NEGROMANCER: The Home of "Trash in My Eye": Legendary Entertainment

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Friday, March 29, 2024

Review: "GODZILLA X KONG: THE NEW EMPIRE" is Entertaining, Imaginative and Extraneous

TRASH IN MY EYE No. 18 of 2024 (No. 1962) by Leroy Douresseaux

Godzilla x Kong: The New Empire (2024)

Running time: 115 minutes (1 hour, 55 minutes)

MPA – PG-13 for creature violence and action

DIRECTOR: Adam Wingard

WRITERS: Terry Rossio, Simon Barrett, and Jeremy Slater; from a story by Terry Rossio, Simon Barrett, and Adam Wingard (based on characters owned by Toho Co., Ltd.)

PRODUCERS: Alex Garcia, Eric McLeod, Mary Parent, Brian Rogers, and Thomas Tull

CINEMATOGRAPHER: Ben Seresin (D.o.P.)

EDITOR: Josh Schaeffer

COMPOSERS: Tom Holkenborg and Antonio Di Iorio

SCI-FI/FANTASY/ADVENTURE

Starring: Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, Rachel House, Ron Smyck, Chantelle Jamieson, Greg Hatton, and Kevin Copeland

SUMMARY OF THE REVIEW:

-- Godzilla x Kong: The New Empire is as visually stunning as the two previous MonsterVerse series films, and the monster-fight action is awesome.

-- However, the story is not compelling, and the characters feel like props. Thus, Godzilla x Kong is really for fans of the series.

Godzilla x Kong: The New Empire is a 2024 monster movie and science fiction-fantasy adventure film directed by Adam Wingard. Produced by Legendary Pictures and distributed by Warner Bros. Pictures, this film is the fourth entry in the “MonsterVerse” film series, which began with Godzilla (2014). Godzilla x Kong: The New Empire brings the two ancient titans together in order to fight an ancient, prophesied threat to the surface world.

Godzilla x Kong: The New Empire opens some time after the defeat of Mechagodzilla (as seen in Godzilla vs. Kong). In the “Hollow Earth,” Kong is in the process of establishing his territory, which means defeating vicious predators. Monarch has planted a base in Hollow Earth, Monarch Outpost One, in order to monitor Kong. That outpost itself is monitored on the surface by a Monarch base in Barbados, which is where Kong expert and Monarch scientist, Dr. Ilene Andrews (Rebecca Hall), lives with her adopted daughter, Jia (Kaylee Hottle), the last living member of Skull Island's indigenous tribe, the Iwi.

Jia is deaf and communicates with Kong via sign language. She has begun experiencing dreams, flashbacks, and hallucinations that seem to be related to a signal emanating from somewhere in the Hollow Earth. Godzilla, who has been romping across Europe is also sensing that signal, and the King of the Monsters is absorbing energy in preparation for some unknown, coming battle.

Kong explores a sinkhole near his home and discovers an uncharted region hidden within the Hollow Earth. Exploring it, he finally encounters other giant apes like himself, including an adolescent giant ape. However, these giant apes are aggressive and apparently serve a mysterious alpha giant ape leader, and this leader controls something that not only endangers the Hollow Earth, but also the surface world. Only Kong and Godzilla can end this threat, but will the Earth's two greatest Titans join forces or just try to kill each other, again?

The “MonsterVerse” is an American multimedia franchise that includes movies; a streaming live-action television series (Apple TV+) and a streaming animated series (Netflix); books and comic books; and video games. It is a shared fictional universe that includes the character, “Godzilla” and other characters owned and created by the Japanese entertainment company, Toho Co., Ltd. The MonsterVerse is a reboot of Toho's Godzilla franchise. It is also a reboot of the King Kong franchise, which is based on the character, “King Kong,” that was created by actor and filmmaker, Merian C. Cooper (1893-1973).

In preparation for Godzilla x Kong: The New Empire, I watched and reviewed the previous four films in MonsterVerse series. They are Godzilla (2014), Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021).

Godzilla x Kong: The New Empire has a hard act to follow in the previous film, Godzilla vs. Kong, and while the new film is entertaining, it never really establishes the stakes of the conflicts it depicts. To me, the threat didn't really seem like it would lead to the end of the world. Godzilla x Kong is loud and proud, a true monster movie built on sensations, muscular CGI, and visually stunning visual special effects. Godzilla x Kong is big, bigger, BIG, and it probably should be seen on IMAX, but its story is no bigger than a mini-max.

Godzilla x Kong exists because Warner Bros. Pictures and Legendary Entertainment want it to exist as a product designed to make a lot of money now and to continue contributing to the MonsterVerse revenue stream for some time to come. It's not that I did not enjoy Godzilla vs. Kong. I laughed several times, and it did hold my attention. It is probably the least dark film in the series, but it is also the least important. Honestly, I think Godzilla x Kong: The New Empire director Adam Wingard made a much more compelling film with his 2011 feature, You're Next, which was made for .007 percent of Godzilla x Kong's budget. [You're Next's screenplay was written by Wingard's frequent collaborator, writer Simon Barrett, who is also a co-writer on Godzilla x Kong.]

Another strange thing about this film is that the characters all feel unnecessary. Kaylee Hottle's Jia is very important to Godzilla x Kong's narrative, but Jia often feels like a prop. Dan Stevens' Trapper is a generic character, played by Stevens with generic verve. I liked Brian Tyree Henry's Bernie Hayes in Godzilla vs. Kong, but here, he feels too frantic and forced. I get that Hayes is comic relief, but has become too much comic relief. Hayes is utterly wasted here – half chatterbox, half-on-the-edge-of-being-substantial.

I pushed Godzilla x Kong: The New Empire from my mind as soon as I got up from my seat in the theater. Still, fans of the MonsterVerse films will likely really enjoy it.

6 of 10

★★★ out of 4 stars

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Wednesday, March 27, 2024

Review: "GODZILLA VS. KONG" Rocks 'n' Roars

TRASH IN MY EYE No. 17 of 2024 (No. 1961) by Leroy Douresseaux

Godzilla vs. Kong (2021)

Running time: 113 minutes (1 hour, 53 minutes)

MPA – PG-13 for intense sequences of creature violence/destruction and brief language

DIRECTOR: Adam Wingard

WRITERS: Terry Rossio and Michael Dougherty & Zach Shields; from a story by Max Borenstein and Eric Pearson (based on characters owned by Toho Co., Ltd.)

PRODUCERS: Jon Jashni, Alex Garcia, Eric McLeod, Mary Parent, Brian Rogers, and Thomas Tull

CINEMATOGRAPHER: Ben Seresin (D.o.P.)

EDITOR: Josh Schaeffer

COMPOSER: Tom Holkenborg

SCI-FI/FANTASY/ADVENTURE

Starring: Alexander Skarsgard, Millie Bobby Brown, Rebecca Hall, Bryan Tyree Henry, Shun Oguri, Eiza Gonzalez, Julian Dennison, Lance Reddick, Kaylee Hottle, Hakeem Kae-Kazim, Ronny Chieng, Demian Bichir, and Kyle Chandler

Godzilla vs. Kong is a 2021 monster movie and science fiction-fantasy adventure film directed by Adam Wingard. Produced by Legendary Pictures and distributed by Warner Bros. Pictures, this film is the fourth entry in the “MonsterVerse” film series, which began with Godzilla (2014). Godzilla vs. Kong finally brings about the long awaited confrontation between Godzilla and Kong.

Godzilla vs. Kong opens three years after the dragon-like extraterrestrial King Ghidorah awakened the monstrous “Titans” around the world before being defeated by Godzilla. On Skull Island, Monarch has imprisoned Kong within a game preserve that is covered by a giant dome where they monitor him. Skull Island has been taken over by the storm that previously kept it hidden from the world. Kong has befriended Jia (Kaylee Hottle), the island's last native human and the young adopted daughter of Kong expert, Ilene Andrews (Rebecca Hall). Jia is deaf and communicates with Kong via sign language.

Across the world, at Apex Cybernetics in Pensacola, Florida, CEO Walter Simmons (Demian Bichir) is up to something sinister, and that has drawn the attention of Godzilla, who reappears after three years and attacks the facility. That doesn't stop Simmons, who travels to Denham University of Theoretical Science in Philadelphia, in order to recruit former Monarch scientist, Nathan Lind (Alexander Skarsgard), to lead a mission into the legendary “Hollow Earth,” which is Lind's area of expertise. But the mission needs Kong, and that's where Ilene and her daughter, Jia, come in.

