Latest / Frightmares / Ep. 385 - Godzilla: King Of The Monsters (2019)

Transcript

Ep. 385 - Godzilla: King Of The Monsters (2019) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:15
  Speaker 2: Ever have that one movie everyone assumes you've seen, but
• 0:18
  Speaker 2: you haven't? You know, the one, the classic, the cult favorite,
• 0:23
  Speaker 2: the how have you not seen that movie? Welcome to
• 0:27
  Speaker 2: the Shameless Picture Show. Twice a month, I sit down
• 0:30
  Speaker 2: with the guests who finally cross one of those films
• 0:32
  Speaker 2: off our shame lists. Sometimes it's their first watch and
• 0:36
  Speaker 2: sometimes it's mine, but sometimes it's new for both of us.
• 0:41
  Speaker 2: Then we die the characters, the craft, the cultural impact,
• 0:45
  Speaker 2: and whether it actually lives up to the hype, from
• 0:48
  Speaker 2: legendary classics to cult oddities to the films we somehow
• 0:52
  Speaker 2: missed along the way. Join us as we turn movie
• 0:55
  Speaker 2: shame into movie discussion. This is the Shameless Picture Show.
• 1:05
  Speaker 3: The following podcast will contain spoilers, tangents, hot takes, and
• 1:10
  Speaker 3: excessive foul language. Viewer discretion is advised.
• 1:14
  Speaker 2: Enjoy the show.
• 1:57
  Speaker 4: Welcome back to Frightmar's podcast. I'm your host, Austin Prock
• 2:00
  Speaker 4: and joining me today four, Episode three eighty five is
• 2:02
  Speaker 4: my good friend Ryan Barrel. How are we doing today?
• 2:05
  Speaker 3: I'm doing well? How are you?
• 2:08
  Speaker 4: I'm doing pretty good. Not nearly as busy as you.
• 2:11
  Speaker 4: But you know, kid got pink eye recently and some
• 2:16
  Speaker 4: viral infection, so it's been hectic in a different way
• 2:20
  Speaker 4: for me. But today I had another installments of Kai
• 2:23
  Speaker 4: June Destroy. We're talking our domestic pick, because like I
• 2:27
  Speaker 4: mentioned last episode, every film has been international, and then
• 2:30
  Speaker 4: we did one domestic, which is Godzilla King of the
• 2:32
  Speaker 4: Monsters from twenty nineteen, a movie that features our Chonky
• 2:36
  Speaker 4: Boy of course, along with Mathra, Cadora and Rodin, but
• 2:40
  Speaker 4: interrupts nearly every awesome fight between them with family drama.
• 2:43
  Speaker 4: Let's see where this lands of the Nightmare index. That
• 2:51
  Speaker 4: is TikTok. I need letterbox? All right, Ryan, I know
• 2:55
  Speaker 4: you are an incredibly busy man, but have you watched
• 3:00
  Speaker 4: anything of value lately? I am what am I hearing?
• 3:03
  Speaker 4: Oh it's my it's my fucking TikTok is playing. Okay,
• 3:08
  Speaker 4: this is this is this is my Monday. Have you
• 3:11
  Speaker 4: watched anything recently in your very small free time or
• 3:18
  Speaker 4: maybe acquired anything for antenna that you can talk about?
• 3:22
  Speaker 3: Not much that I can talk about for antenna, you know,
• 3:25
  Speaker 3: the stuff that we've announced that we've acquired. I feel
• 3:27
  Speaker 3: like I've talked about enough. So I'll let everybody just
• 3:29
  Speaker 3: go look at our socials for that, but I will
• 3:31
  Speaker 3: say it being Father's Day recently, one of my big
• 3:35
  Speaker 3: favorite things recently is showing movies to my kids that
• 3:39
  Speaker 3: I either grew up with or love or saw too
• 3:41
  Speaker 3: early and went, oh, hey, maybe we could show them
• 3:43
  Speaker 3: slightly too early too. So yesterday we had I won't
• 3:49
  Speaker 3: say like an all day marathon. We did our best,
• 3:51
  Speaker 3: but we watched three movies, which for me is like
• 3:54
  Speaker 3: a month's worth of viewing in one day. Yeah. So
• 3:58
  Speaker 3: we saw one that was very this show, so we'll
• 4:01
  Speaker 3: leave that one to the last. First one showed them
• 4:03
  Speaker 3: Princess Bride. They were locked in from the beginning. They
• 4:07
  Speaker 3: were into it. They liked it plenty. It wasn't their favorite,
• 4:10
  Speaker 3: but I think they enjoyed it. I laughed like crazy
• 4:14
  Speaker 3: because I don't know, two and a half minutes in
• 4:16
  Speaker 3: my oldest goes is that Andre the Giant And I'm like, yes, sir,
• 4:20
  Speaker 3: yes that is. And good god did we get lots
• 4:22
  Speaker 3: of wrestling jokes the entire movie.
• 4:25
  Speaker 4: Okay, so the kids are a wrestling fan, I assume then.
• 4:29
  Speaker 3: Absolutely he is a massive, massive wrestling fan. So we
• 4:33
  Speaker 3: follow that up with and we wanted to get this
• 4:36
  Speaker 3: a little more upbeat, we'll say, And so for the
• 4:39
  Speaker 3: first time they got to see Bill and Ted's Excellent Adventure,
• 4:42
  Speaker 3: which kind of blew them away. And my oldest not
• 4:46
  Speaker 3: only a wrestling fan, also turning into a little bit
• 4:48
  Speaker 3: of a history buff, and so it was a really
• 4:50
  Speaker 3: fun mix of interest for him, and he was like, oh,
• 4:53
  Speaker 3: this is like making history fun and genuinely just locked
• 4:57
  Speaker 3: in and loved the movie and was really happy with
• 5:00
  Speaker 3: that thought it was funny as heck. And then to
• 5:02
  Speaker 3: finish up the night, we showed them Santa Carla's The
• 5:06
  Speaker 3: Lost Boys and it was awesome. I mean, my youngest
• 5:10
  Speaker 3: was sitting there and for the whole first half of
• 5:13
  Speaker 3: the movie, because they don't reveal anything about vampires for
• 5:16
  Speaker 3: a long time, he was like, Oh, my gosh, I
• 5:18
  Speaker 3: think these are aliens coming in and that's what's flying
• 5:21
  Speaker 3: in the air and taking these people, and just watching
• 5:23
  Speaker 3: him work out in his mind that oh wait, why
• 5:25
  Speaker 3: can't they see his reflection? Ooh. And like the discovery
• 5:30
  Speaker 3: of the actual horror of it was great. I think
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  Speaker 3: they liked that one the best, which I think was
• 5:35
  Speaker 3: pretty cool. Fun day, Yeah, lots of good movies.
• 5:40
  Speaker 4: That's interesting. So they had no idea The Lost Boys
• 5:42
  Speaker 4: was the vampire movie.
• 5:43
  Speaker 3: Prior to they literally never even heard of the movie,
• 5:47
  Speaker 3: so they couldn't know anything about it.
• 5:49
  Speaker 4: I love it.
• 5:49
  Speaker 3: I love it.
• 5:51
  Speaker 4: Oh and that sounds like an incredible day. A wide
• 5:53
  Speaker 4: range of genres and a wide range of reactions to them.
• 5:57
  Speaker 4: I love that. I love that sounds like an incredible day. Well,
• 6:01
  Speaker 4: since you talked about your Father's Day, I'll talk about
• 6:03
  Speaker 4: mine because I watched something that probably is anti Father's Day.
• 6:09
  Speaker 4: But for the first time, I watched the nineteen eighty
• 6:12
  Speaker 4: seven The Stepfather because I've only seen Oh Wow, the
• 6:16
  Speaker 4: remake from two thousand and nine, which I enjoy. It
• 6:19
  Speaker 4: came out when I was in theaters. I like it.
• 6:22
  Speaker 4: It's fun. It's got a very young pen Badgeley and
• 6:25
  Speaker 4: one of the two guys from Niptok I always confuse them.
• 6:28
  Speaker 4: But I had never seen the original. And I picked
• 6:29
  Speaker 4: up the four K from Screen Factory months ago, and
• 6:33
  Speaker 4: my wife was like, all right, pick a movie tonight.
• 6:35
  Speaker 4: You know it's Father's Day. So I was like, let's
• 6:38
  Speaker 4: just do this. Step It just feels it feels I
• 6:40
  Speaker 4: don't know why, but it feels fitting like in an
• 6:42
  Speaker 4: alternate universe, maybe this is, you know, one of my
• 6:46
  Speaker 4: path I went down, And I was blown away by
• 6:51
  Speaker 4: the original movie. It was absolutely incredible, not just on
• 6:54
  Speaker 4: a performance level but on a technical level, with how
• 6:58
  Speaker 4: they were using shots and showing his complete breakdown and
• 7:03
  Speaker 4: how the family had no idea what was going on,
• 7:05
  Speaker 4: and then of course there's that moment where he's like, wait,
• 7:06
  Speaker 4: who am I here? And everything goes to hell. But
• 7:10
  Speaker 4: that movie was incredible. Definitely giving that one. I think
• 7:13
  Speaker 4: probably a four and a half out of five, and
• 7:16
  Speaker 4: we'll be frequenting that movie a lot, because, man, I
• 7:20
  Speaker 4: expect that I'd like it. It's an eighties movie, slasher
• 7:23
  Speaker 4: ish in you know, in that vein. I figured I
• 7:25
  Speaker 4: would like it at minimum, but I did not expect
• 7:27
  Speaker 4: to be blown away by it. So that was something
• 7:30
  Speaker 4: I watched. I really enjoyed that.
• 7:32
  Speaker 3: I'm sure you can see now why people were so
• 7:34
  Speaker 3: disappointed by the remake. Oh, because it's it's okay, but
• 7:39
  Speaker 3: even in like the grand scheme of remakes, it kind
• 7:41
  Speaker 3: of pales to live up to anything else from that era.
• 7:44
  Speaker 3: But yeah, when you compared to the original, my goodness,
• 7:47
  Speaker 3: does it look kind of like hot garbages.
• 7:50
  Speaker 4: Yeah, it kind of does. I think I'm going to
• 7:52
  Speaker 4: ultimately lower my rating on the remake because I had,
• 7:55
  Speaker 4: you know, I hadn't seen it, or I hadn't seen
• 7:57
  Speaker 4: the original. But even that opening scene don't spoil it necessarily,
• 8:01
  Speaker 4: but it opens on just carnage and him acting like
• 8:05
  Speaker 4: nothing is happening, walking out the door, whistling a tune,
• 8:08
  Speaker 4: and I was like, that is the most cold blooded
• 8:11
  Speaker 4: shit I've seen in a movie and quite some time.
• 8:14
  Speaker 4: It set the tone immediately, and I was like, Okay,
• 8:16
  Speaker 4: so this guy is crazy, which I knew from you know,
• 8:20
  Speaker 4: the remake, but yeah, they really tap into the Plus
• 8:22
  Speaker 4: there's a lot more violence in Gore in this one.
• 8:26
  Speaker 4: Oh my god, there's a death by two by four,
• 8:29
  Speaker 4: which I don't think I've ever seen in a horror
• 8:32
  Speaker 4: movie before. Really good stuff outside of that. Last week's
• 8:38
  Speaker 4: cold movie challenge was Lucio Fulci week, and I picked
• 8:42
  Speaker 4: The Psychic because I had not explored a lot of
• 8:45
  Speaker 4: his seventies work, and probably because a lot of his
• 8:49
  Speaker 4: seventies work included comedies, spaghetti westerns, stuff like that. He
• 8:53
  Speaker 4: only really did two maybe three horror movies. Don't torture
• 8:58
  Speaker 4: a Duckling from nineteen seventy too. Then he would do
• 9:01
  Speaker 4: The Psychic in seventy seven, and then Zombie in seventy
• 9:04
  Speaker 4: nine or Zombie two, depending on who you ask. This
• 9:08
  Speaker 4: was such a different side of Fulci than I'm used
• 9:11
  Speaker 4: to because typically he is known for his excessive gore,
• 9:15
  Speaker 4: and while that is still present in flashes, here, this
• 9:19
  Speaker 4: is so much more about surrealism and not knowing if
• 9:23
  Speaker 4: what I'm seeing on screen is like who am I trusting?
• 9:26
  Speaker 4: On screen? Here you have a clairvoyant woman who is
• 9:29
  Speaker 4: seeing things that are happening in the future, and it
• 9:32
  Speaker 4: all wraps around to the beginning in this beautiful like
• 9:36
  Speaker 4: little bow I like on top of a present, and
• 9:40
  Speaker 4: I was like, oh wow, this was really good. I
• 9:42
  Speaker 4: did have to look up, you know, an explanation a
• 9:44
  Speaker 4: little bit to kind of help put the pieces together,
• 9:46
  Speaker 4: because it's not that it was told like narratively bad.
• 9:52
  Speaker 4: I just sometimes am not the greatest at picking up
• 9:54
  Speaker 4: on the connections. And once I got it the whole
• 9:56
  Speaker 4: story in one line, I was like, oh shit, that
• 9:58
  Speaker 4: was really good. So I highly recommend The Psychic if
• 10:01
  Speaker 4: you've never seen it. I gave that one a four
• 10:03
  Speaker 4: and a half out of five. You can check out
• 10:05
  Speaker 4: my full review on Letterbox for that. This week's Cult
• 10:10
  Speaker 4: Movie Challenge was Era week, and since it is kai June,
• 10:14
  Speaker 4: I have two box sets of Gamera, the Shoa era
• 10:18
  Speaker 4: and the Heisi Era, so I watched the original Gamera.
