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mukkale mukkabala lyrics Tamil song English meaning

Song Name: Mukkala Mukkabla (Tamil)

Album/Movie: Kadhalan (1994)

Singer(s): Mano, Swarnalatha

Lyrics Writer(s): Valee

Music Director(s): A. R. Rahman

Music Video Features: Prabhu Deva, Nagma

Director : Gary Dauberman
Starring : Vera Farmiga, Mckenna Grace
Genres : Horror, Mystery, Thriller
Quality : BDRip
Language : Tamil
Rating : 6.9/10
Release Date : 04 June 2021

Godzilla vs. Kong is a 2021 American monster film directed by Adam Wingard. A sequel to Godzilla: King of the Monsters (2019) and Kong: Skull Island (2017), it is the fourth film in Legendary's MonsterVerse. It is also the 36th film in the Godzilla franchise, the 12th film in the King Kong franchise, and the fourth Godzilla film to be completely produced by a Hollywood studio.[b] The film stars Alexander Skarsgård, Millie Bobby Brown, Rebecca Hall, Brian Tyree Henry, Shun Oguri, Eiza González, Julian Dennison, Lance Reddick, Kyle Chandler, and Demián Bichir. In the film, Kong clashes with Godzilla as humans lure the ape into the Hollow Earth to retrieve a power source for a weapon to stop Godzilla's mysterious rampages.

Godzilla vs. Kong

Movie : Godzilla vs Kong (2021)
Director : Adam Wingard
Starring : Alexander Skarsgrd, Millie Bobby Brown
Genres : Action, Sci-Fi, Thriller
Quality : BDRip
Language : Tamil
Rating : 7.5/10
Release Date : 03 May 2021

Release date

March 24, 2021 (International)

March 31, 2021 (United States)

Running time

113 minutes CountryUnited StatesLanguagesEnglish
American Sign Language Budget $155-200 million[a]Box office$415.6 million

The project was announced in October 2015 when Legendary announced plans for a shared cinematic universe between Godzilla and King Kong. The film's writers room was assembled in March 2017, and Wingard was announced as the director in May 2017. Principal photography began in November 2018 in Hawaii, Australia and Hong Kong, and wrapped in April 2019. After being delayed from a November 2020 release date due to the COVID-19 pandemic, Godzilla vs. Kong was theatrically released internationally on March 24, 2021, and in the United States on March 31, where it was released in theaters and on HBO Max simultaneously.

The film received generally positive reviews from critics, with praise for the visual effects and action sequences, but criticism towards the script and human characters. It broke several pandemic box office records, and has grossed $415.6 million worldwide against a break-even point of $330 million, making it the third highest-grossing film of 2021. The film was also a streaming hit, becoming the most successful launch item in HBO Max's history until it was overtaken by Mortal Kombat.

Plot

Five years after Godzilla defeated King Ghidorah,[c] Kong is monitored by Monarch within a giant dome on Skull Island. Kong is visited by Jia, the last Iwi native and Kong expert Ilene Andrews' adopted daughter, who is deaf and communicates with Kong via sign language.

Bernie Hayes, an employee of Apex Cybernetics and host of a Titan conspiracy theory podcast, extracts data suggesting sinister activities at a Pensacola facility. However, Godzilla suddenly attacks the facility; during the rampage, Bernie stumbles on a massive device. Madison Russell, a fan of Bernie's podcast, enlists her friend Josh to investigate Godzilla's attacks.

Apex CEO Walter Simmons recruits Nathan Lind, former Monarch scientist and Hollow Earth theorist, to guide a search for a power source into the Hollow Earth, the homeworld of the Titans. Nathan is initially hesitant as his brother died in an expedition to the Hollow Earth due to a strong reverse-gravitational effect. He agrees after Walter reveals that Apex has developed HEAVs, specialized crafts able to withstand the pressure exerted by the gravity field.

Nathan meets with Ilene and convinces her to let Kong guide them through the Hollow Earth via an outpost in Antarctica. Nathan, Ilene, and an Apex team led by Walter's daughter Maia board a modified barge escorted by the U.S. Navy that carries a sedated and restrained Kong. Godzilla attacks the convoy and defeats Kong, but retreats after the ships disable their power and trick him into thinking they are destroyed. To avoid alerting Godzilla, Kong is airlifted to the Hollow Earth entrance, and Jia convinces him to enter the tunnel while the team follows him in the HEAVs.

Madison and Josh find Bernie, who joins their investigation. They sneak into the wrecked Apex base, discover a secret facility underground, and are inadvertently locked into an underground monorail transport to Apex headquarters in Hong Kong, where they unwittingly stumble on a test of Mechagodzilla. It is telepathically controlled by Ren Serizawa, the son of the late Ishirō Serizawa,[c] through the neural networks from the skull of a severed Ghidorah head,[c] but is hobbled by its power supply's limitations. Walter intends to harness the Hollow Earth's energy to overcome Mechagodzilla's limitations.

Inside the Hollow Earth, Kong and the team find an ecosystem similar to Skull Island. They discover his species' ancestral throne room, where they find remains of an ancient war with Godzilla's kind and a glowing axe made from another Godzilla's dorsal plates. As they identify the power source, the Apex team sends its signature back to their Hong Kong base despite Ilene's protests. Attracted by Mechagodzilla's activation, Godzilla arrives in Hong Kong, and sensing Kong, he directly drills a shaft to the throne room with his atomic breath. In the ensuing mayhem, Maia and the Apex team attempt to escape but their HEAV is crushed by Kong. Kong, Ilene, Jia, and Nathan ascend to Hong Kong, where Godzilla and Kong battle. Godzilla is initially overpowered by Kong, but Godzilla emerges victorious. Kong loses consciousness after being defeated by Godzilla.

Madison, Josh, and Bernie are caught by security and taken to Walter. Despite Ren's concerns over the power source's volatility, Walter orders him to activate Mechagodzilla. They lose control of Mechagodzilla, who kills Walter, electrocutes Ren and then attacks Hong Kong. Godzilla and Mechagodzilla battle, but Godzilla is overwhelmed. Nathan revives Kong by destroying the HEAV, and Jia convinces him to help Godzilla. As Mechagodzilla overpowers both Titans, Josh short-circuits Mechagodzilla's controls with Bernie's flask of liquor, momentarily interrupting the mech. Godzilla supercharges Kong's axe with his atomic breath, allowing Kong to destroy Mechagodzilla. Madison, Bernie, and Josh reunite with Mark Russell, while Godzilla and Kong acknowledge each other before the two go their separate ways.

