions that appears when he feels insignificant. That means that TKO has much more potential than just being a little angry monster, he is all of KO's negative emotions, including sadness, frustration and depression.

Number 5: Red Action To The Future

One of Enid's friends is a timetraveler called Red Action. When Red is getting a call from her Power-Ranger like team that tells her to return to the future, Enid is too proud to tell her not to go, fearing that Red would think less of her for being "clingy." But all Enid gets out of it is that Red is busy fighting a war in the future, and whenever she sees her again, it is only for short visits, and Red has aged months and years every time Enid sees her. Red ends up having lived a whole life in what was minutes for Enid.

With a show like OK KO where timetravel is a thing, you can have episodes that tackles with friends who doesn't say things to each other due to a mix of pride and shame, then realize that they missed their chance and a lifetime has passed. Enid gets to experience this much faster since Red is in the future, so time is relative.

Number 4: Rad Likes Robots

After an intense battle between the bogeda workers and the evil robots, one of the robots named Shannon gets hit by lighting and then falls in love with Rad who quickly becomes infatuated with the robot as well.

So, yeah. This is the Romeo and Juliet episode. But unlike other cartoon shows, this one does Romeo and Juliet right, if you ask me.

I actually mad e a whole blog about the episode that you can read RIGHT HERE.

Number 3: Know your Mom

KO's mom Carol is one of the strongest people in Lakewood next to Mr Gar. So it is sort of weird that she isn't a big-time superhero and instead just runs a fitness center.

When KO does research on his mom for Mother's Day, he finds out that she actually USED to be a big-time superhero. She was known as Silver Spark and was a member of the world's greatest superhero team POINT(Powerful Operatives Investigating and Neutralizing Trouble). But then she decided to quit the team 6-11 years ago. KO is horrified since HE is 6-11 years old, so he believes that he might be the reason to why Carol left POINT. So KO decides to call her archenemy and make him come fight her as the perfect gift.

What really sells this episode is Carol's old enemy Succulentus who is voiced by Jonathan Davis, the leading vocalist of the nu-metal band Korn. Most of his dialog has references to nu-metal songs, most of them I actually caught, making me feel old, especially since Succulentus is an old fart. Sure, he is old because he is a cactus, but it is still funny to be reminded of music you grew up with that is now considered "old".

Number 2: You're in Control

This was an awesome season one finale! Not only did it have an epic battle, it had been built up to through the whole season, making it that much more satisfying to watch. And it even had one heck of a cliffhanger that made me even more hyped about season two.

Number 1: Special Delivery

Enid and Rad are KO's best friends and pseudo older sibling. But they are also each others' best friend. So "Special Delivery" is an interesting episode since it focuses on Enid and Rad relationship without KO involved.

Someone has ordered a package from Mr. Gar's bodega, so Rad and Enid have been given the task of delivering it while KO stays in the store. The one who ordered it is in a town far away, so it is roadtrip time!

Rad and Enid actually has fun being together while driving to Neo Riot City... But Enid ends up having too much fun on Rad's expense.

Best friendship episode of the whole series since it focuses on communication and what the lack of it can cause since you can end up unintentionally hurt someone who is important to you. Also has the awesome and cliche song "I Wanna Get Out of Here" written by William Gibbons who is songwriter for the band Kara's Walk Home.

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posthumanwanderings · 5 years

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while I was on the train to Nakano Broadway to collect more Heisei era Godzilla toys, I thought I’d make a personal list of the best to worst Godzilla films (up until Godzilla 2000 cause that’s around the time I stopped caring, I’ll try again tho) since the new Godzilla film is around the corner and maybe some of you are interested in giving the Big G’s archive a shot (you can delete this caption too if you just like the pic! and yes Morrigan counts as a kaiju, a beautiful one at that)

1. Terror of Mechagodzilla - last of the Showa era, ending with one of Godzilla’s most deadly foes. and I love how fucking big Titanosaurus is, god damn. the cyborg girl was cool too, loved her arc and how she controls both monsters.

2. Godzilla Vs. Mothra (90′s) - Mothra’s Heisei debut, and looking more dazzling than ever and also alongside her evil twin Battra. the fight in Yokohama (after its real life modern expansion when Japan’s economy was at its best) was a nice fresh setting for the climax. this one perfectly balances campyness and just a good kaiju film altogether. 3. Ghidorah: The Three Headed Monster - Ghidorah, besides Mothra and Mechagodzilla is probably the next most recognizable kaiju even to nonfans. One of the best moments in Godzilla history is when Mothra desparately tries to convince Godzilla and Rodan to team up against an even bigger menace, then they can get back to their typical kaiju businesses. 4. Godzilla Vs. Destroyah - like how T.O.M. ended the Showa era with a bang, this is the one that ended the 85-95 era with a monster that really beats the shit out of zilla who is already on the cusp of exploding like a nuclear reactor... it ties together the very first Godzilla movie too for plus points. for those looking for a more serious, borderline horror movie kaiju experience. 5. Godzilla Vs. Mothra (60′s) - yup two Mothra movies in the top 5. Mothra fights with Godzilla are always so tense, since Mothra being a giant graceful butterfly appears so delicate against big boi Godzilla, plus her kids are under his threat as well. and on top of that Godzilla moves and fights like a drunkard the whole time. 6. Godzilla Vs. Mechagodzilla (70′s) - Godzilla faces his robot clone for the first time who has one of the largest movesets of any other kaiju, a true force to be reckoned with. instead of Mothra being summoned by an ancient race, we have King Caesar, a stone guardian puppy dog lion to team up with zilla against the bigger baddie. fun fact: this was filmed right after Japan gained back Okinawa from America since WWII, and makes once again another fresh setting.

7. Godzilla 1985 - I’ll be honest, the lone Godzilla movies with no other kaiju weren’t the top of my interest especially being an ADHD kid, but from a film perspective this is shot really well, the miniature city set had a nice upgrade since T.O.M. from a decade before, and I love the laser beam special effects from the upgraded Japanese Defense Force in this.

8. Godzilla Vs. King Ghidorah (90′s) - Not to be confused with the other 5ish Ghidorah encounters, this was the Heisei debut of the 3 headed monster mixed into a time travel plot since movies like Terminator were all the rage in the early 90′s. The tie in plot about WWII had more to be desired and felt very nationalist, but as a kaiju film the special effects were top notch especially with Mecha Ghidorah.

9. Destroy All Monsters - the ULTIMATE Showa era kaiju crossover fest has just about every giant monster Toho made up until the point because why not? It’s another typical story about mysterious aliens mind controlling kaiju to destroy Earth, but this time when they say Earth (and not just Tokyo) they mean it. Plenty of things get destroyed, nice big battle at the end, only thing lacking is they gave Baragon and Varan 3 seconds of screen time and they both are some of the coolest looking kaiju there are out there. big shame

10. Godzilla Vs. Mechagodzilla (90′s) - in this Heisei take on MechaG, his role goes from super deadly alien robot menace to kinda still deadly robot guardian built by the EDF. he looks cool but just seems more weak compared to the more sinister alien engineered one. Rodan makes a long awaited return and basically has a custody battle with Godzilla over a mysterious kaiju egg. no spoilers

11. Godzilla Vs. Hedorah - probably the scariest Godzilla movie with Destroyah placed next. he fights an alien pollution monster who has been taking big rips from factory smoke stacks only making him bigger every time. Japan’s take on an environmental awareness film and I see nothing wrong with it one bit.

12. Godzilla Vs. Biolante - zilla sees another type of counterpart to himself, this time essentially a ‘PlantZilla’ after a scientist thought it might be a good idea to merge Godzilla cells with a plant for some reason. the story is a bit odd, but this remains in middle ground territory because it debuts Miki Saegusa, the super adorable psychic girl who appears in every 90′s film afterwards and the special effects of Biolante in final form are sick.it also has a disco version of the zilla theme for some reason.

13. Godzilla: King of The Monsters - someone would bash me big time for having this any lower on the list, but this is the one that started it all, grimly filmed in black & white a decade after the end of WWII. fans know this already but it’s the atomic bombs themselves which devastated Japan that influenced the idea for Godzilla, a force of mutated nature that lashes back on humanity for making really bad decisions. I like this and all but it lacks zero charm or kaiju style ‘fun’ but for good reason, since it was meant to be more of a horror flick.

14. Godzilla Vs. Gigan - for those that do want the campiness, this is one of the best the series has to offer along with a couple more below. Godzilla’s ol pal Anguirus returns for his last Showa effort as they team up against space monsters Gigan (who is edgy af) and once again Ghidorah (who sadly has been fighting on his own the whole time while other monsters always team up to bash him). being in the 70′s, it’s got shades of James Bond / spy films in it and the fashion is on point. we get to hear Godzilla talk for the only time ever too.

