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I like Lethal Weapon 1 personally, that's the good one imo
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Apr 2, 2021 18:56
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Godzilla putting a little twist in his chest stomp on Kong was top notch. A great way to convey "stick a fork in him, he's done" at that point.
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Apr 2, 2021 18:59
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1 > 3 > 4 > 2
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Apr 2, 2021 19:00
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Happy Noodle Boy posted:1 > 3 > 4 > 2 Is it cause you support apartheid in South Africa? Cause that's the only thing I could see someone making this ranking because of. This is a joke by the way. It's clearly cause you don't like the best version of Leo Getz. Vince MechMahon fucked around with this message at 19:44 on Apr 2, 2021 |
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Apr 2, 2021 19:37
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2014 is the only one of these movies that conveyed the titanic scale of these monsters correctly. KOTM and GvK just look like all the Marvel superhero movies. Just man-sized CG characters fighting on an extremely sunny day.
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Apr 2, 2021 19:56
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which battle sequences in kotm occured during sunny skies
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Apr 2, 2021 20:02
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I don’t get you guys, kotm was awesome
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Apr 2, 2021 20:03
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Every one of these have been good, including KotM. They are very satisfying with Kaiju. G2014 is the best one however out of all of them. I’d like to think after that nuke hit and Mothra power up Godzilla got just a little young again and that explains his ability to move and react much faster.
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Apr 2, 2021 20:17
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I said it before but I like all the Monsterverse movies for various reasons. Godzilla '14 is probably the closest to my sensibilities but they all had something of value. I truly hope the franchise continues. I like having a decent Godzilla/Kong/Gamera (a man could dream!) movie every couple of years, it's nice.
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Apr 2, 2021 20:21
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What's funny is GvK is just the movie pitch from Three Amigos. "At first you fight, then you respect each other, by the end you're friends!
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Apr 2, 2021 20:45
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So Charles Dance and his terrorists from GoTM got away with it, didn't they?
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Apr 2, 2021 22:11
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So I just rewatched Godzilla 2014 for the first time since 2014 and King of the Monsters. They were much better on rewatch, 2014 more so than KOTM. The issue I believe is that KOTM just loving goes batshit crazy and they just go all in with future tech and all this stuff that wasnt even there in the 2014 movie. Huge tonal whiplash. It’s also not as quippy as I remember so that’s good. 2014 definitely holds up on rewatch though.
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Apr 2, 2021 22:13
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The MUTOs were cool looking monsters and it's interesting how they really behave like basic 'animals' vs Ghidorah who really knew to play on their advantages, or Kong who seemed much more aware of Godzillas strengths. The MUTOs were creepy. Even a human sized MUTO would freak me the gently caress out.
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Apr 2, 2021 22:27
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This loving ruled. Massive step up from KotM, both as a whole and in Godzilla's characterization. I hated the previous focus there on Godzilla's ~relationship~ with humanity, and everything about needing him to "be the king" just smacked of insecurity. That was small dick energy. KotM's Godzilla is a Strong Good Lizard Daddy powered by the magic of love, or bombs, or something; in GvK he's a straight-up Angry God, comprehensible to a point, but also divine and ineffable, beyond human and beyond morality. A big part of that read comes from the otherwise throwaway choice of having it be Serizawa's kid who tries (and fails) to control MechaGodzilla. KotM had Serizawa as a priest, with his attempt to commune with Godzilla and be his "friend" ending in a fatal but noble sacrifice; this just plugs Serizawa Jr. into Ghidorah's brain and melts him, which is closing in on some Ark of the Covenant poo poo. It's awesome.Martman posted:
Yeah, I thought that was pretty cool too. The movie repeatedly makes it clear that Godzilla is loving pissed in a way we haven't seen before. He's not subtle that his behavior is divine wrath. I actually read him smashing the bridge as somewhat intentional, as something he went slightly out of his way to do. It probably would've been easier just to avoid, so there's communication in destroying it so casually, particularly since he's there sniffing around for MechaGodzilla. He's not being vindictive, or excessively punitive--he does it, in passing and with no real pageantry, specifically because it doesn't need to be some grand display of dominance over humanity. We don't rate that degree of consideration as a whole. But if we're gonna gently caress around and try to buy our way up to God, there's gonna be change left over when he comes to collect the bill. Or, like you said, maybe he's just so worked up about McG that he doesn't care. Or, comedy option, maybe he's Kyle-Tier Pissed, and it's the equivalent of knocking over chairs and punching holes in the drywall. That's why I love a good kaiju movie. They force us to interpret the characters and their motivations as (at least partially) a product of communication, instead of exclusively vice versa. It automatically puts us in dialogue with the film. And, more importantly, I also like it when big monsters hit each other in the loving face.
