Scene That I Love: “Want to go for a swim?” from Once Upon A Time In America


Since today is Sergio Leone’s birthday, it only seems appropriate to share one of my favorite scenes from Leone’s 1984 gangster epic, Once Upon A Time In America.

For some context, Noodles (Robert De Niro) has just gotten out of prison and has been reunited with Max (James Woods) and all of the other hoodlums that he grew up with.  While Noodles was away, Max has been building up their gang and becoming a force in the underworld.  One of the first post-prison jobs that Noodles is involved with turns out to be a hit on another gangster.  Max, however, did not let Noodles know ahead of time that it was going to be hit.

In this scene, Noodles attempts to learn why.

Catching Up With The Films of 2022: Emily The Criminal (dir by John Patton Ford)


An hour or so into Emily the Criminal, there’s a scene in which Emily (Aubrey Plaza) goes to what she thinks is a job interview with a prestigious ad agency.  For the second time in the film, Emily is forced to tell a potential employer that she has a felony conviction.  In this case, it doesn’t seem to matter.  Alice (Gina Gershon), the head of the agency, explains that she is looking for an intern to work in the design department.

Emily asks if Alice is asking her to take an unpaid internship.

Alice replies that everyone starts as an intern and that, if they do a great job, they might get a paid position in five to six months.

Emily asks how Alice can expect anyone to work regular hours without getting paid.

Alice replies that Emily will paid in experience.  “When I began in this industry,” Alice says, “I have no intention of just being a secretary….”

“But secretaries get paid!” Emily snaps.

Alice replies with an obviously well-rehearsed anecdote about how, when she started, there were no women in the executive office.  When Emily cuts her off again, Alice drops the Pelosiesque facade and accuses Emily of being spoiled.  When Emily tells her off before storming out of the office, you’ll want to cheer.  It doesn’t matter how you may feel about some of Emily’s earlier life decisions or Emily as a person.  When Emily calls out Alice for expecting people to work for free, you will totally be on Emily’s side.

You’ll also understand why Emily would chose to be, as the title makes clear, a criminal.

When we first meet Emily, she is a part of the gig economy, delivering food for a catering company.  There was a time when she dreamed of becoming a professional artist and living in South America.  Now, she’s just trying to figure out how to pay the huge amount of student loan debt that she owes, despite the fact that she never graduated from college.  When she learns of an opportunity to make $200 in one hour, she takes it.  As Youcef (Theo Rossi) explains it, all she has to do is use a fake credit card to buy a flat-screen TV so that Youcef and his associates can then sell it.  (In a nice bit of irony, it later turns out that Youcef is basically an unpaid intern for his cousin.)  After her first job is a success, Youcef starts to trust Emily with making bigger and riskier purchases.  Soon, Emily is making her own fake credit cards and running her own scams.  She’s still an independent contractor but now she’s making a lot more money.

Emily the Criminal takes a matter-of-fact approach to Emily’s activities.  There’s none of the condemnation that one might expect as the result of having seen other movies and, regardless of how dangerous things get for her, there’s never a moment where Emily herself reconsiders whether or not she wants to be a criminal.  The film doesn’t necessarily celebrate criminality but it does ask why Emily should care about the rules of society that obviously doesn’t care about her.  If Emily remains law-abiding, she’ll be stuck in a demeaning job and she’ll never pay off her debts, which means that she’ll just become a criminal by default.  (And, let’s be honest, we all know that all the talk about canceling student debt is just something that gets trotted out during an election year.  We’ll hear it again in 2024 and again, nothing will happen.)  As a criminal, the only risk is that Emily could be arrested or attacked by another criminal but, as the film makes clear from the start, Emily already has a criminal record so what’s one more charge?  As for being attacked, Emily continually proves herself to be tougher and far more ruthless than the other criminals around her.  Alice might brag about how she’s found success in an industry dominated by men but Emily actually does it.