• 10:21
  Speaker 4: I think it's just Gamera the Giant Monster. He is
• 10:24
  Speaker 4: my favorite Kaiju. There's something about a giant turtle I
• 10:29
  Speaker 4: just love, especially same thing goes for it and that
• 10:33
  Speaker 4: whole thing, you know, the space turtle whatever his name is,
• 10:36
  Speaker 4: and that I can't remember, but there's a space turtle
• 10:38
  Speaker 4: in it. You know the novel at least, but I
• 10:41
  Speaker 4: don't know. I love Gamera. The original was fantastic, four
• 10:44
  Speaker 4: out of five. Working on my review for that one,
• 10:47
  Speaker 4: and then revisited the two previous installments of the Monster Verse,
• 10:54
  Speaker 4: which is Godzilla from twenty fourteen and then Kongskull Island.
• 10:58
  Speaker 4: I really think will need to revisit the Godzilla from
• 11:01
  Speaker 4: twenty fourteen because the biggest complaint that I see when
• 11:05
  Speaker 4: I read reviews is there's not enough Godzilla. There's only
• 11:08
  Speaker 4: ten minutes, and I don't know if those people have
• 11:10
  Speaker 4: seen the original, because yes, the original is shorter, but
• 11:14
  Speaker 4: Godzilla has less screen time in the original than he
• 11:16
  Speaker 4: does in the twenty fourteen version, so it's almost like
• 11:19
  Speaker 4: they were trying to tap into the original and kind
• 11:22
  Speaker 4: of do something similar. So I really like that movie
• 11:26
  Speaker 4: four out of five. And then Congschool Island that if
• 11:30
  Speaker 4: you have you seen have you seen the twenty fourteen
• 11:32
  Speaker 4: or con Yeah? Okay, yeah, have you seen Congskull Island?
• 11:36
  Speaker 3: I love I love both of those movies, even twenty fourteen.
• 11:39
  Speaker 3: It's it's really well done. And I do understand, you know,
• 11:42
  Speaker 3: people complaining if they've only ever seen the US Godzilla's
• 11:45
  Speaker 3: because like the shitty Godzilla two thousand and all the
• 11:50
  Speaker 3: other random Godzilla movies that have come out that have
• 11:53
  Speaker 3: been god atrocious. Basically, those are all like, all we
• 11:59
  Speaker 3: have is God's, so let's put him forefront in as
• 12:01
  Speaker 3: much of the movie as we can, right, Those are
• 12:03
  Speaker 3: a different style of movie. The Godzilla from twenty fourteen
• 12:06
  Speaker 3: is much more akin to the original Godzilla films, and
• 12:09
  Speaker 3: it's a great cast. I mean, Cranston is fantastic in it,
• 12:12
  Speaker 3: Elizabeth Olsen is wonderful in it, and the like diplomacy,
• 12:16
  Speaker 3: it feels a lot more like the other modern like
• 12:19
  Speaker 3: shin Godzilla. In a way, it's it's more of like
• 12:22
  Speaker 3: a a familial side of handling those problems, but it's
• 12:26
  Speaker 3: still it's still great. I love that twenty fourteen and yeah,
• 12:29
  Speaker 3: Cox School Island genuinely probably near a perfect movie for me.
• 12:33
  Speaker 4: Yeah, seriously, I rewatched that movie and a couple of
• 12:37
  Speaker 4: days ago, I was like, this movie just fucking raps.
• 12:40
  Speaker 4: You've got Samuel I mean, the cast alone Christ incredible,
• 12:44
  Speaker 4: It's incredible, and you know, you focus on Skull Island
• 12:48
  Speaker 4: for ninety percent of the movie. Fucking uh what's his face?
• 12:53
  Speaker 4: Oh my god, I can't remember his name right, John
• 12:56
  Speaker 4: z Rally pops out of nowhere. It's got a great
• 12:59
  Speaker 4: balance of comedy, seriousness and ultimate just destruction from Kong Ye.
• 13:06
  Speaker 4: I mean the scene where you know, Kong realizes that
• 13:10
  Speaker 4: there's helicopters dropping shit on the island and he goes
• 13:13
  Speaker 4: berserk is one of the greatest monster attacks of the
• 13:17
  Speaker 4: modern era. I would say it's so good. Four and
• 13:19
  Speaker 4: a half of that one. Like I said, nearly a
• 13:21
  Speaker 4: perfect movie for me, extremely well done. And then I
• 13:24
  Speaker 4: went and visit, not revisited, I went and checked out
• 13:27
  Speaker 4: two kind of I'd say, off brand Kaiju movies, one
• 13:32
  Speaker 4: being Youngari Monster from the Deep. It's actually a South
• 13:36
  Speaker 4: Korean Kaiju film, which they haven't done many, and they've
• 13:41
  Speaker 4: done like I think. I think ten total is the
• 13:43
  Speaker 4: count I got. It was a lot of fun, but
• 13:45
  Speaker 4: I can see why it has the ratings it does.
• 13:47
  Speaker 4: It's very derivative of Godzilla, and the only differentiation I
• 13:51
  Speaker 4: can tell from Youngari to Godzilla is the underbite, the
• 13:55
  Speaker 4: horn on the nose, and glowing eyes. That's really about it.
• 13:59
  Speaker 4: Very uninteresting human plot. There's also this kid there trying
• 14:04
  Speaker 4: to like study him. He's very very bizarre. But at
• 14:07
  Speaker 4: the end of the day, the destruction and the miniatures
• 14:09
  Speaker 4: and the practical effects were like five out of five.
• 14:13
  Speaker 4: No complaints there. It was mostly the human aspect of
• 14:16
  Speaker 4: that film. And then Gorgo, which was recommended to me
• 14:20
  Speaker 4: by my good friend John Vott used to be on
• 14:22
  Speaker 4: the show. Shout out to him. This was a very
• 14:26
  Speaker 4: very different Kaiju film. It was a UK production from
• 14:29
  Speaker 4: nineteen sixty one and I don't want to give too
• 14:33
  Speaker 4: much away, but it's so different because it focuses on
• 14:37
  Speaker 4: capturing one of these beasts and basically turning it into
• 14:41
  Speaker 4: a side. So sideshow attraction before all Hell Breaks Lose,
• 14:44
  Speaker 4: which is very different than what we typically see in
• 14:48
  Speaker 4: kaiju films from that time. That one was a little
• 14:51
  Speaker 4: bit better than Youngari three and a half out of five.
• 14:54
  Speaker 4: But I've just been consuming most of my month with
• 14:57
  Speaker 4: exploring kaiju films because I'm real how big of a
• 15:01
  Speaker 4: fan I am of giant monsters destroying miniature sets. I mean,
• 15:05
  Speaker 4: it's it's so much fun. What's not to love? So
• 15:10
  Speaker 4: real quick before we move on, you know, I think
• 15:12
  Speaker 4: you're kind of like me where we haven't seen a
• 15:15
  Speaker 4: lot of kaiju films, but like, what, just give me
• 15:18
  Speaker 4: some titles that you have seene that you have.
• 15:20
  Speaker 3: Liked, I mean my biggest ones, and I'm probably gonna
• 15:24
  Speaker 3: talk about these more and more as we get into this.
• 15:26
  Speaker 3: Today is the modern Japanese Godzilla films, So like Shin
• 15:30
  Speaker 3: Godzilla and the bigger one Godzilla minus one. Giant fan
• 15:34
  Speaker 3: of those seen the original Godzilla multiple times, uh seen,
• 15:39
  Speaker 3: I've seen Gorgo once a long time ago. Not a
• 15:42
  Speaker 3: big fan of that era. And then some of the
• 15:44
  Speaker 3: other random Kaiju that are super off brand. So don't
• 15:48
  Speaker 3: need to go deep down that road right now. But
• 15:51
  Speaker 3: I mean the big thing is there's so many there's
• 15:55
  Speaker 3: so many offshoots of these that the people that grew
• 15:59
  Speaker 3: up with the original Godzilla that led to things like
• 16:02
  Speaker 3: Gamera and stuff are excited about that genre, and so
• 16:07
  Speaker 3: many of them that set out to make something sort
• 16:10
  Speaker 3: of an homage to what they've loved growing up just
• 16:13
  Speaker 3: don't get it. Sometimes it feels like that, or I mean,
• 16:17
  Speaker 3: the reality is, modern filmmaking sensibilities are just so different
• 16:20
  Speaker 3: that the things that they end up being able to
• 16:23
  Speaker 3: create are either hamstrung by studio choices or forced into
• 16:28
  Speaker 3: a very specific direction because of modern audiences and what
• 16:30
  Speaker 3: they're going to pay for, and that usually comes at,
• 16:34
  Speaker 3: unfortunately a loss of the creative and better storytelling problems
• 16:38
  Speaker 3: that we've had in the past.
• 16:39
  Speaker 4: Correct correct one hundred percent agree on that. And that's
• 16:43
  Speaker 4: kind of the big theme of this movie, because where
• 16:45
  Speaker 4: people kind of complained about Godzilla not being in enough
• 16:49
  Speaker 4: of the twenty fourteen version, I feel like they said, okay, heard,
• 16:53
  Speaker 4: and congschol Island comes along. He pops up off the
• 16:56
  Speaker 4: mountain in like two minutes in, and then about twenty
• 16:59
  Speaker 4: eight minutes he's wrecking shit, so he has much more
• 17:02
  Speaker 4: of a screen presence, and then when we get to
• 17:05
  Speaker 4: this movie, it's like they were trying to combine Kong
• 17:10
  Speaker 4: and Godzilla into one movie where we have a lot
• 17:13
  Speaker 4: of good human interaction and a lot of good fighting
• 17:16
  Speaker 4: that ultimately just feels like two separate stories happening at
• 17:19
  Speaker 4: the same time. So with that being said, let's move
• 17:23
  Speaker 4: on to the where are we? My mouse always disappears,
• 17:29
  Speaker 4: Austin cut this out. There we go the body count
• 17:33
  Speaker 4: there it is Colly. All right. So we've mentioned this
• 17:39
  Speaker 4: movie a bunch because it is what we are talking
• 17:41
  Speaker 4: about today. This is Godzilla, King of the Monsters, not
• 17:44
  Speaker 4: to be confused with the nineteen fifty six movie with
• 17:48
  Speaker 4: the same name that is essentially just an americanized version
• 17:50
  Speaker 4: of the original nineteen fifty four released in May thirty first,
• 17:55
  Speaker 4: twenty nineteen. PG. Thirteen Sequences of modern monster action, violence,
• 18:00
  Speaker 4: destruction and for some language. No sex and nudity, moderate
• 18:03
  Speaker 4: violence and gore, moderate profanity, no alcoholic drugs and smoking,
• 18:07
  Speaker 4: and frightening, moderate frightening and intense scenes. Coming in at
• 18:11
  Speaker 4: two hours twelve minutes. Listed does an action adventure, fantasy
• 18:15
  Speaker 4: sci fi directed by Michael Doherty. He also did things
• 18:18
  Speaker 4: like Trick or Treat and Crampis written by three separate people.
• 18:23
  Speaker 4: We've got Max Bornstein who did the Godzilla from twenty
• 18:25
  Speaker 4: fourteen Kong Skull Island, and then he would also go
• 18:28
  Speaker 4: on to do Godzilla Versus Kong. Michael Doherty, who I
• 18:33
  Speaker 4: did not realize this. He wrote X Men two, X
• 18:36
  Speaker 4: Men United, so that's interesting, Trick or Treat Crampis, and
• 18:40
  Speaker 4: then Godzilla vy Kong, and then Zach Shields who also
• 18:43
  Speaker 4: wrote Crampus and godzillavy Kong composed by Bear McCreery. He
• 18:48
  Speaker 4: composed things like Happy That They Won and two Child's
• 18:51
  Speaker 4: Play twenty nineteen and The Last Voyage of the Demeter.
• 18:55
  Speaker 4: Cinematography by Lawrence Cher, who also did the cinematography for
• 18:59
  Speaker 4: Club Dread, The Hangover, Wild Arc There The Hangover one
• 19:05
  Speaker 4: through three and Joker. So what a career this man's
• 19:10
  Speaker 4: had edited?
• 19:11
  Speaker 3: I mean, to be fair, a lot of really great
• 19:13
  Speaker 3: looking movies.
• 19:15
  Speaker 4: You're not wrong, I mean they all look greats. I
• 19:17
  Speaker 4: read those and I was like, how did we end
• 19:19
  Speaker 4: up here? I guaranteed Jokers probably what got him the job,
• 19:23
  Speaker 4: because Jo Joker's beautiful. This movie's also edited by three people,
• 19:28
  Speaker 4: and it just gets crazier. From here, we have Roger Barton,
• 19:31
  Speaker 4: who also edited one of my all time favorite movies
• 19:33
  Speaker 4: as a kid, That darn Cat. I don't know if
• 19:36
  Speaker 4: you remember that movie.
• 19:38
  Speaker 3: Yeah, who couldn't.
• 19:39
  Speaker 4: Yes, if you're a millennial in the nineties, you know
• 19:42
  Speaker 4: that movie. He also edited ghost Ship and World War Z.
