GODZILLA 2014 question.........

[elvisbot]

Ok, I've seen all the promos online and on tv for the upcoming GODZILLA film. There are many words being thrown about concerning the other monsters in the movie (I've heard at least two other monsters will appear besides the big G).
What rumors have you heard?

[greystoke]

Ok, I've seen all the promos online and on tv for the upcoming GODZILLA film. There are many words being thrown about concerning the other monsters in the movie (I've heard at least two other monsters will appear besides the big G).
What rumors have you heard?

Wait and see. It will be better. And you'll appreciate the film more. But take a look at the trailers again for a brief hint.

[mark]

One is called MUTO and the other has not been named. Some thing it maybe Radon aka Rodan is the other

[elvisbot]

There are certain Japanese monsters i don't like. So, if any of them are in the new movie, then i guess I'll be skipping it. On the other hand, there are certain Japanese monsters that i thought were very under utilized in the older films. Among them, the Bigfoot creatures in WAR OF THE GARGANTUAS and that big green Godzilla wannabe in FRANKENSTEIN CONQUERS THE WORLD. Oh yeah, let's not forget Manda, the giant snake creature from DESTROY ALL MONSTERS who appeared in a film or two for about 6 seconds each. Decent creatures that Toho ignored after their initial celluloid debuts.

[mark]

There was a movie called Frankenstein Conquers the World. Its where Frankenstein's heart is taken to Hiroshima where the atomic bomb goes off. The heart goes into a new Frankenstein monster and he grows to gigantic size and fights Baragon.

The sequel to this film is War of the Gargantuas (titled Furankenshutain no Kaijû: Sanda tai Gaira in Japan). In said film, pieces of Frankenstein's cells mutate into two giant humanoid monsters: Sanda (the Brown Gargantua) and Gaira (the Green Gargantua)

[luckyjackson1]

One more day... can't wait...

[keninlincs]

Looking forward to it

[luckyjackson1]

Love to finally see Bryan Cranston on the big screen...

Even in 3-D although I'm not a big fan of it.

[elvisbot]

Don't worry...no spoiler alerts here......
Just returned from seeing this film and on a scale of 1 to 10...I would say this was a 4 (bad news for Godzilla fans).
If you want an idea of what's in store for you when you go to see this film...here's the breakdown:

40% military training film

40% soap opera

20% monster movie.

Wanna see a "real" Godzilla film?
Stay home and watch one of the older films on DVD/BLU RAY or use the money to buy some.

This movie is the result of Americans trying to make a Japanese monster movie and failing miserably. Did they not learn their lesson after the Matthew Broderick remake bombed back in 1998???

Obviously not!!!

[rickeap]

Maybe marginally better than 1998 version, but only marginally (and that was probably the Elvis song influencing me)

[greystoke]

I thought Godzilla was a first-rate monster movie that was created with genuine affection for the character of Godzilla and the history of monster movies made by Toho Studios. Who were involved in the production of this film along with Warner Bros. and Legendary Films, and whose choice of director was inspired, because it's Gareth Edwards' keen understanding of the genre and intricate sensibilities as a film-maker that not only separates this movie from Roland Emmerich's woeful 1998 film, but makes this Godzilla very close in tone to that of Ishiro Honda's original Gojira. This wasn't by chance, as Edwards establishes a certain link between his movie and the 1954 film in the excellent opening credits scene. Here, the faux newsreel footage and photographic evidence of a creature seen only once in recorded history helps create context for Godzilla within the narrative. Importantly, the script focuses on the human element and does so without wandering too far from a single family unit and how they are affected by the natural instincts of the creatures we see in the movie, specifically the M.U.T.O. Edwards handles this aspect of the story superbly, first in refraining from showing too much, or trying to foreshadow events too heartily despite the inevitable. Whilst also creating a genuine nuclear anxiety that's very much pertinent to recent events in Japan. This facet of Godzilla is handled respectfully and with great tact, although it was clearly important to Edwards that links to the original movie be retained throughout the film -- the keen-eyed will have spotted numerous nods and references. Whilst the oriental themes in Alexandre Desplat's excellent score offers charming nuances next to some stirring dramatic passages.

