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An Army captain travels to Cambodia during the Vietnam War to terminate a renegade officer. torrentduk.fun: Apocalypse Now: Redux [DVD]: Francis Ford Coppola, Martin Sheen, keeps him prisoner and kills one of his crew to prevent a napalm attack.

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Kong" stays light on its feet, like its co-leading man, a skyscraper-sized primate who bounds through jungles, tropical and concrete, like an astronaut skipping on the moon. It might be the best studio film so far this year. If it isn't, it's for damn sure the most fun. Spoilers from here—even though, as I will argue, the tale is told in a way that renders such warnings unnecessary. Kong" continues this series' tradition of moving the master narrative about the Monarch project forward while letting each successive team of filmmakers do their own thing.

The first entry in the series, "Godzilla," was "Close Encounters of the Kaiju Kind," unveiling its creatures in Steven Spielberg magic-and-wonder mode, and introducing the franchise's unifying premise: giant creatures older than the dinosaurs once lived on the earth's surface, feeding on residual radiation from the Big Bang, then moved inside as that energy ebbed, hibernating in the "Hollow Earth" until humans disturbed their slumber with nuclear testing, strip mining, and the like.

This premise was fused to a philosophy that stayed consistent from film to film. Something like: the kaiju don't hate us. They don't even mean us harm though they do enjoy a human snack now and then. They're animals jockeying for dominance, over territory and each other.

If we hadn't treated Earth like a toilet for centuries, they would've stayed beasts of song and legend, talked about but never seen. Monarch predates the '70s action of "Skull Island"; it was formed in the s. Of course all this stuff was modeled on binding elements in the Marvel Cinematic Universe, particularly the the S.

But while some films were more MCU-like than others—the first is the least compromised—the kaiju never devolved into handmaidens of commerce. The most disarming thing about the Monsterverse is its horror, sorrow, and incredulity at the sight of humans dodging extinction-level threats while failing to accept that they can't defeat, reverse or even negotiate with them, only learn to coexist with them.

That's why the shots of soldiers and tanks and planes and battleships unloading on these beasts are so absurd. They're cavemen throwing rocks at the sun. At first, "Godzilla vs. Kong" appears to step back from the tradition of environmental doom-saying and pre-grieving. But those elements turn out to have been sublimated, or submerged, like kaiju, retreating into the earth's core until rude forces bait them to return.

A beguiling opening sequence establishes that, following a storm that wiped out Skull Island, King Kong has been moved to a research facility beneath a virtual reality dome that simulates his jungle habitat. He's being studied by anthropological linguist Dr. Soon after, Godzilla, who hasn't been seen since he killed the three-headed extraterrestrial dragon Ghidorah, attacks the Pensacola, Florida research facility of Apex Cybernetics. Monarch scientist Mark Russell Kyle Chandler —father to kaiju-whisperer Madison Russell Millie Bobby Brown , and former husband of the late renegade Monarch scientist Emma Russell Vera Farmiga , who turned eco-terrorist in the last film—states that "Godzilla is killing people, and we don't know why.

Godzilla is an "apex predator. Godzilla is obviously going after Apex not a name that hides true intent! This is a corporation that can create mechanical, um, beings. You could say robots. Or robot monsters. You could even say that Apex could make mecha versions of Godzilla , wink wink.

The filmmakers don't knock themselves out pretending that we can't see where this is headed. So the only remaining pertinent questions are 1 "How soon until Godzilla and Kong fight for the first time? The film's "no muss, no fuss" story frees up space to develop relationships—not just between humans, but humans and monsters, and monsters and monsters. The childless Lind, the surrogate parent Andrews, and the orphaned Jia learn to trust each other and work together until they've formed a makeshift nuclear family, like Ripley, Hicks and Newt in " Aliens.

She trusts his voice and message so implicitly that she embarks on a road trip to find him with help from her friend Josh Valentine Julian Dennison , unfortunately saddled with the least-necessary character—an exposition-spoonfeeding chatterbox nerd, reminiscent of Bradley Whitford's character in the last movie. Madison lost her brother in one of the first film's kaiju disasters, then lost her mom in "King of the Monsters.

Kong and Jia are a magical screen team, in the tradition of heart-tugging pairings in animal pictures like " The Black Stallion ," " Free Willy ," and "E. The movie treats Kong's heartbeat as a conduit to Jia's mental state, as well as narrative Morse code-pulses for the viewer that reveal Kong's stress level and physical condition. Obviously a lot of the credit for the Kong-Jia friendship should go to the filmmakers, including editor Josh Schaeffer "Pacific Rim: Uprising" ; cinematographer Ben Seresin " Unstoppable ," "Pain and Gain" ; and the nation-state of effects artists who did the designs, motion-capturing, rendering, compositing, etc.

This a rare modern blockbuster with effects that are truly special. The Hollow Earth scenes in the middle of the picture, especially, are ecstatically dreamy kitsch, in the vein of a '70s sword-and-sorcery paperback book jacket, or a '70s-'80s psychedelic sci-fi or fantasy picture like " Zardoz ," " Flash Gordon ," " Tron " or "The Neverending Story. Kong and Godzie might as well have done lines of coke off the top of a bus before laying into each other.

And yet, as is increasingly the case, this special effects-laden epic is paradoxically an actor's showcase—and it's scandalous that Terry Notary , who played Kong in this movie and "Skull Island," isn't being credited with the main cast, along with T. Storm, who has played Godzilla in three Monsterverse films. You see the lineage in scenes of Kong dirty-fighting like a back-alley brawler, stumble-running through Hong Kong streets, and jumping off the deck of an aircraft carrier as Godzilla nukes it from below.

