Category: monster

What I'm Watching: Godzilla Minus One

Finally out on Netflix (along with most Godzilla films).

G-1 follows the style of GMK and Shin Godzilla by only admitting to the events of Gojira (1954), in this case by being set in 1945-1947.

Failed kamikaze pilot Shikishima watches an island base (a hut and a few engineers) be destroyed by T-Rex-like baby Godzilla. Returning to the ruins of Tokyo, everyone he knew is gone, so he takes in a couple strays. As with most Godzilla movies, the Human story is the least engaging for me, certainly not helped by Noriko being a cipher (stoic Japanese) and Akiko being nonverbal, so we have only pilot's rare nightmares to get inside his head.

He finds work on a minesweeper crew, who have somewhat more personality, and he's productive until they meet the upgraded Godzilla, post Bikini Atoll.

The Godzilla design is fine, perhaps too much spiky, pebbly, obviously CGI-greebled skin. When damaged, it heals back into place, maybe in a different pattern? But you can't tell. I find the texture a little creepy and unsolid; the suits allowed physical changes and movements but remained the same, while the CGI cartoons are all fluid. The head has a reptile/cat look more like the Legendary movies, and the tail/back spines pop up like control rods in a nuclear reactor when he's heating up for a shot. After the nuclear breath, Godzilla's charred, face & chest burned down a significant amount, and takes time to regenerate. That part I like, it's clearly painful to fire it, and takes time, so there's more fighting and mugging for the camera.

The city battles have some real physicality to them, and several callbacks to 1954, but a couple of escapes, close calls, and people who are obviously ready to be stepped on, and then camera pulls back, are not quite as hardcore as Anno Hideaki's Shin Godzilla. Godzilla routinely picks people up in his mouth, and throws them; they're not chewed into pieces or anything. On par with Pacific Rim, and tougher than Legendary's PG-rated adventures.

There's long stretches on ships, and the water does not move well, but it's no worse than the scale-model boats in early movies.

Soundtrack noticeably is pretty weak, and then will have an Ifukube Akira inspired bit which stands out so much.

Japan's postwar government is useless, General MacArthur has Soviet problems, so the citizens of Japan with some decommissioned hardware have to handle Godzilla: A few destroyers with no guns, a prototype fighter, and Doctor Not Serizawa's fairly ridiculous tech weapon. It's a pretty entertaining bad plan, and as long as you don't read some German text you'll have a couple of surprises.

It's a fine Godzilla movie, ★★★★½

I'd rank the best ones now:

  1. Godzilla (1954)
  2. GMK (Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack, 2001)
  3. Shin Godzilla (2016)
  4. Godzilla Minus One (2023)
  5. Godzilla Singular Point (2021)

What I'm Watching: Monarch Legacy of Monsters

Eagerly awaited, because we have a long tradition of great Godzilla TV shows

It alternates between a 1950s origin story, and 2010s post-G-Day. Somewhere in between is Kong Skull Island.

SPOILERS

In 2010s:

"San Francisco was a hoax. I have a podcast." is the most realistic reaction here. Love the Godzilla evacuation plans & defenses, missile turrets on overpasses. Tokyo's taking it seriously.

First ep is setup and family drama. Cate (Anna Sawai from Pachinko) is kind of stiff and useless, except when she's freaking out at her PTSD, flashbacks of Godzilla from the trailer.

Her half-brother Kentaro (Ren Watabe) is a jackass, emotionally closed jerk with no useful skills. May (Kiersey Clemons) the expat haxxor is the only modern character who has their shit together.

Monarch starts to show up, with slightly implausible network access. Why are all the secret files blacked-out redacted? Actual secret files are not blacked out, you only get that in publicly-released versions.

In 1950s:

Leland Shaw (Wyatt & later Kurt Russell) really needs to carry heavier weapons, a pistol does not cut it. Wyatt's not one of nature's good actors, but he's adequate and carries "I am my father but softer". The black eye he starts with tries to butch him up some, but he'd never be Snake Plissken.

Dr Miura's (Mari Yamamoto, also from Pachinko) not super plausible, woman doin' it for herself 20 years early, clearly writer ignoring setting. Weird how two people with completely different maps line up exactly right. What are the odds the scale is the same‽

Bill Randa (Anders Holm, later John Goodman!) as proto-Monarch is sus. Creepy guy in the jungle with impossible backstory. Miura should avoid him but as we know does not. The romance here is incredibly weird, fake, and gross, mainly because Anders is one of the most unfuckable humanoids I've ever seen. Shaw looks away like it's skeeving him out, too, but I think it's supposed to be romantic tension.