Emily the Criminal is a relentlessly-paced journey through the shadows of the gig economy, a world where the only law is that everyone is looking out for themselves.  Aubrey Plaza gives a career best performance as Emily, playing her as someone who not only turns out to have a natural talent for being a criminal but who occasionally shocks herself with how ruthless she can be.  Emily may be a criminal but its hard to judge her.  It’s just a job.

January Positivity: Forever and a Day (dir by Zeke Jeremiah)


In a small Texas town, life seems to be going as it always does.

High school freshman Daniel (Keegan Bouton) spends most of his time hanging out with his best friend, Haley (Charlotte Delaney Riggs).  They walk around town together.  They explore the woods together.  They talk about their first year in high school and which teachers they like and which they dislike.  When they see one of their classmates getting picked on by a group of bullies, Haley wants to do something to stop it while Daniel argues that there’s nothing they can do.

Besides, they have an even more pressing concern.  Haley’s mother (Mercedes Peterson) has begun to flirt with Daniel’s father (Trey Guinn)!  In a well-written and well-acted scene, they sit in a car and watch as Haley’s mom talks to Daniel’s dad and both of them discuss the things that their parents do while flirting, just to watch in silent horror as their parents proceed to do every one of those things.  Though they may be best friends, they’re still a little bit creeped out by the idea of their parents dating.  Daniel, especially, still thinks that his father and mother might someday get back together.

From the start, the viewer is aware that something tragic is going to happen.  The town is too perfect and Haley and Daniel’s friendship is too heartfelt for there not to be a tragedy waiting around the corner.  And, from the minute we see poor Colby (Holdan Mallouf) getting pushed around by Travis (Blaze Freeman) and his gang, we can pretty much guess what that tragedy will involve.  It’s just a question of who, amongst the character that we’ve met, will be unlucky enough to be in the hallway when Colby finally snaps.

It may sounds melodramatic but, unfortunately, it’s also an honest portrayal of the fears that everyone has when it now comes to high school.  School shooting are a tragedy that few of us can get our heads around, which is one reason why people are often more interested in using them to score political points than to actually discuss the events that led up to each shooting and the culture that produced them.  This film does a good job of examining the aftermath of the shooting and the struggle of people to understand both how it could have happened and how it could have been prevented.  This film emphasizes love and faith as a way to both deal with tragedy and to combat the anger and depression that leads to it happening.  No one was willing to stand up for Colby and the only person who shows any real concern for him was led away by her best friend.

(I do have to say that I cringe a little bit whenever school shooters are portrayed as just being stereotypical nerds who snapped because the bullies wouldn’t leave them alone.  That describes a few school shooter but it certainly doesn’t describe shooters like Nikolas Cruz, Adam Lanza, or the two Columbine shooters.  Portraying any kid who is picked on as being a ticking time bomb just further stigmatizes the socially awkward.)

Forever and a Day is a low-budget film and it’s hardly flawless.  (I could have done without the narrator.)  But, at the same time, it deals with a difficult subject with emotional honesty and the cast does a good job inhabiting their characters.  In the end, it’s a film that asks all of us to treat each other with kindness and there’s nothing wrong with that.

Here Are The 2022 Nominations of the Columbus Film Critics Association!


Last night, the Columbus Film Critics Association announced their nominations for the best of 2022!

And here they are:

Best Film
Aftersun
Everything Everywhere All at Once
Glass Onion
Guillermo del Toro’s Pinocchio
Marcel the Shell with Shoes On
Nope
Tár
The Banshees of Inisherin
The Fabelmans
The Menu
Women Talking

Best Director
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Sarah Polley, Women Talking
Steven Spielberg, The Fabelmans

Best Lead Performance
Cate Blanchett, Tár
Olivia Colman, Empire of Light
Danielle Deadwyler, Till
Colin Farrell, The Banshees of Inisherin
Ralph Fiennes, The Menu
Brendan Fraser, The Whale
Mia Goth, Pearl
Paul Mescal, Aftersun
Margot Robbie, Babylon
Michelle Williams, The Fabelmans
Michelle Yeoh, Everything Everywhere All at Once

