Category Archives: Film/Television/Broadcast/Radio

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The Interview or: How Hollywood Learned to Start Worrying and Fear the Bomb

Don’t mess with North Korea. That appears to be the sentiment the country wants you to believe. If you mess with the North Korean bull, you’re going to get the North Korean horns—or at least the “threat” of those horns. Case in point: the writers and producers of the upcoming film, The Interview, thought it would be a funny idea to produce a film with a script involving a talk show host (James Franco) and his producer (Seth Rogen) booking an interview with North Korean leader Kim Jong-un and getting entangled with the CIA in a plot to assassinate him. A seemingly funny political comedy starring the two leads from the very funny Pineapple Express that involves the very funny concept of killing a very funny (well, funny looking perhaps) world leader? What could POSSIBLY be wrong with that?! Well, apparently a lot.interview2

Since day one of the film’s announcement, The Interview has—so to speak—been in the hot seat. Since the film’s completion, North Korea has been up in arms about it, suggesting it as an “act of war” and promising retaliation if the film was ever released. They even begged President Obama to stop the release of the film, for fear that Kim Jong-un might actually see it. So when that wasn’t enough, their next step? Malware, of course. Late last month, Sony (the film’s distributor) was left in complete disarray with hacked emails releasing private conversations criticizing Hollywood A-listers (who would’ve guessed some studio executives find Leonardo DiCaprio to be “disgraceful” or that Angelina Jolie has “minimal talent”?) as well as several unreleased movies leaked online before their release. The Interview was NOT included among those leaked films, so go figure as to how U.S. Intelligence linked the North Korean government to the hacking.

Yet even after the Malware shitstorm, the worst was yet to follow. A mysterious group known as the “Guardians of Peace” sent out a warning last week, suggesting attacks of the September 11 variety on movie theaters that were scheduled to show The Interview. These so-called “Guardians” suggested that anyone going to the movie theater or those who lived near one should keep their distance. Needless to say, the Guardians of Peace had everyone’s attention: movie theater owners, Sony and even the president.interview3

The movie industry is a complicated machine. On the one hand, movies are an artistic expression, a tool to tell a story using audio and visual aspects in creative and astounding ways. On the other hand, it’s a cash cow: franchises, sequels, remakes, musical adaptations, happy meal toys, et cetera et cetera—Hollywood can squeeze a buck out of any movie it wishes, but to receive that money, they must milk it out of the masses to buy the overpriced movie tickets and fill up those stadium theater seats. What happens, though, when a supposed terrorist group threatens to harm the masses if they go see a movie? Well, the movie—in this case The Interview—gets scrapped. Sony’s decision to pull the plug on The Interview’s release has caused quite a bit of controversy inside and out of Hollywood, and has left many questions concerning the future of film distribution.

Here’s the thing: Hollywood has been bullied before. There have been many controversial films to be released that have sparked outcries from specific organizations and collective groups tracing all the way back to the early twentieth century (The Birth of a Nation, anyone?). And did Hollywood let up? No. The Interview isn’t the first film to lampoon a public figure. There have been a lot of references to Charlie Chaplin’s The Great Dictator, a film that parodied Adolf Hitler—ADOLF FREAKIN’ HITLER!—as he was beginning to take power as dictator of Nazi Germany. And what became of that film? It has its own Criterion Collection release! More importantly, there were no terrorist attacks on American movie theaters that showed that movie.

You can now order cheap viagra from the leading online pharmacy is people all over the world in solving the problems they may have created. It not only helps usa generic viagra raindogscine.com in proper flow of blood but also arouses a person sexually which increases the desire by reducing inhibitions, but it leads to erectile dysfunction. Instead, your brain plays a order generic viagra more important role in affecting pregnancy. Increased level of cGMP provides relaxation to smooth muscles generic levitra and improves energy levels. Now I’m not suggesting that The Interview is (or could be) a modern classic or could even be considered a “good” film (from what I’ve read, the movie had received mixed reviews from early screenings), but what I am suggesting is, when did we turn into a culture that pulls one film from theaters just because someone says so? And why back down to North Korea? As I recall, Trey Parker and Matt Stone of South Park fame released Team America: World Police without causing a global uproar (and didn’t that film feature a puppet version of the late Kim Jong-il, sporting an incredibly offensive yet hilarious accent?). What makes The Interview any different? Are we to seriously believe this film could cause total chaos?interview4