By ep 2 we finally see a new kaiju!

In 2010s:

Cate really needs to learn the first thing you do when a creepy dude stalks you, is stay in a public area and scream for police, not throw away all your stuff and get kidnapped. But Monarch creep Tim & his French ninja assistant Duvall really suck at investigation, interrogation, and extraction.

The hero party find the wise old mentor and join the main quest. At this point in a JRPG the title screen rolls.

Monarch does not come off well in this, they have resources and yet are utterly incompetent.

I like the two monsters we see, even if they're very bad CGI composed into the scenes like Roger Rabbit. The enclosed space monster attack looks better; less ambitious is better when you're not skilled. Maybe it'll ramp up the monster visibility & quality later? I'm OK with it if they lean into bad FX.

I've definitely seen worse season starts, but I expected more, since Matt Fraction's supposedly writing for it. Well, turns out these first 2 eps are by Chris Black (Desperate Housewives), and Matt's only writing one ep later.

★★★☆☆

What I'm Watching: Troll, Troll, Troll

  • Troll (2022): Roar Uthaug, Norwegian director of generally mediocre fantasies, a disaster movie, a comedy-ish cop show, and the bad remake Tomb Raider, has turned in his kaiju movie! And… it's much much better than I expected. It's fairly linear, dumb miners wake up a massive mountain Troll, literally the King of Edvar Grieg's song In the Hall of the Mountain King as the use of a couple versions of the music and Dovrefjell location indicate. Paleontologist Nora Tidemann (Ine Marie Wilmann) is scooped up as a civilian expert, and she coincidentally has the most adorably insane father (Gard B. Eidsvold) who taught her about Trolls. The government is in total denial about the nature of the beast, and only considers military action, except for one wacky plan. Nerd heroes like Siggi the very cute military hacker (Karoline Viktoria Sletteng Garvang), and friendly soldier (Mads Sjøgård Pettersen) figure out the solution half-assed, lot of running around antics and people dying underfoot, world is saved.

The romance subplot I expected doesn't go anywhere, Roar really misses a lot of conventional story beats, and often leaves us staring at conference or mess hall tables. The father is great, he's like a Dwarf driven mad by knowledge, and eventually we find out just how mad he has reason to be. The Troll itself is sad and pining for the fjords, with again really good motivation and mythical backstory. Hoo-wa soldiers do their jobs despite obvious court-martial ignoring of orders.

Moral of the story: Don't be a Christian, because Trolls can smell Christian blood.

Fluff, but a pretty good kaiju movie.

★★★★☆

  • Trollhunter (2010): By André Øvredal, who also made The Autopsy of Jane Doe. Halfway between Blair Witch and X-Files, student filmmakers follow around a creepy man (Otto Jespersen) in a van, who turns out to be a professional Troll hunter, learn horrible realities their government does not want them to know.

The Trolls, plural, here are managed wildlife, with fairly wide-scale knowledge and consequences in the Norwegian government. Much more thought has been put into how they live and function, and each one has its own style. No boring office work here, just dark woods with something much worse than bears.

Cheaply made, and really the kids are all kind of indistinguishable, but the writing, plot, and cinema verité style carry it.

Moral of the story: Don't be a Christian, because Trolls can smell Christian blood.

★★★★½

  • Stand Still Stay Silent aka SSSS (webcomic): wiki Trolls here are not giant monsters, but a plague that infects any animal life. Very small animals keep some original form and maybe a monster personality, but can be eaten by cats, which are immune to the plague; larger animals like people just turn into horrible gribbly masses of tentacles and parts, Shoggoths basically. Scandinavian old-timey pagan religion is the only real weapon against the Trolls.

90 years after the apocalypse, a crew of immune soldiers, psychic pagan wizards, cat, and a straggler or two get in a van and go scouting the old city. It's just non-stop horrors, with occasional beauty of nature (but inherently violent, evil nature) reclaiming civilization. Just a charming comic. Zero punches are pulled.

