There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The Producer

There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The Producer

The story of Godzilla is a story that has been told numerous times by a wide variety of filmmakers from a wide variety of cultures. One of the most notorious Godzilla stories ever committed to film is Roland Emmerich's 1998 take on the giant reptile, which has since gone on to become known as one of the worst cinematic versions of Godzilla ever. On that note, Godzilla writer and producer Dean Devlin recently opened up and admitted that he thinks a significant reason Godzilla failed to make an impression on audiences was the attempt to imbue the lizard with moral ambiguity. Devlin explained:

Roland and I made an intellectual idea that was interesting but not compelling filmmaking. We said in real life, a lizard is neither evil nor good, it's just a lizard. So what if one got to that size and in its effort to survive, it threatened us, but it wasn't mad at us? It was just simply doing what it did and it causes this problem for us. Well, that's interesting, but that's not Godzilla. If you go to the very first movie, Gojira, it was an evil monster. Movies after that, it was a hero. We didn't choose either.

There's definitely an attempt at something interesting and different for the Godzilla franchise in Dean Devlin's remarks to Syfy Wire. As the Geostorm director explained, while most incarnations of Godzilla are framed as hero or villain, the 1998 film did something different by steering clear of those ideas and treating Godzilla like an animal. In the end, audiences didn't respond to it, and a smart idea proved to be the film's downfall.

The failure of Godzilla has become well-known among many fans of the monster movie genre. The film only earned $136 million domestically against a $130 million production budget, and it was universally panned by critics, ranking at 12% on Rotten Tomatoes. Now we're left to wonder what could've been with a more traditional hero or villain take on the giant lizard.

Of course, the perceived failure of the 1998 Godzilla movie has not prevented Hollywood from returning to that iconic well to try again. The fire-breathing lizard returned to the big screen in 2014 with Gareth Edwards Godzilla, and that film kicked off the current MonsterVerse that continued with the premiere of Kong: Skull Island last year. Next on deck is Godzilla: King of the Monsters, and what we know about Michael Dougherty's sequel to Gareth Edwards' film tells us that the franchise will once again frame Godzilla as a hero when Mothra, Rodan and King Ghidorah appear.

CinemaBlend will keep you posted with updates related to the future of Godzilla on the big screen as more information related to the iconic monster becomes available to us. Make sure to catch Godzilla: King of the Monsters next year when the next MonsterVerse entry debuts on May 31, 2019! As for the rest of this year, you can check out our movie premiere guide to see what films are coming to theaters in 2018!




There's A Reason Roland Emmerich's Godzilla Was A Flop



Prior to the release of Independence Day, director Roland Emmerich and producer Dean Devlin signed on in May 1996 to do Godzilla under the condition they would be able to handle the film their way, Devlin stated, "I told Sony that I would do the film but on my own terms, with Godzilla as a fast-moving animal out of nature, rather than some



Godzilla is a 1998 American science-fiction monster film directed and co-written by Roland Emmerich and a reimagining of Toho's Godzilla franchise.It is the 23rd film in the Godzilla franchise and the first Godzilla film to be completely produced by a Hollywood studio.
Roland Emmerich - Wikipedia



Roland Emmerich is one of the most successful directors in film history. Having directed such blockbusters as Stargate (1994), Independence Day (1996), The Patriot (2000), The Day after Tomorrow (2004), and White House Down (2013), few filmmakers have entertained as many audiences around the world as Roland Emmerich.
Roland Emmerich | Wiki & Bio | Everipedia



There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The Producer Movies June 2, 2018 No Comments The story of Godzilla is a story that has been told numerous times by a wide variety of filmmakers from a wide variety of cultures.
Roland Emmerich's Next Movie Is Not Going To Be A Disaster Film



Roland Emmerich (German: [ˈʁoːlant ˈɛməʁɪç]; born November 10, 1955) is a German film director, screenwriter, and producer, widely known for his disaster films. His films, most of which are English-language Hollywood productions, have made more than $3 billion worldwide, including just over $1 billion in the United States, making him
Godzilla (1998 film) - IPFS is the Distributed Web



There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The Producer The Dark Matter Movie May Be Taking A Big Step Forward Why The Stargate Reboot Isn't Happening, According To
Roland Emmerich - Topic - YouTube



Subscribe To There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The Producer Updates close. Subscribe To There's A Reason Roland Emmerich's Godzilla Was A Flop, According To The
There's A Reason Roland Emmerich's Godzilla Was A Flop



