Latest / Frightmares / Ep. 383 - Godzilla Vs. SpaceGodzilla (1994)

Transcript

Ep. 383 - Godzilla Vs. SpaceGodzilla (1994) · Frightmares

• 0:01
  Speaker 1: You are now listening to the Someone's Favorite Productions podcast network.
• 0:15
  Speaker 1: Ever have that one movie everyone assumes you've seen, but
• 0:18
  Speaker 1: you haven't? You know, the one, the classic, the cult favorite,
• 0:23
  Speaker 1: the how have you not seen that movie? Welcome to
• 0:27
  Speaker 1: The Shameless Picture Show. Twice a month, I sit down
• 0:30
  Speaker 1: with the guests who finally cross one of those films
• 0:32
  Speaker 1: off our shame lists. Sometimes it's their first watch and
• 0:36
  Speaker 1: sometimes it's mine, but sometimes it's new for both of us.
• 0:41
  Speaker 1: Then we die the characters, the craft, the cultural impact,
• 0:45
  Speaker 1: and whether it actually lives up to the hype, from
• 0:48
  Speaker 1: legendary classics to cult oddities to the films we somehow
• 0:52
  Speaker 1: missed along the way. Join us as we turn movie
• 0:55
  Speaker 1: shame into movie discussion. This is the Shameless Picture Show.
• 1:05
  Speaker 2: The following podcast will contain spoilers, tangents, hot takes, and
• 1:10
  Speaker 2: excessive foul language. Viewer discretion is advised.
• 1:14
  Speaker 1: Enjoy the show.
• 1:57
  Speaker 3: Welcome back to Frimares Podcast. I'm your host Austin Prock
• 2:00
  Speaker 3: and joining me today for episode three eighty three is
• 2:03
  Speaker 3: my good friend Corey Johnson.
• 2:06
  Speaker 2: Hey O, everybody. The only thing that Austin and I
• 2:08
  Speaker 2: can assume is that it was a giant space Monster.
• 2:15
  Speaker 3: I love their explanation and how they get to why
• 2:18
  Speaker 3: they think it is what it is, which we're we'll
• 2:21
  Speaker 3: talk about. Don't worry. But today on another installment of
• 2:26
  Speaker 3: Kai June Destroy, we are discussing our deep cut pick
• 2:29
  Speaker 3: Godzilla versus Space Godzilla from nineteen ninety four, a movie
• 2:35
  Speaker 3: that gives you some logic about why this thing might
• 2:38
  Speaker 3: be coming towards Earth, but it's not necessarily good logic.
• 2:42
  Speaker 3: Let's see where this land.
• 2:44
  Speaker 2: No, it's not not at all.
• 2:46
  Speaker 3: Let's see where this lands on the nightmare index. All right,
• 2:54
  Speaker 3: I gotta go to the old letterboxed here and pop
• 2:57
  Speaker 3: this bad boy open. What about you? Anything good that
• 3:01
  Speaker 3: you've been watching over the past week?
• 3:07
  Speaker 2: Last weekend, Jessica and I went and saw the Back Rooms.
• 3:10
  Speaker 2: Absolutely amazing. That was fantastic. Other than that, not really.
• 3:16
  Speaker 2: Jessica and I have been going back and so Jessica
• 3:20
  Speaker 2: went way back and started watching The West Wing. So
• 3:25
  Speaker 2: I started, Okay, I started watching that with her, and
• 3:28
  Speaker 2: then a couple of nights ago she went back and
• 3:31
  Speaker 2: started watching mad Men. Okay, so so it's been we've
• 3:37
  Speaker 2: been in a hole of West Wing mad Men, and
• 3:40
  Speaker 2: she started the Sopranos again.
• 3:44
  Speaker 3: A bunch of TV shows, West Wing, Yeah.
• 3:47
  Speaker 2: Bunch of TV and and nothing that's nothing that's less
• 3:53
  Speaker 2: than twenty years old.
• 3:55
  Speaker 3: I was gonna say, West Wing, is that uh pre Martin,
• 4:01
  Speaker 3: Is that pre like Grey's Anatomy or is that like
• 4:03
  Speaker 3: in the mix of Gray's Anatomy? Because Gray's Anatomy has
• 4:06
  Speaker 3: been going on for fucking so long.
• 4:09
  Speaker 2: I think the first season debuted in nineteen ninety nine.
• 4:14
  Speaker 3: Oh shit, okay, so it's been going on for a
• 4:16
  Speaker 3: hot minute, all right, So nothing else movie wise, I mean,
• 4:20
  Speaker 3: let's talk about the back Rooms though, real quick. I
• 4:22
  Speaker 3: mean it's almost impossible to spoil this movie because it's
• 4:27
  Speaker 3: the back.
• 4:27
  Speaker 2: Rooms because nothing happens and everything happens all at the
• 4:33
  Speaker 2: same time.
• 4:33
  Speaker 3: All at the same time. I don't know if I've
• 4:36
  Speaker 3: talked about this one yet on the show, did I?
• 4:41
  Speaker 3: I mean I watched it before we recorded Godzilla, but
• 4:44
  Speaker 3: I don't know if I actually talked about it. So, yeah,
• 4:46
  Speaker 3: I saw it on the thirtieth of last month, and
• 4:51
  Speaker 3: you know, I was exit. I mean, who who isn't
• 4:53
  Speaker 3: excited about this movie that doesn't know the back rooms? Like,
• 4:57
  Speaker 3: if you know the back rooms and you know the
• 4:59
  Speaker 3: movie in the movies, the shorts that exist, the lore
• 5:02
  Speaker 3: that goes behind it, It's kind of impossible to not
• 5:05
  Speaker 3: be excited. So I was super stoked, especially with Caine
• 5:08
  Speaker 3: Parsons directing, the creator of the original shorts. And I
• 5:13
  Speaker 3: find it hilarious because the whole Backroom's concept originated from
• 5:18
  Speaker 3: a photo from two thousand and two where this guy
• 5:20
  Speaker 3: took a picture in a former furniture store. His name
• 5:24
  Speaker 3: was like Bob Meyrowitz or something, and nothing really materialized
• 5:30
  Speaker 3: from that photo until like twenty nineteen on a four
• 5:32
  Speaker 3: chan where someone gave the back room's lore, and then
• 5:37
  Speaker 3: three years later twenty twenty two is when Caine Parsons
• 5:40
  Speaker 3: did his first back Rooms video. And he is younger
• 5:45
  Speaker 3: than the photo that was taken in two thousand two. Yeah,
• 5:50
  Speaker 3: it's so fucking wild. And I've been watching a lot
• 5:53
  Speaker 3: of interviews with him lately. He is either nineteen or
• 5:56
  Speaker 3: twenty whatever. The way he speaks like a full fucking
• 6:00
  Speaker 3: grown adult, it baffles me, like I was nowhere near
• 6:05
  Speaker 3: the level of coherent competent, whatever you want to call it,
• 6:09
  Speaker 3: at his age. I was astounded at the way he
• 6:11
  Speaker 3: spoke about film, about just things in general. Have you
• 6:15
  Speaker 3: seen anything.
• 6:16
  Speaker 2: Oh yeah. I spent probably the entire afternoon leading up
• 6:22
  Speaker 2: to going to see the back Rooms just watching Cane
• 6:26
  Speaker 2: Parsons interviews, Okay, because I was like, man, like, I
• 6:31
  Speaker 2: gotta I gotta get in this dude's head. Because the
• 6:36
  Speaker 2: level of detail that he put into his writing for
• 6:42
  Speaker 2: the lore building of his universal back Rooms, it's it's
• 6:47
  Speaker 2: one of those things where it's like, all right, well,
• 6:50
  Speaker 2: you you had this in you, like, this is what
• 6:53
  Speaker 2: you were meant to do. You were meant to write
• 6:56
  Speaker 2: these type of stories. Yeah, like I believe Robert Eggers
• 7:00
  Speaker 2: was meant to write historic, spooky period pieces. And like
• 7:06
  Speaker 2: everybody has that one thing that they may not know
• 7:09
  Speaker 2: about it, but they're good at it. And Kane Parsons
• 7:12
  Speaker 2: just happen to find out, Oh, I'm good at making
• 7:16
  Speaker 2: super heady, nonsensical whatever content. And yeah, he And it's
• 7:24
  Speaker 2: weird because you look in his eyes while he's talking
• 7:27
  Speaker 2: and you can watch like his thoughts go by his eyes.
• 7:31
  Speaker 2: It's crazy.
• 7:33
  Speaker 3: Yeah, he is incredibly succinct for being so young, and
• 7:37
  Speaker 3: I'm excited to see what he does in the future.
• 7:40
  Speaker 3: I mean, I mean, realistically, you can make I don't
• 7:43
  Speaker 3: want them to drown the back rooms in a franchise.
• 7:45
  Speaker 3: But I mean, ultimately, you can make so many different
• 7:48
  Speaker 3: variations of the same movie because he has according to him,
• 7:52
  Speaker 3: he has a seventy page book of lore and fuck
• 7:57
  Speaker 3: it all the stuff which is oh yeah, which is
• 7:59
  Speaker 3: no yeah.
• 8:00
  Speaker 2: And even before, like this iteration of the back rooms,
• 8:06
  Speaker 2: like Came's back Rooms was a was kind of a
• 8:11
  Speaker 2: schism amongst the back rooms community. So you have Caine
• 8:16
  Speaker 2: Parsons thing, which is very much just like the one
• 8:22
  Speaker 2: level that kind of leads into that fake outside space.
• 8:27
  Speaker 2: But then there's a whole other community of people that
• 8:31
  Speaker 2: have written the back rooms with like different levels, right,
• 8:35
  Speaker 2: and there are actually people living there, and it's like
• 8:38
  Speaker 2: this whole alternate reality, like semi apocalyptic community type thing
• 8:46
  Speaker 2: going on. So I mean, even with just the back rooms,
• 8:50
  Speaker 2: you could just say, all right, now we're gonna do
• 8:52
  Speaker 2: all these other people's back rooms, right, it's two completely
• 8:55
  Speaker 2: different backrooms exactly.
• 8:58
  Speaker 3: And I honestly forgot about that because before well I
• 9:02
  Speaker 3: guess it would have been after I saw the back
• 9:04
  Speaker 3: room short video. I did some research, and yeah, there's
• 9:07
  Speaker 3: like levels, certain levels you can go down and all
• 9:10
  Speaker 3: that stuff, which is really not part of Cain's canon.
• 9:14
  Speaker 3: I guess it's but I love how much just I
• 9:18
  Speaker 3: love this is probably my favorite creepy pasta. I guess
• 9:21
  Speaker 3: is it? Is it a creepy pasta or is it
• 9:23
  Speaker 3: just more of a like where does this fall?
• 9:25
  Speaker 2: So it is sort of creepy pasta, but also depending
• 9:31
  Speaker 2: on how like semantic hair splitty you want to get
• 9:36
  Speaker 2: into with like internet culture and lore things, it could
• 9:41
  Speaker 2: technically be part of a SCP thing, going.
• 9:44
  Speaker 3: Oh, yeah, that's right, I remember you. We we talked
• 9:46
  Speaker 3: about SCPs a year or two back. I remember all
• 9:49
  Speaker 3: of that. So on the same subject though, real quick.
• 9:53
  Speaker 3: I just found it funny because I went to his
• 9:55
  Speaker 3: mini biography, which is clearly written by someone else, it's
• 9:58
  Speaker 3: not written by him, and it it might be the
• 10:00
  Speaker 3: most pretentious thing I've ever heard, but I kind of
• 10:02
  Speaker 3: love it. So listen to this. At just twenty years old,
• 10:06
  Speaker 3: Kane Parsons, better known to millions online as Cane Pixels,
• 10:09
  Speaker 3: is redefining what the future of horror looks like. A
• 10:12
  Speaker 3: self taught filmmaker and visual effects prodigy, Parsons first burst
• 10:16
  Speaker 3: onto the scene with the Backrooms Found Footage twenty twenty two,
• 10:19
  Speaker 3: a hauntingly atmospheric YouTube short that went viral and a
• 10:22
  Speaker 3: sense of mass more than one hundred and ninety million viewings.
• 10:25
  Speaker 3: With its analog horror, aesthetic, immersive world building an eerie
• 10:28
  Speaker 3: sense of psychological dread, the film quickly cemented Parsons as
• 10:31
  Speaker 3: a visionary new voice in genre storytelling. Now, with the
• 10:35
  Speaker 3: release of Backrooms twenty twenty six, Parsons has made his
• 10:37
  Speaker 3: feature directorial debut for eight twenty four, becoming the studio's
• 10:41
  Speaker 3: youngest ever featured director. The film stars Blah Blah blah
• 10:44
  Speaker 3: blah blah blah blah. The project, which produced by genre
• 10:47
  Speaker 3: heavyweight Sean Levy and James One, making a rare partnership
• 10:50
  Speaker 3: between twenty one Laps Entertainment and Atomic Monster, that underscores
• 10:54
  Speaker 3: the industry's belief in parsons singular talent. With more than
• 10:58
  Speaker 3: three million YouTube subscribers and a devote online fan base,
• 11:01
  Speaker 3: Parsons has cultivated and expansive and deeply engaging mythos around
• 11:04
  Speaker 3: the back Rooms, which continues to evolve across digital platforms.
