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Monster Mondays: Godzilla vs. Hedora (1971)

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A fisherman (Yoshio Yoshida) brings an unusual tadpole-like fish he caught in Suruga Bay to Dr. Toru Yano (Akira Yamanouchi).  While Dr. Yano investigates this tadpole, a giant tadpole monster is seen attacking two boats that have collided in the bay.  Dr. Yano goes diving in Suruga Bay to try to find the monster, leaving his son Ken Yano (Hiroyuki Kawase) playing on the shore.  Both Dr. Yano and Ken are injured by the monster, receiving what seems to be chemical burns after coming into contact with the creature.

Dr. Yano discovers the tadpole-like monster can separate into smaller such creatures, or merge with others.  It also seems to grow when it feeds on toxic pollution, with no obvious limit to how big it can get.  Ken suggests naming the creature Hedorah.

Hedorah’s next form, a giant quadrupedal sludge monster, comes ashore and begins inhaling the fumes being pumped out of the chimney of a factory.  Godzilla also comes ashore and engages Hedorah in battle.  Godzilla manages to drive Hedorah back into the sea and disappears into the ocean in pursuit of the monster.

Hedorah soon comes ashore again, this time in a round, flat flying form.  As it flies over Japan, is spews corrosive fumes, suffocating the people below it and dissolving the flesh off their bones.  Godzilla appears and attempts to stop Hedorah, but is also affected by the smog monster’s toxic fumes.

Dr. Yano discovers the only way to beat Hedorah is to dry it out.  He contacts the JSDF and instructs them to build a giant device for that purpose.  The plan is to try to get Hedorah between two electrodes and then quickly dehydrate him.

Hedorah reappears on Mount Fuji in his final form, an upright walking pile of gunk, with Godzilla close behind him.  Godzilla and Hedorah fight as the JSDF quickly puts up the electrodes, but the monsters battle their way through the electrical wires necessary to power them.  As the military tries to repair the wires, Hedorah is lured between the electrodes.  Godzilla blasts the electrodes with his atomic ray, allowing them to power up and start to dry out Hedorah.  Hedorah attempts to flee, but Godzilla flies after him, catching the toxic monster.  Godzilla brings Hedorah back to the electrodes and finishes him off, turning him to dust.

As the 1970s dawned, television was proving to be fierce competition for theatrical films in Japan, and it was beginning to have a major impact on the film studios.  Daiei Film, the company that produced the Gamera series and the Daimajin trilogy, collapsed into bankruptcy in 1971 shortly following the release of Gamera vs. Zigra (1971).  Other studios, like Toei Company, increased the amount of skin and violence in some of their films to levels above that which was permitted on television, allowing them to offer something distinctly different from what was on the small screen.  Nikkatsu Corporation, the oldest Japanese major film production company, went all in on the skin, producing almost exclusively erotic films from 1971 to 1988 in what they called their Roman Porno line.

Massive changes were underway at Toho too, but one thing that stayed the same, at least at the beginning of the 1970s, was that they were still producing Godzilla movies.  Pollution had become a major problem in Japan, and so the decision was made to have Godzilla face a monster that was the result of pollution and smog.  Godzilla vs. Hedorah is not subtle in its environmentalist message, hitting the viewer with images of people and Godzilla suffering disfiguring injuries as a result of contact or being in close proximity to Hedorah.  Human skeletons are left in Hedorah’s wake as he flies over urban areas, his pollution dissolving the flesh off anyone unfortunate enough to get caught underneath as he passes over.  In many ways, this almost mirrors Godzilla (1954) and the powerful way it made its point about radiation and nuclear weapons.

Unfortunately, Godzilla vs. Hedorah seems unsure whether it wants to be a horrific social commentary or children’s entertainment.  Ken Yano plays a key role in the film and Godzilla acts very human-like at points.  Also, near the end of the film, there is a scene where Godzilla flies after Hedorah, using his atomic breath as a kind of rocket propulsion to fly through the air.  The juxtoposition of these more childish elements alongside the graphic injuries suffered by Hedorah’s victims, including Ken himself, gives the film a very uneven tone.

Despite this unevenness, Godzilla vs. Hedorah has gone down as a cult classic.  It’s arguably the strangest Godzilla movie and is bursting with creative imagery, including dancing skeletons, people with fish heads, animated sequences, and a great multi-form monster in Hedorah.  Godzilla vs. Hedorah is not afraid to try new things for the series and is a lot of fun for it.

