Man of Steel (2013) Review

Rebooting a film franchise is always divisive, however this bold reinterpretation of Superman’s origin may qualify as one of the most controversial in cinema history. Big, brashly violent, and unabashedly emotional this is definitely not the Christopher Reeve’s superhero that so many have fond memories of. Instead it is a science fiction story about what it would be like to be a perpetual stranger in a strange land while trying to find your own unique identity.

See the title above? You won’t see that until the movie ends. Nothing is allowed to get in the way of this freight train of a story that hurtles through the two and half hours the movie runs. Contained within is a densely packed journey of discovery alternating with loss combined with all the repercussions of finding out alien life exists and may not be friendly.

Don’t expect much comic relief in this very serious take on the first comic book superhero. It stands in stark contrast to the relatively cheery 1970’s Superman film series.

Like Richard Donner’s classic from 1978, the movie begins on the dying world of Krypton somewhere far off in space. Hans Zimmer’s masterful soundtrack thrums away before giving way to a heartbeat of a baby being born. Amidst the decay of a spent people, Jor-El (Russell Crowe) and his wife Lara (Ayelet Zurer) have done something not allowed in hundreds of years: they have had a baby by natural childbirth rather than artificial engineering.

Summer 2015 Capsule Movie Reviews

In the past I’ve written a few mini-reviews of films after seeing them in theater, but this year I’ve been too tired or busy to type my impressions. So better late than never here are three micro-reviews of films I’ve seen this summer at the nearby Spring Grove Cinema.

Jurassic World

First a disclaimer has to be made: I’ve never been a fan of the franchise despite being a kaiju and science fiction lover. The first flick was entertaining, if not very memorable, and what little I saw of the sequels they were pretty abysmal. This opinion puts me in a tiny minority, of course. So it was with low expectations I went into the darkened theater to watch dinosaurs once again run amok.

Expecting a popcorn based confection with no style or substance, I was very surprised to find a genuinely tasty plot blended perfectly with intelligent action along with surprising amounts of emotional moments. Likeable characters played by Chris Pratt and Bryce Dallas Howard carried the movie mainly due to a very cookie cutter villain played by Vince D’Onofrio (see Daredevil on Netflix to see what he’s really capable of) and a mixed effort by the supporting cast.

Godzilla, Mothra and King Ghidora (2001) Review

Giant Monsters All-Out Attack aka Godzilla: GMK

A darker take than usual in the Godzilla series of movies that adds a spiritual aspect to Japan’s battles with the giant lizard. While highly flawed, this is my second favorite Godzilla movie and only eclipsed by the original Gojira. It is the only other Godzilla movie in my collection other than the original and I purchased it from Hong Kong it was unavailable in the US at the time . That has since changed.  It also can be watched online at Crackle.com. UPDATED: April 2012. UPDATED again September 2014 with Blu-ray details and HD screen captures.

Toho Studios gave Shusuke Kaneko, the director of the competing rebooted Gamera trilogy, a shot at reinterpreting Godzilla and this production hit Japanese theaters in late 2001.  Domestically it was the most successful of the Millennium series of Godzilla movies. Yes, there have been so many films of the big ‘G’ that they are actually broken into subsets by era. GMK is a direct sequel to the 1954 movie and ignores all the others.

The movie begins with the most boring of settings, a classroom. This one is filled with Japanese naval officers being lectured by Admiral Tachibana (Ryudo Uzaki) about the only battle fought by the Japanese Self Defense Force.  That battle was in 1954 against the giant monster Godzilla and was a great victory for the JSDF.  Huh?  Wasn’t the radioactive menace killed by the Oxygen Destroyer? Something’s fishy here.

As the lecture goes on, mention of a giant monster attacking New York and possibly being identified as Godzilla occurs. This leads to a humorous slam against the 1998 American Godzilla movie during a discussion by two junior officers. One asks if it really was Godzilla. The other replies: “Experts in America say it was, but Japanese ones disagree.”

Guardians of the Galaxy In Theater Review

While not quite the perfect popcorn movie, Guardians is still a fun romp through Marvel Comics’ space settings. Featuring excellent special effects and an even better cast, heartfelt emotions are not neglected in favor of the many, many explosions. After all, how can one not like a movie with space pirates, deadly alien babes, rocket boots, and a talking raccoon who likes to shoot everything in sight?

