As someone who finally got into Paul Wesley Snipes Anderson’s RESIDENT EVIL series pretty close to when it was finally wrapping up, I was thrilled to hear that the director and his wife/star Milla Jovovich (HELLBOY, not the Ron Perlman one) had purchased the film rights to a fresh new video game franchise copyright property trademark. Without any judgment on (or implied knowledge of) the respective video games, I feel that there is potential for a series called MONSTER HUNTER about monsters and hunters who hunt monsters to be better than one about zombies and umbrellas or whatever. And I loved that one!
So I had planned to see this Toho co-production based on the works of Capcom in the biggest, if emptiest theater in Seattle, until shit (the pandemic) happened and that was not possible for me. But as soon as they made it available for digital “purchase” I paid the four-or-five-dollars-more-than-the-movie-ticket-would’ve-cost and now that file access is MINE.
It begins in a world of fantasy. Pirate ships are sailing through sand. Ron Perlman (HELLBOY, the Ron Perlman one) is there. Tony Jaa (KILL ZONE 2) is there. Monsters attack. Tony gets knocked off the boat. It is sand, so he doesn’t drown, but he’s left behind.
Then we switch to a different desert, the type in our world, in our time. It even has latitude and longitude listed on screen. I think they might mention directions and clicks at some point if you want to check your map and follow along at home. (read the rest of this shit…)
SHIN GODZILLA – or NEW GODZILLA, or TRUE GODZILLA, or GOD GODZILLA – is the new Japanese Godzilla movie, a regular rubber suit one even though it’s from acclaimed anime director Hideaki Anno (Neon Genesis Evangelion) (co-director Shinji Higuchi has worked on anime and live action and live action anime and did effects for the GAMERA trilogy). They’d stopped making Godzilla movies in Japan, I guess, but the recent American one by Gareth Edwards got them itching to start over again. So this is yet another do-over where they discover the King of the Monsters for the first time and he doesn’t have another monster to fight. He just has Tokyo.
There is plenty of computer animation, but also alot of the old rubber suit, animatronics and miniature models, sometimes deliberately, nostalgically old school. When Godzilla first emerges he’s in a comically fucked up form with crazy googly eyes, little nubs instead of arms and a chest that expands and contracts like an accordion. He evolves through several stages throughout the movie, so by the end he’s absorbing power and firing energy beams out of his spines like a laser show. And according to my research he is the tallest Godzilla ever, and the one with the longest, weirdest and most fucked up tail. But his eyes never quite stop looking like a turkey’s. (read the rest of this shit…)
Godzilla is one of those great icons who’s been around for fuckin ever because he re-invented himself many times over the years. Like the Madonna of Japan. He started all depressing and black and white in the ’50s, then he got crazy in the ’60s, kinda psychedelic in the ’70s, a little bit preachy about the environment in the ’80s, kinda garish again in the ’90s. There was that one movie in 1998, Godzilla’s iguana period, a laughable mistake like when MC Hammer tried to go gangsta rap. In my opinion that movie doesn’t even exist anymore since they used the exact same title for this one. Technically there can only be one American movie called GODZILLA, so they had to delete the other one to get this one.
Director Gareth Edwards, who did that found footage movie called MONSTERS that I still haven’t watched but heard was pretty good, is responsible for the one and only American GODZILLA. I think he has the right idea: treat it serious, no wackiness, but let the situations be humorous sometimes. The gloomy, often ashen-gray cinematography and Spielbergian sense of awe (lots of dollying in on kids that notice something dangerous approaching before the adults do) makes me suspect he was going for a little less silly than what he came up with, but I dig what he ended up with anyway. It’s a straight-faced movie where survivors of massive devastation aren’t scared that the giant radioactive dinosaur they’re standing next to is still alive and about to stand back up, because they know he’s the good guy. And I respect that they weren’t ashamed to use Godzilla’s trademark energy breath (though I’m not sure why they didn’t want to build up to it, like he gets some source of radiation that powers him up to be able to use it at a crucial moment). (read the rest of this shit…)
DISCLAIMER (skip if you don’t give a shit): I haven’t reviewed Guillermo Del Toro’s movies since 2004, when Drew McWeeny got him to write a blurb for a book I self-published (later used by Titan on my other books). I never met or e-mailed the guy but it was a harsh, self-imposed rule to avoid any perception of being easier on his movies because of that connection, or worse, actually doing that. But I decided I want to write about PACIFIC RIM anyway. Maybe it was just a 9 year rule.