Best Supporting Performance
Angela Bassett, Black Panther: Wakanda Forever
Kerry Condon, The Banshees of Inisherin
Jamie Lee Curtis, Everything Everywhere All at Once
Paul Dano, The Fabelmans
Dolly De Leon, Triangle of Sadness
Brendan Gleeson, The Banshees of Inisherin
Barry Keoghan, The Banshees of Inisherin
Janelle Monáe, Glass Onion
Keke Palmer, Nope
Ke Huy Quan, Everything Everywhere All at Once

Best Ensemble
The Banshees of Inisherin
Everything Everywhere All at Once
The Fabelmans
Glass Onion
Women Talking

Actor of the Year (for an exemplary body of work)
Hong Chau, The Menu and The Whale
Jamie Lee Curtis, Everything Everywhere All at Once and Halloween Ends
Colin Farrell, The Banshees of Inisherin, The Batman, and Thirteen Lives
Mia Goth, Pearl and X
Tilda Swinton, The Eternal Daughter, Guillermo del Toro’s Pinocchio, and Three Thousand Years of Longing
Anya Taylor-Joy, Amsterdam, The Menu, and The Northman

Breakthrough Film Artist
Austin Butler, Elvis – (for acting)
Hong Chau, The Menu and The Whale – (for acting)
Zach Cregger, Barbarian – (for directing, screenwriting, and acting)
Gabriel LaBelle, The Fabelmans – (for acting)
Charlotte Wells, Aftersun – (for directing and screenwriting)

Best Cinematography
Russell Carpenter, Avatar: The Way of Water
Ben Davis, The Banshees of Inisherin
Claudio Miranda, Top Gun: Maverick
Linus Sandgren, Babylon
Hoyte Van Hoytema, Nope

Best Film Editing
Sarah Broshar and Michael Kahn, The Fabelmans
Bob Ducsay, Glass Onion
Eddie Hamilton, Top Gun: Maverick
A. Sreekar Prasad, RRR
Paul Rogers, Everything Everywhere All at Once

Best Adapted Screenplay
Guillermo del Toro and Patrick McHale, Guillermo del Toro’s Pinocchio
Dean Fleischer-Camp, Jenny Slate, and Nick Paley, Marcel the Shell with Shoes On
Samuel D. Hunter, The Whale
Rian Johnson, Glass Onion
Rebecca Lenkiewicz, She Said
Sarah Polley and Miriam Toews, Women Talking

Best Original Screenplay
Todd Field, Tár
Daniel Kwan and Daniel Scheinert, Everything Everywhere All at Once
Martin McDonagh, The Banshees of Inisherin
Jordan Peele, Nope
Seth Reiss and Will Tracy, The Menu
Steven Spielberg and Tony Kushner, The Fabelmans

Best Score
Michael Abels, Nope
Carter Burwell, The Banshees of Inisherin
Alexandre Desplat, Guillermo del Toro’s Pinocchio
Justin Hurwitz, Babylon
Trent Reznor and Atticus Ross, Bones and All
John Williams, The Fabelmans

Best Documentary
All the Beauty and the Bloodshed
Fire of Love
Good Night Oppy
Moonage Daydream
Navalny
Sr.

Best Foreign Language Film
All Quiet on the Western Front
Decision to Leave
RRR
Saint Omer

Best Animated Film
Guillermo del Toro’s Pinocchio
Mad God
Marcel the Shell with Shoes On
Puss in Boots: The Last Wish
Turning Red

Best Comedy
The Banshees of Inisherin
Everything Everywhere All at Once
Glass Onion
The Menu
Triangle of Sadness
The Unbearable Weight of Massive Talent

Best Overlooked Film
After Yang
Confess, Fletch
God’s Country
Men
The Unbearable Weight of Massive Talent

The winners will be announced on January 5th!

Monday Live Tweet Alert: Join Us For Prey of the Jaguar and Primal Fear!


As some of our regular readers undoubtedly know, I am involved in hosting a few weekly live tweets on twitter.  I host #FridayNightFlix every Friday, I co-host #ScarySocial on Saturday, and I am one of the five hosts of #MondayActionMovie!  Every week, we get together.  We watch a movie.  We tweet our way through it.