Meanwhile, Bernie Hayes (Bryan Tyree Henry), an Apex Cybernetics employee and a Titan conspiracy podcast host, is investigating Apex's activities. Hayes finds a kindred spirit in Madison Russell (Millie Bobby Brown), daughter of Monarch scientist, Dr. Mark Russell (Kyle Chandler), who is also suspicious of Apex. With her friend, Josh Valentine (Julian Dennison), in tow, Millie joins Bernie on an adventure that will take them halfway across the world to where Apex is hiding its most sinister secret, one that is tied to the mission into the Hollow Earth and its secrets.

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released March 29, 2023, so I have decided to watch and review the previous four films: Godzilla (2014), Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), and 2021's Godzilla vs. Kong (which is the subject of this review).

Godzilla vs. Kong is, thus far, the best of the “MonsterVerse” films. Each film is its own thing, although they are all monster movies. Godzilla 2014 is a science fiction mystery film. Kong: Skull Island is a lost world story, thoroughly wrapped in pseudo-science and weird fiction. Godzilla: King of the Monsters is a VFX-slick, CGI-fuel-injected, modernized take on the original 1950s, Japanese Gojira/Godzilla films.

Godzilla vs. Kong is the monster movie as an old school science fiction-fantasy action-adventure film that has been all gussied up with CGI and dazzling, glowing, supernatural special effects. I could feel the science fiction mood through Tom Holkenborg's score which reminded me of Daft Punk's glorious score for Tron: Legacy (2010). Godzilla vs. Kong's “Hollow Earth” subplot is the film Fantastic Voyage (1966) wishes it could have been. Godzilla vs. Kong is wall-to-wall adventure. It is a sci-fi travelogue from one end of the Earth to the other, whether it is breathlessly racing from Florida to Hong Kong for a mecha showdown or plunging into a mind-bending journey inside the deepest reaches of the planet.

As for the confrontation between Godzilla and Kong: the first one in this film is an impossible battle that is a work of genius on the part of everyone involved. What is more shocking is that the second confrontation, which occurs in the film's last act, is even better and even more eye-popping.

Godzilla vs. Kong is the ultimate monster showdown spectacle. I was not able to turn away from it, and a day after seeing it, I'm still buzzing from it as I write this review. Godzilla vs. Kong is peak “MonsterVerse,” and I pity the films in the series that come after it.

8 of 10

★★★★ out of 4 stars

Wednesday, March 27, 2024

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Thursday, March 21, 2024

Review: "GODZILLA: KING OF THE MONSTERS" Does Too Much

TRASH IN MY EYE No. 15 of 2024 (No. 1959) by Leroy Douresseaux

Godzilla: King of the Monsters (2019)

Running time: 132 minutes (2 hours, 12 minutes)

MPA – PG-13 for sequences of monster action violence and destruction, and for some language

DIRECTOR: Michael Dougherty

WRITERS: Michael Dougherty and Zach Shields; from a story by Max Borenstein and Michael Dougherty and Zach Shields (based on characters owned by Toho Co., Ltd.)

PRODUCERS: Jon Jashni, Alex Garcia, Mary Parent, Brian Rogers, and Thomas Tull

CINEMATOGRAPHER: Lawrence Sher (D.o.P.)

EDITORS: Bob Ducsay, Roger Barton, and Richard Pearson

COMPOSER: Bear McCreary

SCI-FI/ACTION/MILITARY

Starring: Kyle Chandler, Vera Farmiga, Millie Bobby Brown, Ken Watanabe, Ziyi Zhang, Bradley Whitford, Sally Hawkins, Charles Dance, Thomas Middleditch, Aisha Hinds, O'Shea Jackson, Jr., David Strathairn, Anthony Ramos, Elizabeth Faith Ludlow, CCH Pounder, and Joe Morton

Godzilla: King of the Monsters is a 2019 monster movie and action film directed by Michael Dougherty. Produced by Legendary Pictures and distributed by Warner Bros. Pictures, this film is the third entry in the “MonsterVerse” film series, which began with Godzilla (2014). Godzilla: King of the Monsters pits the monster-monitoring agency, Monarch, against a legendary monster, and the only hope for the world is the missing Godzilla.

Godzilla: King of the Monsters opens five years after the events depicted in Godzilla (2014). The world is now aware of the existence of giant monsters called “Titans.” Monarch is the U.S. government agency that monitors and studies the Titans (which it once called “MUTOs” or “massive unidentified terrestrial organisms). It has bases (bunkers) around the world where its scientists struggle to find a way in which humanity and the Titans can share the planet.

In a bunker located in the Rainforest of Xishuangbanna in China's Yunnan Province, Monarch scientist Dr. Emma Russell (Vera Farmiga) has developed a device, called “ORCA,” that can emit frequencies that can attract Titans or alter their behavior. However, her research has attracted the attention of Alan Jonah (Charles Dance), a former British military officer turned eco-terrorist, who wants control of ORCA. He kidnaps Emma and her daughter, Madison Russell (Millie Bobby Brown).

Monarch scientists, Dr. Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins), approach Emma's estranged husband and Madison's father, Dr. Mark Russell (Kyle Chandler), to help track down Emma, Jonah, and ORCA. However, Jonah has already forced Emma to use ORCA to awaken the legendary “Monster Zero,” the three-headed dragon known as King Ghidorah. Now, Serizawa must convince the U.S. government and military that the only Titan capable of stopping Ghidorah is “Gojira,” a.k.a. “Godzilla.” But where is Godzilla? Also, where do newly awakened Titans, “Mothra” and “Rodan,” stand in this battle royale of monsters?

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released sometime in March 2023, so I have decided to watch and review the previous four films: Godzilla (2014), Kong: Skull Island (2017), 2019's Godzilla: King of the Monsters (which is the subject of this review), and Godzilla vs. Kong (2021).

Godzilla: King of the Monsters is the ultimate giant monster smack-down. With the wizardry of digital VFX and supernatural CGI, King of the Monsters is a monster mash infused with visual splendor. This movie is non-stop action, practically from the start. It is so much an action movie that if you could cut it, King of the Monsters would bleed fire and brimstone. To add the craziness, each new monster reveal is mind-blowing and even mind-bending...

...but after about 75 minutes, Godzilla: King of the Monsters wore me down. The writers and actors have fashioned a cast that has almost twenty characters with dramatic potential. The Russell family subplot about the loss the son, Andrew, is only used to sell dysfunctional family contrivances, which is a shame. The monster movie theatrics get bigger and bigger with each minute of this story, but the drama and story shrink with each minute until they are flimsy like wet toilet paper.

Godzilla: King of the Monsters is as exciting as any other blockbuster. Few, if any, monster movies will ever be as epic as it is when it comes to big monster fights. Few monster movies will ever be as gorgeous as it is in terms of cinematography, special effects, production values, and visuals. This is “cinema of sensations” writ large and out of control, and that's a shame. Godzilla: King of the Monsters is a monster of a movie, but I wish its human element was just as awesome.

[This film has one scene after the end credits.]

6 of 10

★★★ out of 4 stars

Thursday, March 21, 2024

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Sunday, March 17, 2024

Review: "KONG: SKULL ISLAND" is a Monster Movie Paradise

TRASH IN MY EYE No. 14 of 2024 (No. 1958) by Leroy Douresseaux

Kong: Skull Island (2017)

Running time: 118 minutes (1 hour, 58 minutes)

MPAA – PG-13 for intense sequences of sci-fi violence and action, and for brief strong language

DIRECTOR: Jordan Vogt-Roberts

WRITERS: Max Borenstein, Dan Gilroy, and Derek Connolly; from a story by John Gatins

PRODUCERS: Jon Jashni, Mary Parent, Thomas Tull, and Alex Garcia

CINEMATOGRAPHER: Larry Fong (D.o.P.)

EDITOR: Richard Pearson

COMPOSER: Henry Jackman

Academy Award nominee

ADVENTURE/HISTORICAL/HORROR and MILITARY/SCI-FI

Starring: Tom Hiddleston, Samuel L. Jackson, Brie Larson, John C. Reilly, John Goodman, Corey Hawkins, John Ortiz, Tian Jing, Toby Kebbell, Jason Mitchell, Shea Whigham, Thomas Mann, Eugene Cordero, Marc Evan Jackson, Terry Notary, and Richard Jenkins

Kong: Skull Island is a 2017 monster movie, sci-fi military, and period, adventure film directed by Jordan Vogt-Roberts. It is a reboot of the King Kong film franchise and is also the second film in the “MonsterVerse” film series following 2014's Godzilla. Set at the end of the Vietnam war, Kong: Skull Island focuses on a group of military personnel and civilian scientists who must fight to escape an uncharted island full of giant monsters that includes the island's king, the mighty Kong.

