They’re going to have a meeting about having a meeting, most likely.
Sometimes, a kick to the Shin works.
Hideaki Anno and Shinji Higuchi’s Shin Godzilla is, for all intents and purposes, more of a grand live action anime because it translates much of its visual style and energy rather successfully from some of both of its creators’ previous well-known animated works. It’s also a sly poke at Japanese government bureaucracy where every decision has to go up a few ladders and lengthy meetings are constantly being held even as a horrific, mutating monster makes its radioactive presence known.
As a reboot of the classic franchise it works excellently in delivering a new and more terrifying Godzilla that mutates from a googly-eyed giant, arm-less gilled beast that flops and slides along because its body can’t hold it up, to a 400-foot tall nuclear blasting fiend that requires a lengthy cooldown after it uses its powers. This isn’t a Godzilla who’s a kid-friendly lizard who punches other monsters in the face and goofs around. Nope, the film takes it back to the more horror-laced 1954 original in terms of tone, laying on a modern plot where every decision made needs discussion and division heads and other leaders change into fancy jumpsuit ensembles just to look official while executive orders are issued.
(Thanks, Funimation!)
Someone call up 
For too many reasonable to reasonably odd reasons, after all these years, I’d never seen ALL of the Mervyn LeRoy/Busby Berkeley film extravaganza that is Gold Diggers of 1933. I’d seen the fantastic beginning many years back as a kid, but it was late at night and I fell asleep at some point, waking up to some other film playing. Another time, the film was on but I missed about half of it and I hate sitting down to watch half a film, and the back half, as that.
Marketed as a a 
I sure wish director 
Say, did I ever tell you all the story of the time a few decades ago back in the 80’s when I learned how to brine a chicken thanks to a pair of very helpful Satanists looking for Kosher salt at a grocery store? No? Well, that’s not why we’re here, so I won’t go into it other than to say I didn’t know they were into that stuff, and hell, I’m an atheist anyway. The chicken? It was excellent by the way. Still is, whenever it’s made.
(Lectures): Sergio Martino tells an interesting story about the film’s originally planned title in an excellent interview on this lushly produced Arrow Video disc. The film’s producers wanted something more salacious to sell tickets, so they chose to pump up the sexual violence aspect with what they saw as a fitting title, I corpi presentano tracce di violenza carnale (The Bodies Bear Traces of Carnal Violence). where as Martino wanted to use I
Loosely based on a true story (
Murder most stylish, one would have to say about Luigi Bazonni’s (
Movie memory #1764 (or so): sitting in a packed theater back in 1995 watching the opening sequence to 
"DESTROY ALL FANBOYS!" 