#Godzilla vs. Kong watch film online

[astoundingbeyondbelief]

Kaiju Week in Review (September 3-9, 2023)

I was a bit nervous about GAMERA -Rebirth-; the animation looked dodgy and Netflix has a shaky track record with kaiju shows. I'm pleased to report this is the best entry in the genre that they've put their name on. Good characters, great action (brutal as always), and actual episodic storytelling that effortlessly weaves in elements from the Showa films beyond all the returning kaiju. Watch it immediately.

Tie-ins abound for GAMERA -Rebirth-: a two-part novelization, a manga adaptation, and a prequel manga that sheds some light on [UNBELIEVABLY MASSIVE SPOILERS]. That prequel manga (GAMERA -Rebirth- code thyrsos) is being published online for free in both Japanese and English. You can read the first chapter here.

In unofficial translation news, English subtitles for GAMERA.1999 (1999) and yokaipedia (2022) are now available. The former is Hideaki Anno's making-of documentary for Gamera 3: Revenge of Iris; the latter is a fun, child-friendly fantasy from Godzilla Minus One director Takashi Yamazaki with a big ol' centipede-dragon at the end. (It's also maybe the first Japanese kaiju film I've ever seen with a major Black character.) I haven't gotten to GAMERA.1999 yet, though from scrubbing through it, it seems like a lot of dialogue was just ignored by the translator. Shame, as that's one I've wanted for a long time.

We have a teaser for Monarch: Legacy of Monsters, as well as a premiere date for the first two (out of ten) episodes: November 17. (I am being showered with Media for my 30th birthday.) The big news from this trailer is that John Goodman is reprising his role as Bill Randa from Kong: Skull Island. I assume that's going to be through flashbacks and old recordings only, since he was eaten by a Skullcrawler in that one. We also catch glimpses of two new creatures, a dragon and a crab from what I can tell. The latter looks to be fighting a Mother Longlegs.

Fandango and AMC have added mostly-empty listings for Godzilla 2000 on November 1. Fathom Events screened Godzilla Against Mechagodzilla on November 3 last year; despite randomly showing Tokyo SOS back in March, I gather they're making a tradition out of Godzilla Day. Note that the listed runtime is longer than the film itself. Predictions for the program: another message from Keiji Ota, the 2022 Godzilla vs. Gigan short, and the Japanese version of G2K. Interesting that they're running the last Toho Godzilla film to receive a wide release in the U.S. exactly a month before Godzilla Minus One has a wide release of its own here.

Gamera isn't a meta-defining Godzilla Battle Line unit... but he's Gamera in a Godzilla game, so I've been using him in every match since I unlocked him. He's gearing towards demolishing flying units, with fireballs that deal more damage against them and knock them back. A pity that he's arriving well after those units were at their most dominant.

Godzilla: Here There Be Dragons #3 still isn't giving me much to write home about, but the kaiju cult creeping to the forefront intrigues. Also cool to see Ebirah in a starring role.

Marubeni, one of Japan's biggest general trading companies, put out a bizarre commercial featuring samurai, zombies, a meteor, and a refurbished GMK King Ghidorah. The ad now has English subtitles, and you can watch a Ghidorah-centric behind-the-scenes video here.

I cannot believe I have more Cleopatra Entertainment fuckery to report on with regards to their Shin Ultraman releases, but they're truly trying to take the "Worst Film Company of 2023" title from the members of the AMPTP. Their third attempt at a barebones disc is starting to reach customers... but the ones who already received the initial replacement disc are being told no more will be sent. @starestream is trying to figure out if they'll be selling the third edition on their site, since it seems buying it anywhere else is a gamble. (Physically, the third edition looks almost the same as the first two, set apart only by the "SUBTITLED" text on the disc.) Either way, it's another blow to a movie that truly doesn't deserve this.

[reginaldubel]

I'm want to learn Godzilla lore were do I start?

im not an expert or anything but if you want to start with the og og lore i recommend you to watch the original gojira (1954) movie cause even tho it aged, it aged like fine wine (imo). like it holds up really well (most of it) and has a really good story (i cried to it everytime i watched it pls go watch it NOW)

then if you want to see another one im mostly gonna recommend reboots cause theyre basically either stand-alone films or the start of it all. so the first reboot was the return of godzilla (1985) and its the start of the heisei series (before this it was all showa). i havent watched this one myself but reboots are always good to start with ^^

NOW NOW MY FAVORITE REBOOT PERSONALLY? shin godzilla (2016). WATCH IT. PLEASE WATCH IT. its a stand-alone film too and its been my entire personality please watch it everything and the OST is amazing godzilla is really grotesque and terrifying its such a faithful reboot to the original movie. disclaimer is it can get a bit boring after the movie's climax on the second half but by the end it gets fun still (also the characters can be a little boring but its the entire point of the movie as its a political satire).

then of course if you can please you gotta watch godzilla minus one (2023) because its honestly my favorite along the original and shin. the story is way more entertaining than shin and the characters also are, i have not seen a godzilla movie that does this so far and i was so surprised. you WILL hate godzilla in this movie

then of course after the reboots you can watch literally whatever you want and im sure archive.org has all of them

as for the american movies (legendary), they have different lore for godzilla (instead of being a nuclear mistake hes just a giant lizard god), please you gotta see godzilla (2014) even if its ''boring'' for some people or its too dark (im sure versions online arent SO SO dark but im not sure), but it still has a dark tone i personally like to it and the sense of scale is amazing (better than the other preceding legendary movies). as for godzilla: king of the monsters (2019) and godzilla vs kong (2021) youre free to watch them or not, but its pretty much a ''continuation'' of the monsterverse series that started from the 2014 movie, i dont like them as much as the first but kotm is entertaining, i would give them a go aswell ^^

(edit i forgot monarch: legacy of monsters on apple TV too and i heard its good its 2014-esque)

[thysanniia]

aaaaaaaaa I'm so happy you've read it too!! I really need to finish it, I'm just... so bad at sitting down and reading books lol, I'm always too distracted by digital stuff.

And yeah, Minus One is fantastic!! Idk if it's still being screened over here, the run might've ended now, but whenever it becomes available online I highly recommend it. Definitely my favourite Godzilla film so far.

As for the MonsterVerse, if you're interested I'd suggest watching them in order of release just so it all makes sense to you. They're all quite different films though - Godzilla 2014 is very grounded, Kong Skull Island is a Vietnam war film, King of the Monsters and Godzilla Vs Kong are mainly just monster fights, and Monarch is a character-driven drama. I don't know which ones you'll like and which you won't, each is divisive for its own reasons (except Kong SI, people generally just like that one lol).

Our Wives Under The Sea does sound very interesting, although I have so many unread books that I'm holding off on buying any more for now (I'm also trying to make my way through The Locked Tomb series). I'll keep it in mind for the future though!

What things are you currently/recently enjoying watching and/or reading?

ok so first of all you are my favourite human ever for asking this thank you I love you <3

BUT ANYWAY

As you may have gathered from a few of my recent posts, I'm really hyperfixated on the MonsterVerse right now! I've been concepting different rewrite ideas for it for years now, and the new Monarch show has just sent me deep, deep down the rabbit hole again. I have like so many Word documents relating to films, shows, timelines, stuff like that. Hopefully soon I'll actually sketch out some kaiju designs, that will be fun! But yeah, this hyperfixation has hooked me good, I don't think it's going away any time soon.

Aside from that though, my main media consumption has just been making my way through any yuri I can find lmfao. This has kinda been the case since autumn, I've watched various shows and also bought a couple mangas I'll read once I've finished my current book (more on that later). I've even gone into the realm of webcomics, which has somehow resulted in me building a super long list of super long webcomics I wanna read. Hopefully I can actually get through some of them lol. But yeah, overall just a lot of yuri, because I am hopelessly gay. I might actually make some threads on the ones I've watched/read.... hmmm....

The only other thing I feel I should mention is the book I'm reading, 'This Is How You Lose The Time War'. It's not very long but I'm still taking ages to get through it because I suck at reading. BUT!! holy shit it is absolutely fantastic, I first heard about it because someone tweeted about it and that went kinda viral, and holy shit they were not wrong this book is fantastic. I'll give the same advice: don't look up anything, don't even read the blurb, just get a copy of the book and read it and you will not be disappointed, it's one of the most unique and compelling pieces of literature I've ever read. And it's gay.

Anyway, that's the main stuff. There are a couple things on the side, I'm watching the Percy Jackson show although I'm a little behind on it (it's generally good I think?) and I recently watched through Chainsaw Man which is fantastic. Can't think of anything else besides those!

[godzillavskongwatchonline]

Godzilla vs. Kong full movie watch

Godzilla vs. Kong 2021 full - https://godzilla-vs-kong-eng.blogspot.com/

Classification: PG-13 (Destruction | Short language | Intense creature violence) Genre: Science Fiction, Action, Adventure Original Language: English Director: Adam Wingard Producer: Alex Garcia, Jon Jashni, Eric McLeod, Mary Parent, Brian Rogers, Thomas Tull Writer: Eric Pearson, Max Borenstein Release date (cinemas): March 31, 2021 in width Release date (streaming): March 26, 2021 Production Co: Warner Bros., Legendary Entertainment Aspect ratio: Scope (2.35: 1) With just a few days before the release of Godzilla vs. Kong in theaters and HBO Max, critical reactions have plummeted compared to the upcoming Legendary monster movie. Construction around this long-awaited combination of two verifiable legends has been underway for some time, but it has definitely increased in recent weeks, with fans taking care of everything from beautiful new posters to a new trailer that still shows the two refusing to let go of your differences and just kiss. Directed by Adam Wingard (You're Next, Death Note, the next Face / Off sequel), Godzilla vs. Kong serves as a direct continuation of Godzilla: King of the Monsters and Kong: Skull Island, which will see the two monsters facing each other in their first shared film in years. In addition to the two older boys, the film co-stars Millie Bobby Brown, Rebecca Hall, Kyle Chandler, Brian Tyree Henry, Alexander Skarsgård, Eiza González, Julian Dennison and Demián Bichir. Godzilla vs. Kong will be released in theaters and on HBO Max (for 31 days only) on March 31. Now, with the film ready to be released in a matter of days, it's time to find out what the critics think. Godzilla vs. Kong was it worth the wait, or are some parts a little more dull than originally anticipated? Check out some of the first critical reactions below - we will continue to update as more reactions arrive. The film "Godzilla v. Kong", designed to officially unite the two franchises in a single "Monster Universe", has been ready for a long time, but it will not reach the cinemas, much less the first trailer. Recently, Warner Bros. alone, she made the decision to launch her box office hits simultaneously on the big screens and on HBO Max, which many of the company's partners did not agree with. Legendary was no exception, but the parties managed to find a common language, and the tape's debut had advanced two months earlier.

