Lagniappe Podcast: Godzilla vs. Hedorah (1971)

For this lagniappe episode of the podcast, BoomerBrandon, and Alli discuss the psychedelic kaiju classic Godzilla vs Hedorah (aka Godzilla vs The Smog Monster, 1971).

00:00 Welcome

01:20 Guy Maddin
02:30 White Rock (1977)
04:28 Ariel (1988)
07:10 Return to Oz (1985)
09:55 Logan Lucky (2017)
10:50 The New Mutants (2020)
14:40 Mr. Roosevelt (2017)
20:25 Starstruck (1982)
32:30 Voyage of the Rock Aliens (1984)
36:22 Willy’s Wonderland (2021)

41:20 Godzilla vs Hedorah (1971)

You can stay up to date with our podcast through SoundCloudSpotifyiTunesStitcherTuneIn, or by following the links on this page.

– The Lagniappe Podcast Crew

Godzilla vs Megalon (1973)

The last time WrestleMania came through New Orleans, I indulged in a few of the smaller satellite shows that popped up around the city, including one put on by an extremely nerdy promotion out of NYC called Kaiju Big Battel.  Sitting in a brightly lit auditorium after midnight, watching a kaiju-themed wrestling show with a shockingly sober, wholesome crowd, was a one-of-a-kind delight — an experience I doubt I’ll ever be able to fully replicate.  The wrestlers were mostly costumed in giant plush outfits—dressed as hamburgers, 1950s robots, literal dust bunnies, and cans of soup—smashing each other into the cardboard cities that decorated the ring they used as a goofball playground.  I guess it’s possible to take an unfavorable view of an American company boiling down the kaiju genre to such broadly silly terms, considering its heartbreaking origins as an expression of post-nuclear Japanese national grief in the original Godzilla.  However, the further I dig into the Godzilla canon in recent months, the more I’m starting to realize just how faithful the Kaiju Big Battel brand of novelty wrestling is to its Godzilla roots; it’s just calling back to a later, decidedly kid-friendly era of Godzilla filmmaking detached from the giant lizard’s grim-as-fuck origins.

If there’s any one Godzilla movie that could be blamed for cheapening the monster’s brand with broadly silly slapstick comedy, it’s likely Godzilla vs Megalon.  Thanks to an ugly pan-and-scan transfer with an English dub that was allowed to temporarily slip into the public domain, it’s the Shōwa era Godzilla film that was most widely available to the American public for decades — lurking in creature-of-the-week television broadcasts, gas station DVD bargain bins, and MST3k target practice.  Godzilla vs Megalon appears to have a dire reputation as a result, diluting the larger Godzilla brand with misconceptions that the series was always dirt-cheap and aimed at little kids’ sensibilities.  I can’t personally attest to the quality of that much-seen pan-and-scan edit of Godzilla vs Megalon, but the Criterion restoration that’s currently steaming online is both beautifully colorful and wonderfully goofy. It was obviously a rushed, cheap production, but the kaiju battles have a distinct pro wrestling charm to them that makes for great late-night viewing, transporting me back to that Kaiju Big Battel show in the best way possible.  I can’t say the movie doesn’t deserve its reputation as the bottom of the kaiju media barrel, but now that the more important, prestigious Godzilla films are widely available in their original form, I think there’s a lot more room for audiences to appreciate the film’s delirious, Saturday Morning Cartoon silliness for what it is.

The humans-on-the-ground plot of Godzilla vs Megalon feels like repurposed scenes from a 1970s live-action Disney espionage comedy, by which I mean they’re not very memorable or worthy of discussion.  What’s really worth paying attention to here is the pro wrestling booking of the monster fights.  The film is a tag team match.  In one corner, we have the debut (and final) match of Megalon, a profoundly idiotic beetle worshiped by the underwater occultists of Seatopia.  In the other corner, we have the movie’s face: Jet Jaguar, an Ultraman rip-off robot with an insanely wide grin — also appearing in his debut (and final) match.  Neither contender is enough of a draw to carry the movie on their own, so they’re paired with charismatic tag team partners to help get them over with the crowd.  Megalon is paired with Gigan, a much lesser robo-Godzilla derivative than Mechagodzilla, whose non-presence essentially turns this into a squash match.  Jet Jaguar, of course, is paired with Godzilla, a legitimizing tag team partner whose popularity should have been able to forever endear his new robo-friend to children everywhere.  That proved to be an unsuccessful gamble in the long run (Jet Jaguar was never seen or heard from again), but Godzilla appears to have fun trying.  He performs here with the broadly expressive physical language of a wrestler playing to the backseats in a packed auditorium, aiming for big laughs and even bigger wrestling maneuvers that any kid should be delighted cheer on from the crowd.

To its credit, Godzilla vs Megalon does vaguely motion towards the eco-conscious concerns of larger Godzilla lore in its early goings, pitting both the kaiju and the underwater sea cult against us surface humans after our nuclear tests pollute the atmosphere.  The film isn’t earnestly about those themes, though, no more than it’s earnestly about Godzilla or Megalon.  This is Jet Jaguar’s show through & through, as evidenced by the grinning robot closing out the show with his own badass theme song — the same way pro wrestlers replay their entrance music while they lift newly-won championship belts in victory.  Jet Jaguar was created specifically for the film as contest entry from a small child (explaining the not-so-vague resemblance to Ultraman), which is a pretty blatant excuse to sell new kaiju toys & merch.  Because the production was rushed, underfunded, and marketed specifically at little kids’ sensibilities, there isn’t much destruction of towns or cities (outside some crudely inserted stock footage from better-funded Godzilla films), so most of the monster action is staged in an open field, away from the necessity of expensive miniatures.  The result is basically the movie version of Kaiju Big Battel: dudes in goofy costumes body slamming each other in fits of broad, slapstick humor.  It sucks that the kaiju genre was once only associated with that kind of silly novelty entertainment, but that doesn’t mean it isn’t entertaining, especially now that the more serious end of the genre is more widely respected and readily accessible.