15. Godzilla Vs. Megalon - probably out camps #14 for several reasons: this entire time there have been an ancient race of humans living below the Earth who feel enough is enough between pollution and expansion of society and finally unleash their protector, a giant cockroach monster with drills for arms to destroy just Japan all modern civilization (where was he during Hedorah’s visit tho?). 2nd reason is there’s copycat Ultraman who also looks like Jack Nicholson, then there’s the edgy middle-school bully like relationship between Megalon and Gigan and then lastly the infamous Godzilla dropkick you might’ve seen in GIF form, if not well here you go:

16. Godzilla Vs. Monster Zero - probably the 1st 90% campy zilla flick because of the Godzilla victory dance alone, but this was also because as time went by more kids cared about the movies and not the original target audience of war torn adults. the aliens (at least in the dub version) speak super monotone even when they are being huge bad asses, and we get to see G and his on-and-off lover buddy team up again but this time IN #&$%#% SPACE. the setting on Planet X was real cool to see as a kid, but sadly we haven’t seen any kaiju fighting back in space ever since. the NES Godzilla game fixes that itch.

17. Son of Godzilla - well I’ve only ever seen this movie twice, which means it maybe just isn’t that good, even for G fans. it debuts, of course, the son of Godzilla who looks like a cross between the Cookie Monster and Michelin Man. I’ll give this movie credit for distancing zilla away from the city setting in replace with his tropical home territory in Monster Island which only gets glimpses in the other films. the ending shot is real sweet too.

18. Godzilla Vs. SpaceGodzilla - back to spaciness, we do see one last alien monster come to Japan in the 2nd to last 90′s Godzilla movie, appropriately called SpaceGodzilla. while he lacks agility (when not flying on his giant meth crystal) he makes up for it with telekinesis and other long range attacks. the story / acting / mostly everything is pretty so-so and we all know deep inside the only reasons to watch it still are the scenes with baby Godzilla stepping on land mines and more Miki Saegusa wardrobe changes, but the final battle in a crystal filled Fukuoka is really awesome.

19. Godzilla’s Revenge - wow well I just noticed I put 3 baby zilla focused movies all in a row near the very bottom of the list, my bad. this one takes the cake tho for pure cringe. but it’s better than the last 3 so it can’t be super terrible, right? once again no spoilers but the only thing that bumps this stock footage filled movie more up then from being the worst of all time are the super silly fight scenes against baby Godzilla’s bully Gabara. you know Godzilla has to do it to em.

20. Godzilla Vs. The Sea Monster - even tho the former movie just reviewed uses stock footage of almost all the fight scenes of this one, it is somehow worst than #19 because it focuses way too much on a 60′s party cruise, and Godzilla gets a lil King Kong-ish during a scene with the love interest of the movie, and the giant lobster monster with no lasers / projectile claws just doesn’t seem as threatening as all the previous monsters zilla has fought since.

21. Godzilla Vs. King Kong - I’ll admit, I never liked King Kong and probably never will, and because he moves faster than Godzilla they had to use non-slowed down footage to make the monsters fight like kids on a playground slapping each other, and just looks weird. real talk, Godzilla would beat the shit out of Kong with a single radioactive blast and the movie would end right there. but that’s not the ending we got.. let’s start a patreon to rewrite the movie we all wanted.

22. Godzilla Raids Again - alright we finally made it, thee very worst Godzilla movie of all time according to the loser typing this. why? because it went against everything the first Godzilla movie represented, but like... suddenly, since it’s the sequel to the movie and the big G was never meant to return after, which luckily wasn’t the case. it’s superrrr campy but on the acting side, and the fights with newcomer Anguirus are super sped up even more than the Kong fights, and just seems tacky overall in a non-funny way. the suit for Anguirus is honestly one of the coolest kaijus ever tho, and they made little changes to him every time he came back cause it was just that good.

anyways, thanks for coming to my TED Talk. if I were to recommend just 3 Godzilla movies to someone who has never seen them before to represent each side of the series, I’d pick Terror of MechaGodzilla for the serious pick, Ghidorah The Three Headed Monster for the balance / kaiju fest pick, and Godzilla Vs. Megalon for the most campy and fun one overall. hope this big list can help those who are curious! next up: Godzilla game reviews :)

#feel free to delete caption #godzilla #kaiju #long post #japan #tokusatsu #review #text #had to show some love to a big part of my childhood #mothra

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amanharwara · 4 years

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Eminem - Music To Be Murdered By (Album Review)

“Music To Be Murdered By” is the latest release from the legendary rapper, Eminem. This is his eleventh studio album. Eminem released the album on 17th January without any prior announcement, similar to his previous album Kamikaze.

As you might know, Eminem is one of the biggest-selling artists of the previous decades. Very few artists manage to touch his sales numbers. Even the two of his worst albums managed to put up numbers that for most rappers would be their highest. Needless to say, he is one of the biggest artists in the world with a huge global audience. A lot of his audience is very passionate, which is one of the reasons all of his albums seem to do so well.

The project is a double-album, including two labeled introductions and one labeled outro. For those of you who don’t know what a double-album is, it is composed of two different albums. This one, in particular, is split into two portions containing 10 songs each. The album features 12 artists across eight songs, including artists like Ed Sheeran, the late Juice WRLD, Royce, Black Thought and Q-Tip. The album title and cover have been inspired by one of the most influential and prominent directors and filmmakers of all time, Alfred Hitchcock and his album, “Music To Be Murdered By”. Multiple songs on the album reference him.

His previous two releases have been inadequate trash. Revival and Kamikaze are two of Eminem’s worst albums ever released. Although, don’t take my word for it. You might want to give them each a listen yourself to understand why I say that. My gripes with Revival were the bad production, absolutely cringe lyrics and some of the worst flows. Kamikaze continued that trend of bad lyricism mixed with bad flows, and also attacked new-age rap like a grumpy old man. Two consistently terrible records from someone whose music I enjoyed and adored for a long time is the reason I went into this album with very low expectations. And let me tell you, the album barely manages to exceed even those low expectations.

The album starts with the intro, titled “Premonition.” Em continues the attack on “mumble rap” that he started on Kamikaze. He also talks about his career on the track, from his years of being one of the undisputed rap legends to being bombarded by criticism for his previous few records. The track features a generic trap beat, instances of which can be found on quite a few other songs on the album. However, the one on this track is at least a bit bearable. The track contains its fair share of corny lyrics. At a point, he is boasting about being “as fly as your zipper.” I think the track sets us up perfectly for what the whole album is going to be.

Next up is the “Unaccommodating,” featuring Young M.A. The track contains one of the better trap beats on the record. Also, M.A.’s feature is one of the saving graces on the album. This is because she can flow well on the beat, unlike the certain another rapper on the track. Although, I’ve got to give credit where it’s due. Em is pretty good at this “fast rapping” game that white kids from the suburbs love. If rap was all about talking fast, then Em would be the GOAT, of course. But that’s not the case. One thing I found funny about this track is the line where Em says that his pupils have gotten cornier. Yeah Em, that’s because they’re learning from one of the corniest teachers ever, you. He comes up with some of the wackest lines, I swear. “Where’s Osama been? I been laden lately” This is a line from the chorus of the track. The track contains even more corny lines, peep:

“Cause I met your bitch on the internet now I’m getting head like a Pillow Pet”

“That’s why they call me Kamikaze, it’s plain suicide, yeah”

Em’s old friend and frequent collaborator, Royce da 5'9", joins him on the track “You Gon’ Learn” along with White Gold. White Gold comes in with the chorus, which sounds rather boring to me. Royce comes in with an amazing flow that fits well on the beat. Although, he did make me cringe hard at the colonoscopy line. Overall, his verse is very enjoyable to listen to. Em comes in with his verse containing some very corny lyrics. He has mastered the art of corniness at this point. At least, his flow is a bit better on the track. I couldn’t even be bothered to put up some of the corny lyrics here. I’d recommend you give the track a listen and find out yourself.

Ed Sheeran collaborates once more with Em on the track “Those Kinda Nights.” This is one of the most trash tracks I’ve heard on the album, with some horrendous lyrics. Also, the flow on this one is annoying and irritating. The chorus by Ed is bland and nothing special. I can’t put into words how much I dislike this track.

“In Too Deep” describes details of a toxic relationship that Em and his partner were involved in. I do like the slow and kinda punchy beat on this one. However, I can’t say the same about Em’s rapping. I mean, it’s not as terrible as the rapping on some other tracks, but it’s not any good either. On the chorus, he goes back to his Recovery style of singing which doesn’t sound too good. This is an average track, better than some of the worst tracks but nothing too good.

“Godzilla” starts with Em’s annoying staccato flow which then evolves into an amalgamation of the annoying staccato and the annoying fast rap. The beat on this is good, though, pretty fun to listen to. But that is the only good thing about the track. I was hoping when Juice WRLD (R.I.P) comes in, that it would be at least a bit more enjoyable to listen to. However, even that expectation of mine was deceived. I didn’t enjoy the track other than the beat.

The track “Darkness” interpolates “The Sound of Silence” by Simon & Garfunkel. I’ve gotta be honest with you, the track has grown on me at least a little bit since I first heard it. While the beat is a little bit generic, I do like it. It is slow and kinda melodic, sets the tone for the lyrical content. Speaking of which, the song is written from the perspective of the murderer responsible for the largest mass shooting in US history. It also brings to notice the gun control problem in the US. This is one of the tracks that I think is good and you should give this one a listen.

