Eminem ft Juice WRLD “Godzilla,” Lil Wayne “Mama Mia” & More | Daily Visuals 3.9.20

Lil Wayne x Bumbu

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Eminem had heads on social media trying their best to spit their rapid fire flow with his Godzilla challenge and though we don’t have a clear winner, there were a few impressive participants who showed and proved they were able to hold their own with Slim Shady.

Now Em is coming through with the visuals for the actual cut that started it all in the Juice WRLD assisted “Godzilla” where Em indulges in all the liquor he could get his hands on before calling up earl. R.I.P. Juice WRLD.

And for his latest visuals to “Mama Mia,” Lil Wayne recruits a team of talented young women who constantly change up their attire to match what Weezy’s rapping about on the track. Any woman wearing a Wu-Tang hoodie is wifey material. Just sayin.’

Check out the rest of today’s drops and some joints you might’ve missed over the weekend including work from Sean Price and Lil Fame, Lion Babe, and more.










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Godzilla: King of the Monsters (2019) – Michael Dougherty

Michael Dougherty - Godzilla: King of the Monsters (2019)  artwork

Godzilla: King of the Monsters (2019)

Michael Dougherty

Genre: Action & Adventure

Price: $ 19.99

Release Date: May 31, 2019

The story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla, who collides with Mothra, Rodan, and his ultimate nemesis, the three-headed King Ghidorah. When these ancient super-species—thought to be mere myths—rise again, they all vie for supremacy, leaving humanity’s very existence hanging in the balance.

© © 2019 Legendary and Warner Bros. Entertainment Inc. All Rights Reserved. GODZILLA TM and copyright TOHO Co., Ltd.

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Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack – Shusuke Kaneko

Shusuke Kaneko - Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack  artwork

Godzilla, Mothra, and King Ghidorah: Giant Monsters All-Out Attack

Shusuke Kaneko

Genre: Foreign

Price: $ 12.99

Rental Price: $ 3.99

Release Date: August 31, 2003

Fifty years ago, the Japanese Defense Forces killed Godzilla or so they thought. When a series of terrifying natural disasters begin to plague Japan, including the inexplicable offshore sinking of a U.S. submarine, a mystic old man warns his nation that Godzilla has come back to destroy Japan as revenge for all the souls lost in the Pacific War. When mere military might can not squash the monster, the mystic man awakens the Holy Beasts of Yamato – King Ghidorah, Mothra and Baragon, sleeping giants that protected Japan in ancient times. These untamed mammoth beasts take on Godzilla with frightening supernatural brute power that has been 2,000 years in the making. Tradition and technology collide in this chilling high-tech, cutting-edge fable.

© © 2001 Toho Pictures, Inc. All Rights Reserved. Baragon, Godzilla®, King Ghidorah, Mothra® and the Character Designs are trademarks of Toho Co., Ltd.

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Godzilla vs. Destoroyah – Takao Okawara

Takao Okawara - Godzilla vs. Destoroyah  artwork

Godzilla vs. Destoroyah

Takao Okawara

Genre: Sci-Fi & Fantasy

Price: $ 4.99

Rental Price: $ 3.99

Release Date: August 3, 2010

Birth Island, home of Godzilla is destroyed and it is discovered that Godzilla has developed a bright flaming glow, proving his nuclear energy is out of control. Fearing Godzilla will soon explode, the G-Force tries to freeze him, to cool his temperature. Soon a horde of human sized creatures, formed from a combination of Godzilla cells and the weapon that destroyed the original are threatening. Now the military must stop these creatures and prevent Godzilla from going through a nuclear meltdown that could destroy the world.

© © 1995 Toho Co., Ltd. All Rights Reserved.

