Does the film ultimately deliver the goods? Is the very idea of a “serious” Godzilla film an oxymoron? Should giant monster movies be nothing more than campy fun? Is it possible for the genre to offer something more substantial? Could Gareth Edwards’ approach to the material be considered pretentious? Should he have simply stuck to the blueprint established by Toho studios over the past 60 years? Does he even manage to best Roland Emmerich’s much derided Godzilla film? Will the undisputed “King of All Monsters” ever receive proper treatment by an American studio? Is this film worthy of a sequel? How heavily does it borrow from the Gamera Trilogy? If there is a sequel, which one of Godzilla’s foes should make an appearance? How many films will it take before Hollywood’s giant monster revival becomes stale?
Friday, May 23, 2014
In part 2 of my interview with Lord Jamar (You can read part one by clicking here), he talks a bit about his much publicized feuds with Yelawolf and Marlon Wayans. He also discusses his acting career and his upcoming album.
Throughout the 1990’s, Brand Nubian spread the gospel of The Five Percent Nation beyond the confines of the five boroughs. Their debut LP, One for All, served as a musical manifesto for the organization, making its complex ideology palatable for the masses. While the album didn’t set the Billboard Charts ablaze, it managed to amass a loyal and reverent following. Group members Grand Puba Maxwell, Sadat X (Formerly known as Derek X), and Lord Jamar became icons of the Black consciousness movement in Hip-Hop. When Puba left the fold to pursue a solo career, Sadat and Jamar continued on for two more albums before they reunited for 1998’s Foundation. Throughout all of the group’s incarnations, Lord Jamar always remained its most reserved member. Nevertheless, his contributions always proved essential to group’s lasting success.