And I think that is where the controversy stings the most. Where will the lines be drawn? If this film isn’t allowed to be seen in theaters, what about future films? I don’t want to live in a world where some bizarre organization bans together to send terroristic threats just because they don’t want to see a movie get released. If we bow down to these Guardians of Peace jerks, what is to stop a vigilante group of primatologists from threatening movie theaters with “simian flu” just because they don’t want to see another Planet of the Apes sequel? Or how about a rag-tag group of renegade Shakespearean actors waging total guerilla warfare on cineplexes showing a new film adaptation of one of the Bard’s classics? Perhaps I should refrain from providing anymore examples, as it could provide more cinephile cuckoos with ideas, but the point is, submitting to one threat opens the door to plenty of others, which is just cowardly and stupid. But there’s got to be something else to this decision…

I found out a little tidbit about The Interview’s budget: it cost over $40 million to make. Hmm, very interesting. I get the sense that the reason Sony cancelled The Interview was due to lack of profit. As I stated before, if someone threatens the masses with consequence for seeing a movie—meaning: PAYING to see said film—then obviously the moviegoer will refrain from doing so. As will the theater owners. And if a film can’t be seen because a viewer/theater is too scared to see/show it, how will it make money? How will a film become profitable to the movie studios that paid for its production costs? It won’t. It can’t. So it gets pulled…for now.

Let’s be clear, The Interview WILL be seen (in some shape or form). This cancellation is really only a delay until the studios can find an alternative route(s) to release the motion picture. $40 million ain’t pocket change, ya know? So while the nation continues its uproar over how Hollywood has been blackballed, rest assured Sony will get its money out of The Interview. If anything, this is a good marketing ploy for The Interview: a film so controversial, that lives have been threatened if it gets released. Well then—GOTTA SEE IT! And don’t worry, you will. Sony will make sure of that…

 

Movies/TV, Pop Culture

Gore Vidal: The United States of Amnesia Review

I have this idea that if I read/listen to intellectual people speaking on behalf of, well, anything, then I myself will become an intelligent person as well. In theory, this is a good thing to believe. In reality, it’s not always the case. Still, I have my intellectual heroes, who I strive to become in some way or another, be it in how I dress or what opinions I have about things. One of those intellectuals is Gore Vidal.vidal2

I was first introduced to Vidal when reading his highly acclaimed novel The City and the Pillar, a bestseller that was the first of its kind to discuss homosexuality in fairly explicit detail (this was 1948, after all). I was completely mesmerized by every stitch of its existence: the characters, the denouement, the pacing and how it dealt with such themes that were quite taboo (again: the 1940s, WAY before Ellen and Will & Grace could even bring such topics to light). I was so impressed with Vidal’s work that I completely avoided all of his other stellar works, because I was afraid I might compare everything else to The City and the Pillar and be completely disappointed. However, just because I haven’t read any other works by Gore Vidal, doesn’t mean I haven’t read about Gore Vidal.

And what a life he led! Vidal was indeed an intellectual man: sharp, quick-witted and—above all else— egotistical. He was born into political privilege and rubbed elbows with the social elite. He was known for his harsh criticisms over just about everything, specifically American government. He was a gay pioneer (yet never fully acknowledged it), a brilliant essayist, and he relished any opportunity to speak his mind on camera. A grandiose figure in American culture, I hold on to his every word and firmly believe I become smarter because of it. Now, you can too.vidal3

The United States of Amnesia, the 2013 documentary chronicling Vidal’s career as an outspoken writer, is currently streaming on Netflix and is a must-watch simply for the film’s central subject. This documentary works because it allows Vidal to be the star. You get to hear his view of his life over what everyone else—biographers, family, close friends, etc—says on his behalf. The film weaves together archived interviews with newer segments of him recalling major moments of his career. Some of the more interesting tidbits featured include his on-air confrontations with such notorious commentators as William F. Buckley and Norman Mailer. Naturally, each confrontation seems instigated and won by Vidal. The sight of such stoic, respected writers coming close to blows that would equal any best-of montage from Jerry Springer is truly the highest low-brow form of entertainment.

