Godzilla X Kong: The New Empire NON-SPOILER THREAD

[Gojira18]

Shifting slightly to a similar topic, what did everything think of Junkie’s score and how might you improve it? I thought it was alright, with some standout tracks here and there, like Kong’s theme and the final battle of Hong Kong’s tracks. It definitely was good background music for writing projects and homework, and had some fun elements to it, but most of it was erring on generic compared to what the previous composers did.

I'm sorry but the more time passes, the more genuinely angry I get that Bear McCreary didn't come back. I get he was probably busy with GoW Ragnarok and Ring of Power but by God, outside of a few tracks, GvK's score is extremely forgettable. You can tell Junkie concentrated most of his energy to Zack Snyder's Mediocre Justice League. PLEASE bring Bear back, anything he does is musical GOLD.

[miguelnuva]

the score isnt bad its just mediocre a solid 6, the great theme thats actually good on your ears to listening over time is the Kong theme, (I may or may not have it running on asecond window as I type) but despite having all of that score time godzilla's one is really a nothing burger part of it is I dont remember a theme or letimof for him in the whole movie besides the few notes that kinda sounds like the opening of the classic godzilla theme that started in '62 you know not the march but the other shorter start.


KOTM score is also not that memorable once you remove the re use of the classic themes for godzilla to a lesser degree mothra, ghidorah has an meh chanitng theme, and rodan has the frantic horns and fast pace is the only one I can think off on the to of my head when thinking about the score.


as a whole if we ignore reused themes for fan approval and focus on the New Scores used for the MV films, I do think desplat nailed the feeling of godzilla while re inventing it, much like junkie's its an original score but the difference is night and day, without mentioning you know that movie actually using the recurring theme for Godzilla (main tittles, the wave, seagulls ahead, last shot, two against one, the credits) so it becomes its own unique identity compared to GvK, the use of the same leitmotiv through the movie and variations is just great (also im a sucker for the piano chords being used here and there very bassy and heavy and the hopefull bits in back to the ocean)





on K:SI I have not heard individually enough to make a judgement but I dont remember it being as mediocre like GvK, Pacard's blues tho its an absolute banger and againa theme that recurs through the movie




bottom line is we shouldnt just be like wow a fan made this score or this person isnt a fan BOOOOO HE SHOULDNT BE COMPOSING FOR IT, and more judge the work by what it is and how it stands on its own

The final battle in Boston is memorable to me especially when Ghidorah drops Godzilla.

[CyberZilla]

Bear’s score is great (imo) even if you cut out those classic themes. Ghidorah’s theme and the battle of Boston track are highlights— not to mention Goodbye Old Friend.

I’m def disappointed in some of Junkie XL’s score but I hope he brings more fire to it with the next movie.

[Janjira-York]

I think it is better than GVK by a long shot but IM not crazy about it, music being personal taste and all


I did really forgot how good his score for serisawa's sacrifice its my favorite piece of that movie

[GojiSquid]

Shifting topic a bit, looks like Dan Stevens' character isn't Randa's kid anymore:
https://mobile.twitter.com/KDM_Monsters ... SMrYUtAAAA
I'm gonna make the assumption that the family connection was a minor plot point at most, and since they're in the midst of economising the screentime it was cut.

[DynomikeGojira]

Shifting topic a bit, looks like Dan Stevens' character isn't Randa's kid anymore:
https://mobile.twitter.com/KDM_Monsters ... SMrYUtAAAA
I'm gonna make the assumption that the family connection was a minor plot point at most, and since they're in the midst of economising the screentime it was cut.

After what happened to Ren Serizawa it's for the best.

[TKDM]

Little changes here and there (to the better)

[ClandestineCanine9]

I'm sorry but the more time passes, the more genuinely angry I get that Bear McCreary didn't come back. I get he was probably busy with GoW Ragnarok and Ring of Power but by God, outside of a few tracks, GvK's score is extremely forgettable. You can tell Junkie concentrated most of his energy to Zack Snyder's Mediocre Justice League. PLEASE bring Bear back, anything he does is musical GOLD.

I thought there was a glitch in the matrix for a second. those exact words have left my mouth.

[Handsome Shrek]

The entire aesthetic of Godzilla vs Kong overall is pretty generic and bland to be honest. Within the past 5-10 years alone, there have been so many action/sci-fi movies with that same techno/neon visual aesthetic. The Pacific Rim movies for example.

Part of why it saddens me that people shit all over King of the Monsters so much. It had such unique and beautiful visuals (reminiscent of an oil painting) which looked unlike anything that came before. In my opinion, that worked so much better for Godzilla than the generic-ass neon thing Godzilla vs Kong had going on. Now the VFX in GvK were still fantastic, but just seemed to be lacking much creativity.