In the Adam Wingard film (Death Note), viewers will see Millie Bobby Brown, Alexander Skarsgard (Showdown), Jessica Henwick (Iron Fist, Matrix 4), Kyle Chandler (The Day the Earth Stood Still, The Wolf of Wall Street) ), Rebecca Hall (The Prestige, Supremacy), Lance Reddick (Fringe, John Wick), Asu Gonzalez (Alita: Battle Angel, Bloodshot) and Danai Gurura ("The Walking Dead").

The first trailer for the blockbuster "Godzilla vs. Kong" has already appeared on the network, in which the king of monsters and the guardian of Skull Island face off on the screen. The crossover starred Millie Bobby Brown, Alexander Skarsgard, Eisa Gonzalez, Kyle Chandler, Rebecca Hall and others.

According to the plot, humanity was to blame for the fact that Godzilla and Kong were forced to unite in an unequal battle. The organization "Monarch", which tracks the lives of monsters on Earth, sends an expedition to the unknown territories of Skull Island, where it hopes to unravel the mystery of the origin of the Titans. But in addition to "Monarch", there are other people who plan to destroy all creatures, good and bad. Godzilla vs. Kong is the next American-Japanese sci-fi action film directed by Adam Wingard. The release is scheduled for March 24, 2021. It is the fourth legendary MonsterVerse film, the fourth Godzilla film directed by Hollywood, the twelfth film in the King Kong series and the thirty-sixth film in the Godzilla series. The first trailer was released on January 24, 2021.

Godzilla and King Kong had already collided on the screen in the 1962 Japanese film. The film was made for Toho Studios' 30th anniversary and is still the most commercially successful Godzilla Japanese film of all time. The film will be based on a kind of ecosystem of giant super-creatures - classic and new. The Monarch organization, which opened Godzilla in 2014, will expand its activities in different directions.

When a new threat appears in our world, two mythical monsters come together in an exciting duel. Kong and a group of scientists set out on a dangerous journey in search of the giant's home. Among them is the girl Jia, the only one who knows how to communicate with Kong. Suddenly, they encounter an enraged Godzilla, destroying everything in their path. The battle of the two titans, provoked by unknown forces, is only a small part of the mystery hidden in the bowels of the Earth. Filming began in November 2018.

The project was inspired by Warner Bros. commercial success. and Legendary - Godzilla, released in 2014. Despite the fact that the Legendary studio in 2013 moved from Warner Bros. Under the wing of Universal, the company decided that the Godzilla series would be created in partnership with Warner Bros., which would launch Kong as part of the series. The projects that the studios will work on have already been announced. They are Kong: Skull Island, released on March 9, 2017, and the action film Godzilla: King of the Monsters, released on May 31, 2019. Godzilla vs. Kong will premiere in 2021. The film will be based on a kind of "ecosystem" of giant, classic and new super-creatures.

The film was scheduled to be released on May 21, 2020 [5], but on February 23, 2019 it was announced that, to avoid the box office competition with Fast and Furious 9, the premiere was postponed to March 13, 2020 However, the film was later rescheduled for November 20, 2020 due to these disappointing Warner Bros. In the summer of 2020, it was announced that the premiere would take place on May 21, 2021, but was later postponed to March 26, 2021. The first trailer was released on January 24, 2021.

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[praphit]

Godzilla vs Kong: A Good Christian Film

It was Easter weekend, so I had wanted to check out a good Christian film. There is some new hotness out there called "A Week Away".

It's a musical, about a troubled teen, who breaks the law; his options are then to either go to juvie or go to a Christian camp. Obviously, this teen would be white:) It's a spellbinding tale about right and wrong, about Jesus, and from the looks of the poster, it's also about some Christian booty - and the power thereof to save this young man's soul.

I was all set to watch it, but somehow "Godzilla vs Kong" ended up on my screen instead. 

Weird, right??

But, I can find Jesus in any movie. I was sure I could find Him in this movie too, so I let this weird phenomenon take me:)

The trailer of G vs K had me hyped!

Godzilla and Kong, going WWE in various cities as their ring. I'm sold!

Then, they said "and here's the cast!" I really didn't care about the cast. I mean...  let's say that a young Mike Tyson, time travels to 2021 and says he wants to fight Conor McGregor. 

Young Time Traveling Mike Tyson vs McGregor??!! Are you kidding me??!! The world would literally stop as these two fought (aka Tyson murdering McGregor in the ring). 

And then, the promoters spent all their time hyping Mike and Conor's training staff, and the ref, and the people calling the fight, and why these two are fighting - WHO CARES?! Some fights don't require much promo.

Unless they're going to interview Kong and Godzilla (and how great would that have been??), idc.

But, this movie sure does, so let's go through them, briefly:

Rebecca Hall - 

 I love her! I don't care about her in this movie, but I love her. She is the top smarty-pants scientist who's out there trying to manage this big thing(Kong). She's kinda like Dr. Fauci.

There's a cute,little deaf kid who everyone tells me is special. 

I'm not going to make fun of this character, though I'd really like to, because she does some silly things. But, what kind of asshole makes fun of a cute, little deaf kid??

Alex Skarsgard -

He's eye-candy. Fun Fact: he learned sign language, so he could better communicate with Kaylee Hottle (cute, little deaf kid - who in real life, is a cute, little deaf kid). That's awesome! - he's still simply eye-candy.

Eiza Gonzalez - 

They needed a Hispanic person on the team.

Millie Bobby Brown - 

Her character is annoying, boring, and disrespectful to her dad (a triple threat). She kept referencing the last Godzilla movie (which in it, apparently, her and her dad had issues), as if anyone watched/remembers that movie.

Annnnnd there's a crazy black guy in this

 - he's kinda like Alex Jones.

More interested now? Nah, me either.

Can we please get to the fight now?!

Nope, gotta talk about "the why?" first: 

You see...  

...

Godzilla... um... see, there's some sort of energy that... we need, cuz ya gotta have energy, right?? So, Kong... he... *sigh* damn. He's tracking the energy, but Godzilla is big like Kong, so... there was a war a long ago? Some rich dude is building some THING... there's a planet and a tunnel... and Kong has axe. Boom! PLOT! Kong works with the humans a lot here, which doesn't make much sense. It seems to me that the humans are doing just as much damage to him as Godzilla. Again, I don't care. Just say that Godzilla said Kong's mama is fat and ain't got no teeth, and that would have been enough for me.

An axe though??? What the hell??

JUST FIGHT!

When they finally do fight, it's very cool!

They fight in the water. 

There's an epic battle at the end on some surreal planet full of butt eaters. Not joking, there's a scene where some creature swoops down and starts eating some dude's butt. I hope we learn more about Butteater Planet some day.

Like I said, Kong has an axe (and it's magical... yep) 

And there's some Mortal Kombat-type action that goes on as well.

I loved the fighting, but it was only about 7-10 mins of the movie (and I'm probably being generous). The other hour and fifty minutes are about the cast and "the plot". It's called Godzilla vs Kong, dammit! That's all I need! It's the only reason I'm there! It's the only reason I didn't watch a privileged white boy sing songs about how he found love (in his loins) at a Christian Camp!

I recommend fast-forwarding  through to the fights. 

Better yet, just find the fights on Youtube. Trust me, the rest of the movie doesn't matter. The fights are dope, 

but not enough in comparison to all of the bullshit surrounding them.

I would have rather have had 30 mins of fighting, maybe a couple of breaks for them to sit down, drink some water, and get coached up... maybe have some comedians commentate (Chappelle and Burr, maybe), and right back to it. If they do this again, tell the actors to get out of the way!

Grade: D-

I think I found the Jesus in this though:

Many pay attention to church twice a year. A lot of long drawn-out services. BUT, you can skip around, to get to the good stuff if you'd like.

If you want the gospel - BOOM John 3:16 - now you don't even need to sit through the service (and what makes a long service longer? - watching it online as many did to escape The Ronas)

If you want your shot of religion, so as to not feel guilty until Christmas, then skip the Catholic services, skip the "Black churches" , cuz if you don't, you'll be streaming that service all day and all night. Find that little church, who doesn't have a staff or musicians yet, their tech might not even work right for the live broadcast, the feed could go out on you, but hey... it still counts for that Easter credit.

My point is, Jesus doesn't want you to waste your time, so don't watch this movie. Amen?

Amen.

[astoundingbeyondbelief]

Kaiju Week in Review (October 15-21, 2023)

Justice League vs. Godzilla vs. Kong #1 is metahuman-heavy, establishing how the Titans of the Monsterverse found themselves on the same Earth as DC's finest and ending with Superman flying off to face Godzilla. It's early days, but the conveniently deserted Skull Island base the Legion of Doom storms into makes me pessimistic that any of the Monsterverse's human characters will show up. Rodan is also absent from the Titan line-up, despite appearing via flashback in the short Godzilla: Fight or Flight comic included in the Monsterverse Omnibus earlier this year. (Toho must be overcharging for Godzilla's supporting cast again.) It should be fun watching D-listers like Behemoth, Scylla, and Camazotz tangle with some of the world's most famous superheroes though.