• 19:46
  Speaker 4: Then we've got Bob dick Say who edited The Deep Rising,
• 19:50
  Speaker 4: The Mummy one and two and Van Helsing and then
• 19:54
  Speaker 4: Richard Pearson who edited Muppets from Space, Scary Movie two
• 19:58
  Speaker 4: and Men in Black two. Just what a wild hodgepodge
• 20:02
  Speaker 4: of people who worked on this movie. We've got Kyle
• 20:05
  Speaker 4: Chandler as doctor Mark Russell. He was also in Funny
• 20:08
  Speaker 4: Enough The two thousand and five King Kong as Bruce Baxer,
• 20:12
  Speaker 4: Vera Farmiga as doctor Emma Russell. Everybody should know her
• 20:14
  Speaker 4: from The Conjuring Universe as Lorraine Warren Millie Bobby Brown
• 20:18
  Speaker 4: as Madison Russell. Everybody should know her from Stranger Things
• 20:21
  Speaker 4: as Eleven Ken Watsonaby as doctor Ishiro Serazawa. He was
• 20:26
  Speaker 4: also in Inception as Cito Bradley Whitford popping up in
• 20:30
  Speaker 4: this as doctor Rick Stanton. He was also in Cabin
• 20:32
  Speaker 4: in the Woods as Hadley. We covered that last year,
• 20:34
  Speaker 4: I think, and then the ever just Wonderful Sally Hawkins
• 20:39
  Speaker 4: as doctor Vivian Graham. She was also in the Shape
• 20:41
  Speaker 4: of Water as Elsa Espozzoto and if you don't, if
• 20:44
  Speaker 4: you haven't seen that one, you might have seen Bring
• 20:46
  Speaker 4: Her Back. She was in that as Laura, two wildly
• 20:49
  Speaker 4: different characters. Estimated budget of one hundred and seventy million dollars,
• 20:54
  Speaker 4: grossing three hundred and eighty seven point three million dollars.
• 20:57
  Speaker 4: Filmed in Mexico City and Puerto Vayarta, Jalisco, Mexico, Atlanta
• 21:04
  Speaker 4: and Tunnel Hill, Georgia. You can watch this on HBO Max.
• 21:08
  Speaker 4: This was a I say this every time I feel
• 21:11
  Speaker 4: in every episode. But what a time for movies, because
• 21:13
  Speaker 4: holy shit, once upon a time in Hollywood. Things that
• 21:17
  Speaker 4: came out around the same time, by the way, Spider Man,
• 21:19
  Speaker 4: Far From Home, mid Simar, john Wick, Chapter Three, Toy
• 21:23
  Speaker 4: Story four, Aladdin, X Men, Dark Phoenix, Rocketman, Pokemon, Detective Pikachu, Murder,
• 21:31
  Speaker 4: Mystery Men in Black, International, Bright Burn, The Dead Don't Die,
• 21:35
  Speaker 4: Annabel Comes Home, The Secret Life of Pat's Ma, and
• 21:38
  Speaker 4: Child's Play Like That is that is a pretty bang
• 21:41
  Speaker 4: in couple of months if you ask me, maybe not
• 21:43
  Speaker 4: Dark Phoenix, but IMDb summary, the Cryptozoology Agency Monarch faces
• 21:49
  Speaker 4: off against a battery of god sized monsters, including the
• 21:53
  Speaker 4: mighty Godzilla, who collides with Mathra Rodin and his ultimate nemesis,
• 21:57
  Speaker 4: the three headed King Godora. Roll into the autopsy. All right, Ryan,
• 22:04
  Speaker 4: first time watching this? Correct?
• 22:06
  Speaker 3: First time watching this?
• 22:07
  Speaker 4: All right? Hit me with your overall thoughts on Godzilla,
• 22:10
  Speaker 4: King of the Monsters.
• 22:11
  Speaker 3: I regret watching this.
• 22:15
  Speaker 4: I am so sorry, my friend.
• 22:17
  Speaker 3: I mean, yeah, okay, here's the thing. So like I
• 22:20
  Speaker 3: really want to finish all of the films in the
• 22:23
  Speaker 3: Monster vers so I don't actually regret watching this, but
• 22:27
  Speaker 3: I mean going into this, the cast, the director, So
• 22:30
  Speaker 3: many of these things were exciting to read, exciting to see.
• 22:34
  Speaker 3: Listened all the names that you just listed for the pedigree,
• 22:37
  Speaker 3: and ultimately it might just be a case of too
• 22:40
  Speaker 3: many cooks or something.
• 22:44
  Speaker 4: It takes a lot to make us stew a pinch
• 22:47
  Speaker 4: of soft and love too, scoop of kids up the spies,
• 22:53
  Speaker 4: cashus love to make it time, send you down too
• 22:57
  Speaker 4: many cooks.
• 22:59
  Speaker 3: Many too, because good God, does it feel like instead
• 23:12
  Speaker 3: of a well oiled machine. We just got a messy,
• 23:15
  Speaker 3: sloopy stew at the end of it that just feels gross,
• 23:20
  Speaker 3: like everything is over convoluted. The visuals are over cgi
• 23:26
  Speaker 3: to a point of sometimes being difficult to even make
• 23:29
  Speaker 3: out properly what they were, you know. Instead of the
• 23:33
  Speaker 3: classic you know we're fighting a bad Aid sort of situation,
• 23:37
  Speaker 3: we go for technically what is supposed to be the
• 23:39
  Speaker 3: second Godzilla film in this quote franchise, and it's just
• 23:43
  Speaker 3: everybody and it was probably a little early for their
• 23:46
  Speaker 3: Justice League type of film. We don't need Zack snyder
• 23:51
  Speaker 3: ification of Godzilla at this point. We could have easily
• 23:55
  Speaker 3: gone another three films before we got that. Give us
• 23:59
  Speaker 3: a Mathra film, give us a Godora film, give us
• 24:01
  Speaker 3: a Rodin film, and then put them all together so
• 24:04
  Speaker 3: that we can all be mighty Morphin power Rangers together.
• 24:06
  Speaker 3: Like this sort of Voltron attacking Godzilla that we get
• 24:11
  Speaker 3: sort of situation here is just complicated in a way
• 24:15
  Speaker 3: that I don't get why we needed this at this time.
• 24:20
  Speaker 3: And again twenty fourteen, Godzilla good well made, dramatic, actually
• 24:25
  Speaker 3: shot well. Sure, I could understand some people not being
• 24:28
  Speaker 3: happy with the amount of Godzilla on screen, this movie
• 24:31
  Speaker 3: kind of suffers similar things, Like all of the other
• 24:34
  Speaker 3: villains are on screen a lot more than Godzilla. It's
• 24:36
  Speaker 3: a Godzilla movie. Give us Godzilla. I need more Godzilla,
• 24:40
  Speaker 3: less Rodin. I need more Godzilla, less Frozen godor like.
• 24:45
  Speaker 3: Come on, this is a wild choice for a script.
• 24:50
  Speaker 3: And I mean, there's so many threads of this I
• 24:54
  Speaker 3: can pull out right now. I don't need to pull
• 24:55
  Speaker 3: them all, but my biggest, my biggest gripe with this movie,
• 24:58
  Speaker 3: we go from small, quaint Brian Cranston Elizabeth Olsen type
• 25:03
  Speaker 3: of film and suddenly you're thrust upon this operation Monarch.
• 25:08
  Speaker 3: We need to dive deep into Monarch. Every other twelfth
• 25:10
  Speaker 3: word is Monarch. What the fuck, dude? This is not
• 25:13
  Speaker 3: some shadow organization that we just understand is awful from
• 25:17
  Speaker 3: moment one. We don't need this underground spy bullshit that
• 25:22
  Speaker 3: what is happening? I'm sorry.
• 25:24
  Speaker 4: That was the best rant I think I've ever heard
• 25:26
  Speaker 4: on this show. No point in even giving my overall
• 25:31
  Speaker 4: thoughts because they are all encompassed in exactly everything you said.
• 25:35
  Speaker 4: They really went from Godzilla to Kong to fucking everybody? Why?
• 25:41
  Speaker 1: Why?
• 25:42
  Speaker 4: What happened to do? In like Godzilla vers Mathra or
• 25:45
  Speaker 4: Godzilla Verse. Rodin Personally, my favorite kaiju in this movie
• 25:51
  Speaker 4: is Rodin. I fucking love Rodan.
• 25:53
  Speaker 3: Great, great design, looks good.
• 25:55
  Speaker 4: Great design looks good, comes bursting out of a volcano
• 25:59
  Speaker 4: and flies over Mexico and just his presence of flying
• 26:04
  Speaker 4: just demolishes the city. I love Rodan, my favorite. I
• 26:09
  Speaker 4: would say of the Godzilla Verse, if you want to
• 26:11
  Speaker 4: call it that, I've seen just one of my favorites.
• 26:13
  Speaker 4: He's so underutilized, but yeah, man, it's so underwhelming. But
• 26:22
  Speaker 4: at times it's literally it kept pulling me out and
• 26:26
  Speaker 4: then pulling me back in and pulling me like every
• 26:28
  Speaker 4: single time they would switch from the monster action we
• 26:31
  Speaker 4: all want to see to the family drama or whatever
• 26:35
  Speaker 4: was happening with Monarch, I was like, these feel like
• 26:38
  Speaker 4: two separate stories that are happening tangentially that could have
• 26:42
  Speaker 4: really been maybe two different movies, because they're squeezing so
• 26:47
  Speaker 4: much in to two hours and twelve minutes, and let's
• 26:51
  Speaker 4: be honest, like ten minutes of that is credit, So
• 26:53
  Speaker 4: really it's two hours that they're squeezing all of this
• 26:56
  Speaker 4: stuff into. And I think the biggest problem with the movie,
• 27:01
  Speaker 4: and real quick before we dive into the movie. This is,
• 27:05
  Speaker 4: like I said, this is part of the Monster Verse era.
• 27:07
  Speaker 4: This is separate from the Raiwa era and the Japanese
• 27:12
  Speaker 4: era that's going on, because that's twenty sixteen starting with
• 27:14
  Speaker 4: Shiming Godzilla to the President and Monster Versus twenty fourteen
• 27:18
  Speaker 4: to the present with Godzilla x Kong, the New Empire
• 27:21
  Speaker 4: or what is it Supernova coming out later this year
• 27:24
  Speaker 4: or something like that. So this is, yeah, this is
• 27:27
  Speaker 4: the Monster vers era of the Americanized version. But something
• 27:30
  Speaker 4: I like this movie did before we get into all
• 27:33
  Speaker 4: of the all of the bs is actually not even
• 27:36
  Speaker 4: this movie. It's the movies that came before it that
• 27:39
  Speaker 4: kind of set this movie up. Because if you watch
• 27:41
  Speaker 4: Kong Skull Island, the end credits reveal that Kong is
• 27:44
  Speaker 4: not the only giant monster on Earth. Big Shock main
• 27:48
  Speaker 4: characters because that's actually a prequel because it's set in
• 27:51
  Speaker 4: nineteen seventy three, so that's a prequel to what would
• 27:53
  Speaker 4: happen in Godzilla twenty fourteen. So they set up Monarch
• 27:57
  Speaker 4: and they set up all of this stuff, and they
• 28:00
  Speaker 4: bring the people. There was like two survivors or three
• 28:03
  Speaker 4: survivors from the events of Kong. They bring them into
• 28:06
  Speaker 4: this room, introduce themselves as monarch, like we are the
• 28:10
  Speaker 4: part of Monarch, and show them all these drawings of
• 28:13
  Speaker 4: Toho monsters, Godzilla, Mathra Rodan, and Godora on like hieroglyphics.
• 28:19
  Speaker 4: I guess you could describe it as. And then at
• 28:24
  Speaker 4: the end you hear Godzilla's roar indicating you know, Okay,
• 28:27
  Speaker 4: we're probably gonna see this. This is gonna be in
• 28:30
  Speaker 4: the next movie. And that's kind of how they set
• 28:32
  Speaker 4: up the future Monster verse from Coong Skull Island and
• 28:37
  Speaker 4: the setup for this movie that we're talking about today
• 28:40
  Speaker 4: is it just felt shoehorned in because none of these
• 28:44
  Speaker 4: characters outside of doctor Graham and doctor Sarahzawa are in
• 28:51
  Speaker 4: the twenty fourteen version. So you introduce Milly Bobby Brown,
• 28:55
  Speaker 4: you introduce Vera Farmiga, you introduce Kyle Chandler, and the
• 29:00
  Speaker 4: opening setup of this movie and the aftermath of Godzilla
• 29:04
  Speaker 4: of twenty fourteen and what's going on, and then you
• 29:06
  Speaker 4: cut to five years later. Okay, sure, so these are
• 29:09
  Speaker 4: the characters we're following around, and the Russell family is
• 29:14
  Speaker 4: really the heart of the movie. I say that begrudgingly
• 29:19
  Speaker 4: because it's not a great family dynamic because Mark responds
• 29:25
  Speaker 4: to the situation that happened with Godzilla with anger, Emma
• 29:28
  Speaker 4: responds with obsession, Madison is somehow hopeful about this situation,
• 29:33
  Speaker 4: and it's the film. The rest of the film is
• 29:35
  Speaker 4: about all three of those perspectives constantly colliding and bashing
• 29:39
  Speaker 4: with each other because no one in this family can
• 29:41
  Speaker 4: fucking be on the same page. And that, I think
• 29:44
  Speaker 4: is this movie's biggest downfall is a family that we're
• 29:47
  Speaker 4: supposed to love and connect with who are not connected themselves.
• 29:52
  Speaker 4: I don't know, is that just me no well stated?
• 29:54
  Speaker 3: I mean not only that, like you're supposed to feel
• 29:57
  Speaker 3: empathetic for this family, that there's not really any situation
• 30:00
  Speaker 3: here that calls for empathy. They're all kind of not
• 30:03
  Speaker 3: likable characters. And I've had this conversation on my show
• 30:07
  Speaker 3: probably too many times. People are probably over me talking
• 30:09
  Speaker 3: about this, but we are in a situation, especially for
• 30:14
  Speaker 3: like modern American audiences, that they desire likable protagonists or
• 30:21
  Speaker 3: likable antagonists. They want to be able to side with somebody,
• 30:25
  Speaker 3: and in this movie, you're more so drawn to essentially
• 30:30
  Speaker 3: empathize with the monsters, which cool like a lot of
• 30:33
  Speaker 3: the old Kaiju films. They were designed that way. Nothing
• 30:36
  Speaker 3: against that. However, that also means I don't give two
• 30:40
  Speaker 3: shits about any of the human characters in this film.
