G Watch: Godzilla x Kong - The New Empire (2024)

Watched:  06/14/2024

Format:  4K disc

Viewing:  Second

Director:  Adam Wingard

The thing about this movie is that, from the first minute, it's more or less the chaos I look for in the last fifteen minutes of the best popcorn movies.  

This movie is, technically, really dumb.  The "this story makes no sense" stuff I'll spend a post crying about most of the time isn't just there, it's the whole shooting match.  It's mostly just highly silly and unlikely things happening, scene after scene, and Rebecca Hall in a pixie cut saying out loud what is happening so the kids watching don't get lost.

And I could not be happier with the results.  

If you're looking for a recent Godzilla movie with a moral center and a story about the human condition - I have amazing news for you.  But this is not that movie.

Yes, yes, there's some nice stuff about mothers and daughters thrown in there.  But you're here to see Kong smack some other apes with a smaller ape.  You want to see Godzilla suplex Kong.  You want to see people flying around in a crazy spaceship thing blasting classic rock.  You want to see monsters duking it out in a major metropolitan area.  And mysterious people and their underground culture and maybe magic?  Sure.  Let's just say magic.  And Titan Dentistry (which is what I would call my practice if I became a dentist all-of-a-sudden).  

This movie is colorful, and loud and incredibly goofy, and I am not secretly glad it exists.  After the dour start to the Monsterverse, the direction of these movies has found out how to be something genuinely fun - because they were in no way nailing the "big monsters, big feelings for humans" thing they were trying.  

It will be interesting to see how they try to make this work with Season 2 of Monarch, because half of what Monarch brought to the table, this movie was like "ha ha!  NOPE!" and did its own thing.

Monsterverse Watch: Kong - Skull Island (2017)

Watched:  05/20/2024

Format:  Max

Viewing:  Third?

Director:  Jordan Vogt-Roberts

Selection:  Jamie

Confession time.  Or, possibly, self-realization time.  

I can be a wee bit protective of OG versions of popular entertainment content.  I think it's important to know where something which is part of the zeitgeist first appeared, the context, and - if I can - seek out that original bit of entertainment and understand how it came to be.  

My personal feelings on the original King Kong (1933), I've tried to make clear.  

• A love letter to King Kong
• Podcast on the many version of King Kong
• Posts on King Kong (as recent as last year)

I won't belabor too much on the original King Kong film here, but suffice to say, knowing most people are only familiar with latter-era version of Kong, I always want to direct the spotlight back to the original formula, because it's an amazing technical feat as well as a lovely film.

Ape Watch: King Kong Escapes (1967)

Watched:  05/06/2024

Format:  BluRay

Viewing:  First

Director:  Ishiro Honda

I tend to think of myself as someone who would like nothing better than a movie about a giant ape and a robot in the shape of a giant ape duking it out in Tokyo.  Literally, this should check all the boxes for me, but I think I hit the wall as far as Kaiju-tainment for a minute, or else this movie was as dull as it felt.

Honestly, the production history of this movie is more interesting than the final product, which seems impossible when this if your villain.  

he's got panache and joie de vivre!

But the movie has too much plot for it's own good, and I think the editing needs some help.  At just over 90 minutes, it feels like 180 minutes at times.  

My reading tells me that this was some oddball effort fired off by none other than Rudolph-wranglers Rankin-Bass, who were making a King Kong cartoon at the time, that when I saw stills, I think I recall seeing as a small child.  I guess Rankin-Bass - who were outsourcing some animation efforts to Japan - went to Toho, after Toho made the 1962 film King Kong vs. Godzilla.  RB and Toho jointly went to Universal, and since everyone likes money, they went ahead and made the movie.

I've only seen the US cut released by Universal - Toho has a slightly longer cut they released in Japan - and of course this version is dubbed, with one of our two American-born performers overdubbed by someone not them.  I assume real US kaiju aficionados have their Toho copies, but not I.