Sometime later, Monarch has established an observation post in the Hollow Earth, where Kong now rules.

Cast

Alexander Skarsgård as Dr. Nathan Lind:
A Monarch geologist and chief cartographer who works closely with Kong and charts the mission into the Hollow Earth. Skarsgård described his character as a reluctant hero who is "not an alpha, bad-ass" and "thrown into this very dangerous situation and is definitely not equipped for it." Skarsgård called Nathan an homage to 1980s films like Indiana Jones, Romancing the Stone, Lethal Weapon, and Die Hard. Skarsgård prepped for the film by researching the Hollow Earth, and learning sign language to communicate with Kaylee Hottle

Millie Bobby Brown as Madison Russell:
The daughter of Monarch scientists Mark and the late Emma Russell. Madison believes there is a reason for Godzilla's erratic behavior, suspecting a conspiracy formulated by the Apex Cybernetics. She proceeds to investigate with Josh Valentine and Bernie Hayes. Brown described the film as a coming of age story for Madison, noting that the character has "grown-up" and become more "independent" since the events of the previous film, stating, "Her storyline has definitely evolved greatly in the way she deals with things, her attitude towards life, how much more stronger of a person." Producer Alex Garcia described Madison as the "advocate for Godzilla in this film" who tries to "vindicate" Godzilla and his reasons.

Rebecca Hall as Dr. Ilene Andrews:
A Monarch anthropological linguist, and Jia's adoptive mother. Hall described her participation as "overwhelming" due to the film being her first project after her pregnancy, but found the experience "thrilling." Hall described Ilene as "the Jane Goodall of Kong."

Brian Tyree Henry as Bernie Hayes:
A former Apex Cybernetics technician turned conspiracy theorist aiding Madison and Josh to expose Apex. Henry described Bernie as a "crackpot" with a level of "heart" and "loyalty." Henry noted that the tragic death of Bernie's wife shaped him to become a conspiracy theorist with a podcast and further elaborated, "his goal is to use the tools at his disposal to bring the truth to the people. I always refer to Bernie as Anonymous. He can see the injustices, but no one really listens to him." Due to Bernie's protective nature of Madison and Josh, Henry jokingly likened Bernie to Brienne of Tarth.

Shun Oguri as Ren Serizawa:
The son of the late Monarch scientist Ishirō Serizawa, and Apex’s chief technology officer, who is the telepathic pilot for Mechagodzilla. Oguri described Ren's goal as trying to "protect the Earth," however, the means to his goal differ from "everyone else, and his father." Oguri noted that Ren "sort of" followed in his father's footsteps but stated, "he doesn’t believe he was heard by his father." Wingard stated that the character was underwritten due to a lack of time to explore the character and felt it was interesting to leave him a mystery.

Eiza González as Maia Simmons:
A top-tier Apex Cybernetics executive, and Walter Simmons' daughter. González described her role as a "very smart woman behind a company." She also described the film as "slightly comedic." González noted having enjoyed the fact that her character was a Latina woman with a high position within a company, and not forced into a stereotype.

Julian Dennison as Josh Valentine:
A friend of Madison aiding her and Bernie to investigate the source of Godzilla's erratic behavior. Dennison described his character as a "nerd" and Madison as his "only friend." Dennison called Josh, Madison's "tech wingman," and the "realist in the duo," stating, "he kind of brings it, 'Oh, we shouldn’t do that because we’ll die.' And she’s, 'No, it will be fine.' So, I think they play very well. And they’re a very good mix of just craziness." Dennison screen-tested with Brown using scenes from Romeo and Juliet.

Lance Reddick as Guillerman:
The director of Monarch. Reddick's role was originally larger, Wingard stated, "There was a scene earlier in the film, a big board room scene where they're setting up the mission. He had a larger role, but ultimately we didn't need that scene." He only appears in two brief scenes.

Kyle Chandler as Dr. Mark Russell:
Madison's father, Monarch's deputy director of special projects, and an animal behavior and communication specialist.

Demián Bichir as Walter Simmons:
Maia's father, CEO, and founder of Apex Cybernetics, a tech organization invested in trying to solve the Earth's "Titan problem," secretly creating Mechagodzilla to exterminate them. Walter is a visionary entrepreneur and billionaire who wants to help humanity and make the world a safer place, but clashes with Monarch over their differing ideals on what is best for humanity. Producer Alex Garcia said Walter "has risen to a place… in the seats of power, and is wanting to help to stem and stop the madness and the destruction." Garcia stated that Walter is not necessarily a villain or a Machiavellian character but is "a very complex character who believes he's doing the right thing. And he may be, but that's where the mystery at the core of the film comes into play."

Kaylee Hottle as Jia:
A young, deaf orphan Iwi native who forms a special bond with Kong, and is Ilene's adopted daughter.

Additionally, Hakeem Kae-Kazim portrays Admiral Wilcox; Ronny Chieng portrays Jay Wayne; John Pirruccello portrays Horace; and Chris Chalk portrays Ben. Animation supervisor Eric Petey portrayed Kong through performance and facial capture. Zhang Ziyi and Jessica Henwick were cast but did not appear in the final cut of the film, with Ziyi intended to have been reprising her role from Godzilla: King of the Monsters.

Production

Production credits

Adam Wingard – director

Jay Ashenfelter – executive producer

Herbert W. Gains – executive producer

Dan Lin – executive producer

Roy Lee – executive producer

Yoshimitsu Banno – executive producer (posthumous)

Kenji Okuhira – executive producer

Jen Conroy – co-producer

Tamara Kent – co-producer

Owen Patterson – production designer

Tom Hammock – production designer

Ann Foley – costume designer

John "DJ" DesJardin – visual effects supervisor

Development

In September 2015, Legendary moved Kong: Skull Island from Universal to Warner Bros., which sparked media speculation that Godzilla and King Kong would appear in a film together. In October 2015, Legendary confirmed that they would unite Godzilla and King Kong in Godzilla vs. Kong, at the time targeted for a May 29, 2020, release. Legendary plans to create a shared cinematic franchise "centered around Monarch" that "brings together Godzilla and Legendary’s King Kong in an ecosystem of other giant super-species, both classic and new." Producer Alex Garcia confirmed that the film would not be a remake of King Kong vs. Godzilla, stating, "the idea is not to remake that movie." In May 2017, Adam Wingard was announced as the director for Godzilla vs. Kong. Wingard had previously been considered by Peter Jackson to direct a sequel to his 2005 version of King Kong that was ultimately unproduced.

