Latest news with #Toho
Yahoo
20-05-2025
- Entertainment
- Yahoo
I Just Found Out About North Korea's Biggest Movie From The '80s, And The Kidnapping Story Behind It Is Even Wilder Than You Might Think
When you buy through links on our articles, Future and its syndication partners may earn a commission. The biggest movie in North Korean history is a monster movie based on classic kaiju movies called Pulgasari. Filmed in 1985, it was mostly the brainchild of director and producer Shin Sang-ok. It is a crazy movie, about a group of villagers who team up with a Godzilla-like monster to overthrow their country's tyrannical leader. It is, of course, steeped in anti-West, anti-South Korea messaging, as you would expect, but as B-movies go, it's not half bad. It's gone on to achieve a little bit of cult following around the world, especially in Japan. There is so much more to the story, though. As the heir apparent to his father, Kim Il-sung, Kim Jong Il was already quite powerful in the late 1970s in North Korea. The younger Kim also loved movies. He reportedly had thousands of films in his personal library and was especially fond of movies from the West, the U.S., and the U.K. He also loved classic Japanese monster movies. As a lover of movies, he set out to build a North Korean film industry in the 1970s. At first, Kim was reportedly unhappy with the results, so he hatched a plan to do something only the son of a dictator would think to do: kidnap two of South Korea's biggest stars, filmmaker Shin Sang-ok and his wife, actress Choi Eun-hee. Choi, one of South Korea's biggest stars, was kidnapped from Hong Kong in 1978 after being tricked into traveling to the then-British protectorate with a job offer. Six months later, Shin Sang-ok was searching for his then-ex-wife in Hong Kong when he was also snatched up by the North Korean regime. Like Choi, he was taken back to North Korea. After two escape attempts, he was sent to prison for five years. He was finally reunited with Choi after his release in 1983 at a party hosted by the younger Kim. Kim soon began talking about films with the two South Korean prisoners, and by 1984. Shin and Choi were making them for the regime. Of course, most had a strong state-sponsored message, but Shin did manage to convince Kim to allow him to broaden the subjects to give more international appeal. That is what led directly to Pulgasari. Production on the monster movie began in early 1985, and it included the use of an incredible 13,000 extras for some scenes, many of whom came from the North Korean army. Shin was basically given carte blanche, and in the neighborhood of $3 million (US) to make a movie inspired by Godzilla. Kim even enlisted the Japanese special effects house, Toho, to work on the movie. It's unclear if Pulgasari was ever released in North Korea; there are conflicting reports. Some sources claim the movie was a hit in its home country, others say it was put on ice by Kim, along with Shin's six other films produced under the regime, after Shin and Choi escaped North Korea during a trip to Vienna in 1986. A decade later, long after Choi and Shin's escape, the movie was released in Japan, first on VHS in 1995, then in theaters in the summer of 1998, and it became a hit. The success prompted distributors to release the movie in South Korea, though it bombed badly, likely due to understandable bias by the South Korean public towards the North. The film occasionally shows up as part of underground film festivals around the country, but is not available, as yet, on any American streaming services. A little bit of internet searching, though, and it's easy enough to find. It's not the best movie ever made, by any means, but it is a fascinating look into a culture we understand little of in the West.