Growing up in the 1970s, I was always attracted to the science fiction side of comic books, whether it be Green Lantern, Iron Man, or the lesser known Guardians of the Galaxy. So when I first heard a big budget movie was being made, I couldn’t wait. Then the other shoe dropped when the characters were announced as being from a more modern reboot.

With only one I liked, Rocket Raccoon, and two others I knew, Drax the Destroyer and Gamora, my expectations plummeted and interest waned. The original Starlord and Yondu were replaced with posers along with the addition of a scaled down ent. Yeah, that looked like a sure fire winner to me.

Once positive word of mouth reached me, I decided I’d see the flick after all. I’m glad I did.

If You Love Science Fiction…

…There’s an anime on Netflix you need to watch. Knights of Sidonia started streaming on July 4 with options to watch it in Japanese with subtitles, English, and Spanish. Closed Captioning is a separate option as well. Adapted superbly from an ongoing manga series, Sidonia is a dark, no holds barred look at the possible last days of humanity on a “seed” ship trying to survive in the far off future.

Having taken the opportunity of a free month to try out Netflix again, I decided to test the service with an exclusive anime that adapted a manga I was familiar with. This is their first exclusive streaming deal for an anime and boy did they choose well.

Following the classic structure of following a hero from obscurity to fame during a desperate war, the series is filled with brooding atmosphere, interesting characters, and an intricate plot filled with mysteries slowly unraveled. Rendered in CGI, some people will want to skip it for that reason alone. They would be foolish, to say the least for it is visually beautiful in representing the harsh light of space and the worn interior of the vast ship.

Alien foes are truly alien with questions of whether they are sentient or animals being a major subplot (amongst many) while the humans seem to be having a hard time holding on to being human. Genetic and gender manipulation has been performed to keep humanity going with even darker scientific secrets lurking below the surface. No one is safe and the body count is extremely high with two episodes having casualty rates we normally never see.

Accompanied by an evocative soundtrack reminiscent of the better efforts of synth composers of the ‘80s, the show is often very intense and individual episodes fly by before you realize it. At only twelve episodes the show ends at a point leaving you wanting more and thankfully a second season has been green lighted.

It is tough to give more details without spoiling the story, so I’ll try to list what science fiction it resembles in some way or another. If you are a fan of any of the following, you should check it out: Battlestar Galactica (reboot), 2001: A Space Odyssey, Blade Runner, Dune, Akira, and Evangelion. Knights brings back memories of how amazing anime was decades ago, capturing a lost vibe that made the medium so fascinating.

I should note that it is not for children at all. While rated TV-MA, I’d say it is a hard PG-13 with relatively tasteful obscured nudity that never shows everything (it’s also a necessary plot point), many deaths, blood shed, and horrific alien monsters. Besides all that, there are sophisticated themes pondering politics, war, the nature of humanity, and loss that are a bit beyond kids ability to process. Okay for teens and up is my judgment in the end.

Knights of Sidonia is one of the best animes I’ve ever seen. Don’t be turned off by it being a “cartoon” for it is well worth watching. This may be the perfect series to show people who’ve never watched an anime how serious the medium can be. Go watch it.

Godzilla 2014 In Theater Review

It is said that it is better late than never and I hope that applies to this review, not to mention the movie. If it weren’t for the local theater in the small town of Spring Grove, I wouldn’t have gotten to see the new Godzilla on the big screen at all. Happily I can report the film is good and worth of the name.

Showing influences from more than just the Godzilla franchise, the film contains elements borrowed from Rodan, Cloverfield, Battle Los Angeles, and even the abominable previous Hollywood attempt from 1998. Oh what a difference proper execution and intelligent usage of those concepts make!

Since I’m late to the party, I’ll start off be addressing some of the criticisms of the film. Might as well take the bull by the horns before extolling the virtues of the piece.

Godzilla: Tokyo SOS (2003) Review

A muddled mess of a Godzilla film that is a direct sequel to 2002’s much better Godzilla vs. Mechagodzilla this is probably the worst of the Millennium series. A weak script that links back to the original Mothra makes it more of little kids movie ala the 1970s entries. UPDATED with “HD” screen captures and Blu-ray details.

When I was a kid growing up, often there would be showings of Godzilla films on broadcast TV, usually Saturday night at 10:30 or in the afternoon. It dawned on me it might be fun to review some of the monster destroying cities films for the blog. So I chose Godzilla: Tokyo SOS as a guinea pig for this project.  I now regret that as I had to sit through the film twice like I do for every review.  Yes, you’ve been warned. Be afraid.

