Gareth Edwards’ Godzilla proved to be a monstrous hit summer 2014, and now the King of the Monsters will return to his native Japan. Toho, the studio that created Big G, announced last December that it would be making a new unrelated film, which makes this the third reboot for the franchise excluding the American films. It’ll be the 31st Godzilla film and the 29th created by Toho, which hasn’t released one since 2004’s Godzilla: Final Wars.
News on the new film was quiet until last week when Toho released a 30-second video that is the textbook definition of a teaser trailer. Not since Christopher Nolan’s first trailer for The Dark Knight has there been a more mysterious preview for a film.
The 30-second spot is a found-footage-style shot of a panicked crowd running from something in the distance. It ends with a title card and Godzilla’s trademark roar. That’s it; nothing on the plot or characters. Whether the entire film will be done in a found-footage-style, a la Cloverfield, or if this is just a clip from an otherwise traditional movie remains to be seen. Personally, while found footage would be a new direction for the franchise to experiment with, considering Cloverfield’s attempt at it has gotten mixed responses (though I liked it), that may not be the best option. However, if these filmmakers think they can do it well, by all means try it.
The poster for the film that revealed Godzilla’s new design.
A sexual health is a must and it should be made known to the health experts. brand viagra mastercard The trio cialis in the uk medicines are consumed for the treatment of penis related problems. This drug only improves the blood flow to viagra online http://djpaulkom.tv/no-panties-club-version-main-and-radio-download/ the reproductive organs. Kamagra tablets should only be taken under a doctor’s consultation or prescription. viagra 50mg price http://djpaulkom.tv/benefits-of-hemp-oil-3/Speaking of mixed reactions, the new design for Big G was also revealed when the poster was tweeted out by Japanese rock band Katokutai. Many fans have criticized it for its overlong jawline and googly eyes, saying it “lacks personality.” In my opinion, it looks like a throwback to the original 1954 design used in the original Gojira, but perhaps a bit more realistic. The real test will be how it looks in motion on camera.
Story has it the special effects will be a combination of CGI and practical effects. It sounds like Toho wants the best of both worlds: taking cues from Edwards’ film while also adhering to its “suitmation” roots. Whether this works or not will probably make or break the film.
Regardless, the movie is in great hands since it has two noteworthy directors. Hideki Anno, who also wrote the script, is the co-creator of the classic anime Neon Genesis Evangelion: a trippy and cerebral giant robot series that deconstructs the “mecha” subgenre. Shinji Higuchi has also worked on anime, but his most recent project is directing the two-part live-action adaptation of the manga/anime Attack on Titan, which told the story of humanity battling cannibalistic giants. Anno has said that this will be “the scariest Godzilla yet,” and given both directors’ track records, it may very well turn out to be true.
Godzilla: Resurgence hits Japanese theatres July 29, 2016. No word yet on an American release.
The poster for the film, which was released November 20, 2015.
After nearly four years and as many films, the Hunger Games “trilogy” has come to an end. So huge was the climax that, as is tradition with young adult book series adaptations (see Twilight Saga and Harry Potter), it took not one but two films to contain it. After leaving filmgoers starving for more (see what I did there?) last year, were the odds ever in the favor of Part 2?
With the war escalating, Katniss Everdeen (Jennifer Lawrence) leads a Section 13 strike team into the Capital, intent on assassinating President Snow (Donald Sutherland), all the while everything she holds dear—including Peeta (Josh Hutcherson)—hangs in the balance.
(SPOILER WARNING!)
First, let me apologize, Giga readers, for not publishing this review sooner. Normally I’d see a film like this during opening weekend, but I waited so I could see it with my little sister when she came home for the holidays. She loves the films, and I wanted to experience it with her.
Second, I think I should give brief thoughts on the films and books before I continue, especially since this is the second half of a what’s essentially one long movie. I didn’t see the first film until I’d read the book by Suzanne Collins, for which I was glad. I honestly think the books shouldn’t be considered “young adult.” In my opinion, they’re excellent dystopian science fiction that just happens to have a teenage girl as the protagonist.