(This video was originally released in 2009). 2012 is a new disaster movie from master of disaster Roland Emmerich, director of ID4, Godzilla, The Day After Tomorrow and 10,000 B.C.
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Roland Emmerich (German: [ˈʁoːlant ˈɛməʁɪç]; born November 10, 1955) is a German film director, screenwriter, and producer, widely known for his disaster films. His films, most of which are English-language Hollywood productions, have made more than $3 billion worldwide, including just over $1 billion in the United States, making him
Godzilla (1998 film) - Wikipedia



So there's some emotional symmetry in this new concept art shared by Lucasfilm art director Christian Alzmann, showing a considered scene for Han's entrance shot in J.J. Abrams' Star Wars: Episode VII - The Force Awakens.
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Why James Wan Loves The Trench Creatures Of Aquaman

Why James Wan Loves The Trench Creatures Of Aquaman

Aquaman was, for the most part, a pretty lighthearted superhero movie. The character of Arthur Curry is pretty laid back and he never lets much get to him. However, at one point, the movie's tone takes a serious shift when Aquaman and Mera end up going up against the creatures of the Trench.

From this point, for a few minutes, the film becomes something much more like a horror movie. Of course, when your director is James Wan, the brain behind the Conjuring franchise, you're in pretty good shape. Wan says he particularly loved the creatures of the trench because it let him go back to those horror roots. According to Wan...

I definitely love the trench creatures because it does allow me to hunt back to my horror roots and so I went all out and basically made those sequences just monster movies, like just sea creature monster movies.

James Wan maybe wasn't the most out of left field choice to direct Aquaman. He had done the seventh installment of the Fast and Furious franchise, and so doing a fairly traditional action movie wasn't an entirely new idea. However, Wan has always been more closely associated with the horror genre.

Back in 2004 he directed the first installment of the Saw franchise, where he has remained a producer ever since. After that, he developed The Conjuring, a franchise, which has spawned sequels and spin-offs of its own. Clearly, James Wan loves making horror movies, so it makes sense he would love the sequence in Aquaman that feels very much like something out of a horror movie.

The scene follows Arthur Curry and Mera as the take a boat out to open water, to the place where they believe the Trident of Atlan is being kept. However, that particular stretch of ocean belongs to one of the lost Kingdoms of Atlantis, one that has gone feral since the kingdoms fell apart.

The atmosphere is perfect for a horror movie. There's a storm going on. It's nearly pitch black, making it hard to see where the creatures are. First our heroes try to find shelter in the cabin of the boat, when that fails, they find themselves surrounded by monsters.

It's certainly an effective scene and while it's drastically different from anything else in Aquaman, it certainly works. Get a quick look at it, as well as hear James Wan's comments, in the exclusive clip from the Blu-ray extras of Aquaman, below.

Of course, James Wan clearly isn't the only person who loved the creatures of The Trench. The word is that a spin-off film is being developed that will focus on them, so there were apparently a lot of people at DC and Warner Bros. who loved that part of the movie.

Exactly what this new movie will actually be about is far from clear. Maybe it will be an origin story that explains how these Atlanteans became monsters, but it could just as easily be an actual horror movie, where the Trench creatures become the monsters that other characters are trying to escape from. Certainly, the stage has been set by one great horror director. maybe another could come in and make a superhero horror movie.

Aquaman is available in Digital HD and arrives on Blu-ray today.






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The grand finale of the show sees Harry Potter's stag Patronus light up the night sky in a beautiful display that seems like magic. It is obviously (and sadly) not real magic though. It is actually achieved thanks to the magic of technology, specifically dozens of drones that emit the bright lights that makeup Harry's brilliant stag Patronus.
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Michael B. Jordan will star in "Just Mercy." (Carolyn Cole / Los Angeles Times) by Tre'vell Anderson via latimes.com WarnerMedia, the parent company of Hollywood studio Warner Bros., announced Wednesday a company-wide policy aimed at increasing diversity and inclusion in front of and behind the camera.
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origin-www.timewarner.com/newsroom/press-releases/2018/09/05/warner-bros-pictures-just-mercy-starring-and-executive-produced
Warner Bros. Pictures' "Just Mercy," Starring and Executive Produced by Michael B. Jordan, First Film Under WarnerMedia's Newly Unveiled Diversity and Inclusion Policy September 05, 2018 (Burbank, CA) - WarnerMedia today unveiled a company-wide policy outlining its commitment to diversity and inclusion in front of and behind the camera.