[Dv-218]

I respectfully disagree honestly. While I love all of the visual styles in the Monsterverse (yes, including KOTM) I thought that GvK in particular made really good use of surrounding and highlighting color. Idk, it just felt very satisfying to look at. I def hope the neon gets toned down in GaK but I’m all for keeping the same level of striking visual clarity.

[CyberZilla]

The entire aesthetic of Godzilla vs Kong overall is pretty generic and bland to be honest. Within the past 5-10 years alone, there have been so many action/sci-fi movies with that same techno/neon visual aesthetic. The Pacific Rim movies for example.

Part of why it saddens me that people shit all over King of the Monsters so much. It had such unique and beautiful visuals (reminiscent of an oil painting) which looked unlike anything that came before. In my opinion, that worked so much better for Godzilla than the generic-ass neon thing Godzilla vs Kong had going on. Now the VFX in GvK were still fantastic, but just seemed to be lacking much creativity.

I liked the neon because it was something pretty rare for kaiju films, and I liked that a Godzilla/Kong movie utilized it. I didn't mind it at all— in fact, I thought it was striking the way it got used in the Hong Kong fight.

[king_ghidorah]

The entire aesthetic of Godzilla vs Kong overall is pretty generic and bland to be honest. Within the past 5-10 years alone, there have been so many action/sci-fi movies with that same techno/neon visual aesthetic. The Pacific Rim movies for example.

Part of why it saddens me that people shit all over King of the Monsters so much. It had such unique and beautiful visuals (reminiscent of an oil painting) which looked unlike anything that came before. In my opinion, that worked so much better for Godzilla than the generic-ass neon thing Godzilla vs Kong had going on. Now the VFX in GvK were still fantastic, but just seemed to be lacking much creativity.

I agree, but GKOTM isn't better really. The dark and stormy rain battles are just as played out.

Both films have their highlights though so don't get me wrong, I'm a fan. But I like a lot we got in Shin Ultraman more, even though the effects were less polished, it was just more fun to me. Ditto for Skull Island.

[LSD Jellyfish]

I respectfully disagree honestly. While I love all of the visual styles in the Monsterverse (yes, including KOTM) I thought that GvK in particular made really good use of surrounding and highlighting color. Idk, it just felt very satisfying to look at. I def hope the neon gets toned down in GaK but I’m all for keeping the same level of striking visual clarity.

And it's not just all "Neon". The Tasmanian Sea Fight is gorgeous, and then there's a nice visual shift into the cold artic before the HE.

[Dv-218]

I respectfully disagree honestly. While I love all of the visual styles in the Monsterverse (yes, including KOTM) I thought that GvK in particular made really good use of surrounding and highlighting color. Idk, it just felt very satisfying to look at. I def hope the neon gets toned down in GaK but I’m all for keeping the same level of striking visual clarity.

And it's not just all "Neon". The Tasmanian Sea Fight is gorgeous, and then there's a nice visual shift into the cold artic before the HE.

Yeah exactly. Honestly when it comes to visuals alone it’s the “prettiest” looking film in the MV so far, which is why from a cinematographical standpoint at least I’m looking forward to see where GAK stands up in that regard.
Good call on mentioning the Tasman sea fight, the use of lighting, shadows and water to surface visual shifts there was splendid.

[Gojira2K]

I respectfully disagree honestly. While I love all of the visual styles in the Monsterverse (yes, including KOTM) I thought that GvK in particular made really good use of surrounding and highlighting color. Idk, it just felt very satisfying to look at. I def hope the neon gets toned down in GaK but I’m all for keeping the same level of striking visual clarity.

And it's not just all "Neon". The Tasmanian Sea Fight is gorgeous, and then there's a nice visual shift into the cold artic before the HE.

Yeah exactly. Honestly when it comes to visuals alone it’s the “prettiest” looking film in the MV so far, which is why from a cinematographical standpoint at least I’m looking forward to see where GAK stands up in that regard.
Good call on mentioning the Tasman sea fight, the use of lighting, shadows and water to surface visual shifts there was splendid.

I also personally think that GvK had some of the best shot fights as well. All three of the main fights focus on the monsters a lot, don’t cut away at annoying times, and we can clearly make out everything going on. These are the fights that I go back to watch clips of.

[Dv-218]

And it's not just all "Neon". The Tasmanian Sea Fight is gorgeous, and then there's a nice visual shift into the cold artic before the HE.