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While Part 2 has more action sequences and set pieces than Part 1, it’s still not a glorification of violence or war. Some complained this made both halves slow and plodding. I, for one, was never bored. I knew that this was a film that wanted to ponder ideas and show the ravages of war. Ask any veteran and he’ll tell you, “War is Hell.” Collins pulled no punches with her characters, and neither does the film. Every character is either broken or killed. The novel, in most respects, has a very un-Hollywood ending. There are few, if any, happy moments until that ending, and even then they are realistically tainted by tragedy. Mind you, that brokenness is a bit stronger in the novel, but it still comes through loud and clear in the film.
Yet despite showing the horrors of war, the film, like the novel, isn’t strictly antiwar. War is ugly, but it is often necessary. Those who wish to wage it, especially if for a just cause, must be willing to pay the price. This is a difficult balance to strike. In a time when war-weariness seems to be on the rise, this film dares to say there is a time and a place for a “just war.” Yet it never glorifies it. In fact, Section 13 President Coin (Julianne Moore) uses tactics that are arguably as despicable, if not more so, than that of the cruel Snow. I applaud the filmmakers for unflinchingly exploring this idea.
Media has always been a huge theme in this series. The focus has shifted from being a criticism of reality television as the brutal opiate of the masses, to its use as a propaganda tool in wartime. Both Section 13 and the Capital use state-controlled media to perpetuate a mixture of truth and falsehood, though proportions obviously differ. This is timely in an age when information is rampantly available, yet most sources are biased. Deciphering the truth in the cacophony is an almost impossible task. This is seen most strongly toward the end of the film when Snow tells Katniss it was Coin, not him, who ordered the bomb drop that killed her sister and hundreds of Capital children. She refused to believe him, a man who had lied to the masses, but he reminds her that they’d promised never to lie to each other. This forces Katniss to see Coin in a different light—and in the end, assassinate her instead of Snow.
Mockingjay Part 2 is no lightweight in terms of acting. While every actor gives a good performance, it’s Jennifer Lawrence who, unsurprisingly, steals the show. Katniss is a complicated character: a young woman of intermingled strength and weakness. Lawrence is at her best near the film’s end when Katniss has returned to her ruined home in Section 12 and finds her sister’s beloved cat, who had always hated her. She tells it Prim is gone, but when the cat ignores her, she has a breakdown. She yells at the cat, throwing dishes that narrowly miss it, until finally embracing the feline, which no longer hisses at her. Lawrence proves once again why she won an Oscar.
Becoming more common in many films these days, the special effects are a mix of practical and CGI, though it seems to favor the former. Even when Katniss and her troupe are accosted zombie-like Mutts, the creatures are CGI only when necessary, which adds to the horror. Most things feel “real” and “present,” even when it’s a CGI hovercraft flying overhead. The special effects are used not as a spectacle unto itself, but as a means of telling the story. That’s an uncommon thing in modern cinema.
Mockingjay Part 2 closes out a thought-provoking yet exciting series of films in the most appropriate way possible: with a faithful adaptation of the final novel that gives the story time to breathe while pondering its big ideas.
The cover of “Superman: The War Years 1938-1945” by Roy Thomas.
Superman is so powerful, he could’ve ended World War II single handedly in ten minutes. Why didn’t he? What was he doing?
Those are the questions asked and answered by former comic book writer and editor Roy Thomas in Superman: The War Years 1938-1945, a large hardback book that is one part retrospective and one part graphic novel. To put it simply, this book is a collection of over 20 Superman comics—mostly Action Comics and his solo title—that pertain to America’s role in World War II, plus inspirational covers, a few comic strips, and even some ads. These are divided into four sections with introductory essays written by Thomas, which set the stage for the comics that follow.
As a nearly lifelong fan of the Man of Steel, I was excited to read many of his earliest adventures. However, as a critic, deciding how to evaluate this collection is a difficult one. At least 95-percent of this book is the comic material, all of which was published when my grandparents were in their youths. It’d be unfair, even a disservice, to judge them by modern standards. The artwork, pacing, and even layouts would be unappealing—or perhaps jarring—to present-day readers. Compounding the difficulty is the many “politically incorrect” terms and ideas presented in many of them, as noted by Thomas (more on that later). So, in light of that, I’m evaluating this volume more on its presentation of the material and not so much the material itself.