Anyway, the plot is that an un-named Eastern-hemisphere country has sent Madame X to work with Dr. Who (yeah, I know) whom she has hired to mine for the mysterious Element X (which I think is probably super-uranium).  Who has stolen plans from a clever... submarine leadership team? to build a giant replica of the legendary King Kong in order to perform the mining.  This is not a sequel to the prior King Kong vs. Godzilla film, but hints that the 1933 OG Kong film was inspired by a real gorilla-guy, and that's OUR guy here.  

That same submarine team, made up of actor Rhodes Reason and his more handsome counterpart, Akira Takarada, hang out a lot with Lt. Susan, the ship nurse, played by Linda Miller (who has some fun interviews online).  

CINEMA

Anyway, there's some stuff that echoes OG Kong, way too much espionage/ James Bond inspired stuff.  Madame X is up to no good.  There's ape hypnosis.  I dunno.  It just goes on and on before we finally get to the big ape fight, which is pretty good, tbh.  Who doesn't want to see that?

The budget on this film seems high.  The detail on the Kong suit is good (if goofy) and the sets are many and highly details, for man and kaiju alike.  And Dr. Who's capes couldn't have been cheap.  And Madame X's couture was excellent. 

I think this one demanded to be watched with other people, and I watched it solo.  This was a mistake.  I may make Jamie watch it with me later this year.  

G Watch: Godzilla x Kong: The New Empire (2024)

Watched:  03/28/2024

Format:  AMC Dolby (apparently the seats vibrate?)

Viewing:  First

Director:  Alex Wingard

Selection:  This is a Godzilla house

As soon as the credits rolled, Jamie turned to me and said:  "this movie understood what the series needed was more frogs and dogs and bears and chickens and whatever".  And I agree.  100%.

So.  I'm not going to guarantee everyone will like this movie.  It is loud, and it is crazy and it is probably more than a little dumb.  But that doesn't mean I didn't have a great time at the movie, and get exactly what I wanted out of it.  

I've entered into that "I can't actually see a Godzilla movie and just watch it as a normal movie, I only can see it in the context of 70 years of Godzilla films" thing that I also do with some other media, like Superman.  So, based on that, I think Legendary/ The Monsterverse has finally really sorted out their strengths.*  

They absolutely get how the first two Godzilla movies wanted to do this in a way that suggested a serious film but then kept tripping over themselves en route, whether it was giving us the most boring possible hero or the least sympathetic family possible to follow for the runtime.  

G Prep Watch: King Kong v. Godzilla (1963) - US Version

Watched:  03/27/2024

Format:  BluRay

Viewing:  First of this version

Director(s):  original formula - Ishirô Honda / US recut - Tom Montgomery

Selection:  Joint, Jamie and me

We have tickets to see Godzilla x Kong on Thursday the 28th, and we decided to do a little bit of homework prior to the film.  It had been a while since I'd watched King Kong vs. Godzilla (1963), and I was met by a surprise when putting the film on.  

Like Gojira/ Godzilla: King of the Monsters and Godzilla 1984/ Godzilla 1985/ Godzilla Returns - this movie had a cut for the US audiences which is edited, includes new footage and has American talent cut into the original film.  I think I'd only ever seen the Japanese cut of the movie, so I was a little thrown when the movie was framed as a newscast hosted by a genial white American dude, and leaped into action to see what was what.

The version we watched was... insane.  There's so many tones being hit, so many ideas, characters, locations, etc...  Any theme that was originally present (apparently originally a satire on the programming on television and the corporate relationships to that programming) is flattened as the American version literally uses television as the framing device - inserting American-based news anchors to ponder the events unfolding.

G Watch: Godzilla vs. Kong (2021)

Watched:  12/23/2023

Format:  4K disc

Viewing:  Second

Director:  Adam Wingard

This is the first Monsterverse movie that finally understood why people show up for a Godzilla movie.  That seems remarkable given the money spent, audience participation in prior films, etc...  This was maybe the first one not made for the edgelord 18-24 y.o. market in mind.  