-Brandon Ledet

Ape vs Monster (2021)

Between the Shōwa era Godzilla films becoming widely available for home streaming via The Criterion Channel & HBO Max and Adam Wingard finally delivering a decent MonsterVerse film in Godzilla vs Kong, I’ve caught a touch of kaiju fever this year.  Whenever I’m soul-tired and not sure what to watch, I find myself throwing on a giant monster movie to blankly stare at, the same way a lot of pandemic-fatigued audiences have been looping old episodes of The Office & Friends ad infinitum.  It’s hasn’t exactly been a bad or unhealthy coping mechanism as far as I can tell, but I will say I hit a new low in the indulgence recently when I watched the generically titled Ape vs Monster.  A rushed, made-for-TV cash-in on the Godzilla vs Kong box office success, Ape vs Monster has absolutely no redeeming qualities worthy of discussion besides the temporary novelty of watching two more CG creatures fight for my half-interested “amusement”.  I wish I could say I didn’t enjoy the experience.

A chimpanzee launched into space as a failed Cold War science experiment crash-lands back to Earth decades later, covered in a glowing green ooze that exponentially mutates it to kaiju-size.  A nearby Gila monster drinks the same ooze (intercut with the same insert shots of the moon looking spooky over their shared desertscape setting) and grows to the same towering scale.  They fight.  Meanwhile, lady scientists and macho military men bicker at the creatures’ feet about the ethics of euthanizing them before the fight changes venue to a nearby city.  One of the scientists also reconnects with her estranged father for a vague motion towards pathos, but who in the audience could possibly care?

Ape vs Monster is pretty much exactly what you’d expect from a made-for-TV Asylum mockbuster “starring” Eric Roberts, at least in terms of its unenthused tone, awkwardly performed dialogue, and lingering shots of nothing that long outstay their welcome to stretch out the runtime.  Still, there is something special about its slapdash kaiju creature effects.  The studio’s cheap-o CGI has an absurdist cut & paste aesthetic to it that’s difficult to look at directly without your brain leaking out of your nose.  The Gila monster looks like a discarded video game prototype adapted from the American Godzilla film from 1998.  Meanwhile, the ape monster doesn’t look like anything in particular, and the longer you stare at its awkward magnificence the less its primatial design makes any sense.  Watching the two computerized abominations struggle to make tactile, physical contact is like trying to explain the finer details of a half-remembered dream; the audience doesn’t actually care, but that doesn’t make it any less surreal.

If anything has become clear to me as I’ve been indulging in disposable kaiju novelties in recent months, it’s that I don’t need much out of a movie to enjoy myself beyond a goofy-looking onscreen monster.  That’s clearly the only saving grace of Ape vs Monster, which delivers two fascinating-looking goofballs and not much else.  The movie does have the gall to tease a queer-bait romance shared between lady scientists on opposite sides of an ongoing Cold War, but it’s frustratingly uninterested in following through with that impulse.  I even thought I was mistaking the Russian character’s sultry accent for queer tension at first, until one of the would-be couple’s macho military-man adversaries complains “Those two seem . . . unusually chummy.”  If it had committed to staging a lesbian romance at the feet of its disgraceful CG kaiju creatures, it might have had something special on its hands.  As is, it’s thoroughly unremarkable beyond the accidental surrealism of its monster designs, which is only to be enjoyed by the easily amused — i.e. me.

-Brandon Ledet

Mothra vs Godzilla vs Godzilla vs Mothra

Keeping track of which titles are available to stream on what platform when is a constant struggle for sub-professional movie nerds.  This has been doubly true in the past year, where the COVID-19 pandemic has blurred & warped the traditional theatrical window into near oblivion.  That might explain how I showed up to HBO Max intending to watch the new Godzilla vs Kong film a week early, confusing the date of its Chinese market theatrical debut for the date it was supposed to start streaming on HBO Max in America.  Getting jazzed to watch a big-budget kaiju spectacle only to discover I’d have to keep that excitement on ice for an entire week was a letdown, and I was determined to do something with my giant-monster energy in that moment of panic so as not to waste it.  I needed to watch Godzilla fight a formidable foe that night, so I scrambled to come up with which opponent would be a worthy replacement for the mighty Kong.  The answer was immediately obvious, as the last time I saw Godzilla breathe atomic fire in 2019’s King of the Monsters re-sparked my interest in the mystical femme kaiju Mothra, who I’ve seen in too few of her own onscreen epic battles.