• 11:08
  Speaker 3: The upcoming feature is expected to build on the uncanny
• 11:11
  Speaker 3: realism and existential horror that made the original short and
• 11:14
  Speaker 3: cultural phenomenon wal introducing bold new dimensions to the nightmare.
• 11:18
  Speaker 3: Parsons is not just making a film, he is shaping
• 11:21
  Speaker 3: his genre and he's only getting started. All right, Well,
• 11:24
  Speaker 3: I like I do.
• 11:25
  Speaker 2: I do very much. I do very much agree with
• 11:28
  Speaker 2: like that last little bit. I think that it has
• 11:32
  Speaker 2: set a wonderful precedent correct for filmmakers and studios to go. Okay,
• 11:42
  Speaker 2: there are original ideas still out there, and those original
• 11:46
  Speaker 2: ideas can make money.
• 11:48
  Speaker 3: Making may money.
• 11:49
  Speaker 2: Will stop making the fucking conjuring James Wand well, oh no, no,
• 11:58
  Speaker 2: I'm sorry, it's not the conjuring. It's fucking insidious that
• 12:01
  Speaker 2: I saw the trailer for. Maybe we'll stop doing that
• 12:04
  Speaker 2: shit too.
• 12:04
  Speaker 3: Okay, maybe a full disclosure. I'm excited for that because
• 12:08
  Speaker 3: it's a it doesn't involve the same people. It's a
• 12:10
  Speaker 3: different story, so maybe though.
• 12:12
  Speaker 2: No, I know, and Jessica's really excited for it too,
• 12:14
  Speaker 2: And I mean, I'm gonna go see it. But yeah,
• 12:16
  Speaker 2: we're hippy about it, but I'm gonna go see it.
• 12:20
  Speaker 3: Uh. But yeah, I mean it's just funny because like
• 12:23
  Speaker 3: he's made a movie. Yes, the movie was well reseed,
• 12:25
  Speaker 3: but like let's cal him down on that summary there.
• 12:28
  Speaker 3: It was a great movie, though, another five out of
• 12:31
  Speaker 3: five from me. I mean it's mainly because it got
• 12:34
  Speaker 3: a lot of bonus points. It gets bonus points because
• 12:37
  Speaker 3: I never thought we were gonna ever get a backrooms movie.
• 12:39
  Speaker 3: And then it also gets bonus points for some of
• 12:41
  Speaker 3: the most haunting fucking imagery I've seen in quite some time.
• 12:44
  Speaker 3: Performances were incredible, score was incredible. I mean they nailed
• 12:49
  Speaker 3: they fucking nailed the aesthetic of the back rooms. And
• 12:52
  Speaker 3: it got more bonus points because they built thirty thousand
• 12:55
  Speaker 3: square feet of back rooms that people legitimately got lost in.
• 12:58
  Speaker 3: I mean, ten out of ten known notes, it is
• 13:01
  Speaker 3: such a great movie. A couple other things I've watched
• 13:04
  Speaker 3: here a non horror movie. But I watched a movie
• 13:07
  Speaker 3: called Pressure with Brendan Fraser. It is a World War
• 13:10
  Speaker 3: two movie, sorry world War two, no, no, no, sorry D Day,
• 13:15
  Speaker 3: the events leading up to D Day, about the weather
• 13:17
  Speaker 3: and how they predicted the weather in a time when
• 13:20
  Speaker 3: they didn't have technology like we do today. It was
• 13:23
  Speaker 3: a fascinating fucking movie, and Fraser was amazing. He got
• 13:28
  Speaker 3: really angry at one moment. I was like, oh no,
• 13:29
  Speaker 3: Dad's angry let's not get him angry, but yeah, fantastic.
• 13:34
  Speaker 3: Four and a half out of five watched a movie
• 13:36
  Speaker 3: called The Jester from Transylvania, which was sent over to
• 13:38
  Speaker 3: me my Gemini Entertainment. I really hate to give bad
• 13:42
  Speaker 3: reviews when stuff is given to me for free, but
• 13:44
  Speaker 3: I'm not going to lie. It was not a great movie,
• 13:47
  Speaker 3: way too convoluted, a lot of dialogue that was very
• 13:50
  Speaker 3: vague for no reason once the reveal happens, and then
• 13:53
  Speaker 3: once the reveal happens, it was kind of like a
• 13:55
  Speaker 3: giant middle finger to the audience. One and a half
• 13:57
  Speaker 3: out of five saw the New Scary Movie Fuck and
• 14:00
  Speaker 3: just got awful. It was my least favorite in the franchise,
• 14:03
  Speaker 3: which is kind of crazy because Scary Movie five is
• 14:06
  Speaker 3: a terrible movie, and I'd rather watch Scary Movie five.
• 14:09
  Speaker 3: I just don't think I like Dwayne's comedy. I don't
• 14:11
  Speaker 3: outside of like Major Pain and a couple of other
• 14:14
  Speaker 3: of their films. I'm just not a fan of the comedy.
• 14:17
  Speaker 3: They said they were not holding back, and that's fine.
• 14:19
  Speaker 3: It takes a lot to offend me. There were a
• 14:22
  Speaker 3: couple of trans jokes that I felt were pushing the
• 14:25
  Speaker 3: line just because given trans people and they already have
• 14:29
  Speaker 3: enough to deal with just in the world. I felt
• 14:32
  Speaker 3: like that was pushing the line just a bit. But
• 14:34
  Speaker 3: I also find Shorty painfully unfunny. Am I the only
• 14:38
  Speaker 3: person just utterly annoyed at his laugh? I fucking hate
• 14:41
  Speaker 3: his laugh? Yeah, like I hate it. I fucking hate it.
• 14:46
  Speaker 3: So one star for Scary Movie. It just felt so forced.
• 14:50
  Speaker 3: Everyone felt like they were just there for a paycheck.
• 14:53
  Speaker 3: But there were some like I did get a few chuckles.
• 14:55
  Speaker 3: But I would say about eighty percent of the comedy
• 14:58
  Speaker 3: did not land for me. I didn't find funny. And
• 15:01
  Speaker 3: I think I.
• 15:02
  Speaker 2: Think the the era of the parody movie it's done,
• 15:08
  Speaker 2: or rather the super parody movie, because Scary Movie has
• 15:14
  Speaker 2: always done parodies of like a bunch of stuff in
• 15:17
  Speaker 2: the genre and kind of squished it together. Yeah, I
• 15:20
  Speaker 2: think that's done. I think I think we as a
• 15:22
  Speaker 2: people are like, all right, you don't have to you
• 15:25
  Speaker 2: don't have to make fun of it, like you can,
• 15:28
  Speaker 2: like you can let it exist and its existence in
• 15:31
  Speaker 2: an in and of itself is already kind of making
• 15:34
  Speaker 2: fun of itself. Yeah, you don't have to like go, oh, hey,
• 15:37
  Speaker 2: look at this, this is funny.
• 15:39
  Speaker 3: Right, Yeah, I think scary Scary Movie one and two
• 15:43
  Speaker 3: I like just fine. Scary Movie three is my favorite.
• 15:45
  Speaker 3: It's just I don't think any scary movie will top that.
• 15:48
  Speaker 3: It is peak fucking comedy in my opinion, especially with
• 15:51
  Speaker 3: David Zucker at the Helm directing and Leslie Nielsen starring.
• 15:55
  Speaker 3: It's a fucking match made in heaven. So yeah, I
• 15:57
  Speaker 3: just I think we're done with that era. That was
• 15:59
  Speaker 3: a fun trend in the early two thousands, late two thousands.
• 16:03
  Speaker 3: Even the really bad like disaster movie or I Know
• 16:08
  Speaker 3: What you did last summer whilst screaming on Friday the
• 16:11
  Speaker 3: thirteen or whatever, even those are so bad they're entertaining.
• 16:14
  Speaker 3: This is just bad in my opinion, which is gonna
• 16:16
  Speaker 3: be a hot take. And then my CMC challenge this
• 16:19
  Speaker 3: week was David Dekotio Week, fucking I don't know man
• 16:24
  Speaker 3: is some director who works for Full Moon that did
• 16:26
  Speaker 3: like he's got one hundred and ninety four credits for directing.
• 16:30
  Speaker 3: Haven't fucking seen anything of his. So I did Creepyzoids
• 16:33
  Speaker 3: from nineteen eighty seven. Good full Moon feature, great rubber monsters,
• 16:38
  Speaker 3: practical effects, seventy two minutes long, does not overstay it's welcome,
• 16:42
  Speaker 3: and it stars Lena Quigley from the nineteen eighties. She
• 16:45
  Speaker 3: was very prominent in things like Night of the Demons
• 16:48
  Speaker 3: and other things that I'm completely forgetting right now, but
• 16:51
  Speaker 3: she was a great fun time. Definitely not my favorite
• 16:54
  Speaker 3: Full Moon, but the ending got bonus points for how
• 16:57
  Speaker 3: wild that shit escalated three point five review coming soon.
• 17:02
  Speaker 3: Other than that, I think that's about all I've watched.
• 17:05
  Speaker 3: I've got some I got six movie reviews today for
• 17:08
  Speaker 3: TikTok to do, so I'll have a bunch to talk
• 17:09
  Speaker 3: about next week. And then what comes out. Oh, Leviticus
• 17:14
  Speaker 3: comes out this weekend, and I'll be doing a review
• 17:16
  Speaker 3: on that. That's a Uh that's gonna be a sleeperhead
• 17:19
  Speaker 3: of the year.
• 17:20
  Speaker 2: Uh yeah, that look that looked really interesting.
• 17:23
  Speaker 3: It looks really good, So I'm excited to check that out.
• 17:25
  Speaker 3: And then the week after that is something else I
• 17:28
  Speaker 3: can't remember, and then we're just ever getting closer to
• 17:31
  Speaker 3: Evil Dead Burn, which we are gonna.
• 17:33
  Speaker 2: Have and I was I think next week is disclosure Day.
• 17:36
  Speaker 3: Disclosure day as well. We will definitely be doing a
• 17:39
  Speaker 3: video podcast for YouTube on Evil Dead Burn. I have
• 17:43
  Speaker 3: to at this point. We started doing it in May.
• 17:47
  Speaker 3: I did one in June. I'm just gonna we're gonna
• 17:49
  Speaker 3: do one. We're gonna do one a month, you know,
• 17:51
  Speaker 3: we'll do We'll go.
• 17:52
  Speaker 2: I'm so hyped for Evil dead Burn.
• 17:53
  Speaker 3: Yeah, I'm so hyped. We're gonna do one, you know,
• 17:57
  Speaker 3: the biggest horror movie for that month. So that's what
• 17:59
  Speaker 3: we're gonna do. But with all this being said, let's
• 18:02
  Speaker 3: move on to the gold Open Hau already then, So
• 18:10
  Speaker 3: this is Godzilla versus Space Godzilla from nineteen ninety four,
• 18:14
  Speaker 3: released on December tenth of that year in Japan and
• 18:18
  Speaker 3: not making its way to the States for its video
• 18:20
  Speaker 3: premiere is January nineteenth, nineteen ninety nine. Not rated mild
• 18:25
  Speaker 3: sex and nudity for that one scene involving a man's butt,
• 18:29
  Speaker 3: moderate violence and gore, mild profanity, mild alcohol, drugs and smoking,
• 18:33
  Speaker 3: and mild frightening and intense scenes coming in in an
• 18:36
  Speaker 3: hour and forty six minutes. Listened as an action adventure
• 18:39
  Speaker 3: sci fi, no horror for this one, but that's okay.
• 18:42
  Speaker 3: It's Kai June I Don't Care. Directed by a man
• 18:45
  Speaker 3: named Keen show Yamashita. He only has five total credits,
• 18:50
  Speaker 3: and two of those credits are four Godzilla films, but
• 18:53
  Speaker 3: they're labeled as earlier film clips uncredited. So I'm assuming
• 18:59
  Speaker 3: it's something that he filmed during this movie that they
• 19:02
  Speaker 3: re used for later movies, because the two movies are
• 19:06
  Speaker 3: Godzilla Versus Destroya and Godzilla Final Wars. So there you go.
• 19:10
  Speaker 3: Written by Kanji Kashiwa, and this is the only movie
• 19:14
  Speaker 3: he has ever written and only credit on IMDb. But
• 19:17
  Speaker 3: then we have Hiroshi Kashawabara, who also wrote Godzilla two
• 19:21
  Speaker 3: thousand and Godzilla Versus Mega Guiris Guiris, However, you say
• 19:26
  Speaker 3: that composed by Taka Yuka Hati, who also composed Godzilla
• 19:30
  Speaker 3: two thousand. Cinematography by Mashahiro Kishimoto, who also did the
• 19:35
  Speaker 3: cinematography for Godzilla and Mathra, The Battle for Earth, Godzilla
• 19:40
  Speaker 3: Versus Destroya and Godzilla against Mega Godzilla. Edited by somebody.