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Godzilla vs. Mechagodzilla II – Takao Okawara

Takao Okawara - Godzilla vs. Mechagodzilla II  artwork

Godzilla vs. Mechagodzilla II

Takao Okawara

Genre: Sci-Fi & Fantasy

Price: $ 4.99

Rental Price: $ 3.99

Release Date: January 1, 1993

Built with the utmost in 20th-century technology, Mechagodzilla is the ultimate in Godzilla-busting weaponry. Fueled by a nuclear reactor and sheathed in a synthetic diamond shield, the mammoth metal robot is Japan's greatest hope for ending Godzilla's reign of terror. Meanwhile, on a remote island polluted by nuclear waste, a team of scientists discover a giant egg in a Pteranodon nest, and bring it home for study. When Baby Godzilla hatches, both Rodan and Godzilla return to claimthe cuddly infant as their own. Will their monstrous maternal instincts cause a custody battle capable of destroying Mother Earth? Or will Mechagodzilla prove an effective eradicator, leaving BabyGodzilla an orphan for life?

© © 1993 Toho Co. , Ltd. All Rights Reserved.

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Godzilla: Final Wars – Ryuhei Kitamura

Ryuhei Kitamura - Godzilla: Final Wars  artwork

Godzilla: Final Wars

Ryuhei Kitamura

Genre: Sci-Fi & Fantasy

Price: $ 4.99

Rental Price: $ 3.99

Release Date: May 1, 2007

Godzilla's 50th Anniversary project and costliest adventure to date out of 28 films. Earth has been relatively peaceful since Godzilla was successfully buried deep in ice beneath the South Pole. Then – sometime a few years hence-several of his old nemeses return to wreak havoc on cities worldwide. A huge spaceship suddenly appears and neutralizes all the monsters in a blink. The visitors are "Xiliens," who take human form and announce they would like to negotiate a peace treaty that would replace the United Nations with a "United Universe". They are indeed too good to be true, however. It doesn't take long before their nefarious real purpose is exposed – conquering Earth. Greatly outmatched, Earth officials decide to de-freeze Godzilla as man's only hope to vanish the invaders, as well as the monsters they control. Only trouble is Godzilla is still mad at man for freezing him in the first place.

© © 2004 Toho Pictures, Inc. All Rights Reserved.

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Godzilla vs King Ghidorah – Kazuki Omori

Kazuki Omori - Godzilla vs King Ghidorah  artwork

Godzilla vs King Ghidorah

Kazuki Omori

Genre: Foreign

Price: $ 4.99

Rental Price: $ 3.99

Release Date: January 1, 1991

When a mysterious U.F.O. is seen flying over Tokyo, tension mounts until the craft's occupants reveal themselves to be friendly aliens from the 23rd century who have come to warn mankind that Godzilla will soon awaken and wreak havoc upon the earth unless he is destroyed. Meanwhile, a double threat arrives in the form of King Ghidorah, Godzilla's flying three-headed archrival and an evil and all-powerful android. The suspense builds to terrifying levels as the aliens' sinister mission on Earth is gradually revealed and Godzilla must wage a solo battle against these evil forces who want to destroy mankind. High-tech special effects and awesome action highlight this present-day Godzilla epic.

© © 1991 Toho Co. , Ltd. All Rights Reserved.

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Godzilla vs. Mothra – Takao Okawara

Takao Okawara - Godzilla vs. Mothra  artwork

Godzilla vs. Mothra

Takao Okawara

Genre: Sci-Fi & Fantasy

Price: $ 4.99

Rental Price: $ 3.99

Release Date: January 1, 1992

After a series of earthquakes unearth a gigantic orb, a trio of Japanese explorers are dispatched to the mysterious Infant Island to investigate. There they discover the island's sole inhabitants, miniature twin fairies whose duty is to protect the mammoth ball, the egg of Mothra! When the explorers attempt to bring the egg back to the mainland, a furious Godzilla® awakens from the depths and attacks the party, causing the egg to hatch and forcing its newborn larvae to fend off the gigantic reptile. The humongous worm holds its own until help arrives in the form of Battra (a.k.a. Black Mothra). When Mothra and Battra metamorphose into flying monster moths, the battle rages on land and in the sky. With two powerful foes to reckon with, has Godzilla® finally met his match?

© © 1992 Toho Co., Ltd. All Rights Reserved.

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‘Godzilla’ brings more smoke than fire to the ‘Monsterverse’

“Godzilla: King of the Monsters” rekindles a 1950s subtitle, but this latest addition to Warner Bros.’ ambitious plans to create a lucrative “Monsterverse” generates more smoke than actual fire.