The "second adventure" of the webcomic contradicts this with tainted bears that have personalities, the main characters lose their personalities, and then COVID happened, the author went insane and became a Christian with apocalyptic Mark of the Beast paranoia "oh no they're gonna ban MY BIBLE" (says Christians just before banning every book except their Bible), and stopped the comic with Christianity saving everyone even tho it was explicitly useless nonsense before.

Moral of the story: Don't be a Christian, because Christians are Trolls.

★★★★☆ for the first adventure, ☆☆☆☆☆ for the second.

BONUS:

  • Trollies Radio Show Sing-A-Long (1992): This was on FORGOTTEN_VCR the other day, and it is nightmarish. Ripoff "troll" doll puppets sing bad covers of pop rock songs. The DJ Trollie [sic] isn't the worst thing ever, and the saxophone rock crab is great, amazing, but everything else is 30 minutes of child entertainment hell. Man has sinned against all the gods and this is our punishment.

Moral of the story: Don't have ears, because the Trollies will kill you with them.

★☆☆☆☆ yes is actually preferable to SSSS adventure 2.

What I'm Watching: Midnight Mass

I will, of course, always watch vampire shows. If they're even remotely competent, all the better, but the bad ones, too. This is, alas, one of the worst.

A techbro "Riley" (the villain vampire/lizard thing from Metroid… or Zach Gilford, much the same thing) has been released from prison for terrible crimes which are poorly explained until much later (drunk driving/hit & run, he was rich & white so there's zero chance he would've actually been imprisoned for that, just rehab). So he comes back to his shitty New England fishing island home.

Erin (Kate Siegel, last seen in Haunting of Hill House; frumpy old maid look here; thigh boots and skirts are kinda hot, tho) is the ex-girlfriend, pregnant by someone not on the scene.

The locals are various forms of losers, parasites, small-town busybodies. The so-called Sheriff (not Omar) is Muslim, with a son who's not all that keen on it. The one endearing trait about Riley is he's an atheist, on a very very Catholic island. Which is super weird in far north New England; you might expect a smaller church for them, but there's no Protestants on the island? But Riley has to do his AA program with the local Monsignor, "Paul", who has recently replaced the old Father Pruitt. Nothing is subtle about any of this; there's long stretches of preachy misquotes from the Bible (if you look up any of the quotes, they're all taken out of context, it's remarkably full of shit), and Paul trying to minister to an atheist whose eyes can barely stop rolling out of his head, as do mine at this fairy-tale nonsense.

So nothing really happens for the first 3 eps. A couple fake revival-tent-quality miracles. Everyone talks, way too much, forever, about nothing of importance. Feelings. Finally Paul has his, uh, come to Jesus moment, and the actual plot starts. Nobody ever says the V-word, but, uh, you might've guessed what Paul has in his box is a VAMPIRE. And he's not Paul.

SPOILER





















So, in this mythology, drinking even a little of the vampire's blood, say in a communion chalice mixed with wine, makes you half-vampire and cures all ills & reverses aging, tho nobody really notices except the two fake miracles. But then if a half-vampire dies, they become a real vampire. Or if the VAMPIRE in the box kills you, you turn right away.

Ep 5 is unique, at the end there's screaming. And she keeps screaming and crying all thru the credits. Which 'flix will try to get you to skip. So the easter egg (not that kind of Easter) is lost on most of the audience.

I get that in most vampire shows, you can't have anyone know anything about vampires. But they are so relentlessly stupid at not seeing evil and the Renfields enabling the bloodsucking parasites. The doctor has figured out there's something wrong with the blood, and blames it on super porphyria, which is funny in Transylvania 6-5000 but less so in a serious vampire series. They know they need to flee, but any minor obstacle they go "Oh, well, we'll just see what happens".

I keep comparing it to 30 Days of Night (both GN and movie, which this greatly, repeatedly rips off), and nobody believes in any of it there either, but they learn fast. Alaskans are not generally considered brighter than New England islanders, but I wouldn't expect anyone here breaks room temperature IQ. Might be inbreeding.

Everyone chooses really stupid times to make a final stand, when they could wait a few minutes and NOT die. They could take vital vampire-fighting gear with them, or just leave it behind for the vamps to use. If the camera can't see something, because it's looking at a character, that character can't see something in their line of sight until the camera whips around to the other side. I am not kidding, they do this "perspective trick" at least 2 or 3 times, someone gets shot or otherwise surprised by something THEY COULD ABSOLUTELY SEE.