In July 2017, Wingard spoke about the outline created by the writers room, stating, "We're going in very great detail through all the characters, the arcs they have, how they relate to one another, and most importantly how they relate to the monsters, and how the monsters relate to them or reflect them." He also stated that he and his team are going "beat by beat" on the outline, stating, "So once again, it's a discussion, and about feeling out how to make it as strong as possible, so that when Terry [Rossio] goes to write the screenplay, he has a definitive breakdown of what to include." In August 2017, Wingard spoke about his approach for the monsters, stating:

"I really want you to take those characters seriously. I want you to be emotionally invested, not just in the human characters, but actually in the monsters. It’s a massive monster brawl movie. There’s lots of monsters going crazy on each other, but at the end of the day I want there to be an emotional drive to it. I want you to be emotionally invested in them. I think that’s what’s going to make it really cool."

Wingard expressed his desire for the film to have a definite winner, stating:

"I do want there to be a winner. The original film was very fun, but you feel a little let down that the movie doesn’t take a definitive stance. People are still debating now who won in that original movie, you know. So, I do want people to walk away from this film feeling like, Okay, there is a winner."

Wingard also confirmed that the film would tie in with Godzilla: King of the Monsters, be set in modern times, and feature a "more rugged, a bit more aged Kong."

Writing

In March 2017, Legendary assembled a writers room to develop the story for Godzilla vs. Kong, with Terry Rossio (who co-wrote an early unproduced script for TriStar's Godzilla) leading a team consisting of Patrick McKay, J. D. Payne, Lindsey Beer, Cat Vasko, T.S. Nowlin, Jack Paglen, and J. Michael Straczynski. On his experience with the writers room, Rossio stated:

"Godzilla vs. Kong was my first experience running a writer's room, and it was fantastic. It was a blast reading samples, meeting different writers, and crafting a story in a group setting. It felt similar to animation, where the film is happening up on the walls, and the end result is better than any one person could accomplish on their own."

Michael Dougherty, who directed Godzilla: King of the Monsters, and Zach Shields, who co-wrote the film with Dougherty, provided rewrites to ensure that certain themes from King of the Monsters were carried over and that some characters were properly developed.Dougherty revealed how he wrote for the title characters, and how the film would address their differing interactions with people. For Kong, Dougherty stated the film would feature "those very unique, and even warm, bonding moments" between Kong and humans since they have been a staple of the character since the original 1933 film. For Godzilla, his connection to humans would be "more implied" as his softer side is rarely shown. Eric Pearson and Max Borenstein received a Screenplay By credit, while Rossio, Dougherty, and Shields received a Story By credit. Wingard became "very involved" in developing the world-building behind the Hollow Earth plotline.

Casting

In June 2017, it was announced that Zhang Ziyi had joined Legendary's MonsterVerse, having a reportedly "pivotal" role in both Godzilla: King of the Monsters and Godzilla vs. Kong, though she ultimately starred only in the former. In June 2018, Julian Dennison was cast, while Millie Bobby Brown and Kyle Chandler were set to reprise their roles from Godzilla: King of the Monsters. Legendary also sent an offer to Frances McDormand for a role.m In July 2018, it was revealed that Danai Gurira was in early talks to join the film.

In October 2018, Brian Tyree Henry, Demián Bichir, Alexander Skarsgård, Eiza González, and Rebecca Hall were added to the cast. In November 2018, Jessica Henwick, Shun Oguri, and Lance Reddick were cast, with Oguri making his Hollywood debut. Gurira was briefly named amongst the cast by Collider and ScreenGeek, though neither she nor Henwick appeared in the finished film. Youtuber and filmmaker James Rolfe was offered a cameo by Wingard, but production pressures and the birth of his second daughter made it unworkable.

Filming

Principal photography began on November 12, 2018 in Hawaii and Australia, and was expected to end in February 2019, under the working title Apex.m Production was initially slated to begin on October 1, 2018. For the Hawaii shoot, the crew filmed on the USS Missouri, at Manoa Falls, and in Downtown Honolulu. The crew established a camp in the Kalanianaole Highway, closing Lānaʻi Lookout parking until November 21. Local crews and extras were used for the film. In January 2019, filming resumed in Gold Coast, Queensland at Village Roadshow Studios for an additional 26 weeks. Filming locations in Australia included Miami State High School and parts of Brisbane such as the Newstead suburb, the Chinatown Mall in Fortitude Valley, and the Wickham Terrace Car Park. In April 2019, Wingard confirmed via Instagram that filming in Australia had wrapped. That same month, Wingard revealed Hong Kong as one of the final shooting locations and that principal photography had wrapped.

Music

Godzilla vs. Kong: Original Motion Picture Soundtrack Film score by

Tom Holkenborg

ReleasedMarch 26, 2021GenreFilm scoreLength67:09LabelWaterTower MusicTom Holkenborg chronologyZack Snyder's Justice League
(2021)Godzilla vs. Kong: Original Motion Picture Soundtrack
(2021)Army of the Dead
(2021)MonsterVerse chronologyGodzilla: King of the Monsters
(2019)Godzilla vs. Kong
(2021)

In June 2020, Tom Holkenborg was announced as the film's composer.[69] Wingard met with Holkenborg in 2018, where Holkenborg admitted to recreationally writing music for Godzilla years prior due to being a fan. Holkenborg subsequently began communicating with the director, tweaked the material, and played it for the director, stating that Wingard was "totally in love." Holkenborg requested a bass drum roughly ten feet in diameter, but the builder was only able to scale it down to eight feet. As with Legendary's previous Godzilla trailers, György Ligeti's "Requiem" was used, followed by "Here We Go" by Chris Classic. The song "The Air That I Breathe" by The Hollies was used in the credits scene. The soundtrack was released by WaterTower Music on March 26, 2021.[73]

Wingard felt it was "insincere" to repurpose the themes by Akira Ifukube because he associated them with Toho's Godzilla. Instead, Wingard wished to go in a different direction to create themes that were unique to the MonsterVerse's Godzilla, while paying homage to its influences.[60]

All music is composed by Tom Holkenborg.