• 19:46
  Speaker 3: They definitely edited edited this, but there was no mention
• 19:49
  Speaker 3: of who it was starring Magumi.
• 19:52
  Speaker 2: They did not do a good job.
• 19:54
  Speaker 3: Oh wasn't weren't a fan of the editing? Now, okay
• 19:58
  Speaker 3: at all?
• 19:58
  Speaker 2: And we'll get we'll get into that all. Note like
• 20:01
  Speaker 2: why two specific, two specific moments?
• 20:04
  Speaker 3: Maybe that's why it was like, why did they fucking
• 20:07
  Speaker 3: do that? Why didn't? Maybe that's why they're not credited.
• 20:10
  Speaker 3: Starring Magumi Odaka as Miki Saigusa, who only has twenty
• 20:14
  Speaker 3: four credits, ten of which are for movies. But we're
• 20:16
  Speaker 3: gonna circle back around to her because I went down
• 20:19
  Speaker 3: a fucking rabbit hole today of so many things you're
• 20:23
  Speaker 3: gonna lie, I hope you enjoy how much how much
• 20:25
  Speaker 3: effort I put into this. Uh June Hashizumi as Lieutenant
• 20:30
  Speaker 3: Koji Shinjo, who was also in Godzilla Final Wars as
• 20:33
  Speaker 3: Daego's aid Zinkechi Yona Yama as Lieutenant Kyosho Sato, he
• 20:39
  Speaker 3: was also in another Lonely Hitman as Wada. And then
• 20:43
  Speaker 3: we have a Kiro Amoto as Major Akira Yuki, who
• 20:45
  Speaker 3: has a whopping three hundred and twenty four credits, two
• 20:49
  Speaker 3: hundred and twenty two which are for film alone, and
• 20:52
  Speaker 3: then he was also in shin Godzilla as Reyuta Azuma.
• 20:56
  Speaker 3: Estimated budget of ten point three million, couldn't find a
• 20:59
  Speaker 3: worldwide box office gross. Filmed in Fukokuwa, Japan. If I'm
• 21:04
  Speaker 3: saying that correctly, you can watch this on t B
• 21:07
  Speaker 3: movies that came out around the time, Well, I wrote
• 21:09
  Speaker 3: down an hour and forty six minutes, so I guess
• 21:11
  Speaker 3: I'm gonna have to cut that back in later. That's
• 21:14
  Speaker 3: a lot of fun, that's hilarious. So movies definitely came
• 21:19
  Speaker 3: out in nineteen ninety two. I AMDB summary. Godzilla is
• 21:22
  Speaker 3: threatened by two new forces, Mogera, another un built machine,
• 21:26
  Speaker 3: and Space Godzilla, a BT spawn from Godzilla's particles in space.
• 21:30
  Speaker 3: Let's roll into the autopsy, all right, Corey, I have
• 21:35
  Speaker 3: a feeling I enjoyed this much more than you. But
• 21:39
  Speaker 3: overall thoughts on Godzilla versus Space Godzilla.
• 21:43
  Speaker 2: It's a wonderful mess of a movie. I you know,
• 21:48
  Speaker 2: it's it's one of those things like I really love
• 21:50
  Speaker 2: a Godzilla movie. But at the same time, there's a
• 21:53
  Speaker 2: lot of things that can very easily ruin a Godzilla movie. Okay,
• 21:57
  Speaker 2: and there weren't a huge number of those things, but
• 22:01
  Speaker 2: there were like one or two where I'm like, all right, okay, mainly,
• 22:07
  Speaker 2: and I'm gonna I'm gonna include my hot take in this.
• 22:10
  Speaker 2: Overall thoughts, let's go. Baby Godzilla adds absolutely nothing to
• 22:15
  Speaker 2: the Godzilla franchise, and every movie featuring Baby Godzilla would
• 22:21
  Speaker 2: be better without baby Guys.
• 22:27
  Speaker 3: We'll get into that because I yeah, yeah, I have
• 22:29
  Speaker 3: thoughts on that as well. So I mean, I don't know, man.
• 22:33
  Speaker 3: For me, uh, this movie fucking rocked. Now everyone has
• 22:38
  Speaker 3: to understand I am not well versed in Kaiju movies.
• 22:42
  Speaker 3: I've seen the original Godzilla. I've seen the Monster Verse movies.
• 22:46
  Speaker 3: I'm pretty sure that, oh I've seen Destroy All Monsters
• 22:50
  Speaker 3: because we watched that one way back for an episode
• 22:53
  Speaker 3: at the beginning of our podcast. But I haven't seen many.
• 22:57
  Speaker 3: So take my thoughts with the grain of salt. But
• 23:00
  Speaker 3: I thought this movie absolutely fucking rocked. I had so
• 23:04
  Speaker 3: much fun with it. The pacing wasn't the greatest. I
• 23:07
  Speaker 3: felt like there was so much exposition in some moments
• 23:10
  Speaker 3: not enough in other moments. And now we're in forty
• 23:13
  Speaker 3: six minutes. It is a little long, but overall, by
• 23:16
  Speaker 3: the end of it, especially with that ending battle sequence,
• 23:19
  Speaker 3: I fucking two thumbs up for me. Highly enjoyed this film.
• 23:24
  Speaker 3: So let me take you down the rabbit hole with
• 23:27
  Speaker 3: me here, right, But I should say first because there
• 23:30
  Speaker 3: is a little bit of history here because we've kind
• 23:32
  Speaker 3: of been doing We did that in the first episode
• 23:34
  Speaker 3: with Godzilla. But I have a little continuation of the
• 23:37
  Speaker 3: history of Kaiju. So following Godzilla's success in nineteen fifty four,
• 23:42
  Speaker 3: Toho then followed that up with a sequel next year,
• 23:45
  Speaker 3: nineteen fifty five, I Believe Godzilla Raids Again, which introduced
• 23:50
  Speaker 3: the concept of a monster fight in which two Kaiju
• 23:52
  Speaker 3: fight another. In the movie, Godzilla faces off with another
• 23:55
  Speaker 3: Kaiju monster called and Guyrus, who literally looks like Bowser
• 23:59
  Speaker 3: I looked him up, which is the first monster aside
• 24:01
  Speaker 3: Godzilla to be introduced into the Godzilla franchise. During the
• 24:07
  Speaker 3: nineteen sixties, the Japanese studio Toho started to experiment with
• 24:10
  Speaker 3: having Kaiju from different movies fight one another, culminating in
• 24:13
  Speaker 3: RCAO Pictures, later licensing King Kong to Toho, resulting in
• 24:17
  Speaker 3: the co productions of King Kong Versus Godzilla and King
• 24:21
  Speaker 3: Kong Escapes. With the advent of the Space Race and
• 24:24
  Speaker 3: Space Age, themes of giant monsters from outer space an
• 24:27
  Speaker 3: alien invasion started to appear in Kaiju movies. Examples include
• 24:32
  Speaker 3: Godzilla and Godoor The Three Headed Monster, where the space
• 24:35
  Speaker 3: dragon King Gadora is introduced for the first time, but
• 24:38
  Speaker 3: also more obscure films such as The x from outer space.
• 24:42
  Speaker 3: Giant monsters from outer space are traditionally associated with fictional
• 24:45
  Speaker 3: aliens who bring them to Earth to conquer the planet.
• 24:48
  Speaker 3: And then so now we are in the High Si era,
• 24:52
  Speaker 3: which is nineteen eighty four to nineteen eighty five. So
• 24:55
  Speaker 3: we're near the end of the High Si era, as
• 24:58
  Speaker 3: this film is from nineteen ninety fi. As I just said,
• 25:02
  Speaker 3: I don't know how I already forgot that, but it is, yeah,
• 25:05
  Speaker 3: ninety four, So this is the second to last film
• 25:07
  Speaker 3: in the High SI era. The vibe here is a serious,
• 25:10
  Speaker 3: darker reboot, focusing on continuity and updated special effects. This
• 25:14
  Speaker 3: is a seven film era run which kind of ignores
• 25:18
  Speaker 3: the show of movies, treating Godzilla as a destructive force
• 25:22
  Speaker 3: of nature again. It introduces new foes like Biolante Destroya
• 25:27
  Speaker 3: and establishes a continuous, interconnected story complete with advanced for
• 25:31
  Speaker 3: the time practical effects and animatronics. Godzilla versus Destroya intended
• 25:36
  Speaker 3: to be the final Japanese Godzilla period for about ten years,
• 25:39
  Speaker 3: because tri Star Pictures was expected to produce a trilogy
• 25:44
  Speaker 3: of American made Godzilla films in that timeframe, and with
• 25:47
  Speaker 3: How Bad Godzilla from nineteen ninety eight did they did
• 25:50
  Speaker 3: not do the other two? So that's where we're at.
• 25:52
  Speaker 2: Yeah, now I blame Matthew Brodrick.
• 25:56
  Speaker 3: Yeah, I think we can all blame Matthew Brodrick. Fortunately.
• 26:00
  Speaker 3: All right, So first, what I'm gonna do here talk
• 26:02
  Speaker 3: about the opening scene because I was a bit confused,
• 26:05
  Speaker 3: and then the rabbit hole ensued. So hopefully this comes
• 26:08
  Speaker 3: across coherent. I will get through this as quickly as
• 26:11
  Speaker 3: I possibly can. I did love the cold, open, mysterious
• 26:15
  Speaker 3: object hurtling through space only to crash land on an
• 26:18
  Speaker 3: island near Godzilla, waking him up from a nap boom
• 26:21
  Speaker 3: title card. Then, honestly, you get some of the most
• 26:24
  Speaker 3: impressive miniatures that I've seen, where people are building this
• 26:27
  Speaker 3: nondescript giant metal thing later to be revealed as Muguero,
• 26:32
  Speaker 3: and you have one hell of an intro. Now, were
• 26:34
  Speaker 3: you confused? See I don't know how many Kaiju movies
• 26:37
  Speaker 3: you've seen. In Godzilla, were you confused at the appearance
• 26:40
  Speaker 3: of Mathra flying into space?
• 26:42
  Speaker 2: No, because from what I remember, Mathra comes from the move.
• 26:48
  Speaker 3: Don't worry, I have it all broken down.
• 26:51
  Speaker 2: She comes from she comes from outer space. The thing
• 26:53
  Speaker 2: that confused me for a brief second until my brain
• 26:56
  Speaker 2: started going Godzilla files, Godzilla files, Godzilla files. I was like,
• 27:01
  Speaker 2: what's up with the fucking twins? And I was like, oh, yeah,
• 27:04
  Speaker 2: Mathra has psychic space twins that she sends out to
• 27:10
  Speaker 2: give omens to the people who are spiritually connected with Godzilla.
• 27:16
  Speaker 2: It took me like five solid minutes to remember that,
• 27:18
  Speaker 2: and I was like, oh yeah. But then I was like,
• 27:21
  Speaker 2: fucking Mathra, get off your ass and actually do something.
• 27:24
  Speaker 3: So she is doing She is in the middle of
• 27:26
  Speaker 3: doing something. So let's go down the rabbit hole.
• 27:29
  Speaker 1: Right.
• 27:29
  Speaker 3: I question, why is Mathra seen at the beginning of
• 27:33
  Speaker 3: this movie, never to be seen again, only to be
• 27:35
  Speaker 3: seen in the form of the cosmos, which are the
• 27:37
  Speaker 3: two little fairies? Right, So let's go all the way
• 27:40
  Speaker 3: back to nineteen sixty one, that's where Mathra first appeared.
• 27:43
  Speaker 3: She is typically portrayed as a colossal, giant sentient moth
• 27:47
  Speaker 3: accompanied by two minuture fairies which I just told you about.
• 27:50
  Speaker 3: They speak on her behalf. Unlike several other Toho monsters,
• 27:54
  Speaker 3: Mathra is a largely heroic character, having been variously portrayed
• 27:58
  Speaker 3: as the protector of her own island culture. The Earth
• 28:01
  Speaker 3: in Japan. She would appear in four other movies before
• 28:05
  Speaker 3: our movie today, which would be Mathra Verse Godzilla, Godora,
• 28:08
  Speaker 3: the Three Headed Monster, Abirah, Horror of the Deep, and
• 28:11
  Speaker 3: Destroy All Monsters, before appearing in Godzilla and Mathra The
• 28:16
  Speaker 3: Battle for Earth or Godzilla Versus Mathra, which is not
• 28:20
  Speaker 3: to be confused with Mathra versus Godzilla. It's a whole thing.