“Leaving Heaven” sees Em reflecting on his success and what turned him into the person that he is today. He raps about extreme resilience after having been put under very terrible circumstances by life. The beat sounds reminiscent of something that would be on MMLP2. When the Skylar Grey-sung chorus hit for the first time, it did interest me a tiny bit. But that interest waned off by the second time the chorus hit. Also, Em seems to fall back into his annoying staccato rhythm on the verses on the track. Another below-average song, which while not terrible, leaves a lot of room for improvement.

Next might be the only song on the album that I’ve enjoyed thoroughly. And that song is “Yah Yah,” with its amazing use of sampling. It samples Busta Rhymes’ “Woo Hah!! Got You All In Check,” which is a song that I enjoy a lot myself. Denaun went crazy with the beat on this one. The features list on this track is pretty amazing as well, featuring Royce, Q-Tip who you might know from “A Tribe Called Quest” and his solo work, and Black Thought who you might know because of his amazing rap prowess and his work with his group “The Roots.” While I would’ve loved a verse by Q-Tip, he is only featured on the chorus along with Royce. Royce’s verse is pretty good, followed by another good verse from Black Thought. It’s good that Em’s verse is at the end, which makes it easier to skip.

On the twelveth track of the album, “Stepdad” Em attacks his deadbeat dad for leaving him and his mother when he was still a toddler. I hate the chorus on this one. Em’s flow on this sounds similar to some of his older works like Relapse and The Eminem Show. While the flow can start sounding a little annoying at times, it isn’t as bad as the chorus. And the lyrics are pretty good and not much corny when compared to other songs on the album.

The latter half of the album falls flat on its face and is even annoying at points. Marsh is one hell of an annoying song. I can’t even sum up my hatred for it. I’m sorry but I don’t have anything to say about this garbage. Never Love Again sounds like something out of Revival. Little Engine has an interesting and fun beat to it, but the chorus is annoying and Em’s lyrics aren’t any good. Lock It Up’s Anderson Paak feature is alright, nowhere near what my expectations thought it would be. Farewell is another piece of garbage with extremely cringe lyrics and annoying delivery. No Regrets contains a feature from Don Toliver which I couldn’t really care about. It sounds like a very generic trap song. The final song I Will is a reunion of most of the members of Slaughterhouse. This is a bearable track with an alright chorus from Em and an alright beat.

Overall, the album is another disappointment in the Eminem catalog. However, it’s not as much of a colossal letdown that his previous two albums were. It is a huge improvement when compared to Revival and Kamikaze. One of the good things about the album is that Eminem finally collaborated some new artists from the “mumble rap” scene instead of acting like a grumpy old man waving his cane at the kids. While some of the songs sound like generic trap songs, there a few good songs here and there. Some songs are absolute garbage and some are tolerable. It’s a below-average album from someone who I still think is capable of bringing better music than this.

Rating: 4 / 10

#music #music review #album #album review #eminem #music to be murdered by #alfred hitchcock #hiphop #rap #anderson .paak #royce da 5'9"#black thought #q tip

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des-shinta · 6 years

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Access Flash! On Gridman and it’s new anime.

So Tsuburaya Productions recently branched out into the realm of anime with this collaboration with Studio Trigger. And for those who haven’t been following, it’s with a series you 90′s kids might recognize.

The name Tsuburaya should need no introduction if you’re in the Tokusatsu or giant monster(Kaiju) Fandoms, but for those unfamiliar; Eiji Tsuburaya is the special effects wizard responsible for all the effects in the original Godzilla. A Life-long fan of scale models and recreating the world in realistic miniature, he is in many respects considered the Japanese Counterpart of Legendary filmmaker Ray Harryhausen. In example of his amazing talent and attention to detail, he was consigned during world war Two to make propaganda films of the Japanese military winning in engagements across the pacific and the productions for the time were paid so much attention to detail that no-one at the time was able to tell that they were fakes. He got a lot of flack for that after the war ended, and was barred from filmmaking in Japan for several years.

His company, Tsuburaya Productions has carried that fortitude for effects and quality storytelling with it throughout the decades. Since 1966, their primary product has been the “Ultra Series” Franchise, Primarily focused in The titular Ultraman of the entry, and their adventures.

The franchise focuses on benevolent Giants from the M78 Nebula (though some originate from elsewhere as there’s actually an Ultra-multiverse) who act as troubleshooters for random giant monster calamities; bonding to specified hosts (or on occasion take human form themselves) to conserve their own powers while away from their own homeland; allowing the chosen humans to utilize their powers to defend their home and what’s precious to them. The downside of the Ultra’s is that in planetary environments they can only use their immense powers for approximately 3 Minutes before they need to rest, as their powers are garnered from light energy given off by stars, who’s rays aren’t intense enough to sustain them in-atmosphere.

The currently running series, Ultraman R/B is actually really good, and has a lot to say on the subject of caustic fans who miss the point of the merits of a series due to only caring about the action/spectacle of a fight and adherence to Tropes, and not understanding what a hero may actually be fighting For. While that might initially read poorly to some people as it attacking fandom (as a certain other current toku series does every week)--and that not helped by words from the Head of Tsuburaya from before R/B debuted--it’s more focused in social commentary refuting the Idea that the genre is message-less nonsense, and wants people to actually put thought into what being a true “Ally of Justice” means; Doing the right thing. Links to 3 Relevant twitter threads discussing this: 1. 2. 3. For the interested, R/B is currently being fansubbed by the group Color timer, as Tsuburaya has not had luck in getting it officially distributed as of yet. Crunchyroll, who’d previously been getting the import library, has recently begun dropping Ultra series left-and-right in favor of other licenses, with the only ones remaining being ones they originally subbed. If you’d like some older Recommendations, Ultraseven (available from Shout Factory) is considered the best overall series, And has multiple sequels with the adventures of Seven’s Son Zero (trying to list all of Ultraman Zero’s appearances is ridiculous, as he’s mainly been the star of a long collection of movie’s), and then 2017′s Ultraman Geed (available on Crunchyroll, the movie for the series also from MCS fansubs), focused in turn on the Son/Clone of Zero’s Greatest enemy Ultraman Belial which then had Zero act as a secondary protagonist part of that series’ Ensemble. Tsuburaya however has been having something of a hard time the last several years. The chinese Company Chaiyo, using falsified documents, laid claim to many of the showa-era (pre-1989) ultraman series and all Distribution rights to All of The related content of the franchise from Tsuburaya, preventing them from making money internationally while Chaiyo flexed those rights themselves to make them an immense sum of money. The litigation and lawsuits basically bankrupted the company as Chaiyo argued under the technicality of having a proper authentication of their document from one of Tsuburaya’s sons that the agreement was a foregone conclusion; requiring Tsuburaya productions have an in-part buyout from company Namco Bandai to continue running.

This is why recent ultra Series (Ginga, Victory, X, Orb, Geed, R/B), have ended up being awash with collectibles; Bandai over-merchandises every thing they can get their hands on. Previously the merch licenses resided with Takara/Tomy (transformers, zoids), and were a LOT more restrained as while Tsuburaya Pro Knew merchandising was important to the longevity of a series as an additional revenue source...the storytelling of the series would come first. with series before this, most of the toyetic items came in the form of scale models and figures of both the title ultra’s, some roleplay items, and an assortment of assist vehicles and jets the normie humans would use in battle to support the main protagonist against the situations of the week. That monetary support however helped, and in a newer lawsuit Tsuburaya won through and prevented Chaiyo from screwing with the company again...however, the legal distribution rights for their own assets are still in legal limbo, as the latest case only allowed them to claim Dominance over north-American distribution. which while still a significant market is still small in comparison to the rest of the world; especially with the stigma these live-actions show have in the US. to the non-converted. Really, I think that’s part of the reason why they ended up pushing a new entry of a series that Chaiyo had NOT previously been able to touch at all.

Denkou Choujin (Lightning superman, though the title is localized as Hyper Agent) Gridman was a 39-episode Tokusatsu series that ran in 1993, and more recently was imported and subtitled to completion by the US Premium channel TOKU.

It followed the adventures of Naoto Sho and his friends Yuka and Ippei as they, after encountering the titular Gridman inside of a video game they’d been developing on a kitbash computer (Junk), must assist him in defending the computer realm from the attacks of Khan Digifer (subtitles writing it as ‘Digipher’).

Yes, we know he looks like the shredder from TMNT. Both Gridman and Khan originate from the “Hyper world”, a realm comparable to cyberspace where all entities exist as living data (*cough*Digimon*Cough*), and thus can manipulate less complex data to their own ends. With Khan’s goal being the destruction/conquest of the computer world, which would allow him to transcend digital limitations and begin his conquest of the real world, ala Code Lyoko XANA means of devastating anything electrically powered which could lead to bad ends for those involved (like, say, screwing with a nuclear power plants regulation systems).

PLOT. POINT.