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Godzilla – Roland Emmerich

Roland Emmerich - Godzilla  artwork


Roland Emmerich

Genre: Action & Adventure

Price: $ 14.99

Rental Price: $ 3.99

Release Date: May 20, 1998

Following the French atomic bomb tests in the South Pacific, an unknown creature is spotted passing westward through the Panama Canal. Scientist Niko Tatopolous is called in to investigate the matter, and he quickly arrives at the conclusion that a giant, irradiated lizard has been created by the explosions. Godzilla(r) then makes its way north, landing at Manhattan to begin wreaking havoc in the big city. Even with the combined forces of the U.S. military to fight the monster, will it be enough to save the people of New York?

© © 1998 TriStar Pictures, Inc. All Rights Reserved.

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Godzilla: King of the Monsters (2019)

Godzilla: King of the Monsters (2019) Opens Friday, May 31, 2019

The new story follows the heroic efforts of the crypto-zoological agency Monarch as its members face off against a battery of god-sized monsters, including the mighty Godzilla.

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The New Trailer for ‘Godzilla: King of The Monsters’ Is All Kinds of LIT [Video]


Source: Legendary / Youtube

When Godzilla dropped in 2014 it was met with a lukewarm reception from hardcore fans of the 50’s monster icon (though it was lightyears better than that mutant iguana movie that dropped in ’98). But from the looks of its upcoming sequel, Godzilla: King of The Monsters, those same fans seem like they’re going to get all they can handle.

Starring Stranger Things Millie Bobby Brown and Vera Farmiga, Godzilla: King of The Monsters is set in a pre-apocalyptic world where humanity is on the brink and apparently our only hope is to unleash not only Godzilla, but the other titans of the ancient world like Mothra, Rodan and of course King Ghidorah. How unleashing a gang of destructive radioactive prehistoric monsters is the key to human survival is anyone’s guess but we’re here for it.

Keep in mind that this is supposed to somehow set up 2020’s highly anticipated Godzilla vs. King Kong so it should be interesting to see how this whole end of the world plot plays out.

Check out the trailer below and let us know if you’ll be checking for Godzilla when it drops May 31 next year.

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Haruo Nakajima, Who Played The Original 1954 Godzilla, Dies

He stomped over miniature bridges and buildings in a rubber suit and gave the world Godzilla, the fire-breathing, screeching monster that became Japan’s star cultural export and an enduring symbol …

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Angry Nerd – Why the New Godzilla Movie Won’t Suck

The makers of the new Godzilla movie are taking great pains to telegraph their deep reverence for kaiju cinema. In other words, they want us to know they won’t screw it up like Roland Emmerich did in 1998. Angry Nerd makes the case for why we should believe them.

WIRED Videos – The Scene

Design FX – Godzilla: Creating the Animalistic and Masculine Kaiju Monster

After Roland Emmerich missed the mark with Godzilla in 1998, we had reason to be skeptical of Gareth Edwards’ new remake. Fxguide’s Mike Seymour goes inside the special effects behind the latest incarnation, in which effects company MPC designed the largest Godzilla yet, featuring an animalistic appearance with anthropomorphized traits.
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Pop Dollarz – “GODZilla Zero Ceilings” + Doc Series Pt.1

Pop Dollarz releases “GODZilla Zero Ceilings”, the first record off his upcoming project titled W.O.N. [Waiting On Nothing]


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Godzilla What’s the Deal with Godzilla?

What’s the Deal with Godzilla - Thumb

Lumbering around Tokyo as the greatest Kaiju ever makes causing disasters look fun, but it’s a bit of a disaster itself.
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'Godzilla' Sets 2014 Box Office Record After $38.5 Million Rampage On Friday

The King of the Monsters took the box office crown on Friday.
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Zaki’s Review: Godzilla (2014)

Legendary Pictures’ big budget reboot Godzilla, directed by Gareth Edwards and released by Warner Bros., arrives amidst a barrage of pre-release buzz that can’t help but call to mind the previous attempt by a Hollywood studio to translate this quintessentially Japanese of celluloid icons to the American cinematic vernacular. That film, from Sony-Tristar and Independence Day director Roland Emmerich, arrived exactly sixteen years ago next week as the summer season’s preordained champion. I was there opening night, popcorn in hand, brain thoroughly washed by the mountainous onslaught of hype leading up to opening night, fully expecting the greatest blockbuster of all time.