• 28:24
  Speaker 3: So in Mathra versus Godzilla from nineteen sixty four, this
• 28:28
  Speaker 3: is their first cinematic class. She is fighting Godzilla to
• 28:31
  Speaker 3: defeat him from destroying her eggs, and then in Godora
• 28:36
  Speaker 3: Other Three Headed Monster. This is officially when Godzilla transforms
• 28:40
  Speaker 3: from being a terrifying symbol of atomic destruction into a
• 28:43
  Speaker 3: heroic defender of Japan. Godzilla is initially hostile, but then
• 28:47
  Speaker 3: he eventually is convinced by the math Kaiju Mathra to
• 28:51
  Speaker 3: put aside his grudge against humanity and team up to
• 28:54
  Speaker 3: fight King Godora. Now we move to nineteen ninety two
• 28:58
  Speaker 3: Godzilla and Mathra The Battle for Earth or Godzilla versus
• 29:02
  Speaker 3: Mathra depending on the title. So according to the cosmos,
• 29:05
  Speaker 3: which are the two little fairies in that film, there's
• 29:08
  Speaker 3: a creature named Batra and He was created by the
• 29:10
  Speaker 3: Earth twelve thousand years ago when an ancient civilization created
• 29:14
  Speaker 3: a climate controlling device which greatly angered the Earth. Batra's
• 29:18
  Speaker 3: purpose was to destroy the device, but then he went
• 29:20
  Speaker 3: full rampage and eradicated the entire civilization, intending to wipe
• 29:25
  Speaker 3: out the whole fucking human race as well. But Mathra
• 29:28
  Speaker 3: challenged him and defeated him, sealing him in the North
• 29:30
  Speaker 3: Sea and then retreated to her island to live with
• 29:33
  Speaker 3: the Cosmos. Now, thousands of years after being sealed in
• 29:36
  Speaker 3: the North Sea by Mathra, three people come upon this
• 29:39
  Speaker 3: colossal object, which they determined as an egg. As they
• 29:42
  Speaker 3: ponder what it could be that had laid such an egg,
• 29:45
  Speaker 3: they hear two voices say it belongs to Mathra. The
• 29:47
  Speaker 3: two miniature women emerge from behind a flower and introduced
• 29:50
  Speaker 3: themselves as the Cosmos, who expressed their fear that the
• 29:53
  Speaker 3: recent meteor impact may have awakened Bantra, who will no
• 29:57
  Speaker 3: doubt resume his campaign against the human race, which is
• 30:00
  Speaker 3: exactly what happens in Godzilla versus Matha from nineteen ninety two.
• 30:05
  Speaker 3: Because Batra appears off the coast of Japan, rapidly approaching
• 30:08
  Speaker 3: the mainland. He begins terrorizing the city of Nagoya, blasting
• 30:11
  Speaker 3: apart buildings with beams fired from his eyes and horn,
• 30:16
  Speaker 3: and once he reaches the Nagoya TV Tower, he is
• 30:19
  Speaker 3: confronted by numerous tanks and the JDST Japanese Self Defense
• 30:24
  Speaker 3: Force JDST. They fail to wound Batra and then he
• 30:28
  Speaker 3: topples into the ocean and head starts heading towards the Philippines.
• 30:32
  Speaker 3: Soon after this is when Godzilla surfaces and begins to
• 30:35
  Speaker 3: approach Mathra's egg. The egg begins to crack, Mathra hatches
• 30:38
  Speaker 3: from it and they begin their fight. And as they're fighting,
• 30:42
  Speaker 3: this is when Batra approaches the area, who knocks Mathra
• 30:45
  Speaker 3: out of the way attacks Godzilla. These two monsters then
• 30:49
  Speaker 3: sink into the ocean floor, while Mathra swims back to
• 30:52
  Speaker 3: Infant Island, which is her little sanctuary. So Godzilla and
• 30:55
  Speaker 3: Batra struggle to on the ocean floor, and then a
• 30:58
  Speaker 3: fault opens between plates, expelling magma into the water and
• 31:03
  Speaker 3: they vanish into this fissure and from radar entirely. Then
• 31:08
  Speaker 3: they later emerge, which is really cool. Godzilla emerges from
• 31:12
  Speaker 3: Mount Fuji, which erupts violently, and then Batra just appears
• 31:16
  Speaker 3: from the fucking ocean. So both Godzilla and Batra approaching Tokyo.
• 31:20
  Speaker 3: Mathra emerges from her cocoon into her imago stage flies
• 31:24
  Speaker 3: off to destroy Batra once and for all. They fight
• 31:27
  Speaker 3: blah blah blah. But then Mathra sees Batra being wounded,
• 31:31
  Speaker 3: takes flight and lands near him, begins communicating with him.
• 31:34
  Speaker 3: The two monsters put aside their differences that they have
• 31:37
  Speaker 3: and decide to fight Godzilla together. Now, after all of
• 31:41
  Speaker 3: this battling takes place, Mathra and bat have defeated quote
• 31:46
  Speaker 3: unquote Godzilla and they're they're dragging him over the ocean.
• 31:50
  Speaker 3: But then Godzilla kills Batra and Mathra is forced to
• 31:53
  Speaker 3: release Godzilla into the water along with Batra's lifeless body.
• 31:58
  Speaker 3: Mathra then places a seal over the ocean, honoring Bacher's sacrifice.
• 32:02
  Speaker 3: The next day, Mathra sits at Hanita Airport or the Cosmos,
• 32:05
  Speaker 3: thank the humans who helped them and bid them farewell.
• 32:08
  Speaker 3: They explained that Batra was destined to destroy a meteor
• 32:11
  Speaker 3: set to strike and destroy Earth in nineteen ninety nine,
• 32:13
  Speaker 3: so Mathra agreed to take his place. In the event
• 32:16
  Speaker 3: of his death, Matha will fly into deep space and
• 32:19
  Speaker 3: try to change the meteors course herself. The Cosmos tells
• 32:22
  Speaker 3: humanity to remember the sacrifice Mathra has made for them,
• 32:25
  Speaker 3: then travel with Mathra into outer space, and that sets
• 32:28
  Speaker 3: up this journey is setting up the events that follow
• 32:32
  Speaker 3: in our movie. Today, it is theorized that when Mathra
• 32:35
  Speaker 3: is flying through the upper atmosphere on her way to space,
• 32:38
  Speaker 3: she unknowingly carries Godzilla's cells on her claws. These cells
• 32:42
  Speaker 3: are then to have said fallen into a black hole,
• 32:44
  Speaker 3: come out of a white hole, and space Godzilla. So
• 32:49
  Speaker 3: that is why Mathra is in the beginning of this movie.
• 32:53
  Speaker 3: So much researching this morning, my brain almost exploded.
• 32:57
  Speaker 2: Yeah, the eras of the Toho Kaijo Kaiju movies is
• 33:05
  Speaker 2: really frustrating because if you only pick up one, there's
• 33:11
  Speaker 2: seventy five details from the rest of the era that
• 33:15
  Speaker 2: are going to confuse you. But you technically don't have
• 33:19
  Speaker 2: to watch the other ones for the movie you're watching
• 33:22
  Speaker 2: to make sense. But if you do watch the other ones,
• 33:25
  Speaker 2: the movie that you're watching will always make more sense.
• 33:29
  Speaker 3: Especially in the Heisai era, because there's only seven films
• 33:32
  Speaker 3: and they're a continuous story, which I didn't know, and
• 33:35
  Speaker 3: the High Si era started in eighty five with I
• 33:38
  Speaker 3: think it's like Godzilla returns or something like that. So
• 33:41
  Speaker 3: I had no fucking clue about that. And I'm gonna
• 33:43
  Speaker 3: have to go back and watch them insequential order because
• 33:46
  Speaker 3: they do continue a storyline. Now, I could have just
• 33:49
  Speaker 3: written Mathra off, but I it just genuinely confused me.
• 33:52
  Speaker 3: And then I regret it ever going down that rabbit
• 33:55
  Speaker 3: hole because I was cross referencing Wiki Zilla with Goji's
• 33:59
  Speaker 3: all these plays and came up with all of that.
• 34:01
  Speaker 3: So that's why she's there, right, that's her journey into
• 34:05
  Speaker 3: space to stop this metior from hitting Earth in nineteen
• 34:07
  Speaker 3: ninety nine, only to release the g cells that the
• 34:10
  Speaker 3: scientists are like, well a g cells, black holes and
• 34:14
  Speaker 3: fucking crystals space Godzilla. There you go. That's how we
• 34:20
  Speaker 3: get to there. And then you know, Baby Godzilla is
• 34:24
  Speaker 3: only around because he pops up. And the movie prior
• 34:28
  Speaker 3: to this, the Space Goddilla movie, they you know, they
• 34:32
  Speaker 3: find an egg on this island and it's like mistaken
• 34:35
  Speaker 3: for a rodin egg, and then it hatches and of
• 34:38
  Speaker 3: course it's a you know, it looks like Godzilla. And
• 34:41
  Speaker 3: after Godzilla, the baby Godilla hatches scientists use him as
• 34:45
  Speaker 3: bait to lure Godzilla into traps, and then by the
• 34:47
  Speaker 3: end of the film, the infant Godilla adopts the infant,
• 34:51
  Speaker 3: and the two you know leave together to find a
• 34:53
  Speaker 3: new home. But Little Godzilla in this movie is kind
• 34:57
  Speaker 3: of an emotional anchor and plot plot di because he
• 35:01
  Speaker 3: gets trapped by Space Godzilla, and I guess that's why
• 35:04
  Speaker 3: they're fighting, because Space Godzilla's coming to destroy Godzilla traps
• 35:07
  Speaker 3: his kid and then lures them into a fucking battle.
• 35:10
  Speaker 3: But then they don't even reunite. At the end of
• 35:12
  Speaker 3: the fucking movie. Godzilla just goes. Godzilla just goes into
• 35:15
  Speaker 3: the fucking ocean, and Space Guy and Little Godzilla's just
• 35:18
  Speaker 3: on the island, like, whoa, we did it. You're not
• 35:20
  Speaker 3: gonna come back and take care of your adopted child.
• 35:24
  Speaker 3: What's happening here? So anyways, I say all that to
• 35:28
  Speaker 3: say all of this, let's talk about the fucking movie itself.
• 35:31
  Speaker 3: My god, I have to say with that opening, I
• 35:36
  Speaker 3: mean the the just the effects from that opening alone,
• 35:39
  Speaker 3: with Space Godzilla flying through space, holy shit. I don't know.
• 35:43
  Speaker 1: I was.
• 35:43
  Speaker 3: I was immediately impressed. I couldn't believe it looks so good.
• 35:47
  Speaker 2: Yeah, for the time, all of the effects were phenomenal.
• 35:52
  Speaker 2: The explosions, every explosion that happened, I was like, fuck yeah.
• 35:57
  Speaker 3: There was just the.
• 35:59
  Speaker 2: Heavy Japanese sparking smoke. It just does something for me,
• 36:06
  Speaker 2: like like I know what, I know, it's one of
• 36:08
  Speaker 2: those I know how they're doing it, but they're doing
• 36:11
  Speaker 2: it and with such passion that it's like yeah.
• 36:15
  Speaker 3: I mean, there was so much. There was so much
• 36:17
  Speaker 3: good about the movie. Even, like I said, even from
• 36:21
  Speaker 3: the beginning when they're building that, I was confused because
• 36:24
  Speaker 3: I thought they were like building mecha Godzilla or something,
• 36:27
  Speaker 3: because it's just this giant metal robot thing, and I thought,
• 36:32
  Speaker 3: is this the wrong movie. No, it's a completely different
• 36:34
  Speaker 3: thing that's piloted by three people that comes into play
• 36:37
  Speaker 3: later in the movie. But Space Godilla itself is Jesus Christ.
• 36:42
  Speaker 3: I mean, he's covered in crystal organisms. You know, he
• 36:45
  Speaker 3: absorbed the energy of exploding stars. He rapidly evolved and
• 36:50
  Speaker 3: became what he is today. I mean that's not science
• 36:53
  Speaker 3: to me. He's like he should be on a heavy
• 36:56
  Speaker 3: metal album cover because that fucking look was so good.
• 37:00
  Speaker 2: Oh yeah, Space Godzilla is, I would say space. Godzilla
• 37:05
  Speaker 2: after seeing this movie is probably in my top three
• 37:09
  Speaker 2: of Godzilla enemy looks.
• 37:13
  Speaker 3: Yeah, the only issue I had with the look is
• 37:16
  Speaker 3: that when he flew around, which I thought was cool,
• 37:19
  Speaker 3: he was covered had to tow in crystals and then
• 37:22
  Speaker 3: he lands and he only has like the two on
• 37:24
  Speaker 3: his shoulders and.
• 37:25
  Speaker 2: Think, yeah, he retracts the ones from his back. I
• 37:29
  Speaker 2: was okay, I was kind of bummed about that, But
• 37:33
  Speaker 2: with how they defeat him and the kind of plot
• 37:38
  Speaker 2: device that they use for that, it would have ruined
• 37:40
  Speaker 2: the fight if they had to break every single one
• 37:43
  Speaker 2: of those crystals. Yeah, it would have taken way too long.
• 37:49
  Speaker 2: And I think what they were trying to say is
• 37:53
  Speaker 2: this is how he flies through space without being noticed.
• 37:56
  Speaker 2: It looks just like a giant crystal meteor right through.
• 38:01
  Speaker 2: So then when he drops down, he's like, oh gotcha,
• 38:04
  Speaker 2: I'm not a.
