Legendary Pictures' Godzilla
- Thread starter X-SOLDIER
- Start date
- AKA
- So many names
So remember when I said I got no one to go see this with? Fuck that shit, my buddy Bill what used to work with me is going with me to see this on Saturday 
- AKA
- Jesse McCree. I feel like a New Man
Ma agreed this is a belated mother's day premiere for us.
- AKA
- X
BTW: The "Godzilla: Awakening" graphic novel for the film is… fucking awesome. It MAY be a tad spoilerish the same way that the "Pacific Rim: Tales From Year Zero" was, in that it gives a little information on the film, but details things that they don't show you directly in the film. It covers who Dr. Serizawa is as well as the origin and role of Godzilla & the M.U.T.O. which is exceptionally badass. (My buddy who saw the film mentioned wanting to have read it before he saw the film, and I remember loving Pacific Rim even more because I read the graphic novel first, so…
.
I'll give opinions on the art book after I see the film, since that'll have concept art of everything and would probably be properly spoilery.
34 hours and counting…
Mega happy to hear all your guys have people to go with.
X
.I'll give opinions on the art book after I see the film, since that'll have concept art of everything and would probably be properly spoilery.
34 hours and counting…
Mega happy to hear all your guys have people to go with.
X
- AKA
- Tets
- AKA
- Chloe Frazer
I'm going with my mommy or little brother on Sunday. 
They have both been informed that if one can't the other is obligated to go as I will not wait another week to watch the movie.
Also every couple of hours I check the wikipedia page to see if the plot is up, is not yet. I NEED THE SPOILERS.
They have both been informed that if one can't the other is obligated to go as I will not wait another week to watch the movie.Also every couple of hours I check the wikipedia page to see if the plot is up, is not yet. I NEED THE SPOILERS.
- AKA
- So many names
Carlie, good news. I just found the best spoiler EVER just for you:
maybe I can find it somewhere in the city tomorrow. 
- AKA
- TresDias
Bah =(
I'd go with you if not for that whole three-states-away thing.
I'd go with you if not for that whole three-states-away thing.
- AKA
- So many names
Pretty well goes without saying, that But seriously, that sucks Avec.
But seriously, that sucks Avec.
- AKA
- TresDias
I'm sure you would've also offered to help her with the other part of that situation if not for the three-states-away thing.
Well, a gentleman doesn't abandon a lady in her time of need.
Mantichorus
"I've seen enough."
- AKA
- Kris; Mantichorus; Sam Vimes; Neku Sakuraba; Koki Kariya; Hazama; CuChulainn; Yu Narukami; Mewtwo; Rival Silver; Suicune; Kanata; Professor Oak; The Brigadier; VIII; The Engineer
Tatopoulos is actually the surname of the guy who designed the iguana. And in case anyone thought he was entirely shit, he also did the tech designs on the original Stargate feature. Along with a lot of other good/decent/indifferent stuff.
- AKA
- Chloe Frazer
ATOMIC FUCKING BREATH. Managed to see a clip on youtube before it was taken down when Godzilla fights the female MUTO and beats her by forcing her jaws open and firing a torrent atomic breath down her throat, disintegrating the Muto from inside out. FUCKING AWESOME.
Here's some of it:
]
Here's some of it:
Pixel
The Pixie King
ATOMIC FUCKING BREATH. Managed to see a clip on youtube before it was taken down when Godzilla fights the female MUTO and beats her by forcing her jaws open and firing a torrent atomic breath down her throat, disintegrating the Muto from inside out. FUCKING AWESOME.
Here's some of it:
]
I can't even describe the excitement when I saw his spines starting to glow blue. And before he fired it down the Muta's throat, I thought "Fuck yeah, he's gonna tear it jaws apart", then HOLY FUCK!!! 
- AKA
- So many names
Welp, not reading any of that for a couple days
- AKA
- X
Welp, the 7:00 showings have kicked off (which will hopefully take care of the slightly louder audience members), so it's only 2 and a half hours until I leave work and head off to the theater for the 10:00 showing (since they do this for summer movies instead of having a(ny) mindight showings).
The full-blown giddy excitement phase has pretty much completely taken hold of me. I can hardly wait to read the above spoiler tags, and also just freak out & gush about this - assuming that earlier speculation on my dying of spontaneous combustion/heart attack/literal blown mind while in the theater doesn't occur.
X
The full-blown giddy excitement phase has pretty much completely taken hold of me. I can hardly wait to read the above spoiler tags, and also just freak out & gush about this - assuming that earlier speculation on my dying of spontaneous combustion/heart attack/literal blown mind while in the theater doesn't occur.