That being said, there are some noteworthy issues here Super-fans will want to read that go beyond the book’s theme. It begins with Supes’ first appearance in Action Comics #1 in 1938. Next is his full origin in the opening pages of Superman #1 in 1939. Later there’s a two-issue story that features the first appearance of Superman’s archenemy Lex Luthor (who had red hair!), though he was only called Luthor in that story. While this book collects highlights from the Man of Tomorrow’s first seven years of publication, I noticed a marked change in Superman’s characterization. He starts as a heroic though often harsh figure. He frequently threatens bad guys with violent deaths like ripping their hearts out, and he arguably kills soldiers when attacking a Nazi military base in one issue (which I guess lends a bit more legitimacy to him killing Zod in Man of Steel, but I digress). For readers like myself whose first image of Superman was Christopher Reeve, this might seem strange. But again, it was a product of its time.
Thomas’ essays, while short, effectively prepare readers for what they are about to read. He gives the historical and cultural context for what was going on at the time. As the United States’ stance on the war changed, so it did for Superman and his creators. The Man of Tomorrow went from forcing fictional warring nations—obvious stand-ins for European countries—to end their hostilities to fighting Axis saboteurs and invaders. Heck, in one issue Superman battles a mad scientist who uses sea monsters to invade America for Hitler! (It wasn’t as epic as sounds, sadly.) The classic comic strip where Clark Kent’s enlistment is denied because he read the wrong eyesight ledger thanks to his x-ray vision is presented, showing why he never joined the war. Interestingly, on several occasions in other issues, Superman says he didn’t go fight the Axis because he believed America’s fighting men could handle it themselves. He contented himself to battling the enemy if they came ashore. Some might call that foolish, but I find it encouraging. Superman knows he can’t and shouldn’t solve all of mankind’s problems. Plus, as Thomas writes, it was a way of boosting morale for soldiers by not cheapening their struggles. You simply need to do a little research on the web. ordering viagra without prescription Hefner believes, the American people voted this past November, 2008 with their hearts, minds and ballots for the next President of the United States is GMO (genetically modified organism). unica-web.com viagra cheap But the online viagra india disease does not come to us with searching that who are rich or who are not. Unhealthy and unhygienic eating habits are acknowledged to bring forth thyroid difficulties. buying cialis in spain
As noted, given the potentially controversial material included in this collection—like the infamous “slap a Jap” cover on Action Comics #58—it’s a good thing Thomas lets readers know what to expect. However, he insists that these are part of history, and so the comics remain uncensored. (Humorously, I did find a few typos in these unaltered 70-year-old comics). It should be said, though, that a series of comic strips are included that feature Superman helping a young woman decide which branch of the military to join so she can join one of her four “boy friends” in serving the nation. I think that counts as forward thinking.
Thomas’ final essay, however, is confusingly titled, “Part 5,” even though it’s what closes the book. It threw me off because it initially seemed like it could’ve introduced a new section or been an introduction to a second volume collecting some of Superman’s early post-war adventures. I realized as I read it that the “Part 5” is probably meant to reference the essays themselves as opposed to the sections of the book, but it was still confusing. Regardless, it does close out the book well.
Superman: The War Years 1938-1945 serves as a window into the history of both Superman and the United States. Those were years of drastic change for the nation, and they helped define the Man of Steel as a character. Not only that, this volume illustrates how art reflects life. Indeed, Superman served as both a propaganda tool and as a means of escape for soldiers and civilians alike at the time. For modern-day fans, it gives them a chance to see some of the milestones in Man of Tomorrow’s publication history.
A poster for the film, which was released November 6, 2015.
Move over, Hydra! After a nearly 45-year absence, the original, evil terrorist organization makes a grand return in Daniel Craig’s latest James Bond adventure. In a year that saw an inundation of espionage films (Mission Impossible: Rogue Nation and The Man from U.N.C.L.E.), can the super-spy granddaddy rise above them?
James Bond (Daniel Craig) goes rogue to destroy a secret international terrorist organization that plans to create a worldwide surveillance system that will let them monitor everyone on the planet.
(SPOILER WARNING!)
First, I must confess that until recently, I was only passingly familiar with the James Bond franchise. I played a few Bond video games like GoldenEye on the Nintendo 64 and caught a few of the old movies when they were on TV, but that was it. Now, I did keep up with reboot films starting with Casino Royale, but that was the only Bond film I saw in the theater. With the release of Spectre looming, I spent my summer watching all of the pre-Craig films, especially when I found them all on Blu-ray at my local library. (True confession time: I only made it up to the Pierce Brosnan era before seeing Spectre). I’m glad I did because it gave me a greater appreciation for what this film did in re-introducing Bond’s oldest enemy.
