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Crime Scene: The Vanishing at the Cecil Hotel (2021)
Uninterestingn, panned out and woth nothing to offer.
Despite having a strong first episode, this show's reliance on YouTubers to give perspective on the case is detrimental. And not because there aren't YouTubers who make good documentary content out there, but because the ones used in this show seem more interested in what they want the solution to the case to be rather than what the truth is. For example police theorise Lam couldnt access the roof where she died via the door because an alarm would have been triggered in the lobby during the night in question. Therefore she must have taken the fire ecape ladder to the roof. But then they cut to this YouTuber who says "well actually I leaned on the door" (not in an attempt to oen it) "and no alarm went off". Like these people clearly have nothing to offer this case, so why is so much time dedicated to them? All they scceeded in doing was inciting people to cyberbully an innocent guy who made a poorly timed youtube song about a drowning woman to the point of suicide, to whom they never apologised.
Then there's the way this doc withholds infomation to pan the runtime. The guy who found the body in a water tank said he found the lid open when he went to check on it, meaning no one closed it if she was murdered and therefore it is more likely she killed herself intentionally or accidentally. The show withholds this infomation until 30 min before the end of thefinal episode, for no other reason than to pan the run time and falsy fabricate a mystery that is pretty straight forward after this infomation is given.
This show could have been two episodes easily, since the police autopsy and statement from the guy who found the body pretty much confirm what happened to the poor girl.
Shin Gojira (2016)
A great modernisation of the 1954 classic
In almost every way this film is a remake/reimagining of the 1954 film that started the Godzilla franchise, that aims to recapture the horror and spectacle of that film for modern audiences. But don't worry; that doesn't mean this is just another genrric "Godzilla destroys the city movies" - because it's a little more innovative than that.
In the politically charged monster movie, Japan's inability to stop Godzilla from destroying the country leads to the UN taking away the country's agency and deciding to nuke Tokyo to stop the monster. Angered by this, and unwilling to allow their country to be nuked by the US for a third timein recent history, a rag tag group of politicans and scientists band together a team to come up with a plan to stop Godzilla's rampage before the US drops a thermonuclear bomb on their country.
In many ways Shin Godzilla is the most horrific of all the films in the franchise primerily due to it's "realistic" approach the tone and plot. Even moments of levity are often at the expense of either the government or millitary, often targeting their indecisiveness and bureaucracy as a means to highlight how they may be indirectly responsible for letting Godzilla's destruction go on longer than it needed to. In this respect the film offers quite a satirical perspective of the government and Japan's relationship to the US post WW2.
But it's not all politics. It's also, as I've already mentioned, horrific.
Godzilla is an obsidian colossus emitting orcbid and scarlet lights in pitch black of the night over Tokyo. His eyes are unmoving, unblinking, lifless. He himself in unconcerned. The big draw of this movie is the depiction of Godzilla himself because he has never - even in the 1954 film, and others where he also took the role of the villain - appeared so merciless and cruel. But neither has been so divinely elevated.
The orchestra and choir that play over his unrelenting advance through Japan and his destruction of Tokyo is haunting and frightening - it's stellar, and some of the best music I've heard in a Godzilla film with the exception of the original's soundtrack.
But if there's one pitfall this music has it is that it is too on the nose. Well... Godzilla movie's have always been too on the nose with their themes and subtext, but as a reimagining of the original I would have hoped for this film to have treated its viewers with more confidence. Dialogue like "Godzilla is truly a God incarnate" over his destruction of the city might sound poetic, but it's also dumb and pandering - that line of dialogue is conveyed to us through visuals and music alone. All this dialogue serves to do is to spell it out. Occurances of this happened one or times too many for me to the point where I felt the film didn't think I'd be capible of understanding the themes the franchise has been mimicing for 65 years. This is a shame considering the film is also quite intelligent in other areas.
By this I mean it is very creative with its experimental approach to the monster, his strengths, weaknesses, his rise and eventual downfall. How the scientists defeat the monster is unique and simultaneously provides spectacle without it being another big loud battle between an army and a monster. Because of this the finale feels refreshing in spite of still providing some of the noise that the cornier films often rely too much upon.
So, overall I give this film an 8/10 because it takes a 65 year old property and somehow does something new with it by being creative and experimental in its depiction of both Godzilla and how people react and deal woth him. If it only had more confidence in my ability to understand what it was going for, it might have been a 9 or 10, as far as monster movies go. I very much recommend this movie.
Gojira: Fainaru uôzu (2004)
A celebration of excess
I can't believe I'm about to say this about a kaiju movie of all things, but Godzilla Final Wars has to much action. This is both a strength and weakness of the film that can be really engaging for some viewers, but a turn-off for others.
For me, this was a turn-off. The absolute reluctance this film has to slow down fried my brain to the point of not caring. The problem is that every scene in this film moves at a million miles per-hour and almost always contains an action scene to follow. Couple this with the fact that every action scene is trying to be "the best action scene", they all end up feeling interchangeable. Less is more, a wise man once said. And as anotherwise man once said, "if everyone's super, no one will be".