Bryan Cranston, who plays a nuclear physicist, is well cast in an important and pivotal role, with his character and the effect a nuclear meltdown has on him and his family reflecting themes of loss, trust and family that are present throughout the movie. Juliette Binoche, who plays his wife, has only a small role, as does Sally Hawkins, who plays the partner of Ken Watanabe's research scientist, whose fascination with Godzilla and understanding of the creature mirrors that of the audience. But it's Aaron Taylor-Johnson's character who the story follows closest. Johnson, a soldier on leave, travels to Japan for reasons I won't reveal out of consideration for those yet to see the movie. However, it's here that we first see the M.U.T.O., a creature who isn't necessarily malevolent, but has a clear survival instinct that's very much at odds with mankind's nuclear aspirations. Edwards, with the M.U.T.O., designed a creature that's true to the Toho tradition of monster movies in creating a genuine threat for humanity whilst proving to be a capable antagonist for Godzilla. It's here that Edwards, like Guillermo del Toro with Pacific Rim, delves more into the B-movie sensibilities of Toho and Godzilla, but manages to muster a sense of expectation, wonder and awe that's realised through staying fast to the human story and only hinting at the monsters until the movie's final act.

Godzilla and the M.U.T.O. are brilliantly designed and complex creatures, of course. Both physically and emotionally -- the latter to surprising affect in the M.U.T.O. However, Edwards has created the largest and tallest Godzilla to date, and whilst mankind is only able to see destruction and peril in his wake, this is a creature cogniscent of human nature and its place in the world. But it's man's inability to understand nature and the effects of mankind on nature that's tacitly expressed in Godzilla. Which affords a rich subtext to a movie that eschews destruction and mayhem in favour of a narrative arc that's coherent, well-written and expertly paced by Edwards, who only slips up by removing too much of the human element in the final act. Which may have been necessary, given the need for a climax that answers all questions about Godzilla's capabilities. It does, and quite magnificently, whilst retaining the sense of affection and respect the director and the studios behind this movie have for Godzilla.

[r&b]

Love to finally see Bryan Cranston on the big screen...

Even in 3-D although I'm not a big fan of it.

Did you not see Argo?

[mark]

There is one thing i liked about Godzilla 1985 at the very end Raymond Burr's charter said this.

Nature has a way sometimes of reminding man of just how small he is. She occasionally throws up the terrible offspring of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake or a Godzilla. The reckless ambitions of man are often dwarfed by their dangerous consequences. For now, Godzilla, that strangely innocent and tragic monster, has gone to earth. Whether he returns or not or is never again seen by human eyes, the things he has taught us remain."

[luckyjackson1]

Love to finally see Bryan Cranston on the big screen...

Even in 3-D although I'm not a big fan of it.

Did you not see Argo?

Unfortunately only on DVD, not even the extended blu-ray cut!!!

[Julian Grant]

Saw this last week in Thailand in 4D, I never knew there was such a thing. I also saw it in IMAX so a double whammy!
Although enjoyable, senses overload.

[elvisbot]

I thought Godzilla was a first-rate monster movie that was created with genuine affection for the character of Godzilla and the history of monster movies made by Toho Studios. Who were involved in the production of this film along with Warner Bros. and Legendary Films, and whose choice of director was inspired, because it's Gareth Edwards' keen understanding of the genre and intricate sensibilities as a film-maker that not only separates this movie from Roland Emmerich's woeful 1998 film, but makes this Godzilla very close in tone to that of Ishiro Honda's original Gojira. This wasn't by chance, as Edwards establishes a certain link between his movie and the 1954 film in the excellent opening credits scene. Here, the faux newsreel footage and photographic evidence of a creature seen only once in recorded history helps create context for Godzilla within the narrative. Importantly, the script focuses on the human element and does so without wandering too far from a single family unit and how they are affected by the natural instincts of the creatures we see in the movie, specifically the M.U.T.O. Edwards handles this aspect of the story superbly, first in refraining from showing too much, or trying to foreshadow events too heartily despite the inevitable. Whilst also creating a genuine nuclear anxiety that's very much pertinent to recent events in Japan. This facet of Godzilla is handled respectfully and with great tact, although it was clearly important to Edwards that links to the original movie be retained throughout the film -- the keen-eyed will have spotted numerous nods and references. Whilst the oriental themes in Alexandre Desplat's excellent score offers charming nuances next to some stirring dramatic passages.