Way back in April of 2021, Godzilla enthusiast Stuart and I discussed the movie for the podcast.  I invite y'all to listen to that podcast at your leisure.

On a rewatch, and knowing what I was getting into, it's still a fun watch.  I don't know if I'd say "this is a good movie" because it's definitely YMMV territory.  It's big and ridiculous, and, arguably, there's way too much continuity in these films and not enough "hey, a new monster for Godzilla to fight".  Like, Godzilla existed over at Toho for decades and decades just showing up from time to time, and no one was trying to worry about 10,000 years of Titan history.  Godzilla just was, and everyone had to deal with it.

But when I get to see Kong slug Godzilla across the jaw while both are standing on an aircraft carrier, I almost want to stand up and salute these filmmakers for giving me the thing I did not know I needed to see in a movie, but had waited my whole life to see.  

Hallo-Watch: Murders in the Rue Morgue (1932)

Watched:  10/09/2023

Format:  Criterion

Viewing:  First

Director:  Robert Florey

I'd heard Murders in the Rue Morgue (1932) mentioned a lot as part of Universal's early offerings in their Dracula and Frankenstein adjacent period.  It's considered part of that first wave and thus foundational as horror was being created on the fly for talkies.  Lugosi had turned down the part of the monster in Frankenstein and was looking for actory roles, and up popped this adaptation of an Edgar Allen Poe tale.

Carl Laemmle, who ran Universal at the time, didn't actually think much of horror, so basing his movies on known literature probably eased his conscience a bit.

Poe's original short story is credited as the first modern detective story.  The lead, Dupin, uses logic and reason to deduce what occurred, not something common to the literary world in most stories of the time.  This form of detective fiction would quickly become mastered by others, and you get Sherlock Holmes and how we think of a *lot* of modern fiction - pretty much anything with a central mystery.

Ape Watch: King Kong (1933)

Watched:  06/11/2023

Format:  BluRay

Viewing:  Unknown

Director:  Merian C. Cooper / Ernest B. Schoedsack

So, last week Stuart sent me a link to a doc on YouTube to watch.  It was, roughly, a 3-part series on King Kong (1933) and the impact of the film over decades.  I texted him 15 minutes in to the first part and said "there's no way I don't wind up watching Kong this weekend", and, indeed, I'm a man of my word.

We all have our foundational films, and King Kong, in it's very roundabout way, is one of mine.  

Growing up in the 1970's and 80's, and in the wake of the 70's monster craze, Kong was more or less a household name, concept, etc...  Everyone had an idea of King Kong as a giant ape liberated from an island who winds up in Manhattan and wreaks havoc, winding up atop the Empire State Building.  

My first exposure to Kong's full story was in a hard-back book my dad read to me (and, I assume, my brother) when I was about 5.  Only later would I learn it was an official novelization worked on by no less than Merian C. Cooper, director of the film.  

Tarzan Watch: Greystoke - the Legend of Tarzan, Lord of the Apes (1984)

this is the most pretentious possible Tarzan poster

Watched:  04/10/2023

Format:  HBOmax

Viewing:  First

Director:  Hugh Hudson

I can only imagine what the pitch meeting was for this movie, and I can totally see how it happened.  

In 1981, Hugh Hudson had directed Chariots of Fire, a movie that was a smash hit about pasty British guys running foot races and worrying about religion.  Like, you couldn't escape the movie, which I watched on TV once when I was sick as a kid and immediately erased from my memory.  But it was a big @#$%ing deal when adults went to the cinema.  

I'm sure it's great.  But it was an unlikely hit, and won Best Picture.  Career made for somebody.

So when the director of the footrace movie comes to you and says "we're gonna do Tarzan.  But now it's a prestige costume drama about how Tarzan is, in fact, a very sad ape man.  He is not a super-human living among men, continually pursued by hot women and fighting weird alien threats and large animals.  Instead, he's a kind of skinny French guy who does stuff you've seen apes do at the zoo.  But, you know, it's quite sad" I guess you trust and give that guy a sack of cash to give it a go.