• 38:04
  Speaker 3: Medior, I'm not a meteor. I'm this fucking space beast.
• 38:08
  Speaker 3: So yeah, I mean, right off the rip with this movie,
• 38:11
  Speaker 3: I was impressed with the visuals. You know, he lands
• 38:13
  Speaker 3: and crash, the crash lands on Earth, waking Godzilla from
• 38:16
  Speaker 3: his nap. I mean, Godzilla's always seems to be napping
• 38:19
  Speaker 3: until something explosive wakes him up, and you know.
• 38:23
  Speaker 2: That Lodge almost almost like he is the uh, the
• 38:27
  Speaker 2: metaphor of the sleeping dragon.
• 38:31
  Speaker 3: Nice nice ten out of ten, no notes, And uh,
• 38:36
  Speaker 3: you know, even with the silly explanation that we get,
• 38:40
  Speaker 3: it just somehow perfectly fits into into it, like they
• 38:45
  Speaker 3: just commit to it, you know, and and and no
• 38:47
  Speaker 3: one apologizes for it. We just accept it, you know, like,
• 38:50
  Speaker 3: all right, sure, whatever, this is beyond my comprehension. We're
• 38:53
  Speaker 3: talking about giant monsters from space. Sure, whatever, and we
• 38:59
  Speaker 3: just move on. And then something else that we all
• 39:01
  Speaker 3: just accept and move on is the telepathy aspect, which
• 39:05
  Speaker 3: I dug deeper into a little bit because I was curious.
• 39:08
  Speaker 3: So this isn't the first iteration where telepathy has been used. Actually,
• 39:12
  Speaker 3: the first time that we see telepathy being used is
• 39:17
  Speaker 3: in nineteen eighty nine with Godzilla versus Biolante, played by
• 39:20
  Speaker 3: the same person who plays Miky. She actually is in
• 39:23
  Speaker 3: a six film run of the High Si era where
• 39:26
  Speaker 3: she plays the same character who has telepathic power. So
• 39:29
  Speaker 3: something that I thought was a fucking bullshit plot line
• 39:33
  Speaker 3: that made no sense is actually a concurrent theme through
• 39:37
  Speaker 3: six out of seven of the High Si films.
• 39:39
  Speaker 2: But that's also and that's why the cosmos talked to her,
• 39:43
  Speaker 2: because the cosmos can't talk to everybody. They there's like
• 39:46
  Speaker 2: a specific number of people they can talk to who
• 39:50
  Speaker 2: are somehow, for some reason connected to the Kaiju. Yeah,
• 39:55
  Speaker 2: and we just do remember that much.
• 39:57
  Speaker 3: And we just accept it because whatever, this is a
• 40:00
  Speaker 3: and this is a movie about giant monsters fighting each other.
• 40:02
  Speaker 3: Logic is kind of out of the window at this point.
• 40:05
  Speaker 3: So but I love it. It's like, why not control
• 40:08
  Speaker 3: Godzilla when you can just or you know, why, Yeah,
• 40:11
  Speaker 3: why control Godzilla? I'm fucking fucking all this up.
• 40:15
  Speaker 2: Why not? Why destroy Godzilla when you can control Godzilla?
• 40:19
  Speaker 3: There you go. Yeah, And the idea is simple. It's
• 40:22
  Speaker 3: using telepathy to control Godzilla, which is interesting and like
• 40:26
  Speaker 3: I said, it's one of the franchise's longest running story threads.
• 40:30
  Speaker 3: She actually becomes a pretty meeky actually becomes a pretty
• 40:33
  Speaker 3: emotional anchor to the Highsi series. While monsters a military
• 40:37
  Speaker 3: are constantly changed, constantly trying to defeat things, she remains
• 40:41
  Speaker 3: the one person trying to bridge the gap between humanity
• 40:45
  Speaker 3: and Godzilla. And that was a layer of this movie.
• 40:47
  Speaker 3: I didn't expect. I'm realizing that Godzilla movies, at least
• 40:52
  Speaker 3: from the earlier eras you know, like I've only really
• 40:55
  Speaker 3: seen the Monster Verse movies. Like I said, there's a
• 40:57
  Speaker 3: lot of depth, commentary, subtext. It's so much going on
• 41:02
  Speaker 3: in all of these movies that I was not expecting.
• 41:04
  Speaker 3: I just figured it was shit fight a nother shit.
• 41:07
  Speaker 3: But I loved how much story there is in this movie,
• 41:11
  Speaker 3: albeit maybe a little too much at times. But I
• 41:15
  Speaker 3: did enjoy the telepathy once I did some research, because
• 41:18
  Speaker 3: that's the thing I do. If something seems out of place,
• 41:21
  Speaker 3: I'm like, I go to the Internet for questions. That's
• 41:23
  Speaker 3: what I did with Mathra, That's what I did with
• 41:25
  Speaker 3: the telepathy, and ultimately I got answers and I was like, Okay,
• 41:28
  Speaker 3: I can accept this now because I have context for
• 41:32
  Speaker 3: what's actually going on here.
• 41:33
  Speaker 2: Yeah, and the amount of story behind Godzilla movies it
• 41:40
  Speaker 2: is surprising, right, But then you get then you got
• 41:42
  Speaker 2: to go back and think, well, the original Godzilla movie
• 41:45
  Speaker 2: was made as a commentary on what nuclear weapons did
• 41:50
  Speaker 2: to Japan, right, So it would almost be disingenuous to
• 41:58
  Speaker 2: not have some kind of deeper story component going on
• 42:03
  Speaker 2: in the background, because you can't say, oh, this is
• 42:07
  Speaker 2: why nukes are bad and then not have anything to
• 42:11
  Speaker 2: follow up with it.
• 42:13
  Speaker 3: Yeah, and I also really do love how in the
• 42:15
  Speaker 3: early days of Godzilla he is seen as a threat
• 42:17
  Speaker 3: to Japan, and over time he slowly becomes Japan's ally
• 42:21
  Speaker 3: fighting off other monsters from space. So the evolution of
• 42:25
  Speaker 3: him is actually really cool to watch. And I just
• 42:30
  Speaker 3: I just bought like six other Godzilla movies on Amazon
• 42:33
  Speaker 3: today because I'm like, all right, I've gotta if the
• 42:35
  Speaker 3: HYSI era is all one one story, I'm like, i
• 42:38
  Speaker 3: gotta go through this and get all the details because
• 42:41
  Speaker 3: I'm so curious. So unfortunately, though the Project t is
• 42:45
  Speaker 3: what they called it, Project Celepathy ultimately fails. But that's
• 42:49
  Speaker 3: partly the point. The movie repeatedly asks whether humanity is
• 42:53
  Speaker 3: a positioned with controlling nature is fundamentally flawed. I mean,
• 42:55
  Speaker 3: you really can't control him. We can barely understand him, right,
• 42:59
  Speaker 3: And that's that's what I think is really cool because
• 43:01
  Speaker 3: it kind of goes back to the nineteen fifty four
• 43:04
  Speaker 3: original movie where they have that same discussion almost It's
• 43:08
  Speaker 3: like this the one scientist wants to keep Godzilla around
• 43:11
  Speaker 3: because they don't understand him, and they want to find
• 43:14
  Speaker 3: out more. But then the other people are like, now
• 43:16
  Speaker 3: we got to kill him, because like he's gonna destroy everything.
• 43:18
  Speaker 3: So I felt a connection between that movie and this
• 43:21
  Speaker 3: movie with not being able to understand this thing, but
• 43:25
  Speaker 3: adding the layer of wanting to try and control him
• 43:29
  Speaker 3: so that way he doesn't fucking wreck everything. Trying to
• 43:32
  Speaker 3: dominate forces larger than yourselves ultimately is just going to
• 43:35
  Speaker 3: create a bigger disaster in the end, And yeah, it's
• 43:39
  Speaker 3: kind of what happens. Because speaking of disasters, I mean,
• 43:42
  Speaker 3: we got to talk about all those fucking sets that
• 43:45
  Speaker 3: got utterly demolished by three huge, fucking beasts. I wasn't
• 43:51
  Speaker 3: expecting a third party here. I just thought it was
• 43:55
  Speaker 3: Space Godzilla versus Godzilla. But you have Maguera which or mcgwey,
• 44:00
  Speaker 3: I can never say it right, Mogherra. Mogherra, which is
• 44:04
  Speaker 3: the Jay Japan Self Defense jsdt's kind of answer to
• 44:11
  Speaker 3: help combat Space Godzilla and those practical effects when they're
• 44:17
  Speaker 3: building it, when it's transforming into two separate pieces, when
• 44:21
  Speaker 3: it's flying around in space and battling with Space Godzilla.
• 44:25
  Speaker 3: Fucking so genuinely impressed by all of those miniatures and
• 44:29
  Speaker 3: how it looked because they nailed the scale. I mean
• 44:35
  Speaker 3: seeing the two giant monsters against the backdrop of the miniatures,
• 44:38
  Speaker 3: it fucking looks so good. And this is nineteen ninety four.
• 44:43
  Speaker 3: I was blown away with the progression. Obviously it's forty
• 44:46
  Speaker 3: years later since the original, but going straight from the
• 44:49
  Speaker 3: fifty four to this one, the improvement of how good
• 44:53
  Speaker 3: it looks was utterly jaw dropping to me.
• 44:57
  Speaker 2: Yeah, the forced camera perspective that they do, Like there
• 45:02
  Speaker 2: was there was a point where they're putting together Gomera
• 45:06
  Speaker 2: and I'm like, how did they get the camera to
• 45:09
  Speaker 2: do that right? Because I know that like nine of
• 45:14
  Speaker 2: this is not CG like they are doing this practically.
• 45:18
  Speaker 2: How are they doing that? Like the hole where they're
• 45:21
  Speaker 2: running it through the tunnel and then you see these
• 45:24
  Speaker 2: big metal doors and it all comes together like clicking in.
• 45:28
  Speaker 2: I was like, what, Yeah, how are they doing that?
• 45:32
  Speaker 3: I love the moment too, when they are in there
• 45:34
  Speaker 3: towards the end and the space Godzilla is kind of
• 45:37
  Speaker 3: destroying them, so they're like, all right, let's separate. So
• 45:40
  Speaker 3: they separate into a flying part of Maguera and then
• 45:44
  Speaker 3: one that just like it dives underground and the you know,
• 45:47
  Speaker 3: the fucking shields go over the windows and they're just underground,
• 45:50
  Speaker 3: trucking along, and then they pop up right next to
• 45:52
  Speaker 3: him and they're like attacking him from the air, attacking
• 45:54
  Speaker 3: him from the ground. Godzilla's blasting fire beams at him.
• 45:58
  Speaker 3: That fucking ending the ending sequence, the ending fight sequence
• 46:04
  Speaker 3: was genuinely one of the greatest things I've seen. Of course, again,
• 46:08
  Speaker 3: have not been well versed in Kaiju movies, but damn
• 46:12
  Speaker 3: that with all the crystal spikes everywhere that he's drawing.
• 46:17
  Speaker 3: Oh my god. And then there's that wide shot of
• 46:20
  Speaker 3: the miniatures with all three of them and the crystal spikes,
• 46:23
  Speaker 3: and I was like, bro, this is fucking good, Like
• 46:25
  Speaker 3: this is a good movie. I was not expecting this
• 46:28
  Speaker 3: to be good. I saw the three point zero out
• 46:30
  Speaker 3: of five on letterbox, but I didn't know if that
• 46:32
  Speaker 3: was just love for the franchise, but no, Legitimately, this
• 46:36
  Speaker 3: movie fucking rocked so much. I was not expecting to
• 46:39
  Speaker 3: love this as much as I did. But Godzilla's landing
• 46:45
  Speaker 3: on the shoreline has tremendous scale. Watching him emerge from
• 46:49
  Speaker 3: the water, he feels massive. I know in the original
• 46:53
  Speaker 3: movie he was projected to be about one hundred and
• 46:56
  Speaker 3: sixty five feet. I didn't research that on this one,
• 46:58
  Speaker 3: but I mean, he's towering over skyscraper, so motherfucker's huge.
• 47:03
  Speaker 3: The miniature landscapes, the movements of the monsters, it all
• 47:06
  Speaker 3: combines into something that to this day, what thirty two
• 47:10
  Speaker 3: years later or twenty eight whatever, math still looks impressive.
• 47:14
  Speaker 3: I mean, I again, I'm gonna I'm gonna harken back
• 47:18
  Speaker 3: to you how blown away I was by especially the ending,
• 47:21
  Speaker 3: the ending battle sequence. I mean, the effects are good
• 47:23
  Speaker 3: throughout the entire movie, but that ending sequence, with all
• 47:26
  Speaker 3: the explosions and just how much is going on, I
• 47:29
  Speaker 3: didn't feel like it was too overwhelming. I just it
• 47:32
  Speaker 3: just felt like one of the most the greatest action
• 47:34
  Speaker 3: sequences I had seen and quite some time, of just
• 47:37
  Speaker 3: two giant things beating the shit out of each other.