Release

Marketing

In May 2019, the first promotional one-sheet poster was revealed at the Licensing Expo.[74] In June 2019, Warner Bros screened an early look to European exhibitors at CineEurope.[75] In August 2019, it was announced that Disruptor Beam would develop a mobile game to tie-in for the film's release.[76] In December 2019, a brief clip was revealed during a Warner Bros. reel at Comic Con Experience, and later leaked online.[77] In January 2020, images from the Hong Kong Toys & Games Fair displaying figures related to the film were leaked online.[78] In February 2020, Toho and Legendary announced the Godzilla vs. Kong Publishing Program and licensees. Through the publishing program, Legendary planned to release two graphic novels, one following Godzilla and the other following Kong, an art book, novelizations, and a children's book. Amongst the licensees named were Playmates Toys, Bioworld, Rubies, Funko, 60Out, and the Virtual Reality Company.[79]

In April 2020, images of toy figures were leaked online, revealing different forms for Godzilla and Kong, Mechagodzilla, and a new monster named Nozuki.[80] In July 2020, images of Playmate figures and packaging with concept art were released online.[81] In December 2020, brief clips from the film were shown during Comic Con Experience.In January 2021, more brief footage was included in a preview for HBO Max. That same month, the first teaser poster was released online, along with confirmation of the trailer's release date. The first full trailer was released on January 24, 2021. It became Warner Bros' biggest trailer debut, earning 25.6 million views in 24 hours on YouTube; 15.8 million from Warner's channel and an additional 9.8 million views from the studio's secondary channels.

Theatrical and streaming

Godzilla vs. Kong was theatrically released internationally, beginning on March 24, 2021, and was then released in the United States on March 31, where it was simultaneously in theaters and on HBO Max, where it will stream exclusively for a month.The film was scheduled to be released in Japan on May 14, 2021 by Toho, however, Toho announced on April 30, 2021 that the film's Japanese release had been postponed indefinitely due to COVID-19. Regal Cinemas began exhibiting the film with a limited release upon its reopening on April 2, 2021, following its closure due to the COVID-19 pandemic. The film was delayed several times, and was previously scheduled to be released in 2020 on March 13, May 22, May 29, November 20, and later pushed to May 21, 2021 due to the COVID-19 pandemic. In February 2020, Warner Bros. hosted an unannounced test screening which received a "mostly positive" response.

In November 2020, The Hollywood Reporter confirmed that the film was being considered for a streaming release. Netflix had offered $200–250 million[3] but WarnerMedia blocked the deal in favor of their own offer to release the film on HBO Max. However, Warner Bros. iterated that their theatrical release plans will proceed as scheduled. WarnerMedia CEO Jason Kilar and Warner Bros. chairman Ann Sarnoff considered options that included a simultaneous theatrical and streaming release, a strategy that Warner Bros. had done for Wonder Woman 1984. In December 2020, Warner Bros. announced that the film, along with their other tentpoles scheduled for 2021, will be given same-day simultaneous releases in theaters and HBO Max, with a one-month access for its streaming release.

In December 2020, Variety and Deadline Hollywood reported that Legendary Entertainment, financiers, and talent with backend deals were not pleased with WarnerMedia's multi-release plans and non-transparent intentions. Legendary was not given advanced notice of the multi-release decision nor given a say in how Dune and Godzilla vs. Kong would be distributed. The studio planned to have discussions with Warner Bros. regarding a more "generous deal" however legal action was considered. A few weeks later, Deadline reported that the film could keep its HBO Max release but only if Warner Bros. matches Netflix's $250 million bid. In January 2021, The Hollywood Reporter revealed that a legal battle was averted due to Legendary and WarnerMedia nearing an agreement to keep the film's simultaneous release.

Reception

Audience viewership

Following its opening weekend, Warner Bros. said the film had a "larger viewing audience than any other film or show on HBO Max since launch." Samba TV reported that 3.6 million households watched at least the first five minutes of the film in the U.S., and 225,000 in the U.K.

Box office

As of April 25, 2021, Godzilla vs. Kong has grossed $90.3 million in the United States and Canada, and $325.1 million in other territories, for a worldwide total of $415.6 million. Variety reported the film needed to gross at least $330 million in order to break-even, with Deadline Hollywood estimating it would turn a net profit of $96.4 million, when factoring together all expenses and revenue.

A week prior to its United States release, the film was released in 38 overseas countries and was projected to gross around $70 million over its first five days. In China, where it was projected to debut to around $50 million, the film made $21.5 million (RMB 140 million) on its first day. The film exceeded predictions and debuted to $123.1 million worldwide, the biggest worldwide opening of the pandemic. Its largest markets were China ($69.2 million; RMB 450.5 million), Mexico ($6.5 million), Australia ($6.3 million), Russia ($5.9 million), Taiwan ($5.3 million), India ($4.9 million), Thailand ($3.3 million), South Korea ($2.8 million), Vietnam ($2.5 million), Malaysia ($2.1 million), and Spain ($1.7 million).[105] In Indonesia, the film earned $850,000 (Rp. 12.3 billion).

In the United States and Canada, Godzilla vs. Kong was initially projected to gross around $23 million over its five-day opening weekend, compared to debuting to around $68 million in a pre-COVID marketplace. It made $9.6 million from 2,409 theaters in its first day, the best opening day figure of the pandemic. After grossing $6.7 million on its second day, five-day projections were increased to $30–40 million. Playing in 3,064 theaters by Friday, the film went on to debut to $32.2 million ($48.5 million over the five days), the best opening weekend of the pandemic.
Collider attributed the film's box office results to "positive word-of-mouth." The film grossed $13.3 million in its second weekend, remaining in first and becoming the highest-grossing domestic release of the pandemic (passing Tenet's $58.5 million).

Critical response

Godzilla vs. Kong received generally positive reviews from critics.On review aggregator Rotten Tomatoes, 75% of 348 critics have given the film a positive review, with an average rating of 6.4/10. The website's critics consensus reads: "Delivering squarely on its title, Godzilla vs. Kong swats away character development and human drama to deliver all the spectacle you'd expect from giant monsters slugging it out." According to Metacritic, which assigned a weighted average score of 59 out of 100 based on 57 critics, the film received "mixed or average reviews".Audiences polled by CinemaScore gave the film an average grade of "A" on an A+ to F scale (the highest of the MonsterVerse), while PostTrak reported 86% of audience members gave it a positive score, with 74% saying they would definitely recommend it.[108]

Richard Roeper of the Chicago Sun-Times gave the film 3 out of 4 stars, writing: "Godzilla vs. Kong is the kind of movie you can pretty much forget about almost instantly after you've seen it — but it's also the kind of movie that makes you forget about everything else in your life while you're watching it." Jamie Graham of Total Film gave the film 3 out of 5 stars, writing: "Watching these famous monsters share the screen for the first time since 1963's King Kong vs. Godzilla, in a series of expertly choreographed battles, packs real wallop, even if you can't help wishing that screen was 30ft high at your local cinema."