• 30:43
  Speaker 3: They're all bad people, and if that's the case, I
• 30:45
  Speaker 3: don't care if they die. There's no stakes here, there's
• 30:47
  Speaker 3: no anything. It's just show me cool fights. And the
• 30:49
  Speaker 3: fights here are decent, so they draw me back in.
• 30:52
  Speaker 3: But you spend so much time dithering away in the
• 30:55
  Speaker 3: trenches for these awful family stories. I don't really care
• 30:58
  Speaker 3: if you unite this father and his who gives a crap.
• 31:01
  Speaker 3: They're both terrible people.
• 31:03
  Speaker 4: All of them are. Because Mark is constantly angry about
• 31:06
  Speaker 4: the whole situation, and I get it. As a dad,
• 31:08
  Speaker 4: I would also be angry, or I guess I'd probably
• 31:12
  Speaker 4: be more sad and not so lashing out like Mark is,
• 31:18
  Speaker 4: because he's just angry at the Titans. You know, there's
• 31:21
  Speaker 4: no deeper meaning to what happened. His son died, and
• 31:24
  Speaker 4: he's just angry. Ah, I'm angry. Emma is the complete opposite.
• 31:27
  Speaker 4: She instead of blaming the Titans as they're referred to
• 31:30
  Speaker 4: in this movie, which is the first time they're referred
• 31:33
  Speaker 4: to as Titans, she blames humanity. So you've got one
• 31:37
  Speaker 4: person blaming the monsters, one person blaming humanity, and then
• 31:40
  Speaker 4: you've got Madison, who is just caught in the middle
• 31:42
  Speaker 4: of all this, who doesn't embrace either one of their
• 31:44
  Speaker 4: world views, but she maintains a relationship with both parents,
• 31:49
  Speaker 4: hoping that somehow all of this can be repaired. Like
• 31:52
  Speaker 4: she gets her father's pain, but she still admires that
• 31:55
  Speaker 4: her mom is a very intelligent, dedicated scientist who is
• 31:59
  Speaker 4: not given up on trying to fix the world that
• 32:04
  Speaker 4: is in ruin or whatever you want to call it.
• 32:06
  Speaker 4: But I think the biggest issue I have with Emma because,
• 32:10
  Speaker 4: like Mark, she is supposed to be likable except when
• 32:14
  Speaker 4: she gets kidnapped quote unquote, she's not kidnapped. She willingly
• 32:20
  Speaker 4: aligns herself with the eco terrorists Alan Jonah and intends
• 32:24
  Speaker 4: to use the Orc device, which is capable of communicating
• 32:27
  Speaker 4: with the Titans, to awaken the dormant creatures across the globe.
• 32:30
  Speaker 4: Why am I supposed to be carrying about this person
• 32:33
  Speaker 4: who has very bizarre motives working with literal terrorists. It's
• 32:38
  Speaker 4: very It's not a good setup for me to want
• 32:41
  Speaker 4: to enjoy Verifar Mega and a movie that makes me
• 32:44
  Speaker 4: not like her makes me very unhappy because I love
• 32:47
  Speaker 4: her and literally everything else that she has ever been in.
• 32:51
  Speaker 4: It's like, don't make me dislike Verifar Mega. Come on, man,
• 32:56
  Speaker 4: and the Orcha device itself too? Is it hurts my
• 33:00
  Speaker 4: They never explain how it was made, like they don't
• 33:04
  Speaker 4: they don't discover or they don't tell us how they
• 33:06
  Speaker 4: discovered these frequencies or how the devices device translates communication
• 33:12
  Speaker 4: to these titans, like, none of that. We're just supposed
• 33:15
  Speaker 4: to roll with it. And I can't really roll with
• 33:18
  Speaker 4: it in this situation when there's clearly an explanation that
• 33:23
  Speaker 4: we need to understand how this device is working. They
• 33:26
  Speaker 4: don't give us the how or the why. They just
• 33:28
  Speaker 4: give us the what. And I'm like, this is great
• 33:31
  Speaker 4: and all. And I had to double check myself. I googled.
• 33:34
  Speaker 4: I was like, was the or guy ever explained? No,
• 33:36
  Speaker 4: it's really not explained. It's just kind of a we
• 33:39
  Speaker 4: have this technology. I think I think Mark has a
• 33:42
  Speaker 4: throwaway line because he used to work with Emma at
• 33:45
  Speaker 4: Monarch but then he left. I think he has a
• 33:47
  Speaker 4: throwaway line where I was working on this at one point,
• 33:50
  Speaker 4: and I guess she can finished it, and you're like,
• 33:53
  Speaker 4: there's our explanation.
• 33:55
  Speaker 3: Great, well and explanation. I didn't mean to cut you
• 33:58
  Speaker 3: off the no, no, no explanation, Like, I don't think people
• 34:02
  Speaker 3: understand when people are talking about this. Austin and I
• 34:04
  Speaker 3: are not looking for an exposition dump because there are
• 34:06
  Speaker 3: so many films, especially in horror nowadays, that we have
• 34:10
  Speaker 3: to explain everything in a long monologue, and if it's
• 34:13
  Speaker 3: not clearly stated, the audiences won't get it. That's not
• 34:16
  Speaker 3: what we're looking for here. Necessarily. Something that you have
• 34:19
  Speaker 3: to do, though, is make this story either make sense
• 34:23
  Speaker 3: or be intriguing in a way that is logical. Because
• 34:26
  Speaker 3: right now, the way the plot is literally, like I
• 34:28
  Speaker 3: said earlier, just a murky soup. It's just like coating
• 34:33
  Speaker 3: your let me keep going down the path of this
• 34:37
  Speaker 3: soup metaphor, it's coding your eyes with this like jellowy fat.
• 34:42
  Speaker 3: That is not the story that you actually need, and
• 34:45
  Speaker 3: so everything just feels greasy and unappetizing, and because of that,
• 34:51
  Speaker 3: you're left feeling unsatisfied but full. At the end of
• 34:55
  Speaker 3: the movie, you're like, well, this was gross, but I'm
• 34:57
  Speaker 3: like overstimulated by it, and I'm not. And if you
• 35:01
  Speaker 3: had just taken the minute to render out the fat
• 35:03
  Speaker 3: and properly bring out seasoning in flavor, you would have
• 35:06
  Speaker 3: made the point to have us either like care about characters,
• 35:10
  Speaker 3: have understanding about even choose one of the main storylines
• 35:15
  Speaker 3: and make that the storyline. Right, you could have actually
• 35:18
  Speaker 3: developed certain things. If you want this to be about Monarch, cool,
• 35:22
  Speaker 3: that's fine. Make a movie about Monarch where there's one
• 35:25
  Speaker 3: villain built villain being the actual creature, which is what
• 35:29
  Speaker 3: it's supposed to be. We get one villain, explain Monarch
• 35:32
  Speaker 3: established that, and then in the next movie it can
• 35:35
  Speaker 3: be a subplot because we know what Monarch is. And
• 35:37
  Speaker 3: then you can have a human subplot or main plot
• 35:40
  Speaker 3: that is the actual story and Monarch can affect them.
• 35:43
  Speaker 3: And then that all leads into a Titans movie down
• 35:47
  Speaker 3: the line, and you can bring Zack Snyder in and
• 35:49
  Speaker 3: make it terrible if that's what you really want to do.
• 35:51
  Speaker 3: But you had to do it super early and ruin
• 35:53
  Speaker 3: fucking Michael Doherty for the rest of us. He gave
• 35:55
  Speaker 3: us trigger treat make good movies.
• 35:57
  Speaker 4: He gave us trigger treating. Get He gave us Crampus.
• 35:59
  Speaker 4: He gave us so much, and when he was tied
• 36:01
  Speaker 4: to this movie, I said, absolutely, there's no way. But
• 36:05
  Speaker 4: you know, studio interference I'm sure was a huge factor
• 36:09
  Speaker 4: and what ultimately made this movie fail. They tried to
• 36:12
  Speaker 4: put too many working pieces in here, tried to put
• 36:15
  Speaker 4: too much story, not enough fighting. When they did fight,
• 36:18
  Speaker 4: the camera would cut away to human reactions or whatever
• 36:21
  Speaker 4: the fuck was happening with the family drama. My biggest
• 36:23
  Speaker 4: example of this is when Godora and Kong go to
• 36:27
  Speaker 4: fight for the second time in the city. As soon
• 36:30
  Speaker 4: as they make connection, cuts cuts to the fucking flying
• 36:34
  Speaker 4: giant stealth bomber and we get little clips of them
• 36:38
  Speaker 4: fighting from inside, and I'm like, why did we cut away?
• 36:42
  Speaker 4: What was the what was the purpose of that? They
• 36:45
  Speaker 4: just made a connection. And while we do get some
• 36:48
  Speaker 4: incredible imagery, I'll harken, I'll I'll speak to Rodin flying
• 36:55
  Speaker 4: out of the volcano, Godora being backlit with the three
• 36:59
  Speaker 4: heads in the storm, Godzilla just charging up and blasting
• 37:03
  Speaker 4: a beat like I mean, fuck. We get some good imagery,
• 37:06
  Speaker 4: but it is so overshadowed by an undersaturated color grading
• 37:12
  Speaker 4: that is at times hard to see. I don't have
• 37:15
  Speaker 4: as much of a deal with it as some people do.
• 37:18
  Speaker 4: I feel like it was you can see it enough.
• 37:21
  Speaker 4: But they're constantly using smoke, they're constantly using rain, which
• 37:25
  Speaker 4: I get it because it kind of makes the effects
• 37:29
  Speaker 4: look better because you can kind of hide them in stuff.
• 37:32
  Speaker 4: But at the end of the day, I mean, look
• 37:34
  Speaker 4: at Godzilla twenty fourteen. They did not do that there,
• 37:37
  Speaker 4: and that movie looked incredible. So that's where I'm at
• 37:41
  Speaker 4: with that. So instead of this Orcha device functioning as
• 37:46
  Speaker 4: a plot beat, it's just a piece of science that
• 37:49
  Speaker 4: exists in this world. We have this because monarch scientists
• 37:53
  Speaker 4: are really smart moving on. So, yeah, that genuinely irritated
• 37:58
  Speaker 4: me that we did not get an explanation of that
• 38:01
  Speaker 4: at all. And Emma's plan is, you know, she believes
• 38:05
  Speaker 4: she's saving the world. She you know, in her mind,
• 38:08
  Speaker 4: humanity's unschecked growth has poisoned the planet, and the Titans
• 38:12
  Speaker 4: represent nature's way of bringing balance back to the world.
• 38:16
  Speaker 4: Their destruction they will cause is terrible, but she views
• 38:19
  Speaker 4: it as a necessary sacrifice. Fucking I don't. I can't
• 38:24
  Speaker 4: be on your side when you want to unleash these
• 38:26
  Speaker 4: things to restore the balance of the world that is
• 38:30
  Speaker 4: in ruin, But was the world really in ruin? Because
• 38:34
  Speaker 4: you unleashed all of these things and then all of
• 38:38
  Speaker 4: them started attacking each other. So how are they restoring
• 38:42
  Speaker 4: balance when nothing was happening before they were unleashed. I
• 38:45
  Speaker 4: think that's my biggest problem is she wants to bring
• 38:48
  Speaker 4: balance back to the world, but it's been five years.
• 38:51
  Speaker 4: Everything seems to be pretty peachy keen to me, and
• 38:54
  Speaker 4: then you unwittingly release Godora, which is you know, literally
• 38:59
  Speaker 4: his name is King Godora. All of the other monsters
• 39:02
  Speaker 4: outside of Godzilla bow to him at one point because
• 39:05
  Speaker 4: he's the King, so you un least Monster zero, and
• 39:09
  Speaker 4: then everything kind of goes to shit. So it's it's
• 39:13
  Speaker 4: just her motivations are very, very frustrating. I can't see
• 39:19
  Speaker 4: I can't be on her side, and I can't be
• 39:22
  Speaker 4: on Mark's side either, just because he is so so
• 39:25
  Speaker 4: angry most of the movie. I'll say he probably air
• 39:29
  Speaker 4: quotes has the best character arc because by the end
• 39:34
  Speaker 4: he can finally let go. But when you take so
• 39:37
  Speaker 4: long to get to that arc, it's it's useless. It
• 39:42
  Speaker 4: has no impact for me. I'm glad you were able
• 39:45
  Speaker 4: to let it go. But could we maybe have tried
• 39:47
  Speaker 4: to work on letting it go an hour ago, you know,
• 39:50
  Speaker 4: like in the movie Good for You, Bro. But it's
• 39:54
  Speaker 4: just like Emma and Mark are so just absolutely unlikable
• 39:59
  Speaker 4: care which sucks because I love Mark Chandler, I love
• 40:02
  Speaker 4: Vera Farmiga, and again, Madison's just in the middle. And
• 40:05
  Speaker 4: let me just get this out of the way before
• 40:07
  Speaker 4: because I'm going on too long. I hate the fact
• 40:09
  Speaker 4: that Milly Bobby Brown is in this movie. She is
• 40:12
  Speaker 4: literally there to because she was famous at the time
• 40:15
  Speaker 4: they were trying to I'm assuming they used her to
• 40:18
  Speaker 4: attract a younger audience, which is not a problem, please
• 40:22
  Speaker 4: expose younger generations to monster movies. But she just felt
• 40:26
  Speaker 4: so forced being in there. I'm okay with wanting to
• 40:30
  Speaker 4: bring a younger audience into the movies, but let's just
• 40:33
  Speaker 4: do it a different way. She was solely there because
• 40:35
  Speaker 4: of the popularity of Stranger Things and Brandt.
• 40:39
  Speaker 3: But yeah, not only that, it's not where she is
• 40:43
  Speaker 3: there to get people to watch the movie, and she's
• 40:45
  Speaker 3: barely in it. She is way too much of this movie.