However there is value to be found here, particuarly in the soundtrack that sports a main theme so adictive that it just might rival the original. Additionally there are some good thematic concepts at play regarding the anger Godzilla has towards humanity and his inability to forgive them for their misuse of the atom and their mistreatment of nature. But these are, as I said, only concepts, as so little time is spent providing this film with depth that there truly isn't anything to cling on to except for the next battle, that one will soon forget or get confused with another interchangeable one.
All in all I stand by my introduction: The amount of value you find in this film will depend on what type if film viewer you are. As someone who prefers the slower paced Showa Era Godzilla films, this one was a little to much for me, although I can respect what they were going for. I give this 4/10, but I can see the merit others find in ranking it higher.
Hoodwinked! (2005)
So much fun
Hoodwinked is... fun. The writing in this film, ranging from plot to humour, is very well pieced together and the structure of the story makes for a compelling view.
A few visual sequences, however, seemed a little rushed such as the Granny finding out the goons were hired by the Goodie Bandit, and Red's first encounter with the Wolf. Sometimes the the order of the stories told by the main characters can be quite jarring too, as a slow paced story will suddenly lead into something very quick and witty. But it's not awful, and the musical numbers do enough to bridge this strange gap to make sure even the slower stories keep the pace with the others.
The animation looks very dated now, 75% of the characters and environments have not aged particuarly well, but the character writing is good enough to somewhat offset this negative, although not entirely.
As far as animated kid movies go this is a very entertaining watch, and I laughed out loud a few times, 15 years after it originally came out - so as far as story and writing goes, this film is still very watchable and fun.
The best part of this film, by far, is that you can watch it multiple times and spot details you would never have seen on your first, or even things you hadn't noticed linked together at all. The way the plot is structured, particuarly in the first half of the movie, is brilliant.
I would recommend this film because, if you allow yourself to overcome the clunky animation and some of the weird pacing, you'll find a very creative movie underneath it all.
The Shape of Water (2017)
A wonderful fairytale
Though not typically a fan of romance in movies, the fantastical elements of this film and occasionally corny tone made this film very engaging for me. With this cornyness, inherent to the fairytale nature and 60's aesthetic, comes a breeze of simplistic story telling that does nothing more or less than captivate.
I felt for each and every character in this movie, including some sympathy for Michael Shannon's grizzly government agent with questionable ethics. His character, though obviously dubious, faces some troubles that make him relatable in a way that make us understand why he does everything he does even if we disagree with those things.
But the stars of the show really are the Creature and Sally Hawkings, who both give sincere and honest portrayals of their likeable roles. The movie could not have worked without them putting on a good show and they thankfully did.
My only complaint is that the subplot with the KGB agent was quite weak. I feel as though having that character just be a normal scientist who isn't a Russian spy would have saved some more time to focus on more character stuff, or just made the movie slightly shorter. In the end it felt unnecessary to have him be a spy as all the agents die anyway. Aside from that subplot, however, I liked the rest of the other characters and their mini-plots.
I would recommend this film to fans of this director, classic 50's monster flicks and anyone looking to broaden their horizons; Like I said I'm not a fan of romance films, but very much enjoyed this one. 7/10.
The Witcher (2019)
Fun but lacking
The Witcher is a very entertaining show that balances its approach to mature subjects and some of its humour quite well. And while all the fantasy elements work good enough, what the Witcher truly excels at is medieval drama:
For me the best episode of the show is where a Queen was being forced to betrothe her child to an older man because of male tradition, and how loyal the Queen is to this idea despite how much she may dislike it. There is so much worldbuilding done is this singular story (another thing the Witcher is good at) that the show really does succeed in presenting us with a semi-realistic medieval world, and it's really fun to watch what sort of stuff can happen in it.
However it is the fantastical parts of the Witcher that let it down for me. I have never read the books or played the games but I knew from the moment I saw them that Geralt and Yennefer would never ever be in any danger, and so felt absolutely zero suspense whenever the show tried to make me think something might happen to them. They have plot armour so thick that the show just fails to build tension whenever they're in trouble. They may get beaten up a little in one episode, but are entirely fine by the next, acting as though nothing happened. For me this was a serious turn off that left me feeling uninterested in a lot of what was happening. The build up to the final battle of the season is so lackluster because we're led to believe the enemy's superior numbers will crush the heroes, but the heroes are so omnipotent that they could have beaten the army using absolutely minimum effort.
However the one character that kept me with the show was Ciri, whose story intrigues me ten times more than Geralt's or Yennefer's because she's the only character I truly believed to be vaulnerable. I felt for her losses more than the other characters and, after seeing her be hit, abandoned, misled and diceived, realised she was the only main character at risk throughout the entire show, and thus she was the only main character I ever rooted for. She is faced with having to learn harsh realities about her parental figures, come to terms with the adult world by herself and depend on almost no one for her entire story.