Alonso Duralde of the TheWrap said that the franchise had "given up on everything but the monster fights" and wrote: "Yes, obviously, no one goes to these movies for the deep human characters or for plot machinations or even for the metaphors about the environment and industrialization. Here's the thing, though — they come in handy to fill in the gaps between the monster battles, and you miss them when they're not there. And since even those battles are somewhat perfunctory, what are we even doing here?"John Nugent of Empire gave the film 2 out of 5 stars, writing: "Godzilla vs. Kong mostly delivers on its promise of a big monster fighting another big monster. It just depends whether you're willing to sit through the toe-curlingly bad set-up that surrounds it."Reviewing for The Age, Jake Wilson gave the film 2.5 out of 5 stars, saying: "Overseeing the mayhem is director Adam Wingard, who started out making wittily brutal low-budget horror films before becoming a studio gun for hire. Absolutely no sign of his old personality is evident here."

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The Meg is a 2018 American science fiction action film[5][1] directed by Jon Turteltaub with a screenplay by Dean Georgaris, Jon Hoeber, and Erich Hoeber, loosely based on the 1997 book Meg: A Novel of Deep Terror by Steve Alten. The film stars Jason Statham, Li Bingbing, Rainn Wilson, Ruby Rose, and Winston Chao. The film follows a group of scientists who encounter a 75-foot-long (23 m) megalodon shark while on a rescue mission at the floor of the Pacific Ocean.



The Meg

The Meg 2018 film cover.png

Theatrical release poster

Directed by

Jon Turteltaub

Produced by

Lorenzo di Bonaventura

Colin Wilson

Belle Avery

Screenplay by

Dean Georgaris

Jon Hoeber

Erich Hoeber

Based on

Meg: A Novel of Deep Terror

by Steve Alten

Starring

Jason Statham

Li Bingbing

Rainn Wilson

Ruby Rose

Winston Chao

Cliff Curtis

Music by

Harry Gregson-Williams

Cinematography

Tom Stern

Edited by

Steven Kemper

Kelly Matsumoto

Production

companies

Gravity Pictures

Flagship Entertainment

Apelles Entertainment

Di Bonaventura Pictures

Maeday Productions

Distributed by

Warner Bros. Pictures

Release date

August 10, 2018 (United States and China)

Running time

113 minutes

Country

United States

Language

English

Budget

$130–178 million

Box office

$530.2 million

Walt Disney Studios originally purchased the film rights to the book in the 1990s, but spent several years in development hell. The rights eventually landed at Warner Bros. Pictures, and the film was green-lit in 2015. Turteltaub and much of the cast joined by September 2016, and filming began the following month in New Zealand and Sanya, China, ending in January 2017. The Meg was released in both countries on August 10, 2018, in RealD 3D. It was a box office success and grossed over $530 million worldwide and received mixed reviews from critics, with some describing it as entertaining but one calling it "neither good enough nor bad enough" to be fun. A sequel, titled Meg 2: The Trench, is in development.

Plot Edit

Rescue diver Jonas Taylor attempts to save the crew of a damaged nuclear submarine when he sees the hull being rammed by an unidentified creature. Two of his crew are trapped in the damaged sub, but Taylor is forced to flee, realizing that attempting rescue would result in the deaths of everyone he has already saved. His account of the story is dismissed by fellow survivor Dr. Heller, who believes that Taylor turned drunk and cowardly due to induced pressure psychosis.

Five years later, billionaire Jack Morris meets Dr. Minway Zhang at an underwater research facility the former financer called Mana One. Zhang and his oceanographer daughter Suyin supervise a mission to explore what could be the deepest section of the Mariana Trench, concealed by a thermocline of hydrogen sulfide. The mission submersible is piloted by Lori, Taylor's ex-wife, accompanied by scientists Toshi and "The Wall". They discover an abundance of never-before-seen flora and fauna below the thermocline, but an attack by a large, unidentified creature causes the submersible to lose contact with Mana One. An old friend of Taylor's, Mana One operations manager James "Mac" Mackreides, suggests sending Taylor down to attempt a rescue. Despite the objections of Heller, now a member of the Mana One crew, who said that Jonas Taylor had let their friends die in the damaged submarine, Zhang and Mac venture to Thailand to recruit Taylor. He is initially skeptical but relents after listening to a taped recording containing the dialogue between Lori, her crew, and Mana One. Suyin attempts the rescue in their absence but is attacked by a giant squid. Before the squid can crush her submersible, it is killed by a gigantic shark. Taylor, having agreed to help, breaches the thermocline and reaches the sunken submersible. When the shark returns and attacks the submersible before the evacuation has been completed, Toshi sacrifices himself to help the others escape.

Returning to Mana One, the crew discovers the giant shark is a megalodon, or "meg". While discussing how to address it, Suyin's daughter Meiying witnesses the shark arriving at the station. The crew realizes that the meg followed them through a temporary break they caused in the thermocline, and resolves to go out and track the meg before killing it with poison. After the meg destroys three nearby ships, Taylor enters the water to shoot the meg with a tracker, then the team puts Suyin in a shark-proof tank so she can shoot the meg with poison. However, the mission goes awry when the shark begins to swallow the cage and cracks Suyin's mask, causing her to lose oxygen. Taylor gets her out just as the meg returns, though it gets snagged on the cage's line and dies from the poison. In their moment of triumph, a second, much larger meg emerges, devouring The Wall and the dead meg, critically wounding Zhang, and destroying the crew's ship. Heller sacrifices himself to save fellow crew member Jaxx. Mac swims out to a floating lifeboat so he and the crew can regroup at Mana One, though Zhang dies on the way. The shark chases them, but it is deterred by a helicopter Morris called in.