• 47:40
  Speaker 2: Every time it's the kaiju action on the screen, it's great,
• 47:45
  Speaker 2: But all the human action, I'm like, come on now,
• 47:49
  Speaker 2: like and very specifically, when what's his face has the
• 47:54
  Speaker 2: giant coagulant bullet blood coagulant bullet and loads it into
• 48:01
  Speaker 2: the tiniest submachine gun and all the weapon firing from them.
• 48:08
  Speaker 2: I'm like, all right, this dumb.
• 48:10
  Speaker 3: Well, yeah, because there's also this weird moment towards the
• 48:13
  Speaker 3: beginning of the film that was a little confusing because
• 48:15
  Speaker 3: obviously Miki is trying to plant that device on Godzilla
• 48:21
  Speaker 3: for Project Tea, but then you have the other guy
• 48:24
  Speaker 3: who's trying to destroy Godzilla at the same time, and
• 48:27
  Speaker 3: I'm like, why are we not all on the same
• 48:29
  Speaker 3: team here, So when you first see Godzilla come onto
• 48:33
  Speaker 3: the shore, you've got two different people for two different reasons,
• 48:36
  Speaker 3: trying to get at Godzilla. But yeah, that was pretty
• 48:40
  Speaker 3: funny because that bullet was like thirty yacht fucking six
• 48:43
  Speaker 3: going into like an MP five and really did make much.
• 48:46
  Speaker 2: It was closer to like a BMG size.
• 48:53
  Speaker 3: Yeah. So, now, of course the miniatures are not the
• 48:57
  Speaker 3: only visually distinct things here. The monsters two, you know,
• 49:01
  Speaker 3: coming from coming off the heels for me, of the
• 49:04
  Speaker 3: fifty four Godzilla into this one forty years later. Obviously,
• 49:08
  Speaker 3: the suit designed is much more detailed. Proportions are refined
• 49:12
  Speaker 3: just a little bit. The facial animation was so much
• 49:15
  Speaker 3: more expressive, and I noticed that they focused on his
• 49:19
  Speaker 3: face a lot more where in the original they showed it,
• 49:22
  Speaker 3: but they didn't show it as close up as much
• 49:25
  Speaker 3: as they did in this one, and they were probably
• 49:27
  Speaker 3: just because like, we this looks good. We got to
• 49:30
  Speaker 3: showcase this shit. I think his I think the size
• 49:34
  Speaker 3: was communicated so well in this one. Obviously it had
• 49:37
  Speaker 3: been a big gap between the two, but he he
• 49:41
  Speaker 3: felt powerful just standing still, just sitting there, just like.
• 49:45
  Speaker 2: Slowly moh yeah. Oh. It's like especially especially like when
• 49:49
  Speaker 2: he's like plodding around along the beach and you just
• 49:52
  Speaker 2: see him kind of walking, You're like, oh man, god
• 49:56
  Speaker 2: Zilla is fucking huge? Is And I really like that you.
• 50:00
  Speaker 2: I can definitely tell in this one that somebody in
• 50:04
  Speaker 2: the costume department was like, we gotta make sure actor
• 50:08
  Speaker 2: can actually move.
• 50:10
  Speaker 3: Yeah, because the original one he's a little he's a
• 50:14
  Speaker 3: little robotic, but yeah, shambly, shambly, there you go. The
• 50:19
  Speaker 3: movements in this were a lot better. And I mean,
• 50:22
  Speaker 3: of course they've spent years redefining this character's appearance, but
• 50:26
  Speaker 3: I feel like this film showcases the benefits of that evolution.
• 50:30
  Speaker 3: But let's be honest, I mean, space Godzilla totally steals
• 50:33
  Speaker 3: a show. Because as for me right now, definitely the
• 50:37
  Speaker 3: best monster I've seen. I do love Godora, I do
• 50:40
  Speaker 3: love rodin those, you know, I'm a huge fan of Gamera.
• 50:44
  Speaker 3: But Space Godzilla just looks incredible because obviously he looks
• 50:50
  Speaker 3: very similar to Godzilla. He's just the death metal version
• 50:53
  Speaker 3: of Godzilla in his like you know, in his era
• 50:58
  Speaker 3: of chaos. That didn't make any sense, but that's what
• 51:01
  Speaker 3: came out, you know, the the crystal covered shoulders immediately
• 51:05
  Speaker 3: distinguish him from other Godzilla variants or other other Godzilla
• 51:13
  Speaker 3: what do you call it, villains, whatever you want to
• 51:15
  Speaker 3: call it, fucking enemies. There we go. The silhouette I
• 51:18
  Speaker 3: feel is iconic. His glowing eyes, the the like orange
• 51:23
  Speaker 3: lightning breath. That's the best way I can describe it.
• 51:26
  Speaker 3: That shit was next level. Oh my god.
• 51:29
  Speaker 2: I also really liked that they were like, you know what,
• 51:33
  Speaker 2: Godzilla doesn't have enough of teeth, right, We're gonna give
• 51:38
  Speaker 2: the Space Godzilla all the teeth. He had teeth coming
• 51:42
  Speaker 2: out of his cheeks. He had teeth coming out like everywhere,
• 51:46
  Speaker 2: and you can you can really see that, like, oh,
• 51:48
  Speaker 2: this is a true bastardization of Godzilla, Like this is
• 51:53
  Speaker 2: this is every bad part of Godzilla just crammed onto
• 51:59
  Speaker 2: one space crystal.
• 52:01
  Speaker 3: And that's exactly how I felt. It felt like the
• 52:03
  Speaker 3: complete opposite, Like Bizarro Superman is Superman's complete opposite. This
• 52:08
  Speaker 3: is exactly how I felt about Space Godzilla. He is
• 52:11
  Speaker 3: the complete opposite of everything Godzilla is with the same
• 52:14
  Speaker 3: amount of destruction, if not more. But you know, he
• 52:17
  Speaker 3: of course he has they they do find the weak
• 52:19
  Speaker 3: point on him, but he also has the utilization of
• 52:22
  Speaker 3: all those crystals, which kind of helped. He almost has
• 52:24
  Speaker 3: like a force field at one point, because.
• 52:27
  Speaker 2: Yeah, when he shot up that force field, when Godzilla
• 52:31
  Speaker 2: threw his first atomic breath, I was like, all right,
• 52:34
  Speaker 2: you're fucking cheating now.
• 52:35
  Speaker 3: Yeah, I was like, you've got cheat codes in now
• 52:38
  Speaker 3: and I don't know how many times at least used.
• 52:40
  Speaker 3: I don't think they use it much more, but it might.
• 52:42
  Speaker 2: Have just used twice.
• 52:44
  Speaker 3: That might have been a thing like I can only
• 52:47
  Speaker 3: do this so many times before I drain the power
• 52:49
  Speaker 3: of these crystals. That's kind of what I That's just
• 52:52
  Speaker 3: kind of what I assumed, because yeah, having him do
• 52:54
  Speaker 3: that every time would would just be like, you know,
• 52:56
  Speaker 3: fucking cheat mode. But yeah, oh I love Space Godzilla
• 53:02
  Speaker 3: and I love that he can fly it looks a
• 53:05
  Speaker 3: little goofy, but I love that he's flying and Summons.
• 53:08
  Speaker 2: Does kind of look like a giant hedgehog flying through
• 53:12
  Speaker 2: the sky.
• 53:12
  Speaker 3: And then when he just like levitates too. There's one
• 53:15
  Speaker 3: moment where he just levitates above and it's a wide
• 53:19
  Speaker 3: shot of him levitating with Godzilla right there, and then
• 53:21
  Speaker 3: he starts to spin and I was like, this is cinema.
• 53:24
  Speaker 3: I don't know what else to say about that, but
• 53:28
  Speaker 3: he just has such an incredible look, and I really
• 53:32
  Speaker 3: love the even the design of the Morguera as well.
• 53:36
  Speaker 3: It's it's a fun little thing. It's it's like a
• 53:39
  Speaker 3: toy that you had as a kid, you know. It's
• 53:40
  Speaker 3: like it's like a transport. It's like a transformer.
• 53:43
  Speaker 2: I I did think that Moghera was a little lame,
• 53:49
  Speaker 2: but only in the sense that I feel like they
• 53:52
  Speaker 2: tried to do too much with Moghera. Correct like, all right,
• 53:57
  Speaker 2: it's a giant mech and it's a space ship and
• 54:01
  Speaker 2: it can split off into two things that run independently,
• 54:05
  Speaker 2: and for some reason, once you blow it up, you
• 54:08
  Speaker 2: can just make it get back up. Yeah, that was
• 54:11
  Speaker 2: kind There's one point where Molgera is definitely down for
• 54:16
  Speaker 2: the count. The entire crew is shambling just to get
• 54:21
  Speaker 2: the engine not to blow up, and then they go,
• 54:24
  Speaker 2: oh no, it's time to really lock in, hit the button,
• 54:27
  Speaker 2: get back up. And then it's like, all right, but
• 54:29
  Speaker 2: didn't you just show me that you guys were down
• 54:32
  Speaker 2: for the count? Like what's going on?
• 54:34
  Speaker 3: Yeah, I mean, shit was hanging from the ceilings like
• 54:37
  Speaker 3: I thought we were done, and then they kept going.
• 54:39
  Speaker 3: I also thought it got destroyed in Space versus Space Godzilla,
• 54:43
  Speaker 3: but as I went back to rewatch, it did not.
• 54:46
  Speaker 3: But whatever, that's beside the point. But it's just again
• 54:48
  Speaker 3: something that we're just accepting in this universe. I've already
• 54:51
  Speaker 3: accepted the telepathy. I've already accepted the explanation for how
• 54:54
  Speaker 3: Godzilla came to be. Fucking at this point, whatever, If
• 54:58
  Speaker 3: this thing is somehow in just destructible and just can
• 55:01
  Speaker 3: reconfigure itself, do I like it?
• 55:03
  Speaker 1: No?
• 55:04
  Speaker 3: But I mean I kind of just accepted it. But
• 55:06
  Speaker 3: I do feel like that, you know, it was it
• 55:08
  Speaker 3: was a little bit of an unnecessary addition. I don't
• 55:11
  Speaker 3: feel we needed it, But in the moments that it worked,
• 55:15
  Speaker 3: it fucking worked for me, So I can't blame I
• 55:18
  Speaker 3: can't blame the movie for adding it, but I feel
• 55:22
  Speaker 3: it wasn't you know, necessary for it to be in
• 55:25
  Speaker 3: the film. And speaking of unnecessary things to be in
• 55:28
  Speaker 3: the film, I mean, baby Godzilla, little Godzilla, whatever the
• 55:32
  Speaker 3: fuck you want to call it. Uh. Is he a
• 55:34
  Speaker 3: little dirty? Sure? Is he adorable kind of, but really
• 55:39
  Speaker 3: he's only there as the inciting incident to get Godzilla
• 55:43
  Speaker 3: to attack Space Godzilla other than you know, I guess
• 55:46
  Speaker 3: Space Godzilla threatening you know, his territory. But he gets
• 55:50
  Speaker 3: trapped in those little crystal fucking what's the thing from
• 55:56
  Speaker 3: Star Wars that pit that either sarlac pit he gets, Yeah,
• 56:00
  Speaker 3: he gets sucking in like a crystallized Sarlac pit. So
• 56:03
  Speaker 3: Godzilla is like, not, ah, not my kid. So I
• 56:06
  Speaker 3: felt the addition of him was weird, But they the
• 56:09
  Speaker 3: reason that they kept using him is that, you know,
• 56:12
  Speaker 3: because this by this time, this is made for adults
• 56:15
  Speaker 3: and kids, and there was such a positive response to
• 56:18
  Speaker 3: baby Godzilla, little Godzilla, whatever you want to call him.
• 56:21
  Speaker 3: That's why they continue to use him. So in this
• 56:23
  Speaker 3: instance it felt a little forced, but they're giving the
• 56:26
  Speaker 3: people with not only.
• 56:27
  Speaker 2: That, not only that, but there was and seeing this
• 56:31
  Speaker 2: baby Godzilla set me into a not an astalgia freakout, okay,
• 56:39
  Speaker 2: but like it triggered a memory that then triggered like
• 56:43
  Speaker 2: the sequential series of chemicals through my brain. And I
• 56:48
  Speaker 2: was like, wait, why do I remember hating Baby Godzilla
• 56:53
  Speaker 2: so much? And it's because of the nineteen seventy eight
• 56:58
  Speaker 2: animated TV series got Zilla, which I think is one
• 57:02
  Speaker 2: of the first appearances of Baby Godzilla.
• 57:05
  Speaker 3: Okay, interesting, So I.
• 57:07
  Speaker 2: Remember liking that show, and every time Baby Godzilla popped up,
• 57:09
  Speaker 2: I was like, mean, fuck this shit.
• 57:11
  Speaker 3: But it was an animated show. You said it was.
• 57:14
  Speaker 2: An animated show, Yeah, Godzilla, nineteen seventy eight TV series, gotcha,
• 57:18
  Speaker 2: it was a Hannah Barbara cartoon.