I realise Geralt is essentially a super human and Yennefer is a powerful witch, but applying some of Ciri's vulnerability to their characters could have helped this problem I had with the show.
I'm not sure if I could recommend this based on my interest in only one character, but maybe I could if you're a fan of the games or books and just want to see Geralt and Yennefer break things and then make some jokes about it after.
1917 (2019)
An Immersive Journey
There is a lot to admire about 1917: The amount of detail put into all environemnts, the amount extras who elevate the atmosphere with their human touch, the way a flare can be seen falling after it was fired away from camera and off-screen, and the way Schofield bumps into charging soliders in his rush to prevent the attack. While not "gritty" the film is certainly grounded, which is a must for all good war films.
However, 1917 is not without fault. Despite having an intriguing opening and tense finale, the second act of the film goes on to drag a little. For instance the scene where Schofield encounters a french woman and her baby is, while touching, ultimately meaningless as it does nothing but act as filler. The action in this segment of the film feels quite cartoonish too, with Schofield dodging more bullets than James Bond during Pierce Bresnan's reign. The poor aim of the Germans makes for a tenseless second-act, because Scofield's plot armour is impenetrable.
So if you're going in looking for a war film with plenty of good action and decent pacing then you might be disapointed. But this film makes up for many of it's flaws through good dialogue writing, which really immerses the audience in this brilliantly realised world, and the performsnces of just about every actor involved.
Overall I found more to enjoy about this movie than to critisise, so I would recommend you watch it. It's moving, well shot, written and acted and so certainly stands worthy of some of its oscar nominations.
Gamera 3: Jashin kakusei (1998)
Decent Gamera Movie
If there is one thing Revenge of Iris gets right it is human drama, action and motivation that sets up the dynamic between the characters and monsters better that the vast majority of other Monster movies. However one can't help but feel that, despite the excellent setup, there isn't much in the way of payoff. The final battle.with Gamera and Iris, though not without its moments, is breif and doesn't really shine until conclusion. The fight before this takes place in the sky, but but the dated CGI and weather effects make it less coherant that the sky battles in the first movie of the trilogy, Guardian of the Universe.
The first battle of the film is a beautifully haunting spectacle that truly demonstrates how these battles can effect massive civilian populations. Gemera and Gauss go head to head for a short brawl that deatroys the city and, while feeling a little like filler, is by far the highlight of the movie and most gripping action scene.
All in all Revenge of Iris is decent, but fails to live up to the standard set by Attack of Legion. Despite still boasting great visuals and making a noticable effort to build up the plot, the pay off feels a little underwhealming and leaves you asking "is that it?"
Gamera 2: Region shurai (1995)
Remarkable Monster Flick
In my review of Guardian of the Universe I stated that it had the best visual effects I had seen using miniatures and suits... I take it back because this movie does it infinitely better and so seemlessly. It mixes in CGI too, but in such a reserved manner that when it does turn up it never distracts from the practical effects, but adds to them and compliments them too.
Attack of Legion is a beauty to behold, a true spectacle with passion and heart oozing from all of it. The look for Legion, both the small insects and larger monster is up there as one of the best looking Kaiju in this genre of film - boasting not only an awe-inspiring design, but a menacing personality and an arsenal of abilities that see that he out maches Gamera quite a bit.
The monster action is vastly improved from the first film feeling less awkward and a lot more violent. It's easy for this film to suprise you with just how much monster gore it's willing to show, especially in this world where Hollywood movies have conditioned us to believe that giant monsters would never bleed if they were locked in a battle to the death.
And although the human characters aren't as engaging as they had been in the first movie, their drama intertwines so well with the monster action that the two stories of human and monster blend into one well enough to keep you sticking with them.
A true beauty of a film that delivers on all the fronts you'd expect from a film of this type and certainly worth a watch for just about anyone.
Gamera daikaijû kuchu kessen (1994)
Entertaining and Stumbling
Gamera Guardian of the Universe is an action-packed reboot of the Gamera series that does a lot of things right, but also stumbles in a few places.
Initially presenting us with a human cast that is actually quite engaging (which says a lot for this genre of film), the movie never really finds time to further develop these characters due to how many of them there are mixed in with the monster action. Thus, though swimming in potential, the cast falls flat, with the exception of both the female leads who do a great job conveying the stakes of the story.
As for the monsters the special effects are brilliant. As of writing this review, some of the suit-mation and miniatures are the most convincing I have seen in monster movies of this type, making for an immersive story that more aptly portrays the size and scale of these beasts. Scenes of city destruction, when Gamera and Gaus wreak havoc on the world, are the highlight of the film and never disapoint.
The same cannot be said for the action sequences, however. There are genuinely really exciting moments, such as the flying sequences in the final battle and whenever either monster uses their flaming breath. But when it comes to close combat the movie loses the illusion and you suddenly become all the more aware that you're watching men in suits. It detracts from the action whenever this happens and from the movie as a whole, which happens one too many times for me to give this a higher rating.
