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Sony Bringing Several Godzilla Double-Feature Blu-rays Home in May!

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Sony Bringing Several Godzilla Double Feature Blu-rays in May!Sony is releasing several of the best Godzilla flicks from the 90s onto Blu-ray high definition, and we have the skinny on each of them right here for you. May is gonna kick all sorts of monster-sized ass!

From the Press Release
Beginning with the introduction of the original Godzilla film in 1954 and continuing through today, the King of the Monsters has entertained generations of movie fans through his big-screen adventures.

In celebration of the 60th Anniversary of the iconic franchise, Sony Pictures Home Entertainment will debut four classic Toho Godzilla Double Features for the first time on Blu-ray™ with Digital HD UltraViolet™ on May 6. The ultimate collector’s editions of the action-filled franchise include Godzilla vs. King Ghidorah (1991) + Godzilla and Mothra: The Battle for Earth (1992); Godzilla vs. Mechagodzilla II (1993) + Godzilla vs. SpaceGodzilla (1994); Godzilla vs. Destoroyah (1995) + Godzilla vs. Megaguirus (2000); and Godzilla: Tokyo S.O.S. (2003) + Godzilla: Final Wars (2004). Each double feature is available separately and features unique cover artwork across the series.

Franchise fans can also relive the original theatrical trailers and teasers from the series, included within these sets. Additionally, the Godzilla: Tokyo S.O.S Blu-ray includes a making-of featurette, while Godzilla: Final Wars includes a behind-the-scenes featurette.

Godzilla vs. King Ghidorah + Godzilla and Mothra: The Battle for Earth

Godzilla vs. King Ghidorah (1991)
When a mysterious U.F.O. is seen flying over Tokyo, tension mounts, until the craft’s occupants reveal themselves to be friendly aliens from the 23rd century who have come to warn mankind that Godzilla will soon awaken and wreak havoc upon the earth unless he is destroyed. Meanwhile, a double threat arrives in the form of King Ghidorah, Godzilla’s flying three-headed archrival and an evil and all-powerful android. The suspense builds to terrifying levels as the alien’s sinister mission on Earth is gradually revealed and Godzilla must wage a solo battle against these evil forces who want to destroy mankind. High-tech special effects and awesome action highlight this present-day Godzilla epic. Godzilla vs. King Ghidorah has a run time of approximately 100 minutes and is not rated.

Godzilla and Mothra: The Battle for Earth (1992)
After a series of earthquakes unearth a gigantic orb, a trio of Japanese explorers are dispatched to the mysterious Infant Island to investigate. There they discover the island’s sole inhabitants, miniature twin women whose duty is to protect the mammoth ball, the egg of Mothra! When the explorers attempt to bring the egg back to the mainland, a furious Godzilla awakens from the depths and attacks the party, causing the egg to hatch and forcing its newborn larvae to fend off the gigantic monster. The humongous worm holds its own until help arrives in the form of Battra. When Mothra and Battra metamorphose into flying monster moths, the battle rages on land and in the sky. With two powerful foes to reckon with, has Godzilla finally met his match? Godzilla vs. Mothra has a run time of approximately 100 minutes and is not rated.

Godzilla vs. Mechagodzilla II + Godzilla vs. SpaceGodzilla

Godzilla vs. Mechagodzilla II (1993)
Built with the utmost in 20th-century technology, Mechagodzilla is the ultimate in Godzilla-busting weaponry. Fueled by a nuclear reactor and sheathed in a synthetic diamond shield, the mammoth metal robot is Japan’s greatest hope for ending Godzilla’s reign of terror. Meanwhile, on a remote island polluted by nuclear waste, a team of scientists discover a giant egg in a Pteranodon nest, and bring it home for study. When BabyGodzilla hatches, both Rodan and Godzilla return to claim the cuddly infant as their own. Will their monstrous maternal instincts cause a custody battle capable of destroying Mother Earth? Or will Mechagodzilla prove an effective eradicator, leaving BabyGodzilla an orphan for life? Godzilla vs. Mechagodzilla II has a run time of approximately 105 minutes and is rated PG for sci-fi monster violence and some language.