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Apr 2, 2021 22:37
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I enjoyed the callouts to Shin with Godzilla's breath penetrating buildings like a hot knife through butter. My only issue with G2k14 was the fact that his breath always seemed more cloudlike and... ethereal?
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Apr 2, 2021 23:16
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Godzilla's breath was sorta like that in the original Gojira. It was sorta more of a mist that melted things it touched.
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Apr 2, 2021 23:22
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Shadowhand00 posted:I enjoyed the callouts to Shin with Godzilla's breath penetrating buildings like a hot knife through butter. My only issue with G2k14 was the fact that his breath always seemed more cloudlike and... ethereal? Do you think that tail in the air scene was a shin reference? It seemed like it to me but also maybe just "that's what it looks like" and not a conscious homage
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Apr 3, 2021 00:10
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I reckon I'm one of the few who likes KOTM for both the monster stuff and the human characters. I mean, it's real messy, but some of the emotion of it works. That moment on the bridge in front of the frozen Ghidorah where Kyle Chandler clocks what Vera Farmiga's gonna do before everyone else and she's like "run", that and other scenes along those lines are really well staged. I like all the Monsterverse films, but I reckon for me GvK was my least favourite and the human stuff in it I feel was absent of any interest at all. Guy's brother died going to Hollow Earth? Surely that'll add some tension or catharsis when he gets to go? Nope, barely mentioned. Dr Serizawa's son possessing the mechanical clone of what is essentially his father's God? Potentially really interesting, right? Nope, barely examined and then brushed aside. This has so clearly had huge chunks taken out of it that when Wingard says that this is his preferred version of the film I wonder if there's a video of him reading that off a piece of paper as a gun clicks just off screen. The monster stuff was pretty rad though and I love how much of a visual feast it was. I think the fights were satisfying and really had the best result possible, and I even thought Mecha G's design was pretty sound (the moment where it turns with red eyes towards the CEO dude was sick). The Hollow Earth was really amazing to look at, but I kind of wished it had its own film. The parrot things reminded me a lot of the 1976 film At The Earth's Core and I wouldn't mind an entire film about an expedition exploring the place. Karloff fucked around with this message at 01:41 on Apr 3, 2021 |
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Apr 3, 2021 01:06
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I agree. KOTM has grown on me over the years and rewatching it last night I really appreciated that they at least tried to have a compelling human story. It’s action wasn’t staged as well as GvK but GvK just feels a bit emptier because it’s just spectacle to spectacle. It’s like a slasher film with likable characters vs a slasher where all the characters are assholes. It’s a lot easier to relate to and enjoy Friday the 13th Part 2 when you care about the characters vs Friday the 13th 7 where you just hope everyone dies. Edit: I still really love all of the Legendary movies and even the weaker ones are terrific. And Kong in GvK is probably the best realized and most relatable character in the entire series. Violator fucked around with this message at 01:19 on Apr 3, 2021 |
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Apr 3, 2021 01:17
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I just watched KotM and GvK for the first time back to back. What a tonal whiplash watching KotM was. I remember G14 and man things have switched up. GvK At the same time Kong tapped out I was thinking to myself "If I was him I'd be over this poo poo asking 'Why am I even fighting this guy...'. I busted out laughing. That whole little exchange was great. The extra twist with the feet and the roars at each other were perfect.
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Apr 3, 2021 02:50
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Yeah Big G doing that foot twist and roar was like him saying "STAY DOWN!" There was also another scene earlier where Godzilla managed to clip Kong in the back with his atomic breath and it kind of looked like he chuckled to himself afterwards.
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Apr 3, 2021 03:18
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Godzilla had some fantastic crusty energy in this movie and I loved it. Him slinking away at the end and grinning to himself felt half "ha, I totally beat that guy" and half "I'm getting too old for this poo poo" and I loved it.
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Apr 3, 2021 03:22
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The REAL Goobusters posted:So I just rewatched Godzilla 2014 for the first time since 2014 and King of the Monsters. Monsterverse followed the Fast and Furious franchise model.
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Apr 3, 2021 03:24
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Kong should have a dick.
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Apr 3, 2021 03:45
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teagone posted:Monsterverse followed the Fast and Furious franchise model. Godzilla and Kong hated each other so much they refused to film thier fight scenes in the same room.