But the film as a whole has more good than bad and I would still recommend watching this movie as it has more than its fair share of memorable moments to offer.
The War of the Worlds (2019)
The Most Boring Adaptation
In a world teaming with adaptations of War of the World's, this mini-series might be the worst of them all. But not on account of the performances, sets, music, designs or special effects; on account of how mind-numbingly boring the show is from start to finish.
Because what is good about this show is really good. The Tripods look incredible, portrayed with such a sense of huge scale that has never been acheived before, even in the 2005 movie. Additionally, the Martians appear terrifying and unique when we see them outside of their machines, boasting a very simplistic but effective design that compliments what they are all about.
The big issue is that, in spite of this, we never really feel the threat that they pose. Be it because of budget constraints or the inability to create the neccessary set pieces, the very sparing use of the tripods and the destruction they cause makes the threat feel shallow and manufactured. We keep getting flash-forwards to a time after the Martian war where the world has beat them in war, at the expense of being regressed almost to the dark-ages... but showing us the aftermath of the destruction with only minor instances of it actually happening before our eyes feels very cheap. The drama is creates is thus unearned, leaving the viewer unable to feel the emotions that the show is trying to provoke.
Where the 2005 movie excelled at portraying the civilian perspective, and musical at the millitary prowess of the Martians, this mini-series exceeds at neither. This is largely because of the fact they are so sparingly used. Because of this, when the Martians are brought down by human weapons we don't see it as a great victory, but rather as something that was quite doable all along.
To avoid going on too much longer I'll only breifly talk about characters now. One large issue with them is that the script sinks a lot of time into the drama between them without actually making us care about them. Sure we know what each character does and what their relationship is to one and other, but it's as surface-level as you can get. George loves Amy. George is on thin-ice with his brother. It has potential for drama, certainly, but it feels so manufactured given how Amy seems to just be able to defuse anything that happens between them. The bigger problem is how isolated the drama is from the Martian invasion. In the 2005 movie, the character drama was also cliche, but it intertwined greatly with the invasion of the Martians and seemlessly fed into the themes of that movie. That is not the case here. So the cliche nature of it all shines greater than it should.
Finally, the drama also takes away from the desperation. War if the Worlds has always been a desperate story; both the book and musical end with the Narrator attempting suicide before realising the Martians are dead, which is the only reason he chooses to stay alive. The 2005 movie is about a father who has to choose between saving his son from a Martian advance and strangers trying to take his daughter from him. None of that is explored here. There is a scene of self-sacrifice for the betterment of the other survivors, but it doesn't feel earned because the character-writing is so shallow. It feels forced and insincere.
This is such a shame because setting this story in Victorian England was the perfect thing to do to create a desperate atmosphere. No one had phones or communication with anyone else beyond writing letters and telegraphs, which could have been used to establish how the Invasion could have taken over half of England before the Government even realised what was happening, thus adding that much needed desperation. Again, this is explored but is resolved within twenty minutes of the second episode (not long given as the first tripod is seen at the finale of the first).
So although this series has a lot of strengths to play with, in many ways it fails to capitalise on them and makes for a very boring watch. This is to the point where one can't even watch the show as a tongue-in-cheek alien invasion show because of how underwhealmingly the Martians are utilised, despite how brilliant they look. Give this a miss and go read the book instead, or listen to the musical, or watch the 2005 film. I was not much of a fan of the 50's film, but I'd also watch that before I watched this again.
War of the Worlds (2005)
An Entertaining Adaptation
Although removed from the original source material, Spielberg's War of the World's takes Well's book and modernises it very well for modern audiences. In place of themes surrounding colonialism, we have terrorism which, while ham fisted, does compliment many of the character's Well's wrote in his original book, particuarly Tim Robbins, who takes the spot of the Artillary man.
Giant monster/alien/robot movies have never been about subtlety so I find it easy to forgive how this movie tends to force feed its messages, where I might otherwise critisise others. What helps this movie the most is thay the cast all perform exceptionally well and the characters they play, although the most cliche of all American families, have relationships to one and other that go in places one might not expect. Tom Cruise having to choose between letting his son die and stopping his daughter from being taken out of his safety is genuinely intriguing, and makes the cliche trope of him being an estranged father serve a purpose that feels very real and genuine. However the rdvelation his son survives alone off-screen does undercut this mkment a little - not from a character persepctive because we still feel for the father, but certainly from the perspective of the plot lacking consequences (which might just be its greatest weakness).
On the other hand the giant aliens, whom we all came to this movie for, also serve their purpose to the maximum: They are genuinely terrifying and cool to watch. The movie never over indulges in destruction or violence, leaving the viewer wanting more, but displays just enough of it, often from a civilian perspective, that you never feel cheated or unsatisfied. And despite some pacing issues in the third act, the movie generally moves at a reasonable pace that ensures our characters always have a new obstacle to overcome.