Yeah exactly. Honestly when it comes to visuals alone it’s the “prettiest” looking film in the MV so far, which is why from a cinematographical standpoint at least I’m looking forward to see where GAK stands up in that regard.
Good call on mentioning the Tasman sea fight, the use of lighting, shadows and water to surface visual shifts there was splendid.

I also personally think that GvK had some of the best shot fights as well. All three of the main fights focus on the monsters a lot, don’t cut away at annoying times, and we can clearly make out everything going on. These are the fights that I go back to watch clips of.

I know many criticize the shots for being dynamic and not ground level enough at times but frankly I think that was GvK’s strength in regards to the monster action at lest. The amount of various angles really added to the scope of the action and not to mention the flow of events. You can make out practically each move the monsters make and it’s done in a very satisfying manner. Even the final Godzilla and Kong vs MG fight which imo didn’t feel as impactful as the two previous ones made very good usage of the various dynamic movements and actions, particularly during the actual tag team part.

[Gojira2K]

Yeah exactly. Honestly when it comes to visuals alone it’s the “prettiest” looking film in the MV so far, which is why from a cinematographical standpoint at least I’m looking forward to see where GAK stands up in that regard.
Good call on mentioning the Tasman sea fight, the use of lighting, shadows and water to surface visual shifts there was splendid.

I also personally think that GvK had some of the best shot fights as well. All three of the main fights focus on the monsters a lot, don’t cut away at annoying times, and we can clearly make out everything going on. These are the fights that I go back to watch clips of.

I know many criticize the shots for being dynamic and not ground level enough at times but frankly I think that was GvK’s strength in regards to the monster action at lest. The amount of various angles really added to the scope of the action and not to mention the flow of events. You can make out practically each move the monsters make and it’s done in a very satisfying manner. Even the final Godzilla and Kong vs MG fight which imo didn’t feel as impactful as the two previous ones made very good usage of the various dynamic movements and actions, particularly during the actual tag team part.

I think it’s similar to how Toho actually does their fights, but with a huge Hollywood budget and Weta as your visual effects team.

[Dv-218]

I also personally think that GvK had some of the best shot fights as well. All three of the main fights focus on the monsters a lot, don’t cut away at annoying times, and we can clearly make out everything going on. These are the fights that I go back to watch clips of.

I know many criticize the shots for being dynamic and not ground level enough at times but frankly I think that was GvK’s strength in regards to the monster action at lest. The amount of various angles really added to the scope of the action and not to mention the flow of events. You can make out practically each move the monsters make and it’s done in a very satisfying manner. Even the final Godzilla and Kong vs MG fight which imo didn’t feel as impactful as the two previous ones made very good usage of the various dynamic movements and actions, particularly during the actual tag team part.

I think it’s similar to how Toho actually does their fights, but with a huge Hollywood budget and Weta as your visual effects team.

The Tasman fight in particular felt rather Toho-like in style now that I think about it, probably both because of the camera placement during the money shots and the overall lighting/mood. Ik the term “modernized Showa” gets thrown ridiculously often in regards to the MV but here it actually gave those vibes.

[GojiSquid]

I know many criticize the shots for being dynamic and not ground level enough at times but frankly I think that was GvK’s strength in regards to the monster action at lest. The amount of various angles really added to the scope of the action and not to mention the flow of events. You can make out practically each move the monsters make and it’s done in a very satisfying manner. Even the final Godzilla and Kong vs MG fight which imo didn’t feel as impactful as the two previous ones made very good usage of the various dynamic movements and actions, particularly during the actual tag team part.

I think it’s similar to how Toho actually does their fights, but with a huge Hollywood budget and Weta as your visual effects team.

The Tasman fight in particular felt rather Toho-like in style now that I think about it, probably both because of the camera placement during the money shots and the overall lighting/mood. Ik the term “modernized Showa” gets thrown ridiculously often in regards to the MV but here it actually gave those vibes.

The vertical 360 flip the camera does in the shot where a jet prevents godzilla from torching kong was probably one of the most unique shot choices in recent blockbuster cinema

[Mac Daddy MM]

I think it’s similar to how Toho actually does their fights, but with a huge Hollywood budget and Weta as your visual effects team.

The Tasman fight in particular felt rather Toho-like in style now that I think about it, probably both because of the camera placement during the money shots and the overall lighting/mood. Ik the term “modernized Showa” gets thrown ridiculously often in regards to the MV but here it actually gave those vibes.

The vertical 360 flip the camera does in the shot where a jet prevents godzilla from torching kong was probably one of the most unique shot choices in recent blockbuster cinema

That pilot is prolly the hero of the whole damn movie thinking back on it.