Sales data for DC comics is effectively unavailable now, but anecdotally this one is doing gangbusters. The downside of snagging it now over waiting for the trade paperback is that DC disperses ads throughout the comic, instead of just at the end like IDW.

Toho announced a ton of U.S. Godzilla merch launching in the U.S. on November 3. Your mileage will vary, but the most interesting baubles to me are the Godzilla Minus One promo cards from UVS Games (to be sold on TCGplayer.com) and the trading cards from Surreal Entertainment (to be sold at Five Below). Very few Godzilla trading cards have been produced in either Japan or the U.S. since 2006, and most of those have been cross-promotions with Magic: The Gathering and Battle Spirits. I have a small collection of random cards from older sets (a couple of them signed), and it'll be cool to expand it a little.

Toho's Godzilla Day announcement also included some news on Godzilla Minus One's U.S. release, which I thought deserved its own section. Tickets go on sale November 3rd—including for "special Early Access Fan Event Screenings on Wednesday, November 29, 2023, in IMAX and large format theaters across the country." So Toho International has outmaneuvered Beyoncé in the competition for IMAX screens, if only for one night.

In other Minus One news, a couple new TV spots are out (and translated by the GODZILLA OFFICIAL by TOHO YouTube channel). One shows off a new Godzilla ability, if you're wary of spoilers. Its world premiere was held beneath the Godzilla Head in Shinjuku on October 18, where the incredible Godzilla Attack Truck also debuted.

IDW's Godzilla Valentine's Day Special, due January 31, dares to ask, "What if the old 'kill the monster or study the monster' argument was foreplay?" Zoe Tunnell, who I suspect is a Godzilla 2000 fan, writes, and Dani Pendergast illustrates. I'd like to thank them both for making a comic specifically for me. The logline:

Is there anything as romantic as seeing the world together? Hopping from country to country to take in the sights and splendor in the fleeting seconds before Godzilla smashes the skyline? Truly, there's nothing like the thrill of an international game of cat and mouse between an intrepid amateur kaiju researcher and a global kaiju-response lieutenant. But when you're up against Godzilla, it's hard to have a bigger "CRUSH."

SRS Cinema has picked up War of the Ninja Monsters: Jaron vs. Goura, the latest no-budget spectacular from Shinpei Hayashiya. The two monsters are basically Godzilla and Gamera, one-upping Giant Monsters Appear in Tokyo, which never showed its Godzilla and Gamera expies outside of the poster. Hopefully it'll be less headache-inducing than God Raiga vs. King Ohga: War of the Monsters. SRS is aiming to release it on Blu-ray and VHS in early 2024, with a DVD to follow later in the year.

Hoshi 35, Megumi Odaka's return to live-action film, opened in Japan on October 21. A new trailer is out too. SRS Cinemas has an existing relationship with production company 3Y, which previously made The Great Buddha Arrival and Nezura 1964, so I'd expect them to license this one too.

This Netflix ad for an online convention of sorts includes the first snippets of footage from Ultraman Rising, the Tsuburaya/ILM animated film it's distributing next year. The animation is miles above the Netflix Ultraman anime, that's for sure.

[letterboxd]

Lonesome Cruiser.

Blockbuster composer Tom Holkenborg, aka Junkie XL, talks to Gemma Gracewood about composing for titans, his pride in Dutch cinema, friendship with George Miller and longing for Olivia Newton-John. Plus: his Letterboxd Life in Film and why he’s selling his prized collection of recording gear.

It has been a spectacular spring for Tom Holkenborg, the Dutch musician also known as Junkie XL, who has crafted the scores for multiplex fare such as Mad Max: Fury Road, Deadpool, Terminator: Dark Fate, Sonic the Hedgehog and the upcoming zombie banger Army of the Dead. Only weeks apart, two blockbusters landed on screens with his sonic stamp all over them: Adam Wingard’s Godzilla vs. Kong and Zack Snyder’s re-realized Justice League.

Thankfully, the Godzilla vs. Kong score was complete by the time the Justice League telephone rang. Holkenborg—who had lost the Justice League gig along with Snyder the first time around—knew the Snyder cut was coming; he had closely watched the growing calls for it online. “Zack and I already started talking in 2019. He’s like, ‘What if we were to finish this? What would it take?’ Those conversations turned to ‘Well, how many recording days potentially do you need and how much of an orchestra do you potentially need?’ Finally, somewhere in April 2020, that’s when that phone call came: ‘Okay, light’s green, start tomorrow, and start running until it’s done because it’s four and a half hours’.”

Ray Fisher as Cyborg in ‘Zack Snyder’s Justice League’.

Holkenborg approaches the titanic task of blockbuster film scoring with an engineer’s mindset: “Building a fantastic, huge house with 20 bedrooms and the dance hall and the kitchen… You’re not going to start by building the third bathroom for the third guest room, right?” Once he has identified the scenes that are most important to his directors—for Snyder, they included the introduction of Cyborg, three fight set-pieces, and a scene of The Flash running that comes towards the end of the film—the composer identifies instrumental “colors” in order to build a theme around each character. Then he holds some of those colors back, theorizing that “if you want like an, ‘Oh!’ experience by looking at a painting that has a huge amount of bright yellow in it, it’s way more successful to see fifteen paintings in front of it, where yellow is absent.”

The Godzilla vs. Kong score satisfies Holkenborg’s life-long love of both characters. “I don’t have a preference for either one. I love them both for various different reasons.” Their respective histories fascinate him: Godzilla as a way to make sense of Japan’s nuclear fall-out, and Kong as a gigantic spectacle that ended up attracting the sympathies of the audiences he was supposed to scare. Even when the science makes no sense (“what the fuck are plasma boosters, anyway?!”), Holkenborg is still happy to wax lyrical about the emotional depth of Kong’s stories, the elaborate concepts of the Godzilla-verse, and his musical approach to the pair—dark, moving brass for Godzilla, with synthesized elements “because he is a half-synthesized animal”, and a more organic, complex orchestration for Kong, featuring “one of the world’s bigger bass drums”.

Adam Wingard’s ‘Godzilla vs. Kong’.

All of this seat-shaking bombast is composed on an “insanely massive sound system” in Holkenborg’s small home studio (though he reassures pandemic-stricken film lovers that he has recently seen both Godzilla vs. Kong and Justice League on his laptop—and “really enjoyed watching it like that”). The process, he says, was “pretty intense”, but only in terms of the sheer amount of score needed. Composing in quarantine was not much different from his usual workflow. “I’m a pretty lonesome cruiser anyway. Composing, by nature, is like a solo exercise—obviously with assistance.”

Like many creatives (Bong Joon-ho recently told a film studies class that he is up at 5:00am most days to watch a movie), Holkenborg is an early riser, waking by 4:00am. “I’m super sharp between like 4 or 5:00am and 9:00am, so I like to do a lot of creative work in that slot.” He takes care of business until mid-afternoon, when another creative spurt happens. “And then I have another batch of calls usually to make, and then around 8:30pm, I’m going to retire for the rest of the day and just chill out a little bit and watch stuff that I want to see, read things that I want to read. Right now I’m studying Portuguese.” By 10:30pm, he’s asleep. “And then at three o’clock I get up.” (Needless to say, Holkenborg’s children are no longer small.)

The pandemic simplified a lot of things for a lot of people: for Holkenborg, it has been a moment to tidy up the physical side of his work. In November last year, he opened an online shop to divest the bulk of his gear—synths, pedals, guitars, drum machines and much more—that he has been collecting since the late 1970s. When friends told him he’d regret it, he disagreed. “At some point I’m going to die. I can’t take them to the afterlife. I also found out I don’t need them. I love to have them around, but I don’t need them.”

Tom Holkenborg with the bass drum used in the ‘Godzilla vs. Kong’ score.

It certainly solves the question of what he’d take if his house was on fire. “The hard drives with sounds and music over the last 40 years, 45 years, that’s hard to replace. So, that would be it. I’m just thinking about things that are absolutely irreplaceable and there are not that many, really.” Alas, it’s bad news for that bass drum. “I can’t take that with me when the house is on fire. Unfortunately, it’s going to make the house burn longer.”

Anyone who has interviewed or spent time with Holkenborg will agree: he may be a lonesome cruiser, but he is also personable, funny, loves to settle in for a chat. As he lights his second or third cigarette in readiness for his Life in Film questionnaire, I’m curious about his relationships with the esteemed filmmakers he has worked with—who include his mentor, Hans Zimmer, directors Sir Peter Jackson, Tim Miller, Robert Rodriguez and, especially, Fury Road’s George Miller.

The story of how Holkenborg scored Mad Max: Fury Road bears retelling: that George Miller did not want a soundtrack (“he was convinced that the orchestration of sounds of the cars would be enough to carry the whole movie”), that Holkenborg was only brought in to create a little something for the Coma-Doof Warrior’s flame-throwing guitar, that they hit it off, the job grew, and grew, into a score that covers almost the entire film.

The Coma-Doof Warrior in ‘Mad Max: Fury Road’ (2015).

What is his best memory of Fury Road? “Well, obviously, when I saw the movie for the first time and I was like ‘what the hell am I looking at?’,” he laughs. “What I mostly look back on is the friendship that I developed with George and the film school one-on-one that I got admitted to, while being paid at the same time, to study with somebody like him. We would talk all night about all kinds of things and nothing, because that really defines our relationship so much—a joint interest in so many different things.”