Morris claims he has informed all the local governments about the meg and they will handle it, while secretly enlisting a mercenary team to kill the shark with depth charges. Amidst this, Morris is thrown overboard and killed. Learning the government's refusal to help out of disbelief, the Mana One crew resolve to track and kill the shark themselves. The meg attacks a crowded beach in Sanya Bay, China and devours several beach-goers before the Mana One crew use a whale call to divert its attention toward them. Taylor and Suyin work together to kill it, but Suyin is forced to break off to save the others when a helicopter crashing into their ship forces them into the water. Taylor fatally wounds the beast, and attracted by the spilled blood, several smaller sharks approach and devour the dying meg. Taylor rejoins the Mana One crew and considers taking a vacation with Suyin and Meiying. Underwater, the sound of a passing meg is heard, implying that more than two may have escaped the trench.

Cast Edit

Jason Statham as Jonas Taylor

Li Bingbing as Suyin

Rainn Wilson as Jack Morris

Ruby Rose as Jaxx

Winston Chao as Minway Zhang

Page Kennedy as DJ

Jessica McNamee as Lori Taylor

Ólafur Darri Ólafsson as "The Wall"

Robert Taylor as Dr. Heller

Sophia Cai as Meiying

Masi Oka as Toshi

Cliff Curtis as James "Mac" Mackreides

Production Edit

Development Edit

The rights to the novel were initially acquired by Disney's Hollywood Pictures in 1996. Around that time, Tom Wheeler was hired to adapt the book into a screenplay, but, having decided that his script wasn't good enough, the studio hired Jeffrey Boam to write a new draft. Boam's script was later rejected for the same reason. By 1999 the project had stalled and the rights reverted to Steve Alten, the book's author.

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Unstoppable is a 2010 American action thriller film directed and produced by Tony Scott and starring Denzel Washington and Chris Pine. It is loosely based on the real-life CSX 8888 incident, telling the story of a runaway freight train and the two men who attempt to stop it. The film was the last film Tony Scott directed before his death.

Unstoppable
Unstoppable Poster.jpg
Theatrical release poster
Directed by
Tony Scott
Produced by
Julie Yorn
Tony Scott
Mimi Rogers
Eric McLeod
Alex Young
Written by
Mark Bomback
Starring
Denzel Washington
Chris Pine
Rosario Dawson
Music by
Harry Gregson-Williams
Cinematography
Ben Seresin
Edited by
Chris Lebenzon
Robert Duffy
Production
company
Dune Entertainment
Scott Free Productions
Prospect Park
Millbrook Farm Productions[1]
Distributed by
20th Century Fox
Release date
October 26, 2010 (Westwood)
November 12, 2010 (United States)
Running time
98 minutes
Country
United States[2][3][4]
Language
English
Budget
$85–100 million[5][6][7]
Box office
$167.8 million[7]
The film was released in the United States and Canada on November 12, 2010. It received generally positive reviews from critics and grossed $167 million against a production budget between $85–100 million. The film was nominated for an Oscar for Best Sound Editing at the 83rd Academy Awards, but lost to Inception.

Plot Edit
While yard hostlers are moving an Allegheny and West Virginia Railroad (AWVR) train, pulled by lead locomotive #777 at a trainyard in northern Pennsylvania, Dewey, the engineer of the mixed-freight train, realizes that a switch is not correctly aligned and tries to realign it by leaving the cabin of the moving locomotive after setting the throttle to idle, but he trips and falls, leaving the locomotive unattended going down the main line. Meanwhile the throttle pops out of idle. Believing the train is coasting, yardmaster Connie Hooper orders Dewey, Gilleece, and welder Ned Oldham to drive and catch up to the train, but when Oldham deduces that the train has already passed where it was expected to be, they realize it is running on full power.

Connie alerts Oscar Galvin, VP of Train Operations, and instructs local and state police to block all level crossings. Federal Railroad Administration inspector Scott Werner, while visiting Hooper's yard, warns that eight of the 39 cars contain highly toxic and flammable molten phenol, which would cause a major disaster if the train should derail in a populated area. News of the runaway soon draws ongoing media coverage.

Connie suggests they purposely derail the train while it passes through unpopulated farmland. Galvin dismisses her opinion, believing he can save the company money by lashing the train behind two locomotives helmed by engineer Judd Stewart, slowing it down enough for employee and former U.S. Marine Ryan Scott to descend via helicopter to the control cab of 777. However, Scott is knocked unconscious during the attempt when 777 suddenly lunges at Stewart's lashup as he touches down, sending him crashing into follow locomotive 767's windshield, and when Stewart attempts to divert 777 to a siding, he is unable to slow it down and is killed when his train derails and the diesel fuel ignites, engulfing the lashup diesels in a huge fireball. Realizing that 777 will derail on the Stanton Curve, a tight, elevated portion of track in heavily populated Stanton, plans are finally made to purposely derail the train outside the smaller town of Arklow.

Veteran AWVR railroad engineer Frank Barnes and conductor Will Colson, a new hire under a restraining order with his estranged wife Darcy, are pulling several cars with locomotive #1206 out of Stanton. As their too-long train forced them to bypass their first siding, they narrowly manage to pull into a "RIP track" before 777 races by, smashing through their last box car. Frank observes that 777's rear car has an open coupler and proposes that they travel in reverse and catch up to the 777 in an attempt to couple their engine to the runaway and then use their own brakes to slow down 777 before it reaches the Stanton curve. Will uncouples 1206 from their own cars, while Frank reports his plan to Connie and Galvin, warning that Galvin's derailing idea will not work given 777's momentum. Galvin threatens to fire Frank, who informs Galvin that AWVR has already given Frank a forced, half-benefits, early-retirement notice. Galvin threatens to fire Will as well, but both Frank and Will ignore him and pursue 777.

As 777 approaches the portable derail devices, police first attempt to engage the engine's fuel-shutoff button by shooting at it, but are unsuccessful. As Frank predicted, the train barrels through the derailers unhindered, to Galvin's dumbfounded disbelief and shock. Knowing that Frank's plan is their only remaining chance at preventing a cataclysmic disaster, Connie and Werner fully support him and take over control of the situation from Galvin. Meanwhile, Darcy wakes up and learns about 777 and Will's involvement in the chase. Similarly, Frank's daughters learn at work of their father's involvement.