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Apr 3, 2021 03:54
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GATOS Y VATOS posted:I enjoyed parts of KoTM (and I still contend it has the best Rodan committed to film) but yeah GvK is a much much better movie. Going back and reading the thread, and now I'm wishing Rodan was there to basically be hovering at the periphery of these battles with a Kaiju-sized steel chair. Screechy little hypeman with a treacherous streak is a fantastic role for him, and it'd be interesting to see how he reacted to a contender to the throne.
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Apr 3, 2021 04:22
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King of the Monsters has my favorite Godzilla entrance in this series, though: when he comes in under the ice in Antarctica
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Apr 3, 2021 04:23
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Detective No. 27 posted:Godzilla and Kong hated each other so much they refused to film thier fight scenes in the same room.
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Apr 3, 2021 04:24
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Godzilla: Singular Point ep 2 is out there if anyone was waiting for some JETTO JAGA action
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Apr 3, 2021 04:30
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Panfilo posted:Godzilla putting a little twist in his chest stomp on Kong was top notch. A great way to convey "stick a fork in him, he's done" at that point. Kong's expression during his roaring was priceless 
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Apr 3, 2021 04:57
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Detective No. 27 posted:Godzilla and Kong hated each other so much they refused to film thier fight scenes in the same room. Kong needs vin diesel's agent so he never gets filmed losing a fight again.
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Apr 3, 2021 05:30
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one of those flying underground snake things died in a car crash during the filming
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Apr 3, 2021 05:36
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ungulateman posted:i think this is enjoyable enough, but more than anything else this film's editing was absolutely loving terrible. there were so many cuts to reaction shots that were both disruptive and unnecessary, some really godawful ADR, and just about all the human scenes were shot in the most perfunctory, uncaring way possible It's what makes it a really terrible kaiju movie. Without the context, Godzilla has no characterization. We're told that he's scary when he kills eight people, and then we're told that he's actually noble once he kills probably a few million people. And it's like, "oh, he was just mad at the shoddy Terminator reference". But, like, did he predict that the Terminator reference would flip out? Because, without the mystery substance charging it up, it was just a really lovely tank. Yeah, it's got a big laser - but it exists purely to kill monsters that don't even appear onscreen except as portraits in the opening credits. We're, again, just told that Godzilla defends Earth from monsters, and that the CEOs' goal is for this thing to take over that role. But without that being an actual part of the narrative, the dinosaur just instinctively hates robots, and the robot just instinctively hates dinosaurs. And is that all, like, for profit? Or is it a philanthropic deal? Obviously the corporation's real goal is to gain access to "the energy source" - but why do they need a robot for that? And, more importantly, what do the protagonists actually stand for besides a dull bewilderment and 'not being the baddies'? SuperMechagodzilla fucked around with this message at 05:50 on Apr 3, 2021 |
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Apr 3, 2021 05:47
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the monke hit the lizard
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Apr 3, 2021 05:56
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mcmagic posted:Kong should have a dick. 
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Apr 3, 2021 06:01
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Two drunk chads throwing down at a bar only to get distracted by some other drunk chad getting in the middle is good fun.
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Apr 3, 2021 06:03
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This was a sketch on 00's SNL https://www.youtube.com/watch?v=PPgRgxd6WLk
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Apr 3, 2021 06:05
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George H.W. oval office posted:Two drunk chads throwing down at a bar only to get distracted by some other drunk chad getting in the middle is good fun. The thing is that you've already developed a better story in this one sentence, by making the setting a bar for monsters, and giving us the perspective of moralistic onlookers (patrons?) who view the monsters as 'toxically masculine' or something. From there we can extrapolate on how the monsters get the money to afford red berry juice, how society is organized to produce massive amounts of fermented berry, etc. For the monsters to behave as fratty bros, they must have a culture, right? In this movie, Wolf Dad sets a chunk of the plot into motion and alienates his daughter because he's mad that "people change!!!" and, like, who is he even talking about? Serizawa? His wife? Himself? Two of those characters don't appear in this film, and are not even conspicuously absent.