I hate almost literally everyone by the end. Couple eps without Riley snarking at everything is just DULL, never kill your protagonist off before the girlfriend or the villainess! The stupid boy & girl (not Adam & Eve, thank fuck) I guess deserve to live because they did the least stupid thing of anyone in the show. I'm impressed that the villainess reinvents Protestantism from first principles right at the end, including the same racism and bigotry as Martin Luther; I guess she can't be misogynist yet, but if she had time she would be.

So, if you're a goddamned shitsucking vampire, and all shelter's been burned, and the Sun's coming up in like 15 minutes, do you:
A) Stand around singing hymns until the Sun burns you up,
or B) Dig holes, flip over boats, find two boards to make a coffin-sized shelter?

99 vamps choose A, 1 tries to dig in the sand without tools and gets nowhere.

The ACTUAL VAMPIRE is a pretty good design. It's Nosferatu ripoff, with some overly complex wing jointing that I don't think makes any sense, the actor does nothing but stand around or leap on things, but OK. Could've been used to make a good vampire movie.

★★☆☆☆ — 7 eps, could've been done in 2, or a 90-minute movie, and told a better story. The writer should be crucified and left to burn up in the sun.

What I'm Watching: Godzilla Singular Point

Netflix animation mashing up Godzilla, Jet Jaguar (!), Scooby Doo (Mei is such a Velma it's… whoo; and Barbell is Freddy, and if the other nerd isn't Shaggy I dunno who is). "Haunted" house, weird signals that sure sound a lot like the Mothra fairies, renegade electricians, giant flying monsters, and it gets more so every episode. I might do an episode analysis later, but if you like what I like, just watch it right now.

What I'm Watching: Godzilla vs Kong

Focuses much more on King Kong than King of the Monsters. I don't, I guess, object to that, but I'm a Gojira fan, not a "giant monkey whose story gets rebooted every 30 years like Spider-Man" fan.

I'll try to keep this general, but I can't talk about a few things without SPOILERS.

Bernie (Brian Tyree Henry) the Titan Truth podcaster is great, one of nature's true kooks like Dan Aykroyd, but in a world full of monsters he should be a multi-billionaire star, not sneaking around alone. "Tap or no tap?" is my new introductory question. Just adorable. For once, the best character in a kaiju movie is a person.

The woman scientist, the child, the asshole & daughter from the last movie, are all annoying and should go. New scientist (Alexander Skarsgård) is fine, but so dull I forget who he is most scenes. Creepy Hans Gruber looking Apex exec and yet another damned Dr Serizawa, they can stay. And the Apex woman (Eiza González Reyna) is pretty, snarky, but suspicious, she'll make a fine sequel villainess.

They've outdone themselves with the child this time. She's "native", deaf, and carries around a shitty handmade Kong doll. "Aww", says any moron with no brain, only a limbic system. But she's snide in sign language, always underfoot and distracting people with work to do. There's no way she should be on an adult mission. Everything you hate about children in kaiju movies wrapped up in one. And you know they won't kill her as she deserved from scene one. Ugh. Every time I see the brat I mutter "GET THE CHILD OFF THE SCREEN".

Kong's soft and cuddly and domesticated, very much a giant gorilla suit with a slightly pudgy wrestler inside. Ludicrously they transport him at one point with choppers. Kong doesn't like choppers much, but here he's placid as a sleepy puppy, instead of screaming and throwing things at them. He does eventually toughen up.

Gojira looks great in this. The Legendary CGI will never be as alive as the Toho suits, but his face is super expressive and yet alien, non-mammalian. He swims well, and looks most natural there. He looks like a dinosaur's god. The sparklers on his spine and his fire breath have been made too white and clean, they're more nasty nuclear fire in older ones where it's just painted onto the film cels.

The hollow world is gorgeous. Maybe too small? It's a cavern layer around the core of the Earth, or something, it's not entirely clear how it relates to reality. They could easily have spent another 30 minutes here and made something great of it. Maybe next movie.

With the Ancient/Titan artifacts and place… are the Titans descendants of the Ancients? Everything's on their scale, he acts like he's come home. But Kong picking up a tool is a long way from him being descended from giant people.