Bryan Cranston, who plays a nuclear physicist, is well cast in an important and pivotal role, with his character and the effect a nuclear meltdown has on him and his family reflecting themes of loss, trust and family that are present throughout the movie. Juliette Binoche, who plays his wife, has only a small role, as does Sally Hawkins, who plays the partner of Ken Watanabe's research scientist, whose fascination with Godzilla and understanding of the creature mirrors that of the audience. But it's Aaron Taylor-Johnson's character who the story follows closest. Johnson, a soldier on leave, travels to Japan for reasons I won't reveal out of consideration for those yet to see the movie. However, it's here that we first see the M.U.T.O., a creature who isn't necessarily malevolent, but has a clear survival instinct that's very much at odds with mankind's nuclear aspirations. Edwards, with the M.U.T.O., designed a creature that's true to the Toho tradition of monster movies in creating a genuine threat for humanity whilst proving to be a capable antagonist for Godzilla. It's here that Edwards, like Guillermo del Toro with Pacific Rim, delves more into the B-movie sensibilities of Toho and Godzilla, but manages to muster a sense of expectation, wonder and awe that's realised through staying fast to the human story and only hinting at the monsters until the movie's final act.

Godzilla and the M.U.T.O. are brilliantly designed and complex creatures, of course. Both physically and emotionally -- the latter to surprising affect in the M.U.T.O. However, Edwards has created the largest and tallest Godzilla to date, and whilst mankind is only able to see destruction and peril in his wake, this is a creature cogniscent of human nature and its place in the world. But it's man's inability to understand nature and the effects of mankind on nature that's tacitly expressed in Godzilla. Which affords a rich subtext to a movie that eschews destruction and mayhem in favour of a narrative arc that's coherent, well-written and expertly paced by Edwards, who only slips up by removing too much of the human element in the final act. Which may have been necessary, given the need for a climax that answers all questions about Godzilla's capabilities. It does, and quite magnificently, whilst retaining the sense of affection and respect the director and the studios behind this movie have for Godzilla.

first of all, you spoiled all the plot line of the movie for the Godzilla fans who may have not seen the film yet. Shame on you.....please re-read the first message you posted in this thread where you said the plot should be a surprise. Sounds like a "do as i say and not as i do attitude" Even i didn't spoil any of the plot line in my mini-review a few messages back.
what a party pooper!

[elvisbot]

There is one thing i liked about Godzilla 1985 at the very end Raymond Burr's charter said this.

Nature has a way sometimes of reminding man of just how small he is. She occasionally throws up the terrible offspring of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake or a Godzilla. The reckless ambitions of man are often dwarfed by their dangerous consequences. For now, Godzilla, that strangely innocent and tragic monster, has gone to earth. Whether he returns or not or is never again seen by human eyes, the things he has taught us remain."

I wonder why Roger Corman's New World pictures didn't release GODZILLA 1985 to DVD/Blu ray to cash in on the recent Godzilla craze? Rights issues?
I believe that this is the only Godzilla film not currently available in the USA.
Fortunately, i was able to pick up a VHS copy by New World Video (BTW the official version on VHS and not the PD one), at a flea market for 50 cents last year.

[greystoke]

I thought Godzilla was a first-rate monster movie that was created with genuine affection for the character of Godzilla and the history of monster movies made by Toho Studios. Who were involved in the production of this film along with Warner Bros. and Legendary Films, and whose choice of director was inspired, because it's Gareth Edwards' keen understanding of the genre and intricate sensibilities as a film-maker that not only separates this movie from Roland Emmerich's woeful 1998 film, but makes this Godzilla very close in tone to that of Ishiro Honda's original Gojira. This wasn't by chance, as Edwards establishes a certain link between his movie and the 1954 film in the excellent opening credits scene. Here, the faux newsreel footage and photographic evidence of a creature seen only once in recorded history helps create context for Godzilla within the narrative. Importantly, the script focuses on the human element and does so without wandering too far from a single family unit and how they are affected by the natural instincts of the creatures we see in the movie, specifically the M.U.T.O. Edwards handles this aspect of the story superbly, first in refraining from showing too much, or trying to foreshadow events too heartily despite the inevitable. Whilst also creating a genuine nuclear anxiety that's very much pertinent to recent events in Japan. This facet of Godzilla is handled respectfully and with great tact, although it was clearly important to Edwards that links to the original movie be retained throughout the film -- the keen-eyed will have spotted numerous nods and references. Whilst the oriental themes in Alexandre Desplat's excellent score offers charming nuances next to some stirring dramatic passages.

