ROGUE ONE: A STAR WARS STORY Commentary Track

Congratulations, you are listening to Box Office Pulp. Please... do not resist. Too bad the BOP Crew can smell the lies! The deception! So, why don't you choke on your aspirations of doing something else this evening, and become one with the Force by listening to this BOP 'n A Movie feature commentary! And if you haven't picked up on the clues, we're doing ROGUE ONE: A STAR WARS STORY while the movie's still hot and fresh off the presses! Who will steal credit away from Cody's achievement? Will Mike go through with his murderous orders while wrestling with his own inner Latin charms? Is a fully CGI James disrespectful to the memory of the still living James? Only Bor Gullet knows, and he can feel your downloads!

Be like Bor Gullet and download the commentary here, for the unfortunate side effect of not doing so is losing one's mind.



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ROGUE ONE: A STAR WARS STORY

Through the use of CGI and various British actors, a fallen co-host is brought back to the Crew! Cody has returned from his pilgrimage, and he and Mike manage to not choke on their ambition long enough to absolutely love ROGUE ONE: A STAR WARS STORY! From Vader hallway fights, Donnie Yen trusting in the Force of Others, BOR GULLET being all BOR GULLET, and loving how the Star Wars Universe is no longer nothing but white (take that Alt-Right!), this episode also has us trying desperately to name five good prequel films from the history of cinema. Do we fail? Probably. But the important thing is we tried with the vigor and courage of a Jyn Erso desperately giving us some god damn HOPE, no matter the cost.

You are one with the Force and the Force is with you... assuming you're downloading the episode right here!



Find us on Facebook: https://www.facebook.com/BoxOfficePulpPodcast/
Twitter: https://twitter.com/BoxOfficePulp
iTunes: https://itunes.apple.com/us/podcast/box-office-pulp/id577338641
Stitcher: http://www.stitcher.com/s?fid=37192&refid=stpr

BOP Reviews: Godzilla (2014)

When the new Godzilla roars, he freaking roars.

Ever since the debut of the film's astonishingly well-crafted teaser trailer late last year, I had an unexpected surge of excitement running through me - all in anticipation of a movie that, by all accounts, I should have had no interest in. Despite being intrigued by the trailers, I was never one of the many that ran out to see 2013's Pacific Rim, another recent kaiju action movie slugfest that had similarly accredited talent behind it. Not for any particular reason, but merely due to a lack of familiarity or direct association with the genre to appeal to me on a profound level. I hadn't even seen Jurassic Park since I was a toddler. My experience with movies about giant monsters hitting other giant monsters, terrorizing innocent civilians and wrecking everything in their path began and ended with a certain movie in 1998 that I'm not going to talk about, even though you totally know which one it is - it shares this movie's title and little else. But unlike that hilarious blot on cinema history, the trailers for this new Godzilla awakened an inner kaiju fan that I never even knew I had. Something indescribable had taken hold, whether it was the bleak and dead serious scope of the thing, the gorgeous effects and what I liked to call "apocalypse cloud syndrome", or the first glimpse of the big lizard himself and the fact that he now towered over entire modern skyscrapers instead of quaint outskirt villages. Or maybe it was just Bryan Cranston. Yeah, probably Cranston.

"You're goddamn right."

Either way, 'Zilla fever had hit me along with most of the cinema-viewing public, and I couldn't wait to see this movie on opening day. In my excitement, I even went back and, through the magic of Netflix, watched a couple of the movies I'd missed out on to get a feel for what I was in for: specifically, the original American-dubbed version of 1954's Gojira (or "Godzilla, King of the Monsters!"), and one of the subsequent sequels, Godzilla Vs. The Thing (or "Weird-Ass Movie About Tiny Women Singing To Giant Moth Creature"). With those two whetting my appetite for some monster-fueled chaos courtesy of modern special effects, I sat back and waited for my chance to feast eyes on 2014's version of the King of the Monsters. Finally, the day came. But did it live up to the hype? Many critics are torn on that, and I went in fully aware of the consensus. Despite this, I remained determined to see if they were right while not allowing it to cloud my judgement.