• 57:21
  Speaker 3: Actually whoa name drop and love that. So yeah, he
• 57:25
  Speaker 3: felt kind of useless in this movie outside of the
• 57:28
  Speaker 3: things I mentioned. He pops up at the beginning, he
• 57:30
  Speaker 3: pops up at the end, blah blah blah blah, something
• 57:32
  Speaker 3: else that really didn't need it to be added to
• 57:36
  Speaker 3: this movie in my opinion. Other than that, though, I think, Oh,
• 57:42
  Speaker 3: I wanted to talk about, yeah real quick, the effects
• 57:45
  Speaker 3: because obviously from nineteen fifty four Godzilla was kind of
• 57:50
  Speaker 3: just breathing this mist that was that was radioactive miss
• 57:54
  Speaker 3: I mean in this one, he's got the full blown
• 57:57
  Speaker 3: blue beam. His spine is lighting up. Godzilla has this orange,
• 58:01
  Speaker 3: like I said, lightning attack. He generates massive crystal formations.
• 58:06
  Speaker 3: He can you know, he can create shields, he got
• 58:09
  Speaker 3: space Gozilla is like a Kaiju wizard if you think
• 58:12
  Speaker 3: about it. I mean, yeah, all this shit he can do.
• 58:15
  Speaker 3: So there's just so many more significant energy effects here
• 58:22
  Speaker 3: that were working for me. I really enjoyed all of them,
• 58:26
  Speaker 3: and I really did. I like the fact that I
• 58:29
  Speaker 3: did such a big jump because watching them over time,
• 58:32
  Speaker 3: it's not it's not like it's the wrong way to
• 58:34
  Speaker 3: do it, but having such a big jump and seeing
• 58:38
  Speaker 3: where they were to where they are, I was like, damn,
• 58:41
  Speaker 3: now I want to go back and see how they
• 58:43
  Speaker 3: got here, because good lord, those effects were so incredible.
• 58:47
  Speaker 3: I love orange lightning effects or any sort of lightning
• 58:50
  Speaker 3: effects where they have to literally draw on the film, yeah,
• 58:53
  Speaker 3: painted on the film to do that. It's like it's
• 58:56
  Speaker 3: like the movie constantly feels like it's trying to outdo
• 58:59
  Speaker 3: it self visual lee, and I feel like it succeeded
• 59:02
  Speaker 3: because that ending fighting sequence was worth any moment that
• 59:06
  Speaker 3: I didn't like in the movie, Oh my god, I
• 59:09
  Speaker 3: fucking love that ship.
• 59:10
  Speaker 2: Oh yeah, no one, the the the ending fight sequence,
• 59:14
  Speaker 2: and really, I'm gonna say all of the fight sequences
• 59:17
  Speaker 2: really saved the downfalls that I didn't like, Okay, especially
• 59:22
  Speaker 2: in the editing, which now that I've brought that up,
• 59:25
  Speaker 2: the two perfect where I'm like where I'm like, all right,
• 59:30
  Speaker 2: what the fuck was this guy doing? Sure, the there
• 59:33
  Speaker 2: was one part where one of the pieces of Gomera
• 59:39
  Speaker 2: is like flying away and you have this like swell
• 59:44
  Speaker 2: of music plan and then it just smash cuts to
• 59:48
  Speaker 2: something else, like the music drops out and I'm like, wait,
• 59:52
  Speaker 2: what happened just then? And then there's there's a few
• 59:55
  Speaker 2: other instances of like the camera showing us something and
• 59:59
  Speaker 2: then within like a second smash cutting to something else.
• 1:00:03
  Speaker 2: There were there were no fades, there were like it
• 1:00:06
  Speaker 2: was all almost all smash cut transitions, okay, And it
• 1:00:12
  Speaker 2: felt very jostled, for lack of a better term, I gotcha,
• 1:00:17
  Speaker 2: Like there were a lot of sequences where like something
• 1:00:19
  Speaker 2: would happen and it was like directly to the next
• 1:00:21
  Speaker 2: scene that is back on Monster Island and whatnot, and
• 1:00:25
  Speaker 2: it's like, wait, but what happened in between. There's there's
• 1:00:28
  Speaker 2: just not enough cohesive editing, Like it's just here's a thing.
• 1:00:33
  Speaker 2: Now here's the thing. Now there's the thing. Go over
• 1:00:35
  Speaker 2: there and do that thing.
• 1:00:37
  Speaker 3: Yeah, that's something I actually didn't notice. But I always
• 1:00:40
  Speaker 3: love when you pick up on things because obviously this
• 1:00:42
  Speaker 3: is gonna be a uh, this is gonna be a
• 1:00:45
  Speaker 3: standard watch in my house. So now now that you've
• 1:00:47
  Speaker 3: pointed that out, it'll be something I look for because
• 1:00:51
  Speaker 3: I think I was just so wrapped up in the movie.
• 1:00:53
  Speaker 3: I sometimes, you know, I don't notice things because I
• 1:00:56
  Speaker 3: get enveloped in the story of the movie or I
• 1:00:59
  Speaker 3: look down to take no. So it's entirely possible I
• 1:01:01
  Speaker 3: missed some of those because anytime someone stopped talking, I'm
• 1:01:04
  Speaker 3: like notes, notes, notes, notes, notes, Like yeah, that's all
• 1:01:07
  Speaker 3: I gotta do.
• 1:01:09
  Speaker 2: One one other thing, just completely random, has nothing to
• 1:01:12
  Speaker 2: do with anything, because it had been a while, like
• 1:01:16
  Speaker 2: it had been a long, long while since I had
• 1:01:18
  Speaker 2: watched a classic Godzilla movie, okay, and the the amount
• 1:01:24
  Speaker 2: of chemicals that fired off in my brain when I
• 1:01:28
  Speaker 2: made the connection of the Godzilla theme to Pharaoh Mounches,
• 1:01:35
  Speaker 2: Simon says, I was like, oh my god, that's where
• 1:01:40
  Speaker 2: that's from.
• 1:01:41
  Speaker 3: Yeah, that's exactly why when I did the episode or
• 1:01:44
  Speaker 3: the monthly episode announcement, I picked that song so people
• 1:01:48
  Speaker 3: would be like, what does this have to do with gods?
• 1:01:50
  Speaker 3: Oh my god, it's the Godzilla theme. He's sampled.
• 1:01:55
  Speaker 2: All all videos on Facebook For me, I just permamute,
• 1:01:59
  Speaker 2: so like I never see what audio is playing. I
• 1:02:02
  Speaker 2: just see the image.
• 1:02:03
  Speaker 3: It was on TikTok and Instagram as well, because that's
• 1:02:06
  Speaker 3: the I do. I did it from Instagram because that's
• 1:02:09
  Speaker 3: where you can pick the music and then well, I
• 1:02:11
  Speaker 3: don't know if that actually if the music translates over
• 1:02:14
  Speaker 3: to Facebook, but I know I did it on TikTok
• 1:02:16
  Speaker 3: and endstyle, I was like, this is it.
• 1:02:17
  Speaker 2: I only watched the tiktoks where you and whoever is
• 1:02:20
  Speaker 2: on his talk.
• 1:02:21
  Speaker 3: Okay, Yeah, so that's why I did it for that
• 1:02:25
  Speaker 3: episode because most people don't know. And this is so
• 1:02:28
  Speaker 3: I didn't hear that in the original film. It is
• 1:02:31
  Speaker 3: prevalent here and I love to hear that. So now
• 1:02:33
  Speaker 3: I gotta go back and actually, you know, watch through
• 1:02:37
  Speaker 3: and chronologically as I can to see when we actually
• 1:02:40
  Speaker 3: got the Godzilla theme and they don't overplay it at all,
• 1:02:44
  Speaker 3: but something that they did overplay was the goddamn roar. Okay,
• 1:02:50
  Speaker 3: it's weird to me that in nineteen fifty four Godzilla
• 1:02:54
  Speaker 3: had a much more vocal range, and then in this film,
• 1:02:57
  Speaker 3: for some reason, it's just press button, press button, pressed, like,
• 1:03:00
  Speaker 3: same fucking sound. There were a little variations here and there,
• 1:03:05
  Speaker 3: but for the most part, it was the same fucking
• 1:03:07
  Speaker 3: audio clip over and over. And I found that very
• 1:03:09
  Speaker 3: interesting because I was impressed at the fact that the
• 1:03:13
  Speaker 3: nineteen fifty four version had had a pretty wide range
• 1:03:15
  Speaker 3: of noises from him. But I think at this point
• 1:03:18
  Speaker 3: and the Godzilla they're just like fuck it, Like, just
• 1:03:21
  Speaker 3: just throw it in there like this, We're not.
• 1:03:23
  Speaker 2: Worried about I've got I've got the answer for it.
• 1:03:26
  Speaker 2: Oh tell me, Because I don't know if you've ever
• 1:03:28
  Speaker 2: been to any kind of metaphysical shop ever, but crystals
• 1:03:32
  Speaker 2: are fucking expensive. They probably spent a huge portion of
• 1:03:39
  Speaker 2: the budget on Space Godzilla because they are they already
• 1:03:43
  Speaker 2: had the Godzilla suit. They were like, Yo, we just
• 1:03:45
  Speaker 2: gotta we all gotta do just carve off some foam
• 1:03:48
  Speaker 2: and repaint the Godzilla suit updated a little bit. Yeah,
• 1:03:51
  Speaker 2: that's like, that's like two hundred bucks. Yeah, fucking Space
• 1:03:55
  Speaker 2: Godzilla like and and the nine thou in crystals that
• 1:04:01
  Speaker 2: they had to place along the miniatures. Oh, and all
• 1:04:04
  Speaker 2: these crystals have to have fucking either robot arms or
• 1:04:08
  Speaker 2: we gotta attach them on strings so fucking Space Godzilla
• 1:04:12
  Speaker 2: can do a final fantasy move I mean magic missile.
• 1:04:17
  Speaker 3: It did have a ten million dollar budget, which for
• 1:04:20
  Speaker 3: nineteen ninety four, I mean, that's pretty solid budget on it.
• 1:04:23
  Speaker 3: I'm not gonna lie a couple other things that that
• 1:04:26
  Speaker 3: didn't work for me. I mean hour and forty six
• 1:04:29
  Speaker 3: is a little bit longer for a Godzilla movie than
• 1:04:31
  Speaker 3: I want.
• 1:04:32
  Speaker 2: And there's only like three minutes of credits. It is. Yeah,
• 1:04:36
  Speaker 2: it is almost a full hour forty.
• 1:04:39
  Speaker 3: Six right exactly. You know. Some some viewers will appreciate
• 1:04:43
  Speaker 3: the expanded storytelling. Others might feel it's stretching. I just
• 1:04:46
  Speaker 3: felt that the pacing was a little uneven. It it's
• 1:04:50
  Speaker 3: probably the movie's biggest I say flaw with quotes because
• 1:04:53
  Speaker 3: it's not like it detracted from anything. Because by the
• 1:04:56
  Speaker 3: time that we got to the end, I was like,
• 1:04:58
  Speaker 3: I don't whatever, I whatever problems I had fucking don't
• 1:05:01
  Speaker 3: care about. This movie is awesome because it never comes boring.
• 1:05:05
  Speaker 3: I just feel it struggles with momentum in some places here,
• 1:05:09
  Speaker 3: So I think that all I have here going through.
• 1:05:18
  Speaker 3: Oh yeah, So I guess really kind of how this
• 1:05:20
  Speaker 3: fits into the High SI Era is that it's an
• 1:05:23
  Speaker 3: interesting place kind of in horror history when it comes
• 1:05:26
  Speaker 3: to America, because obviously America was shifting towards from slashers,
• 1:05:31
  Speaker 3: towards self aware, you know, meta movies, and Godzilla was
• 1:05:35
  Speaker 3: just embracing this increasingly serious science fiction storytelling. The High
• 1:05:39
  Speaker 3: SI Era treated its monsters almost like natural disasters or
• 1:05:42
  Speaker 3: forces of cosmic horror. Because space Godzilla oddly kind of
• 1:05:46
  Speaker 3: feels like a love love crafty and concept disguised as
• 1:05:49
  Speaker 3: a wrestling as a wrestling opponent. Does that make any sense?
• 1:05:53
  Speaker 2: Yeah, I can see that does not make any sense.
• 1:05:55
  Speaker 3: Like he's an incomprehensible cosmic entity arriving from deep space
• 1:06:01
  Speaker 3: that defies science and threatens global extinction. Like that is
• 1:06:05
  Speaker 3: horror just wrapped in a giant monster. I'm surprised it's
• 1:06:08
  Speaker 3: not labeled horror, but I understand why it's not. I mean,
• 1:06:11
  Speaker 3: it's marketed for all ages at this point. But yeah,
• 1:06:16
  Speaker 3: I think the High sight Films balanced awe and terror
• 1:06:19
  Speaker 3: in this movie very well, and this might be one
• 1:06:23
  Speaker 3: of the best examples, at least that I've seen. But again,
• 1:06:25
  Speaker 3: please let me harken back to not very experienced in
• 1:06:28
  Speaker 3: this So even though this movie might be illogical, not
• 1:06:32
  Speaker 3: the fastest paced, it is certainly entertaining. I mean, you've
• 1:06:35
  Speaker 3: got psychic warfare, giant robots, cosmic mutations, crystal fortresses, incredible miniatures,
• 1:06:41
  Speaker 3: and one of the coolest monster designers the franchises has produced.
