What’s more Halloween than an iconic horror movie directed by iconic director Stanley Kubrick from an iconic horror novel by Stephen King mocked by iconic Ryan George?
Honestly, I remember not being all that impressed with The Shining when I saw it back in the 1980s. A rewatch is probably overdue.
(And for fans of The Shining, this odd item might be of interest…)
The new trailer for Francis Ford Coppola’s new film Megalopolis just dropped. I’ll let you take a look at it before commenting further.
Is it just me, or does that look like pretentious crap? Sumptuous pretension crap, but pretentious crap none the less.
Nor is the Wikipedia entry any more encouraging. “The film was a longtime passion project for Coppola, who wanted to make a film drawing parallels between the fall of Rome and the future of the United States by setting the events of the Catilinarian conspiracy in modern New York. ”
Snip.
“An accident destroys a decaying metropolis called New Rome. Cesar Catilina, an idealist architect with the power to control time, aims to rebuild it as a sustainable utopia, while corrupt Mayor Franklyn Cicero remains committed to a regressive status quo.”
Yeah, I think a Roman parallel and an architect who cans stop time is a conceit too far.
Also, I’m not exactly thrilled by the “Coppola is a genius and the critics were wrong!” intro. The Godfather was hailed by almost all at the time as a classic and won Best Picture. Apocalypse Now got somewhat more mixed reviews, but was an Oscar nominee (losing to Kramer vs. Kramer), and John Simon was notorious for hating just about everything. Bram Stoker’s Dracula? I don’t think anyone looks back on that as a classic of cinema, or even vampire cinema, though opinions about that seem to have improved a bit as well. I noticed Jack and Twixt didn’t get mentioned…
Update: Evidently, some of those critics quotes are made up.
Here are some of the most obscure films we’ve watched at the Saturday Movie Conspiracy since we started keeping The List. These are arranged in roughly chronological order of release, with Amazon links for those who want to track them down.
I’m excluding anything from the Criterion Collection (Haxan, Daisies), anything with a major Hollywood star, and any MST3K/Rifftrax/etc. films.
Feel free to share obscure films down in the comments.
Title: Godzilla x Kong: The New Empire
Director: Adam Wingard
Writers: Terry Rossio, Simon Barrett, Jeremy Slater, Adam Wingard (story)
Starring: Rebecca Hall, Brian Tyree Henry, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, Fala Chen, Rachel House
IMDB entry
Like the previous entry in the series, Godzilla x Kong: The New Empire works because it understands what people going to a Godzilla films do and don’t want to see: monsters fighting, not people bickering.
You know that part of the Pitch Meeting video for Godzilla vs. Kong where the writer goes “Giant monkey punches giant lizard!” and the producer immediately stops worrying about logic?
Yeah, I’m that guy.
The movie starts with Dr. Ilene Andrews (Rebecca Hall, sporting Jamie Lee Curtis’ hairstyle) mystified by signals detected in their hollow earth station that also seem to be giving her adopted deaf monster-whisperer Iwi daughter Jia (Kaylee Hottle) visions. In the Hollow Earth, Kong is suffering from loneliness and a infected tooth, and comes up to the surface to have it replaced (!) by kaiju veterinarian (!!) Trapper (Dan Stevens). Meanwhile, Godzilla rises from his slumbers, slays titan Scylla (sort of a giant crab thing) in Rome, and then levels a nuclear power plant to feed on the radiation and power up for…something.
So Kong goes back to the Hollow Earth, followed by all the human characters in the above paragraph, plus conspiracy theory podcaster Bernie Hayes (Brian Tyree Henry, who, like Hall and Hottle, is reprising his role from Godzilla vs. Kong). Naturally, things go wrong for them and their redshirt gravity ship pilot. Meanwhile, Kong is lured by a mini-Kong to locate a tribe of giant primates ruled over by the cruel Scar King, with the assistance of his own enslaved titan Shimo, a cross between Stegosaurus and a D&D ice dragon, complete with the latter’s freeze breath.
Naturally, Kong goes up against the Scar King, and naturally, it being the first big Kong fight, he loses, because it turns out that Scar King is a better tool user than he is.
All of this, of course, sets up a tag team Kong and Godzilla vs. Scar King and Shimo fight at the climax.
The Monsterverse approach has evolved to “You will completely suspend all your disbelief, and in exchange we promise to overawe you with wonders.” Which solves the long-running problem with Godzilla movies, in that you never really care about the human characters. By minimizing their screen time to the bare minimum to move the plot forward in favor of more kaiju battles, this results in a quicker sprint past various plot improbabilities. (A kaiju dentist! A giant exoskeleton arm for Kong we just had lying around the hollow earth!)