Frank and Will catch up to 777 and attempt to engage the coupler, blowing the seal on the car, spraying grain onto 1206. When the locking pin will not engage, Will kicks it into place, but gets injured in the process. Will hobbles back to 1206's cab, and Frank attempts to slow 777 by powering 1206 in the opposite direction, but 777's momentum proves to be too powerful. Will stays in the cab to work the dynamic brakes and throttle while Frank dangerously works his way across the top of 777's cars, manually engaging the brakes on each car. Eventually, 1206's brakes fail and the train starts gaining speed again. Using coordinated braking techniques, they manage to reduce speed enough to just barely clear the Stanton Curve with the train tipping but righting itself. As 777 picks up speed, Frank finds his path blocked to 777's cab. Ned arrives in his truck with a police escort and drives on a road parallel to the tracks. Will jumps onto the bed of Ned's truck, and Ned drives him to the front of 777, where Will leaps onto the locomotive and engages the brakes, finally allowing them to bring the runaway train to a safe stop.

Frank, Will, and Ned are heralded as heroes. Via captions, we learn that Frank gets promoted and later retires with full benefits. Will reunites with his son and Darcy (who is currently expecting their second child) and recovers from his injuries. Connie is promoted to Galvin's VP position, and Dewey, who is held responsible for causing the fiasco, loses his job and goes on to work at a fast-food restaurant.

Locomotives Edit
The locomotives used in the movie were borrowed from two railroads. The 2 AWVR locomotives, 777 and 767, were GE AC4400CW's borrowed from the Canadian Pacific Railway. 777 was played by CP 9782 and 9777. 767 was played by CP 9782 (during 777's 9777) and 9751. The other locomotives, such as the 1206 and the EMD SD40-2s, were borrowed from Wheeling and Lake Erie. 1206 was played by W&LE 6353 and 6354. 7375 was W&LE 6352, also playing as AWVR 5624. Lastly, 7346 was W&LE 6351. W&LE 6352 also played as AWVR 5607 (Brewster yard) and AWVR 5580. [1]

Cast Edit
Denzel Washington as Frank Barnes, a veteran railroad engineer
Chris Pine as Will Colson, a young train conductor
Rosario Dawson as Connie Hooper, a train yardmaster
Ethan Suplee as Dewey, a hostler who accidentally instigates the disaster
Kevin Dunn as Oscar Galvin, vice-president of AWVR train operations
Kevin Corrigan as Inspector Scott Werner, an FRA inspector who helps Frank, Will, and Connie
Kevin Chapman as Bunny, a railroad operations dispatcher
Lew Temple as Ned Oldham, a railroad lead welder
T. J. Miller as Gilleece, Dewey's friend, also a hostler
Jessy Schram as Darcy Colson, Will's estranged wife
David Warshofsky as Judd Stewart, a veteran engineer who is friends with Frank & dies in an attempt to slow the runaway train
Andy Umberger as Janeway
Elizabeth Mathis and Meagan Tandy as Nicole and Maya Barnes, Frank's daughters who work as waitresses at Hooters
Aisha Hinds as Casey Barnes, a railway safety campaign coordinator
Ryan Ahern as Ryan Scott, a railway employee and US Marine veteran of the war in Afghanistan who is injured in an attempt to stop the runaway
Production Edit
Unstoppable suffered various production challenges before filming could commence, including casting, schedule, location and budgetary concerns.[9][10]

In August 2004, Mark Bomback was hired by 20th Century Fox to write the screenplay Runaway Train.[11] Robert Schwentke signed on to direct Runaway Train in August 2005, with plans to begin shooting in early 2006.[12] In June 2007, Martin Campbell was in negotiations to replace Schwentke as director of the film, now titled Unstoppable.[13][14] Campbell was attached until March 2009, when Tony Scott came on board as director.[15] In April, both Denzel Washington and Chris Pine were attached to the project.[16]

The original budget had been trimmed from $107 million to $100 million, but Fox wanted to reduce it to the low $90 million range, asking Scott to cut his salary from $9 million to $6 million and wanting Washington to shave $4 million off his $20 million fee.[17] Washington declined and, although attached since April,[18] formally withdrew from the project in July, citing lost patience with the film's lack of a start date.[10] Fox made a modified offer as enticement, and he returned to the project two weeks later.[18][19][20]

Production was headquartered in Pittsburgh, Pennsylvania, where the fictional railroad depicted in the movie, the "Allegheny and West Virginia Railroad," is headquartered. Filming took place in a broad area around there including the Ohio cities of Martins Ferry, Bellaire, Mingo Junction, Steubenville and Brewster,[21] and in the Pennsylvania cities of Pittsburgh,[22] Emporium, Milesburg, Tyrone, Julian, Unionville, Port Matilda, Bradford, Monaca, Eldred, Mill Hall, Turtlepoint, Port Allegany and Carnegie,[23] and also in Portville and Olean, New York.[24] The film is the most expensive ever to be shot in Western Pennsylvania.[25]

The Western New York and Pennsylvania Railroad's Buffalo Line was used for two months during daylight, while the railroad ran its regular freight service at night.[26] The real-life bridge and elevated curve in the climactic scene is the B & O Railroad Viaduct between Bellaire, Ohio and Benwood, West Virginia.[27] A major oversight in the film was the size of "Stanton, Pennsylvania". Listed as having 752,000 people, this would have made Stanton more than twice the size of Pittsburgh in 2010, whereas the city which was set as Stanton, Bellaire, Ohio, was considerably smaller, having just over 4,000 residents.

A two-day filming session took place at the Hooters restaurant in Wilkins Township, a Pittsburgh suburb, featuring 10 Hooters girls from across the United States. Other interior scenes were shot at 31st Street Studios (then the Mogul Media Studios) on 31st Street in Pittsburgh. Principal photography began on August 31, 2009,[28] for a release on November 12, 2010.

The video for the song "Beyond Tension", by Texas-based electronic musician Jon Dishongh, can be seen playing on two background televisions across multiple scenes. This occurred by accident due to a cast member watching various music videos during breaks while on set.