Kong: Skull Island introduces Bill Randa (John Goodman), the head of the U.S. government organization, “Monarch.” It is 1973, and the U.S. is ending its mission in Vietnam. Randa fears his time is running out to launch a mission to a recently discovered island that has long been shrouded in mystery and legend, “Skull Island.”

He convinces a U.S. senator to fund an expedition to the island, and subsequently recruits a U.S. Army unit commanded by Lieutenant Colonel Packard (Samuel L. Jackson) to accompany him. Also on the mission are recent Monarch recruits, geologist Houston Brooks (Corey Hawkins) and biologist San Lin (Tian Jing). Randa also hires James Conrad (Tom Hiddleston), a former British Special Air Service Captain, as a hunter-tracker for this expedition. Mason Weaver (Brie Larson), an “anti-war” photographer, forces her way onto the expedition.

The expedition begins with thirteen U.S. army helicopters penetrating the fearsome storms that surround Skull Island. Randa and Brooks told Packard that they wanted to map the island by dropping seismic explosives, and shortly after arriving on the island, Packard's men begin dropping the explosives, which does help to map the island. The explosions also draw the attention of a giant ape, which promptly attacks the helicopters. Soon, the expedition is divided into two groups of survivors. One is led by Packard who wants revenge against the giant ape, and the other by Conrad who wants to reach a rendezvous point where they will be rescued. The giant ape, however, is “Kong,” king of Skull Island, and he isn't the only deadly, giant monster on the island.

The “MonsterVerse” is an American multimedia franchise that includes movies; a streaming live-action television series (Apple TV+) and a streaming animated series (Netflix); books and comic books; and video games. It is a shared fictional universe that includes the character, “Godzilla” and other characters owned and created by the Japanese entertainment company, Toho Co., Ltd. The MonsterVerse is a reboot of Toho's Godzilla franchise. It is also a reboot of the King Kong film franchise, which is based on the character, “King Kong,” that was created by actor and filmmaker, Merian C. Cooper (1893-1973).

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released sometime in March, so I have decided to watch and review the previous four films: 2014's Godzilla, 2017's Kong: Skull Island (which is the subject of this review), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021). I have previously seen Godzilla and Kong: Skull Island, but only recently made attempts to review them.

Kong: Skull Island is proudly both a monster movie and a King Kong movie. Like Peter Jackson's 2005 film, King Kong (Universal Pictures), Kong: Skull Island digs into its “lost world” pulp fiction and pre-Code horror movie roots. Kong is as King Kong as any other cinematic version of the character, and the result is an exhilarating film that is fun to watch even after repeated viewings. Most books about writing fiction and screenplays will emphasize that the characters should drive the narrative, but Kong: Skull Island's narrative is driven by its plot, by its other-worldly setting, and especially by its monstrous gods and god-like monsters.

There are quite a few interesting characters in the film. Samuel L. Jackson makes the most of his Lt. Col. Packard, who is driven crazy by his insane mission to kill Kong as a salve for his bitterness about the end of the American misadventure in Vietnam. John C. Reilly once again displays his tremendous character actor chops as the lost-in-time, U.S. Army Air Force Lt. Hank Marlow. Tom Hiddleston is a good heroic lead as James Conrad in a film in which the human hero is not the film's most important character. Brie Larson also shows off her acting skills by chopping out some space for his character, Mason Weaver.

However, the characters are just pawns in the film's plot, which involves surviving Skull Island's various monsters and advancing to the rendezvous point. The setting of Kong: Skull Island is a lost world Eden that is part tropical paradise and part jungle horror, an environment in which the most beautiful place is the most dangerous. The amazing things to see on this island are its deadly denizens, which includes gargantuan spiders, man-snatching carnivorous birds, and seemingly unstoppable lizards that are literally nothing more than perfectly designed death machines. I would be remiss if I didn't mention the practically mute human natives of Skull Island with their dazzling array of face and body painting and eclectic costumes.

At the center of Kong: Skull Island is the film's most important character and element, Kong, himself. He is a thing of beauty, the best special effect in a movie favored with enough impressive CGI to have earned itself an Oscar nomination for “Best Achievement in Visual Effects.” Kong's introduction into the story, a breathtaking display of fight choreography pitting him against a squadron of military helicopters, is as good as the best fight scenes audiences will find in the top superhero movies. Whatever glitches in the overall narrative and character development Kong: Skull Island has, Kong's introduction glosses over. Kong is made king again in Kong: Skull Island, and that is why it is a damn shame that there is not a Kong: Skull Island 2.

[This film has an extra scene at the end of the credits.]

A-

7 of 10

★★★½ out of 4 stars

Sunday, March 17, 2024

NOTES:

2018 Academy Awards, USA: 1 nomination: “Best Achievement in Visual Effects” (Stephen Rosenbaum, Jeff White, Scott Benza, and Michael Meinardus)

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Saturday, February 10, 2024

Review: "GODZILLA" 2014 is Still Awesome

TRASH IN MY EYE No. 7 of 2024 (No. 1951) by Leroy Douresseaux

Godzilla (2014)

Running time: 123 minutes (2 hours, three minutes)

MPAA – PG-13 for intense sequences of destruction, mayhem and creature violence

DIRECTOR: Gareth Edwards

WRITERS: Max Borenstein; from a story by Dave Callaham

PRODUCERS: Jon Jashni, Mary Parent, Brian Rogers, and Thomas Tull

CINEMATOGRAPHER: Seamus McGarvey (D.o.P.)

EDITOR: Bob Ducsay

COMPOSER: Alexandre Desplat

SCI-FI/ACTION/MILITARY/THRILLER

Starring: Aaron Taylor-Johnson, Elizabeth Olsen, Bryan Cranston, Ken Watanabe, Carson Bolde, Sally Hawkins, Juliette Binoche, David Strathairn, Richard T. Jones, and Victor Rasuk

Godzilla is a 2014 science fiction-monster film and military thriller directed by Gareth Edwards. Produced by Legendary Pictures and distributed by Warner Bros. Pictures, the movie was the first in the “MonsterVerse” film series, and it is a reboot of Toho Co., Ltd.'s Godzilla film franchise. Godzilla 2014 focuses on the reappearance of monstrous creatures that have the power to destroy human civilization, but one of them may be humanity's only hope for survival.

Godzilla opens in 1999. Dr. Ishiro Serizawa (Ken Watanabe) and Vivienne Graham (Sally Hawkins), two scientists from “Project Monarch,” are investigating the skeleton of a monstrous creature that was unearthed in the Philippines. Meanwhile, in Janjira, Japan, Joe Brody (Bryan Cranston), the supervisor at the Janjira Nuclear Power Plant, prepares for another day of work with his wife, Sandra Brody (Juliette Binoche). Something odd has been happening in and around the power plant, and before the day is over, the plant will collapse due to what seems to be an earthquake. It is an incident that will leave Joe Brody broken and haunted.

Fifteen years later, Lt. Ford Brody (Aaron Taylor-Johnson) is a U.S. Navy EOD officer (United States Navy Explosive Ordinance Disposal). The son of Joe and Sandra, Ford has moved on with his life and is now on-leave in San Francisco with his wife, Elle Brody (Elizabeth Olsen), a nurse, and their son, Sam (Carson Bolde). However, Ford is forced to return to Japan when he learns that his father has been detained for trespassing in Janjira's quarantine zone (Q zone). Joe is determined to find the cause of the meltdown 15 years ago at the Janjira power plant. Ford thinks his father is crazy and does not believe anything he tells him.

However, what Ford is about to witness will introduce him to the world of the MUTO (massive unidentified terrestrial organism). One such MUTO has the power to disrupt human civilization by emitting an intense electromagnetic pulse (EMP), and now, it's headed for the United States. Monarch's Dr. Serizawa believes that the only thing that can stop the MUTO is an ancient alpha predator he calls “Gojira.” But Gojira is also a MUTO...

The “MonsterVerse” is an American multimedia franchise that includes movies; a streaming live-action television series (Apple TV+) and a streaming animated series (Netflix); books and comic books; and video games. It is a shared fictional universe that includes the character, “Godzilla” and other characters owned and created by the Japanese entertainment company, Toho Co., Ltd. The MonsterVerse is a reboot of Toho's Godzilla franchise. It is also a reboot of the King Kong franchise, which is based on the character, “King Kong,” that was created by actor and filmmaker, Merian C. Cooper (1893-1973).

The fifth film in the MonsterVerse series, Godzilla x Kong: The New Empire, is due to be released sometime in March, so I have decided to watch and review the previous four films: Godzilla (which is the subject of this review), Kong: Skull Island (2017), Godzilla: King of the Monsters (2019), and Godzilla vs. Kong (2021). I have previously seen Godzilla and Kong: Skull Island, but I have not previously reviewed them.