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Apr 3, 2021 06:25
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SuperMechagodzilla posted:And, more importantly, what do the protagonists actually stand for besides a dull bewilderment and 'not being the baddies'? The way I see it the protagonists -- or the human ones, at any rate -- stand for precisely the fact that without a sound ideological underpinning you will be effortlessly slotted into systems of oppression. The question you're asking here is not a failing of the film; it's the whole point! Nathan is a loser fringe academic who leaps at the slightest hint of prestige and recognition -- and immediately becomes APEX's lapdog. Ilene is, like, this superficially woke white lady with a disabled, indigenous pacific islander daughter and a reputation for being the "Kong Whisperer" -- but the joke is a) she's actually almost completely clueless about Kong and her "plan" for him is just to keep him contained and manageable until he starves to death, and b) she's part of Monarch, which is this film is, like, a militarized proxy for U.S. power that she thinks is doing good because it's trying to control and contain the Titans instead of exterminating them. "Kong bows to no one" is a completely ridiculous and hollow statement coming from his jailer. This is contrasted with Bernie and the kids. Now, Bernie doesn't really have a clear ideological bent himself, either -- in some sense he really is just a conspiracy theorist nutjob. He's paranoid, either uneducated or working a menial job despite his education, and isolated, and his paranoia ironically is what lets Maddie find him -- more specifically, through his habits as a consumer. But he's smart enough to realize that global capitalism as embodied by APEX is his enemy, and he's, for lack of a better word, anti-complacency; he's grasping at the beginnings of real consiousness and that's basically the journey he undergoes in the movie. The scene where Tap Water tries to hack into the mainframe and promptly gets locked out reflects this, incidentally -- "the masters tools will never dismantle the master's house." What actually allows them to deal some damage to APEX / MechaG / capitalism is when they hit upon the idea of destroying the system, which disrupts MechaG just for a second, but a crucial second in the context of the larger fight. It's also significant that the thing Bernie is clinging to is essentially hope -- he says that when his bottle runs empty, that will mean he's "given up" -- but he doesn't really understand what he's saying with that gesture. It's not possible for him to achieve revolutionary consciousness until he "gives up" (on clinging to the past and change from within the system). Now, of course, I personally wouldn't describe any of these characters as the protagonists of the film. The main protagonist is Kong, with Jia as sort of his human double for scenes where a 100-foot monkey wouldn't work. And Kong in this movie is a stand-in not for nature or primal forces as in KotM -- rather, Kong is humanity. To a certain degree he's identified with the oppressed and the third world, but there's a nuance here since the whole point of the Hollow Earth stuff is that the Kongs were Kings, armed with weapons literally ripped from the bodies of their enemies, and could be again. In other words, Kong is subject to the exact same temptation that Nathan and Ilene succumbed to, even though that temptation resulted in his imprisonment and enslavement. Fortunately, Godzilla -- who up until this point has been presented as an ostensibly mindless avatar of destruction that mysteriously only attacks, like, corporate headquarters, U.S. military bases around the world, and a convoy of battleships and aircraft carriers -- is there to fight Kong when Kong has ascended to the throne and started to imagine himself as a King. The first half of the climactic fight at the end of the movie is just the alley brawl from They Live recreated with kaiju, and Godzilla in this movie represents, essentially, class consciousness and the global revolution. So of course we're told completely contradictory stories about how evil and destructive he is, and of course there's this bizarre misjudging of proportionality -- everything the human characters say about Godzilla is just regurgitated propaganda. But everything Godzilla does in this movie is motivated by self-defense -- against APEX, who want to manufacture a false copy of him in order to rule the world, against Monarch who represent a kind of "soft touch" liberalism that wants to keep the Titans in cages, against the governments who just want the Titans exterminated, and against Kong when Kong sides with the oppressors and takes up the trappings of feudalism (built on the literal bones of ancient godzillas / revolutionaries.) Tuxedo Catfish fucked around with this message at 09:17 on Apr 3, 2021 |
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Apr 3, 2021 07:37
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| # ? Apr 23, 2024 22:40 |
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quote:I’m reminded here of Slavoj Zizek’s essay “Welcome to the Desert of the Real,” written in the wake of this millennium’s great American out-of-context problem, the 2001 World Trade Center bombing. In the essay, which I hope I’m not going to butcher in my attempt to summarize, please read it for yourself—anyway, in the essay Zizek observes that for people around the world, images of destruction and civic violence are real—things that happen in their context. Americans, by contrast, tend to experience violence as something that happens (a) elsewhere, like, over-oceans elsewhere and (b) in action movies. These two locations tend to blend together into “stuff that happens on the other side of a television screen.” So, for Zizek as of this essay written more than a decade ago, the choice confronting Americans in the wake of September 11 was: either to accept that this sort of thing truly happens, everywhere, that tragedies we reflexively consider fictional were in fact real, that we are all part of the same world living with the same set of concerns—or else reclassify our very own reality as a kind of action movie, and start acting accordingly.
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Apr 3, 2021 07:50
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