Khan’s efforts are Assisted by Takeshi Todo, A classmate of Naoto and Co who is an introverted social outcast and Victim of bullying; though Khan’s manipulations have turned him into a selfish, petty man. Khan uses him to create the series’ monsters-of-the-week by Takeshi programming them into a homebrew game similar to the one Naoto found Gridman in, with Khan’s incentive for doing so being to allow Takeshi some catharsis from the awful things that have happened to him in his life, oblivious/not caring towards the entities deeper machinations as making homebrew monsters in his game was how he’d previously endeavored to vent his frustrations in a healthy manner...that Khan has just taken to the opposite extreme. Though the show makes clear that Takeshi is fully an Indoctrinated thrall of Khan’s power to even allow him those indulgences so he can’t see the outstretched carrot is naught but a Stick.

To Fight Khan’s attacks, Naoto uses the transformation trinket the “Accessor” brace to Digitize himself and fuse with Gridman, With the transformation cry “ACCESS FLASH!” allowing his body to be turned to data and fuse with Gridman to upgrade his capabilities. Yuka and Ippei likewise assisting them with the programming and transmission of weapons and vehicles/robots that add additional arsenal to Gridman’s counterattacks.

And unlike Previous tsuburaya productions, Gridman was the first to have these assist robots...actually be able to combine with the core hero.

Now, you 90′s kids in the audience might be thinking, “Hey, this all looks familiar” And you’re right. Because the series got imported in 1994.

In response to the rise of Power Rangers Adapting the Japanese super sentai series, there was in turn an attempt to make bank on...basically doing the same thing.

Saban made SEVERAL adaptations of other tokusatsu series from toei’s library; Making VR Troopers and Beetleborgs from Toei’s “Metal heroes’ franchise”, and Saban’s masked rider from the Kamen Rider series “Black RX”. They did not do as well as Power Rangers, primarily because they repeated many of the same mistakes MMPR made but grew out of, and lacked quality storytelling to really keep people invested. While VR Troopers and Beetleborgs To this Day have their merits and defenders...well, the only thing Worse than Saban’s Masked Rider that Saban has made, is Power Rangers (Super)Megaforce...Though some argue That Samurai, Dino Charge and Ninja Steel are very close as well. But THAT is where We Find DIC in all this.

DIC entertainment Was a Company active in the late 80′s, 90′s and 2000′s most known now-a-days for being the original distributors for Sailor moon and it’s awful original Dub, and producers for Inspector Gadget, The Real Ghostbusters, the 90′s Sonic Cartoons, the 90′s Carmen Sandiago series, and Alienators: Evolution Continues. Those were their “good” Productions, most of the rest of their library was schlock and terrible both at the time and looked back on in hindsight.

Stargate fans do Not talk about Stargate Infinity.

But in the Power Rangers craze, DIC made two contributions to this in an attempt to cash in on the Hype. The first...is the infamously awful tattooed Teenage alien Fighters from Beverly Hills.

A Transparent ripoff if there ever was one, while many of the PR-clones of the era are accused of being ripoffs, ALL of them with exception with this show ultimately did their own things. TTAFfBH though? No. On every level it’s an awful, obvious knockoff, and only True Power Rangers Ripoff. Not-so for the series we (in the round-about way I’ve taken) should actually be discussing:

Yeah...Ironically, that name was decided on to avoid hedging in on Power Ranger’s naming conventions, SSSS was originally going to be imported as PowerBoy. No, seriously. it ended up doing the opposite, but the intention was to have no relation.

The series...actually did a lot of things right. Co-Produced with Tsuburaya, SSSS was pretty much a direct adaptation, with the plots of the week being adjusted to an Americanized setting. culture and subplots...just with the standard campiness expected of a DIC production...and even less of a budget than Power Rangers at the time had.

A Teenage basement band calling themselves Team Samurai (though why they called themselves that escapes me, I’ve yet to get the show on DVD so am working on memories from 1994/1995 and clips on youtube), end up involved in stopping that attacks of cyberspace monsters after their lead guitarist Sam Collins (Played by Matthew Lawrence, later the sidekick to Will Friedle when he would join the cast of Boy Meets World) somehow gets zapped into his computer and endowed with the powers of Gridman’s counterpart Servo, who then take up the duty of stopping the machinations of the Escaped military AI program KiloKahn (voiced by the ever-awesome Tim Curry. Seriously) and his Human servant Malcom Frink (basically just takeshi’s character again) as their various attacks upon any devices connected to electricity can end-up having real-world consequences...Just as they did in the original gridman series. Astoundingly, SSSS ran Longer than Gridman did, totaling in at 53 episodes; padded out with creative re-cutting of battle-footage alongside getting some test footage for a Gridman sequel that...unfortunately never got made. It was rumored that had SSSS done better a full sequel Starring a character named Gridman Sigma would’ve been greenlit to provide more footage and story for adaptation...but sadly by 1995 and the show’s end, much of the PR Ameri-toku craze had ended, and Gridman/SSSS became a backburner to history. ...at least, until 2015

youtube

Co-Produced by Studio Trigger, Denkou Choujin Gridman: boys invent great hero was an animated short for the japan Animator expo. taking place 22 years after the original series (and the opening several minutes acting as a recap of it), Former villain Takeshi Todo seeks his own redemption for his past actions when Khan (or potentially a successor) re-emerges with more power; Takeshi taking the form of the blue-bodied Gridman Sigma to engage in battle with Digital kaiju that now appear to be manifesting within the real world with intentions to rewrite reality. Again, PLOT POINT. ...which thus leaves us with 2018′s recently released SSSS Gridman.

High school Freshman Yuta Hibiki awakens one Day Sans his memories, and begins to see illusions of Giant monsters in the skyline. Finding Gridman within a Junk computer at his friend Rikka’s Home, he sets out to uncover the mystery of his lost memories, why these monsters are appearing, and what it means for his world as the kaiju begin emerging into the real world, forcing him to fight in the real world as the new Gridman. The series is written by Keiichi Hasegawa, who over the years has written more content for Tsuburaya than any other person; Writing on Utlraman Tiga, Dyna, Gaia, Cosmos, Nexus, Mebius, Ultraseven X, and Most of the Ultraman zero content. He has also worked on Kamen Rider’s W, Fourze and Drive, The Big O, and Zoids Chaotic Century and new Century Zero. the series is being directed by Akira amemiya, previous on the series inferno Cop Already, if you’re aware of the backstory of Gridman, a few things pop out at you. First off:

The Kaiju apperaing as phantoms before they fully emerging intro reality? While also echoing enemies in Digimon and Rockman.exe, This is the same thing that was showcased in the ‘boys invent great hero’ short and was the endgame the heroes were trying to stop in the original series. Thus, the same inference: Khan’s successor--

--(called Alexis・Kerib) has succeeded in transcending the limitations of digital existence and now is seeking to conquer and Destroy the real world.

Kerib has set himself up as a benevolent ‘genie’ to the social outcast and kaiju Fangirl Akane Shinjo, and is then proceeding to do the same thing Khan himself did with Takeshi; use her and her social issues to create his minions and monsters, realize them in the real world and devastate it while incidentally dealing with her real-life antagonists. This all conveyed through Studio trigger’s excellent visual storytelling, when Akane heads home to find it empty, and her room’s floor populated with an insane amount of bagged garbage; something no-one with actual parents in their lives would let happen. A pseudo-social outcast with no-one to turn to; no parents in their lives to give nurture and comfort, seeking companionship through the internet as a source for what can’t be found in real-life so they can be happy, only to be manipulated by a predator for the vulnerable?

All we’re missing is a marred-up desk and suicidal thoughts to make her a Yandere version of Chigusa “Atoli” Kusaka from .hack//G.U. Still time to do that, too. I honestly feel like there’s a Lot more to say on this character and the nuances to her portrayal thus-far that makes her character and actions work in a far better light than those who endlessly try to excuse other utterly-irredeemable people who bear similarities in their backstory. it’s clear she’s just lashing out and kerib--like Khan--creating an environment and unhinged mental state where she thinks any slight can be wished out of existence to make her empty life better. And people lashing out? They can be reasoned with, talked down and reformed. Not-so with those who would, with clear thought turn others into victims and steal from them their own lives; those who are truly abusive in their conduct towards others for petty reasons or only received retaliation in response to their own awful conduct. And yet the reverse is often shown to be true; the irredeemable given the chances they’d wasted before and the consequences of their actions ignored or handwaved to not be applicable, while people like Akane and Takeshi are left in the dark to suffer and be punished to start the cycle anew. However...this time there’s a twist to the kaiju attacks.

The people who died in the kaiju attacks...Die Retroactively. Whatever Kerib is doing, it allows him and Akane to in limited way rewrite reality. in the First/Second Episode, it’s revealed that The volleyball team at Hibiki’s high school were killed in the first attack, but it was noted when Hibiki and Rikka went to school the next day that not only was the school undamaged from the previous night’s attack, no-one remembered the girls that were on the team, or a team for the sport even existing. The best way I can describe the phenomena, since Kerib is appearing to manipulate the world as if it were one gigantic computer, is The kaiju metaphorically clicked on the folder containing all information on the volleyball team, and dragged it to the recycling bin; deleting their existence as the team, and killing off the girls part of it at the point the team would’ve been formed.