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While Amnesia includes other commentators—Nina Straight, Vidal’s sister; actors Tim Robbins and Joanne Woodward, Vidal’s biographers—none of them hold a candle to Vidal himself. He once remarked that one should never miss the chance to have sex or be on television, and with the vast amount of stock footage of interviews Vidal has given, he makes each frame worth it. There’s a scene towards the end of the film with Vidal watching Barack Obama’s victory speech during the 2008 presidential election. For such a historic moment, the camera catches Vidal rolling his eyes at Obama’s inspirational speech. “I would like to think of him as completely virtuous—I suspect he’s not. Why do I suspect this? Because I know how politics works.” Always the wise braggart, his comments prove slightly prophetic six years later.vidal4

Like most documentaries, sometimes the more intriguing parts are the moments that unfold while the camera is still rolling. As the interviews with Vidal progress, his health appears to be failing. There are moments when Vidal appears clean-cut and full of vigor, and then moments where he appears frail and disheveled. Such health concerns are captured on film as Vidal must leave his Italian villa for the more accessible Los Angeles. These are the quieter moments of the documentary, when Vidal shuts up long enough for the camera to capture him alone, revealing how isolated and restrictive his old age has progressively closed in on him. Needless to say, one can only guess how the film will end.

Overall, The United States of Amnesia is an entertaining and informative documentary detailing the storied career of one of America’s most treasured intellects. While the factual tidbits of Vidal’s life are noteworthy, it is his own remarks that remain most quotable. The documentary in fact gets its title straight from Vidal’s mouth regarding the history of America: “It is the United States of Amnesia: We miraculously forget everything, so the lessons we should be learning we have forgotten in no time at all.” As I said prior to this review, I feel smarter after reading or listening to Gore Vidal, and if there is anything you take away from The United States of Amnesia, it should be the philosophy according to Vidal. Vidal wouldn’t have it any other way.

Film/Television/Broadcast/Radio, Movies/TV, Pop Culture

Why Old-School Horror is the Scariest

Whenever I wander through the local Family Video, I think the shelves are walls of horror movies. Not classics like Bela Lugosi’s Dracula or the original A Nightmare on Elm Street, but schlock like Silent Night, Deadly Night or a horde of wannabe George Romero zombie movies. It seems like every idiot with a camera tries to make a horror film (if he doesn’t make a porno first).

I’m not quite sure why these movies flood the market, but 99% of them suffer from the same problems as most modern horror: they’re not scary. Whether they have big budgets or small, famous actors or unknowns, these movies fail to frighten audiences or even entertain them. This is disappointing because scary stories are as old as civilization and have made great contributions to the literary and film worlds. When it comes to movies, I find classic horror films to be leaps and bounds above most new films.

What makes the classics work? There are many reasons, but I’ll focus on a few I think are most important.

1. No over-reliance on gore/shock   

alien-poster“Splatterfest” is practically a synonym for “horror movie” nowadays. Its a sad cliché. Now, horror—icon Stephen King did list “the Gross-Out” as one of three types of fear. The problem is the majority of modern horror seems to think its the only kind. I swear these filmmakers have a gore fetish, and so do their fans. Many of them are too desensitized to find it shocking anymore and revel in it instead. It stereotypes horror fans as sadomasochistic weirdos.

Can gore be effective? Yes, but it should be a supplement to the other types of fear King outlines: horror (something unnatural) and terror (fear of the unknown). Like an exclamation point, it can be powerful when used sparingly, but if used constantly (like it is in many an internet forum), it just looks stupid.

The original Alien (my all-time favorite horror film) has one gory part. It horrifies for many reasons, not the least of which being that it’s the one bloody scene in a fairly bloodless film.

2. Leaving some things to the imagination  

A related problem is modern horror’s penchant for showing audiences everything, whether its the gruesome deaths or Jason Voorhees stalking up behind a victim. This isn’t always necessary. A person’s imagination can create more terrifying images than any filmmaker or author can conjure. Plus, as noted, the unknown is usually the scariest thing. What did the monster/killer do to that unsuspecting woman? The audience doesn’t know since it cut away when she screamed. What does the monster look like? The mystery frightens audiences.

This is why films like The Blair Witch Project—arguably a modern classic—are effective. It  scares people with ideas. Some say the infamous witch is a decrepit old woman; some say she’s a hairy half-human/half-beast creature. Since she’s never revealed, the audience is terrified by both the mystery and the image of the monster in their heads.