Godzilla vs. Hedorah was dubbed into English, including the catchy theme song, at Titra Studios in the United States and released in North America by AIP in 1972 as Godzilla vs. The Smog Monster.  Godzilla vs. The Smog Monster was released on VHS by Orion Home Video in 1989 and Simitar Entertainment in 1990.

In 2004, Columbia TriStar Home Entertainment released Toho’s international version of Godzilla vs. Hedorah on DVD.  This version had English on-screen titles and viewers could choose to watch the film with the original Japanese audio or Toho’s own English dub, which had been recorded in Hong Kong.  The international version with the same two audio options was released on DVD and Blu-ray by Kraken Releasing in 2014.  Both the Columbia TriStar Home Entertainmentand Kraken Releasing releases are out of print.  Only the original Japanese version of Godzilla vs. Hedorah is currently available, and it is as part of The Criterion Collection’s Godzilla: The Showa-Era Films, 1954-1975 Blu-ray set featuring the first 15 Godzilla movies.

Belfast: The Movie We Need Right Now

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I was late on the Belfast train.

Oh, I’d heard it was great. I was at TIFF but missed its screening. I had heard from many how lovable the film truly was. With potential Oscars in its sights, the film has remained a constant in conversations for Best Picture since its release. But there’s absolutely no way that Branagh could have predicted how appropriate the film would become, given global circumstances.

No one could have.

Written and directed by Kenneth Branagh, Belfast is the semi-autobiographical tale of his upbringing in Ireland. Transporting the viewer back to the tumultuous riots of 1969, Belfast is told through the eyes of Buddy (Jude Hill), a 9-year-old boy who is trying to make sense of the world. Living in a poverty-stricken area that’s torn between the Catholics and Protestants, Buddy’s father, Pa (Jamie Dornan) work overseas in England in order to support the family. Meanwhile, his Ma (Caitriona Balfe) takes care of Buddy and his brother as they attempt to figure out what’s next for their family.

Branagh’s story of division and rebellion through the eyes of a child is infused with an undeniable blend of joy and sadness that immediately draws the viewer into the story. Yet, despite the fact that the story takes place in Ireland in the late 60s, there’s something so current about Belfast. Whether it’s the invasion of Ukraine or division of US politics in recent years, Belfast connects deeply with the heart of conflict and oppression while still offering a glimmer of hope. 

Frankly, it’s a remarkable balancing act within the script. 

Without ever losing the traumatic effects of issues such as oppression or poverty, Branagh still manages to highlight the innocence of childhood. In other words, whereas most films of this type highlight the brokenness of the era, Branagh chooses instead to balance it with the infectious joy of growing up. To Buddy, the world around him is simply the way things are. What matters most to him are his parents, playing in the street and the girl next door. (It’s telling that the scariest moments for him involve conversations about leaving Belfast or getting into trouble for stealing a piece of Turkish Delight.) There’s a beauty within this that serves as a reminder that life springs up in the midst of our suffering, especially through our children. This may be a world of black and white (literally) yet Buddy’s world still has splashes of colour. 

Buddy doesn’t understand the depth of what’s going on around him but he does try to piece it together. Filtering his understanding of the world through his love of pop culture, everything about this world feels like it becomes clearer when seen through his eyes. (It is no coincidence that the final confrontation feels like it could have been developed from High Noon.) While the fight rages around him, all that Buddy sees (or wants to see) is the love of his family. As such, there’s an honesty about this film that acknowledges the innocence of Branagh’s childhood but also has a reflectiveness from his adulthood as well.

In terms of its home video release, Belfast is surprisingly enticing. On the surface, the film doesn’t dazzle by its inclusion of the traditional deleted scenes and featurettes. However, what’s most exciting is the fact that, not only does it feature an alternate ending that focuses on Branagh’s return to his hometown (as Buddy), but most importantly (and I cannot stress this enough) there’s a director’s commentary. Honestly, I can’t remember that last disc I’ve seen with a quality commentary attached but Branagh is more than willing to delve into his film with charm. As such, this may be a film that actually benefits from its proper home video release by providing the necessary tools to gain more perspective on the film.

While there are no guarantees whether its name will be called on Oscar night, there is little question that Belfast is one of the best films of the year. Popping with life and love, this is a story of hope at a time when we need it most. Yes, trauma is real. Yes, pain is overwhelming. But love still finds a way.

And that is why this is the film that we need right now.