I watched parts of Godzilla 2014 more times than I can remember over the last decade. It is a fascinating American “kaiju” film. “Kaiju” is a Japanese sub-genre of science fiction that features giants monsters, and the term can also be used to refer to the giant monsters themselves. Godzilla 2014 is very well directed by Englishmen, Gareth Edwards, who first came to notice because of his excellent 2010 film, Monsters, and later gained notoriety as the director of Rogue One: A Star Wars Story (2016). Edwards is a natural when it comes to big monsters and big monster conspiracies and threats.

The film includes some good performances, although Bryan Cranston is the real standout with his intense, heartbreaking turn as Joe Brody. Elisabeth Olsen as Elle Brody is sidelined and wasted, and Aaron Taylor-Johnson gamely plays Lt. Ford Brody as the film's ostensible lead, who is more dragged along by the film's action than leading it.

What makes this modern Godzilla film exceptional to me is the work of the technicians, artisans, and crew that don't always get credit for making a film work. Godzilla's camera work, the lighting, the film editing, the film score, the visual effects, the sound editing and mixing combine to create a film that is successful in what it conveys. What this film is pushing to us is a deep and abiding sense of mystery. It is in the shadows that hides the monsters and incredible battles. It is in the mood altering and heartbeat pacing score by the great Alexandre Desplat.

The mystery is in the sound and in the silence. It is in the flitting light and frequent flares and in the subtle film editing that hides itself while controlling the film's pace and mood. Godzilla's technical skill is the art of cinematic craftsmanship coming together, and that is best exemplified in the beautiful, breathtaking “Halo drop” sequence.

Godzilla's sense of mystery keeps the film from coming across like lowbrow, popcorn entertainment, which was the fate of director Roland Emmerich's 1998 film, Godzilla. Godzilla 2014's characters are in the dark almost as much as the audience is. By maintaining a sense of mystery, the film's narrative could convince me that humanity may be on the precipice of extinction, and it did. I highly recommend the MonsterVerse Godzilla, and I'll keep watching it.

8 of 10

★★★★ out of 4 stars

Saturday, February 10, 2024

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Friday, January 26, 2024

Review: "THE BOOK OF CLARENCE" - Black is Beautiful and So is Enlightenment

TRASH IN MY EYE No. 3 of 2024 (No. 1947) by Leroy Douresseaux

The Book of Clarence (2024)

Running time: 129 minutes (2 hours, 9 minutes)

MPA – PG-13 for strong violence, drug use, strong language, some suggestive material, and smoking

WRITER/DIRECTOR: Jeymes Samuel

PRODUCERS: Shawn Carter (Jay-Z), James Lassiter, Tendo Nagenda, and Jeymes Samuel

CINEMATOGRAPHER: Rob Hardy (D.o.P.)

EDITOR: Tom Eagles

COMPOSER: Jeymes Samuel

COMEDY/DRAMA/RELIGION

Starring: LaKeith Stanfield, Omar Sy, Anna Diop, RJ Cyler, David Oyelowo, Michael Ward, Alfre Woodard, Teyana Taylor, Caleb McLaughlin, Marianne Jean-Baptiste, Eric Kofi Abrefa, Chase Dillon, Babs Olusanmokun, Benedict Cumberbatch, James McAvoy, and Nicholas Pinnock

The Book of Clarence is a 2024 comedy-drama and religious film written and directed by Jeymes Samuel. The film focuses on a wayward man who decides to capitalize on the rise of Jesus by also declaring himself to be “the Messiah.”

The Book of Clarence opens in Lower Jerusalem, the home of the “Gypsies,” in the year 33 A.D, and it introduces a young man named Clarence (LaKeith Stanfield). He is down-on-his-luck and is drifting in life. He spends time selling weed with his close friend and sidekick, Elijah (RJ Cyler). Their latest scheme is a chariot race against Mary Magdalene (Teyana Taylor), which goes disastrously bad. In turn, that puts Clarence and Elijah deep in debt to a local crime boss, Jedediah the Terrible (Eric Kofi Abrefa), who threatens their lives if he isn't paid in 30 days.

Meanwhile, Clarence's twin brother, Thomas (LaKeith Stanfield), is one of the 12 Apostles that follow Jesus of Nazareth (Nicholas Pinnock). After failing to make inroads with his brother's associates, Clarence decides to capitalize on Jesus and the rise of messianic figures by declaring himself “the Messiah.” Clarence does not believe in the existence of God, but he finds success by preaching “knowledge over belief.” Soon, Clarence has a large number of followers, and they are making him wealthy. But then, something happens...

The Book of Clarence is not as partisan as Mel Gibson's 2004 masterpiece, The Passion of the Christ, nor is it Black-centric and anti-racist in the way director Jean-Claude La Marre's The Color of the Cross (2006) is. In The Book of Clarence, Jesus is a Black man, but the narrative isn't really about Jesus being black. The people of Jerusalem are black, but that just seems to be the way it is supposed to be – nothing special or deliberate. Also, I don't think the film ever refers to them as Jews or Hebrews (as far as I can remember).

The Book of Clarence's plot and themes, which are soft and muddled in the film's middle act, seem to converge on the notion of enlightenment, not the movement “Enlightenment, but as a state of knowledge and understanding. Clarence, who pushes knowledge over belief, gets the lesson that knowledge without understand is empty, the equivalent of “faith without good works is dead.” The Book of Clarence unveils these messages and ideas, not with seriousness, but with sly wit and also with subtle digs at oppression, racism, and imperialism – for good measure.

That aside, the thing that most impresses me about The Book of Clarence is that writer-director Jeymes Samuel presents a film in which Black people are so very beautiful and alluring in all their varying dark and brown shades, all the textures and styles of their hair, and all the shapes, contours, and statures of their bodies. Yet in spite of its allusions to white oppression, as all the Roman characters are white, The Book of Clarence treats having an all-Black cast play the characters in a story set in the time of Jesus as an utterly normal thing. It's about time; British, Irish, and American actors have been frontin' in Biblical films as if that is an entirely normal thing. [Even if Jesus was Caucasian, he wasn't white...]

Jeymes Samuel fills his film with outstanding performances, especially LaKeith Stanfield's powerful, eccentric, turn as Clarence. It is too late in his career to discover Stanfield as a revelation; we been knew he was good. He makes Clarence's awkward, bumbling, stumbling journey to enlightenment seem like a real, tangible thing. I feel Clarence's evolution in my head and in my imagination.

Also, David Oyelowo knocks the film on its ass as the back-handing John the Baptist, much the way Alfre Woodard upends notions of Jesus Christ's mother, Mary, as “Mother Mary” later in the film. Teyana Taylor throws her beauty at us as Mary Magdalene, and Anna Diop digs out the awkward layers of Varinia, Clarence's love-interest. And RJ Cyler gives a best supporting actor type performance as Clarence's best friend and partner, Elijah.

The Book of Clarence isn't perfect. Its plot staggers and lurches at times as it moves towards its explosive final act, which is filled with breath-taking miracles and shocking plot twists. The film apparently was originally scheduled for a theatrical release in September 2023, but ultimately made its only 2023 appearance via its world premiere at the 67th London Film Festival. So as fate... or God would have it, The Book of Clarence is the best film of 2024 – thus far.

8 of 10

★★★★ out of 4 stars

Friday, January 26, 2024

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Friday, October 22, 2021

Review: 2021 "DUNE " is Both Tremendous and Tedious

TRASH IN MY EYE No. 63 of 2021 (No. 1801) by Leroy Douresseaux

Dune (2021)
Running time: 155 minutes (2 hours, 35 minutes)
MPAA – PG-13 for sequences of strong violence, some disturbing images and suggestive material
DIRECTOR: Denis Villeneuve
WRITERS: Denis Villeneuve, Jon Spaihts, and Eric Roth (based on the novel by Frank Herbert)
PRODUCERS: Denis Villeneuve, Cale Boyter, Joseph M. Caracciolo, and Mary Parent
CINEMATOGRAPHER: Greg Fraser (D.o.P.)
EDITOR: Joe Walker
COMPOSER: Hans Zimmer

SCI-FI

Starring: Timothée Chalamet, Rebecca Ferguson, Zendaya, Oscar Isaac, Jason Momoa, Stellan Skarsgard, Stephen McKinley Henderson, Josh Brolin, Javier Bardem, Sharon Duncan-Brewster, Chen Chang, Dave Bautista, David Dastmalchian, Charlotte Rampling, Babs Olusanmokun, Benjamine Clementine, and Golda Rosheuvel

Dune is a 2021 science fiction film directed by Denis Villeneuve. It is based on the 1965 novel, Dune, written by author Frank Herbert. This the third screen adaptation of Herbert's novel after writer-director David Lynch's 1984 film and writer-director John Harrison's 2000 television miniseries. Dune 2021 focuses on the male heir to a noble family who finds himself in the middle of conspiracy and prophecy on a desert planet where is found the most vital element in the universe.