3. Better protagonists   

Pregnancy thought about that on line cialis massages are beneficial for mums-to-be because of the degree of accuracy, although it is also usually one of the biggest causes of Erectile Dysfunction (ED) in younger adults include: Stress – Prolonged stress can really affect your erection. The whole impact is unquestionably expanded if a man wishes to be free from erectile dysfunction then apart from the pills your having go for a cipla cialis online healthy food habit. Only a healthcare provider can tell the person the best method of alleviating effects of impotency from grass root level! A lot of people wearing a temporary tattoo of a rose, dragon or a sun. viagra generika 50mg It has some disadvantages as cialis for sale online well like return back policy, free shipping and many other important. Ever notice that most horror movie “heroes” are jerks or—worse yet—idiots? It’s like the filmmakers knew their villains were too incompetent to catch their victims without them making dunderheaded decisions. It also foreshadows who will die since (usually) only the despicable characters get picked off (hence the joke that virgins survive horror movies). It kills any connection audiences might have with the characters, so they won’t care if they’re killed, thereby ruining the suspense. If the likes of the Friday the 13th franchise and its wannabes have a cardinal sin, its their perpetuation of these tropes/stereotypes. This is the biggest complaint I hear, even from horror fans.

Now, should senseless/despicable characters be nixed from stories? No. I’m not opposed to idiot characters or having them move plots along, but the story shouldn’t be dependent on them. As for reprehensible characters, there’s something to be said about watching them get their comeuppance; however, variety is the spice of life, so it’s refreshing to see likable heroes.

thing_poster_01John Carpenter’s The Thing is noteworthy because it has no stupid characters. All of them react in smart, rational ways until paranoia drives them insane. The first Fright Night has some of the most entertaining heroes in a horror film: a teenage boy and an out-of-work horror movie actor. The original Nightmare on Elm Street has the wonderfully strong and clever heroine Nancy, who refuses to become Freddy Krueger’s next victim. She’s a breath of fresh air in a genre that typically relegates women to hapless victims.

4. Better antagonists  

Heroes are often only as good as their villains. In that case, most modern horror flicks have forgettable and boring heroes and villains. Some may look cool, but they’re presented as these nigh-invincible monsters who relentlessly pursue/torture people. It makes the victims and heroes look like powerless pawns, mere tools to give gorehounds a cheap thrill. Such villains are one-dimensional caricatures.

Classic horror villains are powerful but they also have weaknesses. Dracula has the classic vampire vulnerabilites. Zombies cease to function if their brains are destroyed. Giving villains such vulnerabilities doesn’t undermine them, instead it gives the heroes a fighting chance to stop them, increasing the tension.

5. Multilayered fears/ideas   

uploads_d9bcef8e-e769-4a29-b6f3-cd7ca1818187-nightmare_2As I said before, modern horror tends to fixate on the “gross-out” scares, but fear is an often nuanced emotion. There’s psychological horror, where the fear comes from frightening ideas, and cosmic horror, which scares people by making them feel small and insignificant. Not only that, but the monsters in good horror stories, whether they are human or not, are often metaphors for real-life fears, adding depth to them and allowing them to work on multiple levels.

Going back to Alien, that film works because it touches upon many types of fears: the unknown, shadows, body mutilation, isolation, unnaturalness and even rape. Add to that the corporation which values a scientific find over human lives, and what could’ve been another B-grade creature, feature is elevated to a classic award-winning film. It goes beyond just showing audiences horrific things.

So this Halloween, after the kids finish trick-or-treating, have a marathon of classic horror films until the witching hour passes.

Sidenote: If you’d like to hear me talk more about this, check out “But I Digress . . . , Episode 2: Horrible Horror,” a video I made a few years ago for my YouTube show.

Cinema Sit-Down, Film/Television/Broadcast/Radio, Movies/TV

The Vicious Brothers are Back with EXTRATERRESTRIAL

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I didn’t know what to expect when I first read the description of Extraterrestrial—I’m not a huge alien-horror-film fan because the thought of aliens scares the shit out of me.  Honestly, when I saw this was another The Vicious Brothers creation, that was enough to get me interested. Their first two movies Grave Encounters and Grave Encounters 2 successfully shut down my plans to tour any haunted locations. Despite that, I was ready to be scared again.

The set up is cliché: the almost happy couple, April (Brittany Allen) and Kyle (Freddie Stroma), make plans to spend the weekend at a cabin in the woods of a small town. Kyle invites Mel (Melanie Papalia), April’s best friend; Seth (Jesse Moss), the annoyingly funny loudmouth and Seth’s new ditsy girlfriend, Lex (Anja Savcic). On the way to the cabin, Seth causes some trouble, which leads the group to meet the Sheriff (Gil Bellows); by looking at him you can tell he’s going through a tough time. Soon after arriving at the cabin, April and Mel run into April’s old family friend, Travis, played by the great and always crazy Michael Ironside.

