Godzilla

Kesha, with her Mom. Photo by Dakin Hardwick.

Author’s note: We at Spinning Platters stand with survivors, and we believe women when they come forward and tell stories of having been assaulted. Due to the code of journalistic ethics, we are forced to refer to Dr Luke as an “alleged abuser” while the case is still pending in court.

Whatever you think of her music, Kesha deserves your respect. Kesha’s album Rainbow and its accompanying tour come after a long public and risky battle to take control over her career from the man who allegedly abused her. Had she lost this fight, she would have been forced to continue her close work with her alleged rapist to create new content. Had she won, but not had such strong continuing fan support on social media, she might have been able to fulfill her contract and make records, but but the label might have simply cut their losses and granted her no touring budget or promotional budget. [read the whole post]

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Kong delivers without monkeying around.

This guy really needs to hold on tighter.

I’ll admit that I was more than skeptical when Kong: Skull Island was first announced. A new King Kong movie, really? Peter Jackson’s 2005 version still felt fresh in my mind, perhaps because it’s been playing on TV so often. But Kong: Skull Island was supposedly a different type of Kong movie. It was gonna be more modern, more action-oriented, and part of a larger monster movie series (see MonsterVerse). That all sounded nice and dandy but I wasn’t going to believe it until I saw it. Then, I saw it. I saw it in IMAX 3D. And whaddya know, it’s really good. Kong: Skull Island delivers just about everything you’d expect from its marketing campaign and PR promises. The action is exciting, the special effects are fantastic, the acting is non-distractingly serviceable, and there’s nothing else to it. As pure cinematic escapism, Kong: Skull Island reigns king. 

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Roaring (and lumbering) back into action!

Godzilla's so vain, he probably thinks this movie's about him.

Godzilla’s so vain, he probably thinks this movie’s about him.

In comparison to 1998’s embarrassing excuse for a blockbuster, Godzilla (directed by Roland Emmerich), most popcorn flicks look Oscar worthy.  What’s refreshing about 2014’s Godzilla, directed by Gareth Edwards (Monsters), is that it shows off some remarkably cool modern sequences while embracing the traditional look and feel of the classic Godzilla films and the summer movies of the late 70’s that established the blockbuster sub-genre.  After the overload of monsters and CG destruction we see in movies these days, it’s a relief to know that there’s still room for a film to embrace the origins of both and still surprise us.  Welcome back, Godzilla.

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