The movie starts out promisingly enough, with a sequence of code showing Mechagodzilla’s DNA based computers being tested segueing to Godzilla’s eye opening in the depths of the Pacific Ocean. Moments later a US Air Force base picks up a UFO flying at high Mach speeds towards Japan and notify the local authorities.  Two F-15J Eagles are scrambled to intercept the UFO which has slowed to Mach 2 and is disturbing the cloud layer in a fairly decent CGI sequence.  Warning shots are fired ahead of the object without it reacting.  However, the lead pilot hears singing women and ground control doesn’t believe him.

The giant moth called… well, Mothra, emerges and the two jet fighters engage her with missiles.  Suddenly, the supersonic insect emits a golden cloud of glitter which fools the missiles into missing.  Who knew the beloved Japanese monster had chaff dispensers?

Gamera the Giant Monster (1965) Review

Only one giant monster series managed to compete with Godzilla -- and it took a flying turtle to do the job. Done on the cheap amid a great deal of internal doubt about the project, Gamera spawned a franchise that lasted for years to the delight of many children. The American edits are the ones most have seen, but the original Japanese version turns out to be a slightly more serious film with Cold War themes. It also portrays the life of one very disturbed little boy. UPDATED with HD screen captures and Blu-ray details.

When Toho’s Godzilla series suffered a false start in the ‘50s, many a movie studio tried to horn in on the big monster action including Toho themselves with Rodan and Mothra. But it was not until the head of Daiei Studios saw a turtle shaped cloud while flying across the Pacific Ocean that the only true rival emerged. With none of the accomplished directors at the studio wanting to make the movie, it fell on struggling young Noriaki Yuasa to make the mad idea work. Equipped with a quiet agenda of his own, he led a production crew into uncharted waters for Daiei had never made a movie like this. Did he succeed? Oh, yeah he did -- and then some.

Thanks to Shout Factory, we finally can see what the Japanese audiences originally saw in a completely restored and remastered version. Please join me for a slightly less snarky review than that of the NTA version, Gammera the Invincible. If you want to see what professional mockery can do with the Sandy Frank version, check out my Gamera: MST3K review.

Gamera the Giant Monster starts with Soviet bombers flying over the Artic ice and a Japanese scientific expedition arriving at an Eskimo village. I may have missed it, but the reason to be there never seems to be fully explained. It is more important that our three main characters just happen to be there to witness events. They are Dr. Hidaka (Eiji Funakoshi), his assistant Kyoke Yamamoto (Harumi Kiritachi), and news photographer Aoyogi (Junichiro Yamashiko).

Buzzed by the Soviet bombers which look suspiciously like British V-bombers (specifically the Victor), Hidaka makes a comment about the Cold War going on. The fears and tensions of the not so hot clash between East and West forms the backdrop for the film, unlike Gojira where it was the simple reaction to the atomic bomb drops that ended World War II. Eleven years had gone by with new concerns replacing the old which is perfectly understandable given Japan’s geographic location. They were smack dab between the two superpowers of the Soviet Union and the United States of America.

Godzilla 2000 (1999) Review

Radioactive Rage Month continues with the movie that started the Millennium series of Godzilla films. After the disappointing American attempt at Japan’s iconic monster, Toho Studios decided to bring the big galoot back years ahead of schedule. The hastily put together result was a messy mash up of ideas from previous decades, special effects experimentation, and the occasional spectacular scene.

Toho originally planned to make a new Godzilla movie for the 50th anniversary of the character in 2004, leaving the franchise temporarily in Hollywood’s hands. Though profitable, 1998’s Godzilla was a large disappointment. Consequently,ideas for a trilogy were scrapped. A mere year after that turkey posing as a kaiju skittered onto the silver screen, the real Godzilla returned to fight another monster on Japanese soil.

This review covers the American edited and dubbed release, one of the very rare ones to hit theaters in the States. It only made $10 million in North America, so it was here and gone again in the blink of an eye. There were some good reasons for this…

Godzilla (1998) Review

Radioactive Rage Month continues with the most controversial incarnation of Godzilla. When popcorn movie makers Roland Emmerich and Dean Devlin got their hands on the first American attempt at the world’s most famous giant lizard, a disaster of epic proportions unfolded much to the horror of onlookers. By that, I mean the audience, not the characters in the story.