But this is not just a great stunt-work job. It's according-to-Hoyle, Andy Serkis-caliber acting. W atch Kong cough up seawater after Godzilla almost drowns him, or collapse and doze off after vanquishing an enemy, or tear a winged beast's head from his neck and guzzle blood from the stump like a brigand downing a pint of mead.

When Kong awakens after being airlifted to an Antarctic base to start his journey into the Hollow Earth, he has Martin Sheen's still-in-Saigon hangover-face from "Apocalypse Now. Equally arresting, though more opaque, is Storm's performance as Godzilla. This kaiju is primordial and ruthless, a zaftig brawler with a Charles Barkley caboose.

He lacks Kong's grace and ingenuity with weapons, but compensates with ferocity and weight and dragon breath. Godzilla rages like James Gandolfini in Tony Soprano murder-mode, slamming his bulk into any creature foolish enough to oppose him. He rears back with a glint in his eye before napalm-zapping city blocks. The look that Godzilla gives Kong at the end of the picture is Clint Eastwood with scales.

The curtain-closing song selection that follows is marvelously counter-intuitive—a needle-drop of joy—but it could also have been Leonard Cohen's "Famous Blue Raincoat": "What can I possibly say? Wingard has joked to interviewers that he wanted his superstar kaiju to kiss—but how much of a joke is that, really?

So many action films are about stone-cold badasses meeting cute, punching out their differences, then joining forces to defeat a more urgent threat. Godzilla's steamroller density and Kong's rope-a-dope tactics and jaw-cracking punches evoke on purpose?

A longer opening montage, the entire 10 minute song "The End" by The Doors is heard. There are various shots outside depicting the streets of Saigon. When the two soldiers pick up Willard in the hotel room there is a brief conversation while they help him shower and shave. They notify him that his wait for his new mission is now over. The scene where Willard is given his assignment is longer and contains much more dialogue. The general informs Willard that the mission is purely voluntary and he can decline it.

The general also offers Willard a promotion to major upon completion of the mission. For some reason Colonel Kurtz is referred to in this scene as "Colonel Leevy". There are some external shots of the military base. A brief scene where Willard is introduced to the crew of the Navy P. Carmine Coppola's score is not present in this version. Many more songs by The Doors are played throughout the film instead.

None of the narration or dossier voiceovers are in this version. There is no audio dubbing in this version. All the audio is from the sound recorded during the actual filming. Much of Robert Duvall's dialogue is unitelligable due to the sound of the helicopters in his scenes. A much longer playboy bunnies performance. Various extended scenes on the boat, and alternate takes and shots.

A scene where a miniature toy boat passes the Navy PBR. Lance tries to grab it out of the water. The Chief yells at him to leave it alone claiming it's a booby trap. To prove it the Chief fires some shots at it to which it explodes. When the P. When Lance is reading his letters on the boat, he suddenly stops to machine gun a water buffalo on the shore. The Chief yells at him to stop. The sequence where Clean is killed is omitted. A slightly longer French plantation sequence.

After the French woman strips she crawls into the bed with Willard and they begin kissing. The sequence where the Chief is killed is omitted. More dialogue between Willard and the photojournalist when they first reach the Kurtz compound. The Journalist reveals that it was HE who was able to get the montangnards to break off their attack on the boat in the previous scene.

Willard repeatedly asks the Journalists name but he refuses to answer. The character of Colby, the soldier who was sent before Willard to kill Kurtz, played by Scott Glenn has a much more substantial role in this version. As Willard inspects the compound, Colby tells Willard that the night before, NVA soldiers had attacked which explains all the bodies laying about the compound.

Willard then enters Kurtz's house, much to the dismay of the journalist. Willard sees Kurtz empty bed and his medals, also his journal with the inscription "Drop the bomb, exterminate them all" many of these scenes were in the final version but re-inserted in different places.

The scene where Willard talks to Chef about the air strike on the boat is omitted. In this version. The first time Kurtz appears is the scene where a mud caked Willard is tied up seated to a pole in the rain. Kurtz appears with camouflage face paint, Willard asks Kurtz says nothing to him, but plants Chef's head in his lap. Only a portion of this scene was in the original version. The scene where Willard meets Kurtz in his bed chamber contains more dialogue A scene where Kurtz talks to Willard in the bamboo cage while two children sit on top of the cage and dangle insects in Willard's face.

He tells him that Willard is "like his colleagues in Washington, master liars who want to win the war but don't want to appear as immoral or unethical". A lengthy scene where the montangnards in a ritualistic display pick up the bamboo cage with Willard inside and poke him with sticks Lance and Colby participate in this. The natives dance around the bamboo cage, chanting and singing while a squealing pig is tied up and killed.

A 10 minute version of the scene where Kurtz reads the poem "The Hollow Men", intercutting between his reading and the journalist talking with Willard. A scene where the journalist meets Willard to tell him that he thinks Kurtz is about to kill him because he took his picture again. During which Colby comes behind the journalist and shoots him three times, killing him. Willard throws a knife at Colby's stomach to which he falls, but before he dies he asks Willard to talk to his family for him and asks him to kill Kurtz.

Kurtz speech about the horror and the children vaccination are omitted. During the assassination scene at the end, before Willard enters Kurtz' home, one of the guards confronts him. Willard picks up a spear to defend himself as the guard picks up a child to shield himself. Willard runs the spear right through the child and into the guard.

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Apocalypse Now - The Smell Of Napalm In The Morning - Starring Robert Duvall

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