And even as hibiki is the newest person to take on the identity of Gridman--

--The battles at best are ones that will only prevent more people from Dying. As we’re only two episodes into the series right now, it’s unknown if any other bystanders caught in the crossfire are also being erased, or if it’s only focused on the targets Akane points out. We just don’t know at this point. What we do know is this series is not supposed to have a direct connection to the original, but because so much of SSSS Gridman is based upon the worst case scenario from the original, that could mean anything at this point; even the posibility that reality itself has been rewritten and is the cause of hibiki’s amnesia.

As a Studio trigger anime series though, there are some things that fans have been pointing out. First off, the names of the volleyball team victims are an amusing collection of homages: Tonkawa Sakiru > Tonka and Cy-kill Toiko > ToyCo Kena-chan > Kenner Doi Hako > Toybox (Hako means box) Takara Nana > TAKARA and Seven (Nana means seven) Cy-Kill was a Gobot from Tonka’s gobots series that was absorbed by Takara and transformers respectively. ToyCo is a toys and collectibles retailer, as Was Toybox. Kenner/Playmates was the US toy liscenser for SSSS toyline in the 90′s, and Takara...well, is Takara. the animation of course, is full-on Expected studio Trigger gar in it’s homages as well

Feel the Obari Pose! Expect the Obari Pose! Love the Obari Pose! “you know, when they do that, it makes it look as if they have a giant Di-” IGNORE THE OBARI POSE!

but the well goes far deeper, my friends.

This is SSSSGridman’s character designer. Just...look at that desk. I spot 5 power ranger/super sentai mechs (Kyoryujin/DC megazord hidden on the top right), gaogaigar, The box for Brave exkaiser, Gurren Lagann, a 3rd-party Optimus Primal, and Shattered Glass Megatron. that last one is kind of important, as the director, Akira amemiya, is a Huge fan of shattered glass transformers.

Shattered glass, for those not in the know, is basically the transformers mirror universe originally created for the transformers convention botcon. it’s a Universe where the autobots are the bad guys and Decepticons the good guys. For more info, I will leave a link to Chris McFeely’s transformers: the basics video on the subject. Watch him, it’s good stuff. Now why is that relevant? Every character in this show is based on a transformers design or color-scheme. Most Significantly those from shattered glass. Akane? Shattered glass Optimus Prime

Hibiki, Rikka, and Sho (who’s knowledgable on kaiju and Ultra series tropes) are cliffjumper (Classics-verse autobot who jumped into shatted glass), SG Sideswipe, and SG megatron.

The autobot Matrix

SG Starscream and Soundwave/ravage.

aaand just a few more for you all.

These four are based on the movie-verse Dinobots, and are gridman’s support programs turned into human beings. the one on the top left whose name is Samurai Calibur (yes seriously) turns into Gridman’s sword the Gridman calibur. The other three turn into the support mechs showcased below. oh, and for the checkback? Sakiru Tonkawa from the volleyball team:

But it doesn’t end there.

The jet booster and drill cannon Combinations:

yes, seriously. The heavy arms configuration as well is a common practice seen with partial-combiner robo’s as well, particularly with those lacking certain combination limbs, particularly those part of the scramble city play gimmick these robot configurations are also homage-ing with the limbs and legs being swap-able. And as all the support arms are based on Dinobots:

“Me grimlock have Anchor arms: now am Jerk and everybody loves me!”

So yeah, to wrap things up, SSSS Gridman is Tsuburaya’s revival of a 90′s gem in an era where a lot of similarly-themed series exist and have done what it has since this series ( Digimon, .hack, Rockman.exe, Code Lyoko just to name a few), but is bringing it back with a fresh transformers-toned coat of paint for a new generation and original storytelling based on the worst-case scenario of the original series, and thus-far it is absolutely glorious, and I hope is able to follow through ‘cause I just generally love series in this little subgenre.

And I will leave you with 3 things: First and second, The Anime’s opening mashed up with Gridman and SSSS openings (link and Link) and lastly an Image of hibiki’s English VA roleplaying with the original series’ toy sword while recording his voiceover:

SSSS Gridman is available from Funimation.

#gridman #tsuburaya #Ultraman #tokusatsu #anime #studio trigger #SSSS #superhuman samurai syber squad #Transformers #shattered glass #Keiichi hasegawa #.hack #Digimon #rockman.exe

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The Weekend Warrior 8/13/21 - CODA, FREE GUY, DON’T BREATHE 2, RESPECT, THE LOST LEONARDO, WHAT IF, and More!

Well, that was kind of a disappointing last weekend as James Gunn’s The Suicide Squad pretty much tanked at the box office, making less than Birds of Prey did back in February 2020 with all sorts of backseat analysis explaining why it didn’t do well as anyone, other than a scant, few thought. I mean, I’m still kind of stunned, even though COVID and the Delta variant seem to be losing steam as far as being news. It certainly didn’t help that HBO Max decided to release the movie concurrently on HBO Max on Thursday at 7pm.

The nice thing about this week is that we have three new movies, none of which are on streaming or On Demand at the exact same time, so if you want to see any of them, you’ll have to put on your N96 masks and get yourself to theaters. Two of the three movies are originals, while the third is a sequel to quite an original horror movie from about five years back. All of them are pretty good, actually. We’ll get to them soon...

But first, let’s start with this week’s “The Chosen One” and it’s gotta be Siân Heder’s CODA i.e. “Child of Deaf Adults,” which will play in select theaters and on Apple TV+ starting Friday. If you hadn’t heard, it was the belle of the ball at this year’s Sundance Film Festival, winning the Jury Prize and Audience Award alike. Heder previously directed Tallulah and is the showrunner on Apple’s Little America, but this really is a very special film that I’ve enjoyed on repeat viewings now.

It stars Emilia Jones as Ruby Rossi, the sole hearing person in her family of Gloucester fishermen, who are out every day on the sea making the latest catch in their nets. Ruby has other aspirations, and when she joins the school choir, the teacher, Mr. Villalobos (Eugene Derbez) sees talent in Ruby that he thinks might get her into the Berklee College of Music. Ruby has to weigh that with her family’s need to have her as an interpreter while dealing with the other fishermen of the town.

I didn’t know what to expect when I saw this at Sundance back in January, and it still surprised me when I rewatched it again, because it’s a movie that involves a lot of elements that shouldn’t necessarily work, between the fishing and the singing and all the ASL between the amazing ingenue, Ms. Jones, and the deaf actors playing her family, including the one and only Oscar-winning Marlee Matlin. If not for these disparate elements, Coda might be a fairly standard indie family drama, but Heder finds just the right balance of showing how these disparities in Ruby’s life make it hard for her to pursue her dreams.

Ferdia Walsh-Peelo from Sing Street plays the classmate who Ruby is set up with to perform a duet at their high school recital, and of course, he also becomes an unwitting love interest. Unfortunately that’s the aspect of the film that’s the weakest, because Jones’ scenes with Matlin and the other actors, including Derbez, as well as Troy Kotsur and Daniel Durant, as Ruby’s father and brother, are just so powerful and moving even if they’re all in ASL with no dialogue or even incidental score.

Coda is Heder’s second film after Talllulah, a movie starring Elliot Page that never really connected with me, but Coda is such a strong and exceedingly crowd-pleasing film that I have to imagine that this would connect with everybody. I’m not sure if Apple’s gonna be able to get this movie all the way to Oscar night, but I do like its chances for Adapted (?) Screenplay, and maybe Matlin and Kotsur Supporting? I don’t know, because it’s so early and hard to tell, but hopefully the decision to wait so long after the virtual Sundance won’t hurt this movie as it hurt other Sundance award-winning films. Coda is just a joy that I’m sure will be many people’s favorite movie.

You can read my interview with Ms. Heder over at Below the Line.

Incidentally, in last week’s column, I talked about the 20th New York Asian Film Festival, but I didn’t realize that it was only running at Film at Lincoln Center for a week before going down to the SVA Theater on 23rd Street, and you can check out the schedule of movies playing there at the official site. And of course, there’s still the Virtual Festival that’s running through August 22. Also, Fantasia is still going on in Montreal, and I still haven’t had time to watch very much. What can I say? I suck.

Let’s get to some wide releases, shall we?

First up and probably the most likely to win the weekend is Ryan Reynolds’ new action-comedy, FREE GUY (20th Century Studios), directed by Shawn Levy and co-starring Jodie Comer from Killing Eve. The high-concept comedy has Reynolds playing Guy, a bank teller, who actually is a non-player character in a video game called “Free City” that’s kind of a cross between Grand Theft Auto and Fortnite. When he meets Comer’s character in the game, he falls mady in love and decides to do whatever it takes to get on her level. (Get it?) In doing so, Guy ends up becoming a hero for Free City, as well as a viral sensation across the globe as gamers thrill to Guy’s adventures.

Free Guy is Ryan Reynolds’ first live-action starring role theatrical release since…. Oh…. the action-comedy sequel The Hitman’s Bodyguard’s Wife a little under two months ago. Considering that barely made half of what its predecessor did, and that’s with Reynolds sharing the screen with Samuel L. Jackson and Salma Hayek, one wonders if his draw as an A-lister can be maintained during a pandemic. Before that, you’d have to go all the way back to 2018’s Deadpool 2 for a fully live Reynolds movie, because he wasn’t seen as himself for most of his role in and as Detective Pikachu. Of course, Reynolds’ unmistakable voice was back in DreamWorks Animation’s The Croods: A New Age, the sequel to the 2013 blockbuster that made the ballsy move to be one of the first movies to open during the pandemic. It grossed $58.6 million in theaters, which was slightly more than Christopher Nolan’s Tenet and even more than the Warner Bros. sequel, Wonder Woman 1984.