Bryan Cranston, who plays a nuclear physicist, is well cast in an important and pivotal role, with his character and the effect a nuclear meltdown has on him and his family reflecting themes of loss, trust and family that are present throughout the movie. Juliette Binoche, who plays his wife, has only a small role, as does Sally Hawkins, who plays the partner of Ken Watanabe's research scientist, whose fascination with Godzilla and understanding of the creature mirrors that of the audience. But it's Aaron Taylor-Johnson's character who the story follows closest. Johnson, a soldier on leave, travels to Japan for reasons I won't reveal out of consideration for those yet to see the movie. However, it's here that we first see the M.U.T.O., a creature who isn't necessarily malevolent, but has a clear survival instinct that's very much at odds with mankind's nuclear aspirations. Edwards, with the M.U.T.O., designed a creature that's true to the Toho tradition of monster movies in creating a genuine threat for humanity whilst proving to be a capable antagonist for Godzilla. It's here that Edwards, like Guillermo del Toro with Pacific Rim, delves more into the B-movie sensibilities of Toho and Godzilla, but manages to muster a sense of expectation, wonder and awe that's realised through staying fast to the human story and only hinting at the monsters until the movie's final act.

Godzilla and the M.U.T.O. are brilliantly designed and complex creatures, of course. Both physically and emotionally -- the latter to surprising affect in the M.U.T.O. However, Edwards has created the largest and tallest Godzilla to date, and whilst mankind is only able to see destruction and peril in his wake, this is a creature cogniscent of human nature and its place in the world. But it's man's inability to understand nature and the effects of mankind on nature that's tacitly expressed in Godzilla. Which affords a rich subtext to a movie that eschews destruction and mayhem in favour of a narrative arc that's coherent, well-written and expertly paced by Edwards, who only slips up by removing too much of the human element in the final act. Which may have been necessary, given the need for a climax that answers all questions about Godzilla's capabilities. It does, and quite magnificently, whilst retaining the sense of affection and respect the director and the studios behind this movie have for Godzilla.

first of all, you spoiled all the plot line of the movie for the Godzilla fans who may have not seen the film yet. Shame on you.....please re-read the first message you posted in this thread where you said the plot should be a surprise. Sounds like a "do as i say and not as i do attitude" Even i didn't spoil any of the plot line in my mini-review a few messages back.
what a party pooper!

No, I gave an honest review that spoils nothing. You asked for rumours and wanted to know specifics of the movie in your post above. I only mentioned the M.U.T.O. on the basis that they had been mentioned in this thread already. You've seen the movie, so you should realise this.

[greystoke]

There is one thing i liked about Godzilla 1985 at the very end Raymond Burr's charter said this.

Nature has a way sometimes of reminding man of just how small he is. She occasionally throws up the terrible offspring of our pride and carelessness to remind us of how puny we really are in the face of a tornado, an earthquake or a Godzilla. The reckless ambitions of man are often dwarfed by their dangerous consequences. For now, Godzilla, that strangely innocent and tragic monster, has gone to earth. Whether he returns or not or is never again seen by human eyes, the things he has taught us remain."

I wonder why Roger Corman's New World pictures didn't release GODZILLA 1985 to DVD/Blu ray to cash in on the recent Godzilla craze? Rights issues?
I believe that this is the only Godzilla film not currently available in the USA.
Fortunately, i was able to pick up a VHS copy by New World Video (BTW the official version on VHS and not the PD one), at a flea market for 50 cents last year.

Warner Bros. owned the North American distribution rights to this film for a time after New World was bought by News Corporation, then subsequently folded. The rights have since reverted back to Toho studios, who own the movie.

[mark]

I got both Godzilla 1984 and 1985 on dvd. When you watch them it'slike watching to differet movies

[Renan]

I watched last Friday in 3-D format and I truly enjoyed.

And good to listen to "Devil In Desguise" during the movie.