DISCLAIMER: Due to repeated viewings of the subject matter, the author of this review may have suffered permanent brain damage and cannot be held accountable for any ranting, denials of reality, or other acts of insanity that follow.

The horror… the horror…

With the winding up of the Heisei era series of Godzilla films, Toho Studios licensed out the big green ‘G’ to star in a big budget Hollywood version. Multiple directors bailed on the project due to the constraint of keeping the budget to $100,000,000. Eventually Roland Emmerich (Universal Soldier, Independence Day, Stargate) agreed to make the movie for that amount as long as he was allowed to do whatever he wanted. Tristar agreed to the terms and production began.

This is what is commonly referred to as “a mistake.”

Heavily hyped to the public, high expectations were generated after the smash hit Jurassic Park proved that large lizards could be made to look both realistic and terrifying thanks to advances in computer generated (CG) effects. I remember it well, for speculation on message boards was rampant thanks to the rise of the Internet. Secrecy was maintained well during production and what little info leaked slowly began to worry long time Godzilla buffs.

We weren’t alarmed enough, it turned out. Time to gird my loins, abandon my sanity, and write this review.

The horror… the horror…

Gojira (1984) Review

aka The Return of Godzilla aka Godzilla 1985

Radioactive Rampage Month continues with Godzilla’s come back film from the 1980s. Ditching the continuity of all the previous films except the original 1954 classic, this movie featured much ballyhooed new technology and a more serious take marked a new beginning for the franchise. Introducing a bigger, badder, and more feral incarnation of giant lizard, it was a marked departure from the kids films of the 1970s.

When 1975’s Terror of MechaGodzilla performed badly at the box office, it marked the end of two decades of Godzilla flicks. Toho Studios shelved the franchise and years went by until a resurgence in domestic interest in the radioactive kaiju prompted them to develop a new film. Oh there had been proposals and treatments created in the interim, but being in the business of making money the execs wanted to make sure there would be an audience.

Taking advantage of the fading memories of the last film meant they could now move in a new direction with a starting point from the first film. What they came up with was a direct sequel to the 1954 movie and far more serious than the aliens invading using large monsters storyline rut of the ‘70s. However, elements of the prior silliness are still present in this overly verbose story filled with Cold War paranoia.

This review is of the original Japanese version. I’ve never seen the American cut with Raymond Burr and am forced to wonder whether or not his pipe co-starred with him again like in Godzilla, King of the Monsters.

King Kong vs. Godzilla (1963) Review

Radioactive Rage month begins with the one and only clash between cinemas two biggest stars. When bad driving releases Godzilla from an icy tomb, the only weapon that can stop him is the mighty King Kong! But can Japan survive the clash of two titanic monsters? More importantly, who will win the fight in this wildly uneven movie?

The 1960s had arrived and both King Kong and Godzilla were unemployed after a mere two feature films each. Neither had appeared in a widescreen or color movie thanks to disappointing and rushed sequels to smash hit debuts. In what is an eternity for a film franchise, the last appearance for each had been 1933 and 1955, respectively.

So when an American producer shopped an idea around for a new King Kong movie where he fights another giant, he was met by the sound of crickets chirping. However, Toho Studios decided to take on the project and work in Godzilla as the substitute villain for the piece. Returning to helm the film was Gojira director Ishiro Honda who had not been involved in the lackluster Godzilla Raids Again.

The end result was a monster romp of the likes that hadn’t been seen since the days of Universal’s teaming up of the Wolfman, Frankenstein’s Monster, and Dracula. Aimed squarely at being an action comedy rather than a horror film, it was nothing like its predecessors. However, a few moments of the old chills appear making it a transitory Godzilla film from serious horror science fiction to kids films.

Unfortunately, the original Japanese version is not available so this will be a review of the heavily edited American version just released on Blu-ray for the first time.

TRON: Legacy (2010) Review

A surprisingly beautiful and layered movie that vastly improves upon the original film in every possible way. While the action is spectacular, the real story is both a social commentary and variation on the prodigal son. Filled with extraordinary imagery, kinetic action, and good acting, it may not have been the smash success Disney envisioned it succeeded in being thought provoking and very, very entertaining. UPDATED December 2011 for Blu-ray review and HD screen captures, January 2013 for technical details.