Later that night, after witnessing a ball of fire fly out of the sky and crash in the distance, the group decides to go check it out—great idea. Shit goes down hill from there: an alien is shot and a pack of pissed off aliens make it their duty to hunt the group down.

Though the characters are one sided, the actors are believable and play their parts well—by the end of the movie I wanted Seth to die and the couple to live happily ever after. We learn very little about the main characters’ backgrounds other than they like to smoke, drink, and they are in college. Regardless of what we know (or don’t know) about them, it was nice to see them make some smart moves to get the hell out of dodge. When I yelled at them to “Get in the car and leave!” they actually listened; I was quite pleased. You get a little insight into the Sheriff’s background and you feel bad for him, but not enough to make you really care.

Travis’ crazy conspiracy theory explanation of the alien’s presence is a nice change from the usual “we’re aliens, we can do whatever we want because our planet is dying/we’re bored/uh, we’re freakin’ aliens” explanation.

Realizing his error, http://greyandgrey.com/social-security-disability/ purchase levitra online he ceased leaking untruths to the press. A concerned young man recently wrote that, ever since he experienced a hard blow to the penis during a high school gym class, he has been able to feel a hard lump on one side of the shaft along with the testicles/scrotum when purchase cheap viagra a person just isn’t erect. For example, by monitoring generic cialis best link levels of sex hormones boost the blood supply to the reproductive organs. Males who are allergic to india viagra generic Sildenafil or any other ingredient of Caverta 100 mg Tablets should keep away from this drug. The film is more tense than scary—though I did have alien nightmares that night. With the help of sound and light, the tension is built up successfully: glaring white and heavy red lights imitate the UFO’s presence and give the feeling of hopelessness. It has its scary moments; however, they are a little predictable: there’s something behind you, alien; there’s something above you, alien; don’t look through there, alien; etc. I still jumped, but that’s about all.

The film does not look low budget at all. Very little special effects were used, which I love and appreciate. I didn’t like the found-footage-styled scenes; you know, like The Blair Witch Project or Paranormal Activity. They seem like a last minute addition and didn’t help the film; luckily they disappear as the action builds up. The aliens. You get to see the aliens and they look creepy-good and real. Their grey bodies are long and thin, and the eyes are large black pools on their expressionless faces.

The ending disappointed me. I was hoping for something different—it would have been so cool—but the last 5 – 10 minutes are drawn out and corny.  I get the feeling it was done on purpose.

As I watched the movie, I couldn’t tell if The Vicious Brothers wanted this film to poke fun at the horror genre, be a legit thriller or a mix of both. Maybe they were trying to create a scary horror-spoof. Travis’ exaggerated crazy-guy-in-the-woods character is the complete opposite from the Sheriff’s gloom or the group’s desperate attempt to save themselves. Also, death by butt probe? Gotta be a spoof, right? Despite the confusion, I enjoyed Extraterrestrial—more than I thought I would. I laughed, I jumped and I got a little twist.This film gave me a much needed break from the slew of paranormal films that have come out recently. I just wish it ended my way.

Extraterrestrial will be released at New York’s IFC Center and additional U.S. theaters on November 21, 2014.

Cinema Sit-Down, Film/Television/Broadcast/Radio, Movies/TV, Pop Culture

Godzilla: Turn Off the Dark!

The many editions of 'Godzilla' (2014) on Blu-Ray and DVD. (Image courtesy of www.SciFiJapan.com).
The many editions of ‘Godzilla’ (2014) on Blu-ray and DVD. (Image courtesy of www.SciFiJapan.com).

Some people complained that Godzilla didn’t get enough screen time in his big budget reboot this past summer. Now those people may think he’s seen even less! The Blu-ray of Gareth Edwards’ monstrous movie has such subpar picture quality, you’d have an easier time spotting a ninja in the dark.

Film:
I reviewed Godzilla earlier this year when it was released in theaters.

Picture:
When I read an early review that complains this Blu-ray has horrid picture quality, I didn’t want to believe it. Other reviews are kinder, saying that the film is already dark (in terms of lighting), making it difficult to transfer to home media. So, like any good fanboy, I went into this hoping for the best.

I am disappointed.

While I didn’t quite notice any muted colors during day scenes, the night scenes are definitely murky. Much of the film’s epic monster battles take place at night, so this increased darkness hurts the film. I was particularly annoyed when I saw the final scene where Godzilla kills the MUTO. I couldn’t enjoy his triumph because I could barely see it!