Tonight, for #MondayActionMovie, the film will be 1996’s Prey of the Jaguar!  Selected and hosted by @BunnyHero, Prey of the Jaguar stars not just Linda Blair but also Maxwell Caulfield!  Rex Manning Day came early! The movie starts at 8 pm et and it is available on YouTube.

 

Following #MondayActionMovie, Brad and Sierra will be hosting the #MondayMuggers live tweet.  Tonight’s movie, starting at 10 pm et, will be 1996’s Primal Fear, starring Richard Gere, Laura Linney, and Edward Norton!  Primal Fear can be found on Prime!

 

It should make for a night of intense viewing and I invite all of you to join in.  If you want to join the live tweets, just hop onto twitter, start Prey of the Jaguar at 8 pm et, and use the #MondayActionMovie hashtag!  Then, at 10 pm et, switch over to prime, start Primal Fear and use the #MondayMuggers hashtag!  The live tweet community is a friendly group and welcoming of newcomers so don’t be shy.  And reviews of these films will probably end up on this site at some point over the next few weeks. 

Enjoy!

The Eric Roberts Collection: Deadline (dir by Curt Hahn)


In the year 1993, a black teenager named Wallace Sampson was shot and murdered in the small town of Amos, Alabama.  The murderer was never caught.  In fact, according to most people in the town, the murder was never even really investigated.  The town’s white leaders, many of whom were members of the Ku Klux Klan, swept the murder under the rug.

20 years later, Trey Hall (Lauren Jenkins) is determined to solve Wallace’s murder.  Trey may be the daughter of the richest man in town but, as she puts it, she was practically raised by Wallace’s mother, Mary Pell Sampson (Jackie Welch).  Mary Pell Sampson is the long-time maid of Trey’s father, Everett Hall (David Dwyer).  When journalist Matt Harper (Steve Talley) comes down from Tennessee to do a story on another murder, Trey tells him that he should totally ditch the recent murder and instead investigate the older murder.  Matt, who is currently in the process of being cancelled due to a poorly written headline, decides that he wants to investigate and report on the death of Wallace Sampson.  His editor agrees, on the condition that he work with the older and more cynical Ronnie Bullock (Eric Roberts).

While investigating Wallace’s murder, Matt has to deal with his own very messy personal life.  His fiancée, Delana (Anna Felix), wants to call off the wedding because Matt is too obsessed with work.  His father (J.D. Souther) is dying of cancer but can still find the time to scold Matt for ending a sentence with a preposition.  Finally, Matt is not happy about having work with Ronnie, who is an old school reporter who travels with a gun and who has little use for the demands of society.  When Matt accuses Ronnie of being racist, Ronnie angrily corrects him.  When Matt accuses Ronnie of being sexist, Ronnie just shrugs.  It’s really the type of thing that only Eric Roberts could pull off.

Deadline is loosely based on a true story and it’s certainly a well-intentioned film.  Unfortunately, the majority of the performances feel amateurish, the pace is rather slow, and the bad guys are so obviously evil that the film itself feels a bit cartoonish.  (If only all murderers were as easy to pick out as they are in this film….)  It suffers from the same problem that afflicts a lot of films about civil rights in the South, in that the black characters are often pushed to the background and left undeveloped while the film focuses on the nobility of rich white liberals.  Again, the intentions are good but the execution leaves a bit to be desired.

That said, Eric Roberts is well-cast as Ronnie Bullock and, whenever he’s onscreen, he brings some much-needed energy to the film.  In some ways, Ronnie is a cliché.  He’s the cynical, politically incorrect journalist who, deep down, still believes in doing the right thing.  But Roberts manages to bring some nuance to both the character and the film.  The viewer will be happy every time that Roberts steps into a scene.  Eric Roberts’s performance is the highlight of the film and the best reason to see Deadline.

