For the majority of the year, I cover movies and shows from Japan and Hollywood. That’s just where most kaiju and giant monster films and TV comes from. But every once in a great while a different country steps up and says “Hey man, we got a monster too!” and I love that shit. It’s exciting to get entries in the genre from somewhere besides Hollywood and Japan, and the results vary from complete schlock to low-key modern classic.
This month I’m reviewing 1996’s Galgameth (aka The Legend of Galgameth or The Adventures of Galgameth), a Romanian/US co-production that lands right about in the middle of the schlock/classic spectrum. It’s a loose remake of North Korea’s Pulgasari, giving it yet another layer of… internationality (holy shit that’s actually a word?!) So what happens when the story of Pulgasari gets remade in the mid-90s, filtered through a couple more cultures and directed by the renowned auteur that mounted 3 Ninjas: High Noon at Mega Mountain? Read on to find out!
After a couple months off it’s time to get Ultra once again! As always here are links to the previous installments if you need a refresher: 1, 2, 3, 4, 5.
This month’s pair of titanic tales gives us sea monster shenanigans, the subversive power of kids’ imaginations, Ultraman’s new face, the show’s most cheekily meta conversation yet, ULTRAMAN SPEAKS, and more! This show keeps getting radder and radder, so chow on a fistful of pearls, finish your chalk drawings, and click on through to get UIltra as hell, buddy.
Japanese films (and TV shows!) dominate this genre that I love so goddamn much, but it started here in the good ol’ US of A with King Kong, and filmmakers around the world have chipped in with their own unique contributions (like Norway’s excellent Troll Hunter!). But before Godzilla’s classic sequels and cross-over films rightfully solidified him as King of the Monsters, Hollyweird was cranking out all kinds of mega-monster movies! 1957’s The Amazing Colossal Man is one of ’em!
It doesn’t have Eiji Tsuburaya‘s sprawling, meticulously crafted monster suits or miniatures, nor does it have Ray Harryhausen‘s astonishingly lifelike stop-motion animation. So what’s it got? Bert I. Gordon’s low budget ingenuity and a whole lotta elbow grease! Mr. B.I.G. (his actual nickname) never birthed the next Kong, Godzilla, Gamera, or even Them! but his oeuvre still left a mark on the 50’s monster moviescape. Nobody really talks that much about The Amazing Colossal Man, but it undoubtedly paved the way for the much more famous/beloved Attack of the 50 Foot Woman, was spoofed by Honey I Blew up the Kid, and was lovingly homaged (along with other atomic horror classics like The Fly) in the forgettable Monsters vs. Aliens.
All that, plus no director has been MST3k’d as much as he has! So uh… go him? AND it was his birthday last week! Dude’s still alive! Slap on your adjustable sarong and we’ll talk about his movie!
The on-going experiment of reviewing the entire original Ultraman series has been an awesome ride, but it also has the weird side effect of pushing everything else back. I didn’t even review a Godzilla movie until we were halfway through the year! When Godzilla gets pushed back, of course Gamera also gets pushed back.
But no more! This month I’m checkin’ in with everybody’s favorite turtle titan by reviewing 2006’s overlooked Gamera the Brave. It’s an incredibly heartfelt little monster movie that sidesteps the continuity of Shusuke Kaneko’s prior, terrific Gamera trilogy (I’ve reviewed parts 1 and 2!)… while still kind of paying homage to it! It’s a fresh take on the character… that also feels like a spiritual successor to old school Gamera too!
We’ll dig into all that, plus GMK Godzilla’s secret presence in the film, Optimus Prime’s audio-only sorta-cameo, how it inadvertently spawned some obnoxious clickbait, and a whole bunch of other shit! I hope you’re feeling (the) Brave friend, because it’s gonna be A BANG UP WORK (62)!
Let’s get Ultra, fools! I have no concept of how long it’s gonna take, but I’m determined to review every last episode of this show and after a couple months off I’m jazzed to dive back in.
If you haven’t checked out the previous installments or want a refresher, hit up Parts 1, 2, 3, and 4!
This month we get some of the (intentionally) funniest monster action I’ve ever seen, our creepiest antagonist since Baltan, and a fresh, funky formula shake-up! Pour yourself a nice tall glass of oil because shit’s gettin’ ULTRA in here!
Let’s correct that right now! Between Ultraman and Mothra I’ve been living and breathing 60s golden age kaiju action, so this month I’m reviewing 1991’s Godzilla vs. King Ghidorah. Gimmick CGI! Time travel! Evil white people (which stirred up enough controversy to temporarily kill the series Stateside!)! This was almost a Mothra movie (co-starring fan-favorite “lost” monster Bagan!), a King Kong movie, and a Mechanikong movie! Back to the Future II directly inspired this flick (writer/director Kazuki Omori even said so!)! Ghidorah like you’ve never seen him before (or since!)!
And that’s still just a sample of the delightful (if ultimately pretty uneven) madness in this very 90s entry in the Godzilla series. We’ll talk about all that, plus the most direct (and pulpy!) Godzilla origin ever filmed, and maybe most importantly: M-11’s off-brand Terminator shenanigans. Fire up the Delorean, shit’s about to go bonkers.
How the fart have I not reviewed the original 1961 Mothra yet? I’m correcting the fuck out of that oversight in honor of “Mothra’s” Day last Sunday. Mothra is easily Toho’s biggest mon-star other than Godzilla himself, and that’s got a ton to do with how awesome and original this movie is.
This isn’t just another big bug movie, it’s a groundbreaking genre film that brought wild fantasy and colorful adventure to the kaiju formula and put the monster’s motivation and personality front and center.
It’s also a beautifully shot, well acted, tightly plotted, fun, funny piece of classic kaiju fiction with some eye-popping action setpieces and visuals. I’ll talk about all that, plus the scrapped (heh) plane crash ending (and the suicide scare it caused!), the serialized novel the movie is based on (sort of???), the fact that it’s a stealth King Kong remix, and MOOOOORRRRE!!!