It wasn’t. In fact, my clearest memory from that day isn’t of the film itself, but of feeling so non-plussed afterwards that I went into the theater parking lot and took my first (and only) drag from a cigarette, ever. That’s right, I needed to ingest a carcinogen just to make the bad feeling go away. In the decade-and-a-half since then, Sony’s misfire has become so synonymous with Hollywood’s propensity for empty calorie excess that it’s a wonder the whole brand wasn’t rendered as radioactive as the title character. I actually re-watched it a few days ago for the first time since that nicotine-tinged night, and time has truly done nothing to salve that wound.

Given all that, it’s kind of a miracle that we’re even talking about another American take on Godzilla while the many-pronged failure of the Sony model is still fresh in so many of our memories. But hey, in this age of the insta-reboot, sixteen years is practically an eternity, and studios have rarely been ones to let a perfectly presentable IP die on the vine. And so as soon as the rights reverted back to their originators at Toho Inc., they were snaked up by Legendary Pictures for a new try that spares no expense bringing a more faithful telling to the screen. And while Edwards (making his blockbuster debut after earning his indie stripes on 2010’s Monsters) improves on Emmerich by every objective measure, his adaptation is still hobbled by a different set of stylistic and storytelling choices that keep it just short of greatness.

Starting out with a fifteen-years-ago prologue, we’re introduced to Bryan Cranston as Joe Brody, an American who is managing a nuclear reactor in Tokyo, where a mysterious meltdown occurs, leaving Brody’s wife (Juliette Binoche) dead and the surrounding areas uninhabitable. From there, we jump to the present, with Brody’s son Ford (Aaron-Taylor Johnson) returning to his family in San Francisco after a tour doing the Hurt Locker thing with the military. Brody the younger is soon summoned to Japan to retrieve his father, who’s been arrested due to his sneaking into the supposedly irradiated area around the former nuclear facility, and once father and son are reunited, they find themselves drawn into a global conspiracy that encompasses several countries and several monsters of varying dispositions.

To its credit, the film does its level best to fix some of the Sony version’s most egregious flaws. For one, there’s no try at reinventing the wheel with how this most iconic of movie monsters looks. This is unmistakably the same Godzilla that several generations of viewers have come of age with over the past sixty (!!) years. Also, unlike the Sony misfire, this film wisely sets up our title monster as an anti-hero, earning our sympathies by pitting him against two MUTOs (Massive Unidentified Terrestrial Organisms) with EMP powers, who pose an even greater threat to our continued existence than a giant, radiation-breathing dinosaur. Also, the effects are truly spectacular. Again, unlike the Sony version, you’re never lifted right out of the experience thanks to dodgy computer graphics.

Okay, so that’s the good. Let’s talk about where things fall apart a bit. By definition, Godzilla is a force of nature. He shows up, he wreaks havoc, he leaves. That’s his m.o. whether you’re talking about movies, cartoon shows, or comic books. He can’t really have an “arc,” per se, anymore than we’d expect internal conflict for the tornado in Twister. As such, much of our rooting interest in any story of this kind has to come at least partly from our connection to the (relatively) little people milling around in the general vicinity of the monster-on-monster carnage. Thus, if we aren’t given living, breathing characters to share stakes with, we don’t feel an investment in the larger struggle. You think they’re on the right track via Cranston as the elder Brody.

In a way, Cranston’s presence here feels a lot like Raymond Burr’s appearance in the 1956 Americanized version of the original 1954 Gojira (its title transmogrified to Godzilla, King of the Monsters by the time it crossed the Pacific). Even inserted after the fact, with his character by necessity not really having any direct impact on the action, Burr’s mere presence seemed to promise audiences a degree of gravitas. It’s sort of the same thing here. However, to the film’s detriment, Brody’s desperate quest to prove what actually happened at the plant, and the father-son redemption story that goes with it, are ditched entirely once the MUTOs make their big appearance about forty minutes in, leaving the Cranston character behind and Johnston as our ostensible lead.

