Recorded before the movie came out, Wingard's feature-length yakker is fittingly breathless. Much of it pertains to his roots in low-budget filmmaking, which served him well on a production that often struggled to subsidize its creators' whims. In other words, lots of repurposing of props and footage took place. Wingard even drew the fake children's drawings instead of leaving it in the art department's hands. He takes credit for the idea of the magic axe, and says his "main drive" in making the film was to see Godzilla fight Kong in "a synth-wave neon city." Godzilla vs. Kong is pretty much what you'd expect from the director of The Guest and the same goes for this yak-track, a frequent shopping list of references to '80s pop culture. (I did enjoy the Norm Macdonald-ish dis on Mecha Godzilla as "the biggest jerk ever.") That's it for extras on the 4K platter, but the retail Blu-ray bundled with it (along with a digital code for download) contains a grab-bag of HD featurettes divided into sections dubbed "The God"--"Godzilla Attacks" (6 mins.), "The Phenomenon of Gojira: King of the Monsters" (10 mins.), and "The Rise of Mechagodzilla" (7 mins.)--and "The King." (The latter contains "Kong Leaves Home" (8 mins.), "Kong Discovers Hollow Earth" (8 mins.), "Behold Kong's Temple" (6 mins.), and "The Evolution of Kong: Eighth Wonder of the World" (8 mins.).) There are also three segments on the "Battles"--"Round One: Battle at Sea" (5 mins.), "Round Two: One Will Fall" (6 mins.), and "Titan Tag Team: The King and the God" (8 mins.)--that mainly offer fight commentary from executive producer Jay Ashenfelter.
King Kong Vs Godzilla Movie Download
Produced by Leva FilmWorks, Inc., these makings-of don't add up to much even though they're high in number, and the use of archival interviews conducted during the press junkets for the previous films, starting with 2014's Godzilla reboot, is both discombobulating and pathetic. I think you could probably turn the camera around on the technical crew assembling these things and find people more informed and passionate about the cinematic legacy of these giant monsters than Brie Larson and Bryan Cranston. At any rate, there isn't much there here beyond a chance to marvel at Brian Tyree Henry's sartorial chutzpah. When Wingard compared his Kong to Eastwood in Unforgiven, I nearly sprained a wrist doing the jerk-off gesture--though I laughed and laughed and laughed again at him instructing the animators to replicate his own Jack Dorsey beard in updating Kong's look. The whole movie should've been Kong doing weird hipster shit in the Park Slope equivalent of Skull Island, maybe him and Godzilla starting rival coffeehouses. Credit where credit is due, it's neat discovering through plentiful B-roll that some of the more fantastic backdrops were physical sets as opposed to virtual ones. What's less neat is the Pacific Rim erasure as the filmmakers pretend it's a straight evolutionary line from Godzilla vs. Mechagodzilla to their Godzilla vs. Kong. This entire package took me a month to review because it's like trudging through quick-drying cement. They call this living?
In the 1980s, I was a big Star Trek fan. Not the kind who would dress up as Spock to attend a convention, but one who had seen all of the episodes multiple times and could rattle off an alarming number of quotes. A few weeks before the much-anticipated summer 1982 release of Star Trek II: The Wrath of Khan, I heard a rumor that there was a trailer for the new Trek film attached to Conan the Barbarian at a local 2000-seat theater. I had planned to see Conan in the first place (I had to take my father, since I was under 17), but as I sat in my seat awaiting the start of the movie, I discovered that I was anticipating the Star Trek trailer more than the feature film. That was the first time I can recall thinking of a movie trailer as more than just an advertisement.
Trailers for "event movies" have always carried a little extra buzz, and, once the Internet started entering people's homes and broadband allowed quick downloads, movie trailers - even of non-event movies - became a big attraction. Back in its fledgling days, the E! Entertainment Channel had a 30-minute program called "Coming Attractions," which was wall-to-wall movie trailers.
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