As far as Hollywood adaptations go this is probably the best outcome we could have got for a War of the World's one. It is both easy to slide into and easy to appreciate. Very good movie, and I do recommend.
Mosura tai Gojira (1964)
A Classic Monster Movie
Mothra vs Godzilla is the grittier cousin of King Kong vs Godzilla, made to capitalise on that movie's success and the popularity of both Godzilla and Mothra at the time.
It shines in almost every regard.
The premise of the movie surrounding Mothra's missing egg and the idea that Mothra, Earth's benevolent protector, is reaching the end of her life span just as Godzilla reawakens to destroy the Earth, is truly great. The obvious and simple, but very welcome, line between good and evil represented by Mothra and Godzilla respectively is better drawn here than in nearly any other Godzilla movie. This is largely due to the fact Godzilla is a villain rather than a protector and Mothra is reveered as a God by primitive people, giving the dynamic between the monsters depth.
While the primitive folk of Mothra's island stand out, as far as human character go, most of the main cast of heroes and villains fail to entertain, aside from the moments they are given to provide levity during the later parts of the movie. Admittedly there is fun to be had with the human characters during the first act, but as the film goes on to indulge in monster action they become an after thought, with contrived reasons to remain in the story.
But, put simply, none of that can take away from the excellent music, special effects and simple but effectuve plot that holds this monster brawl together. I highly recommend that all fans watch this movie when given the chance.
Gojira no gyakushû (1955)
A weak sequel
The thing about Godzilla Raids Again is that, riding off of the success of the original, one gets the impression that this film wants to be taken as seriously as the first... But it does so to no avail.
Though the lighter tone of this film compliments the silly premise quite well, it doesn't fit with the idea that we should take this film seriously at all. Despite a strong opening that is quite intriguing, things go down hill as soon as the monsters battle, which is normally the highlight of these types of films. The destruction of the city is undercut both by the laughably dated battle had between Godzilla and Angirus, and the light heartedness of the characters.
Therefore, although by no means a bad movie, Godzilla Raids Again feels weightless and inferior to the original and its future sequels. Points for ambition and scope, but not for execution or result.
Gojira (1954)
Passionate, strong movie
There is little to be said about this movie because it is the grandfather of many modern monster films, so it follows a similar formula to what many viewers will have seen before.
Unlike many new monster films, and even later Godzilla films, this original movie carries a sense of passion that few others in the genre succeed in conveying. Everything from Godzilla's horrific appearance to the then contemporary reason for him existing in Japan comunicates how much effort went into making this film work aesthetically and thematically.
Though certainly iconic for the franchise it spawned, and its own value as a movie, I do think the quality of this film is slightly overrated. Like other Godzilla films it lacks an interesting cast and plot because of how other films like this have grown somewhat stale in modern day, due in part to how many later Godzilla films would mimic this film's formula.
However, with the exception of the odd shot or iffy special effect, most of the destruction and Godzilla action holds up well and makes the film worth watching. A must see for all G-fans and monster movie lovers, but those who are tired of the formula of this genre, or simply don't like older movies, can give it a pass.
Gojira tai Hedora (1971)
The spookiest Godzilla film
Godzilla vs Hedorah is one of the stand out films in the Showa era Godzilla movies because of how unique it is. It explore themes new to the franchise, such as pollution and environmental protection that are welcome because of how it refreshes the series that had too often relied on alien invasion plots. However, the incredibly heavy handed use of these themes can occasionally be distracting.
And in spite of having a human cast that is guaranteed to bore you to death, this is all made up for in the form of Godzilla's latest nemesis: Hedorah. Hedorah is the most "out there" design I can think of for a monster. Although not as eccentric as Ghidorah or Gigan, Hedorah is an apt design because there is no real rhyme or reason to him and that's the point; He's a creature conjured from the ugliness mankind had plagued the world with through its pollition of the environment, which is reflected very well, and this makes Hedorah a pleasure to watch, nd even wuite spooky. He also hosts an arsenal of abilites that go beyond lasers to shoot at his enemies, making him and unpredicatble and menacing foe to both Godzilla and humanity.
And in spite of the monster battles not being quite as bombastic as fans had come to expect by this point, they remain just as satisfying as ever due to the unconventional tactics that Godzilla and Hedorah deploy against eachother. This will keep viewers wondering what will happen next, and engaged with all of the action.
And there is a lot of action. Godzilla vs Hedorah has more than enough screen time allocated to each monster, which will please all viewers.
One of the better, if heavy handed and blunt, films on the Showa era movies. Definitely worth a watch.
Gojira · Ebira · Mosura Nankai no daikettô (1966)
Simple, fun monster movie
Although Ebirah Horror of the Deep doesn't offer G-Fans a plot that is new to the monster genre (given it's Kong-like feel), it does give fans a plot that feels unique to the franchise. Setting itself apart from alien invasion plots, Horror of the Deep instead presents a fast paced adventure about a group of disallusioned sailors who shipwreck upon a mysterious island besiged by monsters and terrorists. The plot and execution is fun, if somewhat predicatable, and remains that way due to the anticipation of Mothra's eventual arrival at the end of the film. Though he presence feels more akin to a cameo, she is treated well in what short screen time she has. That said, poor Mothra's model appears very aged, dusty and half fallen apart, thus failing to convey her usual benevolant beauty.
