Oh man, it’s been quite a long time since I’ve updated my blog! A lot happened between my last post about a year ago that kept me preoccupied.
And like many things in my life, once enough time has passed, It’s hard for me to come back. Yet here I am, foaming at the mouth to talk about Godzilla.
What a perfect topic for a comeback post, wouldn’t you say!

The trailer for the new Legendary Godzilla film, Godzilla: King of the Monsters just dropped and I’m wondering what everyone thinks about it.
If you would indulge me, I would like to discuss the last two Godzilla films and my feelings going into this trailer.

When I went to go see 2014’s Godzilla in the theater, it was both an exhilarating, yet frustrating experience.
Compared to the absolute travesty that was Tristar’s 1998 film, Gareth Edward’s vision of an American Godzilla was a more considerably authentic and visually stunning Godzilla film.
The false advertising of Bryan Cranston playing the lead and the severe lack of screen time for the titular beast would leave a lingering bad taste in my mouth, despite the glimpse of brilliance I witnessed in the film

The release of Shin Godzilla in 2016 only further highlighted the issues of Legendary’s Godzilla.
Where Legendary failed in trying to tell a classic Godzilla story, Hideaki Anno set out to create something different.
A story that focused on the bureaucracy and political ramifications of a natural disaster that drew inspirations from both the 2011 Tōhoku earthquake and tsunami and the Fukishima Daiichi nuclear disaster.
Like in the 1954 original, Shin Godzilla was rooted in social commentary and served as an outstanding reflection on the ineptitude of the Japanese Government and their ability to properly inform its people.

Likewise, Godzilla also saw a radical departure from previous depictions.
Grotesque as all hell, I wasn’t even sure I was looking at the king of monsters when he first appeared on screen.
Scene after scene, I found myself completely captivated by the ways in which this creature slowly evolved, all twisted and deformed, into the recognizable kaiju I love so dearly.
Regardless if you found the premise interesting or not, you have to commend Toho for opting to take a chance and make a Godzilla film for the new generation, one that didn’t overly rely on its legacy.

In contrast, Legendary’s Godzilla felt like a simple dumb summer blockbuster.
I understand why it played it safe, why the writer decided audiences might be upset if they tried to change the formula.
That’s how we end up with Tristar’s abortion.
But the decision to save all the best moments until the last possible minute was a critical mistake on the filmmakers part.
Cutaway after cutaway, and by the hour mark, I could feel the irritation sink in. I paid to watch Godzilla, not the kid who played Kick-Ass phone in his performance.
Yet when Godzilla finally did arrive, I felt like a kid.
I was cheering as he laid the smack down on the MUTOs, used his atomic breath, and when he let out his iconic roar.
For a moment it felt as if the two hours leading up to the fight was worth the wait.
But then reality set back in and it wasn’t long before I felt what many others felt.
Two hours down the drain for 15 minutes of Godzilla. God, what a gyp.

And so here we are two films into Legendary’s Monsters universe. Since the announcement that the next film would include Mothra, Rodan, and King Ghidorah, I have been cautiously optimistic.
I want to take 2014’s Godzilla as a learning experience, one that, despite everything I’ve said, was still a fucking masterpiece compared to Godzilla’s previous western outing.
Kong: Skull Island was a pleasant surprise, a film that didn’t hold back on giving us those juicy Kong scenes we desperately wanted to see.
The trailer’s healthy showcasing of each monster hopefully demonstrates that they’ve learned from their mistakes and won’t turn this into another Kaiju cocktease

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