The main fight is good, bouncing around a neon-lit Hong Kong, a cheaty weapon gives Kong an even chance he shouldn't have. It's much more physical of a fight than some others in the series.

The final act is really unnecessary, should've been saved as a teaser for the next film. Or maybe they'll just make a much better one next time.

★★★★½ — lost half a point for the child.

What I'm Watching: Ghidorah, the Three-Headed Monster

  • Ghidorah, the Three-Headed Monster (1964): Both UFO cultists and cops agree, heat wave in winter and meteor showers are weird. A cop is assigned to bodyguard a princess from a small island under civil war. Said princess is contacted by an alien voice and told to jump from the plane, and she never even got her drink! Scientists hike into the mountains to investigate a meteor landing.

I must say, Japan's wilderness looks fantastic. The cinematography on this one, in color!, is head and shoulders above previous films. Even when they go into matte paintings and sets, it looks good. They do interesting cuts, like using a subway car as a wipe. It's almost hard to believe this is Honda Ishiro still, not doing locked-down cameras and super simple cuts or wipes; earlier he was more a director of people and cool events, not using the camera well. Even the rear projections are now fairly close to seamless.

Naoko the journalist and the Princess are both cute as hell. Naoko's cop brother is kind of a doofus, and utterly extraneous to the plot. The bodyguard cop has no personality except brooding and shooting (not very well, he never kills anyone with at least 30 shots), and there's no love between him and the Princess in the first half; all he has is a picture, and she's not herself. Has Honda learned cinematography, but forgotten about romance as the main driver of Human-scale plots?! What a terrible bargain.

The Mothra twins appear on TV, and summon a vision of the Mothra larva. This is a Japan that just lives with the regular existence of giant monsters and magic on TV, I don't see how anyone can mock UFO cultists or prophets from Venus in that world.

"Stay out of Mount Aso, Rodan will emerge!" "Shut up prophet! … OH NO IT'S RODAN AAAIEEE!" Incredibly predictable scene, but perfect "fools die of their folly" scene. Rodan's costume & flying puppet are much improved over the first movie, but it's a little odd being more of a Pteranodon/Roc hybrid now.

"Don't get on the ship!" And at least the important characters pay attention, but the poor sailors are going to meet… well, who else would be in the ocean? Big G's moving eyes look really weird. The suit's otherwise fine, but definitely reaching the end of this first design.

Fools stand far too close to Ghidorah's… egg? Meteor? Spaceship? But someone must witness the birth of a death god. The Princess tells the protagonists the Earth is doomed, and sells it for once. We start to get a real kaiju cosmology here, with planets preyed on or defended by monsters.

Finally we have all the world's monsters assembled, rampaging begins.

The assassins chasing the Princess thru the entire film have been unstoppable, but not very competent, and kind of a waste of time. The plot as it is would happen without them.

Possibly too much of the monster scenes are them arguing with Mothra, rather than fighting, there's only a few minutes of King Ghidorah vs the three defending kaiju. There is a bit of destruction in Tokyo, but mostly it's a beloved peasant village or wilderness at the foot of Mt Fuji. Mothra's very slow and annoying power, Godzilla throwing rocks, Rodan standing around waving its wings, are enough to drive off the dragon. FOR NOW.

★★★½☆ - Needs about 15 minutes less Human time, replaced with monster fighting time.

This is a major influence on my favorite kaiju movie, GMK: Godzilla Mothra King Ghidorah Giant Monster All-Out Attack, but there Godzilla and Ghidorah switch places, and the subplots are wiped away so it's just reporter, crazy old man as "prophet", and monsters. And on the latest Hollywood Godzilla King of the Monsters, but there everything is 100x larger than life.

What I'm Watching: Mothra vs Godzilla, end of Watchmen, cartoons

  • Mothra vs Godzilla (1964): Environmental destruction, in this case draining wetlands to make an industrial zone, exposes radioactive material. An egg floats near land, and is brought ashore. The twin fairies and Mothra herself show up asking "please give our egg back", but a greedy land developer, backed by even greedier billionaire, puts the egg at the center of a theme park. None of this can end well.

    I'm fairly displeased by the green screen/rear projection tricks in this one. It was early days for color, but it wasn't a technology ready for this time.