Happily, Holkenborg and Miller are working together again, on Three Thousand Years of Longing. “It’s really great to be in that process with him again. It’s just like about pricking each other with a little needle. It’s like, ‘Oh, why are you saying that?’ We do that with each other to keep each other sharp. ‘Oh, but if you’re doing this, I’m going to be doing that.’ And then, ‘Oh, if you’re doing that, I’m going to be doing this.’ So it’s really interesting.”

What is your favorite Godzilla film?

Tom Holkenborg: 1989’s Godzilla vs. Biollante. It’s a very obscure one where he’s basically fighting a giant rose. Let’s not look for the logic there.

Why has that particular Godzilla captured your heart? It’s so corny. Yeah. Mothra vs. Godzilla is also great. Mothra looks like a very bad Arabian carpet that was imported through customs and it got delivered by FedEx completely ruined and then laid outside for like four weeks in the rain.

‘Godzilla vs. Biollante’ (ゴジラvsビオランテ, 1989).

What is the first film you remember seeing in a cinema? Bambi. I was six years old, yeah.

And is there a film you have fond memories of watching with your family—a movie that became a family favorite? Not, like, a family favorite because our opinions were too diverse for that, but the next movie that became very important to me when I was a little older was Saturday Night Fever. I thought the soundtrack was, like, groundbreaking, mind-blowingly insane. It’s not necessarily those three massive beats of the Bee Gees on there, but all these other really alternative, left-field tracks by bands like Kool & the Gang. And the way that that darker disco music played against that really dark movie about what it’s like to live in New York and become a competitive dancer, it’s incredible. And still, today, it’s one of the movies where film music and the film itself had so much impact on me, even though it’s not a traditional film score in that sense. It’s incredible.

What is the film that made you want to work in movies, given that you also have a whole musical career separate from movies? (Enjoy Junkie XL’s early 2000s remix of Elvis Presley’s ‘A Little Less Conversation’.) For me, the move from a traditional artist into film scoring was a very slow gradual process. There’s not one movie that pushed me over the cliff. It’s just, like, all the great movies that were made. And I still have a list of obscure movies, classic movies that I need to see.

Yesterday I saw the weirdest of all, but I do want to share this: the original, uncut R-rated version of Caligula, [from] 1979. He [director Tinto Brass] was notoriously brutal and he organized orgies and had terrible torturing techniques. But it’s really weird, there’s Shakespearean actors in there, and then it goes to full-on porn sections. It’s really weird. The music is incredible. You can find it online. You will not find it anywhere [else]. I can just imagine what this must have felt like in 1979 when the film came out. Suspiria, that’s another one. It’s just like, how weird was that thing?

What is your favorite blockbuster that you did not compose? Ben-Hur. I’ve seen that one at least 20 times.

What’s your all-time comfort re-watch? The movie I’ve seen the most is Blade Runner. It’s just, like, it’s a nice world you’re stepping into, that fantasy. It’s not necessarily because I have memories [of] that movie that brings me back to a certain time period, it’s not that. It’s just that I just love to dwell in it. It feels a little bit like coming home. You can use it as comfort food, you can use it as, “I’m not feeling anything today”, or the opposite. You feel very great and you feel very inspired and it’s like, “Oh, let’s go home and watch that movie again.”

Terrence Malick’s ‘The Thin Red Line’ (1998).

Hans Zimmer has been an important mentor to you. Do you have a favorite of his scores? Yes, The Thin Red Line. It’s also the filmmaking of Terrence Malick—he forces a composer to think a certain way. He would always say, “It’s too much, make it less, make it smaller, make it this, make it that.” So, A, it’s a very good movie and B, he got Hans into the right place and Hans just over-delivered by doing exactly the right things at the right time and then shining just because of that.

Who is a composer that you have your eye on and what is one of their films that we should watch next? It’s so sad to say, but I mean, let’s call it like a retrospective discovery if you will. I’m so sad that we lost Jóhann Jóhannsson. He was a composer I felt really close to. We started roughly in the same time period making our way in today’s world. Also, Jóhann came from an artist background, even though it was a modern classical background. He made really great records, great experimentation with electronic elements, with classical instruments, and the mix between the two of them—very original way of looking at music. With Denis Villeneuve as his partner in crime the movies that they did were just mind-boggling good, whether it was Sicario or Arrival or Prisoners, and his voice will truly be missed among film composers. So people that are not super familiar with his work, I would definitely check it out.

‘Turks Fruit’ (Turkish Delight, 1973).

What is a must-see Dutch film that we should add to our watchlists? Holland has small cinema, but it has a really rich cinema and a very serious cinema culture. Usually because there’s not enough work in film, people are serious stage performers but then they also act in movies so they understand both really well. And we’ve delivered. There’s a string of actors that make their way to Hollywood or star in well-known series, whether it’s like Game of Thrones, or what we just talked about, Blade Runner. Many directors like Paul Verhoeven, Jan de Bont, the cameraman.

And so a movie that I’d like to pick is an old movie, called Turks Fruit (Turkish Delight) from the 1970s. Rutger Hauer is a younger guy, like, this completely irresponsible guy that starts this relationship with a really beautiful young girl, and they do all these crazy things, they do a lot of drugs and they have a lot of sex. He’s just like a bad influence on her.

Then he finds out she [has] cancer and it’s terminal. And to see him deal with that, and to see him want a change, but also in that change he does a lot of bad stuff at the same time… It was a sensational movie when it came out. And it actually was directed by Paul Verhoeven, one of his earlier films. When you see it, you’re just like, ‘Why am I watching this?’ for the first 45 minutes and then it starts and it’s like, ‘whoa’. So it’s really good, even in retrospect.

Olivia Newton-John and John Travolta in ‘Grease’ (1978).

What is the sexiest film you’ve ever seen? When I was super young, it was definitely Grease, with Olivia Newton-John, when she was in her catsuit at the very end of it. I had her picture on my bedroom, above my bed sideways because I was only like ten years old or something. I was so in love with Olivia Newton-John. It wasn’t the film per se, it was her. Yeah, I find, personally, movies from the ’70s to be more sexy, but it has something to do with the super-loose way that people were dressed and people were behaving.

And the other one was later in life: Basic Instinct. Sharon Stone. I’m not talking about like the famous shot, right, where she crosses her legs. I’m not talking about that, but the way that she acts throughout the whole movie. It’s insane. It’s really great.

Are there any films that have scared you? Like, truly terrified you? Yeah, I’m not a big fan because I get sucked up too much in it. The found [footage] horror movies like Paranormal Activity and things like the Japanese version of The Grudge, I cannot watch that stuff. That gets me too much. Because when I watch a film, I cannot watch it with one eye half open, the other one closed, like, ‘Okay, kind of cool, interesting’. I just get sucked into it.

Is there a film that has made you cry like no other? Oh yeah. Multiple. Once Upon a Time in America. The Godfather. Hable con Ella (Talk to Her). Betty Blue.

Thomas Holkenborg, AKA Junkie XL.

These are the films that make you weep? Not like on a regular basis, but I remember those were the ones that I really got hit. I’m talking particularly about the third Godfather. That whole end scene when they get out of the church and then… It’s really well-acted. So many Godfather fans that were dismissive of the film when it came out, in retrospect, ten, fifteen, 20 years later, are like, ‘it’s a really good film’. And I actually think so.

Final question. Is there a film from the past year that you would recommend, that you’ve loved? [Long pause.] The thing is that I watch pretty much a movie a day. So, that’s like three to four hundred movies. It [has] happened so often that I watch a film and then I’m just like an hour and 45 minutes in, it’s like, ‘wait, fuck, I’ve seen this thing before’.

So, we have an app for that… [Laughs.]

Related content

Junkie XL’s Letterboxd Life in Film list

Freddie Baker’s review of Justice League

Dutch Cinema: Danielle’s extensive list of more than 2,000 films

Letterboxd Showdown: The Perfect Score (best film scores)

The official Junkie XL Reverb Shop

Follow Gemma on Letterboxd

[aion-rsa]

HBO Max New Releases: April 2021

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Fresh off the long-awaited arrival of Zack Snyder’s Justice League (a.k.a. the fabled Snyder Cut), HBO Max has no need to appease fandom culture in April 2021. But the streaming service is gonna do it anyway!

The most notable new release for HBO Max this month is the HBO series The Nevers. This show, created by Joss Whedon, is set in a 19th century steampunk London and finds a sizable portion of the population (predominantly women) having been “Touched” by mysterious paranormal powers. There’s an interesting bit of irony at play here, as HBO Max is following up the Snyder Cut with a show created by his original Justice League replacement. Or at least there could have been an interesting bit of irony here, if Whedon had not bowed out from the show and been enthusiastically left out of the marketing material by HBO.

Read more

Movies

From Man of Steel to Zack Snyder’s Justice League: A Complete DCEU Timeline

By Aaron Sagers

TV

Fandoms Roil Online as Joss Whedon Suddenly Quits His New HBO Show The Nevers

By Kirsten Howard

Aside from the awkward showrunning situation at The Nevers, HBO Max has quite a few other irons in the fire for April. The well-earned Infinity Train season 4 premieres on April 15. That will be followed up by the Kate Winslet-starring HBO miniseries Mare of Easttown on April 18. Not to be ignored is the movie side of things, with Mortal Kombat continuing WarnerMedia’s policy of releasing all 2021 films to HBO Max.

Meanwhile, The New Mutants will take a turn in the HBO Max library on April 10…for some reason. And the streaming services continue their game of Dark Knight Rises hot potato when the film premieres on HBO Max on April 17. Now all three Christopher Nolan’s Batman films can be streamed in their entirety. It will just take both Netflix and HBO Max subscriptions.

HBO Max New Releases – April 2021

April 1 A Shock To The System, 1990 (HBO) Abandon, 2002 (HBO) Adam’s Rib, 1949 All Is Lost, 2013 (HBO) Assume the Position with Mr. Wuhl Barbarosa, 1982 (HBO) Black Dynamite, 2009 Blindness, 2008 (HBO) The Bodyguard, 1992 Boogie Nights, 1997 Bringing Up Baby, 1938 The Butcher’s Wife, 1991 (HBO) Caddyshack, 1980 The Collection, 2012 (HBO) The Color Purple, 1985 Dante’s Peak, 1997 (HBO) Dark Shadows, 2012 (HBO) Dead Silence, 2007 (HBO) Dirty Harry, 1971 The Eagle Has Landed, 1977 (HBO) Early Man, 2018 (HBO) Easy Rider, 1969 Ella Enchanted, 2004 (HBO) The Evil That Men Do, 1984 (HBO) Eye For An Eye, 1996 (HBO) Fear, 1996 (HBO) genera+ion, Season 1 Part One Finale Ghost Rider, 2007 Goodfellas, 1990 The Great Pottery Throwdown, Max Original Season 4 Premiere Green Lantern, 2011 Hardball, 2001 (HBO) Happy Endings Haywire, 2012 (HBO) In & Out, 1997 (HBO) Kicking & Screaming, 2005 (HBO) King Arthur: Legend Of The Sword, 2017 (HBO) Lassiter, 1984 (HBO) Leatherface Texas Chainsaw Massacre III, 1990 (HBO) Let’s Go To Prison, 2006 (HBO) The Longest Yard, 1974 (HBO) Made for Love, Max Original Series Premiere Man Up, 2015 (HBO) The Mask of Zorro, 1998 The Man With The Iron Fists, 2012 (Unrated Version) (HBO) Missing In Action 2 – The Beginning, 1985 (HBO) Missing In Action, 1984 (HBO) My Super Ex-Girlfriend, 2006 (HBO) The Nanny The Natural, 1984 Now, Voyager, 1942 One Day, 2011 (HBO) Police Academy 2: Their First Assignment, 1985 (HBO) Police Academy 3: Back In Training, 1986 (HBO) Police Academy 4: Citizens On Patrol, 1987 (HBO) Police Academy 5: Assignment: Miami Beach, 1988 (HBO) Police Academy 6: City Under Siege, 1989 (HBO) Police Academy: Mission To Moscow, 1994 (HBO) Primal Fear, 1996 (HBO) Reasonable Doubt, 2014 (HBO) Red Dawn, 1984 (HBO) The Return, 2006 (HBO) Risky Business, 1983 (HBO) Roger & Me, 1989 Mr. Smith Goes to Washington, 1939 Sneakers, 1992 (HBO) Space Jam, 1996 Speed 2 Cruise Control, 1997 (HBO) Spellbound, 2003 (HBO) Stuart Little, 1999 The Shack, 2017 (HBO) The Texas Chainsaw Massacre: The Beginning, 2006 (Extended Version) (HBO) Tyler Perry’s Madea’s Big Happy Family, 2011 Wanderlust, 2012 (HBO) The Warriors, 1979 (Director’s Cut) (HBO) The Watch, 2012 (HBO) White Noise, 2005 (HBO) The Wild Life, 2016 (HBO) Within, 2016 (HBO) Wolves At The Door, 2017 (HBO)

April 2 On the Spectrum

April 3 Ted, 2012 (Unrated Version) (HBO)

April 4 Q: Into The Storm, Documentary Series Finale (HBO)

April 5 Hard, Season 2 Finale (HBO)

April 6 Genndy Tartokovksy’s Primal, Season 1B

April 7 Exterminate All the Brutes, Documentary Series Premiere (HBO) South Side, Season 1

April 9 Intemperie (AKA Out in the Open), 2019 (HBO) The Other Two, Season 1 A Tiny Audience, Season 2 Finale (HBO)

April 10 The New Mutants, 2020 (HBO)

April 11 The Nevers, Series Premiere (HBO)

April 13 Our Towns, Documentary Premiere (HBO)

April 15 Infinity Train, Max Original Season 4 Premiere

April 16 Mortal Kombat, Warner Bros. Film Premiere, 2021

April 17 The Dark Knight Rises, 2012 (HBO)

April 18 Mare of Easttown, Limited Series Premiere (HBO)

April 20 Real Sports with Bryant Gumbel (HBO)

April 22 1,2,3, All Eyes On Me, 2020 (HBO) First Ladies, 2020 Princess Cut, 2020 (HBO) Rizo, 2020 (HBO)

April 23 A Black Lady Sketch Show, Season 2 Premiere (HBO) El Robo Del Siglo (AKA Heist of the Century) (HBO)

April 24 Dreamgirls, 2006 (HBO)

April 26 The Artist, 2011

April 29 Looney Tunes Cartoons, Season 1D

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Leaving HBO Max – April 2021

April 11 Reservoir Dogs, 1992

April 15 Lego DC Shazam: Magic And Monsters!, 2020

April 30 3 Godfathers, 1949 9½ Weeks, 1986 Above The Rim, 1994 (HBO) The Adventures Of Robin Hood, 1938 Adventures Of Tom Thumb And Thumbelina, 2002 (HBO) After Hours, 1985 An American Werewolf In London,1981 (HBO) Beasts Of The Southern Wild, 2012 (HBO) Being There, 1979 Bullitt, 1968 Bundle Of Joy, 1956 Can’t Buy Me Love, 1987 (HBO) The Candidate, 1972 Cast Away, 2000 (HBO) Catwoman, 2004 Chasing Liberty, 2004 Cheyenne Autumn, 1964 Cimarron, 1960 Critters 2, 1988 Critters 4, 1992 Dead Man Walking, 1995 (HBO) Diner, 1982 Dirt, 2017 The Exorcist, 1973 Femme Fatale, 2002 (HBO) Fool’s Gold, 2008 Get Carter, 1971 Godzilla: King Of The Monsters, 2019 (HBO) Godzilla Vs. Kong , 2021 Green Lantern: Emerald Knights, 2011 The Green Mile, 1999 Grumpier Old Men, 1995 Grumpy Old Men, 1993 The Hangover Part II, 2011 (HBO) A Hidden Life, 2019 (HBO) The Hills Have Eyes II, 2007 (Extended Version) (HBO) The Hills Have Eyes, 2006 (Extended Version) (HBO) The Hobbit: An Unexpected Journey, 2012 Hobbit: The Battle Of The Five Armies, The, 2014 Hobbit: The Desolation Of Smaug, The, 2013 How The West Was Won, 1962 I Am Sam, 2002 The Invisible Man, 2020 (HBO) Jojo Rabbit, 2019 (HBO) Jonny Quest, 1964 Josie And The Pussycats In Outer Space, 1972 Josie And The Pussycats, 1970 Just Mercy, 2019 (HBO) The Looney Tunes Show, 2011 Looney Tunes: Back In Action, 2003 Lying And Stealing, 2019 (HBO) Ma, 2019 (HBO) The Man Who Would Be King, 1975 Marvin’s Room, 1996 (HBO) Mildred Pierce, 1945 Mister Roberts, 1955 My Blue Heaven, 1990 My Dog Skip, 2000 My Favorite Year, 1982 National Lampoon’s European Vacation, 1985 National Lampoon’s Vacation, 1983 The Neverending Story, 1984 New Jack City, 1991 New Looney Tunes, 2015 New York Minute, 2004 Of Mice And Men, 1992 (HBO) Open Water 2: Adrift, 2006 (HBO) Open Water, 2004 (HBO) Paddington Bear, 1989 Patriots Day, 2016 Presumed Innocent, 1990 Pride And Prejudice, 1940 Private Benjamin, 1980 Red Tails, 2012 (HBO) Reversal Of Fortune, 1990 Rio Bravo, 1959 Rise Of The Guardians, 2012 (HBO) School Of Rock, 2003 (HBO) Scooby-Doo And Scrappy-Doo, 1981 The Scooby-Doo Show, 1976 Scooby-Doo Where Are You!, 1969 The Secret Garden, 1993 She’s All That, 1999 Snakes On A Plane, 2006 Son Of The Mask, 2005 Space Cowboys, 2000 Sylvester & Tweety Mysteries, 1995 Tim Burton’s Corpse Bride, 2005 Tom And Jerry (Classic), 1967 Tower Heist, 2011 (HBO) Under Siege, 1992 Viva Las Vegas, 1964 We Bought A Zoo, 2011 (HBO) What Ever Happened To Baby Jane?, 1962 (HBO) Where The Wild Things Are, 2009 The Wild Bunch, 1969 The Wind And The Lion, 1975 The Yogi Bear Show, 1988

The post HBO Max New Releases: April 2021 appeared first on Den of Geek.

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[plasticnightmaredoll]

Some toys for "Godzilla vs Kong" have been leaked online, including toys of Mechagodzilla.

I have some thoughts to share but these are technically spoilers so, if you don't want to be exposed to such things, then don't look under the cut.

Let's cover Mechagodzilla first because he's probably the most anticipated Titan/Kaiju appearing in "Godzilla vs Kong" (besides the two eponymous characters). He does make an appearance in the official trailer twice but very briefly each time. We don't get a good look at him but we see enough to get a basic idea of what he probably looks like:

That looks like Godzilla but it's clearly has metal skin and some red glowing patches on the neck -- neither of which the real Godzilla has.

It's probably safe to assume that the robot on the screen is Mechagodzilla, maybe charging up to use his radioactive heat ray.

So, we can safely conclude that Mechagodzilla looks like....a Mecha Godzilla.

Shocking.

But let's not get ahead of ourselves. We have barely seen his face, and only have had a good look at his robotic feet on a computer screen. What does he truly look like?

There aren't any great-quality photos of the Mechagodzilla toys online so this is the best we have. But these photos do give us a much better idea of what he looks like. He has red, blocky dorsal "plates" on his back, and three-fingered crane claw hands. It's kind of creepy to look at because it looks more like a skeleton than anything else.

Which ties into my (absurd, I know but we are dealing with an extremely fictional universe anyway where these monsters could never exist as they are presented in the movies, and a giant fucking robot with the complexity Mechagodzilla is just not a feasible or technologically-attainable goal right now) theory that perhaps the Godzilla we see in the trailer isn't always the real Godzilla but Mechagodzilla wearing a synthetic skin. This is ridiculous, I know, but like I said: most of this fictional universe is.

It would be an excellent reference to Mechagodzilla's first appearance in the 1974 Toho film, "Godzilla vs. Mechagodzilla," where Mechagodzilla shows up to destroys cities wearing a synthetic skin so he looks exactly like Godzilla (but sounds nothing like him so I have no clue why Japan actually though this was Godzilla in the film). The real Godzilla comes to the rescue, and Mechagodzilla's synthetic skin disappears (alien technology lol), revealing a robot.

Perhaps the skin from Ghidorah's severed head from 2019's "King of the Monsters" could be used to create a synthetic skin? I'm not a scientist, though, so I have no idea how plausible this is. But more on the Ghidorah head a bit later.

Anyway, so, we now have a good idea of what Mechagodzilla's body will look like in "Godzilla vs. Kong." What about his face?

SWEET JESUS WTF IS THAT?!

That, my friends, is a leaked photo of the Funko Pop Mechagodzilla and WTF IS GOING ON WITH HIS EYES? Maybe they will look less creepy in the movie, and they only look like this because the picture is low quality. But something tells me that Mechagodzilla's going to have freaky robot eyes.

So, "Godzilla vs. Kong" is a horror movie, confirmed.

But let’s go back to the Ghidorah head. We know the eco-terrorists from 2019′s “King of the Monsters” bought Ghidorah’s severed left head after the events of the film (how much did this thing cost????) I watched a video with a very plausible theory as to what will happen with this head in relation to Mechagodzilla.

In the video, the rumor is that the brain of the severed head of Ghidorah will be placed in Mechagodzilla’s head, and the Godzilla-like creature skeleton from the 2014 movie, “Godzilla,” will be used as part of the robot’s structure. Also, the Orca device technology see in the 2019 film will be placed in Mechagodzilla’s body, allowing him to control other Titans -- perhaps Godzilla himself and if it is the real Godzilla in the trailers, this could be why he’s behaving so aggressively. It sounds like a very logical scenario to me, and would explain the purpose of the eco-terrorists having bought the Ghidorah head. I mean, if that thing isn’t put to use in “Godzilla vs. Kong” then that post-credits scene was a waste of time.

Also, if this is true, then Mechagodzilla will be an enemy, which goes back to his debut in the 1974 movie. 

I will say that the eco-terrorists don’t fully understand what they’ve done because they have acquired the severed left head of Ghidorah. The left head is the dumb one, and is nicknamed “Kevin” for a reason. This could be the derpiest Mechagodzilla of all time!

Anyway, enough about Mechagodzilla and Kevin, and let’s discuss two other very interesting toys leaked online:

Mega Kong? Mega Godzilla? What is going on here?

Well, the theory for Mega Godzilla is that Kong (or even Mechagodzilla) destroys Godzilla’s dorsal fins in the movie, making it impossible for him to use his atomic breath until they regenerate -- which takes a long time. The humans give Godzilla an apparatus of sorts to help him out so he can continue to fight.

For me, it seems a little odd that he still HAS dorsal fins as Mega Godzilla, though, and I can’t see there being a way to regrow them that fast even with human technology. There is a rumor that Mechagodzilla’s atomic heat ray is much more dangerous than Godzilla’s atomic breath, and perhaps the apparatus on Godzilla’s back is used to enhance it and put him on even ground with his evil robot counterpart.

But what about Mega Kong?

I think it’s like this: Kong and Godzilla are badly injured and incapable of defeating Mechagodzilla on their own, or they are in good shape but aren’t powerful enough as they are to defeat Mechagodzilla. In either scenario, humans help Godzilla and Kong by giving them some enhancements, allowing them to be able to face off against the evil robot with less trouble. Godzilla gets something on his back to increase the power of his atomic breath and Kong is given something to enhance his physical strength by making him even more macular.

Or Old Man Godzilla gets an epic back brace and Kong gets Titan steroids so they can successfully defeat Mecha Kevinzilla.

[onlinegodzillavskongkino]

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1. Juli 2021 Im Kino / 1 Std. 36 Min. / Komödie, Abenteuer, Familie, Fantasy Regie: Sven Unterwaldt Drehbuch: Otto Waalkes, Bernd Eilert Besetzung: Otto Waalkes, Julius Weckauf, Katja Riemann

INHALTSANGABE Es ist das Jahr 1020 als der Hexenmeister Godzilla Vs. Kong (Otto Waalkes) vor den barbarischen Normannen fliehen muss. Mit dem Zauberspruch „Salmei, Dalmei, Adomei!“ will er sich auf und davon machen, doch das geht gehörig schief: Godzilla Vs. Kong landet mitten im Deutschland der Gegenwart! Er trifft auf den 11-jährigen Förstersohn Benny (Julius Weckauf), der Mitleid mit dem komischen Mann hat und ihn bei seinen Eltern versteckt. Die moderne Welt hält für den Zauberer und seine Kröte Kühlwalda einige Überraschungen bereit, von der Glühbirne über Toiletten bis hin zu Ampeln und Autos. Die Erfindungen der Moderne schockieren ihn, üben aber auch eine merkwürdige Faszination auf ihn aus, sodass er sich immer mehr mit der Gegenwart auseinandersetzt. Das ungleiche Duo macht sich auf die Suche nach Godzilla Vs. Kongs Druidenstab, denn nur mit dem hat der kauzige Druide die Chance, wieder in seine Zeit zurückzukehren.

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Definition and definition of film / film

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as minor characters with few roles in the film. This differs from the main actors, who have larger and more roles. As an actor and actress, good acting talent must be required that corresponds to the subject of the film in which he plays the leading role. In certain scenes, the role of the actor can be replaced by a stunt man or a stunt man. The existence of a stuntman is important to replace the actors who play difficult and extreme scenes that are usually found in action-action films.

Movies can also be used to deliver certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a person that are visualized in the film. The film itself is mostly fictional, though some are based on actual stories or on a true story.

There are also documentaries with original and real images or biographical films that tell the story of a character. There are many other popular genre films, from action films, horror films, comedy films, romantic films, fantasy films, thriller films, drama films, science fiction films, crime films, documentaries and others.

This is some information about the definition of film or film. The information has been cited from various sources and references. Hope it can be useful.

❍❍❍ TV FILM ❍❍❍The first television shows were experimental, sporadic programs that from the 1930s could only be seen at a very short distance from the mast. TV events such as the 1936 Summer Olympics in Germany, the crowning of King George VI. In Britain in 19340 and the famous launch of David Sarnoff at the 1939 New York World’s Fair in the United States, the medium grew, but World War II brought development to a halt after the war. The 19440 World MOVIE inspired many Americans to buy their first television, and in 1948 the popular Texaco Star Theater radio moved to become the first weekly television variety show that hosted Milton Berle and earned the name “Mr Television” demonstrated The medium was a stable, modern form of entertainment that could attract advertisers. The first national live television broadcast in the United States took place on September 4, 1951, when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco on AT & T’s transcontinental cable and microwave relay system was broadcasting to broadcasters in local markets has been.

The first national color show (the 1954 Rose Parade tournament) in the United States took place on January 1, 1954. For the next ten years, most network broadcasts and almost all local broadcasts continued to be broadcast in black and white. A color transition was announced for autumn 1965, in which more than half of all network prime time programs were broadcast in color. The first all-color peak season came just a year later. In 19402, the last holdout of daytime network shows was converted to the first full color network season.

❍❍❍ formats and genres ❍❍❍

See also: List of genres § Film and television formats and genres

TV shows are more diverse than most other media due to the variety of formats and genres that can be presented. A show can be fictional (as in comedies and dramas) or non-fictional (as in documentary, news, and reality television). It can be current (as in the case of a local news program and some television films) or historical (as in the case of many documentaries and fictional films). They can be educational or educational in the first place, or entertaining, as is the case with situation comedies and game shows. [Citation required]

A drama program usually consists of a series of actors who play characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 1980s, shows (with the exception of soap opera series) generally remained static without storylines, and the main characters and premise barely changed. [Citation required] If the characters’ lives changed a bit during the episode, it was usually reversed in the end. For this reason, the episodes can be broadcast in any order. [Citation required] Since the 1980s, many FILMS have had a progressive change in the plot, characters, or both. For example, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television films to have this kind of dramatic structure [4] [better source required], while the later MOVIE Babylon 5 further illustrated such a structure had a predetermined story about the planned five season run. [Citation required]

In 2021, it was reported that television became a larger part of the revenue of large media companies than the film. Some also noticed the quality improvement of some television programs. In 2021, Oscar-winning film director Steven Soderbergh declared the ambiguity and complexity of character and narrative: “I think these qualities are now being seen on television and people who want to see stories with such qualities are watching TV.

❍❍❍ Thanks for everything and have fun watching❍❍❍

Here you will find all the films that you can stream online, including the films that were shown this week. If you’re wondering what to see on this website, you should know that it covers genres that include crime, science, fi-fi, action, romance, thriller, comedy, drama, and anime film.

Thanks a lot. We inform everyone who is happy to receive news or information about this year’s film program and how to watch your favorite films. Hopefully we can be the best partner for you to find recommendations for your favorite films. That’s all from us, greetings!

Thank you for watching The Video Today.

I hope you like the videos I share. Give a thumbs up, like or share if you like what we shared so we are more excited.

Scatter a happy smile so that the world returns in a variety of colors. ”

[amethyst-wind-uk]

Godzilla vs Kong shower thought (spoilers within). Go watch it (it’s online, don’t pay the $30 or whatever ridiculous sum they’re charging) before reading this, it’s actually pretty good.

The film actually spoils itself in the title.

It’s not Godzilla vs King Kong.

Because Godzilla pretty conclusively kicks the shit out of him. Twice. Godzilla’s still King of the Monsters.

Kong just gets to use the Monsterverse equivalent of Excalibur for a little while, as a treat.

[gozilla-vs-kong-island-blog]

Nédz Mozi ~ Godzilla vs. Kong (2021) Teljes Filmek Videa HD (Film Magyarul) eby

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AMERIKAI EGYESÜLT ÁLLAMOK, EGYESÜLT KIRÁLYSÁG

Premier (HU) : 2021-03-24 | Fórum Hungary

Ficção científica, Ação, Aventura

RENDEZŐ : Warner Bros. Pictures, Legendary Pictures

ÍRÓ : United States of America

ZENE :

SZEREPLŐK : Mind tudtuk, hogy egyszer megtörténik. Világunk szörnyei nem kerülhetik el egymást. A legnagyobbaknak előbb-utóbb szembe kell találkozniuk, hogy összemérjék az erejüket. De ahol King Kong és Godzilla csatázik, ott senki más nincs biztonságban.

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Watch Free Movies and TV Shows Online You’re in the right place if you’re into love with watching movies. Movies and TV serials are a fun area where people love to spend their leisure time. Making a visit to the cinema or movie theatre sometimes seems like a waste f time and money.

In such a scenario, streaming movies online is left as an option as it helps you not only save time and money but also make things convenient. Imagine life when you get to watch movies at your fingertips and for free. Watch a movie, drama or a serial. All of it at your comfort.

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Film is a work of art in the form of a series of live images that are rotated to produce an illusion of moving images that are presented as a form of entertainment. The illusion of a series of images produces continuous motion in the form of video. The film is often referred to as a movie or moving picture. Film is a modern and popular art form created for business and entertainment purposes. Film making has now become a popular industry throughout the world, where feature films are always awaited by cinemas.

Films are made in two main ways. The first is through shooting and recording techniques through film cameras. This method is done by photographing images or objects. The second uses traditional animation techniques. This method is done through computer graphic animation or CGI techniques. Both can also be combined with other techniques and visual effects. Filming usually takes a relatively long time. It also requires a job desk each, starting from the director, producer, editor, wardrobe, visual effects and others.

Definition and Definition of Film / Movie

While the players who play a role in the film are referred to as actors (men) or actresses (women). There is also the term extras that are used as supporting characters with few roles in the film. This is different from the main actors who have bigger and more roles. Being an actor and an actress must be demanded to have good acting talent, which is in accordance with the theme of the film he is starring in. In certain scenes, the actor’s role can be replaced by a stuntman or a stuntman. The existence of a stuntman is important to replace the actors doing scenes that are difficult and extreme, which are usually found in action action films.

Films can also be used to convey certain messages from the filmmaker. Some industries also use film to convey and represent their symbols and culture. Filmmaking is also a form of expression, thoughts, ideas, concepts, feelings and moods of a human being visualized in film. The film itself is mostly a fiction, although some are based on fact true stories or based on a true story.

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That’s a little information about the definition of film or movie. The information was quoted from various sources and references. Hope it can be useful.

❍❍❍ TV Streaming ❍❍❍

first television shows were experimental, sporadic broadcasts viewable only within a very short range from broadcast tower starting in 1930s. Televised events such as 1936 Summer Olympics in Germany, 19340 coronation of King George VI in UK, David Sarnoff’s famous introduction at 1939 New York World’s Fair in US spurred a growth in medium, but World War II put a halt to development until after war. 19440 World Streaming inspired many Americans to buy their first television set then in 1948, popular radio show Texaco Star Theater made move became first weekly televised variety show, earning host Milton Berle name “Mr Television” demonstrating that medium was a stable, modern form of entertainment which could attract advertisers. first national live television broadcast in US took place on September 4, 1951 when President Harry Truman’s speech at Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable microwave radio relay system to broadcast stations in local markets.

first national color broadcast ( 1954 Tournament of Roses Parade) in US occurred on January 1, 1954. During following ten years most network broadcasts, nearly all local programming, continued to be in black — white. A color transition was announced for fall of 1965, during which over half of all network prime-time programming would be broadcast in color. first all-color prime-time season came just one year later. In 19402, last holdout among daytime network shows converted to color, resulting in first completely all-color network season.

❍❍❍ Formats Genres ❍❍❍

See also: List of genres § Streaming television formats genres

Television shows are more varied than most other forms of media due to wide variety of formats genres that can be presented. A show may be fictional (as in comedies dramas), or non-fictional (as in documentary, news, reality television). It may be topical (as in case of a local newscast some made-for-television Streamings), or historical (as in case of many documentaries fictional Streaming). They could be primarily instructional or educational, or entertaining as is case in situation comedy game shows.[citation needed]

A drama program usually features a set of actors playing characters in a historical or contemporary setting. program follows their lives adventures. Before 1980s, shows (except for soap opera-type serials) typically remained static without story arcs, main characters premise changed little.[citation needed] If some change happened to characters’ lives during episode, it was usually undone by end. Because of this, episodes could be broadcast in any order.[citation needed] Since 1980s, many Streaming feature progressive change in plot, characters, or both. For instance, Hill Street Blues St. Elsewhere were two of first American prime time drama television Streaming to have this kind of dramatic structure,[4][better source needed] while later Streaming Babylon 5 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed]

In 2012, it was reported that television was growing into a larger component of major media companies’ revenues than Streaming.[5] Some also noted increase in quality of some television programs. In 2012, Academy-Award-winning Streaming director Steven Soderbergh, commenting on ambiguity complexity of character narrative, stated: “I think those qualities are now being seen on television that people who want to see stories that have those kinds of qualities are watching television.

❍❍❍ Thank’s For All Happy Watching❍❍❍

Find all Online that you can stream online, including those that were screened this week. If you are wondering what you can watch on this website, then you should know that it covers genres that include crime, Science, Fi-Fi, action, romance, thriller, Comedy, drama Anime Streaming.

Thank you very much. We tell everyone who is happy to receive us as news or information about this year’s Streaming schedule how you watch your favorite Streamings. Hopefully we can become best partner for you in finding recommendations for your favorite Online. That’s all from us, greetings!

Thanks for watching Video Today.

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We tell everyone who is happy to receive us as news or information about this year’s film schedule and how you watch your favorite films. Hopefully we can become the best partner for you in finding recommendations for your favorite movies. That’s all from us, greetings!

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[mortalkombat1]

strong international performance early last month, and better than predicted opening weekend in North America: Mortal Kombat has taken a steep drop in its second week at the domestic box office. The brutal ten-day drop is in stark contrast to the lingering resilience of Warner Brothers' other big screen franchise brawler: Godzilla vs Kong. Read on for details:

Forbes reports the dramatic drop in trade for Mortal Kombat, calculating a 79% downturn Friday to Friday with only $1.85 million grossed in the second week. The takings kept MK narrowly ahead of anime rival Demon Slayer -Kimetsu no Yaiba- The Movie: Mugen Train, which dropped 81% with $1.81 million. The general impact of the COVID-19 pandemic on public confidence shouldn't be overlooked, but Forbes analysis presents a case for a more broad decline in interest, based on fan-driven audience appeal in the first week, and tepid reviews that broadly described the movie as appealing to fans of the games -- an idea challenged by MK Online's review, among others. The film currently has a 54% freshness from critics on Rotten Tomatoes, with a more favourable 86% fan score. Mortal Kombat is reportedly HBO Max's most watched programming so far, which Forbes speculates reflects casual interest and a minimum of impact on theatrical business, where movies like Godzilla vs Kong and Tom and Jerry maintained more consistent theatrical trade. Godzilla vs Kong picked up another $700,000 in its fifth Friday at US theatres, reach $400 million worldwide. Forbes draws comparisons with 2016's sharp 81% decline in first week trade for Batman vs Superman: Dawn of Justice, and Warcraft's 70% fall from a $24 million opening in that same year. Wonder Woman 1984 was another pandemic-era franchise release that saw a similar drop. It's too soon to count Mortal Kombat out, with potential for continued trade in the coming weeks, but a wave of major new releases are rapidly approaching and expected to draw interest elsewhere. The movie seems likely to remain solvent, with popular casting rumors and the promise of unused characters & concepts likely to boost sequel chances.

[Related Article: UK Mortal Kombat Digital Rental Premieres Next Week]

MK Online will audit the battles of the big screen in the annual Supreme Mortal Kombat Champion fan-voting tournament. Share your thoughts in the comments and enter the Media & Merchandise forum for more discussion about the movie!

[dalegoldberg]

Will movie theaters be relevant in a post-pandemic world? It's now up to you.

On Monday, the beloved Arclight and Pacific Theaters announced they’re closing for good. ArcLight Cinemas is arguably Hollywood's most cherished theater and Pacific has been a mainstay in Los Angeles since 1946. The announcement of their closing shocked many as another casualty of the Covid-19 pandemic.

In the company announcement, they said "This was not the outcome anyone wanted, but despite a huge effort that exhausted all potential options, the company does not have a viable way forward." One can understand how a movie theater might go under in the middle of a pandemic but I did find it interesting that they felt there was truly no way forward.

One might've expected some members of the Hollywood elite to come clamoring forward with a bucket of cash to at least front the company long enough to sustain it through the pandemic so that it could reopen when the time was right.

Back in 2014, Kodak faced a similarly dire situation (for different reasons, obviously) and was ready to close its doors. That was until J.J. Abrams, Christopher Nolan, Quentin Tarantino, Judd Apatow and other filmmakers banded together to save the floundering company. Their shared love of film compelled them to save the dying medium and, thanks to those filmmakers and their studio backers, the company is still alive today.

But that hasn’t happened with these theaters. I'm not saying that can't happen, of course. The announcement just came this week so time will tell. I will say, however, it sounds like the company may have already exhausted their options (in light of the no "viable way forward" statement).

The death of ArcLight Cinemas and Pacific Theaters may not just signify another casualty of the pandemic but may actually be a sign of the times. Even prior to the pandemic many were wondering, amongst cord cutting and increasing interest in streaming content, how much longer would movie theaters stay relevant?

The pandemic has shifted the world in general, of course, and one of those big changes coming post-pandemic may be a world where movie theaters have a drastically different business model. Perhaps, one that makes them unrecognizable to us as we know them today.

Does that seem like too bold a claim? Perhaps. Let's just look at the state of the business now.

The state of the business pre-Covid

Prior to the pandemic, movie studios were beholden to the theaters to release their movies in theaters for a certain period of time. So if Warner Brothers wanted to release "Godzilla vs Kong" in theaters, they would have had to wait 90 days before releasing the film on Blu-Ray or to a streaming platform. There was a bit of flexibility on this when it came to digital rentals but otherwise 90 days was the standard. Now, movie studios did have the option of by-passing the theatrical exhibition altogether if they wanted and just going straight to people's homes. Why didn't they?

One reason might've been the Paramount Consent Decrees. The Consent Decrees date back to 1948 when the Supreme Court ruled that movie studios had to separate their distribution operations from their exhibition operations. Essentially, studios were barred from owning movie theaters as it was seen as a monopolistic practice and not fair to consumers. At the time, the only way you could see a movie was in a theater. Gradually, over time, of course, that changed and technology enabled us to watch movies at home. We got VHS, then DVD's, then Blu-Rays, then iTunes Movies, then Netflix and so on. But the theaters remained as a mainstay. Why?

I know many of my friends would argue it's because there's no better way to see a movie than in a theater. If you said that twenty years ago I would have agreed. But today, I'd say that's become largely subjective given the technology available at home. From a purely business oriented perspective, though, there's a host of little reasons theaters remained important such as films not being eligible for Oscar nominations without a theatrical release and, possibly, because studios worried that bypassing theaters would result in further regulations by the courts.

But mostly, it's because we, the audience, were accustomed to theaters. It gave a film legitimacy when it was presented in a theater. It used to be that if a movie went “straight to home video” it was considered cheap and probably low budget. Because of that, even though the studios were giving up 50% of their revenue to the theaters, their gross still was greater than what home distribution netted them in the initial release window.

Even after the invention of Blu-Rays and iTunes Movies, studios were still sending movies to theaters (1) because it was a huge source of revenue and (2) because it helped market the movie. The movie’s success at the box office gave us a reason to want that movie at home.

A shift in Public perceptions

There's a growing number of people that no longer think that way. If a movie goes to streaming now (the new home video), we no longer assume the movie is cheap or low budget. The content on streaming is just as good as the stuff we're seeing in theaters. There’s been a massive shift in our perception of what great “cinema” is. Yeah, you might still wanna' see some things in theaters but it doesn’t cheapen the movie for you if you don't.

And that’s a big problem for theaters. The leverage they’ve had over the studios up till now has been the Consent Decrees and our perception of what great cinema is. Significant, no doubt, but those two things have changed. In August of last year, the Paramount Consent Decrees were terminated with a two-year sunset period on certain aspects of the Decrees all but ensuring that studios could now vertically integrate if they wanted to. Or just bypass the theaters altogether - as some studios already have been experimenting with.

Even at the start of the pandemic, many movies were removed from theaters and sent straight to streaming with studios reporting that the revenue gained from VOD and online rentals rivaled the profit gained from theatrical distribution. As various studios like Paramount and Warner Brothers enter the streaming game alongside Disney (Disney Plus, Hulu) and Netflix, they too are experimenting. As you may have heard, Warner Bros. is releasing all their movies this year on their streaming platform HBOMax on the same day the films are released in theaters (a practice known as "day and date"). No doubt, the bean counters at Warner Bros. will be looking to see if this is a practice that should stay. It’d be fair to say that these experiments are not true representations of reality given the state of the world we’re testing this new distribution model with. But it is changing our perception of how important movie theaters are.

Studios are altering the deal

During the pandemic, theaters have been brought to their knees and have been forced to renegotiate certain terms with the studios including the release window between theatrical and home distribution. Most studios now have negotiated a home release date that comes just 17 days after the movie debuts in theaters - far shorter than the original 90 days.

This, of course, can be argued to just be a by-product of the pandemic. Theaters don't have leverage now but once the pandemic is over they will and they'll renegotiate. Right?

That really hinges on whether or not audiences still think a movie has more value if it was presented in a theater before they got to see it at home. Does it enhance the movie for me if it gets shown in a theater or am I just as interested (or maybe even more interested) in seeing it if it is sent straight to my home?

Other big changes are happening

There's other factors to consider as well. One might be the massive shift of homeowners into the suburbs and away from the city during the pandemic. Many employers are making it possible to work from home (a trend that will likely continue post-pandemic as the internet improves and more businesses see the benefits of a remote workforce) resulting in a mass exodus from cities to suburbs. Living in the suburbs means you don’t have the same pull of massive audiences in large gatherings the way you used to. We’re also investing more in our homes to make them enjoyable places to not only live but play as well. It’s a shift in our culture.

Another factor is that our perception of long form content has changed. Episodic television used to be where big movie stars went to end their careers after a career starring in movies. Now, it’s the reverse. A lot of stars are starting in television rather than finishing there because we (the audience) love binging on serialized content and when we’re not binging episodes we’re watching four hour movies (The Irishman, Zack Snyder's Justice League). Those experiences don’t work well in theaters where you’re stuck sitting in the same place and can’t hit the pause button.

Ultimately, the biggest factor might be what it usually comes down to - money. Before the pandemic audiences were already lamenting about the cost of movie tickets. A single afternoon of me taking my wife and kids to see the latest Disney movie in a theater could cost me $50 - $60 just for admission (not to mention the cost of food and drinks). But during the pandemic I was able to rent “Mulan” for $30 from comfort of my own home. Or, if I wanted, I could just wait three months and then see it as part of my regular Disney Plus subscription (which I was already paying for anyways so I could watch “The Mandalorian”).

As things open back up, many people are not necessarily swimming in money and, while I think the Covid relief packages have probably helped, a lot of people are still hurting and will be looking for any which way to save money. It seems unlikely that theaters will be able to lower their costs at this point given the need to recoup their losses from the pandemic and the probable need to make new investments in their facilities to stay competitive. They will need to get creative to show real value to audiences that might be reluctant to rush back in to theaters.

So what will happen to theaters post-pandemic?

For those of you worried I’m predicting doomsday for theaters - relax. I think theaters are probably here to stay regardless of what happens. They’re too much a part of what movies are to simply disappear. That said, they are a business and, currently, a failing one. What they look like post-pandemic doesn’t look great, from my perspective, unless the business model changes.

One possible scenario is that theaters become like playhouses or music festivals. In other words, they’ll still exist but in fewer quantities and will become more niche, featuring elevated experiences centered around tentpole movie properties which audiences are willing to pay a premium for (think “Top Gun: Maverick” or “Godzilla vs Kong”). I can see this form of adaptation working well in everyone’s favor.

Another possibility is that the studios buy out the movie theaters. The termination of the consent decrees has made that a real possibility. And then, once they’ve purchased them, build brand experiences centered around their properties. Something like miniature Disney Lands. They would most likely close a significant number of locations leaving only the flagships they felt would bring in a large audience and use them to promote the movies on their slate. A company like Disney with a large library of films could also use the theaters as a means of re-presenting old films from their library, borrowing a tactic from LucasFilm, and refresh old content to make it new again for theatrical. In essense, the net effect would be the same as in the first scenario: fewer theaters, more niche experiences.

I say this because it is somewhat unclear, to me at least, how the current model can persist if studios own theaters. Yes, they’d control theatrical distribution but they’d likely only be purchasing a theater to distribute their own movies. Would a company like Paramount, who’s only releasing seven movies this year, see the value of owning a theater chain? Even Disney’s slate only consists of 14 movies. To make the business viable (at least as it exists now), they would have to present movies from other studios. Would one studio trust that the studio in ownership of the theater was giving them a fair number of screens for presentation? It seems untenable under the current model.

What happens next is really up to you

The biggest change from the pandemic is that we as audiences have changed the way we look at movies. We’re ok with watching movies at home and, thus, the leverage theaters have to negotiate longer release windows between theatrical and home distribution has all but disappeared. The artificial pillars that made theaters a necessity are all but gone. And yes, the Oscars will likely still require that movies be released in theaters to be eligible for nomination but the standards of what a "theatrical release" means do not require as vast a distribution as you might think (see page 2, sub-section D of the General Entry rules). Plus, let's be honest - not all movies are meant to be Oscar contenders.

So really, the only thing to keep theaters relevant now is you - the audience. My prediction is that we’ll initially see some high demand for theaters as cities are re-opened and we try to return to our regular lives. But after we get back to a sense of normalcy (whatever that means in the future) we’ll see how much audiences really want to keep paying $20 per ticket to see a movie when they could just pay $30 once to rent it at home with the entire family or binge the new hot show on Netflix / Amazon / Apple TV/ Paramount Plus / Disney Plus / Hulu / Peacock / whatever else is out there.

At that point, the studios will do some math and if the profit they’re making from streaming outweighs the profit from the box office, theaters won’t have much of a leg to stand on. That is, unless audiences continue to demand theaters be a relevant part of the movie watching experience. Without considerable innovation on behalf of the theaters, though, I question how likely that is to happen.