Dune opens in the far future in the year 10,191. The most valuable substance in the universe is “Spice,” which extends human vitality and life and is absolutely necessary for space travel. Spice is only found on the desert planet, Arrakis. For over eighty years, House Harkonnen, one of the noble houses of the “Landsraad,” has mined the planet for Spice.

Now, the Emperor of the Known Universe has ordered House Harkonnen to withdraw from the planet. The Emperor has appointed Duke Leto I (Oscar Isaac) of House Atreides and ruler of the ocean planet, Caladan, as the new fief ruler of Arrakis and the one responsible for the mining of Spice.

However, Paul Atreides (Timothée Chalamet), the son of Leto and his concubine, Lady Jessica (Rebecca Ferguson), is the focus of the Bene Gesserit, a powerful sisterhood who wield advance mental and physical abilities, to which Jessica belongs. The Bene Gesserit have a prophecy concerning a “superbeing,” called the “Kwisatz Haderach,” and Paul may be this superbeing because of the machinations of his mother. Meanwhile, Paul has dreams and visions, most of them set on Arrakis and involving the natives of Arrakis, the “Fremen.” And of the Fremen, Paul dreams most of a mysterious young woman (Zendaya) with blue in her eyes. Paul knows that his fate lies on Arrakis, and he will discover it if he survives the plot against his family.

Although the title of this film is “Dune,” when the movie starts the credits read “Dune: Part One.” That's right, director Denis Villeneuve refused to adapt Frank Herbert's novel as one long film when he preferred to do it as two long films. I have seen Herbert's novel referred to as “unwieldy” source material, but the truth is that like Robert A. Heinlein's novel, Starship Troopers (1959), which was adapted into a 1997 film, Dune is philosophical and thoughtful. Much of the narrative takes place in the minds of its major characters, and I don't think that big-budget, event Hollywood films are really good at internal philosophical monologues.

Denis Villeneuve's Dune is visually ambitious. It is pomp and circumstance. It focuses on the rituals of the Landsraad (the empire's noble houses) and of the Fremen – to the point of being anthropological. Dune is costumes, uniforms, makeup, hairdos, and lavish spectacle. Dune offers some of the most imaginatively designed space crafts, flying contraptions, utility machines, and personal devices outside of the Star Wars films. It leans towards opulence in its breathtaking landscapes and astonishing vistas. This visual and design aesthetic creates the kind of overwhelming cinematic sensory experience that is exactly why we need to see some films in movie theaters.

Villeneuve apparently also said that Dune has “power in details,” and his obsession with details, both in terms of visuals and narratives, is a problem for Dune, much in the way it was a problem for his acclaimed 2016 film, The Arrival … to a lesser extent. For Dune, he builds a big world in pictures and images, and then, he and his co-writers Jon Spaihts and Eric Roth (the ones who are credited onscreen), drag the movie out by drowning every key scene and sequence in detail. There is no better example of this than the scene with the “Herald of the Change” (Benjamin Clementine), when Duke Leto formerly excepts his assignment to Arrakis. It was pointless scene about the pointlessness of the Emperor and his rituals.

At one point while watching this film, I checked my phone and realized that there was still an hour to go. I wasn't sure if I could make. I could not understand how a film could be so visually dazzling as Dune is and have a story that frustratingly seems to be going somewhere … slowly. And Dune's wonderful cast goes right along with this, delivering performances that are earnest in their grimness. Still, the actors didn't make me want to connect with their characters, and Rebecca Ferguson's Lady Jessica is just fucking tiresome.

I am giving this film a B+ because of two things – the sometimes unbelievable visuals and, surprisingly, Hans Zimmer's amazing musical score, for which he supposedly created new musical instruments. Without his constantly inventive score, this film would put people to sleep. If I were focusing only on story, I'd give Dune a B- or a B, because there are some characters that are fascinating the few times they are on screen, such as Baron Harkonnen (Stellan Skarsgard) and his nephew, Rabban (Dave Bautista). There are also a few scenes that resonate. I really don't know how to recommend a film that will impress you almost as much as it will tire you, but that Denis Villeneuve's Dune in a nutshell.

7 of 10
B+

Friday, October 22, 2021

The text is copyright © 2021 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Monday, May 3, 2021

"Godzilla vs. Kong" Stomps to $400 Million in Worldwide Box Office

“Godzilla vs. Kong” Soars to $400 Million at the Global Box Office

BURBANK, Calif.--(BUSINESS WIRE)--In just one month, and with markets around the globe left to open or increase capacity, Warner Bros. Pictures and Legendary Pictures’ “Godzilla vs. Kong” has triumphed at the worldwide box office, grossing over $400 million. The announcement was made today by Warner Bros. Pictures President of Domestic Distribution, Jeff Goldstein, and President of International Distribution, Andrew Cripps.

Through today, the film will have earned an impressive $85.3 domestically, even though Canada has yet to safely return to theaters in many of its cities. In international markets, “Godzilla vs. Kong” has taken in $315.8 million and continues to impress as some international markets begin to re-open.

Goldstein stated, “It’s evident that ‘Godzilla vs. Kong’ is reigniting moviegoing everywhere and that audiences are more than ready to return to theaters, where and when it’s safe, for a big screen experience like this one.”

Cripps added, “It has been thrilling to see this film mark the return to theaters around the globe, with audiences continuing to grow and to uphold the importance of the universal shared experience of going to the movies.”

The film is also available in the U.S. on HBO Max for the remainder of April.

About “Godzilla vs. Kong”:
From Warner Bros. Pictures and Legendary Pictures comes the long-awaited showdown between two icons in the epic adventure “Godzilla vs. Kong,” directed by Adam Wingard.

Legends collide in “Godzilla vs. Kong” as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The initial confrontation between the two Titans—instigated by unseen forces—is only the beginning of the mystery that lies deep within the core of the Earth.

The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, with Kyle Chandler and Demián Bichir.

Wingard directed from a screenplay by Eric Pearson and Max Borenstein, story by Terry Rossio and Michael Dougherty & Zach Shields, based on the character “Godzilla” owned and created by TOHO CO., LTD. The film was produced by Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull and Brian Rogers, with Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira executive producing.

The director’s behind-the-scenes creative team included director of photography Ben Seresin, production designers Owen Paterson and Thomas S. Hammock, editor Josh Schaeffer, costume designer Ann Foley and visual effects supervisor John “DJ” DesJardin. The music is by Tom Holkenborg.

Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production, A Film By Adam Wingard, “Godzilla vs. Kong.” The film is available in the U.S. on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices for 31 days from theatrical release.

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Monday, April 12, 2021

"Godzilla vs. Kong" Crosses $350 Million in Global Box Office

“Godzilla vs. Kong” Continues to Dominate the Global Box Office, Amassing Over $350 Million in Its First Weeks

BURBANK, Calif.--(BUSINESS WIRE)--On the heels of its massive opening numbers, Warner Bros. Pictures and Legendary Pictures’ “Godzilla vs. Kong” continues to overtake the global box office, surpassing $350 million in just over two weeks, with numerous markets around the world still to open in the midst of the pandemic. The announcement was made today by Toby Emmerich, Chairman, Warner Bros. Pictures Group.

Overall, the film has earned $357.8 million and counting. Domestically, the film has earned an impressive $69.5 million, with major markets continuing to widen their theater capacities and with much of Canada still working to safely open in more cities. Internationally, “Godzilla vs. Kong” has amassed a whopping $288.3 million, thanks in large part to moviegoers in China, where Legendary handled the film’s release, still driving the box office up, and outstanding results in Australia, Mexico, Russia, South East Asia and the Middle East, in particular.

The film is also available in the U.S. on HBO Max for another 19 days and has set viewership records on the platform.

Emmerich said, “We’re thrilled that ‘Godzilla vs. Kong’ is bringing audiences back into theaters where they are open around the world, and also delivering for our HBO Max subscribers in their homes here in the U.S. It’s truly a pleasure for all of us at Warner Bros. and HBO Max to be able to thank and congratulate Adam, Legendary and the entire 'GvK' team on the great results for this terrific movie.”

About “Godzilla vs. Kong”:
From Warner Bros. Pictures and Legendary Pictures comes the long-awaited showdown between two icons in the epic adventure “Godzilla vs. Kong,” directed by Adam Wingard.