    The reporter and sidekick cameragirl are fine, kind of a Howard Hawks-like situation, and they're not stupid, and not unreasonably competent; there's only so much the press can do against a developer who doesn't care. Eggman, the reporter who loves eggs, would be annoying comic relief except he's not onscreen all that long.

    There's a visit and multiple visions of the natives of Infant Island, who've been nuked and struggle to survive in a barren wasteland. They're implausible primitive, but Japan has a long imperialist history of its own to deal with here. The fairies sing a song every scene they're in, which is somewhere between charming, mystical, and "oh shit I hate musicals".

    The monsters appear after half an hour. Godzilla as the walking force of destruction, Mothra as the ancient mother ready to protect her egg, and sacrifice to help the Japanese who have done her people so much wrong, and later the gross Mothra babies as the cycle of life. Their squeaking really gets on my nerves.

    The military/JSDF is portrayed unusually competent here. In most Godzilla movies, they are baffled, they try to fight, and die, and are utterly pointless. But this time they have competent plans, and are not doing too bad. They can't win but they can fight Godzilla to a standstill while evacuations take place.

    The ending isn't reasonable. 10 children and a teacher vs thousands dying on the mainland is a small price to pay. Godzilla hates squeaky little bugs like the Mothra larva, but they aren't actually harming it, and their secret power takes forever, during which time Big G should nuke them into oblivion. Hmn, in 1968, Star Trek had the Tholian Web episode, which has some similarities.

    ★★★½☆

  • Watchmen: Finished up. Happily this isn't getting a second season. Big time spoilers, but don't worry about it, you're not missing anything by keeping it secret.

    In the comics, Dr Manhattan's first action as a superhuman was to reassemble himself from nothing, after disintegration. When Ozymandias… inconveniences… him, he pulls himself back together in very little time. So it's utterly ludicrous that the whole plot of the series was to disassemble Manhattan again, and then "absorb" his "powers". His power is that his nervous system constantly reassembles matter to stay existing, a magic booster shot of Manhattan won't make someone else into a superhuman; maybe disassembling them in the right conditions would.

    So the hillbilly Senator, and Lady Trieu's entire plan, and the egg scene at the end, are just nonsense.

    Adrian's escape plan is dumb but amusingly portrayed, Jeremy Irons does occasionally wake up and play Ozymandias instead of just sleep-walking across the set in some tired English country drama. That's about the only part of this entire 9 episodes of bullshit that I enjoyed.

    Later, Adrian using frozen baby squid as an orbital Project Thor system is fun, but the actual effects would be rather more catastrophic, even with frozen organics from high atmosphere instead of tungsten rods from orbit, they're probably impacting at 3 km/s, ~1 Rick (Robinson, not Sanchez) each, so equivalent to 0.25 kg of TNT per squid, and there's thousands of squid. Holding a box over your head won't help. The area impacted would look like a giant cheese-grater had run across it to a few meters depth. And this is why we shouldn't let psychopaths have teleporters or spaceships!

    Fake delayed tension is all through this shitshow, but most notably in the minutes of "run!" "what?" "take shelter!" "who is this?" "you're gonna die!" "uh..." vamping when they would clearly already be dead. Again, I hate Damon Lindelof and hope he gets cancer of the fingers and tongue so the world will not again be plagued by his writing.

    Angela Abar (Regina King) is OK, decent action-hero chick, but she plays a detective very poorly; just hits her marks and says lines she clearly doesn't believe. As Laurie/Silk Spectre, I preferred the dumb but very fit Laurie (Malin Akerman) from the Zak Snyder Watchmen to this one (Jean Smart) who couldn't do a pushup let alone plausibly be an aging costumed vigilante G-woman.

    Hillbilly conspiracy theory cop Looking Glass (Tim Blake Nelson) is amusing, maybe not good, but funny. Very ancient Louis Gossett, Jr as Grampa Will is kind of sad, I didn't even recognize him, but I can't hate on Lou even if the role is badly written. Everyone else is a cypher or a walking meatstick.

    They couldn't even get Robert Redford to do a cameo as himself. Incompetent Lindelof wrote him a letter, and he wouldn't even respond.

    ★½☆☆☆ — I appreciate Irons' Adrian enough to not completely savage this, but don't watch it.

  • Adventure Time, Space Ghost Coast to Coast, Rick & Morty, etc.: There's a lot of amusing cartoons for both kids and drunk/stoned adults on here.