To those who complain that the plot improbabilities in Godzilla x Kong: The New Empire are way too improbable, I would like to remind them that, merely by buying a ticket, viewers have already accepted the existence of a hollow earth and a high-speed subterranean tunnel between Pensacola and Hong Kong that was evidently built in less than a decade by private funds without anyone finding out that was on display in the first Godzilla vs. Kong. Compared to that, a giant Kong exoskeleton lying around in a convenient location is rounding error.
Also, to those that further complain the Monsterverse is too silly compared to the original Toho movies, I say: Remember this?
Or this?
Can you make a Godzilla film where the human characters don’t suck? It’s possible. The original Gojira and Godzilla, Mothra and King Ghidorah: Giant Monsters All-Out Attack both come to mind. I have not seen Godzilla Minus One (the timing just didn’t work out for it’s short run here), which Critical Drinker and others have indicated does a much better job on the human story front.
But instead of human drama, you get more kaiju fights, giant crystal energy pyramids, and a flaming cavern right out of a D&D supplement.
It’s a fair trade.
As a bonus, here’s the Pitch Meeting video for this one.
Psychobilly musician Mojo Nixon died yesterday at 66. “A cardiac event on the Outlaw Country Cruise is about right… & that’s just how he did it, Mojo has left the building.”
I saw him live a couple of times at SXSW, once with Jello Biafra in support of Prairie Home Invasion. “Mojo, why do you play SXSW? Ain’t no major label ever gonna sign you!”
Here’s a few tracks for the memories.
You may have noticed that Joel Hodgson and MST3K gang are having a new kickstarter for the next season (for values of “kickstarter” that include “not on the Kickstarter platform”). There are five days left and they are only 38% of the way to the first goal of $4.8 million, which will be six features and six shorts.
The last two Kickstarters they had blew past their goals.
This one? Not so much. Despite announcing that Plan 9 from Outer Space will be among the riffed films.
Donor fatigue? The Biden Recession? Not doing enough promotion? Not enough boost from a non-Kickstarter platform? Disgruntlement over how long it took people to get their promised rewards from the last campaign?
I think it may be some combination of all the above.
Maybe the usual Turkey Day festivities will kick it into higher gear. But if they don’t, this may be the first MST3K fundraising effort to fail.
I saw the Peter Gabriel concert at the Moody Center in Austin on October 18. It was the third time I’d seen Gabriel perform live, and he put on a good show. We had tickets facing center stage in the mezzanine section, and they were quite pricey.
About half the songs are off the forthcoming I/O album, while the other half are from other parts of his career (“Sledgehammer,” “Solsbury Hill,” etc.). His tour ensemble was a mixture of old familiar faces (the always excellent Tony Levin, Manu Katche and David Rhodes) and new (cellist/vocalist Ayanna Witter-Johnson, who was very good).
They had an interesting multimedia setup with projection surfaces on different stage elements that they could move, as well as close-up cameras for projecting on either wing (and occasionally the giant circular moveable hanging surface that was the centerpiece of the set).
I think the best song of the concert was an absolutely killer version of “Digging in the Dirt,” which had a nasty, funky, bass-heavy sound to it. There’s not a version with great sound on YouTube, so this will have to do:
They also did an extremely good version of “Biko” as the final encore.
Here’s the set list, which seems to be constant across venues.
I think the last two shows of the tour are in Dallas tonight and Houston Saturday, and overall prices are a bit cheaper than the Austin show. It’s well worth catching if you’re a Gabriel fan.
As for the Moody Center, the sightlines are very good, the concession prices are exorbitant, and the seats are too small and not particularly comfortable.
Here’s “The Slab,” the final track from Slowdive’s new Everything is Alive album. But I should warn you that this is a case where the song of the CD is much stronger than the compressed version on YouTube:
I finally got the CD in this week, and I think it’s a very strong album, more consistent than their previous self-titled album, but only time will tell is something as strong as “Slomo” or “No Longer Making Time” emerges as particular favorites. (And the later only really twigged for me when it became such a burner live.)
Here’s another song off Slowdive’s forthcoming Everything is Alive album, due out September 1st.
No director probably ever had three films back to back as good as William Friedkin (who just died at age 87) did in the 1970s. The French Connection, The Exorcist and Sorcerer are each truly great films that stand the test of time. The first two made a ton of money (justifiably). The third one didn’t, but has one of the greatest, tensest scenes of all time.
Friedkin let the success of those first two go to his heads, and then a string of flops (including Cruising, a film that, like The Last Temptation of Christ, alienated its only potential audience) put him out of favor in Hollywood.
He also directed a pretty swell episode of the 1980s Twilight Zone reboot.
He had a wealth of talent, I just wish we had more first rate films from him.