X
- AKA
- X
Ok. So. Still gathering my thoughts. Bear with me, this is gonna be REALLY ranty, (edit: and I'm apparently just going through the whole thing from start to finish in full blow-by-blow spoilery details because of reasons that I just apparently couldn't not).
The opening credits sequence was probably the most perfect thing ever. All the intercut footage with tiny glimpses of Godzilla INSTANTLY lets you know that this is the work of someone who loves the source material, all leading up into the atomic bomb footage sealing it all off in the opening. Just pure perfection.
There's the bit with Monarch that I had a bit of background on from the graphic novel, and knowing a little about Serizawa from the start helped to provide a little extra excitement/context to the start of the film back in 1999, and seeing his watch was a nice little touch since it came up later. The bit with Bryan Cranston at the start was an excellent opening in to what was going on. The swift leap forward into his son being grown up and having a family, and his dad's near instant descent into obsession about the event was excellently handled to introduce you to the characters and get all the emotional hooks in place.
From there, things unexpectedly dive pretty much straight into the Kaiju badassery with the first appearance of the MUTO. The up-close-and-personal sense of scale was just amazing, and the small details like the design of the containment chamber, and all the procedure put in place as really well executed. The other part that was excellent was giving a really good sense of collateral damage, and Bryan Cranston dying of indirect damage, just as his son realizes that his dad's fears were all too real.
From there, the move to Hawaii was pretty linear, but the sense of urgency was really awesome, and the sense of just sheer danger seeing the MUTO feeding on a nuclear sub, and then watching it just wipe out the power, and it's just as deadly actively as Godzilla is passively when he causes the tidal wave to move in as he just comes into the area. The bit with Aaron's character and the little kid was sweet, and the rising airport reveal of Godzilla took my breath away. The cut from them seeing the attack to his own kid & wife seeing the attack on tv was brilliant. The found-footage and second-hand type shots used to obscure the kaiju from full reveals were just BRILLIANTLY handled and used perfectly. The sort of hit and run attack with Godzilla following after it was an excellent first contact.
I loved that that small resolution was closed up with the kid finding his parents and nothing else coming of it, and Aaron's character staying passively involved. From there you have a better sense of what's happening, and the whole Las Vegas second and female MUTO reveal was amazing. I also loved the fact that the two of them had different morphologies with the female being larger and terrestrial, and the male being smaller and airborne. From there, the move into more military-specific events was interesting and gave enough of the ground-forces view that the bits with the commander and Serizawa didn't, as well as set up the important warhead elements.
Here's obviously when the bit with his wife & child come into play and her staying behind and sending her son off and away set up for tension. The sense of danger from his dad dying earlier gave a real sense of danger to what could happen to anyone now that things were coming to a head. Then you have the issue going down with the train and the AMAZING close encounter with the female MUTO with the danger to the squad on the train. The sense of danger with little things like the train slats and height really give the sense of danger when she moves in, and you see the eggs and get a really good look at her up until he passes out.
From there, the immediate move into San Fran happens, and just holy shit. The military being jerkfaces on the Golden Gate Bridge was an unexpectly great moment as Godzilla just stands out of the water and his dorsal fins stop the Navy missiles from hitting the evacuees was the first big moment where you know Godzilla's a real heroic figure, rather than just the greater of two evils. In addition to completely ignoring the machine gun fire and treating the higher-powered arms like VERY petty annoyances, you see how quickly he covers ground and just moves through the bridge like it's a minor inconvenience.
Then you finally have moments like the two MUTOs meeting up to give a comparative sense of scale, and see that they're just creatures - albeit EXTREMELY dangerous ones. Knocking out the power and moving into the real conflict was AMAZING as the city moves and evacuates. The HALO jump and tactics were brilliant and getting in on the ground for the sense of destruction. It's here were things really start to shine. We've been through the nuclear fear (especially with Serizawa and the general bringing that reminder back around), there's the Tsunami parallels in Hawaii, and this section brings in the 9-11 terror with the smoke filled skies.
Seeing bits of Godzilla getting in at the MUTOs and having VERY Godzilla-like combat in his movement and tactics was just wonderful. It's here that the MUTOs' design REALLY shines, as their hooked arms shows how they can grab and yank Godzilla painfully off-center and give them a good chance to take him down, as the military folk attempt to disarm the warhead and eventually move it away from the clutch of eggs. The firebombing the clutch of eggs to pull the female's attention was awesome, and started to build up the connection between Aaron's character & Godzilla in a way that just grips everything together. She comes off, and then there's this thrumming pulse, followed by glowing blue, and then you see Godzilla's tail tip and the charge just move forwards and oh my sweet holy fucking god SOOO excellent watching his atomic breath unleash on her, and proves that this IS Godzilla.