I’m old enough to have seen the original TRON in a movie theater and always had a soft spot in my heart for it.  Disney’s experiment wasn’t a great movie, but was a passable B movie with an A level budget.   Still, it was great fun and interesting to look at with an equally interesting soundtrack.  28 years later, the sequel arrived in 3D during a disappointing winter box office.  So did it live up to the hype?

TRON: Legacy starts with a lasers forming the outline of the Walt Disney Pictures Enchanted Castle which is a nice touch. This was in 3D at the theater; the screen captures in the review come from the Blu-ray so I may be a bit fuzzy about where 2D and 3D transitioned. Lines of blue light follow, tracing circuit patterns that become city streets while Jeff Bridges voice is heard talking about “The Grid.” It is a very pretty sequence indicative of things to come.

The year is 1989 and widower Kevin Flynn (Jeff Bridges) is telling his seven year old son, Sam, about getting into The Grid in the first movie. TRON and CLU are mentioned as helping him build The Grid and a promise is made to take Sam there one day. But something big has happened, a “miracle” and for the moment the boy has to stay put. Another promise is made and Flynn leaves to work on his project.

TRON (1982) Review

A tale about a human crossing over into a virtual world hidden inside video games, this movie predicted much about a rising technology using an amazing combination of live action, animation, and pioneering computer generated special effects. Featuring a simple story that’s owes much to Spartacus, the sheer spectacle of the unusual imagery made this a cult classic.

Turn on a TV set or go to a theater and you’ll immediately be bombarded by brilliant and unreal visions of people or things doing physically impossible actions in defiance of the laws of physics or existence. In a world filled with computer generated (CG) graphics it all seems humdrum today.

Rendered by artists using computers instead of airbrushes and paint, CG is used in everything from commercials to sports broadcasts (virtual 1st down lines, anyone?) with no way to escape it. Let me take you back to a far gone period where this wasn’t the case and computers themselves were still mysterious rather than ubiquitous.

The early 1980s to be precise.

Desperate to regain a declining youth audience in the late ‘70s, Walt Disney’s movie division was willing to try new things. While conventional animation was considered dead or at least comatose, a slew of live action movies breaking the child friendly G rating were commissioned. Among them were The Watcher in the Woods, The Black Hole, and the radically experimental TRON.

The Invisible Boy (1957) Review

When a true sequel to Forbidden Planet fell apart during the planning stages, MGM decided that Robby the Robot would still get a vehicle written around him for the next year. Instead of a hard science fiction story, a simpler story aimed straight at young boys was chosen. Though nowhere near the quality of the earlier film, moments of intelligence shine through this kiddie flick about a not very intelligent brat.

This review is actually an extension of my Forbidden Planet one, since this movie is an extra in both the DVD and Blu-ray releases. Little did I know when I started watching this flick that I’d encounter a boy so annoying that he rivaled Kenny (aka Toshio) from the first Gamera movie! Is that considered a spoiler? If so, consider yourself nearly as spoiled as Timmie.

Yes, that’s a Timmie with an “ie”, not a “y”.

Looking every bit like a B-movie, but sporting a slightly better budget, The Invisible Boy starts off in promising fashion with a motorcade arriving at the Stoneman Institute of Mathematics. A front for an underground computer laboratory and research center, it is run by Dr. Tom Merrinoe (Richard Eyer), the main programmer for “the Computer” at its core. Holding the collective knowledge of all of humanity, it is being used for things such as checking rocket launch calculations.

Okay, that sounds underwhelming, but back in the 1950s this was amazing stuff since virtually nobody had any experience with the brilliant idiots we now tote around everywhere. To the layman, computers were a form of black magic capable of doing almost anything. Every day brought a new advancement in science, much of it on the military end.

Forbidden Planet (1956) Review

A smart, literate script that derived much of its plot form Shakespeare's The Tempest propels this film from what could of been an expensive B-movie into a true top tier movie. Featuring a flying saucer, a robot, a mad scientist, and an alien monster it sounds like kid’s dream. Oh it is that, alright, but good acting and cutting edge effects made this science fiction film a true classic. UPDATED December 2013 with a full rewrite, HD screen captures, and Blu-ray details.

Younger people have frown up in an era dominated by special effect, but this wasn’t the case in the past. Once upon a time, there was no such thing as computer generated effects, or CG. Special effects were done in laborious, painstaking ways, with wires, matte paintings, and miniatures. Of late, there has been a renaissance in using the old methods, combining them with CG. But amazingly, there were genuinely well done special effects in the past (though kids today will laugh at some of them) with certain films being milestones in the art.