Choosing to watch Godzilla battle Mothra might’ve been a quick, easy decision, but it immediately led to another, trickier what-to-stream crisis.  Having appeared in 15 feature films to date, Mothra is second only to Godzilla in her number of onscreen battles in the sprawling Zillaverse.  Whittling down the list of options from there was a complicated process.  I removed titles where Mothra appeared on her lonesome, terrorizing only the puny, Earth-polluting humans in her path.  I was looking for a fair fight.  I then discarded titles like Destroy All Monsters & Giant Monsters: All Out Attack where Mothra had to share the screen with the dozens of other kaiju baddies who have beef with the King of the Monsters.  That left me with two clear contenders for the perfect Godzilla vs Mothra match-up, which should’ve been obvious by their titles alone: 1964’s Mothra vs. Godzilla and 1992’s Godzilla vs. Mothra. Choosing between the two of them was essentially a coin-toss—given their near-identical titles—so I did the only sensible thing: I watched both.  And they were both great.  All I can really do here is attempt to distinguish them from one another in case someone else finds themselves in that hyper-specific scenario – wanting to watch Godzilla fight Mothra and having to make a snap decision on where to satisfy their kaiju craving.

The 1964 film Mothra vs Godzilla is the platonic ideal of what you’d want out of a retro kaiju battle film.  A beloved classic from Godzilla’s Shōwa era, it’s earned both populist praise as a fun action romp featuring two of the greatest movie monsters of all time and the recent stamp of approval from The Criterion Collection as a culturally significant work of Art.  In the movie, Godzilla is a monstrous personification of nuclear waste & coastal erosion who can only be vanquished by the righteous Earth-protector Mothra.  Only, the corporate greed of the smiling chumps at Happy Enterprises make Mothra question whether humanity is worth saving at all.  The foot-tall fairy women from Infant Island who represent Mothra’s wishes (as Happy Enterprises jokingly declare have “the power of attorney” over the beast)—and can summon her in song—eventually broker a deal for Mothra (and her freshly-hatched larvae) to fight Godzilla to protect humanity for destruction.  In the ensuing battle, she flaps up punishing winds with her wings, puffs out a poisonous pollen, and drags Godzilla around by his tail until he retreats back into the ocean.  It’s wonderful.  The entire movie is a pure, kitschy delight, registering as the Godzilla equivalent of The Bride of Frankenstein in its balance between cutesy humor and retro terror.

1992’s Godzilla vs Mothra (marketed in America as Godzilla and Mothra: The Battle for Earth) is a little clunkier in its build-up to its titular monster battle, even though it repeats most of the 1964 film’s broader details.  The Infant Island fairy women (originally played by The Peanuts) may have been replaced by a new generation of foot-tall mystic beauties called The Cosmos and the easy-target villain Happy Enterprises may have been replaced by the hubris & pollution of Humanity as a species, but story-wise Godzilla vs Mothra is near-identical to Mothra vs Godzilla, just as it is in title.  Only, it delays that traditional story with some hokey Indiana Jones-style adventurism and the crash of a CGI asteroid in its early goings, needlessly inflating its runtime.  That unnecessary delay may mean that Mothra vs. Godzilla ’64 is the better film overall, but once it fully unleashes its monster mayhem Godzilla vs. Mothra ’92 has much more exciting kaiju fights, which is a pretty major qualifier.  Mothra fully emerges into battle about an hour into the film in a cloud of poisonous, glittering pollen, and attacks Godzilla with sparks, lasers, and underwater brawling in a huge step up from her original move set.  She’s also teamed up with a goth frenemy named Battra (decorated with Guy Fieri flame decals on its wings) who adds an entire new dynamic to the titular fight.  Together, they shock Godzilla into submission, smash a Ferris wheel into him, and ultimately, as the kids would say, “throw the entire man away” as a team.

I’m not enough of an expert in the kaiju battle genre to declare a clear victor here.  All I can report is that the two Godzilla vs. Mothra films have their own distinct flavors despite the ways they overlap in narrative and lore.  Mothra vs. Godzilla (1964) is a perfectly calibrated rubber-monster creature feature from start to end, but it doesn’t offer much in the way of surprise in what you’d expect from a Shōwa era kaiju picture starring these particular two monsters.  By contrast, Godzilla vs. Mothra (1992) is a much more uneven picture that spends a little too much time building up to its creature-feature payoffs.  However, its actual kaiju battle scenes are much more exciting than its predecessor’s, staging absolutely gorgeous rubber-monster battles within the hyper-femme color palette of a teen girl’s bedroom.  Choosing between the two movies is no easier now that I’ve watched them both, so my selection process would have to revert to the kinds of arbitrary filters that narrowed down my field of options in the first place.  Mothra vs. Godzilla (’64) is ten minutes shorter, currently streaming in HD, and carries the art-film prestige of Criterion Collection canonization.  It wins by default, but Godzilla vs. Mothra (’92) put up a hell of a fight.

-Brandon Ledet

Godzilla vs. Kong (2021)

Finally, I can say I enthusiastically enjoyed an American Godzilla film.  Weirdly, it happened to be the one that stars King Kong.

The ongoing MonsterVerse franchise has been building up to this moment since 2014, ever since Godzilla re-emerged from the ocean waves with a chonky, dour make-over.  Every entry in that franchise so far has tread in varying shades of mediocrity while trying to offer an MCU-scale franchise to the King of the Monsters: 2014’s Godzilla in its tedious attempts at self-serious majesty, 2017’s Kong: Skull Island in its goofball aping of Vietnam War Movie tropes, and 2019’s Godzilla: King of the Monsters in its muddled, belabored kaiju fight choreography.  Even though those films have been on a steady incline in terms of pure entertainment value, I did not expect the quality to shoot so high in Adam Wingard’s contribution to the series.  Godzilla vs Kong is just incredibly fun to watch in a way previous MonsterVerse films haven’t been.  Its monster action is constantly inventive, surprising, tactile, and gross – majorly exceeding the expectations set by its more cautious, middling predecessors.