• 40:48
  Speaker 3: She is overpowering in scenes that she has no reason
• 40:51
  Speaker 3: to have that big of an effect on She makes
• 40:54
  Speaker 3: asinine decisions that nobody in the right mind would ever
• 40:56
  Speaker 3: logically make, which means she harms the direction of the
• 41:00
  Speaker 3: film and it entirely takes me out of it. She
• 41:03
  Speaker 3: should not have been, you know, this big of a
• 41:07
  Speaker 3: part of it. Sure, you know there's been monster movies
• 41:10
  Speaker 3: and quote horror movies that are semi like this, where
• 41:13
  Speaker 3: somebody famous comes in there and they play a part.
• 41:15
  Speaker 3: Whatever they get, they attract a different audience. Fine, you
• 41:18
  Speaker 3: could have easily had her like abducted or put in
• 41:22
  Speaker 3: a dangerous situation and off screen for forty minutes and
• 41:25
  Speaker 3: we come back to rescue her or something like that.
• 41:27
  Speaker 3: That's fine, make her the reason that we're going somewhere.
• 41:30
  Speaker 3: But no, Instead, she ruins dialogue. She steps into situation
• 41:34
  Speaker 3: and makes parents make just the dumbest decisions in the
• 41:37
  Speaker 3: guise of helping her. She makes bad decisions. She affects
• 41:41
  Speaker 3: storylines in ways that make zero sense. This movie is
• 41:44
  Speaker 3: not good. This movie is so just poorly overwrought. Again,
• 41:50
  Speaker 3: soup fat in my eyes?
• 41:51
  Speaker 4: Why fat in my eyes? That's the tagline for this movie. Yeah. So,
• 41:58
  Speaker 4: And touching on Madison, I think she's the biggest missed
• 42:02
  Speaker 4: opportunity of this film because you're right. The movie positions
• 42:05
  Speaker 4: her as this emotional bridge between her parents, but she
• 42:08
  Speaker 4: does not get enough screen time to fully own that
• 42:12
  Speaker 4: role because she god I wish I should have looked
• 42:17
  Speaker 4: this sub to see how much screen time she had,
• 42:18
  Speaker 4: but she doesn't. She does not have enough screen time,
• 42:22
  Speaker 4: and you're right. She makes one decision, which is arguably,
• 42:26
  Speaker 4: I guess, her defining moment, if you want to call
• 42:28
  Speaker 4: it that, and maybe the most courageous, but also the dumbest,
• 42:31
  Speaker 4: when she puts herself directly in Godra's path to throw
• 42:35
  Speaker 4: the ORCA device and distract him. Sure, that's heroic, but
• 42:40
  Speaker 4: it's also the dumbest thing you could ever do. Have
• 42:42
  Speaker 4: you seen Godra. He's fucking huge. He has three heads
• 42:46
  Speaker 4: that will shoot laser beams at you, and I'm not
• 42:48
  Speaker 4: gonna lie. I really wish he would have just demolished her.
• 42:52
  Speaker 3: Ah.
• 42:53
  Speaker 4: I was just that would have made this movie, honestly,
• 42:56
  Speaker 4: so great. It's like all the ingredients for her character
• 42:58
  Speaker 4: are there, but they are not explored enough. She feels
• 43:01
  Speaker 4: so disconnected from the entire movie because she can't pick
• 43:05
  Speaker 4: a side, so she picks her own side. Essentially and
• 43:08
  Speaker 4: does the whole thing with Godora. It's just, oh, it
• 43:11
  Speaker 4: is a frustrating human aspect to a Kaiju movie, because
• 43:17
  Speaker 4: there is what I'm learning now, especially going even in
• 43:20
  Speaker 4: back watching the older movies, is there is you have
• 43:24
  Speaker 4: to strike a balance with the monsters and with humanity.
• 43:27
  Speaker 4: If one of those doesn't work, the movie as a
• 43:31
  Speaker 4: whole really isn't gonna work that well. And it's a
• 43:35
  Speaker 4: very interesting thing that I didn't you know, I've seen
• 43:38
  Speaker 4: a monster movie here or there, but as I've been
• 43:41
  Speaker 4: watching them more and more, you really have to get
• 43:43
  Speaker 4: that combination right in order to pull off a successful
• 43:46
  Speaker 4: Kaiju film, and this is an example of a movie
• 43:50
  Speaker 4: that does not pull that off because of the unlikable
• 43:52
  Speaker 4: characters and sixteen fucking monsters. I mean, look at Destroy
• 43:57
  Speaker 4: All Monsters. I think it's I think it's Gamera versus
• 43:59
  Speaker 4: Gui Raan Destroy All Monsters. There's like seventeen Kaiju in
• 44:02
  Speaker 4: that movie, and You're like, there's just too many Kaiju.
• 44:04
  Speaker 4: What's happening. Yep, it's the same thing here because we
• 44:08
  Speaker 4: really needed that lead up. I will petition it's never
• 44:12
  Speaker 4: gonna happen because of you know, the hatred towards this movie.
• 44:16
  Speaker 4: But I am I am gonna petition till the day
• 44:19
  Speaker 4: I die for a standalone Rodan film please, or even Godora,
• 44:24
  Speaker 4: I mean, I know he's the bigger one. Or bring
• 44:27
  Speaker 4: back some of the classics like Hadorra or destroy Let's
• 44:32
  Speaker 4: let's see some of those come back. Let's yeah, let's
• 44:35
  Speaker 4: see some one v one Godzilla versus this person or
• 44:39
  Speaker 4: person this monster. Let's bring those back. But I just don't.
• 44:43
  Speaker 3: I'd love a proper modern Mathra film. You could do
• 44:45
  Speaker 3: so many interesting visual aspects with Mathra.
• 44:49
  Speaker 4: Yeah, not only because Mathra is just a gorgeous creature,
• 44:54
  Speaker 4: but she is one of the rare kaiju that serves
• 44:57
  Speaker 4: as a protector of Earth and she all so in
• 45:01
  Speaker 4: god What was the movie? I think it was Godzilla
• 45:03
  Speaker 4: versus Space Godzilla that we did this month. She also
• 45:06
  Speaker 4: has these two fairies that accompany her that speak on
• 45:09
  Speaker 4: her behalf to humanity. There's so much you could do
• 45:11
  Speaker 4: with that. I would love a standalone Mathra film where
• 45:15
  Speaker 4: she's fighting off, even if it's just the mutos, Like
• 45:18
  Speaker 4: I really enjoyed the Mutos from Godzilla twenty fourteen. They
• 45:21
  Speaker 4: were a new type of kaiju that is what Godzilla
• 45:24
  Speaker 4: was battling. They looked cool, the sounds they made. I
• 45:28
  Speaker 4: was listening to it on my surround sound. I was like,
• 45:30
  Speaker 4: totally shit, the sound design is great. Let's get something
• 45:34
  Speaker 4: like that, because they just ramped this up so quickly,
• 45:38
  Speaker 4: and I get it. It's probably because of the success
• 45:40
  Speaker 4: of the first two movies. Even though the twenty fourteen
• 45:44
  Speaker 4: wasn't well received, it still made a lot of money.
• 45:46
  Speaker 4: Kong made a lot of money, and then this made
• 45:49
  Speaker 4: a lot of money, almost I mean double its budget,
• 45:51
  Speaker 4: but the reception of it was extremely poor. And then
• 45:56
  Speaker 4: so what was that twenty nineteen, and then we get Godzilla.
• 45:58
  Speaker 4: Mine is zero on twenty twenty three, and I don't
• 46:02
  Speaker 4: you know, I know we're getting super Nova because apparently
• 46:04
  Speaker 4: the fans really like Godzilliver's Kong. I did not expect
• 46:07
  Speaker 4: a trilogy from godzillaverse Kong, although technically two and three
• 46:11
  Speaker 4: are Godzilla and Kong, so I guess they're teaming up.
• 46:14
  Speaker 4: I haven't seen this sequel yet, but I just I
• 46:17
  Speaker 4: don't know where they're gonna go with this Monster verse.
• 46:18
  Speaker 4: But I really just bring it back to the basics.
• 46:21
  Speaker 4: I mean, seriously, it's we don't need to overcomplicate things.
• 46:24
  Speaker 4: Bring it back to two monsters fighting and let it
• 46:28
  Speaker 4: be that and give us a compelling humanity aspect. I mean,
• 46:31
  Speaker 4: it's it's not impossible. It's hard, but it's not impossible.
• 46:35
  Speaker 3: Because I had not seen this one. I've still not
• 46:38
  Speaker 3: seen Godzillivers's Gong. I just can't imagine after how overwrought
• 46:43
  Speaker 3: this film was. I don't understand how people saw marketing
• 46:48
  Speaker 3: where we have King Kong wearing an Infinity Gauntlet and
• 46:53
  Speaker 3: they went, let's go to the movies and that, Like,
• 46:57
  Speaker 3: what are we fucking do at this point? I again,
• 47:01
  Speaker 3: I don't mean to over hate this or anything, but
• 47:04
  Speaker 3: the the the things from this ip that have been
• 47:07
  Speaker 3: successful over the years, how do you see those and
• 47:11
  Speaker 3: think the things we need are Millie Bobby Brown and
• 47:14
  Speaker 3: an Infinity Gauntlet.
• 47:16
  Speaker 4: Yeah?
• 47:16
  Speaker 3: I don't. I am so confused.
• 47:19
  Speaker 4: Yeah, I don't know either. I think it was really
• 47:22
  Speaker 4: just right place, right time for Millie Bobby Brown getting
• 47:25
  Speaker 4: that role because Straighter, Well, The Stranger Things was twenty sixteen,
• 47:29
  Speaker 4: so by twenty nineteen they were probably in like season
• 47:32
  Speaker 4: two because it takes them eight years between between.
• 47:35
  Speaker 3: Season that math checks out yet, Oh my god.
• 47:39
  Speaker 4: But yeah, I just I and honestly, god Zelliverse Kong.
• 47:44
  Speaker 4: Now I have to rewatch it because I am gonna
• 47:45
  Speaker 4: want I'm watching the Monstroverse and chronological order, so that
• 47:48
  Speaker 4: one is up next. But I remember thoroughly enjoying that
• 47:51
  Speaker 4: one much more than I did this one. Uh, it's interesting,
• 47:56
  Speaker 4: it's not Listen. I don't think anything in the Monster
• 47:58
  Speaker 4: verse will top Congskull Island, but prove me, prove me wrong, Hollywood,
• 48:02
  Speaker 4: Let's prove me.
• 48:03
  Speaker 3: I'm open to it.
• 48:04
  Speaker 4: I'm open to it. Like, give give me something because, uh,
• 48:08
  Speaker 4: clearly the fans like it. Because there, like I said,
• 48:11
  Speaker 4: there wouldn't be a trilogy of this Godzilla Kong thing
• 48:13
  Speaker 4: if the fans did not enjoy it. If the first
• 48:16
  Speaker 4: one bombed and it was poorly received, they wouldn't have
• 48:18
  Speaker 4: done a second one. Also, Adam win Guard, if that helps,
• 48:22
  Speaker 4: directs all three of them. So I'll put that out there.
• 48:25
  Speaker 4: Another horror director directing a Kaiju film. Hopefully. I don't
• 48:31
  Speaker 4: know if that works or if that holds you back,
• 48:33
  Speaker 4: because you know, Michael Doherty was also a horror director.
• 48:36
  Speaker 4: But Adam wind Guard is involved in these three movies,
• 48:39
  Speaker 4: so maybe that'll change your mind. Just a little bit.
• 48:42
  Speaker 4: I don't know.
• 48:43
  Speaker 3: I think the bigger hope is let's bring back a
• 48:45
  Speaker 3: good writer again. For those that don't remember on cong
• 48:48
  Speaker 3: School Island, Dan Gilroy is the head writer on that,
• 48:50
  Speaker 3: and Gilroy has gone on to do so many bigger
• 48:53
  Speaker 3: things obviously, and the titles that he's wrote have been
• 48:56
  Speaker 3: tight and well thought out and not not even just
• 48:59
  Speaker 3: like like planned, but everything is happening for a reason,
• 49:04
  Speaker 3: and there's even if you're not explicitly explained something in
• 49:07
  Speaker 3: the actual script, it's logical. It makes sense. It is that, Oh,
• 49:11
  Speaker 3: I can see why a character would make that decision.
• 49:13
  Speaker 3: We go to King of the Monsters and dude, almost
• 49:17
  Speaker 3: every decision is like is has the writers of this
• 49:21
  Speaker 3: have they met people? Do they know life? Do they
• 49:25
  Speaker 3: know like trying to survive situations? Do they understand making
• 49:29
  Speaker 3: decisions for humanity? That makes sense because I don't know
• 49:32
  Speaker 3: that they've ever met a person.
• 49:34
  Speaker 4: Yeah, for for a first day as a human? I guess.
• 49:36
  Speaker 2: Well.
• 49:36
  Speaker 4: And it's interesting too because the main writer, Max Bornstein,
• 49:40
  Speaker 4: wrote the twenty fourteen Godzilla and Congskull Island and then
• 49:44
  Speaker 4: would go on to do Godzillaver's cong So it's like,
• 49:47
  Speaker 4: what happened here that and I don't know, studio interference
• 49:53
  Speaker 4: just too much, I mean too much happening that the
• 49:56
  Speaker 4: writers just ultimately did not know how to make this
• 50:00
  Speaker 4: more cohesive. There's a lot of elements that could have
• 50:02
  Speaker 4: gone into this and why we got the product that
• 50:05
  Speaker 4: we did. But I do find it strange that, you know,
• 50:08
  Speaker 4: the main writer was involved in two of these and
• 50:10
  Speaker 4: then somehow just you know, kind of shit the bed
• 50:13
  Speaker 4: with this one. Obviously, I'm not blaming Max Bornstein, the
• 50:17
  Speaker 4: writer that you mentioned. What else has he done because
• 50:20
  Speaker 4: the name sounds familiar, But I can't.