MGM’s Forbidden Planet is one such film, but the expensive effects were only part of the reason this bold experiment is considered one of the greatest science fiction films of all time. The introduction of Robby the Robot (who cost an astounding 100,000 1956 dollars) definitely contributed, as did Anne Francis' short dresses (an actual plot point). But the main ingredient stirred into the mix was that the director and actors took the story seriously.

Pacific Rim (2013) Review

A high budget love letter from director Guillermo del Toro to Japanese science fiction cinema, this story of giant monsters and titanic robots failed to light up the domestic box office. Yet it was far from a failure becoming a massive hit worldwide. Aimed squarely at twelve year olds (including inner ones), a simple heroic story told mainly visually also targets the human heart despite being a brutal slugfest. Beautiful to behold, packed with action, and supported by a good cast it is a whole lot of fun.

A last minute decision was made to add this review to my Halloween lineup since it was time for a giant monster movie in the rotation. Featuring kaijus (giant monsters) fighting with mechas (giant robots) rendered with the most modern of effects, it certainly fills the bill. Also, I love this flick and wanted an excuse to do a full review of its Blu-ray release. Thanks to a large amount of extras, it turned into a Herculean endeavor.

But hey, better to go large, right? Speaking of which…

Pacific Rim launches straight into a prologue packed to the gills with action and information narrated by a rueful voice looking back at the events. Set in the near future, a huge amount of exposition both verbal and visual comes at the audience at a furious rate. In summation, giant toxic monsters have emerged from a dimensional rift called the Breach in the ocean floor of the Pacific, towering robots were built in an international effort to stop them, and humanity thought they were winning.

This data overload is presented in the form of news clips, flashes of monsters called the Kaiju (Japanese for giant beasts) trashing cities, and scenes of Jaegers (German for hunter) being built. Not only does it set things up, but the montage gives glimpses of Kaiju and Kaeger designs that didn’t make the final cut. More interesting is that del Toro did not direct this portion of the prologue. Not one to use the “found footage” or pseudo documentary style, he instead assigned it to a trusted friend and was delighted with the results.

It has been awhile since I’ve seen a big budget movie dare to start in the middle of a story and while it might not be what people are now used to, I’ve always felt that it adds to the suspension of disbelief. After all, most of life is about wandering into a situation as it messily unfolds rather than being there from the beginning.

With the setup explained the movie really begins.

Varan the Unbelievable (1958) Review

aka Daikaiju Baran

When Toho Studios was approached by an Americans network to make a giant monster TV movie, they turned to the crew who made Gojira and Rodan for the debut of a new kaiju. With a lower budget than the previous monster movies, Varan was meant to combine all the aspects of all the previous kaiju into one monster. That was either going to be biggest success yet or an epic failure. What do you mean you’ve never heard of Varan? He’s unbelievable! That much I’ll agree on…

If you have even heard of Varan, you are probably thinking of the U.S. version that came out four years after the Japanese version. According to what I’ve read, it only has fifteen minutes of footage from this release and is a mess. After watching the origininal three times in a row, I want to say that might be an improvement. Buckle up, this review is going to be a bumpy ride.

See that above? You’ll never see that on another Toho film. That was a one off marketing gimmick before they settled on Tohoscope for their widescreen movies. It was the fact that Varan the Unbelievable was the first kaiju film to take advantage of the new format that made me want to own it.

Whereas Rodan was the first in color, this lower budget film was commissioned to be in B&W by the U.S. network. A good chunk of the movie was filmed in standard 4:3 before the decision was made by Toho changing over to anamorphic widescreen for a theatrical release domestically. They ended up cropping the early footage to match the anamorphic. So if you think some of the shots vary in quality, your eyes aren’t fooling you.

Alright, enough with the background, let’s get to the story!

The best part of the movie occurs at the start, which consists of the main title flashing by in front of a scary looking statue before fading into credits scrolling over a matte painting. What’s so great about that, you wonder? The theme. Composed by Akira Ifukube it combines his typically dark sound with chanting to create a sinister sense of urgency that would have fit in a serious horror movie of the period.

Sadly that ends and the movie really begins. Since this is a story about a giant monster, we get treated to the sight of a rocket blasting off. What does it have to do with the story? Absolutely nothing. It’s there just to look cool and take advantage of the space race hoopla beginning.