Yahoo
13-05-2025
- Entertainment
- Yahoo
Koji Fukada Talks J-Pop Industry's ‘No-Dating' Clauses in Cannes Premiere Title ‘Love on Trial,' First Clip Unveiled (EXCLUSIVE)
What happens when a pop star falls in love? In Japan's cutthroat idol industry, she gets sued. That shocking reality forms the backbone of 'Love on Trial,' Japanese director Koji Fukada's Cannes Premiere drama that rips the veil off the draconian 'no-dating' clauses that keep J-Pop's brightest stars legally barred from romance. The project marks Fukada's fourth collaboration with MK2 Films and his first with Japanese giant Toho, who have unveiled the film's first clip exclusively with Variety. More from Variety Jessica Hausner and Annemarie Jacir Films Among Projects Pitched by Up-and-Coming European Producers in Cannes (EXCLUSIVE) Damson Idris, Anamaria Vartolomei to Star as Miles Davis and Juliette Greco in Mick Jagger-Produced 'Miles & Juliette' Women Direct Only 11% of Top-Grossing Films Globally, According to New Study From Annenberg Inclusion Initiative The film follows Mai, a rising idol whose career implodes when her forbidden relationship is discovered, triggering a court battle that exposes the industry's iron grip on young female performers' personal lives. 'The starting point was a small article I came across on the internet around 2015,' Fukada told Variety. 'It told the story of a female idol who was sued for damages by her agency after having a romantic relationship with a fan. I was particularly shocked to learn that the contract between the idol and the agency included a clause prohibiting romantic relationships with the opposite sex.' What began as industry-specific commentary evolved into an exploration of broader societal issues. 'By exploring this subject, I could delve into more universal issues, such as gender and free will, that lie beneath the surface,' the filmmaker said. To create an authentic portrayal of the idol industry, Fukada and co-writer Shintaro Mitani, who actively writes for a current idol group, conducted extensive research. 'During that time, I conducted numerous interviews with actual idols and producers who manage idol groups,' said Fukada, adding that they studied court records and consulted lawyers to construct the film's legal scenes. While the film takes aim at problematic industry practices, Fukada was careful to avoid sensationalism. 'This film deliberately avoids portraying the most dramatic and scandalous moments of her social downfall in real time,' he said. 'Doing so would risk replicating the old-fashioned media practices of sensationalizing celebrity scandals for entertainment.' Instead, he focused on 'the lingering, dull pain Mai experiences after losing her status, her subsequent transformation and the significant decisions she makes afterward.' For Fukada, the idol industry represents deeper societal issues within Japan. 'The idol industry is often criticized for tendency to demand immaturity and excessive purity from young women, idolizing them while denying them sufficient autonomy and tolerating no deviation,' he said. 'I believe this characteristic is deeply rooted in Japanese society, which consistently ranks below 100th in the Gender Gap Index and is by far the lowest among G7 countries.' Though 'Love on Trial' may appear more overtly political than some of Fukada's previous works like 'Harmonium' or 'Love Life,' the director said that this as 'a natural outcome of the subject matter.' He noted that the concept began during the editing of 'Harmonium' and was developed alongside other projects, with earlier works like 'Hospitalité' and 'Sayonara' also addressing social issues including immigration and refugees. For the casting, Fukada took the unusual step in Japanese cinema of holding auditions for almost every role. 'We were able to cast actual idols to play idol roles, which allowed us to capture the authenticity of their performances as individuals living in the world of show business,' he said. 'The young idols are delivering stunning performances on screen that only they can achieve. In particular, I hope audiences will feel the presence of top Japanese idol Kyoko Saito throughout the two-hour film.' Despite the film's specific cultural context, Fukada believes its themes will resonate globally. 'While 'Love on Trial' is set in the uniquely Japanese world of idols, its themes — such as gender disparity, oppression, the conflicts of the entertainment industry, and the struggles for independence — are universal.' Fukada said he hopes that the film 'reaches as many viewers as possible' and that international audiences will find 'their own perspectives and societies reflected back at them, as if holding up a mirror.' Watch the clip here: Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Geek Tyrant
11-05-2025
- Entertainment
- Geek Tyrant
Review: Bandai's New Godzilla Figures for All Ages — GeekTyrant
Finally, we get to the big boy. The Movie Monster Series. The figures in this series are roughly 6.5' tall and are made of soft but durable vinyl. The options include Space Godzilla, Godzilla 1991, Hollywood Kong 2024, Hollywood Godzilla 2024, Godzilla (2023), Manda, Mechagodzilla 2004, Godzilla 1954, Godzilla 2004, Gigan 2004, and Kaiju No. 8. The one I received is the Godzilla 1991 figure and it's got really good detailing with lateral articulation for the arms and vertical articulation for the legs. I really like the figure, but am a little disappointed in how little articulation there actually is on it. You can't move the tail or head, or even jaw at all. With an MSRP of $20-25 depending on the figure, I would have really liked a little more articulation, even if it's just some vertical movement for the arms. The detailing is impressive though, especially when it comes to the paint job. Honestly, the detailing is what saves this figure and makes me believe that it is worth the price.
Gizmodo
11-05-2025
- Entertainment
- Gizmodo
Godzilla x Kong is Going Supernova, What Could It Mean?