Belfast is available on VOD, Blu-ray and DVD on Tuesday, March 1st, 2022.

No Time To Die: Old Bond, New Tricks

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After over 50 years and twenty-five films, it would be understandable to think that James Bond was out of surprises. But, with the release of No Time To Die, the greatest surprise is that there’s still room to grow.

Directed by Cary Juji Fukanaga, No Time to Die picks up as Bond (Daniel Craig) is living a quiet life with Madeline Swann (Lea Seydoux). After an attack separates the two, Bond moves to Jamaica and attempts to live off the grid. When his old CIA friend, Felix Leiter (Jeffrey Wright) arrives and asks him for his help, Bond reluctantly comes out of his self-imposed retirement to help rescue a kidnapped scientist. However, when a routine mission takes a turn, Bond finds himself in the sights of a mysterious madman who wants to create chaos around the world.

As his final foray into the role of James Bond, No Time to Die provides Daniel Craig with an incredible wrap-up to his series. Let’s not forget that, although he has only made five films, he is the franchise’s longest serving leading man. (In fact, beginning in 2006’s Casino Royale, Craig has been the face of the franchise for almost an entire generation.) In No Time To Die, Craig and Fukanaga deliver a story that not only shows maturity in its lead character, it also demonstrates a self-awareness in its world-building. Featuring characters both old and new, the film is an opportunity to (potentially) pass the baton to the next wave of MI6 agents while still offering all the things that one expects from the franchise. Set pieces remain exotic and explosive. Gadgets are fun and the world is at stake. In No Time To Die, Fukanaga ensures that there is tonnes of Bond fun to go around.

With intensity and solid character development, No Time may be the best final film for an actor in the franchise. Whereas other Bond actors have tried to go out on a high note (or weren’t aware they were being recast), Craig uses the opportunity to wrap up storylines from all of his films. In fact, while it may have gone unnoticed by many, the greatest gift that Daniel Craig may have brought to this franchise is continuity. Over the decades, every other iteration of Bond has told its narratives on a film-by-film basis. While this has worked for one off adventures, it has limited the character from showing any true personal growth. (To be fair, Pierce Brosnan attempted to do some of this character development throughout his films in the 90s but with poor results.) Although other cast members like Desmond Llewelyn and Judi Dench have continued through various Bond iterations, their transitions never included any awareness of the change. 

One day, one actor played Bond… and then, suddenly, another did the same.

However, Craig’s Bond films have taken a decidedly different approach by allowing his exploits to build upon one another. In doing so, Bond has had the opportunity to grow and mature over time. As a result, we have seen legitimate change in the character as he has moved from Royale‘s ‘blunt instrument’ to a man with a heart in No Time. There is a genuine arc that takes place throughout these films as this young and reckless rogue grows into more self-aware and loving character. As such, what we witnessed was a character (and a franchise) born out of the 60s try to find new relevance in the 21st Century. 

And it’s a good thing too.

Over the last 20 years, the world is changed a great deal. From #MeToo to Black Lives Matter to the pandemic, the global community is a very different place than it was at the start of the millennium. While these sorts of inclusions can feel forced, the story feels like its trying to be more honest about the state of our current culture. Strong female characters such as Ana de Armas and Lashana Lynch serve as Bond’s equals. Sexuality stems out of genuine intimacy rather than desire. Inclusion and sexual respect have become a priority for a franchise for the first time. (For the first time, this Bond film does not include a one-night stand for the notorious philanderer!) While the action scenes in No Time are fun and furious, its actually these changes that are the most noteworthy aspects of the story. For decades, James Bond has exemplified masculine power and dominance… yet we now recognize the toxic nature of that same flawed masculinity. 

James Bond is trying to grow up.

Furthermore, what Fukanaga has emphasizes most in this film is that Bond has developed a soul. Throughout the history of the franchise, Bond has been a man who cares only about ‘the job’. Depth of relationships are (mostly) an afterthought as he uses assets ‘for the greater good’ and uses women to feed his ego. (Again, that toxic masculinity rears its ugly head.) While the character has always been willing to sacrifice himself for the sake of his mission, his actions either came off as reckless or even self-serving. Because of this, there has always remained a quiet emptiness within the character that was never addressed. However, in No Time, Bond demonstrates a deeper understanding of himself and even the ability to love. No longer is the man defined by his OO-status. (What’s more, No Time even manages to intentionally separate James Bond from his famed title of 007.) In this way, No Time reminds us of the importance of who he is, not just what he does. 