This is also a big movie for Jodie Comer, who won an Emmy and was nominated for two Golden Globes for Killing Eve, but hasn’t really been in too many movies, other than playing Rey’s Mum in Star Wars: The Rise of Skywalker. Later this year, she’ll star in Ridley Scott’s The Last Duel and may possibly be back in the awards game again, we’ll see. The movie also stars Lil Rel Howery, who seems to be everywhere and in everything these days, as well as Taika Waititi who is super-hot right now due to 2019’s Jojo Rabbit, and his various television projects, as well as having a small role in James Gunn’s The Suicide Squad last week.

In some ways, Free Guy is gonna be a test for a lot of things, the first one being whether Reynolds is a big enough draw when not playing Deadpool to get people into theaters, just as people are starting to get skittish again about going into movie theaters. More importantly, it will show whether not having a movie on streaming or VOD means that people who want to see it will put aside their fears and return to theaters… like they did with F9 and Black Widow and Godzilla vs. Kong. Is an original non-franchise movie like Free Guy enough to get people interested in getting their butts off the couch and into a far more comfortable movie theater seat? (I’m being facetious, if you didn’t guess.)

After The Suicide Squad last week, I’m really not sure whether I can trust my own instincts, but I also don’t want to lower my prediction to something ridiculous out of fear that the pandemic really is destroying any chance of the box office fully recovering. One thing working in Free Guy’s favor, besides its PG-13 rating is that it’s not available on streaming and VOD. Anyone who has been intrigued by the film’s great reviews will HAVE to go out to a movie theater to see it or else, they’ll have to wait 45 days.

Maybe if this opened last month, I could see it open in the $30 million to $40 million range, but with things being the way they are, I’d probably go with high $20 million, so close to $30 million but not quite.

You can read my review over at Below the Line, and I’ll have an interview with the film’s Production Designer, Ethan Tobman, fairly soon.

Also opening Friday is the horror sequel DON’T BREATHE 2 (Sony/Screen Gems), starring Stephen Lang as the blind former Navy Seal who terrorized a bunch of kids who broke into his house in 2016’s Don’t Breathe.

The original movie, which starred Jane Levy, reuniting with director Fede Alvarez after the two remade Evil Dead for producer Sam Raimi, opened in late August, on the fourth weekend of the original Suicide Squad, in fact, and it knocked the movie out of the #1 spot. Its $26 million opening in 3,000 theaters was impressive for the time, partially because late August has never been great. It stayed #1 for a second weekend, over Labor Day, and it ended up grossing $89.2 million in North America, which is great for an R-rated horror film.

Levy isn’t around for the sequel and Alvarez has moved into a co-writer/producer role for his creative partner, Rodo Sagayes, to take over the directing reins, but honestly, I’m not sure how many people will know or care, because Lang’s character and the film’s violence and chills are it’s real selling point. Like many horror movies, there isn’t much in terms of star power other than Lang, but that has never really hindered the success of a horror movie in the past.

As with every movie I cover in this column, there’s the pandemic in the room and whether that might hold people back from going to theaters. I wish there was a way to calculate the effect that’s had on moviegoing, because it seems to affect movies differently. For instance, the recent The Conjuring: The Devil Made Me Do It was able to open with $24.1 million just two months ago, although that was down from the $40 million of the previous two chapters. So that’s about a 40% drop-off in a similar five-year gap between movies. (Actually, it’s kind of strange that 2021 is replicating 2021 with three sequels to movies from five years earlier.) There’s no denying that the number of Covid cases are way up since June and movie theaters are still being painted as the “enemy” even though no significant cases have been traced back to the movies.

We also have to look at Sony’s last horror sequel, Escape Room: Tournament of Champions, which I quite enjoyed, but it ended up opening with about $10 million less than the original movie a few years back. We can probably expect Don’t Breathe 2 to have a similar pandemic drop-off even if it’s another movie that won’t be on streaming or VOD this weekend.

I think Don’t Breathe 2 should be good for around $15 million this weekend since it’s catering towards a young audience that’s a bit more devil-may-care about going out to theaters. It will also probably appeal more to older single guys than something like Free Guy, which seems different enough to pull in a different audience.

My review will be posted over at Below the Line later on Thursday, plus I have a bunch of interviews coming, including this one with Rodo Sayagues and Fede Alvarez.

Next up is RESPECT (MGM), the long-awaited Aretha Franklin biopic (for those that didn’t see Genius, like me, I guess), starring Oscar-winner Jennifer Hudson as the Queen of Soul. The movie directed by Liesl Tommmy was supposed to be released in January to take part in last year’s Oscars race, but I guess MGM wanted to make sure it got a proper theatrical release, which wasn’t possible since NYC and L.A. movie theaters didn’t reopen until March after the cut-off. But MGM had already decided to push the movie back to the summer in hopes of having more theaters able to play the movie, which is kind of true now?

It’s been a while since we’ve seen JHud in a high-profile theatrical release, and unfortunately, the last one was 2019’s Cats, a movie in which she probably was the best thing, although it still only grossed $27 million domestically, a flat-out bomb. Before that, she provided her voice for the animated blockbuster Sing in 2016, and then a bunch of smaller movies before that. She’s joined in the movie by the likes of Oscar winner Forest Whitaker, Marlon Wayans, Titus Burgess, Mary J. Blige, Marc Maron, and Audra MacDonald, quite an impressive array of talent that shows how many wanted to be involved with this project. Director Liesl Tommy is making her feature directorial debut after directing a ton of theater and TV shows like The Walking Dead and Jessica Jones.

Even so, it’s obviously that the ongoing popularity of Aretha Franklin, especially since her death in 2018, is going to go a long way into getting people into theaters, which includes a lot of older black women who really haven’t had much to get them out into theaters in recent months. Will this be enough?

Before Respect was delayed from its original January release, many thought that Hudson would receive another Oscar nomination for her performances. Having not seen the movie at the time of this writing, I can’t confirm or deny those chances. If that’s still the case, then releasing the movie towards the end of the summer (similar to The Help, successfully, and The Butler, not so much) is an odd decision rather than just holding the movie for festival season by holding until next month.

Either way, I think the love Aretha’s fans have for the Queen of Soul as well as Hudson’s fans, Respect should be good for between $8 and 10 million this weekend -- hard to pinpoint exactly without knowing how many theaters MGM is getting for it against the stronger summer movies.

Mini-Review: I wasn’t really sure what to expect from Respect, even after seeing the trailer a couple dozen times in front of other movies, but it’s a respectable biopic that cover 20 years in the life of the Queen of Soul from singing at a young age in her father’s church to returning to church for the gospel records as captured in the recently-released doc, Amazing Grace.

But first, we go back to 1952 where Aretha is a young girl (played by Skye Dakota Turner) is uncertain of her future as she’s being ordered about by her preacher father (Forrest Whitaker) and trying to find direction. The movie casually sets up the fact that young Aretha was sexually abused by a family friend, and maybe she got pregnant, too? It’s hard to tell and maybe a little odd since she would only have been 10 at the time, but it’s something that will be brought up (just as subtly) over the course of the film.

Jennifer Hudson takes over as Aretha as she turns 19 and goes to New York City to start recording, meets Marlon Wayans’ Ted White, makes him her manager and marries her, which basically has her going from one abusive man in her father to another one. It feels like the movie spends a long than normal time on the ‘60s, which is when Franklin’s career really took off with “Respect” and then a series of hits that took her all around the world. That whole time, she’s dealing with Ted’s abuses and jealousy while trying to write and record those hits, before her dark demons return and she starts drinking heavily.

As you might imagine, you go to see Respect to see how well Jennifer Hudson pulls off the Queen of Soul, and she’s an incredibly complex character that needs a nuanced performance, which Hudson tries to pull off by bringing different aspects of her life into different scenes.

There are some scenes that don’t work as well as others, and it feels like there’s a bit of time-crunching or futzing around so that at a certain point, her father seems to be de-aging, although I was just as impressed (possibly even moreso) with Forrest Whitaker, whose performance as Aretha’s father is more than just a full-on villain despite his violent treatment of his daughter. Wayans is also good and almost unrecognizable at first, and there are a few other nice performances in there as well, including Marc Maron as record label head Jerry Wexler.

But the performances Hudson gives as Franklin are goosebump-inducing, leading up to the recording of her record-selling gospel record as depicted in the aforementioned doc.

A fairly decent representation of Franklin’s little-known life leading up to her fame, Respect probably succeeds the most when Jennifer Hudson is performing as the Queen of Soul, but she’s also created a fairly moving portrait with strong dramatic moments that far outweigh any of the film’s issues. Rating: 8/10

With that in mind, this is how I see the weekend looking with two of the new movies bumping Suicide Squad down to third place where it will be facing off against Respect.