Filming was delayed for one day when part of the train accidentally derailed on November 21, 2009.[29]


CP #9777, a GE AC4400CW locomotive was used to film early scenes. Photographed in 2010 after the locomotive was repainted
The locomotives used on the runaway train, 777 and trailing unit 767, were played by GE AC4400CWs leased from the Canadian Pacific Railway. CP #9777 and #9758 played 777 and 767 in early scenes, and CP #9782 and #9751 were given a damaged look for later scenes.[30] These four locomotives were repainted by Canadian Pacific in standard colors following the filming, but the painted pilot warning stripes from the AWVR livery were left untouched and remained visible on the locomotives. The plow on 9777 appears to have been repainted black as of 2013.[31]

Most of the other locomotives seen in the film, including chase locomotive #1206, and the locomotive consist used in an attempt to stop the train, #7375 and #7346, were played by EMD SD40-2s leased from the Wheeling and Lake Erie Railway. #1206 was played by three different SD40-2s: W&LE #6353 and #6354, and a third unit that was bought from scrap and modified for cab shots. Judd Stewart's locomotive consist #7375 and #7346 were played by W&LE #6352 and #6351, which also played two locomotive "extras" (#5624 and #5580), wearing the same grey livery with different running numbers.[30] The excursion train locomotive (#2002) was played by a Southwest Pennsylvania Railroad Paducah-built EMD GP11 rebuilt from an EMD GP9. Passenger coaches carrying schoolchildren were provided by the Orrville Railroad Heritage Society.[32]

Inspiration Edit
Main article: CSX 8888 incident
Unstoppable was inspired by the 2001 CSX 8888 incident, in which a runaway train ultimately traveled 66 miles (106 km) through northwest Ohio. Led by CSX Transportation SD40-2 #8888, the train left the Walbridge, Ohio, rail yard with no one at the controls, after the hostler got out of the slow-moving train to correct a misaligned switch, mistakenly believing he had properly set the train's dynamic braking system, much as his counterpart (Dewey) in the film mistakenly believed he had properly set the locomotive's throttle (in the CSX incident, the locomotive had an older-style throttle stand where the same lever controlled both the throttle and the dynamic brakes; in fact, putting on "full throttle" and "full brakes" both involved advancing the same lever to the highest position after switching to a different operating mode. Thus if the engineer failed to properly switch modes, it was easy to accidentally apply full throttle instead of full brake, or vice versa.)

Two of the train's tank cars contained thousands of gallons of molten phenol, a toxic ingredient used in glues, paints and dyes. The chemical is very dangerous; it is highly corrosive to the skin, eyes, lungs and nasal tract. Attempts to derail it using a portable derailer failed, and police were unable to shoot the fuel release valve and jam it in the pushed position, instead hitting the fuel cap. For two hours, the train traveled at speeds up to 51 miles per hour (82 km/h) until the crew of a second locomotive, CSX #8392, coupled onto the runaway and slowly applied its brakes. Once the runaway was slowed down to 11 miles per hour (18 km/h), CSX trainmaster Jon Hosfeld ran alongside the train, and climbed aboard, shutting down the locomotive. The train was stopped at the Route 31 crossing, just south-southeast of Kenton, Ohio. No one was seriously injured in the incident.[33]

When the film was released, the Toledo Blade compared the events of the film to the real-life incident. "It's predictably exaggerated and dramatized to make it more entertaining," wrote David Patch, "but close enough to the real thing to support the 'Inspired by True Events' announcement that flashes across the screen at its start." He notes that the dead man switch would probably have worked in real life despite the unconnected brake hoses, unless the locomotive, or independent brakes, were already applied. As explained in the movie, the dead man's switch failed because the only available brakes were the independent brakes, which were quickly worn through, similar to CSX 8888. The film exaggerates the possible damage the phenol could have caused in a fire, and he found it incredible that the fictional AWVR freely disseminated information such as employees' names and images and the cause of the runaway to the media. In the real instance, he writes, the cause of the runaway was not disclosed until months later when the National Transportation Safety Board released its report, and CSX never made public the name of the engineer whose error let the train slip, nor what disciplinary action was taken.[34] However, on YouTube, an individual had shared unconfirmed information on this, stating that the Engineer responsible for the 8888 runaway did not get dismissed, but rather got a sixty-day suspension.

Soundtrack Edit
Main article: Unstoppable (soundtrack)
The film score was composed by Harry Gregson-Williams and the soundtrack album was released on December 7, 2010.

Release Edit
Marketing Edit
Learn more
This section needs expansion.
A trailer was released online on August 6, 2010.[35] The film went on general release November 12, 2010.

Home media Edit
Learn more
This section needs expansion.
Unstoppable was released on DVD and Blu-ray on February 15, 2011.[36]

Reception Edit
Critical response Edit
On Rotten Tomatoes the film holds an approval rating of 87% certified fresh based on 193 reviews, with an average rating of 6.92/10. The site's critical consensus reads, "As fast, loud, and relentless as the train at the center of the story, Unstoppable is perfect popcorn entertainment—and director Tony Scott's best movie in years."[37] Metacritic gives the film a weighted average score of 69 out of 100, based on 32 critics, indicating "generally favorable reviews".[38]

Film critic Roger Ebert rated the film three and a half stars out of four, remarking in his review, "In terms of sheer craftsmanship, this is a superb film."[39][dead link] In The New York Times, Manohla Dargis praised the film's visual style, saying that Scott "creates an unexpectedly rich world of chugging, rushing trains slicing across equally beautiful industrial and natural landscapes."[40]

The Globe and Mail in Toronto was more measured. While the film's action scenes "have the greasy punch of a three-minute heavy-metal guitar solo", its critic felt the characters were weak. It called the film "an opportunistic political allegory about an economy that's out of control and industries that are weakened by layoffs, under-staffing and corporate callousness."[41]

Director Quentin Tarantino highlighted the film in a January 2020 episode of the podcast Rewatchables, and included it in his list of the ten best of the decade.[42] Christopher Nolan cited the film as an influence, praising its use of suspense.[43]

Box office Edit
Unstoppable was expected to take in about the same amount of money as the previous year's The Taking of Pelham 123, another Tony Scott film involving an out-of-control train starring Denzel Washington. Pelham took in $23.4 million during its opening weekend in the United States and Canada.[5]Unstoppable had a strong opening night on Friday November 12, 2010, coming in ahead of Megamind with a gross of $8.1 million. However, Megamind won the weekend, earning $30 million to Unstoppable's $23.9 million.[44]Unstoppable performed slightly better than The Taking of Pelham 123 did in its opening weekend. As of April 2011, the film had earned $167,805,466 worldwide.

Awards Edit
The film was nominated in the Best Sound Editing (Mark Stoeckinger) category at the 83rd Academy Awards and nominated for Teen Choice Award for Choice Movie – Action.