Much like the classic Thunderball starring Sean Connery, Spectre has everything you could want from a Bond film: exotic locations, exciting action, beautiful women and terrifying villains. It has arguably the strongest script out of any of the Craig films. The pacing is perfect, never getting boring even when nothing is exploding. Unlike the original franchise, which had a loose continuity, Spectre builds heavily on what came before, but not so much so that a newcomer would be lost. However, it does reward those who have followed the new films. Unlike most Bond outings, this one is strangely character-driven. Bond’s mission quickly becomes a personal one once he realizes the leader of Spectre orchestrated every tragedy that befell him—most notably the deaths of his lovers—in the previous three films. It added layers to the story and made it more compelling. Surprisingly, there’s a fair amount of humor in the script, but it’s strategically used to give the audience a breather and never veers into the ridiculous, a common fault in the Bond films of yesteryear (I’m looking at you, Moonraker!). The silliest it gets is Bond landing on a couch after the roof he’s standing on collapses.
While Spectre had fewer action sequences, from what I can remember, than the previous Craig films, the set pieces were superb, the action exhilarating, and the suspense intense. For a franchise that’s done everything (and has overdone a few things like ski chases), this film manages to find new ways to thrill. The most impressive is a sequence where Bond is flying in a small airplane to chase down three Land Rovers. After some fancy flying, the plane’s wings get clipped, but Bond manages to somehow direct the plane down a snow-covered hill, taking out one Spectre vehicle, and crashes through a barn. Best of all, the filmmakers made the wise move of not overusing CGI and instead focused on using practical effects, as evidenced in this plane sequence.
It is important that you follow these techniques as every mail marked as spam could cost your order cheap viagra company. Kamagra is found in levitra 60 mg two forms namely Kamagra oral tabs and Kamagra Jelly. Purchasing this medicine would surely be a get viagra sample click here now good predictor of whether or not a child will walk. They all generic viagra australia work in a similar way, but are not identical. The film’s greatest strength, however, is the villains. Spectre’s iconic leader, Ernst Stavro Blofeld, returns. He’s played by Christoph Waltz, and his might be the best version of the character ever put on screen. Blofeld appeared in six Bond films played by almost as many actors. Waltz takes the best elements of the previous versions and distills them into a superb character who is every bit a match for Bond. This is no easy feat: Blofeld is arguably one of the most iconic and influential movie villains ever, inspiring countless imitators and parodies. Waltz’s Blofeld is cunning, intelligent and quietly sinister. His dark sense of humor and unceasing smirk serve to accentuate these qualities. His most memorable facets—appearing in shadow, his facial scar, and his white cat—are all utilized quite effectively. He’s given an added layer by revealing he was Bond’s stepbrother growing up. Interestingly, he uses another name for most of the film, which made me wonder if he truly was Blofeld. I’m glad he was because it would’ve been a disservice for him not to be included.
Blofeld’s henchmen are equally as memorable. Former pro-wrestler Dave Bautista plays Mr. Hinx, a mostly silent assassin whose violent actions speak louder than words. While Bautista speaks only one word the entire film, his presence is felt in every scene he’s in. Director Sam Mendes intended him to be something of a callback to Jaws, though minus the steel teeth. Andrew Scott, most famous for portraying Moriarty on BBC’s Sherlock, plays C, an MI6 operative spearheading an initiative to create a global surveillance system. He brings a similar quirky, off-putting nature to his character like he did as Moriarty. I must confess that as a fan of his work on Sherlock, I half-expected him to be Blofeld. It would’ve been cool.
Something I wouldn’t have noticed had I not watched most of the previous Bond films are the several subtle homages to franchise’s past. Besides the return of Blofeld and Spectre, the most notable ones are to 1973’s Live and Let Die, the first Bond film to star Roger Moore. Bond wears a skeleton costume similar that worn by a voodoo shaman in that film. Also, Bond has a fight on a train with Mr. Hinx that’s similar to one he has with hulking henchman Tee Hee (Julius Harris).