All of a sudden, Bond doesn’t just exemplify being a ‘man’. He now chooses to explore his own humanity.

As for the disc, No Time to Die looks spectacular in 4K. With its sweeping landscapes and massive set pieces, the film was definitely designed for the big screen but it still looks particularly good on your television as well. In ‘Anatomy of a Scene’ and ‘Keeping it Real’, the disc contains two fascinating featurettes that show off Fukanaga’s desire for practical stunts. In addition, a 45-minute retrospective gives Craig the chance to reflect on his time in the role. While one wishes that a film such as this would include a director’s commentary to really expound upon the film’s secrets, these features are interesting enough to satisfy those who want to get behind the camera.

Although the Craig era is now over, one cannot say that this Bond didn’t go out with a bang. Anchored by wild action scenes and impressive gadgets, No Time to Die is a fabulous finale for his legacy. However, the best part about No Time isn’t the stunt work. As he moves into a new world of gender equality and racial responsibility, Bond admittedly was beginning to feel like an unacceptable relic. Even so, Craig and Fukanaga have managed to bring the outdated world of Bond into our modern era in a way that makes it still feel relevant.

So, despite what people say, maybe you can teach an old Bond new tricks.

No Time to Die is available on 4K and Blu-Ray on Tuesday, December 21st, 2021.

Here Today: What Matters is the Moment

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Set in the urban jungle of New York City, Here Today tells the story of veteran comedy writer Charlie Burnz (Billy Crystal). Struggling with oncoming dementia and his broken relationships with his kids, Charlie spends his days as a writer on an SNL-type variety show where the younger team members largely want to ignore his ideas. However, when he meets New York singer Emma Payge (Tiffany Haddish), a spark returns to his soul. Despite the difference in their ages, their relationship gives life to them both and begins to redefine the meaning of love and trust.

While Here Today may not be remembered as much more than a footnote in the careers of both stars, that would be unfortunate. Written and directed by Crystal, there’s no doubt that the sheer talent of both leads is on full display. Whereas both Crystal and Haddish are best known for their frenetic energy, both choose to dial back their performances in ways that allows their genuine affection for one another to shine through. While the script doesn’t always work, the chemistry between Crystal and Haddish is so palpable that the film becomes an utter delight.

As the slowly degenerating but still vigorous Charlie, Crystal gives one of his best performances in years. There’s simply a maturity embedded within his performance here that allows his charm to come forward without overwhelming the film with erratic silliness. What’s more, Haddish absolutely stuns as burgeoning performer Emma, offering tenderness with Crystal but sheer bombastic star power when she’s onstage. Together, they elevate one another’s performances and creates a surprisingly lovable pairing.

Refreshingly honest in its tone, Here Today is a dramatic comedy about what it means to live with perspective. As the entertainment industry has gotten younger and faster, Charlie has become increasingly pushed aside by much of his co-workers. Despite his history and pedigree, Charlie is viewed somewhat as an irrelevant dinosaur who simply doesn’t get today’s edgier humour. However, Charlie’s wisdom and expertise also provide opportunity to see things that others miss in a rapidly paced world. Despite his voice being largely forgotten, those who him always benefit from his years of experience. For example, while the writing team loves their main comedian, Charlie instead prefers the work of the new kid who offers potential. While not as brash as their lead guy, this youth has shown a sharp satirical eye but needs coaching. 

At the same time though, Charlie is also burdened by the poor decisions of his youth. Despite his jovial exterior, the brokenness of his own soul (and failing health) plagues him in his personal life. As such, Charlie lives estranged from his kids and suffers his oncoming dementia alone. However, his struggles with his past and uncertain future causes Charlie to put an emphasis on the day. To him, today is what matters most. Enjoying lunch with a friend. Taking in a concert. Although he has baggage that needs to be dealt with, its the simple pleasures of life that matter most when they are in front of you and he wants to savour the time that he has left. As such, Here Today highlights both the fragility of life and the importance of each moment of it. 

With grace and humour, Here Today is one of the more pleasant surprises of 2021 so far. Elevated by sparkling performances by Crystal and Haddish, the film oozes with personality, making it an absolute joy to watch. Although there are moments where the film dips too far into sentiment, there’s little question that this is a film you may enjoy if you decide to rent it Here Today.

Here Today is available on demand and DVD now.

The Croods: A New Age – Stone Age Meets the Modern Age

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If you want to look at the present, sometimes we need to start with the past.

