WittyUsername

They’re not going to kill a baby.

Generally speaking, the pattern with Godzilla films seems to be that the ones where he’s the solo monster tend to be more serious and dramatic, while the ones that have him fighting other monsters are campier and more schlocky. The big exceptions to this are the Roland Emmerich film, which doesn’t take itself very seriously, and GMK, which does take itself seriously, thought maybe not to the extent of the recent Toho films. I suppose the 2014 film also took itself fairly seriously, but not to the extent that the trailers made it seem. In any case, the Monsterverse is all about the monster fights, so at this point, it’s clear that it’s leaning towards the schlockier side of things. I mean, it’s a franchise that exists because the former CEO at Legendary really wanted Godzilla to fight King Kong.

All of this year’s DC movies were pretty much doomed the moment we learned about the reboot. It’s the same reason there was basically zero interest in Dark Phoenix. You can tell that the executives want to get all this over with so they can move on.

I can’t believe trailers are still doing that thing where they use slowed down covers of pre-existing songs. Is that practice ever going to die? Kong: Skull Island actually has the biggest worldwide gross of any of these movies.

The movie’s gonna bomb, we get it. How many posts do we need about it?

Journeyman directors are pretty much a necessity when it comes to these movies. Besides, Sam Raimi has plenty of experience with big budget movies.

Even then, it seems really unnecessary. At this point, I would think that most of the moviegoers who are familiar with this franchise would be able to recognize the name ‘Furiosa.’ I can only assume this was David Zaslav’s idea, since I’m pretty sure he was also responsible for that dumb title change for the Alfred Pennyworth show.

That subtitle is pretty frustrating.

Elon Musk is a petulant child with zero self control. Who cares what he says?

They’d be better off not trying to make sense of the continuity of the X-Men films. That’s a fool’s errand.

I’m guessing the ‘L’ stands for lizard?

As far as I’m aware, Bob Chapek didn’t even really have the chance to significantly hurt Disney’s bottomline. He was appointed during the early days of the pandemic, and didn’t even last three years with the company. I won’t deny that he’s incompetent, but there’s no denying that he was dealt a bad hand. It was Bob Iger’s idea to prioritize streaming. He was the one who went all in on Disney+, and we’ve now seen how detrimental that strategy was.

Bob Iger trying to blame diversity for Disney’s recent financial woes is hilarious, especially when he was championing that just one year ago. I guess it’s easier to blame “wokeness” than his own factory approach to entertainment. Is the Ironheart show gonna get the Zaslav treatment now?

Yeah, I remember when Frozen II gave Elsa a steamy romantic subplot with another woman. Oh wait, that didn’t happen.

They don’t have to show Maria getting shot or Gerald Robotnik getting executed.

That’s not really relevant to what I asked.

Are we supposed to know who these people are?

So, Universal’s putting out two major releases on Christmas Day?

The Fantastic Four’s backstory could still be tied into the 1960s, without showing us precisely how they get their powers.

I’m having trouble believing that they’d be dumb enough to do that for a character like Deadpool, or that they’d want to screw over Ryan Reynolds.

I’m starting to think this really might be the favorite to win Best Picture.

I’m pretty sure I recall it being mentioned last year that they wouldn’t be redoing the origin. Besides, they didn’t do that with Spider-Man.

I wasn’t sure what other word to use.

Not a bad theory. At the very least, the fact that the movie has a new writer would suggest that they’re planning to go in a bit of a different direction.