Director Gareth Edwards was widely mocked for describing his 2014 Godzilla film as a “post-human blockbuster,” but I feel like this years-later sequel actually makes that phrase mean something.  In Godzilla vs Kong, the titular monsters are the main characters of their shared film (with Kong playing Lead and Godzilla settling for Supporting).  The humans on the ground level merely orbit around the kaiju like satellites around a planet or flies around a picnic spread, adding nothing consequential to the narrative.  Each monster is paired with a young child who believes in their respective Good Nature: King Kong with a deaf cutie who teaches him American Sign Language and Godzilla with returning-player Millie Bobby Brown, who’s gotten really into conspiracy podcasts since her last appearance (making this the second film in the very niche genre of Big-Budget Horror Sequels You Would Not Expect To Be About Podcasting, after 2018’s Halloween).  They’re both adorable but make very little impact. The bulk of the storytelling is illustrated through the kaiju fights themselves, the same way that broad soap opera narratives are conveyed in the wrestling ring.

Wingard’s major accomplishment here is in punching up the action choreography in the film’s fight sequences.  Although both creatures are CGI, the impact of their blows hits with genuine force & resistance.  Wingard simulates the body-mounted camera trickery, jaw-crunching jabs, and earth-shaking thuds that make human-on-human fight choreography in modern action cinema feel tactile & “real”.  When Godzilla wrestles Kong under the ocean, the ape emerges to puke up the water he’s inhaled.  When Kong rips off the head of a lesser beast, he drinks blood from its corpse in ecstatic victory.  This may be the cinematic equivalent of a young child smashing their action figures together in a sandbox, but it’s at least a child with a sense of humor & spatial reasoning.  By the time our two sky-high combatants are squaring off in the neon lights & smoke of a half-smashed Hong Kong, I can’t imagine having any other response to this film other than an enthusiastic “Fuck yeah!”

I understand the argument that a Godzilla film shouldn’t be this gleefully hollow.  Considering the creature’s grim-as-fuck origins in the 1954 original, I totally see how treating this property like another (better) adaptation of the Rampage arcade game could come across as artistic blasphemy. There are plenty of Japanese sequels to Godzilla that are equally, deliberately goofy, though, and Wingard’s film feels true enough to their smash-em-up spirit.  Godzilla vs. Kong cannot compete with the best of its Japanese predecessors, especially not all-time classic titles like Godzilla (1954), Godzilla vs. Hedorah (1971), or even the recent satirical reboot Shin Godzilla (2017).  As far as American takes on this character go, however, I believe this is by far the best to date.  When Gareth Edwards attempted to make a dead-serious Godzilla film respectful to the monster’s roots, he inspired far more boredom than awe.  Respectful or not, Godzilla vs Kong is not at all boring.  It’s fun as hell.

-Brandon Ledet

The X from Outer Space (1967)

The standard complaint about most kaiju movies is that they feature too much human-to-human interaction and too little Giant Monster action. There has never been a single Godzilla movie that hasn’t suffered complaints that there wasn’t enough Godzilla in it, regardless of how that true that is in its specific case. What a lot of people don’t realize is that a pure 100% Monster Action kaiju movie would almost certainly be a repetitive bore. Yes, the heavy metal imagery & cheap-thrills payoffs of watching a giant creature smash buildings to crumbs is inherently more exciting than listening to scientific government types cook up a plan to stop it (expect maybe in the brilliant bureaucracy satire Shin Godzilla), but if kaiju movies didn’t break that mayhem up with something, the spectacle would quickly become a monotonous bore.

What I love most about The X from Outer Space is that it breaks up its Monster Mayhem spectacle with so much on-the-ground human drama that it feels as if it’s actively trolling its audience. If it weren’t for the monster on the poster, there’d be no implication that this was a kaiju movie during its opening hour, two-thirds of its total runtime. In the meantime, the movie putters around outer space to a snazzy samba score – like a hip, jazzy update to vintage Flash Gordon radio serials with a (mostly) Japanese cast. There are a few run-ins with “space sickness,” love-triangle melodrama, and a UFO that’s shaped like a glowing pot pie to drum up some conflict before the monster arrives, but it all registers as lighthearted fluff – deliberately so. By the time the film’s doomed space crew pauses their mission for a fun, carefree holiday at their company’s moon base it’s clear no one is in a rush to fight off any giant monsters, at least not while the party vibes are still alive.

Once “the space monster Guilala” does hatch from its space-spore incubator, he does go full Monster Mayhem on any and all Japanese infrastructure he can smash by hand, laser beam, and fireball. By saving all its kaiju spectacle payoffs for its final half hour, The X from Outer Space can afford to allow Guilala to rampage on uninterrupted for long stretches, as there’s little time for his mayhem to backslide into monotony. Even then, the character design for Guilala has too much Big Goofball energy to be taken fully seriously – falling somewhere between the dorky giant-bird looks of Big Bird, The Giant Claw, and Q: The Winged Serpent. His motivation for smashing up Japanese infrastructure is that he’s just a little hangry. The fictional compound the space cadets synthesize to stop that temper tantrum is somehow even sillier than his motivator: guilalanium. Watching Guilala smash the miniature sets beneath him is absolutely adorable, which might not be the exact effect most kaiju movies are aiming for.