Amazon Watch Party Watch: Gorilla at Large (1954)

Watched:  02/03/2023

Format:  Amazon Watch Party

Viewing:  First

Director:  Harmon Jones

So, to my complete surprise, I liked this movie semi-unironically.  

I found it weird that this movie starred fairly big names for the time.  Not huge stars, but knowable names and more than one of them.  It has Raymond Burr, Lee J. Cobb, a young Lee Marvin, Cameron Mitchell (before he spiraled into camp), and Anne Bancroft here to remind you she is, indeed, a very good idea.  I was not familiar with Charlotte Austin, who plays the virginal character, but who could scream like crazy and had great hair (and was in another gorilla movie in 1958 called The Bride and the Beast, penned by Ed Wood Jr.).

At around the 70% mark of the movie, I think it was Jenifer who pointed out "this is gorilla noir", and she was not wrong.  This is absolutely murder mystery noir, set against the backdrop of a carnival, with a gorilla as a character, and plenty of intrigue to go around.  The movie is knowing enough that it constantly plays with expectations, and I had no idea how this thing would wrap up until the end.  

It's also, visually, very interesting.  Shot at Nu Pike Amusement Park in Long Beach.  I thought it was the same location as Woman on the Run/ Gun Crazy and others, and was very wrong.  My takeaway is that California had some great amusement options in the 20th century.  (The Burglar was filmed in New Jersey, so I was way off there.)  But as something shot originally for 3D presentation, and in bright technicolor, it's a fascinating bit of visual cotton candy, including a dynamic scene with a mirror maze (that I'm not clear on how it was shot without showing the crew standing behind the camera, tbh).

It's not challenging the AFI Top 100 as an underserved, underseen classic, but it's *interesting*.  Including the bizarre decisions that led to the finale.  

  

PODCAST: "Godzilla vs Kong" (2021) - Kaiju Throwdown! Stuart and Ryan talk Monsterverse!

 

Watched:  03/31/2021
Format:  HBOmax

Viewing:  First

Decade:  2020's

Director:  Adam Wingard

More ways to listen

Ape V Lizard! Who will win? You, the audience. Stuart and Ryan have a monster of a conversation about the latest installment in the Godzilla and Kong franchises! It's a podcast of epic proportions as we talk about how we got here, what's worked, what hasn't, and head right for the center of the matter. Stop monkeying around and join us as we go nuclear on the most important film you'll see about an axe wielding ape this year!

The Signal Watch PodCast · 143: "Godzilla Vs Kong" (2021) - Kaiju Throwdown w/ Stuart and Ryan

Music:  

Pensacola, Florida (Godzilla Theme) - Tom Holkenborg, Godzilla vs Kong OST

Godzilla Cartoon Theme, 1970's

Ryan's Random Cinema

The Signal Watch PodCast · Ryan's Random Cinema

PODCAST: 110 - "King Kong" 1933, 1976, 2005 & "KIng Kong Lives" (1985) and "Kong: Skull Island" (2017)

King Kong  (1976)
watched:  06/03/2020
Format:  DVD
Viewing: No idea
Director:  John Guillermin

Kong Lives (1985)
watched 06/08/2020
Format:  DVD
Viewing:  third?
Director: John Guillermin

Kong: Skull Island (2017)
watched: 06/12/2020
Format:  DVD
Viewing:  second?
Director:  Jordan Vogt-Roberts

King Kong (2005)
watched:  06/13/2020
Format:  DVD
Viewing:  third
Director:  Peter Jackson

King Kong (1933)
Watched:  06/23/2020
Format:  BluRay
Viewing:  no idea
Director:  Merian C. Cooper

For more ways to listen

It's King Kong-a-Palooza as we take on 5 movies about one big monkey. Stuart joins in as we talk about the modern mythology of King Kong, what the story tells us, and what it tells us about ourselves that we retell the story every few decades. We reflect on man, ape, mysterious islands, mystery in general, and fame as we ponder the various takes. Join us as we discuss 1933, 1976, 2005 "King Kong" installments, as well as "King Kong Lives" and the recent entry "Kong: Skull Island".