While I have no problem with Johnson as an actor, and he’s fine here, it just seems like a rather sizable misstep on the filmmakers’ part not to get more use out of the considerable weightiness Cranston’s mere presence offers. Beyond that, we also have Elizabeth Olsen as Elle, Ford’s long-suffering wife, whose role is mainly to look at TV screens with varied looks of concern on her face. Further uppibg the gravitas-factor in the cast are David Straithairn as Admiral Stenz and Ken Watanabe as Dr. Serizawa, both of whose job is primarily to ladle out heaping spoonfuls of backstory and exposition, which is where they started to lose me. After an absolutely crackerjack opening act, the middle section gets bogged down in anticipation of the plot finally getting moving.

A further frustration is Edwards’ tendency to cut around the action. More than once, we get the build-up to the long-in-coming Godzilla-on-MUTO action, and then we cut away to said brawl playing out on the television in the background of a separate scene. Once, it’s cute. More than that, maddening. By the time we finally get to the IMAX-sized monster mashing we paid for (with my current home in the San Francisco Bay Area taking quite the pasting), we’ve had little to no time to form any rooting interest in Godzilla himself beyond the fact that he’s who we paid our admission to see. As such, we’re following characters we don’t really care about as they move in and around situations we don’t really see, leading up to a somewhat abrupt ending they don’t really have involvement in.

So much of the primal appeal of Godzilla (the character) comes from how the concept first emerged as a meditation on and reaction to the atomic bombings of Hiroshima and Nagasaki, less than a decade old at the time of the original movie’s release. That unavoidable real world context imbued the proceedings with a seriousness that helps it overcome, even today, the cheesy guy-in-rubber-suit schlock factor. I can’t speak to the multitudinous sequels, most of which I haven’t seen, but certainly that’s what makes the original “importan” still. Edwards pays lipservice to that lineage via an exchange between Watanabe and Straithairn that invokes Hiroshima, but it feels curiously detached from the story around it, like they don’t quite know how to pay it off.

Another thought that occurred to me as I watched was that, for a project that’s openly intended to launch a new series, I wonder if there’s enough here to lure new audiences back into theaters for round two. I mean, we basically get the blueprint here: Bad monster(s) show up. Good monster shows up. Fighting ensues. City goes down. Bad monster goes down. Good monster recedes into the ocean. Wash, rinse, repeat. I’m not sure how much they can really vary from that, and given the franchise hopes Legendary has pinned to this pic, I’m wondering if there’s anywhere to go from here (and yes, I say that fully cognizant of the fact that there are twenty-nine flicks before this one).

For what it’s worth, I didn’t leave the theater after the 2014 Godzilla desperately needing a cigarette. Also, the more time that passes from my initial screening, the less I focus on the pacing and logic issues, and the more my mind lingers on certain powerful images and set pieces, which certainly speaks to Edwards’ accomplishment. Heck, the giant wave that signals Godzilla’s landfall in Hawaii is practically worth the ticket price alone, and it’s great to see a CGI Godzilla who actually looks and acts like Godzilla, radiation breath and all. Even so, despite the obvious affection and attention to detail that Edwards lavishes on his subject matter, it feels like we’re still just short of a truly great Godzilla. Maybe next time. B
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If You've Been Attacked By A Monster, Godzilla Lawyer Can Help YOU Get Justice, I.e. Money

Have you or your business been attacked by kaiju or any other kind of monster? Then you might be entitled to money. Call Jorge Rivers (Thomas Lennon), Godzilla Attorney. He’ll fight for YOU.

Check the Nerdist-created ad above, and take the first step towards justice.
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'Godzilla: The Musical!' Will Send You Running To The Aisles

Godzilla tried to destroy Broadway in a 1998 remake of the monster franchise. Now Broadway can return the favor.

Get ready for “Godzilla: The Musical!

It’s a parody preview from CineFix, but given the amount of reboots “Godzilla,” has seen, including a new release opening May 16, a song-and-dance extravaganza wouldn’t be THAT far off.

As a certain orphan from a real Broadway musical might say, “Leapin’ lizard!”

(h/t Laughing Squid)

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