The X from Outer Space is too purposefully, flippantly campy to be taken seriously as the pinnacle of the kaiju genre (at least not while Godzilla vs. Hedorah outshines it in every conceivable way). Between its adorable miniature space rockets, its goofball bird monster, and its willingness to pause any conflict for a jazzy soiree, the movie’s overall tone is decidedly Cute. The movie only makes vague gestures towards the Horrors of the Atomic Age that usually concern the genre, while it mostly busies itself by having a swinging good time. Still, I do think there’s something to the peculiar way it withholds all of its kaiju action for its third act, where it unloads its rubber-suit monster mayhem in one continuous, concluding flood. That choice sidesteps the usual complaint about lack of kaiju action in kaiju movies by leaving the audience with the strongest dose of the stuff at the very end, making for a potent final impression. This particular kaiju action just happens to be very, very goofy – adorably so.

-Brandon Ledet

The End of Evangelion (1997)

As someone who only casually watches the most surface-level specimens of anime, I’m likely the least qualified person to register an opinion on Neon Genesis Evangelion. The show was a major reinvigorating boon for anime as an industry in the mid-90s and has maintained a strong cult following in America in the decades since, to the point where I remember at least 50% of all non-porn Tumblr posts being dedicated to the show’s meaning & legacy. I am one of the many, many Americans who didn’t bother seeking out Neon Genesis Evangelion until it became conveniently available to stream on Netflix earlier this year, though, running through all 26 of the episodes that fans have been obsessing over since the 90s in just a week’s time. It was a trip. The show starts off as a proto-Pacific Rim kaiju vs. mech suits action series, but then rapidly transforms into a psychedelic, philosophical crisis in which Humanity must escape the consequences of playing god by finding unexpected refuge in The Singularity. That is, if I understand even a tenth of what was happening in the defiantly convoluted & unconventionally structured story – an intricate web of conspiracy theories, flashbacks, Biblical references, and intense psychological breakdowns. It’s a show I should probably sit with over several years and a few rewatches before I speak on anything it’s attempting to accomplish, outside praising the artistry of its gorgeous, intricately detailed 2-D animation style. And yet, I still feel compelled to talk about a major aspect of the show’s legacy that I find outright fascinating: its ending(s).

The conclusion of Neon Genesis Evangelion is somehow even more difficult to parse out in words than the show’s perplexing premise. Most of the series details a government program that militarizes young children by psychologically linking them to organic mech suits to fight invading kaiju threats to their city. Mysteries about the government’s intent with the program, the origins of both the mech suits & the monsters, and the psychological effect of weaponizing children open the show up to sprawling obfuscation & subjective interpretations, but for the most part its story fits into a genre template we’ve become familiar with in the decades since its initial run. I was stunned, then, when the final two episodes in the series abandoned the mech suit program entirely to stage a psychedelic breaking down of each character’s individual identities, so that the world can be saved through reaching The Singularity rather than through battle. I loved this swerve. It reminded me a lot of the “How are you connected to yourself?” philosophical crises of Sion Sono’s Suicide Club, except interpreted through psychedelic animation instead of the gory payoffs of early-aughts J-horror. Apparently, contemporary fans of the show did not feel the same way. They complained violently, for years, that the series creator Hideaki Anno (who later directed the brilliant bureaucracy satire Shin Godzilla) ruined something truly special with this esoteric conclusion, to the point where they sent him death threats for the offense. Eventually, Hideaki Anno responded to this fandom bullying the way many modern pop culture creators find themselves doing these days: caving in to deliver more of the show, promising fans the ending they believed they deserved. Things only got weirder from there.

Reconstructing a proper ending for Neon Genesis Evangelion took two whole feature films to pull off. The first, titled Death & Rebirth, was mostly an incomprehensible editing room nightmare meant to refresh fans’ memory of the series arc in a glorified clip show. Anything new it added to series lore (besides a flimsy wraparound in which the weaponized children form a string quartet) has since been removed and added to the front end of the proper movie sequel The End of Evangelion – thanks to a series of revisions that’s too convoluted to be worth explaining. That puts all the weight of sending off Neon Genesis Evangelion with a fandom-satisfying ending on a single 90min feature film, which is structured as a three-episode arc of the show. What I love about The End of Evangelion in its final edit (at least the one that’s conveniently streaming on Netflix) is that it only pretends to play nice in satisfying the fandom for so long. The film rewinds the clock to before the Singularity experiments of the final two episodes (known as The Instrumentality Project in series lore) to provide a more linear, logical conclusion where the government base is under militaristic attack and each character gets a proper send-off in the fray (mostly through onscreen deaths). I initially hated this choice, as it seemed to be caving to fans’ demands entirely by reorienting the plot to be more of a conventional story of traditional character arcs rather than a grand philosophical statement on the nature of Existence. Then, with time, The End of Evangelion transforms into its own confounding monstrosity that’s just as bizarrely esoteric & inscrutable as the original conclusion to the show that pissed off fans in the first place. It’s the anime equivalent of an “Up high, down low, too slow!” prank, and I love it for that fandom-satisfying fake-out.

