THE PAVILION ANNEX

[Steve Evil]

Steve doesn't like the slow burn, he wants more big G right off the top,

No sir, that's not what I wanted at all - I'm perfectly fine with a slow burn. But when the chef finally does bring out the meal - I don't expect him to take it right back to the kitchen again! Come on, tell me you weren't irritated when they pulling the camera away every time the monsters were about to clash? Not once, but something like three times? Slow burn is great, but eventually they do have to bring out the meal!

[David Silver]

The coolest thing about the original Godzilla is the way his dorsal spikes light up when he hoses down some poor bastard with his radioactive breath. I bet they left that part out of the new one.

Don't throw your money away on that bet...

[David Silver]

Come on, tell me you weren't irritated when they pulling the camera away every time the monsters were about to clash? Not once, but something like three times?

Hey Steve, no, I wasn't irritated in the least. I'm not saying you're wrong. I'm not saying I'm right. That's not what it's about. I'm saying I appreciate and enjoyed the way they did it. I dig that you didn't. Doesn't change my informed opinion, and doesn't change yours. But what we see as artistic or interpretive differences both help to inform others looking over our shoulders. Not arguing with you, my friend, only disagreeing. I totally enjoyed my vanilla, and I understand if you were disappointed that they didn't serve chocolate.

[robochrist]

A good thing nobody's around me this minute because I have radioactive breath right NOW!

The problem I have with ANY Godzilla reboot is a bit like the problem I have with Planet of the Apes. The power in the original rests with its allegory and its conviction. In the 1954 movie I SEE WWII from the pov of Japanese civilians - its very intent. So, even if I wound up liking this new American version my eyes will probably glaze over and I'll forget about it right after the closing credits. Personally, I think CLOVERFIELD is the best American "Godzilla" possible because it infuses an allegory as inherent to Americans as Godzilla was to the Japanese, specifically and obviously 9/11. Automatically, then, the new Godzilla is an unnecessary redundancy - at least to me.

[Robert Nason]

Personally I've always found Godzilla a stiff, right from the beginning. He's like the bore who corners you at a party and won't let you get away until he's fully explained his pet conspiracy theory -- only in Godzilla's case, his dorsal spikes light up. And then he smashes the buffet table. And there's no one else who speaks English but Raymond Burr or Nick Adams. Head for the bathroom!

[robochrist]

Will somebody please escort Robert out of the theater?

And give him a raspberry while you're at it.

[Mark Tiedemann]

http://www.left-bank.com/book/9781940442020

[Ezra Lb.]

http://www.left-bank.com/book/9781940442020

Congratulations! Now mosey on over to the Pavilion and make the announcement there. Humility is becoming but misplaced among that crew of malcontents, blowhards and quick-change artists. Like my granny used to say (before they locked her away upstairs), If you don't toot your own bugle no one else will. Put it out there man.

[Robert Nason]

Congratulations, Mark! Terrific title!

[FrankChurch]

Sell well, Markster.

[Chuck Messer]

Way to go, Mark! What the hell, a little mention on the Pav might be in order.

Chuck

[Steve Evil]

Come on, tell me you weren't irritated when they pulling the camera away every time the monsters were about to clash? Not once, but something like three times?

Hey Steve, no, I wasn't irritated in the least. I'm not saying you're wrong. I'm not saying I'm right. That's not what it's about. I'm saying I appreciate and enjoyed the way they did it. I dig that you didn't. Doesn't change my informed opinion, and doesn't change yours. But what we see as artistic or interpretive differences both help to inform others looking over our shoulders. Not arguing with you, my friend, only disagreeing. I totally enjoyed my vanilla, and I understand if you were disappointed that they didn't serve chocolate.

Fair enough. Hey! No one denies it was a well made film: I am so glad they didn't go for irony. And that final kill was mighty righteous. . .

[Steve Evil]

The power in the original rests with its allegory and its conviction.

Allegory never quite disappeared from the series, thought the serious intent definitely did. If you ever see the original Japanese version of King Kong vs. Godzilla, the difference is shocking. There's an actual plot, with real characters, and genuine satire - it's much more focused on the conniving efforts of Pacific Pharmaceutical. It's a grownups film. Somehow, the American producers thought it should be a puppet show instead. . .

(And for all that, there was no less property damage or monster action!)

[Steve Evil]

The power in the original rests with its allegory and its conviction.

Allegory never quite disappeared from the series, thought the serious intent definitely did. If you ever see the original Japanese version of King Kong vs. Godzilla, the difference is shocking. There's an actual plot, with real characters, and genuine satire - it's much more focused on the conniving efforts of Pacific Pharmaceutical. It's a grownups film. Somehow, the American producers thought it should be a puppet show instead. . .

(And for all that, there was no less property damage or monster action!)

[robochrist]

Steve E. -

Well, you told me twice and I'm still a stick in the mud when it comes to the first entry. I outgrew ALL its sequels by my teens. But I've been a loyal viewer with the original, returning to it at least once a year. When I refer to its power I'm talking about its dramatic emotional punch. It stands alone.