Godzilla may be a lusted after box office commodity in America, but in Japan he’s a cinematic legend on par with Humphrey Bogart or Charlie Chaplin. It was Japan’s Toho Studios that got the Godzilla ball rolling in 1954, turning what could have been a silly monster movie starring a guy in a suit trampling on cardboard buildings into a frightening parable for Japan’s suffering from nuclear warfare nearly a decade earlier. The metaphor wasn’t lost on anyone, and the Ishirō Honda creation developed a worldwide following that spawned dozens of sequels over the last six decades and at least two American remakes. But after a decade in retirement, the Japanese are looking to put their stamp on the legend once more. In other words, Toho’s back in the Godzilla business. (more…)
Looking back on the summer of 2014, Godzilla was indeed one of the success stories, but it’s debatable as to whether it was the big hit the studio wanted it to be. At the same time, there’s also a question as to whether or not the style and tone brought to the production by director Gareth Edwards outweighed the weaker story and character elements, and whether or not those two desperate aspects might be balanced for the sequel. Well, what ever may come in the franchise, we know one thing for certain: the date that Godzilla 2 will be released. And when will that be? Read on. (more…)
EDITORS NOTE: Story (SDCC14: Legendary Pictures Unleashes a Hugh Surprise on Hall H) updated from 1/26/14. Update Below.
Legendary Pictures used to be tied to the superhero movie boom but lately they’ve been shepherding movies about big damn monsters (among other things) into theaters with good but not earth shattering results, though it seems clear that, in doubling down with the Godzilla and Pac Rim sequels, their aim is to win audiences over with both the largess of these films and their persistence.
Enter Skull Island, a film based on the mythical island home of King Kong and a complete surprise to the assembled crowd in Hall H and the press when Legendary ran a quick teaser promoting the project. (more…)
When the latest incarnation of Godzilla was announced, there was an understandable amount of trepidation concerning the project. After the last Godzilla movie, everyone expected yet another disaster of epic (and expensive) proportions. But the new Godzilla was met with mostly positive reactions and brought in a fair bit of cash. So naturally, Legendary Pictures is looking to capitalize on that and continue the franchise. Today at SDCC, Gareth Edwards announced that Godzilla 2 is indeed coming. What’s more, the movie will feature a plethora of the big lizard’s classic enemies. Read on for some serious name dropping. (more…)
Yesterday came the news that Godzilla director Gareth Edwards was cashing out his cache and buying a rocket ship to that galaxy far, far away to make the first Star Wars spin-off film in time for a December 16th, 2016 release date. The immediate thought was “awesome!” but the second thought was “what about the next Godzilla movie?” Obviously, much of Godzilla’s success comes from what Edwards brought to the film in terms of its tone and style, so they’d have to be crazy not to find a way to bring him back for a part 2. So to prove they’re not crazy, the folks at Legendary Pictures today have confirmed that Edwards will by back for Godzilla 2. And maybe 3 and 4. (more…)
Deviantart artist Warriorking4ever, like a lot of us, wanted to see Godzilla take on one of Pacific Rim‘s Jaegers, so he worked up the picture above. It was only a matter of time until one of the very creative video geeks on the Internet put together a mashup video pitting those two giants against each other. Wanna see them duke it out? (more…)
Gareth Edwards‘ new rendition of Godzilla opens tonight in theaters everywhere. But before that he was the guy known for making a micro-budget monster movie that looked like a blockbuster, and did it all on his friggin’ laptop. Monsters was one of a number of low-budget genre movies that showed that indie filmmakers could play with the big boys, and more often than not, put them to shame, and as it turned out, it was a proof of concept that showed Edwards was up for the job of making a new Godzilla. But now that Edwards has moved on to the big time, will we ever get a look back into the Monsters world? Good news! A sequel is on the way. It’s called Monsters: Dark Continent, and we have the trailer below. (more…)
Godzilla has had a career unlike any star of the silver screen. Debuting in 1954, Ishirō Honda’s Gojira was a somber, bleak and quite realistic depiction of the sheer destructiveness of nature (itself an allegory for humanity’s own penchant for destruction). From there, some 27 films later, the franchise has gone through many iterations. Sometimes Godzilla’s simply a monster, sometimes a hero, sometimes he’s truly terrible and frightening, and other times a chintzy, campy joke. Yet though all of it, Godzilla endures. [Minor SPOILERS follow.] (more…)
Welcome back to our newly revamped “Retro Reviews” column, where we explore both the movies you know and love, as well as the oft overlooked gems you should be spending more time with. Our fifth entry acts as a brief refresher on one of the pivotal moments in Japanese cinema, Ishirō Honda’s Godzilla (1954)…
Picture Godzilla in your head. What do you see?
For most, the image is simple — men in rubbery monster suits battling one-another amidst a chintzily built model, stepping on toy cars willy-nilly in an effort to put forth the feeling of destruction on an apocalyptic scale. To the average cinema-goer Gojira — excuse me, Godzilla — is an icon of pugilistic campiness; a towering figure akin to a scaly Macho Man Randy Savage, wrestling other goofy kaiju for ninety minutes while tiny Asian people point and scream “the monster is attacking the city!”
Like most successful franchise frontmen, the weight of Godzilla’s initial appearance has been watered down by subsequent sequels (twenty-seven, to be exact), to the point that many have forgotten the iconic monster’s original metaphorical meaning: a walking mushroom cloud, the fantastical representation of holocaust. Ishirō Honda’s monumental piece of Japanese filmmaking still stands as one of the greatest cinematic responses to the psychic trauma caused by war, ranking with Stanley Kubrick’s Dr. Strangelove as a defining piece of pop art derived from the utter devastation of the nuclear bomb.