Next we meet a scientist, the dramatically coiffed Professor Sugimoto (Koreya Senda), lecturing some of his assistants and the audience directly. This partial breaking of the fourth wall does not happen again, just like the rocket launch. Oh and before I forget, the subject was butterflies, I think.

Star Trek (2009) Review

Rebooting a franchise with a rabid fandom is always a dangerous thing, but running afoul of Trekkies, err, Trekkers is suicidal. So when J.J. Abrams of Lost fame was chosen to restart Star Trek from the beginning, a lot of fear and consternation filled the Web. A new take on Kirk, Spock, McCoy, the other original characters hit the big screen in 2009 to boldly go where we’ve gone before. High octane action and modern pacing made for a very different experience along with bigger box office. Updated with rewritten text, Blu-ray review, and HD screen captures.

It was disappointing to hear that Paramount was rebooting the Star Trek film series with a remake of the original series. I’d hoped for something more original like following the first captain of the Enterprise, Christopher Pike, or the murky early war with the Romulans. Instead, there would be a fresh young cast taking the roles of Kirk and company.  Out the window went any interest I had in the project.

Then a funny thing happened, the clips released to the Internet actually looked… good. Snippets of scenes showed decent acting and writing.  Disturbingly, I began to be interested.  Then came the trailers and I was in trouble. The movie looked like it was worth spending money on seeing in a theater, something uncommon for me.

So I ponied up the money, saw it and liked it. A lot.  But would it hold up after a second viewing?  An incredibly cheap preorder deal for the DVD at Target gave me that chance and so the answer is in the form of this review. Since first writing it, I’ve gotten my hands on the Blu-ray and will comment on the differences later.

Star Trek begins with moody music from its rather excellent soundtrack (composed by Michael Giacchino) while a starship comes into view, the U.S.S. Kelvin.  The ship is investigating an anomaly near the Klingon border when a gigantic squid-like ship emerges from it and promptly attacks. Right away the frenetic energy of the fight conveys the seriousness of the situation as the Federation ship is utterly overwhelmed by the mysterious attacker. 

The stakes are made to feel high as one short sequence demonstrates when a female crew member is sucked out of a hull breach and her corpse bounces off of a phaser turret in the silent vacuum of space.  This film is playing for keeps and doesn’t shy away from a high body count.

The Last Dinosaur (1977) Review

You wouldn’t expect the studio behind Rudolph and Frosty the Snowman to put out a live action monster movie, but that’s exactly what Rankin/Bass Productions did in 1977. Supposedly aimed at older kids, this movie is a great deal more adult in its themes than expected. Ostensibly about a big game hunter getting a chance to hunt a dinosaur, the story is really about being a relic in a changing modern world.

Rankin/Bass Productions had a long running association with Japanese studios with both their animated and stop motion children’s specials being produced in the land of the rising sun. But that wasn’t the only kind of content made for the American producers. In the late 1960s, King Kong Escapes was made as a live action joint production taking advantage of the cheaper suit acting for giant monsters pioneered in Gojira.

In fact, The Last Dinosaur has a direct connection to that classic movie through the special effects studio founded by Eiji Tsuburaya, creator of the effects of the early Godzilla series and television’s Ultraman. Providing all the miniatures and dinosaurs, their work imbues the movie with the kaiju spirit.

The film opens with a dark room with a home movie comprised of big game hunting footage being shown over a fireplace. Hints of shag rug complete the impression of a 1970s make out den and sure enough when the lights come on it’s there. You will not mistake the setting for another time period, that’s for sure.

A pretty brunette in a pink blouse appears to be the trophy girlfriend of the much older and wealthy owner of the residence. He paws her for a bit before handing her his photo scrapbook to peruse while he goes to check on what the guys up front are doing. A quick pullback reveals that this is a room on a plane, which is very impressive.

Then we find out it is actually a model plane from the external shot. Okay, being just a little snarky there, but sometimes the Japanese use of models to just use models doesn’t look too great and this is one of those occasions.

The credits roll while the young woman leafs through the life of our main character, Masten Thrust, Jr. That name is also a giveaway of which decade this was made in, come to think of it. Played by Richard Boone of Have Gun, Will Travel fame, Masten is a man’s man according to the clever device used to show his backstory. Every page shows a part of his life through photos and newspaper clippings. Even his personality shows via the short and humorous comments on each page.