All the motions and subtle movements were utterly perfect, and seeing it all really just solidified everything from here. The male MUTO coming in and fighting him as the female chased after the warhead was great, but possibly my favorite scene in the whole fucking movie was just seeing the pissed off, but intelligent look on Godzilla's face as he's crouched down as the male MUTO comes in at him, and just tail slaps the SHIT out of it and crushes it into the side of a building, killing it - but then bringing down the building on top of the both of them (really big 9-11 parallel in that collapse scene). Godzilla and Aaron's character sharing the face-to-face scene was one of those old-school unspoken character parallel arcs that was handled brilliantly.
Then you have the final moment of the conflict coming to the final desperate head with the military attempting to pull her away from the boat with concentrated fire at her face - which I imagine being light slightly less annoying bees - as she slams her face into them, and Aaron's character makes it to the boat and the moment when he's got nothing left, and she's closing in, followed by that sudden stop, Godzilla pulling her back, and just unleashing atomic breath into her gaping maw until it disintegrates through her neck, and then he has the triumphant roar before collapsing. Again - the parallel between the two of them finally just collapsing of pure exhaustion, before he's airlifted out, and the nuke goes off and fade to white...
Then moving into the post-disaster recovery, like waiting for his wife in a stadium full of people with his son. The sense of scale for the aftermath makes the exceptionally large recovery from Hawaii seem like a tiny event. At the same time, there's footage of the fallen and debris-covered Godzilla, and the slow build up to them reuniting, and Godzilla awakening to the TV footage of "King of the Monsters. Savoiur of the City?" and the final shot of him heading back into the ocean was pitch-perfect as a close for the film.
While there was no Akira Ifukube for his departure, this was only a minor disappointment, but I was soooo full absolutely giddy 6-year-old joy, that's MORE than forgiven with everything else for the film being utterly perfect beyond my expectations. Also, I was REALLY surprised that, as soon as you get up close, I just. utterly. LOVE Godzilla's face. SO goddamn much. It's all just so damn perfect. AJHFKAJWHGLDS.
Also, Takarada's cameo was apparently in the immigration office, and I totally missed it.
Darn. I guess I'll just have to see it again.
The opening credits sequence was probably the most perfect thing ever. All the intercut footage with tiny glimpses of Godzilla INSTANTLY lets you know that this is the work of someone who loves the source material, all leading up into the atomic bomb footage sealing it all off in the opening. Just pure perfection.
There's the bit with Monarch that I had a bit of background on from the graphic novel, and knowing a little about Serizawa from the start helped to provide a little extra excitement/context to the start of the film back in 1999, and seeing his watch was a nice little touch since it came up later. The bit with Bryan Cranston at the start was an excellent opening in to what was going on. The swift leap forward into his son being grown up and having a family, and his dad's near instant descent into obsession about the event was excellently handled to introduce you to the characters and get all the emotional hooks in place.
From there, things unexpectedly dive pretty much straight into the Kaiju badassery with the first appearance of the MUTO. The up-close-and-personal sense of scale was just amazing, and the small details like the design of the containment chamber, and all the procedure put in place as really well executed. The other part that was excellent was giving a really good sense of collateral damage, and Bryan Cranston dying of indirect damage, just as his son realizes that his dad's fears were all too real.
From there, the move to Hawaii was pretty linear, but the sense of urgency was really awesome, and the sense of just sheer danger seeing the MUTO feeding on a nuclear sub, and then watching it just wipe out the power, and it's just as deadly actively as Godzilla is passively when he causes the tidal wave to move in as he just comes into the area. The bit with Aaron's character and the little kid was sweet, and the rising airport reveal of Godzilla took my breath away. The cut from them seeing the attack to his own kid & wife seeing the attack on tv was brilliant. The found-footage and second-hand type shots used to obscure the kaiju from full reveals were just BRILLIANTLY handled and used perfectly. The sort of hit and run attack with Godzilla following after it was an excellent first contact.
I loved that that small resolution was closed up with the kid finding his parents and nothing else coming of it, and Aaron's character staying passively involved. From there you have a better sense of what's happening, and the whole Las Vegas second and female MUTO reveal was amazing. I also loved the fact that the two of them had different morphologies with the female being larger and terrestrial, and the male being smaller and airborne. From there, the move into more military-specific events was interesting and gave enough of the ground-forces view that the bits with the commander and Serizawa didn't, as well as set up the important warhead elements.