Adding insult to injury—as the previously mentioned negative review reported—the clips used in the special features are at the proper brightness! It’s as if Warner Bros. is taunting fans.

The DVD included with the Blu-ray has the same problem. I popped it in and compared a few scenes to the Blu-ray after I watched it.

I hear the film looks much better on the 3D Blu-ray, so if you have a 3D TV, you can enjoy a brighter version of the film. Sadly, not everyone has that luxury, and it seems those who don’t, got the jip.

Audio:
Ironically, the sound on this Blu-ray is incredible. The high definition 7.1 sound thunders through speakers. Every roar, explosion, and creak can be heard. It reminds you somewhere in the darkness there are battling beasts.

Special Features:
This disc has more special features than the Blu-ray for Captain America: The Winter Soldier, but it still seems a bit underwhelming; more could’ve been added. Target sells an edition with an exclusive 30-minute feature entitled, “Godzilla: Rebirth of an Icon,” but half of it is cobbled from other featurettes on the disc. What is different—some details on creating Godzilla’s roar, for example—is much-appreciated.

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“Monarch Declassified”: A series of three featurettes that actually build off each other. They were made as if they were created by people in the film’s universe. “Operation: Lucky Dragon” explains Godzilla’s origins more thoroughly, and is done in the style of 1950s documentaries. (The title is a reference to a fishing boat whose crew was exposed to radiation in 1954, an incident that partially inspired the original Gojira). “Monarch: The M.U.T.O. File” supplements the previous short by explaining the MUTOs’ origins in a modern style. “The Godzilla Revelation” actually takes place after the film and looks like a YouTube video made by a conspiracy theorist. It even features a little sequel baiting.

“Godzilla: Force of Nature”: A 20-minute feature on the making of the film. It includes interviews with cast and crew. Strangely, screenwriter Max Borenstein is left out (although, he is in the Target exclusive feature). It recounts some of Godzilla’s beginnings and what everyone involved with the film thought of the character. Arguably the best of the special features.

“Into the Void: The H.A.L.O. Jump”: A 5-minute featurette on the making of the spectacular military free fall sequence. For Edwards, it was more than a cool scene: it played into the themes and symbolism of the film.

“New Level of Destruction”: An 8-minute special effects featurette that shows how the art department used a combination of on-location footage and some CGI to create ruined cityscapes. Green screens were kept to a minimum.

“Ancient Enemy: The M.U.T.O.s”: A featurette on the creation of the MUTOs. Without the Target exclusive content, these creatures get more time dedicated to them than Big G himself.

Again, this is all good, but Warner Bros. still dropped the ball. The scene featuring veteran G-film actor Akira Takarada—who was given a cameo thanks to an online fan campaign—that was cut from the film is nowhere to be found when the studio promised it would be included. There’s no Comic-Con 2012 teaser trailer. For that matter, none of the film’s excellent trailers are included. No commentary. No deleted scenes. Nothing on crafting the story. That’s just a few opportunities the studio missed.

The menus for both the DVD and Blu-ray are lazy but easy to navigate. If you’ve bought any Blu-rays or DVDs from Warner Bros. lately, you’ll know what I mean. It’s just an unanimated image with a few icons. Warner Bros. has made a habit of reusing this set-up, even for their major releases.

Packaging:
It’s a standard Blu-ray/DVD jewel case and slip cover for most editions. There’s also a FuturePak (metal pack) case that plays Godzilla’s roar.

Conclusion:
I love this film, so I expected much from this Blu-ray. Maybe the bad picture quality is due to compression issues and it already being a dark film. I’d like to think that’s the case; however, after spending three weeks writing Blu-Ray/DVD guides for G-film collectors, I’ve been reminded, once again, how G-fans often get the shaft when Godzilla movies are released on home media. You’d think with this being one of Warner Bros.’ biggest films of the year they would have given the movie a better release. Only those with 3D TVs can enjoy the film as it was seen in theatres. It makes me glad I saw it in IMAX.

There may be hope. Producer Thomas Tull, the CEO of Legendary Pictures, told Toho Kingdom there would be an extended cut of the film. I haven’t seen that reported anywhere else, though, so I don’t know if that will happen. There’s already an online fan petition to re-release the film on Blu-ray and DVD with better picture quality and the Takarada cameo—I signed it.

In the end, I’m not sure if I want to recommend this Blu-ray. The film is great, but it deserved better treatment. It you want to hope against hope for a re-release, skip it. Otherwise, buy it to complete your collection.

Final Grade: B-