YouTube

SoundCloud

The Signal Watch PodCast · 110: "King Kong" 1933, 1976, 2005, "King Kong Lives" & "Skull Island" w/ Stuart & Ryan

Music:
King Kong Main Theme (1933) - by Max Steiner
King Kong Opening Theme (1976) - by John Barry

Doc Watch: Making the Apes - The Artists Who Changed Film (2020)

Watched:  06/21/2020
Format:  Amazon Streaming
Viewing:  First
Decade:  2020's
Director:  William Conlin

There's not much to spoil here - it's a fact based documentary on the people behind the iconic make-up for the run of the original 5 Planet of the Apes films, the TV show and more.  It does a good job of contextualizing the state of the art in the mid-60's and how they got there, starting in the Lon Chaney era. 

Really, what I liked is that - as much as it's about the make-up and creation of - it gives personality and stories to the people who were there and made a vision a reality.  We sometimes forget there are minds and lives behind the people who aren't the writers, directors and actors - but those unseen wizards who rise at 2:30 AM to be at work by 4:30 AM to get the actor on the set by morning, looking like a gorilla?  Those are people who fell in love with monster make-up to such a degree, that's how they love and what they've chosen to do. 

And, of course, for the people involved, Planet of the Apes - which won an honorary Academy Award for make-up before it became a staple of the Oscars - was a major turning point in the lives of a lot of people in the Hollywood make-up industry.  It was sort of the digital T-Rex of its day. 

It's currently streaming on Amazon, and if you're any kind of POTA fan, I recommend giving Making the Apes: The Artists Who Changed Film a go. 

Koko the Gorilla Merges With The Infinite

We are sad to report that Koko the Gorilla has passed.

I first learned about Koko the Gorilla back in Elementary School.  For some reason, my class read an article on Koko, the gorilla who was learning sign-language.  She'd been raised by Penny Patterson, who taught her sign-language, and she'd develop a 1000 word vocabulary.

"Planet of the Apes" 50th Anniversary

So, Shoemaker sent me a text alerting me that today is the 50th Anniversary of the Premier of Planet of the Apes!  I've found three completely different release dates, and February 8th is absolutely one of them.  I wasn't born yet, so I don't know, but I expect this is the Premier date the rest were release windows across the US.  Movie distribution used to be a bit different.

Ape Watch: War for the Planet of the Apes (2017)

I was skeptical when Matt Reeves and Co. relaunched the Planet of the Apes franchise a few years back.  We're big fans of the original five films here at The Signal Watch - but despite a certain affection for Tim Burton and an appreciation for anything with a simian in a featured role, I've only seen that remake once.  Because I kind of hated it and wound up having to apologize to several friends who agreed to go see the movie with me.

So, yet another go at the idea wasn't something I was looking forward to initially.

But, lo and behold, Rise and Dawn of the Planet of the Apes were released, and, yea, I dug them. They managed to find an astonishing line where they could break from the original narrative but still give nods enough, show respect for those movies and still be entirely their own thing.  If Caesar wasn't the child of apes who'd traveled through time and space, we still found a way to make him the founder of the Ape Society that didn't need to bend time and space to get the job done.  And if I always stood by the complex heart of the original slate of films, the new movies refused to be any less challenging.

I'm pleased to report that War for the Planet of the Apes is a worthy conclusion to the trilogy, an astonishing technical achievement, and - as all the apes movies have been (save the Burton one-off) a thoughtful character study and examination of morals.  And, of course, a dystopian sci-fi franchise that actually earns its dim view of humanity.  It isn't just ignorance or folly that leads to man's downfall, it's mankind's inability to tame our demons that drives us straight over the cliff.