• 50:22
  Speaker 3: Play the big thing. Everybody knows Dan Gilroy, for is,
• 50:26
  Speaker 3: he wrote Night Crawler, but lately he's one of the
• 50:29
  Speaker 3: main writers of and Or. He and his brother are
• 50:32
  Speaker 3: the team behind and Or. He also wrote Velvet Buzsa,
• 50:35
  Speaker 3: Roman j Israel Esquire, the Boorn Legacy. I think he
• 50:39
  Speaker 3: did the screenplay for that one. He's done the Gilroys
• 50:43
  Speaker 3: have done all kinds of great stuff. He co directs
• 50:46
  Speaker 3: stuff with his brother too, Like he directed Velvet Buzsa,
• 50:49
  Speaker 3: he directed Nightcrawler. He is. He's great at what he does.
• 50:53
  Speaker 3: But the big thing is it's his creative stamp on
• 50:57
  Speaker 3: it that makes it make sense, Like there's no way.
• 50:59
  Speaker 3: I'm I'm probably given too much credit to Michael Doherty here,
• 51:02
  Speaker 3: but we've seen what he can do in the past,
• 51:04
  Speaker 3: and this is probably one of those situations where and
• 51:08
  Speaker 3: we might have talked about this slightly last time I
• 51:10
  Speaker 3: was here for Let the Right one in where budgets
• 51:13
  Speaker 3: kind of change people. With Michael Doherty, I feel like
• 51:16
  Speaker 3: if you would this, obviously this movie cannot have been
• 51:20
  Speaker 3: made on this budget, and not saying it could have,
• 51:21
  Speaker 3: but if you had sliced this budget in half, at
• 51:23
  Speaker 3: least that limiting factor would have kept him in a
• 51:27
  Speaker 3: very specific sandbox per se. It would have forced him
• 51:30
  Speaker 3: to make decisions that would have kept everything contained in
• 51:34
  Speaker 3: a way that doesn't just bloat like soup on my eyeballs.
• 51:38
  Speaker 3: And that is where the bloat comes in and makes
• 51:42
  Speaker 3: everything just feel greasy, and it doesn't. It works for
• 51:46
  Speaker 3: certain things, And yes, it may have sold tickets, but
• 51:49
  Speaker 3: at what cost, Like at one point this ip is
• 51:53
  Speaker 3: going to feel like watered down soup on people's eyeballs
• 51:56
  Speaker 3: if we just keep expanding how much fat you allow
• 52:00
  Speaker 3: them to put into a script, and if you want
• 52:02
  Speaker 3: to cut that out cut down their budget. Maybe it
• 52:04
  Speaker 3: doesn't go two hours twelve to see. Sure, it's very
• 52:06
  Speaker 3: long for what it is, but in all reality, following
• 52:09
  Speaker 3: twenty fourteen's Godzilla, we didn't need a two hour Godzilla movie.
• 52:13
  Speaker 3: This easily could have been a ninety minute story that
• 52:15
  Speaker 3: was tighter and made more sense. An introduced monarch, or
• 52:19
  Speaker 3: introduced this family that you want us to care about,
• 52:21
  Speaker 3: because you're going to bring Millie Bobby Brown back in
• 52:23
  Speaker 3: the Infinity Gauntlet movie. This film reminds me of the
• 52:26
  Speaker 3: first round of the MCU and how they got to
• 52:29
  Speaker 3: that soupy Avengers place, that first round of leading up
• 52:33
  Speaker 3: to that first Avengers movie. Every movie at its place,
• 52:35
  Speaker 3: every movie had a sliver of the first pie to
• 52:40
  Speaker 3: tell a story for, and it led to an entire
• 52:42
  Speaker 3: meal of the Avengers film. I feel like at this
• 52:45
  Speaker 3: point we had like a glass of water at the
• 52:48
  Speaker 3: table with twenty fourteen Godzilla, and then you gave us dessert,
• 52:52
  Speaker 3: and we don't need dessert at that point. We need
• 52:54
  Speaker 3: a steak, We need something to prepare and have an
• 52:57
  Speaker 3: actual hearty meal. And if you had been able to
• 53:00
  Speaker 3: tell some more of those stories, this oversacharin sweetness of
• 53:04
  Speaker 3: just eye candy that they think they're giving us. That
• 53:07
  Speaker 3: would have made a much better coda instead of a prelude,
• 53:11
  Speaker 3: and instead it's just a soupy mess of my eyeballs
• 53:15
  Speaker 3: and it sucks. It's not fun.
• 53:19
  Speaker 4: Uh, soupy mess of my eyeballs. That's that's the running
• 53:22
  Speaker 4: theme here. I love that description. It's given me a
• 53:25
  Speaker 4: lot of funny imagery in my head.
• 53:28
  Speaker 3: Uh.
• 53:28
  Speaker 4: But you're right, because, like we said, there's too much
• 53:34
  Speaker 4: going on. You have Godzilla, Goadora, Rodin, mathra, monarch politics,
• 53:40
  Speaker 4: Alan Jonahs, eco terrorists, the Orca device, the Oxygen Destroyer,
• 53:44
  Speaker 4: fucking hollow Earth confirmation, multiple tightening awakenings, global environmental themes,
• 53:49
  Speaker 4: the Russell family drama. That's so much shit for a movie.
• 53:54
  Speaker 4: I mean, all of the things I mentioned could be
• 53:57
  Speaker 4: separate fucking movies. I mean, see, I mean, the one
• 54:02
  Speaker 4: thing that I did like about this is that they
• 54:04
  Speaker 4: talk about hollow Earth in Congskull Island and how you know,
• 54:08
  Speaker 4: the hollow Earth theory, and then it is confirmed in
• 54:10
  Speaker 4: this movie and I and I like the continuity that
• 54:14
  Speaker 4: they use because it is for the most part, and
• 54:17
  Speaker 4: it's got some good continuity outside of just interjecting the
• 54:19
  Speaker 4: Russell family into God's.
• 54:21
  Speaker 3: Deliverth It's intriguing, Yeah, yeah.
• 54:23
  Speaker 4: Because you know, they tease things in one movie, they
• 54:26
  Speaker 4: confirm things in other movies, but then they just introduce
• 54:29
  Speaker 4: things like the orca that they're just like, bah, accept it.
• 54:32
  Speaker 4: Science did these science people did science things da. So
• 54:36
  Speaker 4: none of these, like literally any of these ideas could
• 54:39
  Speaker 4: carry significant screen time. Instead, it's like you're trying to.
• 54:43
  Speaker 4: It's like you're juggling, you know, like three balls, and
• 54:44
  Speaker 4: then someone's like, throw a fourth one in, okay, and
• 54:47
  Speaker 4: five and six? All right, this is too many. I
• 54:49
  Speaker 4: can't juggle seven things at once.
• 54:51
  Speaker 3: Well even worse, you know, sort of a better analogy,
• 54:54
  Speaker 3: I think is that it's like somebody's juggling three balls
• 54:57
  Speaker 3: and you go, that's impressive. I couldn't do that. And
• 54:59
  Speaker 3: then they say, okay, throw me twelve more. It's not
• 55:02
  Speaker 3: three four, five, it's three than twelve, and that that
• 55:05
  Speaker 3: doesn't make any sense. Nobody, even the best of jugglers, goes,
• 55:10
  Speaker 3: oh shit.
• 55:12
  Speaker 4: I can't do this. We have two hands. So it's
• 55:17
  Speaker 4: just the movie creates this strange contradiction with itself because
• 55:21
  Speaker 4: it clearly wants you to like the Russell family. They're
• 55:24
  Speaker 4: this emotional hearts of this story. But like you mentioned earlier,
• 55:29
  Speaker 4: we spend far more energy caring for Godzilla than we
• 55:32
  Speaker 4: do the Russells, especially during the scene where Sarah Zawa,
• 55:37
  Speaker 4: you know, Godzilla is down for the count essentially, and
• 55:41
  Speaker 4: Sarah Zawa is like, okay, we need a nuke to
• 55:46
  Speaker 4: wake him back up. Cool, And this felt very on
• 55:49
  Speaker 4: par with his character from the original. I don't think
• 55:52
  Speaker 4: it's supposed to be the same person. I think it's just,
• 55:55
  Speaker 4: you know, a modern version of sarah'zawa. But in the
• 55:58
  Speaker 4: original Sarah sarah's Awa wanted to study him. He did
• 56:01
  Speaker 4: not want to destroy him. He wanted to keep him
• 56:04
  Speaker 4: around and somehow figure out how this thing worked. So
• 56:08
  Speaker 4: him ultimately sacrificing himself to reawaken Godzilla was kind of
• 56:15
  Speaker 4: a base move, like, all right, cool, But on the
• 56:19
  Speaker 4: same side of that it having a Japanese person set
• 56:23
  Speaker 4: off a nuke to save Godzilla feels so fucking insensitive
• 56:26
  Speaker 4: given the fact that Japan is the only place on
• 56:30
  Speaker 4: Earth that has been bombed with nuclear weapons twice. So
• 56:33
  Speaker 4: you're doing this cool thing by having this emotional connection.
• 56:37
  Speaker 4: I mean, I felt more emotion in the scene where
• 56:40
  Speaker 4: Sarahzawa reached out and touched Godzilla than I did with
• 56:44
  Speaker 4: any of the Russell family. But it also has this
• 56:47
  Speaker 4: weird message like nukes are good, like radiation is fun.
• 56:51
  Speaker 4: So it's got this weird message in this moment that's
• 56:54
  Speaker 4: supposed to be wholesome, which it is, but it's it's
• 56:58
  Speaker 4: I don't know, what do you feel the same way about?
• 57:01
  Speaker 3: Oh boy, I feel lots of things. So yes, not
• 57:04
  Speaker 3: only is it tasteless. One minor correction to also point
• 57:08
  Speaker 3: out that the Americans also bombed the shit out of
• 57:10
  Speaker 3: their own people to test nukes, and that has led
• 57:12
  Speaker 3: to a lot of problems, and we can get into
• 57:15
  Speaker 3: like the Marshall Islands, lots of other things surrounding this. Anyways,
• 57:18
  Speaker 3: Americans suck, yes, and not only because they have nuked
• 57:21
  Speaker 3: many people throughout history, because they've ruined the Godzilla IP
• 57:24
  Speaker 3: and this is an example of that. Speaking of tasteless things,
• 57:28
  Speaker 3: to say that was obviously inflammatory for a reason. But yes,
• 57:32
  Speaker 3: this was a bad, bad decision to make here, and
• 57:35
  Speaker 3: I mean so much of this, like you know, just
• 57:38
  Speaker 3: to Jux, suppose what they do with him with Kyle Chandler,
• 57:41
  Speaker 3: the I don't know. It's like fourteen minutes after the
• 57:44
  Speaker 3: start of the film and you have this super dramatic
• 57:46
  Speaker 3: moment of them, you know, lowering the shields or whatever,
• 57:50
  Speaker 3: and you focus on Kyle Chandler and he goes lower
• 57:54
  Speaker 3: the shields and it's supposed to be this big moment,
• 57:57
  Speaker 3: and it's like, Okay, you see him as a he's dormant,
• 57:59
  Speaker 3: like you understand what's going on. Why is this this
• 58:02
  Speaker 3: big dramatic lead up when it's very obvious what is
• 58:05
  Speaker 3: happening here and everybody doesn't trust it. Again, just poor writing,
• 58:09
  Speaker 3: like let's make better choices and focus on actual humanity
• 58:12
  Speaker 3: and we might give a flying crap about it. I again,
• 58:16
  Speaker 3: those aren't entirely related. This is just awful. I mean,
• 58:20
  Speaker 3: I hate this worse than I did the other day
• 58:21
  Speaker 3: when I watched it.
• 58:22
  Speaker 4: Now, yeah, I know. And and that's what I really
• 58:26
  Speaker 4: love about the podcast, because there are some times where
• 58:28
  Speaker 4: I'm unsure about a movie and talking it through makes
• 58:31
  Speaker 4: me appreciate it and understand it. Unfortunately, this is the
• 58:35
  Speaker 4: opposite case for this movie. It is making me appreciate
• 58:37
  Speaker 4: it less and less. And I know this entire episode
• 58:42
  Speaker 4: is probably coming off extremely negative but we are pointing
• 58:46
  Speaker 4: out real issues with the movie. It's not like we're
• 58:48
  Speaker 4: sitting here saying like I didn't like this, I didn't
• 58:50
  Speaker 4: like that we are prevent at least, I'm presenting my
• 58:54
  Speaker 4: issues with the movie and how it's too convoluted, which
• 58:58
  Speaker 4: is pretty general conces on this one, because well, we're
• 59:02
  Speaker 4: all here for the monsters fighting, but we're somehow sucked
• 59:06
  Speaker 4: back into this, all of this drama and just too
• 59:08
  Speaker 4: much happening between Mark not letting go, Emma with the
• 59:12
  Speaker 4: weirdest motives in existence, and then Madison just bibity boppity
• 59:17
  Speaker 4: booing between both of them. It's just a very very
• 59:22
  Speaker 4: strange movie. Where did my I have so many notes
• 59:25
  Speaker 4: and trying to find the spot that fit into what
• 59:28
  Speaker 4: I was saying, And of course that's funny.
• 59:30
  Speaker 3: They looked at the script and thought the same thing.
• 59:32
  Speaker 4: Yeah, right, yeah, where are we in this Where are
• 59:34
  Speaker 4: we in this script?
• 59:35
  Speaker 3: I don't know that it matters. Let's just start on
• 59:37
  Speaker 3: page twenty six.
• 59:37
  Speaker 4: All right, let's just start here, because you were talking
• 59:40
  Speaker 4: about the monsters and stuff like that, so I was
• 59:43
  Speaker 4: going to transition into things that I did enjoy, because ultimately, yes,
• 59:46
  Speaker 4: I don't think this is a great movie. It's not
• 59:48
  Speaker 4: a good movie, but what things to note here, right,
• 59:52
  Speaker 4: The reveal of Mathra comes at six minutes fifty seven seconds.