Since I haven’t reviewed them all here’s where I stand on Del Toro: been a fan since MIMIC. BLADE 2 is my favorite, followed by the three Spanish language movies in reverse chronological order. I enjoy the HELLBOYs but don’t love ’em. The second one frustrated me because it has many flashes of brilliance but doesn’t all come together for me. I like the movies he produces, also.
Q (aka Q – THE WINGED SERPENT) is writer/director Larry Cohen’s version of a giant monster movie, about a small time New York City getaway driver played by Cohen’s DeNiro, Michael Moriarty. He’s recently out of the joint, failing to get a job as a bar pianist, and gets screwed over by some mobsters during a failed diamond heist. He runs straight from the scene of the crime to a (closed, it turns out) law office high up in the Chrysler building, where he ends up having to hide from a security guard in a not-open-to-the-public area beneath the needle. There he finds a dead body and a nest with a giant egg. Huh. (read the rest of this shit…)
My Summer of 2001 10th Anniversary Retrospective will continue shortly, but as requested here’s a brief interlude in the present to deal with some pressing issues.
SUPER 8 is the new picture from writer/director Jay-Jay Abrams (‘Felicity’) that is produced by Steven Spielberg and done in a style that’s a slavish tribute to the classic Spielberg pictures of the ’70s and ’80s. It takes place in ’79 and it’s about a kid whose mom recently died (if it was a real Spielberg movie it would be about divorce), his dad doesn’t really understand him, his friends are making a zombie movie, and also there is a gigantic train crash that unleashes a monster that scares away the dogs, knocks over alot of shit and kidnaps his girl.
CLOVERFIELD is a new movie about a giant monster named Cloverfield who comes out of the water and attacks New York City. Cloverfield knows he has a sissy name that’s way too close to that asshole cat Garfield. He wants it to have a more rebellious ring to it, like [Holden] Caulfield, or at least semi-respectable, like Seinfeld before he started advertising BEE MOVIE. So to prove he’s not fucking around and to establish dominance one of the first things Cloverfield does on his visit to the big city is rip the head off the Statue of Liberty and throw it across Manhattan. If he was trying to bowl it was a gutterball but, poor bowler or not that shit is threatening to a human like you or me. Let’s face it, he has a size advantage. That is the main thing going on between Cloverfield and us. More weight, more reach. Not really a fair fight.
Since we don’t actually witness the incident (except for where the head lands) it’s hard to really know for sure what Cloverfield’s motive is. It’s easy to jump to conclusions that he’s making a statement about the loss of liberty in America post 9-11, or perhaps he is some sort of rabid anti-American and is threatening our liberty. He should realize that it is very insensitive in the post 9-11 world to not only attack landmarks in Manhattan but to make people think of being beheaded. I don’t care if the fucker’s from space, if you’re visiting some place you gotta do research on the local customs and not just be a big asshole like that. So he’s either very anti-american or just a prick. Or maybe he hates women. My guess though is he thought the statue looked at him funny. Or he saw that torch and thought she was armed and just acted on reflex. After all, it is New York. Okay, I have gone through alot of theories here but I’m sticking with that last one, the Amadou Diallo theory. If anybody finds evidence to back me up on one of those stupid “viral marketing” websights everybody got all caught up in please let me know. (read the rest of this shit…)
Hey folks, Harry here… I hate Vern… he see MAN IN SUIT first! I hate Moriarty… he see MAN IN SUIT firster! I wanted to see MAN IN SUIT firstest!!! ARGHHHHHHH!
