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Yes, you're in for a real treat with the sequels, and the inevitable fourth installment that's gearing up to shoot in June (Reeves was just spotted in Berlin, one of the major locations for filming).
It's a great one, as @Gerard says. I trust you'll enjoy it!
A great pick @j_w_pepper (you have a great taste in films 😊). “Psycho” and “The Birds” would be my other picks, but there are a lot of great Hitchcock films.
Eva Marie Saint’s Eve Kendall is (IMO) a proto version of the Bond fem-fatale IMO.
With all of the hype surrounding Legendary Pictures’ “Godzilla vs. Kong” (2021), I thought that I would revisit some of my favorite Godzilla films from the past. To date, “Shin Godzilla” (2016) is the most recent “live-action” Godzilla movie produced by Toho (three amine movies were released in 2018-2019). It is also one of the best.
While there have been numerous ‘soft-reboots’ of the Godzilla franchise over the years (film to film continuity being something that Toho almost plots against 😊), “Shin Godzilla” brought with it a completely new origin story, and in many ways, does for the Toho Godzilla franchise what Casino Royale did for the James Bond films back in 2006.
Yet in other – and very important - ways, it stays true to the spirit of the original “Gojira” (1954), in that Godzilla’s presence here is used as an allegory and not merely a giant movie monster. Instead of the nuclear bomb, this time a Godzilla film is used to hold up a mirror to the Japanese government’s response (or lack thereof) during the twin 2011 Tōhoku earthquake / tsunami and Fukushima nuclear plant disasters. And while other Godzilla films have a “what is Godzilla was real?” plot line (especially 1984’s “Return of Godzilla"), this is – by far – the most effective treatment of the idea IMO.
Importantly, the film doesn’t portray the government leaders and officials as incompetent, but instead looks at them as being well-intentioned but strait-jacketed by rules and bureaucracy. A dialogue heavy film, it is humous to see flocks of officials move from one conference room to another to discuss “what to do” as Godzilla finally makes landfall. Note, however, that some of this – in the film’s POV – is a result of Japan’s subservient relationship with the United States.
In the view of the film, the U.S. imposed constitutional structure doesn’t always allow for independent thought or action by Japan’s leaders. Ultimately, by the film’s conclusion, it is the drive of government “outsiders” and enlightened officials who are willing to think outside the box, that save the day and defeat Godzilla. Or rather, pause the clock before the U.S. can take unilateral action.
Release in Japan during the summer of 2016, it received a very limited 10 day run in the United States (w/English subtitles only) in October of that year - which meant that few casual fans actually had a chance to see it. Fortunately, it has been released on DVD and is currently available on at-least one streaming platform. And based on some of the Godzilla retrospectives currently be posted to the internet, is now widely considered to be among the best of the series.
And whatever one thinks of the film’s POV, it did resonant with the Japanese public, as it went on to be the largest grossing live action film in Japan during 2016 (foreign or domestic). Before winning their version of the “Academy Award for Best Picture.”
In short, there is a lot to recommend to “Shin Godzilla”, but if you are looking for Godzilla vs. (insert name here) type battles look elsewhere. Also, this is a movie with a decided political point of view as one reviewer called it “Godzilla meets the West Wing.” It does, however, contain one of the most destructive – yet poetic - scenes in any Godzilla film to date, and it has an ending that will leave you wondering what will happen next (*), as Godzilla – frozen in place in downtown Tokyo - appears to be evolving to overcome this challenge.
A shot of Godzilla’s tail before the closing credits…….
For more, see: “SHIN GODZILLA: SPECTERS OF FUKUSHIMA, HIROSHIMA, AND ARTICLE 9”
https://newbloommag.net/2016/09/21/shin-godzilla-review/
** It appears that this will not be part of the story line to any future Toho Godzilla series. In short, don’t expect Shin Godzilla II. Rather, it is believed that Toho will actually follow the “monster-verse” type formula
My family and I saw Shin Godzilla here in Northern Virginia, outside DC, during its release in theaters 2016. We enjoyed it, my son and daughter reacted to some of the social commentary you noted. Specifically for them, the ineffective reactions of the bureaucrats to the developing crisis. This struck a nerve in large part since we were living outside Tokyo during the 3/11 earthquake/tsunami in 2011. And the film uses plus goes beyond the original Gojira ties to nuclear fears with a contemporary feel for disaster.
We departed Japan a little over a year later, so it's a significant event for us.
A good film as you said.
That's the nitrous oxide at the dentist's talking, @Thunderfinger! :)
They stopped using that here many years ago, and the tanks were dumped at the garbage heap. I knew some people who went there looking for them.
Not great, but interesting enough, and with a cool twist at the end.
Never saw this before, but followed the 1970s tv series that was loosely based on it. It was a Saturday evening highlight. This motion picture was again based on an article series, and it was no highlight. Pretty weak script, awful dialogue, uninteresting story. Silly and romanticized fluff, accentuated by the ditto score by Alfred Newman, father of Thomas.
On a technical and cinematic level, it is an acchievement. You can see this cost money, and there is one great scene in it, involving some extremely dangerous stunt work.
Haven t seen this since the 80s, so didn t remember much other than the premise for the plot. Interesting enough, not great. Soon-Teck Oh has a part, and Maurice Binder is special effects supervisor.
when I finally got to see it a few years ago. I too thought it was just OK. More like
an over long " Twilight Zone" or " Outer Limits " episode.
Yes, exactly. Something like that. In Norway it was renamed as USS NIMITZ-LOST IN THE PACIFIC. I have never understood why some English titles got changed into another English title back then, except in terms of duplicate titles or legal rights. It was fun seeing it again after all these years, but twice in a lifetime is enough.
