“King of the Monsters—Savior of Our City?” This is what a news channel chyron at the end of 2014’s Godzilla asks. The question appears on a television set in a San Francisco stadium that has been converted into a Fema camp for survivors of Godzilla’s attack on the Bay Area, which climaxed with a battle between the Big G and two Massive Unidentified Terrestrial Organisms (MUTOs). The scale of suffering caused by these creatures, and the shrieks of terror the survivors let out when they see Godzilla rise after defeating the MUTOs and walk to the sea, tell us that the answer is “no.”
To anyone wondering who, then, is the savior of the city, the same scene provides an answer. In a sequence that mirrors countless feel-good videos shared on social media, we follow protagonist Lt. Ford Brody (Aaron Taylor-Johnson) in his tattered fatigues as he carries...
To anyone wondering who, then, is the savior of the city, the same scene provides an answer. In a sequence that mirrors countless feel-good videos shared on social media, we follow protagonist Lt. Ford Brody (Aaron Taylor-Johnson) in his tattered fatigues as he carries...
- 12/5/2023
- by David Crow
- Den of Geek
Even before I’d seen a single Godzilla movie, I knew Mechagodzilla was my favorite damn thing in the entire franchise. Because really, how could it not be? Regardless of its incarnation, Mechagodzilla is still a giant robot shaped like a monster. There are few things in entertainment that are quite that perfect, and it seems that pop culture agrees. Mechagodzilla has become something of a series icon, up there with King Ghidorah and Mothra as one of the most recognizable non-Godzilla kaiju in the franchise. Yet all legends have to start somewhere, and for Mechagodzilla, it was in the fourteenth film of the franchise, Jun Fukuda’s aptly titled Godzilla vs. Mechagodzilla (1974).
Taking place presumably sometime after the previous year’s Godzilla vs. Megalon (although continuity was never the Showa series’ high point), Godzilla vs. Mechagodzilla takes place in a Japan already rocked by monster attacks, with a...
Taking place presumably sometime after the previous year’s Godzilla vs. Megalon (although continuity was never the Showa series’ high point), Godzilla vs. Mechagodzilla takes place in a Japan already rocked by monster attacks, with a...
- 12/15/2017
- by Perry Ruhland
- DailyDead
**Massive spoilers for every Godzilla movie, with the exception of the 2014 reboot, and Mothra follow**
August 6th and 9th, 1945 forever changed the course of history. When the first nuclear bombs were dropped in Hiroshima and Nagasaki, Japan, World War II ended, but a new fear was born that dominated the thoughts of all men, women, and children for decades to come. The Cold War, atomic bomb testing, a cartoon turtle telling children to “duck and cover”, and this new technology that had the actual potential to literally end the world changed the perception of what was scary. Art reflects life, so cinema began to capitalize on these fears. Gone were the days of creepy castles, cobwebs, bats, vampires, werewolves, and the other iconic images that ruled genre cinema in film’s earliest decades. Science fiction was larger than ever and giant ants, giant octopi, terror from beyond the stars, and...
August 6th and 9th, 1945 forever changed the course of history. When the first nuclear bombs were dropped in Hiroshima and Nagasaki, Japan, World War II ended, but a new fear was born that dominated the thoughts of all men, women, and children for decades to come. The Cold War, atomic bomb testing, a cartoon turtle telling children to “duck and cover”, and this new technology that had the actual potential to literally end the world changed the perception of what was scary. Art reflects life, so cinema began to capitalize on these fears. Gone were the days of creepy castles, cobwebs, bats, vampires, werewolves, and the other iconic images that ruled genre cinema in film’s earliest decades. Science fiction was larger than ever and giant ants, giant octopi, terror from beyond the stars, and...
- 11/4/2014
- by Max Molinaro
- SoundOnSight
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