Godzilla vs. SpaceGodzilla (1994)
The powers of telepathy enter the ranks of high technology in this supernatural, super-powered Godzilla adventure! The military minds behind Japan’s special Counter G Bureau enter the New Age with Project T, in which a telepathic amplifier is implanted in Godzilla’s brain in order to bring the giant monster under control. And just in time! In a faraway galaxy, the mutant SpaceGodzilla turns its evil eyes toward earth, planning to terminate Godzilla and conquer the planet for its own. With the Japanese Mafia infiltrating Counter G, the Bureau needs all the help it can get. Will Japan’s greatest enemy Godzilla become its closest ally? Amid all the smoke and high-tech firepower, not even the psychics know for sure! Godzilla vs. SpaceGodzilla has a run time of approximately 108 minutes and is not rated.

Godzilla vs. Destroyah + Godzilla vs. Megaguirus

Godzilla vs. Destroyah (1995)
With a super-charged blast from his nuclear past, a new Godzilla emerges from his own ashes, radioactive and ready to take on Tokyo! The great monster’s nuclear energy is increasing by the minute, and a monster meltdown threatens to vaporize the planet. But when mutant micro-organisms unleash a plague of destruction, Godzilla is Japan’s only hope to destroy them. This victory creates Godzilla’s deadliest challenge yet: Destoroyah. And with Godzilla Junior pulled into the ring, only the Super XIII can put the deep freeze on this three-way monster melee. The action is hot and the special effects are chillin’ in this high-tech, high-powered Godzilla thriller! Godzilla vs. Destoroyah has a run time of approximately 103 minutes and is not rated.

Godzilla vs. Megaguirus (2000)
Five years after Godzilla terrorized the city of Osaka, Japanese scientists have developed a sure-fire way to finally destroy Japan’s monster nemesis. They have created the world’s first man-made black hole, which will trap Godzilla for eternity! But during a testing of this new Dimension Tide, an insect caught in the hole mutates, producing gargantuan eggs that give birth to a new menace: giant dragonfly monsters called Meganula. Meganula queen, the 50-meter Megaguirus, is also on a hunt for Godzilla, needing to steal his energy to survive. From the sky down to the depths of a city’s underground sewer tunnels, Megaguirus, Godzilla, and humankind battle for supremacy. Who will prevail in this high-tech, three-way battle of terror and destruction? Godzilla vs. Megaguirus has a run time of approximately 105 minutes and is not rated.

Godzilla: Tokyo S.O.S. + Godzilla: Final Wars

Godzilla: Tokyo S.O.S. (2003)
Mechagodzilla, the superior-armed, state-of-the-art, all-robot version of Godzilla, is undergoing repairs after his devastating battle against the world’s monsters. Twin tiny women appear and warn scientists to stop rebuilding Mechagodzilla but their warning goes unheeded. As the great robot nears completion, a series of mysterious incidents rock the world and awaken Godzilla, who unleashes a reign of terror against Tokyo. Mothra joins him and Japan’s desperate Prime Minister has no choice but to launch the unfinished Mechagodzilla against Mothra and Godzilla. But who will fight for whom? And in the end — will the survivor be monster, robot or man? Godzilla: Tokyo S.O.S. has a run time of approximately 91 minutes and is not rated.

Godzilla: Final Wars (2004)
Godzilla’s 50th Anniversary project and costliest adventure to date out of 28 films. Earth has been relatively peaceful since Godzilla was successfully buried deep in ice beneath the South Pole. Then — sometime a few years hence — several of his old nemeses return to wreak havoc on cities worldwide. A huge spaceship suddenly appears and neutralizes all the monsters in a blink. The visitors are “Xiliens,” who take human form and announce they would like to negotiate a peace treaty that would replace the United Nations with a “United Universe.” They are indeed too good to be true, however. It doesn’t take long before their nefarious real purpose is exposed — conquering Earth. Greatly outmatched, Earth officials decide to de-freeze Godzilla as man’s only hope to vanish the invaders, as well as the monsters they control. Only trouble is Godzilla is still mad at man for freezing him in the first place. Godzilla: Final Wars has a run time of approximately 125 minutes and is rated PG-13 for intense sequences of violence.