I don’t think it would be especially useful (or even possible) to describe what happens in The End of Evangelion here. If the series it’s wrapping up is to be understood as a warped, nightmarish Biblical allegory, this is certainly the Book of Revelations portion of the text. Images of The Rapture, in which characters pop like balloons or swell to the size of celestial gods, mix with Donald Hertzfeldtian animation that assaults the viewer in psychedelic mixed-media collage. It’s just as horny, grotesque, and stupefying as the best episodes of the show ever were, except that it’s now set free to melt down the confines of reality on a global scale, whereas the original ending of the show was more of an internalized crisis. What I love most about it, though, is how it resets the narrative of The Instrumentality Project only to ultimately reach the same conclusion: a psychedelic visual essay on humanity reaching The Singularity. The End of Evangelion calls for “Death to God, man, and all life so that we may become One.” I’m still not convinced that the movie sequels to the show ever needed to exist in the first place, but I greatly respect them for promising a more logical, linear result to the narrative only to backslide right into the same confounding breakdowns of reality, except now on a bigger scale. To make that prank on the fandom even more satisfying, Hideaki Anno even included images of the death-threat emails he received after the original finale as part of the multi-media collage. He might as well have appeared on camera himself to give his audience the finger.

Honestly, I wish more modern creators would have this openly hostile of a relationship with their own fandoms. Watching people like Rebecca Sugar, Rian Johnson, and the Game of Thrones dorks suffer nonstop hyperbolic complaints from the entitled brats they’re only trying to entertain has been insufferable in recent years, so it’s wonderful to look back to what Hideaki Anno­­ accomplished in The End of Evangelion as an anti-audience pushback. He pretended to cave into his most abusive fans’ demands of a “proper” conclusion to his series, only to double down in a grand, grotesque spectacle. I wish more creators could get away with letting their “fans” squirm this way. It’s just as much of a dying art as traditional animation (as evidenced by the fact that even Hideaki Anno­­ himself is working on more Neon Genesis Evangelion sequels as I type this, so that his own victory over his fans was somewhat short-lived).

-Brandon Ledet

Godzilla: King of the Monsters (2019)

Director Michael Dougherty has gradually made a name for himself in genre nerd circles over the past decade with just three feature films. I can say without a doubt that his biggest budget, highest profile release is the worst of the bunch so far. Lacking the perversely dark humor of his cult classic horror anthology Trick ‘r Treat and the delirious camp of his Christmastime fairy tale Krampus, Godzilla: King of the Monsters displays none of the personality or wit that has earned him goodwill among horror aficionados over the years. Even as Dougherty’s least interesting release to date, however, I still found King of the Monsters to be entraining enough as a big-budget monster flick on its own terms. In fact, I’d even argue that it’s the best entry in its kaiju-revival franchise’s recent run, which began with Gareth Edwards’s “post-human” blockbuster Godzilla in 2014 and continued with the Vietnam War Movie parody Kong: Skull Island in 2016. Whereas Edwards’s Godzilla was punishingly dour & sidelined its own titular monster until the last minute and Skull Island indulged in frequent but short bursts of monster action with no dramatic heft to them at all, Dougherty’s follow-up finds a nice balance between the two approaches. He may have only stumbled into a decent-enough monster movie through the Goldilocks method of finding the perfect temperature for porridge that was already made before he arrived, but hopefully that accidental success will help fund more interesting projects from him in the future – like a Trick ‘r Treat 2.

The standard complaint for all modern Godzilla moves is that they don’t feature nearly enough screentime for Godzilla. It’s as if people are misremembering early entries in the franchise as being all-out monster action from start to end (which they never were). There is plenty else to complain about in King of the Monsters, but I feel like balancing screentime between monster action and human drama is the one thing the film happened to get right. It’s a pretty major detail to nail, at least, and a significant factor in why the film is not a total waste. Dougherty & company take a Pokémon-type approach here in collecting all our favorite skyscraper-scale yokai for lengthy onscreen battles that are only occasionally interrupted by the tedious humans who witness them. Relying on Skull Island & the 2014 Godzilla to justify the indulgence, the film operates in a world where there are seventeen (and counting) kaiju positioned all over the globe, hibernating until it is their turn to battle for our entertainment. Mothra gets an armored makeover, but is still allowed to be a majestic beauty; Rodan looks like a flaming update to the goofball vulture from The Giant Claw; Ghidorah is bathed in a metal-as-fuck swirl of dark clouds & lighting, so that every frame where he’s featured could pass as an 80s-thrash album cover. It almost doesn’t matter how often Godzilla himself appears on the screen, since he has plenty company amongst his loyal (and disloyal) monster subjects. The bare minimum a Godzilla movie must achieve to be worthwhile is striking a proper balance between its human and giant-monster characters. King of the of the Monsters excels only at that singular metric, but the accomplishment is enough to allow it to skate by elsewhere.