• 59:56
  Speaker 4: Great reveal, except everybody starts attacking it for whatever reason,
• 1:00:00
  Speaker 4: and they have to go out there and use the
• 1:00:02
  Speaker 4: Orca device and then she, you know, just like fucks
• 1:00:04
  Speaker 4: off into the waterfall. Great reveal. You get a monster.
• 1:00:07
  Speaker 4: Six minutes in you get Godzilla, and this is such
• 1:00:10
  Speaker 4: a great shot in my opinion, when they're in the
• 1:00:13
  Speaker 4: submersible that they have whatever whatever the hell it is,
• 1:00:16
  Speaker 4: and then they can track Godzilla. This is another thing
• 1:00:19
  Speaker 4: too that they don't explain. They have this device that
• 1:00:22
  Speaker 4: can track Godzilla based on radiation, sure, but they are
• 1:00:25
  Speaker 4: also able to monitor his heartbeat, his heart rate, all
• 1:00:28
  Speaker 4: that stuff again not explained. It's science magic. But you
• 1:00:32
  Speaker 4: see him swimming in the water with his blue like
• 1:00:36
  Speaker 4: you know, what do they call the fucking things on
• 1:00:38
  Speaker 4: his back the spine spine. There we go and he's
• 1:00:41
  Speaker 4: just kind of swimming through the water towards them. He's like, hey,
• 1:00:44
  Speaker 4: lower the shield so let him know we're not a threat.
• 1:00:46
  Speaker 4: That was great. Thirty nine minutes in we get Godora.
• 1:00:50
  Speaker 4: Forty two minutes, we get Godzilla walking on the beach
• 1:00:53
  Speaker 4: or walking on in the beach of Antarctica or whatever
• 1:00:56
  Speaker 4: you want to call it, with the revamped theme song.
• 1:01:00
  Speaker 4: That was killer.
• 1:01:01
  Speaker 3: Great score, Yeah, great score.
• 1:01:03
  Speaker 4: Great. You know, it was a little bit reimagined, and
• 1:01:05
  Speaker 4: I really liked that they kept true to Godzilla's original roar,
• 1:01:10
  Speaker 4: just modified it all, you know, slightly here and there.
• 1:01:13
  Speaker 4: And then we get Godora fighting Godzilla forty three minutes,
• 1:01:17
  Speaker 4: we see the first atomic breath at forty four minutes,
• 1:01:20
  Speaker 4: Rodan at fifty five minutes, and then Rodan fighting Godzilla
• 1:01:24
  Speaker 4: or Rodan fighting Godorra at an hour. So within the
• 1:01:27
  Speaker 4: first hour, all monsters are revealed, some of them have fought.
• 1:01:30
  Speaker 4: And another one of the scenes I truly, truly love
• 1:01:33
  Speaker 4: is when Rodan is on the tail of that stealth
• 1:01:36
  Speaker 4: bomber and they are heading towards Monster zero because they're like,
• 1:01:41
  Speaker 4: what the fuck do we do? We've got to pit
• 1:01:43
  Speaker 4: them against each other, and you can see Godora flying
• 1:01:46
  Speaker 4: behind them. He's reaching out with his claws to grab
• 1:01:49
  Speaker 4: this stealth bomber, and all of a sudden he pulls
• 1:01:51
  Speaker 4: his you know, his claws back and you see Godora
• 1:01:54
  Speaker 4: lit up by this lightning in the clouds and then
• 1:01:57
  Speaker 4: they go to fight. I loved that scene. I thought
• 1:02:00
  Speaker 4: that was fantastic. So there's a lot of good parts
• 1:02:03
  Speaker 4: in here, but it's like a chunk here and then
• 1:02:06
  Speaker 4: like thirty minutes later, a chunk there. One little shot
• 1:02:10
  Speaker 4: of imagery that's really cool. Here. Oh, man, Goadora just
• 1:02:13
  Speaker 4: fucked up an entire city in Mexico with his with
• 1:02:16
  Speaker 4: his wings.
• 1:02:17
  Speaker 3: Cool.
• 1:02:18
  Speaker 4: So it's like, there are very very good shots in
• 1:02:21
  Speaker 4: this movie, but ultimately it's just again, it's just watered
• 1:02:25
  Speaker 4: down soup. At this point. You put too many ice
• 1:02:29
  Speaker 4: cubes in it to cool it down, and now it
• 1:02:30
  Speaker 4: tastes like shit. I don't like this. It's it's just
• 1:02:35
  Speaker 4: it's not the greatest installment. I only hope things will
• 1:02:40
  Speaker 4: get better. I don't know what the plans are for
• 1:02:42
  Speaker 4: this fucking franchise outside of Supernova, which is supposed to
• 1:02:47
  Speaker 4: I think it's this year or next year that's coming out.
• 1:02:49
  Speaker 4: But Hollywood, I know you're listening. I know you're listening.
• 1:02:52
  Speaker 4: Let's just do it's basics. Let's go back to basics.
• 1:02:55
  Speaker 4: Give us just give us a mathra, you know, give
• 1:02:58
  Speaker 4: us a give us a rodin give us a give
• 1:03:00
  Speaker 4: us something.
• 1:03:01
  Speaker 3: And shit, give us a standalone Mathra movie. We don't
• 1:03:05
  Speaker 3: even need Godzilla in it. Give us a standalone story
• 1:03:08
  Speaker 3: to make us. You know, if you want us to
• 1:03:10
  Speaker 3: be empathetic towards the monsters, that's fine, We actually enjoy that.
• 1:03:15
  Speaker 3: But give us Give modern audiences a taste of Mathra
• 1:03:20
  Speaker 3: before you make the soup, like, at least allow us
• 1:03:23
  Speaker 3: to understand what Mathra can do, where they're from, why
• 1:03:27
  Speaker 3: they're here. And you don't have to do that with
• 1:03:29
  Speaker 3: the overwrought exposition either. Just give us its own story.
• 1:03:32
  Speaker 3: Give us some time with Mathra.
• 1:03:34
  Speaker 4: Because I would say, honestly, Mantra has the best What
• 1:03:39
  Speaker 4: am I trying to say here? I would say she
• 1:03:40
  Speaker 4: has the most story in depth to her. To do
• 1:03:44
  Speaker 4: a full length movie that would be very interesting because
• 1:03:47
  Speaker 4: there are a lot of elements to her. She has
• 1:03:49
  Speaker 4: a Larvae stage, she has an Emago stage. I think
• 1:03:55
  Speaker 4: she's got two different forms that she goes from and
• 1:03:59
  Speaker 4: turns in two, and she's also got those fairies. I mean,
• 1:04:02
  Speaker 4: there's so much with Mathra that they could do an
• 1:04:05
  Speaker 4: entire movie on just her fighting again, fighting Muto's or
• 1:04:09
  Speaker 4: setting this back before cong skull who know who the
• 1:04:13
  Speaker 4: fuck knows they They could do so much with Mathra,
• 1:04:16
  Speaker 4: and I really feel they need to bring it back
• 1:04:17
  Speaker 4: to basics. Just do one monster, especially one that is
• 1:04:20
  Speaker 4: the protector of Earth. You know, Godzilla at this point
• 1:04:23
  Speaker 4: has you know, fully transitioned into protecting Earth as well.
• 1:04:27
  Speaker 4: He is fighting off all of these creatures who are
• 1:04:30
  Speaker 4: wanting to destroy Earth. But I like that Mathra is
• 1:04:33
  Speaker 4: really only the other one, even like outside of like
• 1:04:36
  Speaker 4: you know, Gamera or whatever, but that's a completely different
• 1:04:39
  Speaker 4: That's not Toho, that's not the Monster Verse. That's DII films.
• 1:04:44
  Speaker 4: I can't pronounce it. But yeah, give us some Mauthra film.
• 1:04:46
  Speaker 4: I think that would be the next great movie that
• 1:04:49
  Speaker 4: someone could do. And you're right, give them a budget,
• 1:04:52
  Speaker 4: just a little bit less, because when you have to
• 1:04:56
  Speaker 4: work with less, you can ultimately, somehow weirdly do more
• 1:04:59
  Speaker 4: because you have this confined space when you're getting Michael Darwerty,
• 1:05:03
  Speaker 4: is I go one hundred and seventy million dollars, Well,
• 1:05:05
  Speaker 4: we'll just take a bath in all of this money.
• 1:05:07
  Speaker 4: I mean, come on. So if you give them a
• 1:05:09
  Speaker 4: little bit smaller of a budget, I feel like it
• 1:05:11
  Speaker 4: ultimately would be a better product, and I have so
• 1:05:15
  Speaker 4: much more I can say about this, I really do,
• 1:05:18
  Speaker 4: but I don't want to just keep shitting on this movie.
• 1:05:20
  Speaker 4: Was there any element of this movie that legitimately worked
• 1:05:25
  Speaker 4: for you, any any scenes that worked for you, or
• 1:05:27
  Speaker 4: was it kind of a yeah, okay, well, why don't
• 1:05:30
  Speaker 4: we talk about those and then on a good note.
• 1:05:32
  Speaker 3: I mean, you know, a lot of the visuals can
• 1:05:34
  Speaker 3: be decent. We talked about some of them earlier. You know,
• 1:05:37
  Speaker 3: the volcano scene kind of incredible. The way that they
• 1:05:40
  Speaker 3: show people like literally bursting into flames or people running
• 1:05:43
  Speaker 3: away with the lava falling around them and all that
• 1:05:45
  Speaker 3: shit like that was really well done. It's a scene
• 1:05:48
  Speaker 3: that is terrifying in multiple ways. A couple of the
• 1:05:51
  Speaker 3: scenes where, like you mentioned earlier, they are clearly hiding
• 1:05:55
  Speaker 3: CGI and the need to you know, design things into
• 1:05:59
  Speaker 3: a much sharper image with smoke and fog and with rain.
• 1:06:03
  Speaker 3: I actually kind of appreciated that in this film. They
• 1:06:05
  Speaker 3: do a lot of things to make them intimidating. That
• 1:06:07
  Speaker 3: being said, it only works if you do have clear
• 1:06:10
  Speaker 3: scenes later that make a little more sense and can
• 1:06:13
  Speaker 3: see a little more of that detail. So we can't
• 1:06:16
  Speaker 3: obscure it the entire film, but they did decent with
• 1:06:19
  Speaker 3: some of those visuals. I will say the color grading
• 1:06:22
  Speaker 3: in this film kind of leaves a lot to be desired,
• 1:06:24
  Speaker 3: But I almost feel like that might just be this
• 1:06:27
  Speaker 3: entire franchise, like a overall look they're going for, because
• 1:06:31
  Speaker 3: even like Congschool Island is colorful, but in a very
• 1:06:34
  Speaker 3: different way and a sort of it's got an expanded
• 1:06:38
  Speaker 3: color palette, but it still feels drained of contrast and
• 1:06:43
  Speaker 3: in a way that I don't know. It's an odd choice,
• 1:06:45
  Speaker 3: but like twenty fourteen Godzilla was very classic like Orange
• 1:06:50
  Speaker 3: and Cyan, Like a lot of unnecessary action movies from
• 1:06:53
  Speaker 3: around that time, it was very just leaning heavily in
• 1:06:55
  Speaker 3: that palette and I never love that. So some odd
• 1:06:58
  Speaker 3: choices there, but I mean, yeah, overall, like they know
• 1:07:02
  Speaker 3: how to choreograph fight scenes. There are some great looking
• 1:07:05
  Speaker 3: fight scenes here. They do well with a lot of those,
• 1:07:07
  Speaker 3: but unfortunately many of the visuals just don't work for me.
• 1:07:10
  Speaker 4: Yeah. I love when Mathra just shoots her little webs
• 1:07:14
  Speaker 4: or whatever at Coadora and pins up and that was great.
• 1:07:16
  Speaker 4: I was like, hell yeah, So ultimately, you know, not
• 1:07:20
  Speaker 4: the greatest they're definitely stronger monster vers movies. And I
• 1:07:24
  Speaker 4: will be diving into the other sequel to Godzillaver's Kong
• 1:07:30
  Speaker 4: probably later today because you know, I'm just I'm in
• 1:07:32
  Speaker 4: the Kaiju mood. But this one is gonna probably fall
• 1:07:35
  Speaker 4: short on the list. And you know, we were off
• 1:07:38
  Speaker 4: to such a great start this month with the original
• 1:07:41
  Speaker 4: Godzilla Space. You know it's Godziliver Space Godzilla the Atrocity,
• 1:07:46
  Speaker 4: the atrocity on my eyes, that was monstrous seafood Wars
• 1:07:51
  Speaker 4: this one, but hopefully, hopefully we'll come back around with
• 1:07:55
  Speaker 4: our what is it our wild card pick, which has
• 1:07:59
  Speaker 4: a terrible rating, but I feel like it's going to
• 1:08:00
  Speaker 4: be amazing, which is gammera versus Veras from the Shoah era.
• 1:08:06
  Speaker 4: So yes, with all that being said, let us move
• 1:08:10
  Speaker 4: on to the final cut. Wrong one, here we go.
• 1:08:17
  Speaker 4: I do that every time. So too many goddamn taglines.
• 1:08:21
  Speaker 4: Let them fight, Long live the King. Their reign begins,
• 1:08:26
  Speaker 4: One king to rule them all, Prepare to throw down.
• 1:08:30
  Speaker 4: Only one will rule God help us all, and prepare
• 1:08:33
  Speaker 4: for battle.
• 1:08:35
  Speaker 3: In a movie with too many plot lines and characters,
• 1:08:38
  Speaker 3: there's too many taglines, I'm sure what.
• 1:08:41
  Speaker 4: Yeah, bright on par honestly a couple things of trivia.