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Hell Night Blu-ray Review – Mischief & Mayhem At Mongoloid Manor

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Starring Linda Blair, Peter Barton, Suki Goodwin, Vincent Van Patten

Directed by Tom DeSimone

Distributed by Scream Factory


1981. Prime time for the slasher film, when studios were more than content to pump out one after another since production cost was often so low. The downside, though, was that many wound up being formulaic and, eventually, forgotten. Time has allowed the cream to rise to the top of that crop and while Hell Night (1981) isn’t among the best it does stand out due to some novel choices made by director Tom DeSimone and executive producer Chuck Russell, the man responsible for some of the most consistently entertaining horror films of the ‘80s. A dilapidated mansion, oozing with gothic atmosphere, stands in place of a college campus or generic forest setting. Characters are dressed in formal costume; a stark departure from typical ‘80s teen garb. The film is half haunted house, half crazed killer and there is a not-entirely-unexpected-but-definitely-welcome twist at the end providing a solid jolt to a beleaguered climax. Fans are rightly excited to see Hell Night makes its debut in HD, though the final product is still compromised despite Scream Factory’s best efforts.

It’s Hell Night, every fraternity brother’s favorite evening; when new recruits are tormented in hazing rituals from, well, Hell. Peter (Kevin Brophy), president of the vaunted Alpha Sigma Rho house, comes up with the brilliant idea to have four pledges – Marti (Linda Blair), Jeff (Peter Barton), Denise (Suki Goodwin), and Seth (Vincent Van Patten) – spend the night in a decaying mansion. But this isn’t just any old house, as Peter regales a rapt audience – this is where former owner Raymond Garth killed his wife and three malformed children before hanging himself, sparing only the life of his son, Andrew, who was rumored to reside within the place after the murders. The pledges enter Garth Manor and quickly pair off, with Marti and Jeff getting intellectual while Denise and Seth take a more physical path.

A few hours pass and Peter returns with some of his bros, planning to initiate a few good scare pranks they set up earlier that week. The chuckles don’t last long, though, because Jeff and Seth quickly find the shoddy wiring and poorly placed speakers rigged upstairs. What they don’t know is that there is an actual killer on the loose, and he just decapitated one of the girls. Leaving the labyrinthine home proves difficult, with Marti & Jeff getting lost within the catacombs beneath the estate, evading their mongoloid menace however possible. Seth, meanwhile, has to scale a massive spiked fence if they hope to get any help way out here. Wait, didn’t Peter mention something about Andrew having a sibling?

The production team on this picture was a beast, and I’m convinced that’s the chief reason why it came out any good at all; specifically, the involvement of Chuck Russell and Irwin Yablans. I give a bit less credit to director Tom DeSimone, who up to that point (and after it) filled his filmography with lots and lots of gay porn; storyline and direction are usually secondary in that market. Hell, they even had Frank Darabont running around set as a P.A. which is just a cool fact because nobody listens to P.A.s on a film set. Music is just as important, too, and composer Dan Wyman is a synth master who worked with John Carpenter on his early films. His score here is reminiscent of those lo-fi masterpieces.

Solid atmosphere and rounded characters make all the difference. Instead of a roster of stereotypical sophomoric faces the bulk of the film focuses on four individuals with personality and a bit of depth. Blair makes a good turn as the bookish good girl type, while Barton is a charming match for her mentally, showing interest in more than just a drunken hookup. Denise and Seth are both superficial, and their interactions inject the most humor into the film. Denise continually calling Seth “Wes” is one example. A good horror film gets the audience invested in who lives and dies, and while I won’t go so far as to say these are exemplary characters the script does make them three-dimensional and not so paper thin.

The 1.85:1 1080p image is sourced from a 4K restoration of an archival 35mm print with standard definition inserts. This is a step up from Anchor Bay’s old DVD but not by leaps and bounds. Colors attain greater saturation and definition is tightened but the picture looks awfully soft too often and the jump between HD and SD footage is plain as day. The print displays vertical scratches and white flecks. Black levels are decent but there is clear room for improvement across the board. To their credit this is the best image Scream Factory was able to produce but fans should temper expectations going in because this is not a pristine picture by any means.

There is nothing wrong to be found with the English DTS-HD Master Audio 2.0 mono track, which does a fine job of carrying the dialogue alongside Dan Wyman’s sinister synth soundtrack. Direction is limited and the presentation is routine, but no problems were detected and the track capably supports the feature. Subtitles are available in English.

Here is where Scream Factory does their best to make up for the shortcomings of the a/v presentation: a ton of extra features.