Ebirah, the giant lobseter, does not prove to be an adequate opponent to Godzilla and is easily undone by his atomic breath and physical strength. However he does prove to be a great threat to the people of the island. So much so that I think Ebirah could carry a movie on his own, in the vein of Kong film, in which his presence traps islanders. So, although not suited for giant monster battles, Ebirah is aptly conveyed to be menacing. Due to Godzilla's late arrival in the film, almost all of my enjoyment in this movie came fron Ebirah who I wasn't anticipating to be very good when I went in. Suffice to say I underestimated him and was pleasantly suprised by how well the filmmakers pulled him off.
Much of the same said about Ebirah can also be applied to Godzilla. Although he is uncreative during his battles, a disappointment when compared to his previous brawls in the series, he does marvellously well at presenting a real and continuous threat to both the protagonists and terrorists on the island. And, although a late arrival to the film, he has plenty of screen time once he eventually shows up and begins to give everybody a bad day.
All in all there is room for improvement, but G-fans should still he satisfied by what they see here, and I do recommend this film.
Star Wars: Episode VII - The Force Awakens (2015)
A good spiritual sequel
The Force Awakens is an excellent film in that it successfully introduces a new era of Star Wars to a new generation of fans.
However it is entirely derivitive of A New Hope. The plot is beat for beat the same and no amount of entertainment value can really raise this film beyond an average 6/10.
Despite this, I gave it a 7/10. My reason for this is that it did what, in my opinion, the prequels couldn't: it captured the spirit of Star Wars. There wasn't a moment in this film that felt as if it didn't belong in the franchise, which is quite the feat to acheive for a franchise as large, popular and divisive as this one.
And although much of the set up of this movie would be botched by the sequels, it is quite apt when looking at it in the context of this film alone and I'd be lying if I said I wasn't engaged by it or in antisipation for what would come when it was first released in 2015. At the time I felt Rey, Finn and Kylo Ren were all well rounded characters that had been established firmly. Their place in the universe seemed very well defined and for that I give this movie praise. So much so that I felt their presence and re-contextualised the plot (barely) enough that it didn't feel like an exact carbon copy of A New Hope; The casting, performances and character writing was very well done in this movie. That is with the exception of Finn's bizarre willingness to murder stormtroopers, despite previously having been one himself and sympathetic towards a friend of his, who had also been a stormtrooper.
The first and best installment of the Sequel Trilogy is always entertaining and very engaging. I recommend seeing this film as it is enjoyable for people who are both Star Wars fanatics and new comers to the franchise.
Kaijûtô no kessen: Gojira no musuko (1967)
Fun but lacking
Son of Godzilla, though entertaining, is entertaining for the wrong reasons. This might be the first ultimate "so bad it's good" entry in the franchise. This is because where I normally find myself laughing with the corny or cheesy nature of these bombastic Godzilla films, on this occasion I found myself laughing at the movie.
Though with a plot that is intriguing on paper, Son of Godzilla boasts a generic set of characters that fail to appropriately fill the voids wherein there is no monster action. And despite there being plenty of monsters and scenes woth Godzilla in the movie, the frequent fight scenes clearly go for quantity over quality; presenting action scenes lacking in personality or creativity. Few of whoch will stay in your memory after the end of the film.
On paper the events of this film sound perfect for a Showa era Godzilla movie, but just aren't executed well enough.
The saving grace of this film is the son of Godzilla himself, who provides enough entertainment through his inability to do anything correctly that makes the film enjoyable to laugh at. His relationship to Godzilla, as well as the condecending way Godzilla treats him, is also one of the legitimately better parts of the film, even if they are overly silly sometimes, even by Godzilla standards.
There are also things to respect about this movie, such as the design on of the island monsters like the giant mantis, ants and huge spider that Godzilla is forced to fight. The tropical island setting is also refreshing and unique, making Son of Godzilla, for better or worse, one of the stand-out movies in the franchise.
Although it has a lot of potential, not much of it is ever fulfilled and thus I give this film a lower rating. Aside from it being a good way to introduce kids to Godzilla, I would not recommend watching this for any other reason unless you're a G-fan who happens to like the movie more than I do.
Kaijû sôshingeki (1968)
Everything you want from a monster movie
Filled to the brim with scenes of destruction, a great final battle and a human plot that never bores, Destroy All Monsters is an example of what all Godzilla movies of this type should strive to achieve. I say that because some entries like Shin Godzilla and Return of Godzilla are very different to this type of ensamble film.