Ape Watch: King Kong (1976)

With Kong: Skull Island checked off my "must see" list, I noted King Kong starring Jessica Lange was on Amazon Prime.

If ever a movie was a mixed bag, it's the 1976 version of King Kong.  It's a movie only the 1970's could have produced, still in the echoes of the pessimistic Planet of the Apes saga but brimming with the romanticism we'd see in Superman: The Movie and Star Wars.  It features two/ three stars busting out - nobody aware they'd become Hollywood icons - in Jeff Bridges and Jessica Lange and Charles Grodin, who would go on to be Charles Grodin (and that is not a complaint).

But it's also a movie with a very good mask/ make-up on a guy in an ape suit, big animatronic hands, arms and legs for Lange to cling to, and a re-writing of the premise as an Energy-Crisis-conscious abandoning of the showbiz angle of the original for something about oil exploration.  And it really whittles down the wonder of Skull Island - dumping the dinosaurs in exchange for more dialog and human moments, severely diminishing the idea that this is an adventure film.

Trailer: War for the Planet of the Apes

Ape Watch: Kong - Skull Island (2017)

Box office numbers will give me the answer to the question "was anyone really wanting a new King Kong movie, let alone a re-imagined one?"  Because I really don't know.  Our theater was near sold out, but I had the distinct impression it was full of the kinds of movie goers who think picking what movie they'll see ahead of time is a waste of time - you just buy tickets for whatever is starting next.

King Kong, like Frankenstein, is one of those movie concepts that bled out into the pop culture to such a degree - it's just part of the cultural lexicon.  This in spite of the fact very few folks you talk to have actually sat through the original films.  But the imagery of both has become so iconic, the concepts both bizarre and yet easy to grasp and the metaphor so accessible... we all get it.  Giant apes and flesh golems tend to stick in the mind.

Weirdly, Kong: Skull Island (2017) arguably throws away all of that metaphor, telling a different story.  No more Ann Darrow, no John Driscoll, no showboating Carl Denham.  No more "'twas Beauty who killed The Beast."  This is a 1970's-era landing on Skull Island by a mix of government scientists and soon-to-be-done Army soldiers, rotating out of Vietnam and a whole lotta explosions.

The end result is also something altogether different, and that alone can take some getting used to.  You're in for two hours of fast-moving excitement, a razor thin script, name actors without much to do, and a Vietnam known only via high-profile filmic depictions.  All in all, Kong: Skull Island (2017) is maybe not what I was expecting, but it is visually stunning, entertaining, contains some pretty amazing FX and action sequences, and if you don't have a bunch of people talking behind you, is going to keep you glued to the screen for the run-time of the movie.

Jungle Re-Watch: Tarzan (2016)

No real write-up.  We re-watched The Legend of Tarzan (2016), which I wrote up this summer.

It's too bad this film didn't perform better and get more attention, because I quite like where they were going with Tarzan here.  It's a leap from the books and various other incarnations, but it was a version I would have gotten me back to the theater for a sequel, and it was at least as fun as Doctor Strange, while also having something of a point to it (which I'm not sure you can say about Marvel's latest entry).

It's also weird to think a movie can make $356 million and be seen as a "meh" performance, but that's today's Hollywood.  If a movie isn't part of a system like the Marvel franchise where they can build and build on even a middling performer (see Ant-Man or even the first Captain America movie), it's really tough to get a second go or, weirdly, even to get any attention.  I mean, it's kind of funny we'll take Doctor Strange seriously (it's at $350 million after a week!  Go, Doc Strange!), but without the Marvel label, we'll shrug off Tarzan.

In short: that Marvel brand is a powerful thing.  Being seen as old or legacy is not.

It's not a perfect movie or even a great movie, but it's certainly okay.  I wish it did some things it didn't, but it did lots of things that surprised me, and gave me the first Jane Porter outside of the books or comics I've really liked.

Ah, well.