Previous Eric Roberts Films That We Have Reviewed:

  1. Star 80 (1983)
  2. Blood Red (1989)
  3. The Ambulance (1990)
  4. The Lost Capone (1990)
  5. Love, Cheat, & Steal (1993)
  6. Love Is A Gun (1994)
  7. Sensation (1994)
  8. Doctor Who (1996)
  9. Most Wanted (1997)
  10. Mr. Brightside (2004)
  11. Six: The Mark Unleased (2004)
  12. Hey You (2006)
  13. In The Blink of an Eye (2009)
  14. The Expendables (2010) 
  15. Sharktopus (2010)
  16. Miss Atomic Bomb (2012)
  17. Lovelace (2013)
  18. Self-Storage (2013)
  19. Inherent Vice (2014)
  20. Rumors of War (2014)
  21. A Fatal Obsession (2015)
  22. Stalked By My Doctor (2015)
  23. Stalked By My Doctor: The Return (2016)
  24. The Wrong Roommate (2016)
  25. Stalked By My Doctor: Patient’s Revenge (2018)
  26. Monster Island (2019)
  27. Seven Deadly Sins (2019)
  28. Stalked By My Doctor: A Sleepwalker’s Nightmare (2019)
  29. The Wrong Mommy (2019)
  30. Her Deadly Groom (2020)
  31. Top Gunner (2020)
  32. Just What The Doctor Ordered (2021)
  33. Killer Advice (2021)
  34. The Poltergeist Diaries (2021)
  35. My Dinner With Eric (2022)

Catching Up With The Films of 2022: Wrong Place (dir by Mike Burns)


After his wife is killed in a car crash, former police chief Frank Richards (Bruce Willis) takes a job as a security guard for a small town convenience store.  It’s not really a demanding job.  As we see in one montage, Frank spends most of his time playing solitaire.  However, one evening, Frank steps out back to have a cigar and he just happens to catch meth dealer Virgil Brown (Massi Furlan) executing a man.  Frank promptly disarms and arrest Virgil.

Virgil’s son, Jake (Michael Sirow), is not happy about this.  Knowing that Frank is the only eyewitness who can testify against Virgil at his trail, Jake heads off to kill Frank.  However, when Jake arrives at Frank’s cabin, he discovers that it is inhabited by Frank’s daughter, Chloe (Ashley Greene), and her girlfriend, Tammy (Stacey Danger).  Jake tries to take Chloe and Tammy hostage but Chloe turns out to be a lot tougher than he assumed.  Chloe is waiting to hear whether or not she’s cancer-free and, as she explains to Jake, she has nothing to lose by risking her life and fighting him.  And while Jake is certainly dangerous and quick to fire his gun, he’s also not the most competent criminal to ever come out of the backwoods of Alabama.  If you’re guessing that this leads to several scenes of various characters chasing each other through the woods and shooting at each other, congratulations!  You’re right!

This was one of the last films that Willis made before announcing his retirement last year.  Watching the film, it’s easy to see that Willis was struggling a bit.  There’s none of the swagger that viewers typically associate with Bruce Willis and he delivers many of his lines in a flat monotone.  That said, this film is still a better showcase for Willis than American Siege or Fortress: Sniper’s Eye.  Indeed, in the early scenes with his soon-to-be-deceased wife, Willis feels a bit like the Willis of old.  Even if Bruce Willis was struggling to remember his lines, his eyes still revealed a lot of emotional depth.  In the scenes where he and his wife discuss getting older and mention how scary it is to be sick, the dialogue carries an extra resonance.  If nothing else, the role of a decent man who will do anything to protect his family seems like a more appropriate final role for Willis than the various crime bosses that he played in some of his other ’22 films.

Unfortunately, Wrong Place gets bogged down with the whole hostage subplot.  There’s only so much time that you can spend watching people yell at each other before you lose interest.  Ashley Greene, Stacey Danger, and Michael Sirow all give convincing performances but the film itself falls into a rut.  When Jake is first introduced, he seems like he could be an interesting villain.  He doesn’t really know what he’s doing but he’s determined to impress his father.  (Sadly, it’s pretty obvious that Jake’s father will never be impressed with anything Jake does, regardless of what it may be.)  Jake’s incompetence makes him even more dangerous because it also makes him impulsive and quick to anger.  Unfortunately, the film doesn’t do much with his character.  Once the action kicks in, he just become another generic backwoods villain.