Following the events of 2013’s The Croods, The Croods: A New Age follows the ‘first family’ as wander through the wilderness. Their simple lives are turned upside down though when they stumble upon the Bettermans, a family that has built a life of privilege through their innovative technology and their high value on self-protection. When the Bettermans decide that the Croods are a threat to their life of luxury, they attempt to rid themselves of their visitors but, in the process, unleash the danger that lurks on the other side of their incredibly high walls.

Directed by Joel Crawford, Croods: A New Age was not a sequel that seemed necessary yet proves to be most welcome. Whereas the first film focused entirely on the Crood clan, New Age opens up the world considerably (and creatively) with the addition of the Bettermans and their utopian realm. While the first film was fairly well-received, the world in which they lived had a relatively limited colour palette as the Croods trudged through their largely dusty terrain. However, with a new environment comes new opportunities for innovation and Crawford and his team let their imaginative juices fly.

Featuring wild creatures and dazzling bursts of colour, there’s an energy within New Age that was missing from its predecessor which also gives the franchise new life. (Personally, I believe that anyone who came up with the idea of ‘wolf-spiders’ really needs to seek some professional help, regardless of how adorable they look.) Filled with modern references like ‘window addiction’ and enough technological wonders to make The Flintstones jealous, Croods: A New Age feels relevant to the modern family and keeps the laughs going along the way.

Even the cast seems slightly more… well… animated in the sequel now that they some new blood to play with. Given the opportunity to work alongside Dinklage’s sophisticated but slimy Phil Betterman, Nicolas Cage’s Grug seems much more likable and endearing. At the same time, with their relationship now firmly established, both Emma Stone and Ryan Reynolds are much more comfortable with one another as their characters move towards their ‘forever’. Stealing the show, however, are the aforementioned Bettermans, played by veterans Peter Dinklage and Leslie Mann. Stepping into the role of antagonists to the Croods, Dinklage and Mann are a joy to watch as the obnoxiously wealthy Bettermans. (‘Emphasis on the better,’ they remind.) Though detestable for their celebration of privilege, Dinklage and Mann embed their performances with a nervous desire to protect their family that somehow makes them seem more sympathetic. 

Similar to the first film, A New Age also wants to explore what it means to be both an individual and valued part of the pack. As they settle into the Betterman’s luxurious villas, the Croods finally have the opportunity to have some privacy… but is that something that they really want? As they adjust to living in a technological paradise that allows for them to finally have some space between them, the Croods also find themselves more divided.

Having built a bond between them by always sticking together (primarily out of fear), their new environment provides a certain sense of ease to it that gives them freedom. While this can be life-giving to some, innovations like the ‘man-cave’ and Thunk’s obsession with the window also create roadblocks within their family. In this way, the film recognizes the modern challenges of relationships as we continue to find new ways to create space between us and struggle to maintain open communication in the family unit.

What may be most surprisingly, however, is that A New Age is also unafraid to venture into a new age of ideas by adding the numerous layers of cultural subtext to the family-friendly adventure. From the female empowerment of the Thunder Sisters to the abuse of the environment, the film explores a broad range of culturally relevant issues that help elevate the film’s story. (In fact, through Betterman’s control of the bananas and water supply, the film even suggests the socio-economic ramifications of creating a caste system where the divide between rich and poor continues to grow.) In doing so, there’s a certain level of bravery to A New Age as it intelligently explores some of the deeper issues of our current culture while never becoming overburdened by the conversations or losing the fun.

Despite having little that’s new to the standard animated release, the disc Little Red Bronana Bread and Dear Diary: World’s First Pranks are not spectacular but are effective and entertaining. What’s more, director’s commentaries are always welcome as well. Still, the simplest shorts may be the most helpful. For parents looking for something to do with their kids during a lockdown, shorts that offer creative options like ‘FamiLeaf Album’, ‘How to Draw: Caveman Style’ and ‘Stone Age Snack Attack’ may help bring some activities into your home. It’s also worth noting that the colours really pop onscreen with the home release, especially on the 4K disc.

Filled with humour and heart, The Croods: A New Age is a worthwhile venture. Once again, Grug, Eep and the rest of the family prove that the value of knowing your place in the pack and the importance of supporting one another in the most difficult of circumstances. 

Without question, they have peaked my interest to see what happens in the next age.

Croods: The New Age is available on VOD, 4K, Blu-Ray and DVD on February 23rd, 2021.