Legends collide in “Godzilla vs. Kong” as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The initial confrontation between the two Titans—instigated by unseen forces—is only the beginning of the mystery that lies deep within the core of the Earth.

The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, with Kyle Chandler and Demián Bichir.

Wingard directed from a screenplay by Eric Pearson and Max Borenstein, story by Terry Rossio and Michael Dougherty & Zach Shields, based on the character “Godzilla” owned and created by TOHO CO., LTD. The film was produced by Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull and Brian Rogers, with Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira executive producing.

The director’s behind-the-scenes creative team included director of photography Ben Seresin, production designers Owen Paterson and Thomas S. Hammock, editor Josh Schaeffer, costume designer Ann Foley and visual effects supervisor John “DJ” DesJardin. The music is by Tom Holkenborg.

Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production, A Film By Adam Wingard, “Godzilla vs. Kong.” The film is available in the U.S. on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices for 31 days from theatrical release.

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Tuesday, April 6, 2021

"Godzilla vs. Kong" Attacks the Worldwide Box Office

“GODZILLA VS. KONG” CRUSHES AT THE BOX OFFICE, CLOSING IN ON $300 MILLION WORLDWIDE IN ONLY 12 DAYS

BURBANK, Calif.--(BUSINESS WIRE)--Riding the wave of a massive opening in international markets, including $137.1 million in China so far, “Godzilla vs. Kong” debuted this week in the U.S. in theaters and on HBO Max, taking in $48.5 million at the domestic box office over five days, pushing the Warner Bros. Pictures and Legendary Pictures film close to the $300 million mark at the global box office in its 12th day in release. Legendary handled all aspects of the film’s release in China. The announcement was made today by Warner Bros. Pictures President of Domestic Distribution, Jeff Goldstein, and President of International Distribution, Andrew Cripps.

Despite the ongoing challenges in markets throughout the world due to the pandemic, the film has already earned a total of $285.4 million globally, thanks to record debuts both domestically and internationally, opening at number one in every major market in which it has been released, including the U.S., Australia, Mexico, Russia and the UAE. In the U.S., as market restrictions ease, the film has set several domestic records, including the largest number of locations at 3,064, the largest opening day at $9.6 million, the largest single day (Saturday) at $12.5 million, and the largest opening weekend, with $32.2 million, and a five-day cume of $48.5 million. Internationally, the film took in $76.1 million over the weekend, bringing the international total to $236.9 million.

Across the U.S., the film continues to perform strongly in Los Angeles, New York, Dallas, Houston, Phoenix, Chicago and San Francisco. It also has much-anticipated openings to come in such key international markets as Japan, Brazil and much of Western Europe, when theaters open around the world and expand audience capacity as appropriate.

Goldstein stated, “Moviegoers have been waiting for an event film like ‘Godzilla vs. Kong’ to arrive on the big screen and the numbers don’t lie—it’s clear that wherever audiences are ready to safely return to the theater, they have, and we’re thrilled with the results. And with the film’s A Cinema Score and being Certified Fresh on Rotten Tomatoes, with an audience score of 93%, we look forward to sharing the movie with even more fans as theaters continue to open up around the U.S.”

Cripps added, “It’s no surprise that these two iconic Titans would lead the charge back to theaters around the world and even exceed expectations in such a massive way. With our incredible numbers in China leading the charge, and powerful openings in such markets as Australia, Taiwan, Saudi Arabia and Mexico, we’re looking forward to a robust theatrical run for ‘Godzilla vs. Kong’ across the globe.”

Mary Parent, Legendary’s Vice Chairman of Global Production, noted, “The global reception to the theatrical release of this film is a positive sign for moviegoing as people continue to look towards entertainment in a post pandemic world. Congratulations to our director, cast and crew along with our partners at Warner and everybody who worked so hard on this film internally at Legendary as theaters begin to once again become a destination.”

“The HBO Max audience has spoken very clearly and loudly: they love this film and are watching it more than once,” said Andy Forssell, Executive Vice President and General Manager, WarnerMedia Direct-to-Consumer. “Comparing audience metrics in the first four days since its release, ‘Godzilla vs. Kong’ had a larger viewing audience than any other film or show on HBO Max since launch.”

About “Godzilla vs. Kong”:
From Warner Bros. Pictures and Legendary Pictures comes the long-awaited showdown between two icons in the epic adventure “Godzilla vs. Kong,” directed by Adam Wingard.

Legends collide in “Godzilla vs. Kong” as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The initial confrontation between the two Titans—instigated by unseen forces—is only the beginning of the mystery that lies deep within the core of the Earth.

The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, with Kyle Chandler and Demián Bichir.

Wingard directed from a screenplay by Eric Pearson and Max Borenstein, story by Terry Rossio and Michael Dougherty & Zach Shields, based on the character “Godzilla” owned and created by TOHO CO., LTD. The film was produced by Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull and Brian Rogers, with Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira executive producing.

The director’s behind-the-scenes creative team included director of photography Ben Seresin, production designers Owen Paterson and Thomas S. Hammock, editor Josh Schaeffer, costume designer Ann Foley and visual effects supervisor John “DJ” DesJardin. The music is by Tom Holkenborg.

Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production, A Film By Adam Wingard, “Godzilla vs. Kong.” The film is available in the U.S. on HBO Max in 4K UHD, HDR10, Dolby Vision, Dolby Atmos on supported devices for 31 days from theatrical release.

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Thursday, March 25, 2021

WaterTower Music Releases "Godzilla vs. Kong" Soundtrack by Junkie XL on March 26th

Godzilla vs. Kong (Original Motion Picture Soundtrack) Available March 26, 2021 on WaterTower Music

Features New Original Score From the Upcoming Epic Adventure “Godzilla vs. Kong” From Grammy-Nominated Composer Tom Holkenborg

Godzilla vs. Kong: Battle of the Beasts EP (released March 12, 2021) Has Two Early Tracks Also Available on the Soundtrack: “Pensacola, Florida (Godzilla Theme)” & “Skull Island (Kong Theme)”

LOS ANGELES--(BUSINESS WIRE)--WaterTower Music is pleased to announce the upcoming release of the soundtrack to Warner Bros. Pictures’ and Legendary Pictures’ epic adventure “Godzilla vs. Kong,” the long-awaited showdown between two icons in the feature directed by Adam Wingard. Godzilla vs. Kong (Original Motion Picture Soundtrack) features 15 new tracks created for the film by Grammy-nominated composer Tom Holkenborg, aka Junkie XL (Mad Max: Fury Road, Deadpool, Zack Snyder’s Justice League).

The album will be released on March 26, 2021, a few days before the film’s March 31 release nationwide in 2D and 3D in select theaters and IMAX. In the U.S. it will be available on HBO Max for 31 days from theatrical release. Furthermore, March 12, 2021, saw the release of the Godzilla vs. Kong (Battle of the Beasts) EP, allowing fans the opportunity to now hear two tracks early, before the soundtrack release. It features the Titans’ themes “Pensacola, Florida (Godzilla Theme)” and “Skull Island (Kong Theme).”

“I'm a huge fan of Godzilla and Kong! I've watched over 35 Godzilla movies over the years, so geeking out with Adam over this film came naturally”

Tom Holkenborg is abundantly clear about his passion for the project. "I'm a huge fan of Godzilla and Kong! I've watched over 35 Godzilla movies over the years, so geeking out with Adam over this film came naturally,” explained the composer. “Kong is such an iconic character with over 90 years of scoring history behind him, and this was a perfect project for me to flex the retro monster orchestral scoring side of my brain, mixed with my very contemporary electronic side - in this case `80s sequences and basslines in the vein of John Carpenter. In this score I am trying to emphasize the insanity of Godzilla and the humanity of Kong. In the spirit of the film, it was fun to get my mad scientist coat on and make some monstrous sounds!”

Holkenborg’s unique approach to scoring blends historical understanding of classical scoring technique with an embrace of cutting-edge technology. His artistic choice for Godzilla’s music sees the composer embracing his modern roots, leaning towards a robotic, all electronic score. His take on Kong is a deep dive into the history of this monster’s score – the previously referenced 90 years of scoring history – combined with sourcing rare instrumentation like stone flutes and marimbas. Holkenborg sampled a custom-made six-foot mega bass drum and the biggest bass amp in the world – a 13-foot-tall amp designed by lengendary bass amp maker Ampeg – to give the score its monstrous elements.

Godzilla vs. Kong (Original Motion Picture Soundtrack) will be available March 26. Two tracks, “Pensacola, Florida (Godzilla Theme)” and “Skull Island (Kong Theme)” are now available digitally, and the track list is as follows. All music by Tom Holkenborg.