I get the feeling that the director meant for Wrong Place to be more than just another action film.  The film moves at its own deliberate pace and, even after the hostage situation has concluded, the film still goes on for another ten minutes.  One gets the feeling that the director wanted to make a sensitive film about the relationship between a headstrong daughter and her old-fashioned father.  But, because this film was also a low-budget action film, he also had to toss in some backwoods meth dealers.  The film has some moments of unexpected emotional honesty, many of them curtesy of Ashley Greene.  But, in the end, it keeps getting bogged down with endless scenes of people running through the woods with guns.  The end result is an uneven film but at least Willis gets to play a hero again.

4 Shots From 4 Films: Special Oscar Micheaux Edition


4 Or More Shots From 4 Or More Films is just what it says it is, 4 shots from 4 of our favorite films. As opposed to the reviews and recaps that we usually post, 4 Shots From 4 Films lets the visuals do the talking!

139 years ago today, Oscar Micheaux was born in Metropolis, Illinois.  After working in several different jobs and writing a few novels, Micheaux would become the first African-American to produce and direct a feature length film and, later, a sound feature length film.  He began his directorial career in 1919 and continued it throughout the sound era, often making films that were meant as a response to the films that were coming out of Hollywood.  (For example, 1920’s Within Our Gates was meant to answer and condemn the racism of The Birth of a Nation.)  At a time when blacks were usually only used for comedic relief and when it wasn’t uncommon for white actors to wear blackface on screen, Micheaux created an alternative film industry and, along the way, he gave early and rare starring roles to black actors like Paul Robeson.

Micheaux distributed the majority of his films himself and, unfortunately, the majority of them have been lost.  The ones that survive were often hampered by their low budgets but they still provide a view into African-American life in the early days of the 20th Century.  As well, Micheaux was one of the first successful “independent” filmmakers.  Working without the support of the major studios, Micheaux still did what he had to do to share his vision with audiences.

It’s time for….

4 Shots From 4 Oscar Micheaux Films

Within Our Gates (1920, dir by Oscar Micheaux)

Body and Soul (1925, dir by Oscar Micheaux)

10 Minutes To Live (1932, dir by Oscar Micheaux, DP: Lester Lang)

Harlem After Midnight (1935, dir by Oscar Micheaux)

January Positivity: Seven Days Away (dir by Josiah David Warren)


Clayton (Josiah David Warren) is the religious kid who everyone dreads getting in to a conversation with.  He’s the type of kid who accepts a ride from one of his friends and then starts to give everyone a hard time for drinking and driving and….

Actually, wait a minute …. drinking and driving sucks!

So, Clayton is actually totally correct to tell his friends to put down the beer cans while they’re driving.  They, of course, just laugh him off and call him “church boy.”  One accident later, Clayton’s friend is dead and Clayton is more determined than ever to go down to Mexico and do missionary work.  Everyone tells him that it’s dangerous to go down to Mexico.  Everyone knows that Clayton’s father died while serving as a missionary.  But Clayton and another group of friends still head down to Mexico.

Unfortunately, it turns out that Clayton’s other friends may not be drunk drivers but they’re still not all that interested in evangelizing in Mexico.  They especially get angry when Clayton insists that they accompany him to the local church.  Clayton finally gets annoyed with all of them and he decides to wander off on his own.  Of course, that’s always a mistake.  No sooner has Clayton turned down the wrong street than he’s been kidnapped.

Clayton finds himself tied up in an old barn and being held prisoner by a group of human traffickers.  They’re convinced that Clayton is rich and they continually call his mother and demand that she send them some money.  Meanwhile, Clayton soon realizes that he’s not the only person behind held prisoner in the barn.  He also comes to realize that the desert surrounding the barn is full of dead bodies.