• 1:06:45
  Speaker 3: It is a movie that fully embraces the absurdity of
• 1:06:47
  Speaker 3: its premise while delivering some of the most visually impressive
• 1:06:50
  Speaker 3: Kaiju action of the High Site era. And yeah, I
• 1:06:54
  Speaker 3: mean that's I think that's all I've got. It's funny
• 1:06:57
  Speaker 3: that I genuinely thought these episodes this month we're gonna
• 1:07:00
  Speaker 3: be shorter, because I'm like, how much can we talk about, uh,
• 1:07:04
  Speaker 3: two monsters fighting? And so far.
• 1:07:06
  Speaker 2: Everything you can say everything about two monsters fighting.
• 1:07:10
  Speaker 3: Well, and so far they've been the longest episodes of
• 1:07:13
  Speaker 3: the year almost. I mean, I think Michael and I's
• 1:07:15
  Speaker 3: episode was like an hour thirty. We're already at an
• 1:07:17
  Speaker 3: hour ten and we're wrapping up like I did not
• 1:07:19
  Speaker 3: expect these to be the longest, longest episodes. But here
• 1:07:23
  Speaker 3: we are any final thoughts, closing arguments, hot tags, questions, comments, concerns.
• 1:07:30
  Speaker 2: You know, the the Godzilla movies are such a cultural
• 1:07:36
  Speaker 2: touchstone in film now that even if it's not for you,
• 1:07:43
  Speaker 2: go check out any of them, right, they all have
• 1:07:49
  Speaker 2: something to give to you. And it's not just oh,
• 1:07:55
  Speaker 2: big monster fight other big monster. Yeah, now you can
• 1:08:00
  Speaker 2: watch it for that, and it's perfectly fine. But if
• 1:08:04
  Speaker 2: you if you get down into Godzilla, you're gonna find
• 1:08:07
  Speaker 2: something that's gonna that's gonna touch you in some way.
• 1:08:11
  Speaker 3: I agree, And my plan obviously this month is not
• 1:08:14
  Speaker 3: only just to watch the movies that we are covering,
• 1:08:16
  Speaker 3: but to watch as many as I possibly can, just
• 1:08:18
  Speaker 3: because I'm realizing this is an untapped genre that I
• 1:08:22
  Speaker 3: have not explored enough. And it's probably because the first
• 1:08:26
  Speaker 3: introduction I had to Kaidu, I want to say, was
• 1:08:29
  Speaker 3: probably Destroy All Monsters, which by all accounts is not great.
• 1:08:33
  Speaker 3: From my memory, we both did not like that movie
• 1:08:36
  Speaker 3: when we reviewed it. There was like six hundred monsters. Yeah,
• 1:08:38
  Speaker 3: it was a little much. So now I've got to
• 1:08:41
  Speaker 3: go go dive into the you know, like the heavy
• 1:08:44
  Speaker 3: hitters like Godzilla Versus Destroyer, and you know, all these bigger,
• 1:08:49
  Speaker 3: well rated movies. But that's all I've got, That's all
• 1:08:53
  Speaker 3: Corey has got. I haven't had a hot take in
• 1:08:55
  Speaker 3: a while, but I'm not gonna be able to have
• 1:08:56
  Speaker 3: a hot take during this month because yeah, it's it's
• 1:09:00
  Speaker 3: all new territory for me. So let's move into the
• 1:09:03
  Speaker 3: final cut, all right? Taglines A supernatural, superpowered intergalactic epic
• 1:09:11
  Speaker 3: that is too many too Mu's going on? And can
• 1:09:15
  Speaker 3: Godzilla save Japan from intergalactic evil trivia? This film feature
• 1:09:20
  Speaker 3: is Moguera, a remake of the robot Kaiju from The
• 1:09:24
  Speaker 3: Mysterians nineteen fifty seven. For this nineteen ninety four version,
• 1:09:27
  Speaker 3: Moguera is an acronym for Mobile Operation G Force Universal
• 1:09:32
  Speaker 3: Expot Robot Aero type. Fucking jeez. This was Godzilla's fortieth
• 1:09:40
  Speaker 3: anniversary movie. Unlike other Milestone films, this one is often overlooked,
• 1:09:44
  Speaker 3: possibly due to its rush production. Hey, maybe that explains
• 1:09:48
  Speaker 3: the editing. The American Probably the American Godzilla nineteen ninety
• 1:09:52
  Speaker 3: eight adaptation was meant to come out in nineteen ninety four,
• 1:09:55
  Speaker 3: but its production was delayed. Therefore, Toho had to produce
• 1:09:58
  Speaker 3: more Godzilla movies in order to keep the brain going.
• 1:10:00
  Speaker 3: It was, however, the second highest grossing domestic release of
• 1:10:03
  Speaker 3: the year. This one doesn't make sense because they definitely
• 1:10:08
  Speaker 3: make contact. It says Godzilla and Space Godzilla never physically
• 1:10:12
  Speaker 3: make contact during their fight, but they literally slap each
• 1:10:15
  Speaker 3: other in the face a few times, so that's that's
• 1:10:17
  Speaker 3: that's not right. The Godzilla suit was outfitted with a
• 1:10:20
  Speaker 3: motor that allowed the head to move side to side,
• 1:10:23
  Speaker 3: and Space Godzilla's roar is a modified version of Guygan's roar.
• 1:10:28
  Speaker 3: Goof's nothing I could find of value. They were all
• 1:10:30
  Speaker 3: just very boring or silly. Rated five point eight out
• 1:10:34
  Speaker 3: of ten on IMDb for our purposes of the Nightmare index,
• 1:10:38
  Speaker 3: that is a two point nine out of five. It
• 1:10:41
  Speaker 3: has a three point zero out of five on Letterbox,
• 1:10:45
  Speaker 3: a sixty three percent on the Tomato Meter, and a
• 1:10:47
  Speaker 3: seventy nine percent audience score. What do we give on
• 1:10:50
  Speaker 3: this one, Corey, I gave it a three A three. Okay,
• 1:10:55
  Speaker 3: I gave it a four, which gives us a nightmare
• 1:10:59
  Speaker 3: index of three point two three. Where are we falling
• 1:11:04
  Speaker 3: here on the list. Let's scroll down three point two
• 1:11:07
  Speaker 3: to three. So this is going to fall in between
• 1:11:09
  Speaker 3: two movies that are tied with a three point three
• 1:11:11
  Speaker 3: to four out of five, which is Megan and the
• 1:11:12
  Speaker 3: Puppet Masters and from nineteen seventy three with a three
• 1:11:17
  Speaker 3: point one three out of five. So that is sitting
• 1:11:19
  Speaker 3: comfortably in the fifteenth spot. I want to say, out
• 1:11:24
  Speaker 3: of twenty something movies we've done, let's see similar movies
• 1:11:28
  Speaker 3: according to IMDb, Godzilla versus Mega Godzilla two, Godzilla Versus Destroyer,
• 1:11:34
  Speaker 3: Godzilla and Mathro, The Battle for Earth, Godzili versus King Goadora,
• 1:11:38
  Speaker 3: and Godzilla Tokyo SOS. Similar movies according to Letterbox, we
• 1:11:43
  Speaker 3: have Godzilla Final Wars, Godzilla versus Guy Gan, Godzilla, Tokyo SOS,
• 1:11:49
  Speaker 3: Godzilla Versus Mega Godzilla, and Pacific Rim. Let's do some
• 1:11:54
  Speaker 3: funny reviews before we get out of here. How many
• 1:11:57
  Speaker 3: do you have? Good sir?
• 1:11:59
  Speaker 2: I only got four this go around.
• 1:12:01
  Speaker 3: Only got four.
• 1:12:01
  Speaker 2: That's fine because most of the reviews were fucking college dissertations.
• 1:12:07
  Speaker 3: Yeah, which, like, I can't be mad at people for
• 1:12:10
  Speaker 3: you know, I do that every now and again, But
• 1:12:12
  Speaker 3: sometimes I'm like, you know, when I just want to
• 1:12:15
  Speaker 3: read a funny quippy review. Could you just help me
• 1:12:17
  Speaker 3: out here? All right? So why don't you go ahead
• 1:12:20
  Speaker 3: and kick us off here all righte?
• 1:12:23
  Speaker 2: A one star review from Clinton ninety five. Struggled to
• 1:12:28
  Speaker 2: stay awake on this one?
• 1:12:30
  Speaker 3: Oh man, that's a shame. What was the rating on
• 1:12:33
  Speaker 3: that one?
• 1:12:34
  Speaker 2: A one star?
• 1:12:35
  Speaker 3: One star? Struggle to stay awake? Maybe you were too sleepy,
• 1:12:39
  Speaker 3: let's see three stars from sindem a Void Crystal Meth.
• 1:12:44
  Speaker 3: Godzilla sets up shop in Tokyo and gets Baby Godzilla
• 1:12:48
  Speaker 3: hooked on ice while his father and Mecca uncle try
• 1:12:50
  Speaker 3: to get him into rehab.
• 1:12:56
  Speaker 2: A one star review from Mitch's Movies. Space Godzilla is
• 1:13:02
  Speaker 2: potentially the lamest idea ever for an adult to have,
• 1:13:06
  Speaker 2: which I say to you, sir, good day.
• 1:13:13
  Speaker 3: Let's see here. Where'd my other one go? Two and
• 1:13:16
  Speaker 3: a half stars from Kyler the film Fox Hot Take.
• 1:13:19
  Speaker 3: But Baby Godzilla is cuter than baby Yoda, and I
• 1:13:23
  Speaker 3: have to highly disagree there, but hey, to each his own.
• 1:13:27
  Speaker 2: A five star and a heart from Road Kiln. They
• 1:13:31
  Speaker 2: put my son in gay baby jail. What the fuck?
• 1:13:38
  Speaker 3: Let's see what was it? Three and a half stars
• 1:13:42
  Speaker 3: from Zach Dot Blonded Space Godzilla flew in and immediately
• 1:13:47
  Speaker 3: started throwing hands at a baby. That's how I knew
• 1:13:49
  Speaker 3: he'd beat my goat.
• 1:13:56
  Speaker 2: A five star and a heart from Matthew You he's
• 1:14:01
  Speaker 2: not the step dad, He's the dad that's stepped up. Ah.
• 1:14:07
  Speaker 3: So it's so heartwarming. I love it. Last one for
• 1:14:11
  Speaker 3: me here two and a half stars from Astounding bb
• 1:14:14
  Speaker 3: G Force tear gas as a child in this one.
• 1:14:19
  Speaker 3: Every time I hear G Force, I just think of
• 1:14:21
  Speaker 3: that awful Hamster movie, Guinea Pig movie, whatever the fuck
• 1:14:24
  Speaker 3: that was. Everyone forgot about that. Probably no one knows
• 1:14:27
  Speaker 3: what I'm talking about. Anyways. If you enjoy the show,
• 1:14:30
  Speaker 3: please rate and review on your favorite podcast app of choice.
• 1:14:33
  Speaker 3: Follow us on Facebook, Instagram, TikTok, Slasher Threads, and YouTube
• 1:14:36
  Speaker 3: a Frightmar's podcast. Our email is stay Spooky at outlook
• 1:14:39
  Speaker 3: dot com. You can also follow me personally on a
• 1:14:42
  Speaker 3: letterbox at doctor Proctor All one word, Corey. You are
• 1:14:47
  Speaker 3: Corey Boom. If you'd like to expand your movie podcast listening,
• 1:14:51
  Speaker 3: be sure to check out The Shameless Picture Show, The
• 1:14:53
  Speaker 3: Dead Eyed Millennial Film Club, and One Week Rental as well.
• 1:14:57
  Speaker 3: Next week, Gabby and I will be doing mom Mister
• 1:15:00
  Speaker 3: Seafood Wars from twenty twenty as our modern pick. It
• 1:15:03
  Speaker 3: is streaming on Prime Plex and two B. And this
• 1:15:06
  Speaker 3: was the only Kaiju movie I could find from the
• 1:15:11
  Speaker 3: you know, like the last five or six years that
• 1:15:13
  Speaker 3: was actually guys in big, giant suits. No CG to
• 1:15:17
  Speaker 3: my knowledge, or at least when it comes to the monsters,
• 1:15:20
  Speaker 3: they're all practical people in suits. So I was like, fuck, yeah,
• 1:15:24
  Speaker 3: let's do this. The premise sounds ridiculous, So please go
• 1:15:27
  Speaker 3: watch that because I'm sure it's gonna be a riot.
• 1:15:29
  Speaker 3: And until next week, stay tuned, and thank you for listening.
• 1:16:13
  Speaker 2: To hear more shows from the Someone's Favorite Productions podcast network,
• 1:16:17
  Speaker 2: Please select the link in the description