However for a cheesy low budget monster brawler, this film is a great example of how to do it right. Watching this film feels like watching the Avengers or Justice League for the first time, only it has a massive cast of monsters destroying stuff instead of super heroes protecting it. And all the monsters have their own time to shine and cause mayhem.
My only complaints with this film is that the antagonists, though initially engaging, prove to be ultimately uninteresting and that the human good guys seem to be a little too flawless and righteous. Not that many care for the human drama in these films, but it is worth noting.
I highly recommend this film. It is not only a staple of the Showa era Godzilla movies, but of the franchise as a whole. A must see for G-fans and anyone who enjoys monster movies.
King Kong vs. Godzilla (1963)
Funniest Monster Movie Ever
This movie is good on two different levels:
1. It is a genuinely good monster movie for the time that is legitimatly entertaining.
2. Anyone who disagrees with the above can still appreciate it as a "so bad it's good" movie.
Godzilla vs Kong is, more than anything, a comedy. The film is very self aware and takes the time to laugh at itself, knowing that it really isn't anything more than an excuse for these two monsters to duke it out.
Watching Godzilla clap maniacally Each and everytime he causes even the slightest bit of pain to either humanity or Kong is guaranteed to get a laugh, as are the instances in which Kong either gets drunk and passes out, or decides to run away like a scared little girl. Both monsters ooze personalities that are just glorious to see on screen as they clash not only physically but quite comidically in how they otherwise interact. And although the main battle doesn't come until the final strech of the movie, the human charcters are entertaining in such a way that you'll never feel bored, making this one of the only monster movies where human drama didn't feel like a chore to sit through, but almost quite welcome.
Godzilla is also weak to electricty. Because he is.
Kong is also strengthened by electricity. Because he is.
That's the way it works, alright? Don't ask questions.
Yes, the plot is thin. No, nothing is explained or makes any sense. And while these are more than valid reasons not to enjoy the film, the fact the film is aware of them makes it almost charming and benificial.
My only real complaint, that does detract from the movie, would be the design of Kong. Simply put he looks terrible. Particuarly in the face, which is a consistant reminder that you're watching a man in a suit, not a real monster. On top of this the length of Kong's arms, which seem to vary in lengths between shots. At times these things can be distracting and take away, if only a little, from the overall charm of an otherwise decent movie.
But now to the good stuff: The fight. How to explain it? Well all that needs to be said is that I was in tears laughing at how amazing this fight was. Godzilla vs Kong prouduced the type of battle that is a one in a million; Simultaneously engaging on a legitimate level, while also being laughable. Thats a good thing.
All in all this is a great, funny monster movie that I recomend to anyone who is a fan of the genre
Mekagojira no gyakushu (1975)
A Stylish Farewell
Terror of Mechagodzilla is a direct sequel to the fan-beloved Godzilla vs Mechagodzilla. However, despite being a mere 83 minutes long, Terror of Mechagodzilla feels like a drag where most other Showa era films do not.
The lack of monster action throughout the first and second act forces the film to lean on the human plot and drama to keep the audience enticed. Admittedly all of this is a step up from nearly all previous entries, but is too shallow and bland to properly communicate the complex themes it aims to acheive. Being one of the darkest films of the Showa era, the plot deals with sacrifice, betrayal and star-crossed romance in a pleasingly ambitious way, but without any of the proper execution.
That said, when the monster action finally begins in the third act, it never slows down. There are satisfying scenes of city-destruction and a lengthy final battle that leaves Godzilla outnumbered against his enemies. The massive use of explosives and special effects will no doubt leave all of the audience in awe of the specticle; this final battle is certainly a highlight of the Showa era.
The best part of this battle is a call back to the original Mechagodzilla film, wherein Godzilla defeats Mechagodzilla by ripping his head off. Once again, Godzilla rips his head off in this film, only to find that a secondary sentry-gun lies underneath that proceeds to blast him away and keeps Mechagodzilla in the fight a little longer than before.
As well as Godzilla and Mechagodzilla, a new monster named Titanasourus joins the fray on the side of the alien menace. Although simplistic in design and not as whacky as previous new combatants to the series, Titanasourus boasts an iconic roar and has enough new abilities to make him a welcome and memorable addition to the film.
Because this film takes itself a little too seiously for what it is, and has a tendency to bore for the first two acts, this movie does not reach the height of the first Mechagodzilla film. However there are enough conceptually interesting ideas and an amazing action scene to finish, that still make this one of the more memorable Godzilla movies.
Star Wars: Episode VIII - The Last Jedi (2017)
Disapointing but not without merit
As the most divisive piece of media in modern Star Wars, The Last Jedi is a film that is both praised widely and critisised harshly by fans on both sides of the fence, both of whom have valid points to make about the film.
The comedy in the film falls flat, action scenes feel poorly choreographed, character arcs are repeated from the previous film and b-plots go absolutely nowhere, serving no purpose to the story. Coupled with bizzare occurances that will make even die-hard fans lose their suspension of disbelief, such as Leia's ability to breathe in space and survive a missile strike at point-blank range, this film really asks a lot of the audience when it comes to accepting the events it presents us.