Spectre features some of the most artful cinematography of the recent Bond films. The opening scene in particular is an impressive sweeping single shot with the camera floating down and following a disguised Bond and his woman through the streets of Mexico City into a hotel, wherein they ride the elevator up several floors and enter a room.
But for all my gushing, I do have a few minor nitpicks. The film’s theme song, “Writing’s on the Wall” by Sam Smith, is fine but a far cry from the Oscar-winning “Skyfall” by Adele (though the title sequence was excellent). I’d also hoped for a fight between Blofeld and Bond at the end, but instead the climax was a chase scene. The film also succumbs to the overused trope of having the hero choosing not to kill a defenseless villain who insists the protagonist pulls the trigger.
While Mission Impossible is more my style of spy film, Spectre is Daniel Craig’s finest outing as Bond, and it ranks as one of the best in the franchise. If Craig hangs up his Walther PPK after this, he’ll go out on a high note.
No, I’m not talking about places where people believe the restless spirits of the dearly (and not-so-dearly) departed hang out. I’m talking about haunted house attractions. You know, the places where you pay money to wander around a dark labyrinth while actors in ghoul costumes chase you.
Surprisingly, this is something I’ve gotten into in the last few years. I occasionally experienced similar events growing up—like a “haunted barn” at a 4-H party or a “haunted hike” while at summer camp—but I didn’t make an effort to visit these yearly attractions despite hearing about the more popular ones in Fort Wayne, Indiana (the largest “big city” to me). Once I visited one, I instantly loved them.
Hundreds of people stand in line to visit the Haunted Jail in 2012. Photo by Nathan Marchand.The entrance to Soul Taker’s Acres in 2012. Photo by Nathan Marchand.
There are two that I make sure to visit every year: Soul Taker’s Acres in Warsaw, Indiana and the Haunted Jail in Columbia City, Indiana. While quite different in many ways (and also rivals), they share one thing in common: both are small-town attractions. I love that about them. It adds a homespun, down-to-earth flavor to them. They may not have the crazy production values of places like the Indy Scream Park in Indianapolis, but they make up for it with ingenuity. Both places have volunteer actors, most of them kids or teens. The costumes, make-up and props are donated by the actors and/or organizers. Sometimes they get lucky and have some high-quality stuff, but for the most part they rely on making the best with what they have. Honestly, they’re consistently scarier than the big-budget haunted houses, like the one I went to at Cedar Point a few years ago, which was boring.
Me giving the Soul Taker himself (at least, I think it’s him) a much-needed backrub in 2015. Photo by Sergio Garza.My friend Sergio Garza (left) and I preparing to hunt some zombies. “We got this, guys! We got it by the @$$!”
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Deimos Nosferatu, the caretaker of the Haunted Jail in 2012. Photo by Nathan Marchand.My brother Jarod Marchand (far left) and I (far right) hanging out with one of the Haunted Jail’s many inmates James “The Cutter” Johnson in 2013.
The Haunted Jail’s greatest asset is its setting. The “jail” part isn’t a gimmick: it’s actually the old Whitley County jail. The building is 140 years old and has a scary history before becoming a Halloween attraction in 1985. Many think it is actually haunted. The old jail is the site of the one and only execution performed in Whitley County. In March 1884, a man named Charles Butler was hanged for murdering his wife, but his neck didn’t break. Instead, he suffocated for 10 minutes, dying in the front room of the old brick building. There have been ghost sightings there ever since. However, if there are spirits present, they don’t seem to mind the thousands of people who’ve explored the jail every Halloween season. While only a few rooms have extensive props and scary décor, the place’s eerie history and appearance add natural atmosphere.
Patrons can even walk through the old jail cells in the basement, which has only the barest minimum of light. The actors know every nook and cranny, allowing them to find the perfect places to hide before jumping out of the shadows. I don’t scare easily, but this year they terrified me. The final stretch this year was one of the best. A tall, skinny guy in zombie make-up shambled up to patrons, hands outstretched. Then seemingly out of nowhere, he produced a chainsaw and revved it. He chased my friend and I through a maze until we exited by the concession stand. We enjoyed ourselves so much, we went a second time.
If you have any haunted house attractions in your area, visit them. Nothing can get you in the Halloween spirit like braving ghouls and ghosts determined to make you scream like a baby. With Halloween falling on a Saturday this year, it’d be a great way to enjoy the evening—