1. Free Guy (20th Century/Disney) - $28.5 million N/A

2. Don’t Breathe 2 (Sony/Screen Gems) - $15 million N/A

3. The Suicide Squad (Warner Bros.) - $10 million -62%

4. Respect (MGM) - $9.6 million N/A

5. Jungle Cruise (Walt Disney Pictures) - $8.7 million -55%

6. Old (Universal) - $2.5 million -36%

7. Black Widow (Marvel/Disney) - $2.4 million -39%

8. Stillwater (Focus) - $2 million -39%

9. Space Jam: A New Legacy (Warner Bros.) - $1.3 million -43%

10. The Green Knight (A24) - $1.1 million -56%

Donnie Yen stars in Bennie Chang’s RAGING FIRE (WELL GO USA), which premiered at the New York Asian Film Festival on Monday and at Fantasia in Montreal on Tuesday, and I’m not going to review this, because honestly, it’s such a cookie-cutter Hong Kong police action-thriller that I’m not sure I really have much to say about it, so I won’t.

On the other hand, I do have more to say about Andreas Koefoed’s documentary, THE LOST LEONARDO (Sony Pictures Classics), the Leonardo being Da Vinci, the master artist behind the Mona Lisa and many other works. Since I don’t really follow the world of art, I really didn’t know about the Salvator Mundi painting found about 10-12 years ago that was thought to be an original Da Vinci worth in the hundreds of millions, often dubbed “The Male Mona Lisa.” But it’s also a painting that was surrounded by controversy due to the 5-year restoring job that may have left very little of the original painting.

As the film began, I was groaning a little about sitting through another movie of art experts and historians talking about how important a find this is and why it’s either great or horrible, depending on who is being interviewed. Eventually, the film gets more interesting as it starts getting into the idea of selling it. After being sold to a wealthy Russian oligarch by an unscrupulous Swiss art dealer who made a nice profit on it, the painting ends up being auctioned by Christie’s, and the story just keeps getting more and more interesting as it goes along.

While I’m not one to go ga-ga over any painting by Da Vinci or otherwise, I do like a good mystery or suspense-thriller, so good on Koefoed for realizing about halfway through this movie that the talking heads will never be as interesting as actual footage. And that’s what happens here, too. I actually feel a little ignorant that I wasn’t aware this was going on as it was, maybe because I don’t really follow the art world in that respect. Maybe I just missed it, so it’s good that Sony Classics (who loves making movies about art) is giving this a fairly high-profile release following its premiere at the Tribeca Film Festival a few months back. In that sense, The Lost Leonardo is quite a gem.

Heinz Brinkman’s USEDOM: A CLEAR VIEW OF THE SEA (Big World Pictures) is a somewhat intriguing doc about the Baltic island of Usedom, the location of a number of imperial German health resorts, beaches and such, and how the Jews were kicked out by the Nazis before Usedom was split into a German and Polish half after WWII. I wish I could get into this more, but I just have a limited mental capacity for a lot of German talking heads.

Which brings us to Michael Tucker and Petra Epperlein’s THE MEANING OF HITLER (IFC Films), the new doc from the team behind Gunner Palace, which looks at the cultural fascination with Hitler and Nazism and the recent rise in white supremacy, antisemitism and the “weaponization of history itself.” I don’t know what that last part means, because I got so swamped this week that I didn’t get to watch this, and like another recent doc on the subject of Naziism and the Holocaust, I just couldn’t get into the right head space to hit play on this doc. Maybe I’ll watch it sometime down the road.

Similarly, I didn’t get around to watching Dutch filmmaker Jim Taihuttu’s THE EAST (Magnet Releasing), which I may like as a fan of Paul Verhoeven’s Dutch WWII films, and I probably should give this a look, but I just ran out of time this week. It’s about a young Dutch soldier who joins an elite unit led by a mysterious captain called “The Turk,” and it takes place in the Indonesian War of Independence after World War II.

As far as TV goes, Wednesday sees the debut of Marvel Studios’ WHAT IF...? on Disney+. I’ve seen the first three episodes, and I was a pretty big fan of the comics in the ‘70s (sadly, part of the giant collection that I sold a few years back), and I guess this is okay. The first episode is the one with Haley Atwell voicing “Captain Carter” i.e. Peggy Carter gets the Super Soldier Serum, which is one of the more obvious What Ifs that could possibly done, so that we can get another “women are as good as men, and they need to be heard” storyline that’s in 90% of the Marvel movies already. On the other hand, the first episode does include the voices of Sebastian Stan and others, so it’s quite a coup in that sense, but whoever wrote it, clearly doesn’t understand that people spoke differently in the ‘40s. I liked the 2nd episode, a mash-up of Black Panther and Guardians of the Galaxy, which is a fun idea that brings together a lot of great characters -- including Chadwick Boseman’s last voice performance -- but again, hearing the voices just isn’t the same when the writing isn’t as good as the movie. I feel like the animation for the show is okay, maybe not quite on par with some of the great Batman or Superman cartoons we’ve gotten over the years. On the other hand, the entire series features the great voice of Jeffrey Wright as The Watcher, acting kind of like the Rod Serling for the series, much like the Watcher does in the comics. I also dug the music by Emmy winner Laura Karpman (Lovecraft Country), and I’ll watch the rest of the series as it debuts, but I’m not sure it’s as much a rush to see each episode to avoid spoilers as with Loki or WandaVision.

Hitting Netflix this week is the limited series, BRAND NEW CHERRY FLAVOR (Netflix), starring Rosa Salazar, Eric Lange, and Catherine Keener. The tagline is: “Lisa Nova (Rosa Salazar) comes to LA dead set on directing her first movie. But when she trusts the wrong person and gets stabbed in the back, everything goes sideways and a dream project turns into a nightmare. This particular nightmare has zombies, hit men, supernatural kittens, and a mysterious tattoo artist who likes to put curses on people. And Lisa’s going to have to figure out some secrets from her own past in order to get out alive.”

Also, TITANS Season 3 debuts on HBO Max, but since I haven’t watched seasons 1 or 2 yet, it might be some time before I get to it.

Next week looks like it could be a bit of a dog with four or five new wide releases but nothing that really jumps out, plus I’ll be in Atlantic City all next weekend, so who knows how much I’ll be able to watch or write about?

#The Weekend WArrior #Movies #Reviews #Coda #Free Guy #Respect #Don't Breathe 2 #the Lost Leonardo #Box Office

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erictmason · 3 years

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The Road To “Godzilla VS. Kong”, Day One

KING KONG VS. GODZILLA (AMERICAN VERSION)

Originally Released: June 26th, 1963

Director: Ishiro Honda

Writers: Shinichi Sekizawa, Paul Mason and Bruce Howard

Starring: Tadao Takashima, Kenji Sahara, Ichiro Arashima, Mie Hama, Michael Keith, Harry Halcomb

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“King Kong VS. Godzilla” is a movie whose reputation often precedes it amongst certain circles of Genre Film fans. Even if one is unaware of the convoluted, more than slightly seedy story behind its creation (short version: the original “King Kong”’s special-effects artist, Willis O’Brien, was interested in creating a sequel that would have pitted Kong against a giant animalistic version of the Frakenstein Monster, but shady producer John Beck wound up stealing the idea and, when American studios balked at the project for fear that the use of stop-motion animation to realize the effects work would be too expensive, wound up shopping it to the more cost-effective Toho Studios in Japan, who reconceived it as a new “Godzilla” project in hopes of revitalizing interest in the character), it is still one of the most singularly important Giant Monster Movies ever made. For one thing, it basically defined The Kaiju Movie as we know it today; sure, the original “Gojira” from 1954 (and by extension its Americanized adaptation, “Godzilla: King of the Monsters” in 1956) may have effectively created the genre, but you’ll notice the majority of such movies that exist today are more about Fanciful Title Bouts between two Clashing Monsters rather than somber moody Allegories about the horrors of Nuclear Weapons. For another, it’s the movie that really put Godzilla himself on the map as a Big Star in his own right; at the time, he only had two prior films to his name, and while one of them was the aforementioned genre-creating watershed “Gojira”, the other was “Godzilla’s Counterattack” from 1956, which proved such a box-office disappointment that it put the character into retirement for the better part of a decade (and to give you a sense of just how much less weight the name “Godzilla” carried back then, when that movie was released in America in 1959, it was initially re-titled “Gigantis The Fire Monster”). With “King Kong VS. Godzilla”, however, he would begin to star in more and more movies, building a film franchise that continues to this day.

So it’s a bit of a shame that I’ve never liked it all that much.

To be clear, the “it” in question here is specifically the American version of the movie, which is the one most Western audiences would be familiar with since, until recently, it was the only one readily available to us (though Criterion finally corrected that back in 2019, when they included the original Japanese version of the movie as a bonus feature in their “Showa Era” collector’s set). Certainly, it’s the one that I grew up watching as a kid, when my mom, ever so protective and knowing how easily upset I could be when Fictional Characters I Loved got hurt, made sure to watch ahead to see who exactly won the title match-up (and since it was Kong, I wouldn’t actually get around to finishing my viewing of the movie for a good long while). Back then, of course, I viewed it very much through that childish prism of who I thought should win, and it was exactly the kind of Schoolyard Logic you’d expect: Kong was supposed to be a great deal smaller than Godzilla, and where Godzilla had his iconic fire breath, Kong had no extraordinary powers; Kid Me understandably concluded that this match-up really ought to be a shoe-in for Godzilla, which worked out well since Godzilla just so happened to be the one Kid Me actually cared about. Kid Me was thus quite irritated to discover that, for the sake of this movie, Kong had in fact been significantly sized up and given random electricity-absorbing powers. It felt like cheating to Kid Me, and it left me less than positively disposed towards the film proper.