And yet for all that, this is certainly a movie made with passion. Not a single thing feels lazy about this film, even its most grevious flaws I would call misguided and poorly executed before I ever accused the film makers of a lack of trying. The passion of Rian Johnson shines through the direction and cinematography, which I believe made this one of the prettiest films of 2017. The set design, particuarly of Snoke's throne room and of the planet Crait are truly inspired, and the visual effects are probably better here than anywhere else in the franchise. And, as previously stated, although the action could be better choreographed, it is at least shot in a way that is coherant and clear (a blessing in this era of shaky-cam action movies). For these reasons I truly believe the movie deserves more credit.
However a pretty sugar coating isn't enough to save misguided writing. Classic characters such as Luke and Leia consistantly act out of character, while new characters like Fin and Poe are given little to nothing of consequence to do throughout the film. Because of this the movie really hangs on the relationship and new-found link between Rey and Kylo Ren, who proves to be the most intriguing character of the movie, to hook the audience. Despite easily being the most engaging part of the film, even this is not enough to distract the audience from the other silly subplots that go without reason or meaning by the end of the film.
Although incredibly beautiful in presentation with awe inspiring visuals, The Last Jedi lacks substance in writing that will leave viewers largely disapointed in the long run. Although I believe that much of the hate towards this movie is very over-exagerated, it is not without reason. But neither is the love it receives from the side of the fans who do enjoy it.
I do recomend watching this movie to form your own view on it. But I, personally, won't be rewatching it again any time soon.
Star Wars: Episode IX - The Rise of Skywalker (2019)
Derivitive and Unremarkable
Rise of Skywalker is a movie that feels like it has the plot of a thirteen episode tv show cramed into a mere 2 hours. The plot moves at such speed that there is absolutely no room to think about or contemplate the meaning or consequences for the actions taken in it. As a result of the often meaningless action and hasty story, everything from the character arcs, motivations and plot devices is entirely convoluted and artifical.
Perhaps that is this movie's greatest fault; You never feel immersed in the story and are consistently aware that you're watching a film, as each story beat will force you to realise that nothing makes any sense.
The emotional beats often rely on characters from the original trilogy, such as C3-PO or Leia, rather than the new characters who should be leading the emotional charge.
That said, Adam Driver as Kylo Ren still remains as the beacon of light in the new trilogy; An actor who genuinely seems at one with his character and who is clearly giving it his all. Were it not for the rushed writing on his relationship to Rey, that aspect of the film could have shone a lot more than it did. But the potential to create real character drama was thrown away in favour of an unoriginal, manufactured threat. Even so, Adam Driver will make you feel something real in this unimmersive film.
The predictable and uninteresting return of Palpatine is entirely derivitive of both the original and prequel trilogy, and even the satisfying performance, given by Ian McDirmid, can not clear the water of this foggy, unexplained return of the character.
In spite of some good action scenes and breif moments of quality between Kylo Ren and Rey, there isn't a lot this movie has to offer because it never takes the time to slow down and let you relish in what it has.
We can only hope Star Wars remains in retirement until such a time as the creatively bankrupt Disney returns with ideas relating more so to passion than the money lining their wallets.
Godzilla (2014)
A Great Godzilla movie, although not the best
If there is one thing Godzilla 2014 excels at it is modernising the monster for mainstream audiences. However this movie does cause a divide, I feel between long time G-fans and new-comers to rhe franchise. The movie received harsh critisism upon release, all of which is simultaneously legitimate and not at the same time.
This is because by the standards of summer blockbusters there is a lack of monster action, the characters are quite bland and the plot is somewhat flimsy at best. However, by the standards of Godzilla movies, the monster action is well built up to, the characters are a lot better than most previous entries, and the plot is a refreshingly more realistic take on the monster that doesn't resort to alien invasions.
As a result there can be a lot of conflict between people unfamiliar with Godzilla movies, who may be rightfully disapointed with the lack of action and plot, and old school Godzilla fans, who might appreciate this plot for at least being a step up from some of the lesser enteries in the franchise.
As an old school Godzilla fan, I find this movie very entertaining and while acknowledging the flaws of this movie are real, can still enjoy it. The early death of Brian Cranston, the emotional heart of the first act of the movie, is the one thing that I cannot over look, however, because his character was the only one that wasn't an arcetype and was the best acted performance.
Other flaws such as the plot and drawn-out build up to the action I can be pursuaded to overlook because this is not the worst offender in the Godzilla franchise for using those flaws. Additionally, I found the slow pace of the film and teasing of the monsters added to the tension, and made the all-out finale to be all the more satisfying.
I have loved and enjoyed Godzilla films that could easily be described as worse than this one, and posted positive reviews to this site; So it seems unfair for me to gang up on this movie that I also enjoyed, even if it was lesser than the classics.
A faithful and respectful US adaptation of the monster that has the ability to entertain.