What I'm Watching: Rodan, more Watchmen

  • Rodan (1956): A mining company has unexplained flooding, and miners die cut up. Suspicion falls on Goro the brawler… Engineer Sageru is sure he's not guilty, and reassures Goro's sister Kiyu—ah, Honda Ishiro's romances. Every film needs a pretty boy & girl, even if all they say to each other are their names.

It only takes 18 minutes to show the first larval monster, a record for early kaiju films. The giant mob of mine security with their poking sticks and little revolvers are ineffectual as always, but why do they have so many?

The lighting is pretty bad. It captures the darkness of the mines, but even outdoors is very dim to hide details of the larva puppet. The rear projection scenes are not as bad as previous efforts, but still obvious. The only place where lighting is good are the office & hospital sets.

Everyone at the mine and JSDF is competent, and respects science experts, unlike the Godzilla vs Mothra flick. But the scientist then blurts out some unsupported bullshit about the hydrogen bomb moving tectonic plates. The civilians are really quite dumb and deserve their deaths. Then there's an endlessly long nothing happens act.

Baby Rodan is so cute and chubby it's amazing. I've only ever seen it as a giant lean flying death, and of course I adore Pteranodon. The flying model and suit are excellent, and Rodan's wave of destruction is lovely, though they didn't find a traditional Japanese castle to destroy this time. It's a shame it's embedded in a pointless movie.

However, the tank models are preposterous, and the JSDF jingoism is eyeroll bad, lots of sound and fury inflicting no harm on Rodan, but everyone's very proud, it's a very military-focused adventure at this point. None of Godzilla's horror at war, this treats Rodan like, say, Korea, a contemporary problem to be solved by bombing the shit out of it. The end is literally 10 minutes of rockets being shot into a mountain while nothing else happens, and two demoralized Rodans die like Romeo & Juliet. Humans are the monsters.

★★½☆☆ If it wasn't for my absolute weakness for Pteranodon and Pterodactyl, this would be a spectacularly bad movie. As it is, it's merely bad.

  • Watchmen: So eventually the show tells us where Dr Manhattan is, and the nature of Ozymandias' prison, and the origin story of Sister Night. Still no answers as to why, in fact it deliberately has the plot eat its own tail, stupid people causing the problems stupid people investigate. Nothing happens at great length. Interesting ideas like the memory pills are brought up, used in a stupid way, then discarded. The whole thing is a tale told by an idiot. Which, again, Damon Lindelof, I knew it'd be incoherent nonsense made up on the spot, like talking to a toddler. But I don't understand how this fool gets anything this nonsensical and badly-written produced. Got a couple more eps to go and then I can wash my hands of this shitshow.

What I'm Watching: Godzilla Raids Again, Fantastic Beasts: The Crimes of Grindelwald, The Player

More of my HBO Max queue. I absolutely hate that they make me choose my profile every single time. I have one profile, it's a purple cock-ring that says "Mark" in it, there is zero reason to make me choose a profile every new window! Netflix now lets you choose movie characters for your profile image, so there I'm Hup from Dark Crystal 2019, but they only make me choose my profile if I've logged out and back in.

In the old days, I watched 3 movies every night from the video store: One B-movie, one studio flick, one known-good movie (often a rewatch). And that's kinda what I did here:

  • Godzilla Raids Again (1955): On Monster Island, Godzilla is back from the dead (or a second Godzilla!) fighting a 30m-long Ankylosaur "Anguirus" (actual ones were up to 6.25m long), dated at 70-150 MYA (in reality 65-67 MYA), which is certainly better than the first Godzilla's 2 MYA dates. Dr Yamane returns to show stock footage from the first movie, without sound effects or context, and then he is never seen again (smart, take your paycheck and run from this film). They also get to use some military stock footage to show air & naval search for the kaiju. Boy this is a cheapass movie so far.

    The drama of the pilots & radio girls (the pretty one is the boss's daughter, of course) relationship is maybe a repeat of Ogata & Emiko from the first movie, but it fills the Human interest requirement fine. There's a prison break story which has fuck-all to do with Godzilla, it's just B-roll, but serves to screw up the blackout/light lure plan. Oda Motoyoshi was a terrible but prolific waste-of-film director, and in more competent hands the prison story could've been given some pathos.