Here's obviously when the bit with his wife & child come into play and her staying behind and sending her son off and away set up for tension. The sense of danger from his dad dying earlier gave a real sense of danger to what could happen to anyone now that things were coming to a head. Then you have the issue going down with the train and the AMAZING close encounter with the female MUTO with the danger to the squad on the train. The sense of danger with little things like the train slats and height really give the sense of danger when she moves in, and you see the eggs and get a really good look at her up until he passes out.
From there, the immediate move into San Fran happens, and just holy shit. The military being jerkfaces on the Golden Gate Bridge was an unexpectly great moment as Godzilla just stands out of the water and his dorsal fins stop the Navy missiles from hitting the evacuees was the first big moment where you know Godzilla's a real heroic figure, rather than just the greater of two evils. In addition to completely ignoring the machine gun fire and treating the higher-powered arms like VERY petty annoyances, you see how quickly he covers ground and just moves through the bridge like it's a minor inconvenience.
Then you finally have moments like the two MUTOs meeting up to give a comparative sense of scale, and see that they're just creatures - albeit EXTREMELY dangerous ones. Knocking out the power and moving into the real conflict was AMAZING as the city moves and evacuates. The HALO jump and tactics were brilliant and getting in on the ground for the sense of destruction. It's here were things really start to shine. We've been through the nuclear fear (especially with Serizawa and the general bringing that reminder back around), there's the Tsunami parallels in Hawaii, and this section brings in the 9-11 terror with the smoke filled skies.
Seeing bits of Godzilla getting in at the MUTOs and having VERY Godzilla-like combat in his movement and tactics was just wonderful. It's here that the MUTOs' design REALLY shines, as their hooked arms shows how they can grab and yank Godzilla painfully off-center and give them a good chance to take him down, as the military folk attempt to disarm the warhead and eventually move it away from the clutch of eggs. The firebombing the clutch of eggs to pull the female's attention was awesome, and started to build up the connection between Aaron's character & Godzilla in a way that just grips everything together. She comes off, and then there's this thrumming pulse, followed by glowing blue, and then you see Godzilla's tail tip and the charge just move forwards and oh my sweet holy fucking god SOOO excellent watching his atomic breath unleash on her, and proves that this IS Godzilla.
All the motions and subtle movements were utterly perfect, and seeing it all really just solidified everything from here. The male MUTO coming in and fighting him as the female chased after the warhead was great, but possibly my favorite scene in the whole fucking movie was just seeing the pissed off, but intelligent look on Godzilla's face as he's crouched down as the male MUTO comes in at him, and just tail slaps the SHIT out of it and crushes it into the side of a building, killing it - but then bringing down the building on top of the both of them (really big 9-11 parallel in that collapse scene). Godzilla and Aaron's character sharing the face-to-face scene was one of those old-school unspoken character parallel arcs that was handled brilliantly.
Then you have the final moment of the conflict coming to the final desperate head with the military attempting to pull her away from the boat with concentrated fire at her face - which I imagine being light slightly less annoying bees - as she slams her face into them, and Aaron's character makes it to the boat and the moment when he's got nothing left, and she's closing in, followed by that sudden stop, Godzilla pulling her back, and just unleashing atomic breath into her gaping maw until it disintegrates through her neck, and then he has the triumphant roar before collapsing. Again - the parallel between the two of them finally just collapsing of pure exhaustion, before he's airlifted out, and the nuke goes off and fade to white...
Then moving into the post-disaster recovery, like waiting for his wife in a stadium full of people with his son. The sense of scale for the aftermath makes the exceptionally large recovery from Hawaii seem like a tiny event. At the same time, there's footage of the fallen and debris-covered Godzilla, and the slow build up to them reuniting, and Godzilla awakening to the TV footage of "King of the Monsters. Savoiur of the City?" and the final shot of him heading back into the ocean was pitch-perfect as a close for the film.
While there was no Akira Ifukube for his departure, this was only a minor disappointment, but I was soooo full absolutely giddy 6-year-old joy, that's MORE than forgiven with everything else for the film being utterly perfect beyond my expectations. Also, I was REALLY surprised that, as soon as you get up close, I just. utterly. LOVE Godzilla's face. SO goddamn much. It's all just so damn perfect. AJHFKAJWHGLDS.
Also, Takarada's cameo was apparently in the immigration office, and I totally missed it.
Darn. I guess I'll just have to see it again.
X
- AKA
- Jesse McCree. I feel like a New Man
This movie was amazing! There's little words from my side to describe how awesome this movie was, I'm hoping they render King Ghidora for the sequels and not expys because by god I wanna see him fight his age old foe. All I can say is:
