So….. My brother and I randomly sat down to try our hand at a podcast!
Sadly, I think I derailed some of the finer points he was trying to make, but oh well, it was fun to make.
Here’s hoping we do it again sometime!
February 27, 2015 • 4:21 PM 2
So….. My brother and I randomly sat down to try our hand at a podcast!
Sadly, I think I derailed some of the finer points he was trying to make, but oh well, it was fun to make.
Here’s hoping we do it again sometime!
November 5, 2011 • 5:36 PM 0
I didn’t plan on dividing this post over 2 days, but as fate would have it, I just had too damn much to say!
That being said, today we’ll be continuing our look at some of my favorite works of composer Reijiro Koroku.
As I’ve mentioned elsewhere on this blog, my cousin back in Hawaii turned me on to the Guyver manga way back in the day, and ever since it’s served as a huge influence on my creativity.
Something about the incredibly detailed, yet purposely hoaky character designs, combined with the darkness and severity of the storyline resonated with me in a way that makes me hopeful the manga will eventually reach a logical conclusion.
On that note, when I first found out that a Guyver anime existed way back in the day, you can sure as hell bet I went out of my way to track it down as soon as I could.
Unfortunately, as it turns out the 12 part OVA series was actually kind of ho-hum, even by the standards of an impressionable grade-schooler.
The voice cast was pretty good, and the animation was decent if not inconsistent, however the plot was an absolutely horrid distillation of the source material, cutting short many memorable sequences, and outright ignoring a number of important story beats.
Oh yeah, and unless you want to see some of the most hideous animation ever put to film this side of a budget hentai, then you’ll probably want to avoid even looking at a single frame of episodes 7 and beyond.
Seriously, I loves me some Guyver, but that was some ugly shit.
That ugliness aside, much like the not-always-so-fondly-remembered Godzilla 1984, the Guyver OVA just happened to benefit from an incredible soundtrack courtesy of Reijiro Koroku.
Though the music is stylistically very similar to his work in Godzilla 1984 just a few years earlier, Koroku’s Guyver soundtrack incorporates synthesizer and electric guitar in many of the tracks.
What can I say, it was the late 80’s and synthesizers were very much “in” at the time.
That’s not to say Koroku’s more electronic approach to the Guyver soundtrack was at all a poor choice.
Heavily inspired by tokusatsu heroes like Kamen Rider and Kikaida, Guyver’s inherently tragic character and brutally violent atmosphere made the property a perfect match for Reijiro Koroku’s potent melodramatic style.
Just give a listen to probably my favorite track in the series, included in the first third of this video, to see what I mean:
Once again brooding and downright creepy at times, Koroku’s score for Guyver shows a great deal of restraint for what basically amounts to a superhero story, however in many ways I feel this is it’s strength.
Like chanbara films of old, the style of action present in Guyver is largely efficient, with each movement and attack being distinct as opposed to the more repetitive style found in Dragonball Z among other things:
I sincerely apologize if you were dumb enough to watch all of that.
Because of this, the music actually benefits from keeping it’s crescendos in check, as otherwise the music would overpower the intensely violent, but relatively low energy nature of the onscreen action.
This track, once again featured in the first third of this clip, serves as perhaps one of the better examples of how Koroku’s powerful, but relatively lax music could effectively supply the series with solid action beats:
Despite how much I love the soundtrack for Guyver, the one downside to it is that the score is very limited in terms of breadth.
Composed largely in suites intended to be recycled throughout the series, the music is quite beautiful by itself, but loses some of it’s luster when heard in the OVA, as the tracks become repetitive after a time, and as such, lose their distinction and sense of place.
Even so, the Guyver OVA soundtrack was once of the first import CDs I ever purchased, and to this day I’m glad I picked it up.
An RTS set in the Japanese warring states period, Kessen was a big hit that enjoyed several sequels, however it’s not one that I ever really got caught up in.
Chances are I was to busy playing garbage like Street Fighter EX 3 to give a shit about Kessen.
Despite my lack of appreciation for it, Kessen’s music was a whole ‘nother story altogether.
Truth be told, much like was the case with Noozles, I wasn’t aware that Koroku had done the soundtrack for Kessen, however when I did learn of this, I was not at all surprised given his track record.
Booming and proud, the soundtrack for Kessen brings to mind Koroku’s military marches for Godzilla 1984:
Lacking the brooding tone of Koroku’s previous works mentioned earlier, the Kessen series had an appropriately colorful sound to it, though one that was quite dignified despite it’s epic scale and over-the-top design aesthetics.
It’s funny, hearing this music again kind of makes me want to go back and actually give Kessen a try.
Based on what I remember hearing of it, I doubt I’d be disappointed if I did.
Anyway, that’s about everything I could think of to say about Reijiro Koroku.
Hopefully you learned something over these past 2 days, and if not, at least you got to hear to some nice music!
November 4, 2011 • 8:12 PM 4
It’s funny, amidst all the bitching I’ve been doing lately about my lack of inspiration for writing new posts, it dawned on me recently that I’ve neglected to cover one of the most obvious topics available to me:
My music library.
Most of the music I collect and listen to comes from movie and videogame soundtracks.
I think my interest in soundtrack music spawned from my having spent my childhood watching lots of movies with heavily thematic scores from an early age.
In particular, I think the iconic, and almost overbearing style of background music found in all the Godzilla movies I used to watch was largely responsible for me having grown up a “hummer.”
For as long as I can remember, I’ve always taken good care to open my ears when watching movies; taking stock not just of the movie itself, but of the music that accompanies each scene within it.
That being said, in comparing my music library to that of some of my friends, it dawned on me that; like seemingly everyone in the digital age, the music in my collection differed extensively from most of the people I knew.
Because of this, I figured it might be fun if every now and again I took a moment to root through my collection and do a post on a particular composer you might like to know about.
I don’t intend for these posts to be biographies, as I honestly don’t know even know what most of the composers in my collection even look like, let alone what they’ve done in their personal lives, but I do hope to at least highlight the works of theirs that I am familiar with.
On that note, for absolutely no reason other than the fact that I mentioned Godzilla earlier in this post, today we’ll be kicking off this new series of posts with a look at prolific Japanese composer: Rejiro Koroku.
It’s funny, the earliest instance I can recall hearing the works of Reijiro Koroku, was one that I honestly wasn’t aware of until just now.
All I remember about the show was the theme song, and the fact that it involved painfully cute stuffed animal koalas that would come to life if you rubbed your nose against theirs.
Well, for what it’s worth, a quick IMDb reveals that the composer of Noozles was Reijiro Koroku.
I don’t remember a single note of the show’s soundtrack outside of the catchy-ass English theme song; but according to history, Noozles was the first composition of his I ever heard, even if I didn’t know he did it until just now.
Fun facts aside, the first, and easily most impactful instance in which I ever truly experienced Reijiro Koroku’s music, was in Godzilla 1984.
Many look upon Godzilla 1984 as a plodding and largely unimpressive entry in the series, however my appreciation for it has grown over the years.
That’s not to say I always looked upon it in a positive light.
In my youth I can recall feeling Godzilla 1985 (that’s the version we got in the U.S.) was a little bit boring, however that was also back when I was young enough to have felt it was also kind of scary.
What can I say, I grew up with Godzilla as my hero, so my tiny 6 year old brain had some trouble wrapping itself around the concept of Godzilla being a nasty bad guy that maliciously stepped on security guards.
Looking at Godzilla 1984 as and adult though, it’s much easier for me to appreciate the unrivaled scale of the miniatures, the atypically topical/political nature of the story, and the oddly designed, but mechanically impressive Godzilla suit.
As you might have guessed, on top of all of this, Godzilla 1984 has an absolutely beautiful soundtrack.
In stark contrast to virtually every other Godzilla soundtrack in history, Godzilla 1984 has a hauntingly brooding and melancholy sound to it that is downright chilling at times.
Just give a listen to the opening theme/Godzilla’s theme:
As the first film in the Heisei series of Godzilla films, as well as the first Godzilla film produced following a near 10 year hiatus, Godzilla 1984 was a big-budget (by Japanese standards) film meant to formally usher the character into the modern era of sci-fi.
Like many other tokusatsu compositions, Koroku’s use of brasses is bold and almost outlandish by Western standards, however at the same time his music has an elegance to it that goes a long way towards legitimizing the inherent melodrama of it’s sound.
While rarely pulse-pounding, the music in Godzilla 1984 covers a great deal of the emotional spectrum, with many of the more peaceful tracks embodying an almost Gershwin-like romantic quality:
The military themes embodying a boldly triumphant quality of strength:
And Godzilla’s cues coming across as malevolent and downright demonic at times:
Curiously enough, though one of the highlights of the soundtrack is one track in particular that is actually quite successful in it’s capacity to tug at your heartstrings:
One of my favorite aspects of the soundtrack, and one that I can’t quite explain, is it’s “clarity.”
I don’t know if it was a result of a special recording process, but for whatever reason, Godzilla 1984’s orchestra comes across as bigger, louder, and “clearer” than what I’m used to hearing in films.
I have no idea how this incredible effect was achieved, but one thing’s for sure, I wholeheartedly approve.
That being said, I figure I should finish today’s post with a nod to my favorite tracks from Godzilla 1984.
Truth be told, the “Main Title” and “Self-Defense Force” tracks embedded above are actually some of my favorite tracks, however my all time favorite has to be the theme of Super X:
Like I’d imagine was the case with most kids, Super X’s scenes were easily my favorite part of the whole movie, and as such; I feel it’s only fitting that it was bestowed with one of the better compositions as it’s theme music.
Godzilla 1984 was the first Godzilla movie in 30 years to feature no other monsters besides the Big G, and as a result, I’m guessing the Super X was inserted into the film, not just because it was fucking awesome, but because Toho likely felt the movie needed something for Godzilla to fight that was plausible, yet wouldn’t crumble in a single blow.
Unfortunately, the Super X, as resilient as it was withstanding a whopping 2 doses of blue nuclear death breath, displayed a severe weakness in the form of being vulnerable to having skyscrapers dropped on it’s hull:
Check back tomorrow for Part 2!
October 19, 2011 • 7:56 PM 1
I never thought I’d say this about a Godzilla comic, but goddamn this comic was preachy.
Godzilla, and indeed many giant monsters over the years, have often carried with them an air of social/political commentary, be it cautioning the world against the use of nuclear arms, or the dangers of bureaucratic obfuscation I.E. The Host.
While these messages aren’t always at the forefront of things, the symbolism that crops up from committing a giant radioactive dinosaur from the South Pacific to film or print is undeniable.
While Godzilla is one of the more malleable pop-culture characters in all of history, serving as a symbol of everything from nuclear deterrence to a hero to all children; I never thought I’d see him used the way he was in IDW’s Godzilla: Kingdom of Monsters.
I’ve been watching Godzilla films since the cradle, and naturally I grew up reading Dark Horse’s Godzilla comics during the early 90’s.
While no other Toho monsters or characters were featured in the Dark Horse comics, with the exception of a few less than stellar issues here and there, I found that these comics paid homage to the spirit of Godzilla about as well as anyone could ever hope.
Perhaps more so than anything else, I found myself blown away by the writers and artists of Godzilla: Kingdom of Monsters’ complete lack of respect and understanding for the character.
Over the course of 4 issues, I found myself utterly flabbergasted at the writer’s inability to satisfy even the least of my expectations for a Godzilla comic book.
Despite the book’s claim to being the first American comic to license the rights to use monsters from Toho’s stable other than Godzilla, a claim I don’t dispute; the fact of the matter is, within this first collected edition the writer’s did little to flex their muscles in this regard.
That is to say, despite featuring 4 monsters within as many issues, with the exception of a few pages at the very end, there was no interaction between any of them.
I’m sorry, but as much fun as it can be to watch Godzilla step on buildings, or watch Anguirus bounce around in the desert; at the end of the day we all pay to see the monsters fight and/or team-up.
The fact of the matter is, right from the start Godzilla: Kingdom of Monsters paints itself as a tongue-in-cheek comedy.
I don’t know if it’s a cultural difference in the form of the Western mind being unable to treat a larger than life character like Godzilla with any sort of seriousness, but personally I found this interpretation and use of the character to be horrible misguided.
The way Godzilla and the other monsters are used in this story, as mobile natural disasters and calamities that are talked about (endlessly) and cut away to rather than given any sort of spotlight; it’s as if you could have made the exact same comic without paying out the nose for the licensing fees.
Or without featuring any monsters whatsoever for that matter.
Sadly, the entire book seems to be more interested in playing itself off as a pop-culture satire rather than an homage or addition to the legacy of Godzilla.
Allusions are made to the Godzilla mythos, in the form of a pair of psychic French twins that are clearly supposed to be an “evil” version of the Shobi-jin, who are featured in exactly one panel, as well as the use of Anguirus’ “soccer ball” maneuver from Final Wars as an odd form of locomotion; but at the end of the day pop-culture asides make up the majority of the page count.
Why anyone would think a comic based on a pop-culture property would feel it wise to make said comic a send-up of other pop-culture properties is entirely beyond me.
Sadly, these caricatures serve as perhaps the closest thing the entire book has to actual characters, as outside of numerous joke characters, I couldn’t name a single character with any sort of depth or longevity; including the monsters.
If that weren’t bad enough, the story, or what little there is outside of talking heads mulling on and on about the monsters instead of us actually seeing them in action, is horrible disjointed and tonally unbalanced.
While most of the story is devoted to watching Obama be profane AKA “funny,” or watching short-lived joke characters/stereotypes get picked off by the monsters, there are in fact a few serious moments here and there that fail to illicit any sort of emotional response due to the goofy events that sandwich them.
For instance, there’s one scene where a Japanese fisherman becomes a suicide bomber in an attempt to kill Godzilla that could’ve meant something to me, had his character been featured in more than 5 panels, and had the story not been mired in referential pop-culture humor.
Perhaps the weirdest instance of unwarranted seriousness though, is the addition of perhaps the only character in the entire 4 issues, a decorated U.S. soldier.
This character is supposed to be solemn and worldly, but really, I’d imagine he sounds like me or any other whiny, 20-something year old boy that tries to speak out about the “serious issues” in life.
Trust me, there’s a reason I don’t write about politics/world events on this blog…
That is to say, his character is used, for whatever reason, to condemn and damn the vapid consumerist youth culture propagated by spokespeople like the Jersey Shore folks.
While I see the validity of his and what I’d assume is the writer’s viewpoint, the fact of the matter is, I have no fucking clue what place this sort of preachy-ass bullshit has in a Godzilla comic.
Wrong fuckin’ time, absolutely wrong fuckin’ place my friend.
While I’m sure the team behind Godzilla: Kingdom of Monsters was indeed hoping to build some sort of legitimate story with the license, in my eyes they absolutely failed in that task within what should’ve been a more than reasonable 4 issues.
Whatever success they go on to have with subsequent stories won’t change the fact that they seriously dropped the ball with their first book.
Despite all the flaws in the plot and characterization, I feel I should make mention of the less than stellar art.
While the covers are absolutely fantastic, (included in fold-out form in the collected edition) the interior art by Phil Hester is of a monochromatic and almost mosaic-like style that isn’t my favorite.
The inking lacks character, and while many of the monsters are rendered well, much better than the humans anyway; there’s very little life to be found in their posturing and framing… Especially when the script doesn’t allow them to do anything outside of molest buildings.
Excuse me, “destroy” buildings.
In all, the intensely black shadows and monochromatic style of the art seems better suited for a noir story than a tongue-in-cheek monster story.
It’s sad really, as if you’ll recall, I was actually quite excited for Godzilla: Kingdom of Monsters.
Oh well, at least now I know that if I ever want to read a Godzilla comic, my best bet is to save my money and dig up my old Dark Horse issues.
October 18, 2011 • 7:05 PM 2
It’s been more than 5 years now, but Garo is finally back on Japanese television!
For those who are unaware, (and I know there are lots of you) Garo was a tokusatsu series that came out back in 2005.
In many ways, you could call 2005 my own personal perfect storm of dorky self-discovery.
That being said, I think a lot of what got me to start following tokusatsu shows again, was the superb level of quality that many of the shows around the mid-2000’s represented.
In my eyes, other than the older shows like Ultraseven, Ultraman has never been as good as it was with Nexus.
That being said, as much as I loved these shows at the time, in my eyes it was a brand new series, Garo; that represented the cream of the crop.
Boasting superior production values, a more serious tone, a strong cast, and a surprisingly deep universe; Garo was the show that kept me coming back to tokusatsu despite several consecutive years of less than stellar programming.
*Sigh* Few shows excelled in the realm of suck-age and melodrama than did Ultraseven X…
I think a large part of what made Garo so special, was the fact that it was the product of director/writer/artist Keita Amemiya’s truly wondrous imagination.
Over the years I’ve seen nearly all of Amemiya’s movies, and while many of them are poorly scripted and acted, the man’s art design remains some of my favorite in all of film.
I’ve always said, if there was one director I’d like to see be given a chance to work with a Hollywood budget, it’d have to be Keita Amemiya.
That being said, Garo represented a rare occasion wherein the script, costuming, and effects all came together exceptionally well.
The characters were memorable and arched very nicely, and unlike many tokusatsu shows that run out of steam later in the series, the 25 episode length proved to be just about perfect, even if the last episode turned out to be 30 minutes of pure action.
Not that I have a problem with that sort of thing.
In the intervening years since Garo wrapped, a pair of movies have been released, but no series was announced until a few months ago.
The first of these movies, the 2007 Beast of the White Night, stands as perhaps the crowning achievement of the franchise.
It’s action-packed, accessible, concise, exceptionally imaginative in terms of effects and stunt work.
The second movie, the 2010 3D film Red Requiem, is currently on my hard drive, though I have yet to watch it.
I’ve heard it’s kind of a misstep when compared to the level of quality yielded by everything that’s come before it,
When everything else in the franchise is nothing short of “excellent” though, I’d be curious to see what a “misstep” looks like.
That being said, as of a few weeks ago, Garo has returned to Japanese television in the form of Garo Makai Senki AKA Garo Supernatural Chronicles.
I’ve only watched the first episode so far, but it appears the series is on track for greatness once again.
The original Garo hit it’s stride for me around episode 7, and then only continued to get better from there, especially in episode 9 when they finally gave the character a bad-ass theme song… And a horse:
So far Makai Senki is a little on the slow side, definitely making more use of the horror elements in it’s storytelling than the action, but time will tell if it ascends in quality from here or not.
Regardless, I’m just glad Garo’s back, as now I finally have something to fill the tokusatsu gap in my life.
I gave up on Kamen Rider after Den-Ou on account of every show sucking balls after that.
I gave up on Ultraman ’cause frankly, they don’t make Ultraman shows anymore, just silly, over-budgeted movies.
I never gave up on Garo though, so here’s hoping they didn’t give up on me.
September 24, 2011 • 10:23 PM 0
I know what you’re thinking:
“Who’s Kevin Riepl?”
Well, to be perfectly honest; I have absolutely no fucking clue.
That is, outside of knowing him as the man responsible for composing the first Gears of War soundtrack, I’m really not familiar with his body of work.
IMDb-ing him (IMDb track videogames? Since when?) brings to light the fact that he has some strong ties to Epic Games, in the form of contributing soundtracks to several entries in the Unreal Tournament series.
Despite being familiar with most of these games, I can honestly say their music failed to leave an impression on me.
Probably because I ever recall of the Unreal games, at least from an audio standpoint; is this:
That being said, ever since I first played it, the Gears of War soundtrack, more specifically the main theme of the game; has always stood out to me as one of the better and more memorable game soundtracks out there, particularly in the modern era where games tend to favor ambient tunes over more thematic ones.
If you haven’t heard it before, then you’re in for a treat:
Imagine my surprise when I discovered neither Riepl, nor his brilliant theme music would be returning for any of the Gears sequels.
I may be in the minority on this, but I grew up watching James Bond and Godzilla movies by the truckload, movies that have managed to go 50+ without ditching the legendary themes that helped cement them in our minds as the film classics that they are.
Like many people, I grew attached to those themes and have come to associate them as aspects of the characters they were written for.
Sure, there were occasional moments in time when the themes were cast aside for a movie or 2, but at the end of the day they would always come back somewhere down the line.
While I’m probably wrong, my gut tells me that Epic contracted his services likely due to a combination of their incredible financial success with Gears 1, as well as Jablonsky’s newfound mainstream fame due to his involvement in the live-action Transformers film.
Maybe it’s just me, but in picturing a bunch of newly wealthy videogame nerds getting geared up for their big sequel, I could honestly see them ditching their in-house composer in favor of succumbing to their own dorkiness and hiring “The Transformers Guy” on a whim.
I’m sure that’s not how it actually went down, but I have my suspicions…
Anyway, while Jablonsky did a terrific job with the franchise following Riepl’s departure, in truth I kind of wish he hadn’t ejected the original theme music in favor of his own take on it.
Give it a listen and see what you think:
I would never consider this theme to be anything less than “good,” but there’s just something about it that feels “weaker” and less engaging.
Don’t get me wrong, Jablonsky’s a great composer, but there are just some elements to the style of his militaristic soundtracks that rub me the wrong way.
While it could just be me still being bitter over the complete and utter failure of Transformers 2 and 3 in living up to the even the slightest of expectations, in general I’ve found his work on those movies, as well as the Gears series; to be somewhat pretentious and/or melodramatic.
Maybe it’s just me, but I feel both the Gears and Transformers franchises tried way too hard to insert unwarranted emotion and drama into stories that were truly devoid of any.
I prefer my Gears minus the extra helping of “Dom and Maria” thank you very much.
Back to Jablonsky.
He does a wonderful job of creating a mood and a “feel” to the music in such a way that it seems to fit the “texture” of the imagery it is meant to be played over, but his incessant use of choirs and Dark Knight/Inception style droning really feels a bit overbearing to me.
His soundtrack or Gears 2 was solid, especially in terms of the action cues, but far inferior to the original in terms of the overall strength and memorability of it’s themes.
While I haven’t played the game as of yet, in listening to the soundtrack for Gears 3, I can honestly say I like it better than the second.
Check it out:
The choirs are less, uh, “manly,” such that the music is much more graceful/lyrical, and less like a rehash of the droning Decepticons theme from the Transformers films.
Even so, despite vastly improving his theme for the game, I still maintain that the Jablonsky theme of Gears 3 is inferior to Riepl’s original.
I acknowledge that Jablonsky’s compositions are quite good overall, and that I very likely could just be being a sourpuss about all this; but in my opinion they should have never changed composers.
July 26, 2011 • 6:31 PM 12
*Caution! This article contains spoilers for ALL of the live-action Transformers films!*
Before you lose your shit and start calling blasphemy at the title of this post, please take heed and understand the face that the above phrase is only in reference to the live-action Michael Bay version of the character.
I grew up watching the original Transformers.
Optimus Prime was, and is; one of my biggest heroes.
That being said, after (finally) watching Transformers: Dark of the Moon, I can honestly say, with an absolute degree of certainty; that Michael Bay’s take on the character barely qualifies as a “in name only” representation of the original Optimus Prime.
Watching Optimus Prime evolve, or should I say, degenerate; from film to film has been a horrific and sickening process.
The original character of Optimus Prime was that of a regal and clean-cut goody goody.
He was noble to the point of being kind of a tool, he rarely was at the forefront of combat, deferring most of the dirty work to his Autobot cohorts, and in every case, regardless of how practical it may be; he did whatever he could to stand for peace and altruism.
He was an admirable role model for impressionable young children, and one that, in a perfect world, would still hold up to this day.
The first live-action Transformers movie, a mediocre film overall, but easily the best of the trilogy; took many liberties with it’s interpretations of many of the Gen 1 characters, however when it came to Optimus Prime, it mostly got it “right.”
In Transformers 1, Prime was every bit as regal as his old self, with the sole exception of a few uncharacteristically goofy moments.
One of his finer moments in the film came at the very end, when Prime attempted to sacrifice himself and the All-Spark.
He never once suggested using it to destroy Megatron, nor did he ever seem at any point prepared to outright kill his lifelong rival.
While his character was never developed to the point in which anyone could really care about him, it was nonetheless very appropriate to have Prime mourn the death of Jazz at the film’s conclusion.
Really Prime’s only really odd moment was during his battle with Bonecrusher, wherein he basically decapitated the severely outmatched Decepticon without giving it a second thought.
While somewhat shocking, dealing with his opponent at the time, quickly and efficiently; was cause enough justify Prime’s course of action.
Even so, while it was cool to see Prime cut loose and kick-ass, it’s hard for me to associate the phrase “stone cold killer” with him.
Which brings us to the train wreck that is Revenge of the Fallen.
Probably the worst in the trilogy, Revenge of the Fallen’s version of Optimus Prime was worse than the first film, but in my opinion; not quite as bad as the 3rd one.
Not all too different from his Transformers 1 counterpart in speech and mannerisms, the one really noticeable change in his character came in the form of a gung ho, “kill them until they die from it” attitude.
I’m guessing it makes me sound like a pussy to say so, but I was downright shocked to see Optimus blow Demolishor’s head off at the beginning of the movie.
While far from the dumbest or most offensive sequence in the movie, seeing a childhood hero think nothing of executing a defenseless opponent just seemed really fuckin’ wrong to me.
Similarly, it came as a shock to me that Prime would brutalize and utterly obliterate The Fallen at the film’s conclusion.
The world was no longer in danger, and in his “Super Saiyan Prime” form, The Fallen seemed to be no match for him; so in my mind it seemed kind of odd for Prime to go the extra mile to butcher and obliterate his opponent.
I’m not at all opposed to killing in Transformers movies, however I do take offense to unjustified killing via the hands of Optimus Prime.
Killing Blackout during the 3-on-1 battle in the forest (arguably the best scene in any of the movies) came as a result of necessity I.E. defending himself and more importantly, Sam.
Decapitating a defenseless, and largely incapacitated opponent, was hard to justify outside of appealing to a bloodthirsty audience.
There was a phrase that Prime tossed around in virtually every episode of the old TV show, namely that of “Easy, Ironhide.”
This phrase was meant to separate Prime from his more bloodthirsty counterpart.
The phrase was used in Transformers 1, but somewhere down the line they decided to ditch it and the philosophical implications it brought to the table.
That being said, while Prime was obviously trending towards a more bad-ass persona in Revenge of the Fallen, in my eyes they took this much too far in Dark of the Moon.
Prime’s role in Dark of the Moon was somewhat diminished in comparison to the previous films in the series, however his behavior in the 3rd film was borderline offensive.
First off, and this applies to all of the Autobots; I found the idea of the Transformers rallying behind the U.S. military to combat terrorism to be more than a little insulting.
Throughout every film, Optimus Prime has declared himself to be an ally of humanity, making it completely absurd that he and the other Autobots would seemingly align themselves exclusively with the U.S., a single nation among hundreds of others.
I know these movies have obligations to portray the U.S. military in a certain way, largely due to multi-million dollar contracts with the armed forces; but attempting to trick kids into believing they’ll get to hang out with autonomous transforming robots when they sign-up is more than a little offensive.
Oh well, at least it’s not as dumb, or as blatant as Taiwan’s military ad campaign:
Moving on, it’s hard to deny that Prime’s gung ho/take no prisoners attitude from Revenge of the Fallen was turned up to 11 for Dark of the Moon.
Gen 1 and first film alum, Ironhide, as well as a handful of other Autobots are killed in the film, however at no point does Optimus Prime take a moment to reflect on their passing.
The death of any Autobot is always going to be a big deal, but for IRONHIDE, one of the most well known and beloved characters in the franchise to pass on without acknowledgment; is pretty fuckin’ lame.
What’s also pretty fuckin’ lame is hearing Optimus Prime arrive at the battlefield and declare bullshit G.I. Joe phrases like:
That’s a direct quote by the way.
I don’t care how many civilians the Decepticons kill, to hear the venerable leader of the Autobots order a fuckin’ genocide on the opposition is just plain fuckin’ wrong.
To make matters worse, Prime once again can’t seem to stop himself from killing everything in sight.
Countless (generic) Decepticons meet their fate at the hands of Prime in Dark of the Moon, however the really offensive deaths come at the film’s conclusion.
At one point Megatron proceeds to offer Prime a truce, whereupon Prime interrupts him and proceeds to tear his fuckin’ head off.
Following this, a mortally wounded Sentinel Prime crawls about on the ground and begs for his life, whereupon Prime interrupts him and proceeds blow his fuckin’ head off.
Apparently, negotiation is not one of the Autobot’s strong suits.
I don’t know about you, but shit like this grinds my motherfuckin’ gears.
It’s like the equivalent of a grossly unwarranted and unexpected heel-turn of a beloved face in wrestling.
The only difference is, in wrestling shit like that usually ends up paying off in the long run.
Corporate Rock, while hard to swallow in the first few months, was one of his better moments.
G.I. Kill-Master Prime, as well as any of the live-action Transformers films, will likely continue to be shitty as ever 10 years from now.
Anyway, I won’t be writing a review for Dark of the Moon, (it sucked) but I felt I needed to pound out this article, because I genuinely felt that this interpretation of the character was entirely “wrong.”
Oh well, I guess this is the kind of shit you have to expect from movies when the military is heavily invested in their making, the countries’ been at war for over a decade, and kids have been living off Call of Duty games and their imitators for the past 8 years.
July 16, 2011 • 8:46 PM 1
(Photos courtesy Infinitehollywood.com)
As anyone who’s read this blog before already knows, I’m a pretty huge Godzilla fan.
I grew up on his films, I played with his toys before I could even speak; and to date he remains one my biggest heroes in all of cinema.
That being said, in my youth I had the bright idea to try and do a stop-motion Godzilla movie of my own.
I was maybe 11 or 12 at the time, but even then; I had standards for my work in the medium.
… I was kind of a weird kid.
Simply put, I found that, given the resources at my disposal; a Godzilla stop-motion was out of my reach due to the inarticulate nature of virtually every figure of him I owned or knew of.
Given that I’m not much of a craftsman, construction of my own custom figure is, and will likely forever be; an impossibility.
That being said, recently I discovered an article concerning the upcoming release of a brand new, super-articulated Godzilla figure from Bandai’s superb S.H. Figurearts series.
While Kaiyodo’s much lauded Revoltech series of toys dipped into the Toho universe of characters, after several years of waiting on the release of an actual figure of the Big G himself; I think it’s safe to say that the licensing rights may have been passed to Bandai.
Anyway, based on the photos I’ve seen, the S.H. Figurearts Godzilla figure, as well as it’s accompanying Heisei Mechagodzilla figure; looks as detailed and poseable as one could ever hope for.
The articulation in the neck and head alone strikes me as being more fully featured than the entirety of perhaps any other Godzilla toy I’ve ever owned.
Anyway, I realize this likely isn’t exciting news for all that many of you, but it means a lot to me.
Even though this 6″ beast is more than a little overpriced, the idea of finally being able to fulfill a childhood dream; no matter how childish and inconsequential, is something that I feel would more than justify the expenditure.
July 8, 2011 • 8:12 PM 5
I’m a lover of movie scores.
Something about the way movie soundtracks are arranged just makes the music stand out to me as something special.
I’ve always liked the “big” sound of an orchestra, but the one reason I rarely listen to classical music; is because I have trouble drawing emotion from it.
Movie soundtracks are typically composed with the intent of harmonizing with the visuals they accompany, and in many cases; one simply would not be the same without the other.
I’ve always made it a point to pay attention to the music in films, and doing so has resulted in me seeking out a vast library of movie soundtracks.
Seeing as this is me we’re talking about, it should come as no surprise that the vast majority of these soundtracks are dumb action movies, kung fu movies, and/or old cartoons.
Nerd-gasm aside, while it’s hardly the best soundtrack I’ve ever heard, I feel I need to point out that, from the 14 minute sample I’ve heard of it; Captain America The First Avenger sounds pretty damn good so far.
Composed by industry legend Alan Silvestri, the Captain America soundtrack makes great use of his signature sound, both old and new.
On the “old” front, Captain America has some marches and cadences that borrow somewhat from Silvestri’s work on Predator, while the “new” aspect of the music, primarily the more uppity synthesized segments; draws comparisons to the composer’s work on Van Helsing.
Yes, I am aware Van Helsing was an epicly shitty movie; however few can deny the soundtrack had it’s moments.
The movie, sadly; did not.
Boasting a bombastic, and appropriately militaristic feel; the soundtrack sports Silvestri’s trademark heavy brass, but also makes subtle use of synthesizers; such that end result feels very much like a period piece, but with the energy of a modern summer blockbuster.
The 14 minute sample I was fortunate to get a chance to listen to contained several arrangements of a few different cues, one that I feel comfortable assuming was one of the central themes of the film; and one that had to have been an action cue.
Curiously enough, parts of it feel kind of like The A-Team theme, (minus the BADASS electric guitar solo) which Alan Silvestri recently remixed for the feature film adaptation:
Really now, did I seriously need an excuse to embed that clip?
Didn’t think so.
Anyway, truth be told the “theme” feels kind of weak when compared to the greats of the past, however it’s far stronger than Patrick Doyle’s work on Thor, which in my eyes was one of the summer’s biggest missed opportunities for producing a great action movie soundtrack.
That’s not to say the Captain America “theme” is all that great, it’s not; it’s merely good.
I think it’s biggest weakness is that it comes across as somewhat generic, largely because it’s “militaristic feel” overshadows the fact that it’s supposed to be the theme music for an individual.
When I listen to the “theme,” I get images of Americana and WWII stuff, but sadly I don’t get any pictures of Cap’ wearing his goofy blue costume.
Not that I have any idea of how one would compose music to convey such imagery in the first place.
Wow, that brought back some memories… Mostly bad.
Moving on, the action cue from the sample was actually quite good.
Energetic and colorful, the action cue feels like a mix between Silvestri’s great work on Beowulf, (minus the overbearing choir) and his equally great work on The Mummy Returns; however composed at a much faster clip.
Truth be told, the cadence of the music leads me to believe part of it was arranged with the train sequence from the trailer in mind; however I could be, and likely am wrong on that.
In any case, I like what I’ve heard thus far, and truly hope the movie ends up yielding a similar reaction from me when I finally get to see it next month.
Post a comment if you’d like a download link to the Captain America sample soundtrack!
July 5, 2011 • 9:41 PM 6
Just so we’re clear, I haven’t actually seen Transformers 3 yet.
I will see it eventually though, mostly out of obligation.
Sure, seeing the first 2 in theaters is a pretty good reason to do the same for the third, but in all honesty; it’s my lifelong passion for the Gen 1 cartoon that keeps me coming back to the Michael Bay movies, regardless of their overall level of quality.
Reviews and opinions mean close to nothing to me at this point, so don’t bother trying to dissuade me from wasting my money or what have you.
If it’s got Optimus Prime in it, doing anything vaguely Prime-like, it’s my civic duty to go see it.
Fan boy-i-ness aside, I’d like to change the subject of this wildly unfocused post, and draw attention to something I stumbled across on Topless Robot.
What the fuck is up with the stock footage Michael Bay!?
In this day and age, where blockbuster movies routinely cost upwards of $100 million to produce, are we to believe that Paramount and Michael Bay were forced to cut corners to the point of cannibalizing their own films from only 6 years ago I.E. The Island?
The use of stock footage, in films of all budgets is pretty much standard practice, but even so; this just seems kind of lame from an artistic standpoint.
I mean, if you’re going to strut around town calling yourself the “Cars, Asses, Explosions, Racial Stereotypes and Sunsets Guy” wouldn’t it be in your best interest to go balls out and stage your own shit for every movie, rather than, I don’t know; STEAL FROM YOURSELF?
Oh well, from a technical standpoint it makes sense for Mr. Bay to borrow footage from his own films.
As many personal touches as the man is known to add to his films, color correction is probably the most noticeable, meaning it would probably be easier to match stock footage from pre-existing movies in his filmography as opposed to grabbing someone else’s and having to color correct the shit out of it.
Anyway, as much as this sounds like a pissy rant, it’s really not.
From what I understand, these 2 shots are the only instances of cannibalized stock footage; (not counting the truck load of military footage) and really that’s not too bad.
Truth be told, I’m used to far worse.
I grew up watching movies like Godzilla vs. Gigan, which made extensive use of stock footage from previous Godzilla movies.
Hell, virtually every Godzilla movie of the 70’s was produced on the strength of special effects footage ripped from Toho’s film libraries.
And that’s not to say this practice was only restricted to the Japanese film market, rather it was; and largely still is, common practice in virtually all film markets, big and small alike.
Take for instance, Hollywood in the 1950’s:
That, ladies and gentleman, was Bela Lugosi… Uh, saying stuff, while pretending to look upon stock footage of a busy street.
The only reason the use of stock footage in Transformers 3 stands out at all, is because the footage is borrowed from the director’s own filmography, and is still relatively “fresh” as opposed to the more typically employed public domain type stuff.
Borrowing from nature documentaries and military archives is one thing, but outright stealing tailored and personalized shots from your own filmography, and then compositing special effects over them is indeed quite low.
Oh well, it’s not like this is something that’s going to offend anyone on a personal level or anything.
At most, it just reflects poorly on Michael Bay and Paramount, making them look lazy and/or inept.
In any case, I’m hoping to see the movie sometime soon; and no, I won’t be going into it looking for reasons to hate it.
Here’s hoping Optimus Prime does something cool over the course of 2 and a half hours, as that’s all I’m really asking for!