An audio commentary track features actress Linda Blair, director Tom DeSimone, and producers Irwin Yablans & Bruce Cohn Curtis.

“Linda Blair: The Beauty of Horror” – This is a recent discussion with the actress, who covers her run in the genre in addition to diving deep into this film’s difficult production.

“Hell Nights with Tom DeSimone” – Shot on location at the Garth Manor (actually Kimberly Crest Estate in Redlands, CA), DeSimone reflects back on shooting the film there over 35 years ago.

“Peter Barton: Facing Fear” – The actor offers up expected discussion, covering his career in horror and navigating the Hollywood scene.

“Producing Hell with Bruce Cohn Curtis” – This covers more of the behind-the-scenes work that went into making the movie.

“Writing Hell” – Screenwriter Randy Feldman offers up some insight into his process for creating the story and writing the script.

“Vincent Van Patten & Suki Goodwin in Conversation” – The two actors, who have not seen each other in quite some time, sit down together for a back-and-forth discussion.

“Kevin Brophy & Jenny Neumann in Conversation” – This is another chat conducted the same way as Van Patten & Goodwin.

“Gothic Design in Hell Night” – Art director Steven Legler talks about his process for turning Garth Manor into how it is seen on film; evoking the right chilling atmosphere.

“Anatomy of the Death Scenes” – Pam Peitzman, make-up artist, and John Eggett, special effects, scrutinize each of the film’s kill scenes and discuss what went into achieving them.

“On Location at Kimberly Crest” – DeSimone guides viewers on a tour of the “Garth Manor” as it can be seen today.

A theatrical trailer, two TV spots, a radio spot, and a photo gallery are the remaining features.

Special Features:

  • NEW 4K Scan of the film taken from the best surviving archival print
  • NEW interviews with actors Linda Blair, Peter Barton, Vincent Van Patten, Suki Goodwin, Kevin Brophy and Jenny Neumann
  • Audio Commentary with Linda Blair, Tom DeSimone, Irwin Yablans and Bruce Cohn Curtis
  • Original Theatrical Trailer & TV spots
  • Blu-ray Disc Exclusives:
    • NEW interview with Director Tom DeSimone
    • NEW interview with Producer Bruce Cohn Curtis
    • NEW interview with Writer Randolph Feldman
    • NEW – Anatomy of the Death Scenes with Tom DeSimone, Randolph Feldman, Make-up artist Pam Peitzman, Art Director Steven G. Legler and Special Effects artist John Eggett
    • NEW – On Location at the Kimberly Crest House with Tom DeSimone
    • NEW – Gothic Design in Hell Night with Steven G. Legler
    • Original Radio spot
    • Photo Gallery featuring rare, never-before-seen stills
  • Hell Night
  • Special Features
4.0

Summary

“Hell Night” overcomes being lumped in with standard slasher fare thanks to dripping atmosphere, unique production design, and characters that elicit some empathy. The a/v presentation leaves much to be desired but a plethora of bonus features softens that blow.

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Video: The Shape of Water Q&A with Guillermo del Toro and Doug Jones at Hollywood’s Egyptian Theatre

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This past weekend at the Egyptian Theatre in Hollywood, CA betwixt a double screening of The Shape of Water and the classic The Creature from the Black Lagoon, the former’s director Guillermo del Toro (and star Doug Jones) sat down to discuss the latter’s influence on the film, Gill-man sex, “one sock movies,” his career in the genre, and more with moderator Jonah Ray, and we were there to film a portion of it.

Our sincere thanks to American Cinematheque general manager Dennis Bartok for extending the invitation.

For more Cinematheque screenings, visit the official website here.

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The Open House Review – Abandon Hope All Ye Who Enter Here

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Starring Dylan Minnette, Piercey Dalton, Patricia Bethune, Sharif Atkins

Written by Matt Angel and Suzanne Coote

Directed by Matt Angel and Suzanne Coote


Mere weeks, even days, after effusively beating Netflix’s original horror content drum (The Babysitter, Before I Wake, Creep 2), I’m here to confirm that The Open House is emptier than an vacant bomb shelter. Cold, unappealing and thoughtlessly plotted to the point where “generic” would have been an improvement. From the moment we’re welcomed into Matt Angel and Suzanne Coote’s scripted imprisonment, it’s nothing but loose floorboards and busted plumbing. The home invasion genre has rarely been navigated with such little attention to detail, asking for our suspension of coherent storytelling early, often, and without earning the right to be deemed mindless genre fun. Not even Ty Pennington could save this extreme renovation disaster.