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To 3D Or Not To 3D: Buy The Right The Meg Ticket

To 3D Or Not To 3D: Buy The Right The Meg Ticket

Just when you thought it was safe to go back to the movie theater, The Meg swims in and threatens to eat characters you might get attached to, in what could be the last summer blockbuster of the season. Jason Statham and a cast of diverse actors and talents offer themselves as a buffet to a particularly pissed off Megalodon, and what's better, this process has been pushed through the prism of 3D spectacle. Which leaves us asking the question it's always safe to ask: to 3D, or not to 3D?

If you're wondering what we thought of the movie itself, you can swim over to our review proper of The Meg, and read away. However, much like Statham's protagonist in the film, it's time for us to tangle with a familiar beast, in the name of the audience. Grab a harpoon, strap on your goggles, and prepare to dive beyond the window with us, as we take a look at the 3D presentation of The Meg!

To a certain extent, The Meg has always promised the audience visual panache and eye-popping thrills. Every ad, trailer, and poster plays with the expectations of depth and life being given to the picture that would unfold on the screen. So with exploding ships, vengeful sharks, and that huge mouth just waiting to swallow anything in its path, 3D would be a fantastic addition to The Meg. Provided, of course, that the conversion is done correctly.

For a film that nails the aspect of depth as well as The Meg does, it's a real big surprise that the folks behind the 3D magic didn't pay as much attention to throwing things off of the screen and into the audience at a consistent. Also, with a film as dark as this one is at times, it's a welcome respite to see those scenes not totally washed out, but the whole picture does suffer from a bit of a grey wash over its visuals. Throw in some sequences that wonk the eyes out a bit, and you've got a 3D presentation that should have been better, and comes up way short.

During the last 20 minutes or so of The Meg, the before-the-window thrills are pretty damned exciting. I flinched more than once at things being thrown out of the screen, and there's one big money shot with Jason Statham and the titular creature that may as well be a lenticular cover to the 3D Blu-ray. So why then is the rest of the damned movie not as impressive? Barely anything gets projected towards the screen with as much gusto as that last sequence, but boy did that last sequence have fun with its efforts.

There's some serious depth to The Meg's 3D picture, and it's the most impressive feature on the film's presentation. With tons of wide shots above and below water that show off the true expansive nature of the sea, you can really feel the depth in each frame of the action. Not to mention, atmospheric effects like bubbles, detritus, and various creatures swimming by are portrayed pitch perfectly. Spatial reasoning is also crisply defined, with characters clearly separated from their co-stars, and their environments.

Yes, The Meg has some pretty dark sequences set in various crafts, enclosed locations, and in the vastness of the deep blue sea. But those pieces of the film's narrative aren't where the brightness of the 3D picture fail. Rather, it's any time that the action goes topside, in broad daylight,that this segment seems to lack the punch it deserves. This comes from two factors that could vary in your showing of The Meg, one of which is the fact that the 3D glasses needed to see the film will dim the picture to a certain degree. With your local theater's projector potentially not being maintenanced or calibrated properly between showings, this just adds to the possibility that your 3D experience may be less than optimal.

The blur of The Meg is pretty strong for the most part, as those moments that you take off your glasses to get some visual air will be extremely shaky looking. However, during some of the close up moments in the film's 3D presentation, it can be observed that certain aspects are more 2D than those that surround them. While this might be a way to anchor the rest of the third dimensional effects of the picture, there's still minor pieces here and there that manage to stick out.

A dim picture puts more than the usual strain on the viewers eyes when partaking in a 3D presentation, and that's where the bulk of The Meg's problems lie. However, there are also scenes that cut or pan in such a jarring manner that your eyes may get a bit confused while watching the film's third dimensionally enhanced product. It's a mostly stable experience, but you'll probably find yourself checking the blur quite a bit during this one.

The Meg is a middling 3D experience that, executed better, could have been a massive entertainment. It's not terrible, but the thrills really don't kick in until the end of the film, leaving the majority of the picture looking slightly immersive. Still, if you're looking for a couple of minutes worth of 3D thrills, and can sit through a decent if unimpressive 3D conversion for the first two thirds, you might have a lot of fun swimming with The Meg in the third dimensional waters.

Be sure to visit our full To 3D Or Not To 3D Archive.







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