Noticing that his kidnappers are always drinking and smoking, Clayton tells them that they shouldn’t.  When they demand to know why not, Clayton quotes Corinthians.  That goes over about as well as you might expect.

Seven Days Away attempts to mix the faith-based genre with the action genre.  When Clayton isn’t preaching or quoting the Bible, he’s running through the desert and trying not to get shot.  Unfortunately, the film doesn’t really work as an action film.  The film uses some hand-held camerawork to try to generate some suspense but, at this point, the whole hand-held thing is such a cliché that it actually inspires more laughs than gasps of terror.  The soundtrack is remarkably muddy and it’s often difficult to understand just what exactly anyone is saying.  Even by the standards of the low-budget faith genre, the acting is amateurish.  As a film, it just doesn’t come together.  The fact that the film’s director also played the lead role was perhaps a bit of the problem.  It’s hard not to feel the film would have had a better chance at success if he had just concentrated on doing one thing as opposed to everything.

I guess the best thing you can say about a film like this is that it was well-intentioned.  Watching it brought back memories of the days leading up to Spring Break, when the campus would be full of stories about students who got drunk while partying in Mexico and subsequently vanished.  I have to admit that I never had a lot of sympathy for the students in those stories.  Sometimes, you just have to use a little common sense.

Book Review: Godzilla: The Official Guide To The King Of The Monsters by Graham Skipper


Do you like Godzilla?

You better!  Seriously, for over 60 years, Godzilla has been the rightful king of the monsters and not even a few less-than-perfect films have been able to knock him off of his throne.  He started out as a symbol of the nuclear age, a prehistoric monster brought back to life by man’s arrogance and war-like nature.  He eventually became mankind’s protector but then deciding that he no longer cared for mankind. And then, like many international stars, he ended up making movies for the American studios.  It’s an epic story and it’s hard not to like the big monster at the center of it.  If, for some reason, you don’t like Godzilla, maybe Graham Skipper’s new book, Godzilla: The Official Guide To The King of the Monsters, will change your mind.

Godzilla: The Official Guide To The King of the Monsters is exactly what the title says.  It’s a guide to all of Godzilla’s adventures, from his first appearance in the 50s all the way through his animated films and the current American version.  (Perhaps not surprisingly, the 1998 version of Godzilla is only afforded a few paragraphs.)  Helpfully, Skipper divides his overview into ears, so you can see how Godzilla changed as he moved from studio to studio.  Skipper also takes a look at Godzilla’s existence outside of the movies, as a comic book mainstay and an occasional television guest star.  The book is written with a lot of obvious affection for Godzilla in all of his incarnations and reading it will remind you of why Godzilla’s films — yes, even Son of Godzilla — are so much fun to begin with.  Skipper includes a lot of trivia, some of which was new to even me.  Such as, did you know that Luigi Cozzi re-edited and colorized the original 1954 Gojira for a 1970s release in Italy?

The book is also heavily-illustrated, featuring a lot of shots from the films and behind-the-scenes pictures of Godzilla and all of his colleagues.  As I read the book, it occurred to me that, as goofy as Jet Jaguar was, it’s still nice that Godzilla had a friend.  As well, as I looked at the pictures, it occurred to me that, even in the later films when Godzilla had been transformed from a truly fearsome symbol of the nuclear age to a somewhat goofy rubber monster, there was still an undeniable majesty to him as a creation.  Even at his worse, Godzilla still looks like a king.

I picked up a copy of this book on the day after Christmas and I’m glad I did.  Not only does it celebrate Godzilla but it also provides me with a guide because, over the next 12 months, I hope to watch every Godzilla film that’s ever been made.  (I’ve seen the majority but, as this book reminded me, there’s still a few that I missed.)  For the record, I still think that Godzilla vs Destoroyah is the best of the Godzilla films but who knows?  Maybe my mind will have been changed by December.

Humanity has survived a lot over the past few years and I’m happy to say that Godzilla has survived with us.  Graham Skipper’s Godzilla helps to explain why.