01 Pensacola, Florida (Godzilla Theme)
02 Skull Island (Kong Theme)
03 Apex Cybernetics
04 A New Language
05 Just Now
06 Tasman Sea
07 Through There
08 Antarctica
09 Hollow Earth
10 The Throne
11 Lunch
12 Nuclear Blast
13 The Royal Axe
14 Mega
15 Hong Kong
\
Legends collide in “Godzilla vs. Kong” as these mythic adversaries meet in a spectacular battle for the ages, with the fate of the world hanging in the balance. Kong and his protectors undertake a perilous journey to find his true home, and with them is Jia, a young, orphaned girl with whom he has formed a unique and powerful bond. But they unexpectedly find themselves in the path of an enraged Godzilla, cutting a swath of destruction across the globe. The initial confrontation between the two Titans—instigated by unseen forces—is only the beginning of the mystery that lies deep within the core of the Earth.

The film stars Alexander Skarsgård (“Big Little Lies,” “The Little Drummer Girl”), Millie Bobby Brown (“Stranger Things”), Rebecca Hall (“Christine,” “Professor Marston and the Wonder Women”), Brian Tyree Henry (“Joker,” “Spider-Man: Into the Spider-Verse”), Shun Oguri (“Weathering with You”), Eiza González (“Fast & Furious Presents: Hobbs & Shaw”), Julian Dennison (“Deadpool 2”), with Kyle Chandler (“Godzilla: King of the Monsters”) and Demián Bichir (“The Nun,” “The Hateful Eight”).

Adam Wingard (“The Guest,” “You’re Next”) directed from a screenplay by Eric Pearson (“Thor: Ragnarok”) and Max Borenstein (“Godzilla: King of the Monsters,” “Kong: Skull Island”), story by Terry Rossio (“Pirates of the Caribbean: Dead Men Tell No Tales”) and Michael Dougherty & Zach Shields (“Godzilla: King of the Monsters”), based on the character “Godzilla” owned and created by TOHO CO., LTD. The film was produced by Mary Parent, Alex Garcia, Eric McLeod, Jon Jashni, Thomas Tull and Brian Rogers, with Jay Ashenfelter, Herbert W. Gains, Dan Lin, Roy Lee, Yoshimitsu Banno and Kenji Okuhira executive producing.

Warner Bros. Pictures and Legendary Pictures Present a Legendary Pictures Production, A Film By Adam Wingard, “Godzilla vs. Kong.” The film will be released nationwide in 2D and 3D in select theaters and IMAX on March 31, 2021 and will be available in the U.S. on HBO Max for 31 days from theatrical release. It is rated PG-13 for intense sequences of creature violence/destruction and brief language.

ABOUT TOM HOLKENBORG:
Tom Holkenborg, aka Junkie XL, is a Grammy nominated multi-platinum producer, musician, composer and educator whose versatility puts him on the cutting edge of contemporary music, and whose thirst for innovation is helping to reimagine the world of composition.

A Full Contact Composer, Holkenborg is hands on at every stage of the composing process, a multi-instrumentalist who combines a mastery of studio engineering, classical musical training and an innate sense of curiosity. He’s as adept working with a 50 piece philharmonic orchestra as he is with a wall of modular synths, playing a bass guitar or building his own physical and digital instruments. His drive to reimagine what’s possible and share that knowledge with the next generation of composers is what makes Holkenborg a unique force, and one of the most in-demand film composers in the world.

Tom’s film scoring credits have grossed over $2 billion at the box office and include Mad Max: Fury Road, Deadpool, Black Mass, Alita Battle Angel, Divergent, Brimstone, The Dark Tower, Tomb Raider, Terminator: Dark Fate, the record setting Sonic the Hedgehog and the forthcoming projects The 355, Justice League: The Snyder Cut, Godzilla vs Kong and Army Of The Dead. He has worked with directors including Peter Jackson, Robert Rodriguez, James Cameron, George Miller, Christopher Nolan, Zack Snyder and Tim Miller among many others.

An educator as well as a creator, Tom is committed to breaking down the barriers of entry in the world of film composition, creating the free SCORE Academy program in Los Angeles and a music composition program at the ArtEZ conservatorium in his home country of the Netherlands. On YouTube, Tom hosts his educational series StudioTime, which is available for free and has been watched millions of times.

Tom is able to draw on his extensive knowledge of classical forms and structures while keeping one finger planted firmly on the pulse of popular music. When his eclectic background is paired with his skill as a multi-instrumentalist (he plays keyboards, guitar, drums, violin, and bass) and a mastery of studio technology, a portrait emerges of an artist for whom anything is possible. Outside of his own artistry Tom’s desire to marry technology and classical composition to initiate change and evolution led him to partner with Orchestral Tools in 2019 to create Junkie XL Brass, his first sample library, making world-class sounds available to composers everywhere.

The foundation for Tom’s work in film started in his native Holland, where he created multiple film scores, before undertaking mentorships with celebrated composers Harry Gregson Williams and Hans Zimmer, with whom he worked on projects like Inception, Batman vs Superman and Dark Knight Rises. Tom’s partnership with Hans was formative, enabling him to hone his own voice and style while learning from one of Hollywood's most influential composers. Tom’s own Hollywood journey really started to take flight in 2014 with his first major solo project, and the first of his many collaborations with Zack Snyder, 300: Rise Of An Empire. It was the beginning of a scoring schedule that has netted billions of box office dollars, included blockbusters and indie projects, seen Tom work with some of Hollywood’s most lauded directors, and kept him jam packed ever since.

Holkenborg’s music career began in 1993 when he started the industrial rock band Nerv and was also producing hardcore and metal bands like Sepultura and Fear Factory. Drawn by electronic breakbeats he started Junkie XL in 1997 debuting with the album Saturday Teenage Kick. Holkenborg went on to produce five more albums under the Junkie XL moniker while playing headline shows all over the world. In 2002 the producer remixer scored a number 1 chart hit in 24 countries with his rework of “A Little Less Conversation”. Following its success Holkenborg collaborated with celebrated artists like Dave Gahan, Robert Smith, Chuck D, and remixed artists such as Coldplay, Depeche Mode, Britney Spears, Justin Timberlake and many more. In addition Holkenborg created the music for video games like FIFA, Need For Speed, The Sims, and SSX and commercials for global campaigns like Nike, Heineken, Adidas, Cadillac and VISA.

ABOUT WATERTOWER MUSIC:
WaterTower Music, the in-house label for the WarnerMedia companies, releases recorded music as rich and diverse as the companies themselves. It has been the soundtrack home to many of the world’s most iconic films, television shows and games since 2001.

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Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

Thursday, October 22, 2020

CBS All Access Canada Now Streaming "Console Wars" Documentary

CBS All Access’ First Feature-Length Documentary “CONSOLE WARS” Now Available in Canada

From Legendary Television and CBS Studios, the Documentary Film Provides a Front Row Seat to the Iconic ‘90s Battle Between Video Game Companies Sega and Nintendo

NEW YORK--(BUSINESS WIRE)--CBS All Access, ViacomCBS’ subscription video on-demand and live streaming service, today announced that its feature-length documentary CONSOLE WARS is available to stream on the service in Canada starting, Wednesday, Oct. 21, 2020. CONSOLE WARS is currently available to stream for CBS All Access subscribers in the United States and marks the first feature-length documentary for both the service and Legendary Television.

An Official Selection of the 2020 SXSW Film Festival, CONSOLE WARS takes viewers back to 1990 when Sega, a fledgling arcade company, assembled a team of underdogs to take on the greatest video game company in the world, Nintendo. It was a once-in-a-lifetime, no-holds-barred conflict that pit brother against brother, kids against grownups, Sonic against Mario and American’s unique brand of capitalism against centuries-old Japanese tradition. For the first time ever, the men and women who fought on the front lines for Sega and Nintendo discuss this battle that defined a generation.

CONSOLE WARS is produced and directed by Jonah Tulis and Blake J. Harris, author of the bestselling book of the same name, and also produced by Legendary Television and CBS Studios. Evan Goldberg, Seth Rogen, James Weaver, Josh Fagen (Point Grey Pictures) and Scott Rudin and Eli Bush (Scott Rudin Productions) are executive producers, and Julian Rosenberg (Circle of Confusion), Doug Blush (MadPix Films) and Katie Mustard produced the film.

About CBS All Access Canada:

CBS All Access is ViacomCBS’ direct-to-consumer digital subscription video-on-demand and live streaming service. For $5.99 CAD, CBS All Access offers Canadian viewers more than 8,500 commercial-free episodes on demand, spanning full current seasons of select CBS series, entire previous seasons and classic shows, as well as the ability to live stream CBSN, CBS News’ 24/7 streaming news service. CBS All Access is available in Canada at cbsallaccess.ca, on iOS and Android mobile and tablet devices, and connected device platforms including Android TV, Apple TV, Chromecast and Roku devices. In addition, the service is now available on the newly launched Apple TV Channels.