    The monster fights are goofy, accelerated footage instead of more properly slowed-down to look like 50m-tall monsters, mostly wrestling instead of the more acrobatic fighting of later Godzillas (admittedly these early suits were heavy). The miniature cities, and historic Osaka Castle(!!!), are clearly empty shells inside, when the original tries to not make that visible, and later ones succeed even more. There's a flooding subway scene that's fairly effective, though we don't see the victims; presumably nobody was willing to risk their lives for Oda's filmmaking.

    The music is not great. Anything dramatic or horrifying in the original has heavy Ifukube Akira music. Here, there's a little bass line behind the monster scenes, and light "laugh now" or overbearing brass band music in every Human scene.

    A little "Human interest" goes a long way in a kaiju movie, but post fight there's just endless people talking bullshit about romance and business, corporate drinking in a circle worshipping the boss, nothing to do with the plot. Incredibly tedious, and the comic relief pilot is badly written. Please make this end.

    They really don't seem to have watched the first movie. A fire fence is supposed to keep Godzilla in place? It was born from the hydrogen bomb, breathes fire, stomped thru a burning Tokyo. It lives in the deep freezing ocean. There's no fire or ice solution that's going to stop it. The bombing runs use a mix of miniatures, stock footage, and rear projection to fake in-aircraft camera shots, and the "miniature" terrain and mattes are bad.

    I'm giving this movie way more thought than was put into making it, or has deserved for 65 years. But I'm disappointed.

    ★★☆☆☆ only because Anguirus is slightly cool, being a completely non-humanoid kaiju.

  • Fantastic Beasts: The Crimes of Grindelwald: I haven't seen the previous Fantastic Beasts film, which is nowhere to be found, but how much context can a "wizzarding world" flick need? Unfortunately after a pretty good prison break scene with badass Grindelwald (who seems to have the right idea, magical revolution now!), the story switches to whiny, useless "Newt" as protagonist, and then nothing happens forever, and I lost all interest.

    The cinematography looks like absolute shit, it's dark and color-distorted, you can't see anything, it's all CGI cartoons and fast cuts over bad actors, almost a parody of modern terrible filmmaking. Maybe there's plot later, but after 30 minutes of reading my phone while I waited for plot to start, and it didn't, and I loathe all the "good guys" so far, I gave up.

    ☆☆☆☆☆ and may Cthulhu have mercy on their souls.

  • The Player (1992): Haven't seen this in decades. Goddamn that initial long tracking shot. Tons of movie references, I dunno I've ever seen Absolute Beginners, just heard the Bowie song; adding that to my list. The Sheltering Sky I've seen and was bored out of my skull by, all of Bertolucci's films were some mix of fantastic cinematography, pretty girls, dumb assholes, fascists, wandering aimlessly, never intersects a plot, like Last Tango in Paris; he was the original Ridley Scott (right down to the unwatchable but very pretty oriental set piece flicks). I love Fred Ward and he's good at laconic delivery of both useful and menacing lines, but he doesn't get to do any violence here, which is a shame. There's a metric fuck-ton of cameos by Old Hollywood people, before it all went to shit.

    "It's Gods Must be Crazy except the Coke bottle is now a TV actress." "Exactly, it's Out of Africa meets Pretty Woman." made me crack up completely. I can't stop giggling at these people and their awful pitches.

    Oh, I miss movies like this, with writing and characters and cinematography that isn't just cyan/orange filters. I want everyone involved in that Fantastic Beasts flick to watch this, and then blow their brains out in shame.

    "Can we talk about something other than Hollywood for a change? We're educated people." … … [laughter]

    Griffin Mill (Tim Robbins) is kind of too easy-going to have his job, but he steps up to crazy eventually. Vincent D'Onofrio didn't have his known career of being a crazy person yet, so his unstable writer act now looks too obvious.

    "I would hate to get the wrong person arrested." "Oh please. This is Pasadena. We do not arrest the wrong person. That's L.A., see, L.A., they kick your ass, and then they arrest you." A year after Rodney King.

    The first act is great, just a perfect storm of everything coming down on Griffin Mill. Second act develops his guilt and romance, and it's fine, but a little slow. Third act should be a massive storm of catastrophe, but instead nothing happens. Rich people get to be rich and goof around.

    ★★★★☆

Spoiler screenshot but this is the story they wrote and inserted into the paper:

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