Boys –
I don’t know if you’ve heard the news yet but apparently Godzilla is retiring. I know, I thought it sounded kind of sudden too, but according to the Toho Studios over there in Japan – actually they probaly never said this, but it was reported in magazines here so we’ll pretend it’s true – this is ABSOLUTELY gonna be the VERY LAST Godzilla movie. EVER. The final chapter. The final nightmare. I don’t see how they could ever go back on their word on something like that, so they will probaly just have to start making domestic dramas, or find some new young and edgy giant monster, start him off small and hopefully build him up until all the kids are like, who the fuck is Godzilla? Sounds lame to me, just a ripoff of (new more extreme giant monster from Toho studios). (read the rest of this shit…)
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Crudnasty on Speak No Evil (2024 remake): “Yeah that comment from the director of the original (and campeonato’s reiteration if it) just made me roll my eyes…” Jan 15, 11:55
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Bill Reed on Speak No Evil (2024 remake): “I have not seen either version because they sound excruciating– in a pointed and purposeful way, but the idea of…” Jan 14, 13:39
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As someone who finally got into Paul Wesley Snipes Anderson’s RESIDENT EVIL series pretty close to when it was finally wrapping up, I was thrilled to hear that the director and his wife/star Milla Jovovich (HELLBOY, not the Ron Perlman one) had purchased the film rights to a fresh new video game franchise copyright property trademark. Without any judgment on (or implied knowledge of) the respective video games, I feel that there is potential for a series called MONSTER HUNTER about monsters and hunters who hunt monsters to be better than one about zombies and umbrellas or whatever. And I loved that one!
SHIN GODZILLA – or NEW GODZILLA, or TRUE GODZILLA, or GOD GODZILLA – is the new Japanese Godzilla movie, a regular rubber suit one even though it’s from acclaimed anime director Hideaki Anno (Neon Genesis Evangelion) (co-director Shinji Higuchi has worked on anime and live action and live action anime and did effects for the GAMERA trilogy). They’d stopped making Godzilla movies in Japan, I guess, but the recent 
Godzilla is one of those great icons who’s been around for fuckin ever because he re-invented himself many times over the years. Like the Madonna of Japan. He started all depressing and black and white in the ’50s, then he got crazy in the ’60s, kinda psychedelic in the ’70s, a little bit preachy about the environment in the ’80s, kinda garish again in the ’90s. There was that one movie in 1998, Godzilla’s iguana period, a laughable mistake like when MC Hammer tried to go gangsta rap. In my opinion that movie doesn’t even exist anymore since they used the exact same title for this one. Technically there can only be one American movie called GODZILLA, so they had to delete the other one to get this one.
DISCLAIMER (skip if you don’t give a shit): I haven’t reviewed Guillermo Del Toro’s movies since 2004, when Drew McWeeny got him to write a blurb for a book I self-published (later used by Titan on my other books). I never met or e-mailed the guy but it was a harsh, self-imposed rule to avoid any perception of being easier on his movies because of that connection, or worse, actually doing that. But I decided I want to write about PACIFIC RIM anyway. Maybe it was just a 9 year rule.
Q (aka Q – THE WINGED SERPENT) is writer/director Larry Cohen’s version of a giant monster movie, about a small time New York City getaway driver played by Cohen’s DeNiro, Michael Moriarty. He’s recently out of the joint, failing to get a job as a bar pianist, and gets screwed over by some mobsters during a failed diamond heist. He runs straight from the scene of the crime to a (closed, it turns out) law office high up in the Chrysler building, where he ends up having to hide from a security guard in a not-open-to-the-public area beneath the needle. There he finds a dead body and a nest with a giant egg. Huh.
CLOVERFIELD is a new movie about a giant monster named Cloverfield who comes out of the water and attacks New York City. Cloverfield knows he has a sissy name that’s way too close to that asshole cat Garfield. He wants it to have a more rebellious ring to it, like [Holden] Caulfield, or at least semi-respectable, like Seinfeld before he started advertising BEE MOVIE. So to prove he’s not fucking around and to establish dominance one of the first things Cloverfield does on his visit to the big city is rip the head off the Statue of Liberty and throw it across Manhattan. If he was trying to bowl it was a gutterball but, poor bowler or not that shit is threatening to a human like you or me. Let’s face it, he has a size advantage. That is the main thing going on between Cloverfield and us. More weight, more reach. Not really a fair fight.
SPOILER ALERT !!