[luckyjackson1]

I watched last Friday in 3-D format and I truly enjoyed.

And good to listen to "Devil In Desguise" during the movie.

Actually my favourite scene in the movie...

[The Pirate]

I thought Godzilla was a first-rate monster movie that was created with genuine affection for the character of Godzilla and the history of monster movies made by Toho Studios. Who were involved in the production of this film along with Warner Bros. and Legendary Films, and whose choice of director was inspired, because it's Gareth Edwards' keen understanding of the genre and intricate sensibilities as a film-maker that not only separates this movie from Roland Emmerich's woeful 1998 film, but makes this Godzilla very close in tone to that of Ishiro Honda's original Gojira. This wasn't by chance, as Edwards establishes a certain link between his movie and the 1954 film in the excellent opening credits scene. Here, the faux newsreel footage and photographic evidence of a creature seen only once in recorded history helps create context for Godzilla within the narrative. Importantly, the script focuses on the human element and does so without wandering too far from a single family unit and how they are affected by the natural instincts of the creatures we see in the movie, specifically the M.U.T.O. Edwards handles this aspect of the story superbly, first in refraining from showing too much, or trying to foreshadow events too heartily despite the inevitable. Whilst also creating a genuine nuclear anxiety that's very much pertinent to recent events in Japan. This facet of Godzilla is handled respectfully and with great tact, although it was clearly important to Edwards that links to the original movie be retained throughout the film -- the keen-eyed will have spotted numerous nods and references. Whilst the oriental themes in Alexandre Desplat's excellent score offers charming nuances next to some stirring dramatic passages.

Bryan Cranston, who plays a nuclear physicist, is well cast in an important and pivotal role, with his character and the effect a nuclear meltdown has on him and his family reflecting themes of loss, trust and family that are present throughout the movie. Juliette Binoche, who plays his wife, has only a small role, as does Sally Hawkins, who plays the partner of Ken Watanabe's research scientist, whose fascination with Godzilla and understanding of the creature mirrors that of the audience. But it's Aaron Taylor-Johnson's character who the story follows closest. Johnson, a soldier on leave, travels to Japan for reasons I won't reveal out of consideration for those yet to see the movie. However, it's here that we first see the M.U.T.O., a creature who isn't necessarily malevolent, but has a clear survival instinct that's very much at odds with mankind's nuclear aspirations. Edwards, with the M.U.T.O., designed a creature that's true to the Toho tradition of monster movies in creating a genuine threat for humanity whilst proving to be a capable antagonist for Godzilla. It's here that Edwards, like Guillermo del Toro with Pacific Rim, delves more into the B-movie sensibilities of Toho and Godzilla, but manages to muster a sense of expectation, wonder and awe that's realised through staying fast to the human story and only hinting at the monsters until the movie's final act.

Godzilla and the M.U.T.O. are brilliantly designed and complex creatures, of course. Both physically and emotionally -- the latter to surprising affect in the M.U.T.O. However, Edwards has created the largest and tallest Godzilla to date, and whilst mankind is only able to see destruction and peril in his wake, this is a creature cogniscent of human nature and its place in the world. But it's man's inability to understand nature and the effects of mankind on nature that's tacitly expressed in Godzilla. Which affords a rich subtext to a movie that eschews destruction and mayhem in favour of a narrative arc that's coherent, well-written and expertly paced by Edwards, who only slips up by removing too much of the human element in the final act. Which may have been necessary, given the need for a climax that answers all questions about Godzilla's capabilities. It does, and quite magnificently, whilst retaining the sense of affection and respect the director and the studios behind this movie have for Godzilla.

first of all, you spoiled all the plot line of the movie for the Godzilla fans who may have not seen the film yet. Shame on you.....please re-read the first message you posted in this thread where you said the plot should be a surprise. Sounds like a "do as i say and not as i do attitude" Even i didn't spoil any of the plot line in my mini-review a few messages back.
what a party pooper!

No, I gave an honest review that spoils nothing. You asked for rumours and wanted to know specifics of the movie in your post above. I only mentioned the M.U.T.O. on the basis that they had been mentioned in this thread already. You've seen the movie, so you should realise this.

It's rather like complaining that a review gives away the fact there's a...Oops, sorry... SPOILER ALERT!! - shark in Jaws.