Almost a full year after it was teased, we recently learned the third Godzilla x Kong movie is subtitled Supernova, and it's coming March 2027. As fans wonder what'll bring the two Titans together once more, some think the title could be mean the MonsterVerse is introducing interstellar threats. After all, both Godzilla vs. Kong and Godzilla x Kong: The New Empire took the characters underground to the Hollow Earth, so the next place left to go, in theory, would be up into the stars. One of the first candidates that comes to mind is SpaceGodzilla. Like the name implies, it's an evil clone of the King of the Monsters who first appeared in 1994's Godzilla vs. SpaceGodzilla. Created by Godzilla's genetic material merging with a crystalline organism in space, then absorbed by a black hole and subsequently spat out by a white hole, the cosmic-themed variant attacked Godzilla and Little Godzilla using its power to create and control crystals. The monster was subsequently defeated by Godzilla's red heat ray attack, and since then, it's mostly appeared in non-movie media more than the films themselves. On screen, it last showed up as a toy in 2004's Godzilla: Final Wars, but its most recent overall appearance was in the 2021 gacha game Godzilla Battle Line and anniversary toys for the franchise's 40th birthday. Suffice to say, it's not an A-tier baddie, but the potential Godzilla x Kong connection comes from the name of its special attack, Corona Beam—or Void Invader, the retitled name bestowed upon it from a 2020 Magic: The Gathering expansion. The Beam has been likened to the cosmic explosion, and the Supernova logo seems to support this theory. Alternatively, there's Gigan, first introduced in 1972's Godzilla vs. Gigan. This monster is an alien converted into a cyborg by the Nebulans, aliens looking to use it to decimate Earth and prepare the planet for their eventual subjugation. Godzilla and Anguirus defeated Gigan, who came back in 1973's Godzilla vs. Megalon as a support monster to that film's titular villain, then in 2004's Godzilla: Final Wars, where he was awakened by the alien Xiliens and upgraded to help destroy the Earth. It lost in both returning appearances, and in Final Wars' case, it decapitated itself with its own weapon before a flaming Mothra finished it off for good. Unlike SpaceGodzilla, it's had a more consistent multimedia appearance: along with being playable in GigaBash, it's shown up in the Godzilla vs. Megalon web video from 2023 and the short anime series Chibi Godzilla Raids Again. If Supernova's actually introducing another Godzilla-related enemy, it'd continue a trend first established with MechaGodzilla in vs. Kong. Despite the King's mechanical nemesis being that film's final baddie, both it and New Empire have largely focused on Kong to flesh out his corner of the world, and Godzilla's been more of a special guest star stomping around during the first and last acts. Now that Kong has an ape tribe, a surrogate son, and a new weapon to his name, he's well established enough to cede ground over to Godzilla, whose last substantial mythology and character development was back in 2019's King of the Monsters. If these two are a package deal now, the MonsterVerse writers will have to give them both material to work with, and any fans watching would tell you it's only fair Godzilla get the spotlight now. Whichever evil monster ends up being the primary baddie, we'll be there for Godzilla x Kong: Supernova on March 26, 2027, and we'll have more news on it as information comes out.
BusinessToday
11-05-2025
- Entertainment
- BusinessToday
Godzilla Appears At Petronas Twin Tower On 70th Anniversary Video
In a surprising and imaginative tribute to mark its 70th anniversary, the iconic giant monster Godzilla has been virtually showcased at some of Southeast Asia's most recognisable landmarks, including Malaysia's Petronas Twin Towers. This year commemorates seven decades since the release of the very first Godzilla film in October 1954. To celebrate this milestone, Japanese entertainment powerhouse Toho, the owner of the Godzilla franchise, unveiled a special video dedicated to its South-east Asian fanbase on Saturday (May 10). The 55-second video creatively features the colossal creature 'appearing' in various locations across the region. Malaysian viewers were treated to a digital depiction of Godzilla near the majestic Petronas Twin Towers in Kuala Lumpur, alongside scenes of the monster near Bali's serene paddy fields. The video also opens with Godzilla rising from the waters of Singapore's Marina Bay, with the iconic Marina Bay Sands, Gardens by the Bay, and the Singapore Flyer providing a stunning backdrop. In the video's description, Toho shared, 'For the first time across South-east Asia, the legend emerges in a powerful tribute to the fans who have kept its legacy alive.' The company further elaborated, 'This special footage honours South-east Asia, celebrating seven decades of Godzilla's unstoppable journey through the region's iconic landmarks.' Created in the aftermath of World War II, Godzilla has become a potent symbol, often interpreted as a reminder of the devastating power of nuclear weapons and the enduring threat they pose to both humanity and the environment. This imaginative video tribute serves as a unique way to connect the legendary monster with its dedicated fans across Southeast Asia, utilizing the region's iconic structures as a playful canvas for the King of the Monsters' enduring legacy. While not a physical appearance, the digital rendering offers a memorable and engaging way to celebrate Godzilla's 70th anniversary with its regional audience You will need to closely watch and pay attention to spot the twin towers. Related