Cold war thriller. Someone is activating Russian " Sleeper" agents, who have
been hypnotised to attack selected Military targets.
I remember seeing this as a Kid, and still think it's a fun movie. The idea of
Hypnotised sleeper agents was also used in a New Avengers two part story
" K is for Kill" and obviously " The naked Gun " .
One of charles's best.
Kong Skull Island better than I remember it on this watch, a decent few hours of escapism.
Watch it regularly. One of the best British films ever made IMO. Recently got the Arrow bluray. Fantastic presentation of the film. 👍
Exactly.
Always fascinated that it was originally meant to be made for Television!
And the original title was 'The Paddy Factor'
Quite right!
So glad they went with The Long Good Friday, cool title.
And if they went with the former, it would have given the game away 😉
Hey Leonardpine, since we seem to share the same interests in movies, have you seen 'Stormy Monday'? I never saw it (i do remember Barry Norman reviewing it!) but Amazon sent me an add to buy it. Wondered should i purchase?
I remember I watched it together with Mona Lisa. I loved that one. Another display of excellence from Hoskins.
I wasnt crazy about 'Mona Lisa', though Hoskins was good, and particularly Michael Caine playing against type as a nasty piece of work!
Love the song though!😁
Any film that shines the light on psychopathic authorities gets endorsed by me, and this is a very interesting story and well composed film.
Amazing in 4K, one of the greatest Superhero films ever made.
Rob Marshall's 2005 adaptation of Arthur Golden's popular novel was met with harsh criticism while securing no less than six Academy Award nominations and winning three. Some felt the film was a bit slow; others went purist vis-à-vis the whole geisha culture and accused the film of not getting the details quite right. Others still were keen to point out that several of the Japanese characters were played by foreign actors, most of them Chinese. But since the film is in English, little of that really matters, especially given the talents involved. Lead actresses Zhang Ziyi, Michelle Yeoh and Gong Li may not be Japanese, but they have talent to spare and all three of them are incredibly beautiful women whose charming appearances are only enhanced by the mesmerizing wardrobes the Oscar-winning costume department supplies them with.
The film tells the compelling story of a young girl, Chiyo (Ziyi Zhang), who is sold to a geisha house and forced into submissive labour. A friendly face, provided by "the Chairman" (Ken Watanabe), sets her heart on fire and begins to nurture a life-long romantic longing she is unfortunately forbidden to act on. Meanwhile, Chiyo is dealt an unexpected opportunity to be trained as a geisha herself, learning the craft from respected geisha Mahema (Michelle Yeoh). She must rise to fame quickly, or else the emotionally unbalanced and vindictive Hatsumomo (Gong Li) will reign supreme in the geisha district of Gion, Kyoto. The events of WWII will soon, however, shake things up pretty badly, and Chiyo--now known as Sayuri--may see her "Chairman" again.
Memoirs Of A Geisha is a beautifully photographed film, capturing breath-taking vistas of one of the most mysterious, insulated and awe-inspiring countries in the world. Its exotic flavours are expertly emphasised by John Williams's powerful score, which combines fragile string intimacies with dramatic percussive punches. Yo-Yo Ma's cello play and Itzhak Perlman's heavenly violin solos build emotional layers which have, since long, become a trademark element of John Williams's film music output. While style is often chosen over substance, this film is nevertheless a work of art. Some purists claim that a true Japanophile will be disappointed in some crucial cultural details the film got wrong, while others say that our focus should be on all the goods that are in the movie versus the bits that completists would call out as missing.
I consider myself a staunch Japanophile, someone who loves to consume everything from this enigmatic country while never claiming any academic Japanological expertise whatsoever. I don't know if anything is missing and I'm therefore not bothered by those hypothetical bits either. What I'm seeing is a film that pulls me in during its opening and never loses me, not even once. I have been in love with Zhang Ziyi since Crouching Tiger, Hidden Dragon, I keep the score on heavy rotation and the patient, somewhat subdued love story works the magic for me. A decade-and-a-half since its release, Memoirs Of A Geisha deserves a critical re-evaluation, detached from the casting politics and exactly how faithful this adaptation is to or isn't to its source novel. I myself continue to find this film hauntingly beautiful, a cinematic delight, and a film I recommend to everyone who appreciates a little peace and quiet, a warm tale of love and the land of the Rising Sun.
Classic David Cronenberg horror with Oliver Reed. Great film especially when compared to my second Horror viewing .......
The Helpers 2012 AKA No Vacancy
A silly Saw rip off, with characters doing so many stupid things, there are times in this film when a face palm is a necessity. One example, Trapped in a Motel room, yes the door is locked and there are Bars on the window so they're trapped, But no one suggests going up through the ceiling, which would be plaster board, and out through the roof ?
In another a pipe pumps in gas, and no one takes off a jumper or top to plug it up !
Not bad enough to be good, and I wouldn't even recommend it for a casual watch. :))
Loud less in the actual audio and more in the presentation, this latest adaptation of the popular fighting game series is less interested in its plot and more in the action, which isn't a bad thing, but it leaves the movie feeling a little shallow. The 110 minute runtime feels more like 35 minutes, the pacing is just more than a little too quick.
Being a fan of the 1995 movie, that film had a cast you can never truly replace, but the new crew does a good job. Nobody really stands out except Josh Lawson as Kano, the only cast member who looks to be enjoying his role. Chin Han, however, feels miscast as Shang Tsung, though, as I said, the 1995 film's cast is irreplaceable.
This is the director's first film, and he did just fine by me, but I would say for his next, he needs to put a little more emphasis on making the film seem more like a film than an extended TV episode with a big budget. This wasn't bad, by any means, but it left me with a "just okay" feeling that I was hoping I'd never have from a Mortal Kombat movie.