tymon wrote:There's no doubt that it has much higher goals than its predecessers, but it meets almost none of them. It actually ends usually being cheesier than the first two movies despite trying to tell a straight-faced somber story. That's a failure.
I understand why someone wouldn't like the movie, but I have no idea whatsoever how anyone could find it cheesier
than the first two movies. It's like saying that you've seen The Exorcist 167 times and it keeps getting funnier every time.
And yes, more of this teenage idea that darker or more serious automatically equals better.
You're not making a great case here, and the "bad taste" comment really makes you look like an idiot/fanboy (especially considering that you and I share many of the same favorite films....soo....tell me how that makes sense?).
I didn't just say, "It's dark
, so it's cool!" I said it's, "weightier, ballsier, more ground-breaking [...] subversive to it's genre, and tells a thrilling/unique character study that shows what's it's genre is fully capable of." And the "bad taste" comment was a half joke about how every acclaimed movie has it's share of people who just don't get it, and G3 is obviously no exception.
tymon wrote:And "character study"? Neither G3 or The Dark Knight are character studies, they're plot-based action movies that are simply darker (and in TDK's case, much more thrilling) than their counterparts.
While both films have a good dose of plot (especially TDK 'cuz, y'know, Nolan) both films, and G3 in particular, are definitely strong character studies, at least in relation to their genre bretherin. This is all encapsulated with Ayana; she isn't a scientist or a reporter as seen in nearly every other daikaiju film ever
, she's just a girl who's suffered extreme tragedy at the hands of our so-called "hero" (in a neat little tie-in to the first film, might I add). But it doesn't just end there, as she's also lived with a foster family who clearly can't stand her, with her only respite being her little brother, and he's dealing with his own bullying problems. In fact, it's his innocent love for her that gives her any real connection to the outside world, hence why she stands up to his bullies. It's all of this repressed hate that Iris latches onto and feeds on, resulting in a giant warpath that kills thousands, severely maims Gamera, and nearly costs Ayana her life. It isn't until later, when she finally realizes that people really DO care for her (the boy's knife cutting her face, Asagi and Nagamine's attempts to protect her) and she can have a happy, normal life, that she realizes all the true horror of her inability to deal with tragedy, as well as her fixation on revenge. And this is all given plenty of time to resonate with the audience, with scenes such as Ayana seeing the aftermath of Gamera's fight with Gyaos on TV.
On top of that, and in one of the film's greatest themes, Ayana isn't necessarily wrong. We see the death and destruction Gamera causes quite in depth, including but not limited to the death of Ayana's parents. After all, Gamera does cause a ridiculous of collateral damage in his attempts to fight off the Gyaos, and while he obviously can't be blamed entirely for it, there is some degree
of responsibility on his behalf. And while Gamera is still definitely the good guy, he comes off as a flawed good guy; his nature makes him an anti-hero in the true sense of the word in that he essentially kills millions to save billions. He's not the hero because he's some superhero sent from Atlantis to protect the Earth, but because he's the lesser of two evils with, for lack of a better term, a heart of gold. And I don't know about you, but that's far better than just a great but admittedly very basic action film ala G1 and G2.
And this is what I mean when I said the film was, "weightier, ballsier, more ground-breaking [...] subversive to it's genre, and tells a thrilling/unique character study that shows what's it's genre is fully capable of." How many other daikaiju films even try, let alone succeed, at attempting to discuss such themes and ideas? To use Kaiser's example of Biollante (in a twist of irony), it's a film that definitely tries for weightier ideas, but the first half (which is basically all the plot/character stuff, as the second half is all the Godzilla action) moves at the speed of a Vine sex tape, allowing almost nothing within the film to truly resonate. Take the death of Shiragami's daughter, for example. Despite being an extremely important plot point, it has almost no impact because A) her death and the aftermath is barely even glanced over, and B) we never got to know her in the first place (seriously, count the amount of seconds she's onscreen).
As for this:
Kaiser wrote: it feels sort of rushed and thrown in, kind of like the whole puzzle games aspect and Shinto/psychic stuff.
G3 would be much better in my opinion if it just focused on Ayana and Iris trying to get revenge on Gamera without all this political intrigue and return of the Gaos and Gamera graveyards and stuff that's cool, but never gets mentioned again in the film.
While these smaller aspects of the film are more faded in my memory since it's been a while since I've last seen the film, I'd first like to point out that most of those things are not "never mentioned again". Both the political intrigue and the Gyaos' return are featured and mentioned frequently throughout the film, although the Gamera graveyard is
only mentioned once later, but still. The games (which are the nature simulators that Weird Dude created, right?) were supposed to act as some character building for said Weird Dude, while explaining both how Gamera defeated Legion in the previous movie, and how/why the Gyaos are returning. I also think you're overestimating the purpose of the Shinto and Gamera graveyard stuff. Both were just supposed to act as some quick world building, only hinting at bigger things.