To sign up for CBS All Access in Canada, visit: cbsallaccess.ca

About Legendary Television:

Legendary Television is a leading global full-service television studio specializing in financing, developing and producing quality genre and character-driven projects for multiple platforms. Championing compelling auteur-driven storytelling featuring renowned talent, Legendary’s Television roster includes: the reboot of the classic family adventure series LOST IN SPACE, for Netflix; CARNIVAL ROW, a fantasy noir drama starring Orlando Bloom and Cara Delevingne, for Amazon; and PACIFIC RIM, an original anime series expanding the story of the first two live action movies, for Netflix. Upcoming projects include: DUNE: THE SISTERHOOD, based on one of the most popular science fiction franchises of all time, for HBO Max; PAPER GIRLS, based on Brian K. Vaughan’s best-selling graphic novel, for Amazon; and DEBRIS, the sci-fi drama from J.H. Wyman and starring Jonathan Tucker and Riann Steele, for NBC. To learn more visit: www.legendary.com.

About CBS Studios:CBS Studios is one of the industry’s leading suppliers of programming with more than 70 series currently in production across broadcast and cable networks, streaming services and other emerging platforms. The Studio’s expansive portfolio spans a diverse slate of commercially successful and critically acclaimed scripted programming, genre-defining franchises including the ever-growing “Star Trek” universe, award-winning late night and daytime talk shows, and an extensive library of iconic intellectual property.

A review of Console Wars the original book is here.

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Amazon wants me to inform you that the link below is a PAID AD, but I technically only get paid (eventually) if you click on the ad below AND buy something(s).

Tuesday, March 19, 2019

Warner Bros.' and Legendary's "Dune" Begins Filming

Cameras Roll on Warner Bros. Pictures and Legendary Entertainment’s Epic Adaptation of “Dune”

Acclaimed director Denis Villeneuve brings Frank Herbert’s celebrated novel to the big screen with an all-star international ensemble cast.

BURBANK, Calif.--(BUSINESS WIRE)--Filming has begun on Warner Bros. Pictures and Legendary Entertainment’s epic “Dune,” being directed by Oscar nominee Denis Villeneuve (“Arrival,” “Blade Runner 2049”).

The big-screen adaptation of Frank Herbert’s seminal bestseller Dune stars Oscar nominee Timothée Chalamet (“Call Me by Your Name”), Rebecca Ferguson (“Mission: Impossible – Rogue Nation”), Oscar Isaac (“Star Wars: Episode VIII – The Last Jedi”), Oscar nominee Josh Brolin (“Milk,” “Deadpool 2,” “Avengers: Infinity War”), Stellan Skarsgård (the “Mamma Mia!” films, “Avengers: Age of Ultron”), Dave Bautista (the “Guardians of the Galaxy” films, upcoming “Avengers: Endgame”), Zendaya (“Spider-Man: Homecoming”), David Dastmalchian (the “Ant-Man” movies), Stephen Henderson (“Fences,” “Lady Bird”), with Oscar nominee Charlotte Rampling (“45 Years,” “Assassin’s Creed”), with Jason Momoa (“Aquaman”), and Oscar winner Javier Bardem (“No Country for Old Men,” “Skyfall”). Chang Chen (“Crouching Tiger, Hidden Dragon,” “The Grandmaster”) is in discussions to join the cast.

A mythic and emotionally charged hero’s journey, “Dune” tells the story of Paul Atreides, a brilliant and gifted young man born into a great destiny beyond his understanding, who must travel to the most dangerous planet in the universe to ensure the future of his family and his people. As malevolent forces explode into conflict over the planet’s exclusive supply of the most precious resource in existence—a commodity capable of unlocking humanity’s greatest potential—only those who can conquer their fear will survive.

Villeneuve is directing “Dune” from a screenplay he co-wrote with Eric Roth and Jon Spaihts based on Herbert’s novel. The film is being produced by Mary Parent, Cale Boyter, Joe Caracciolo and Villeneuve. The executive producers are Tanya Lapointe, Brian Herbert, Byron Merritt, Kim Herbert, Thomas Tull, Jon Spaihts, Richard P. Rubinstein, John Harrison and Herbert W. Gains, with Kevin J. Anderson serving as creative consultant.

Behind the scenes, Villeneuve is collaborating for the first time with Oscar-nominated director of photography Greig Fraser (“Lion,” “Zero Dark Thirty,” “Rogue One: A Star Wars Story”); three-time Oscar-nominated costume designer Jacqueline West (“The Revenant,” “The Curious Case of Benjamin Button,” “Quills”) and co-costume designer Bob Morgan; and stunt coordinator Tom Struthers (“The Dark Knight” trilogy, “Inception”). Oscar-winning and multiple Oscar-nominated composer Hans Zimmer (“Blade Runner 2049,” “Inception,” “Gladiator,” “The Lion King”) is creating the score. Villeneuve is also reteaming with two-time Oscar-nominated production designer Patrice Vermette (“Arrival,” “Sicario,” “The Young Victoria”), two-time Oscar-nominated editor Joe Walker (“Blade Runner 2049,” “Arrival,” “12 Years a Slave”), two-time Oscar-winning visual effects supervisor Paul Lambert (“First Man,” “Blade Runner 2049”), and Oscar-winning special effects supervisor Gerd Nefzer (“Blade Runner 2049”).

“Dune” is being filmed on location in Budapest, Hungary, and in Jordan.

The film is slated for a November 20, 2020 worldwide release from Warner Bros. Pictures and Legendary Entertainment.

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Monday, December 31, 2018

Comic Books, Magazines and Books from Diamond Distributors for January 2, 2019

COMICS & GRAPHIC NOVELS

OCT182076    20TH CENTURY BOYS TP VOL 02 PERFECT ED URASAWA    $19.99
OCT182157    AHO GIRL (CLUELESS GIRL) GN VOL 10    $12.99
SEP181403    ANIMOSITY #18 (MR)    $3.99
NOV182164    ANONYMOUS NOISE GN VOL 12    $9.99
OCT181429    ARCHIE #701 CVR A SAUVAGE    $3.99
OCT181430    ARCHIE #701 CVR B BARTEL    $3.99
OCT181431    ARCHIE #701 CVR C PITILLI    $3.99
NOV181529    ARCHIE 1941 #4 (OF 5) CVR A KRAUSE    $3.99
NOV181530    ARCHIE 1941 #4 (OF 5) CVR B LAM    $3.99
NOV181531    ARCHIE 1941 #4 (OF 5) CVR C SMITH    $3.99
NOV181548    ASPEN VISIONS IRIS MIDST OF CHAOS #1 (OF 3) CVR A TRAN    $3.99
NOV181549    ASPEN VISIONS IRIS MIDST OF CHAOS #1 (OF 3) CVR B GUNNELL    $3.99
SEP181858    BAREFOOT GEN GN VOL 03 (CURR PTG) (MR)    $16.95
OCT181878    BEAUTIFUL CREATURES TP    $12.95
OCT181451    BETTY & VERONICA JUMBO COMICS DIGEST #269    $6.99
JUN181300    BLACK BETTY #7 CVR A DANTAS (MR)    $4.99
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OCT181369    CARSON OF VENUS FEAR ON FOUR WORLDS #1 WOLFER SIGNED ED    $14.99
NOV181864    CELLIES #6    $3.99
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AUG182545    DEVILMAN GRIMOIRE GN VOL 05 (MR)    $12.99
SEP181750    DF ACTION COMICS #1000 CGC GRADED WRAPAROUND    $80.00
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MAGAZINES
OCT181601    COMIC SHOP NEWS [90CT BUNDLE] #1646    $PI
OCT181811    COMICS REVUE PRESENTS DEC 2018    $19.95
MAR181686    HEAVY METAL #292 CVR A ENGLISH (MR)    $8.95
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MAR181688    HEAVY METAL #292 CVR C TBD (MR)    $8.95
NOV181982    ICC MAGAZINE #2    $9.99
AUG182025    ILLUSTRATION MAGAZINE #62    $15.00
NOV181874    RUE MORGUE MAGAZINE #186    $9.95
NOV181877    SCARY MONSTERS MAGAZINE #111    $9.95

BOOKS
SEP181991    STAR WARS ARCHIVES EPISODES IV VI 1977 1983 HC    $200.00
NOV181678    SWEET DREAMS SUPERGIRL BOARD BOOK    $7.99
SEP181992    WALT DISNEY MICKEY MOUSE COMP HISTORY HC    $200.00