Dylan Minnette plays Logan Wallace, a track star and student who must find closure after watching his father fall victim to a fatal car accident. It is his mother Naomi’s (Piercey Dalton) idea to spend a little time away from their suburban home – escape those painful memories – so they retreat to her sister’s luxurious mountain getaway. The catch? It’s in the process of being sold and open houses are on the regular, so Naomi and Logan must vacate their temporary premises on certain days. It’s after one of these very showings that Logan begins to notice slight changes around the house, and he fears that an unwanted visitor may be in their midst. Guess what? He’s right.

To understand how little The Open House cares about conscious blueprinting, just read the poster’s tagline. “You can’t lock out what’s already inside” – right, but you could have prevented them from coming in, or checked the house to make sure they weren’t squatting, or explored numerous other possibilities to avoid this scenario. The mansion’s realtor allows prospective buyers to come and go but it’s not her job to make sure no one’s hiding in the basement? Naomi can’t even keep track of the *single* visitor she lets look around the house? It’s infuriating to see so many people neglect safety out of forced coincidence because the script couldn’t rationalize the killer’s entry any other way – a confounding strike one.

This is also a film that admits no reasoning for why its own murderer has targeted the Wallaces, or why he stokes a violent fetish when it comes to open houses. We never actually see his face, just his imposing handyman-looking attire, nor do we savor any kind of tangible backstory (his family died during their own open house and he suffered a psychotic breakdown – just give me *something*). His undefined form never demands curiosity like John Carpenter’s “The Shape” once did, because scripting is nothing more than bullet notes for basic horror movie necessities. Here he is, your bad guy – too bad he’s introduced without fear, handled without originality and unable to characterize beyond torturous kidnapper dotted lines. He’s just, you know, a guy who sneaks into open houses and kills – COMPLETE WITH A FINAL PAN-IN ON AN OPEN HOUSE SIGN WHEN HE MOVES TO HIS NEXT TARGET [eye roll into infinity].

Every scene in The Open House feels like an afterthought. “Ah, we need a way to build tension – how about a senile local woman who lives down the street and wanders aimlessly into frame?” Overplayed and in no way suitable to most her inclusions, but sure. “Oh, and we need inner conflict – what about if the breaker-iner steals Logan’s phone and frames him for later acts?” I mean, didn’t Logan canonically lose his phone even before Naomi’s mid-shower water heater issues – but sure, instant fake tension. “How are people going to believe the killer is always around and never blows his cover – think they’ll just buy it?” No, we don’t. Worse off, his cat-and-mouse game is dully repetitive until a finale that skyrockets intensity with jarring tonal imbalance. This closing, dreadful end without any sort of redemptive quality. More abusive than it is fulfilling.

If there’s anything positive worth conveying, it’s that Minnette does a fine job shuffling around as a character with severe sight impairment. The killer makes a point to remove his contacts as a final “FUCK YOU,” just to toy around a bit more, and Minnette frantically slips or stumbles with nothing more than foggy vision. Otherwise, dialogue finds itself ripped form a billion other straight-to-TV Logo dramas about broken families, no moment ever utilizing horror past a few shadowy forms standing in doorways after oblivious characters turn away. You can’t just take an overused subgenre and sleepwalk through homogenized beats…case and god-forsaken point.

Even as a streamable Netflix watch, The Open House is irredeemable beyond fault. The walls are caving in on this dilapidated excuse for home invasion horror, benefiting not from the star power of a temperamental Dylan Minnette. I have seen most involved players here in far better projects (Minnette’s stock has rightfully been skyrocketing, Matt Angel in The Funhouse Massacre, etc), but this is bargain bin theatrics without a fully formed idea. A nameless villain, doomed nice guy (Sharif Atkins), woefully unaware plot advancement – all the worst cliches found in one rage-quit worthy effort. Anyone who makes it through deserves an award…or a dunce cap.

  • The Open House
1.0

Summary

Unless you’re irrationally afraid of cold showers, The Open House fails to deliver on a premise that can be summed up by no more than two lines of text.

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