These days, of course, I’m able to give the film a somewhat fairer shake, though I would be lying if I said that My Inner Childish Fan-Boy is completely quiet on the matter (in particular, it always bothers me that, to emphasize the advantage Kong’s electrical powers give him in their fight, the movie explicitly cites Godzilla’s “vulnerability” to electricity, despite one of the most singularly iconic images of the original “Gojira” being his ability to walk straight through a power-line barricade). Indeed, my most recent re-watch for this very review honestly left me feeling fonder toward it than I was even on my last most recent re-watch (back in 2014, in preparation for the then-upcoming Gareth Edwards “Godzillla”, which we’ll also be getting to in this re-watch soon). The portrayal of the title monsters themselves in particular left me much happier this time around than it has in the past; the design for Godzilla himself- thick around the center with big heavy-browed eyes and what appears to be a constantly self-amused grin, huge sharp claws that dominate the fingers and a tail that moves with a real sense of weight and purpose-took me a long time to warm up to, for example, but these days I would happily cite it as one of the very best of the original series. Kong gets it a bit worse, sadly; the suit they design for him here (a fact that original “Kong” director Merian C. Cooper openly despised, incidentally; the idea of portraying Kong as just some guy in a gorilla costume was one of the things he explicitly set out to avoid in the original movie) has a distinctive enough face if not an especially memorable one, but the costume always looks and feels a bit raggedy, with the sagging pecs and ill-fitted arms (throughout the movie the suit switches between “regular” arms designed to allow the actor mobility, and extended arms to help give it a more ape-like gait; the result is that both versions feel weirdly out of place on the costume a lot of the time) looking especially awkward. However, even beyond how they look, the way the monsters act is genuinely enjoyable, with Haruo Nakajima as Godzilla and Shoichi Hirose as Kong both putting in fantastic performances that imbue them with a great sense of personality that is just consistently delightful all movie long. Whether it’s Godzilla hopping around, arms flailing in triumph whenever he manages to pull off another victory, or Kong drunkenly swallowing up giant pots’ worth of a narcotic usd to keep him docile, the movie very visibly delights in imbuing these creatures with fun foibles, and It’s no coincidence that the it’s at its strongest, not so much when the monsters are fighting, but when they are simply interacting as actual Characters: Godzilla here feels often like a particularly arrogant, boundlessly-energized child, while Kong is a bit more confused and subdued but quick to anger when irritated; their first meeting, when both these strong visible personalities most openly bounce off each other, is unquestionably my favorite moment of the movie.

The rest of it isn’t exactly bad, per se, but it is a lot less entertaining. Some of that is simply what the American version inherited from the Japanese original, not least of all the noxiously racist portrayal of the Natives living on a remote pacific island with Kong (here named “Faro Island” for some reason instead of the usual “Skull Island”). On top of the sins it recreates from the original “King Kong” (a fairly ooga-booga understanding of What Islanders Are Like, all of whom are portrayed by non-Native actors slathered in brownface make-up), it also includes a decently insulting bit wherein the initially-hostile islanders are pacified by the introduction of “magic” in the form of a hand-held radio and cartons of cigarettes. There’s also the fact that the plot is driven almost entirely by Random Contrivance rather than anything that flows naturally from either the characters or the premise; Godzilla and Kong have no real compelling reason to meet, let alone fight, other than the pure coincidence of their both happening to be active at around the same time in the same part of the world (the American version attempts to ameliorate this somewhat by stating that the two are “instinctive rivals” who will be “naturally driven to destroy one another”, but that flimsy lip-service to Motivation just winds up making the otherwise-arbitrary plotting feel all the worse), and we are constantly bombarded by Total Coincidences as a way of shuffling the characters around from place to place with dizzying frequency. But some of those troubles are only exacerbated by the approach the American version has taken to the material. We’ll talk about this more tomorrow, but the Japanese “King Kong VS. Godzilla” is, at heart, a Satirical Comedy; this, unsurprisingly, was not an idea that went over well with Universal Studios in America, who chose to try and reshape that comedy into a more traditional Monster Movie. An understandable objective, but not one the Japanese cut of the film made easy to achieve; to avoid the most overt Comic bits meant cutting almost all of the human characters in the film (most notably the eccentric executive Mr. Tako, played by Ichiro Arishima) down to only their most essential appearances, which in turn means that they all wind up feeling vaguely undefined and out of place in their own story (this feels especially true of our ostensible main character, Tadao Takashima‘s Sakurai, who is present enough to FEEL like a main character but has little left to do in this cut of the film). To make up the weight of all that cut footage, meanwhile, we get gobs of new footage consisting mostly of Michael Keith as a United Nations reporter talking at us in the most stultifying way possible, often joined by Harry Holcombe as an equally stultifying scientist (who apparently gets his knowledge of dinosaurs primarily from children’s picture books, which in fairness would explain a lot of the nonsense he ends up saying), though he also frequently talks with a fellow reporter played by James Yagi. These scenes are not, perhaps, without their charms, but they also deaden the movie’s pacing, especially since nine times out of ten they exist mostly to reiterate stuff we already know because it literally just happened. Given how much a faster pace seems to be one of the American cut’s top priorities (a sub-plot from the Japanese version about a submarine inadvertently encountering Godzilla is reduced to a single sequence for this version), that choice proves a counterintuitive one.

Because the other major problem with the American approach to this movie is that, to be frank, the Monster Action is nowhere near Epic enough to bear the weight this new cut puts on it. Again, it’s not without its merits; Godzilla and Kong’s outsized personalities do a lot to lend even the less effective sequences a certain fun spirit, and there is still an unmistakably strong sense of craftsmanship to the miniatures used throughout the movie to create the appropriate sense of scale for our Monsters to play around in (the demolition of a recreation of Atami Castle shines a spotlight on that very fact). But in terms of both their scope and their choreography, there’s just not enough There there; far too often, “King Kong VS. Godzilla”’s Big Marquee Action Scenes amount to the monsters just sort of lazily throwing rocks at each other, or else engaging in less-interesting recreations of their previous Iconic Moments (Kong especially goes through a truncated version of his original appearance’s third act, though here he ends up on top of the National Diet Building rather than the Empire State Building). That’s slightly less of a problem in the Japanese version; again, there, the main thrust of the film lies in its comedy, and thus the Monster Action being relatively lightweight is less of a hinderance and more a spicy Flavoring to the main story. But here, it is the main story, and while it’s pretty clear some real love went into the Effects Work (the puppetry especially is very solid; there are a few instances where the switch from Suit Actor to Puppet for Godzilla is borderline seamless, and I also enjoy the decently-animated feel of Kong’s facial puppet as well) it ultimately doesn’t have nearly enough substance to fill that role. This comes through especially clearly in the Final Showdown between the monsters; again, there is some deservedly iconic stuff here (Kong trying to shove a tree down Godzilla’s throat only to have it rebuffed in a puff of flames has become an impressively-enduring Meme for a reason) but, much like most of the story, winds up being driven far more by Contrivance than anything clever or satisfying (a bit where Kong knocks himself over feels especially annoying for how unmotivated it seems to be). It was always going to be a tall order to make a match-up with as much implicit weight to it (both metaphorical and literal) live up to the heightened expectations placed on it, maybe. But even taking that into account, it’s hard not to feel like “King Kong VS. Godzilla” could have put a little more effort into things.

Still, I was saying, at the start, that I walked away from “King Kong VS. Godzilla” happier this time than in many of my past viewings. And that is ultimately true: for as much as I find myself often wishing it could be a different movie, the movie it actually is already does manage to work decently well on its own terms. The dub-work here in particular honestly deserves notice; in contrast to the standardized casts Toho would start using for most of its “Godzilla” movies moving forward, here we get a more distinctive sounding voice-cast who manage to put some real Life into their performances (the voice they give to Kenji Sahara’s Fujita stands out especially to me, nasally and over-earnest but capable of some real Fire when the moment calls for it, as befits the character). And, again, whatever my beef with the Action Scenes, the actual portrayal of the Monsters really is uniquely fun (indeed, given how many other elements Toho would consistently crib from it, I’m often surprised that Godzilla’s distinctive body language throughout isn’t one of them), which winds up giving the movie enough Real Heart in the end to make it a positive Experience overall, even against the stuff that even now stands out to me as Not Up To Snuff. At the very least, it’s a lot easier for me to recognize how and why this movie created the Legacy it did, even if the American Version makes a bit more of a mess out of it.

#godzilla #king kong #godzilla vs. kong #kaiju #theroadtogvk #movies #review #ericthemason #my writing #king kong vs. godzilla

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