I have nothing especially urgent to say about the film’s human characters or its themes of nuclear pollution, since every detail outside the monster action is so thin & half-hearted that it immediately slips through your fingers. From a movie industry standpoint, I suppose it’s interesting that any film with a cast this saturated with familiar faces would’ve been an automatic box office smash in the 90s blockbuster days of megaproducers like Jerry Bruckheimer & Michael Bay. If nothing else, central actors from two of the most widely obsessed-over television shows of the decade (Millie Bobby Brown from Stranger Things & Charles Dance from Game of Thrones) star in substantial roles and were featured heavily in the film’s advertisement but failed to draw in wide audiences in droves. I suppose you could use that failing as evidence that star power no longer means anything in Hollywood filmmaking, but the truth is that it’s never meant anything in Godzilla films in particular. This franchise lives & dies by the quality & frequency of its monster action, and King of the Monsters tests the limits of that dictum by wasting zero effort on anything else besides collecting various kaiju & parading them around for our entertainment. I had the same reaction gazing at these gigantic, destructive creatures as I did watching the parade of pint-sized cuties in Detective Pikachu – mild, adequate amusement. The only difference is that I’d describe the monsters here as “badass” instead of “adorable,” give or take a Rodan. It’s understandable to want something more from Michael Dougherty after the precedent he set with his two previous, superior films, but I also don’t want to downplay how difficult it is to calculate the exact right amount of kaiju action to include in your kaiju film. No matter what, people will always complain that there wasn’t enough, but I do think King of the Monsters got it right.

-Brandon Ledet

Son of Kong (1933)

Most discussions of cheap cash-in horror sequels are framed as if they were a phenomenon born of 70s & 80s slashers that have carried over to the modern day. The truth is that it’s a time-honored tradition almost as old as horror cinema itself. For a classic example of the shameless cash-in horror sequel, 1933’s Son of Kong serves as a fascinating specimen. Rushed to market just nine months after the 1933 creature feature classic King Kong, Son of Kong is a massive, kaiju-scale step down from masterful to cute. At a mere 70 minutes, this incredibly thin sequel aims for a lighter, more comedic tone than its predecessor to cover up the fact that it couldn’t match that picture’s scale of production. Grand sequences of stop motion spectacle depicting tribal warfare & a dinosaur stampede were cut for time & budget, leaving the film hanging without a third act. The titular monster was also a goofy echo of the original film’s infamous ape, offering audiences a cutesy, infantile version of a creature they once feared (like, less than a year earlier). Baby Kong’s adorability is almost irresistible as a novelty, though, and the film that contains him is likewise charming in its own limited, misshapen way. Like most modern horror sequels, its genuine thrills are cheap echoes of its predecessor’s former glories, but there’s something amusingly absurd about the lengths it goes to keep an already concluded story alive & open to profit.

The disappointing thing about Son of Kong is that, on a script level, it has a decent foundation for an interesting King Kong sequel. A month after the city-destroying tragedy of the previous film, Kong capturer/promotor Carl Denham is left in unfathomable debt & legal trouble for the damages caused by his now-dead super ape. It’s the logical fallout of an illogical conflict, one the movie talks itself out of as it constructs a reason for Denham to return to Skull Island to meet Kong’s orphaned baby. Exhausted by his status as a public pariah and fearful of rumored criminal indictments, Denham again sails on an explorer’s mission that leads him back to Skull Island in search of legendary (and nonexistent) treasure. There, he’s met with the consequences of his greedy transgressions in the first film: a mutinous crew that refuses to return to the dangerous island, native tribes that embargo the entrance of white colonists because of his theft, and most notably Kong’s helpless baby ape who can barely fight off the island’s other monsters as a goofball orphan with no parental projection. Denham bonds with this pitiful, adorable creature (as well as a female musician he picked up along the journey), feeling immense guilt for the harm he inadvertently caused it. The trouble is that the return of his presence on the island is still unwelcome and puts Baby Kong in just as much danger as his dead ape father.

Although the reduced shooting schedule & budget wiped out her planned third act spectacle, screenwriter Ruth Rose did a commendable job of both keeping the mood light and upping the active involvement of the female co-lead, dampening the original film’s damsel in distress dramatic impulses. The jokes are plentiful and often surprisingly funny, especially in a pure anti-comedy sequence where a musical band of trained monkeys perform for unenthused bar patrons for a relative eternity. Other deadpan reactions like “My father is dead.” “What a tough break,” and a stammering “Well, uh, captain, uh . . . about that mutiny,” also play surprisingly well as the movie often finds genuine humor without delivering outright jokes. Still, it’s difficult to determine exactly how humorous Baby Kong is intended to appear, as many of his action sequences are repeats of the exact stop-motion dino fights that served as genuine special effects spectacle in the first film. Son of Kong is essentially the opening, island-set half of King Kong without the third-act payoff of the city-destroying conclusion, except now everything is twice as goofy & half as visually impressive. The sequel unfortunately also echoed the racist impulses of the first, even adding to its depictions of native savages & undertones of interracial romance paranoia by introducing the character Charlie the Chinese Cook. As amusing as the film can be at any given moment, its faults are both plentiful and glaring.

