"...a sprawling beast that vacillates between minimalist cosmic post-freakout comedowns and maximalist tribal funk jamz." - Jacob An Kittenplan, Cassette Gods
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Film Trailer vimeo.com/92163817
On May 31st, 2014, MIL KDU DES returned from the depths of the ocean to present and score GXH. A collaborative effort featuring the skillful edit of none other than Louis Piquette and that classic MIL KDU DES sound – fully formed (and performed) in the hallowed halls of Spectacle – a place that has recently been called “The Worst Sandwich Shop In Brooklyn” and “The Greatest Movie Theater In The Entire World.”
With water coolers abuzz and the rumor mills churning, America is settling into be cautiously optimistic about the newest entry in the Godzilla canon. (Full disclosure, some of us are pretty hyped up about it.) But with the bad taste of 1998’s utter disaster still on our tongues, we here at Spectacle set our sights to a simpler time. A time of rubber suits and miniature cities. Piquette takes his razor sharp edits to 1971’s GODZILLA vs. HEDORAH, a strange, colorful, psyched out, and environmentally-conscious film filled to the brim with incredible sets and (of course) big bad battles.
Here’s what Spectacle programmer, filmmaker, and critic Steve Macfarlane had to say about it as part of Not Coming To A Theater Near You’s excellent retrospective “The Compleat Godzilla” from last February:
“To call Godzilla Vs. Hedorah a relative masterpiece may sound like faint praise, but hindsight solidifies the film’s status as one of the most novel in the Godzilla canon. The family at its core are tenants of a badly polluted suburb, living in a Japan where Mt. Fuji appears carefully nestled between power station grids, where news commentators can’t tell the difference between a colossal beast and a new military weapon. Humanity and nature flat-out do not get along, and Godzilla’s rival, the “smog monster” Hedorah, is less the traditional diamond-encrusted invader from outer space than a sprawling manifestation of industrial Japanese growth after World War II, a red-eyed effigy in sludge. Director Yoshimitsu Banno dives head-first into making the series ever kid-friendlier, while simultaneously returning to it the political teeth that had gone lacking long since.”
- Spectacle Theater Brooklyn, NY