Warner Bros. Pictures via Everett Collection
With only a week and change having passed since the release of The Amazing Spider-Man 2, we no doubt feel the question living fresh in our minds: can we ever judge a remake without considering its predecessors? The conversation about the stark contrast in critical favor between Marc Webb's release and Sam Raimi's trilogy (the second installment of his franchise in particular) buzzed loudly, and we imagine the volume will keep in regards to Gareth Edwards' Godzilla. But it'll be a different sound altogether.
The original Godzilla, a Japanese film released in 1954, reinvented the identity of the monster movie, launched a 30-film legacy, and spoke legions about the political climate of its era. The most recent of these films — Roland Emmerich's 1998 American production — is universally bemoaned as a bigger disaster than anything to befall Tokyo at the hands of the giant reptile. With these two entries likely standing out as the most prominent in the minds of contemporary audiences, Edwards' Godzilla has some long shadows cast before it. And in approaching the new movie, one might not be able to avoid comparisons to either. It's fair — by taking on an existing property, a filmmaker knowingly takes on the connotations of that property. But the 2014 installment's great success is that it isn't much like any Godzilla movie we've seen before. In a great, great way.
This isn't 1954's Godzilla, a dire and occasionally dreary allegory that uses the supernatural to tell an important story about nuclear holocaust. A complete reversal, in fact, first and foremost Edwards' Godzilla is about its monsters. Any grand themes strewn throughout — the perseverence of nature, the follies of mankind, fatherhood, madness, faith — are all in service to the very simple mission to give us some cool, weighty, articulate sci-fi disaster. Elements of gravity are plotted all over the film's surface, with scientists, military men (kudos to Edwards for not going the typical "scientists = good/smart, military = bad/dumb" route in this film — everybody here is at least open to suggestion), doctors, police officers, and a compassionate bus driver all wrestling with options in the face of behemoth danger. The humanity is everpresent, but never especially intrusive. To reiterate, this isn't a film about any of these people, or what they do.
Warner Bros. Pictures via Everett Collection
The closest thing to a helping of thematic (or human) significance comes with Ken Watanabe's Dr. Serizawa, who spouts awe-stricken maxims about cryptozoology, the Earth, and the inevitable powerlessness of man. He might not be supplying anything more substantial than our central heroes (soft-hearted soldier Aaron Taylor-Johnson, dutiful medic and mom Elizabeth Olsen, right-all-along conspiracy theorist Bryan Cranston), but Watanabe's bonkers performance as the harried scientist is so bizarrely good that you might actually believe, for a scene or two, that it all does mean something.
Ultimately, the beauty of our latest taste of Godzilla lies not in the commitment to a message that made the original so important nor in the commitment to levity that made Emmerich's so pointless, but in its commitment to imagination. Edwards' creature design is dazzling, his deus ex machina are riveting, and the ultimate payoff to which he treats his audience is the sort of gangbusters crowd-pleaser that your average contemporary monster movie is too afraid to consider.
In fairness, this year's Godzilla might not be considered an adequate remake, not quite reciprocating the ideals, tone, or importance of the original. Sure, anyone looking for a 2014 answer to 1954's game-changing paragon will find sincere philosophy traded for pulsing adventure... but they'd have a hard time ignoring the emphatic charm of this new lens for the 60-year-old lizard, both a highly original composition and a tribute in its way to the very history of monster movies (a history that owes so much to the creature in question). So does Godzilla '14 successfully fill the shoes of Godzilla '54? No — it rips them apart and dons a totally new pair... though it still has a lot of nice things to say about the first kicks.
Oh, and the '98 Godzilla? Yeah, it's better than that.
Follow @Michael Arbeiter| Follow @Hollywood_com
The British beauty married The Kills rocker last Friday (01Jul11) at a star-studded ceremony in the English village of Little Faringdon, Gloucestershire.
Photographer Terry Richardson was on hand to record the reception, and his snaps of the afterparty were subsequently posted on his online blog. The black-and-white pictures show the happy couple partying with pals including Jude Law and Marc Jacobs.
In one snap, Sir Paul McCartney is shown posing with his fiancee Nancy Shevell, while another picture shows Kelly Osbourne planting a kiss on the lips of Hince's bandmate Alison Mosshart.
The pictures also show rocker Jack White hugging his estranged wife Karen Elson, just weeks after they announced their six-year marriage had come to an end.
Other photographs appear to show Moss and Hince in a suite at London's Ritz Hotel after the wedding, with the model lying in bed, puffing on a cigarette. Another snap shows Hince with his arm around Moss as she lies topless on the bed, exposing her bare breasts.
PASADENA, Calif., July 25, 2000 - Members of the Television Critics Association have now been holed up in the Ritz-Carlton Hotel for two weeks eating catered food, drying hands on warm restroom towels, and never fearing to ask the tough questions. On Monday, it was The WB's turn to show off their new fall schedule additions, so the tough questions mostly dealt with the "Felicity" haircut controversy.
For the record, no one who appears on camera at the WB will ever cut his or her hair again.
The day started off fast when the entire cast of the new sketch comedy show "Hype" came out in character and ripped the place up. Cast member Frank Caliendo then returned later in the day to wake us up with what could have been 15 minutes worth of stand-up material, condensed into a blistering five-minute set. Co-producer and SNL veteran Terry Sweeny billed the show as "Laugh-in 2000." If the talent is any indication, "Hype" might just live up to its name.
"Drew Carey" producer Bruce Helford offers a welcome repackaging of Nikki Cox in "Nikki," a (somewhat) innovative comedy that features big dance numbers in each episode (it's funnier than it sounds). Helford later assured us that big song and dance routines will be back in vogue this fall.
Former "Beverly Hills 90210" producer Darren Starr is offering a clever comedy-within-a-drama in "Gross Pointe," a show about the actors of an Aaron Spelling-like night-time soap. Starr was grilled about the controversial decision to change a certain character that was similar to a certain person who may or may not have gotten a role because her father produced the show. Starr's best answer was his first, "who are you talking about?"
At the "Sabrina the Teenage Witch" Q-and-A with Melissa Joan Hart and her mother-producer Paula Hart, we learned in no uncertain terms that "Caroline Rhea (absent with a broken toe) is under contract and cannot be spared" if she were to be offered Kathie Lee Gifford's chair next to Regis in the morning. So, put that one to bed.
Of all the new WB shows, watch for "Gilmore Girls," a warm, earthy, dramatic comedy sure to win a strong following. It's interesting how the world is populated by lots of single mothers, yet they are still a rarity on TV. Gilmore Girls" might change that.
Finally, considering last year's after-party got out of hand (word was the WB's young stars got a little too rowdy), this year the network decided to rein things in and go a little classier at the Il Fornaio restaurant in Old Town Pasadena. All the stars politely mingled with the journalists (having learned these parties are just supposed to look like fun, not actually be fun) to lob out a few more crucial sound bites about Keri Russell's hair, then left early (perhaps to party somewhere else).