Cheap sequels have long relied on audiences’ contentment (and even enthusiasm) for reliving former pleasures on a smaller scale and with a goofier flavor. Yes, the creature battles in King Kong are more technically impressive and lead to a more spectacular end, but Son of Kong still features a sequence where a giant ape fights a giant bear in an all-out brawl. Take your entertainment where you can get it. It also helps that the film is at times genuinely humorous in a way that suggests its overall camp value may be somewhat intentional (for those willing to be a little forgiving). It’s difficult to imagine looking at Baby Kong’s exaggerated, googly-eyed mug and suppose the filmmakers were looking to deliver a serious-serious masterpiece, even if is ultimate trajectory is dramatic. Comparing Son of Kong to the original King Kong does it no favors, but it still has an interesting enough premise for a sequel to a film that obviously didn’t need one. In this way, it persists as a mildly delightfully oddity, which has been more than enough to justify fandoms of other cheap, rushed horror sequels released in the decades since. At the very least, I’d like to submit the film’s musical monkeys scene as a genius stroke of proto-Tim & Eric anti-humor, a 90 second stretch of pure cinema bliss that more than justifies the rest of the film’s existence:

-Brandon Ledet

Rampage (2018)

Despite the conventional wisdom, I believe the video game adaptation is a strong template for a deliriously fun B-picture. Much like how novellas & short stories often make for better literary adaptations than lengthy novels because they invite filmmakers to expand rather than condense, the video game medium (particularly in vintage examples) tends to only carry vaguely sketched-out lore & world-building that affords filmmakers a lot of freedom to create in extrapolation. In theory, the Rampage arcade game should have been a prime candidate for an entertainingly absurd action movie, since it’s basically a blank-slate, plot-wise. In the game, players assume the avatars of three cartoonish kaiju—a gorilla, a wolf, and a lizard—earning points by destroying buildings & eating helpless citizens one city at a time. There’s no progression to this initial setup, just more buildings & people to populate an eternally resettable scenario. Unlike the better examples of video game adaptations that use these blank-slate launching pads to create absurdly preposterous worlds, the film version of Rampage instead exhausts itself trying to imagine a plot where its resettable videogame scenario could be at least somewhat plausible. The Super Mario Bros., Mortal Kombat, and Resident Evil movies accept the over-the-top absurdism of their source material as a matter-of-fact conceit; Rampage instead goes out of its way to reduce its premise to the most unimaginative action vehicle possible, one it already feels like we’ve seen Dwayne “The Rock” Johnson star in before. A better-realized Rampage adaptation would have just started with the monster attacks destroying a major city and worried about the reasoning behind their origins after the fact (there are literally dozens of Godzilla pictures that teach that lesson). This adaptation instead dulls down its entertainment potential by laboriously working towards that payoff in a too-late third act turnaround.

The Rock stumbles into this picture wearing a khaki-colored composite costume of every single ex-military jungle adventurer character he’s played before. In this particular case, our impossibly handsome, charismatic hero is defined by his relationship with an albino gorilla named George. With a rapport established through sign language and sex jokes, this Buff Zoologist & Brilliant Gorilla supercouple are seemingly best-bros-for-life until a nearby satellite crash infects George (along with a wolf & an alligator) with a “genetic editing” pathogen. Designed by an Evil Corporation for military weapons purposes, this pathogen causes the three beasts in question to grow exponentially larger, more aggressive, and more resistant to harm. Teaming up with a rogue scientist (Naomie Harris) who helped develop the pathogen, The Rock must race to cure George with an antidote before the military strikes him down and to destroy the other two monsters before they destroy Chicago. And because the movie delusionally believes the monsters need a reason to work together to destroy Chicago, there’s also a broadcasted signal attracting them to the Evil Corporation’s headquarters that must be shut off before it’s too late. Beyond the too-few scenes of monsters destroying buildings (and a few villainously hammy performances from what-are-they-doing-here actors Jeffrey Dean Morgan, Jake Lacy, and Joe Manganiello) there’s nothing distinctive about Rampage as a disaster epic, not even its deployment of three separate kaiju. The movie could have made better use of its satellite crash opening by taking its monster fight to outer space or used its inciting pathogen to create Dwayne “The Giant Boulder” Johnson or anything over-the-top enough to suggest that it fully embraces the absurdity of its central conceit. Instead, it almost outright apologizes for being built on a silly video game foundation by exhaustively explaining a scenario where a giant wolf, gorilla, and reptile might team up to destroy a major city as a team, when that should have been its first act starting point—no explanation necessary.

I was left exactly this cold by last year’s giant ape monster movie Kong: Skull Island, which also hosted just enough monster action & hammy performances to call into question how the sum of its parts could possibly be so aggressively bland. Rampage is a total MoviePass decision, an unenthused picture that’s only worth your attention if it has a convenient showtime in a directionless afternoon you’re looking to kill. No amount of helicopter-tackling wolf action or Jeffrey Dean Morgan’s cowboy cop quipping things like, “When science shits the bed, I’m the guy they call to clean the sheets,” can make up for the grey mush that surrounds them. Even the novelty of the glorious creature feature Alligator being blown up kaiju-size is only worth a fleeting smirk. The only moment of pure so-bad-it’s-great bliss at hand is a spectacularly awful Kid Cudi remix of “Bullet with Butterfly Wings” that the film unfortunately buries deep in its end credits, where it’s meant to not be heard. It’s ashamed of that cheese just as much as it’s ashamed of its video game roots. Cut the wolf out the the kaiju trio and there’s no point in passing this movie off as a Rampage adaptation at all; it might as well be San Andreas 2 or Journey 3 or a sequel to any number of The Rock’s disaster epics. The green screen/mocap animation, closely cropped shaky-cam action (which is a really weird choice for a film about giant monsters), and cornball stepdad humor are entirely indistinct & interchangeable within the context of the modern Rockbuster. It’s a total shame, because the gleefully trashy arcade game the film chose as a starting point should have been an easy layup in delivering something fun & memorably absurd. Instead, five no-name screenwriters ground it down into a shapeless, unremarkable orb carried on the back of a bored-looking Rock.

-Brandon Ledet