• 1:08:44
  Speaker 4: Here a skeleton can be seen outside of Godzilla's underwater temple.
• 1:08:48
  Speaker 4: This skeleton bears a body shape resembling Anguirus, a dinosaur
• 1:08:52
  Speaker 4: who served as Godzilla's ally, and a few films the
• 1:08:55
  Speaker 4: filmmakers have confirmed that it is in fact that monster.
• 1:08:58
  Speaker 4: Maybe we'll get him down the road. Mathra's eyespots on
• 1:09:01
  Speaker 4: her wings were designed to resemble Godzilla's eyes in order
• 1:09:04
  Speaker 4: to create a connection between the two monsters. Michael Dougherty
• 1:09:07
  Speaker 4: said she is his flag bearer and queen, not a surprise,
• 1:09:10
  Speaker 4: as they have worked together before. One of the Titans, Leviathan,
• 1:09:14
  Speaker 4: is in Luckness, implying that it's the origin of the
• 1:09:19
  Speaker 4: lock Ness monster legend. Toho actually nearly made a Kaiju
• 1:09:23
  Speaker 4: film starring NeSSI in nineteen seventy eight in co production
• 1:09:26
  Speaker 4: with Hammer Horror, and got far enough into production for
• 1:09:29
  Speaker 4: posters to be made. And I'm so sad that that
• 1:09:32
  Speaker 4: does not exist. We do not, have, to my knowledge,
• 1:09:35
  Speaker 4: a Lockness Monster movie. I don't think.
• 1:09:38
  Speaker 3: No.
• 1:09:39
  Speaker 4: Cranial scans indicate each of Godora's head possess different levels
• 1:09:43
  Speaker 4: of cognitive function and possible independent thought. The middle head
• 1:09:47
  Speaker 4: being the most intelligent, acting as the Alpha, while the
• 1:09:50
  Speaker 4: left and right are Morikin to its Lackeys and Mathra
• 1:09:53
  Speaker 4: screech in. The film is a modified version of the
• 1:09:55
  Speaker 4: original sound from the Toho series Goofs Got Some Good
• 1:09:59
  Speaker 4: Shay submarines. Submarines don't use GPS for deep water navigation,
• 1:10:03
  Speaker 4: they use sonar. It was stated that Washington, DC was
• 1:10:07
  Speaker 4: being hit by a Category six hurricane. Nope, only goes
• 1:10:11
  Speaker 4: to Category five, So that's incorrect. I know that because
• 1:10:14
  Speaker 4: I'm from Florida. When attacking Godora, there is absolutely no
• 1:10:18
  Speaker 4: reason for the attacking aircraft to fly so close to
• 1:10:21
  Speaker 4: the monster as they're batted out of the air. And
• 1:10:24
  Speaker 4: this one's too long, I'm not going to read it.
• 1:10:26
  Speaker 4: Rated six point oh out of ten on IMDb for
• 1:10:30
  Speaker 4: our purposes of the Nightmare index, that is a three
• 1:10:32
  Speaker 4: point zero out of five. It has a two point
• 1:10:36
  Speaker 4: nine out of five on the letterbox, forty two percent
• 1:10:39
  Speaker 4: on the Tomato Meter. Shockingly, an eighty three percent audience score.
• 1:10:43
  Speaker 4: I don't understand this movie. It doesn't make any goddamn sense.
• 1:10:47
  Speaker 4: What would you give this movie on a scale of
• 1:10:49
  Speaker 4: one to five?
• 1:10:50
  Speaker 3: Ryan, Yeah, I have been sort of oscillating on this
• 1:10:53
  Speaker 3: one somewhere between a one and a half and a two.
• 1:10:56
  Speaker 3: So if super decimals are allowed, I'll say one point
• 1:11:00
  Speaker 3: seventy five because that feels about right for me.
• 1:11:03
  Speaker 4: All Right, well, we'll just round that two a two
• 1:11:05
  Speaker 4: for for purposes here. Actually, you know what, fuck it
• 1:11:08
  Speaker 4: we're gonna do. We're gonna we're gonna switch it out.
• 1:11:10
  Speaker 4: We're gonna do a one point seventy five. Why the
• 1:11:13
  Speaker 4: fuck not one point seventy five. I'm gonna give it
• 1:11:16
  Speaker 4: a two and a half, which is very very generous,
• 1:11:18
  Speaker 4: I know. So that gives us a nightmare index of
• 1:11:22
  Speaker 4: a two point five to three, which is just above
• 1:11:26
  Speaker 4: Monster Sea. Actually no, it's quite above Monster Seafood Wars.
• 1:11:29
  Speaker 4: Let's be honest. That one is a one point nine
• 1:11:31
  Speaker 4: out of five. Nothing is going to beat that. So
• 1:11:33
  Speaker 4: I believe this is about second or third from the bottom.
• 1:11:36
  Speaker 4: That's what it is, you know. Unfortunately, maybe, uh maybe
• 1:11:40
  Speaker 4: I'll start doing better Kaiju movies, I.
• 1:11:43
  Speaker 3: Could be honest. I think I'd rather watch Monster Seafood
• 1:11:45
  Speaker 3: Wars than this one.
• 1:11:45
  Speaker 4: Ever again, have you ever seen Monster Seafood Wars.
• 1:11:48
  Speaker 3: I've seen a couple of clips from it.
• 1:11:50
  Speaker 4: Yeah, wooh okay, you you watched that and report back, well,
• 1:11:55
  Speaker 4: at least that is not trying to be what this is.
• 1:11:57
  Speaker 4: That's true, That is actually actually.
• 1:11:59
  Speaker 3: That I think at what they are setting out to accomplish,
• 1:12:02
  Speaker 3: this movie likely fails much more than Monster Seafood Wares.
• 1:12:06
  Speaker 4: You are correct in that similar movies according to IMDb
• 1:12:10
  Speaker 4: Godzilla v. Kong, Godzilla twenty fourteen, Godzilla X Kong The
• 1:12:14
  Speaker 4: New Empire, Kong Skull Island, and King Kong two thousand
• 1:12:17
  Speaker 4: and five. Similar movies. According to the Letterbox, we have
• 1:12:19
  Speaker 4: Godzilla X Kong, The New Empire, Pacific Rim, Kong Skull Island,
• 1:12:23
  Speaker 4: Pacific Rim Uprising, and Godzilla nineteen ninety eight. As per
• 1:12:27
  Speaker 4: usual on the show, I did not remind you to
• 1:12:30
  Speaker 4: get funny reviews, So if you didn't, no worries. I
• 1:12:32
  Speaker 4: have a few I can read.
• 1:12:35
  Speaker 3: I I entirely forgot, so I apologize.
• 1:12:37
  Speaker 4: No, it's always my fault. I never remind people. So
• 1:12:41
  Speaker 4: let me read off my few here real quick and
• 1:12:43
  Speaker 4: get you out of here, because I know you are
• 1:12:44
  Speaker 4: on a time limit. Let me mute my Alexa device
• 1:12:48
  Speaker 4: because one of these involves her name. Three stars from
• 1:12:52
  Speaker 4: Adrian Alexa play Katy Perry's roar, let's see here. I
• 1:12:58
  Speaker 4: don't remember this part of the movie, so correct me.
• 1:13:01
  Speaker 4: Let me know if this was in there. But one
• 1:13:03
  Speaker 4: star from k y K when Sally Hawkins mimes and
• 1:13:07
  Speaker 4: mechanics of Godzilla's dick. Damn, that ship was wild. I
• 1:13:10
  Speaker 4: don't remember if she did that, but apparently she did.
• 1:13:13
  Speaker 4: Three stars from Mike gin or Jin. This is the
• 1:13:17
  Speaker 4: most divorce guy movie of all time, and I agree,
• 1:13:21
  Speaker 4: And for this one, I'm gonna do something very special.
• 1:13:24
  Speaker 4: So what I'm gonna do is insert a clip from
• 1:13:28
  Speaker 4: a movie, because it's a it's it's a quote from
• 1:13:30
  Speaker 4: a movie. I'll do my best impression for you. But
• 1:13:34
  Speaker 4: it's one star from Yi John and this that was horrible.
• 1:13:39
  Speaker 4: That was a horrible, horrible Godfather impression. I'm gonna leave
• 1:13:43
  Speaker 4: that Tomorlon Brando to do. And last, but certainly not
• 1:13:47
  Speaker 4: least uh no stars but a heart spoiler alert, Sally
• 1:13:50
  Speaker 4: Hawkins does not, in fact fuck Godzilla. She does the
• 1:13:58
  Speaker 4: all right, that type of a monster movie. Not that type. No, no, no, no,
• 1:14:02
  Speaker 4: all right, Ryan, Where can everyone find you? And the
• 1:14:05
  Speaker 4: variety of things that you do on social media?
• 1:14:09
  Speaker 3: Sure, if you are into physical media. You can check
• 1:14:12
  Speaker 3: out that part of my life under the Disconnected on
• 1:14:14
  Speaker 3: all social media. If you would like to dive deep
• 1:14:17
  Speaker 3: into a monthly magazine, you can check us out at
• 1:14:20
  Speaker 3: the Physical Media Advocate and any social media there. But
• 1:14:24
  Speaker 3: if you want to go deep into a film distributor
• 1:14:27
  Speaker 3: that is really trying to curate a special collection of
• 1:14:30
  Speaker 3: films for everybody, check out in Tenor Releasing, a brand
• 1:14:34
  Speaker 3: new distribution company that I started in January of this year.
• 1:14:37
  Speaker 3: We're taking our second film to theaters the week we
• 1:14:40
  Speaker 3: are recording this, called Corner to the Stars. It might
• 1:14:43
  Speaker 3: be playing in a theater near you. Check it out.
• 1:14:46
  Speaker 3: And we've got many more coming later this year, many
• 1:14:48
  Speaker 3: that fit the tone and style of this show. So
• 1:14:50
  Speaker 3: we might be talking about those eventually too.
• 1:14:52
  Speaker 4: I know you told me that you had two early
• 1:14:55
  Speaker 4: nineties slasher movies that hadn't gotten a release before, or
• 1:14:59
  Speaker 4: something like that last time we talked.
• 1:15:02
  Speaker 3: Not nineties, early twenty tens, oh twenty tens. Okay, Well,
• 1:15:08
  Speaker 3: there's a lot of there's a lot of horror movies
• 1:15:10
  Speaker 3: that we have that have never had a physical release
• 1:15:12
  Speaker 3: that are coming eventually. But on top of that, we've
• 1:15:15
  Speaker 3: got other stuff coming to theaters that are either new
• 1:15:18
  Speaker 3: or rep screenings from stuff that have literally never been
• 1:15:21
  Speaker 3: released and just can't wait to share them with the world. Yeah,
• 1:15:25
  Speaker 3: we got a lot to talk about it. In fact,
• 1:15:26
  Speaker 3: I got some people that want to come on your show,
• 1:15:28
  Speaker 3: so we should have planned some of those.
• 1:15:29
  Speaker 4: Okay, Ryan out here just doing the Lord's work in
• 1:15:32
  Speaker 4: every way possible. This man does it all and we
• 1:15:36
  Speaker 4: appreciate this man. So if you enjoy the show, please
• 1:15:39
  Speaker 4: rate and review on your favorite podcast app of choice.
• 1:15:41
  Speaker 4: If you are going to rate me lower than a
• 1:15:43
  Speaker 4: five star, tell me why I need to know, leave me,
• 1:15:46
  Speaker 4: or just don't rate it. Come on yeah, or just
• 1:15:49
  Speaker 4: don't write to you honest, Like, tell me why I
• 1:15:51
  Speaker 4: need to know why. I'm never gonna let that go.
• 1:15:53
  Speaker 4: Follow us on Facebook, Instagram, TikTok, slash, year, threads, and
• 1:15:56
  Speaker 4: YouTube at Frightmares Podcast. Our email is stay Spooky at
• 1:15:59
  Speaker 4: outlook dot. If you want to check me out on letterbox,
• 1:16:01
  Speaker 4: I am Doctor Proctor All one word Ryan, You're on Letterbox.
• 1:16:06
  Speaker 3: I am under the Disconnected Perfect.
• 1:16:09
  Speaker 4: If you'd like to expand your movie podcast listening, be
• 1:16:12
  Speaker 4: sure to check out The Shameless Picture Show, The Dead
• 1:16:14
  Speaker 4: Eyed Millennial Film Club, and one week rental as well,
• 1:16:18
  Speaker 4: as well as the vast library of Someone's Favorite productions
• 1:16:21
  Speaker 4: are generous host here. They have literally a podcast for
• 1:16:24
  Speaker 4: everyone and two podcasts specifically on commentaries, so go check
• 1:16:29
  Speaker 4: them out next week. Wrapping up Kaiju month, it's been
• 1:16:35
  Speaker 4: a month. My buddy, is Michael.
• 1:16:39
  Speaker 3: Doing that one with me?
• 1:16:40
  Speaker 4: Yeah? I guess he is. I thought it was Corey. Anyways,
• 1:16:43
  Speaker 4: next week, Michael and I will be doing Gamera or
• 1:16:45
  Speaker 4: Gamera I never know how to say it. Versus Vas
• 1:16:48
  Speaker 4: from nineteen sixty eight is our wild card pick. It
• 1:16:51
  Speaker 4: is streaming on Prime to Be, Screenbox and Pluto. The
• 1:16:55
  Speaker 4: best thing about this month is that all of the
• 1:16:57
  Speaker 4: movies that I have picked, we're all stream So please
• 1:17:00
  Speaker 4: go check that out and until next week, guys, stay
• 1:17:03
  Speaker 4: tuned and stay spooky.
• 1:17:41
  Speaker 1: Thank you for listening to hear more shows from the
• 1:17:44
  Speaker 1: Someone's Favorite Productions podcast Network. Please select the link in
• 1:17:47
  Speaker 1: the description