Known as Gamera tai Daimajū Jaigāin Japan, or Gamera vs. Giant Devil Beast Jiger, this is the sixth Gamera film. In the U.S., it was released straight to television under the name Gamera vs. Monster X.
The American version contains stock footage from Gamera vs. Guiron and Gamera vs. Barugon to extend the movie’s release time.
As Japan gets ready for Expo ’70 in Osaka, they decide to take a mysterious status called the Devil’s Whistle off an island. Gamera tries to stop them, but they take it anyway. It makes everyone sick and insane that goes near it.
The sound that the Devil’s Whistle makes Jiger go crazy too, so the beast comes down and starts taking out everyone in its way, as well as using its spiked tail to mess up Gamera. It also has a spiky bulbed tail that lays an egg — and eventually a baby Jiger — inside Gamera’s lungs.
That baby looks like a cute version of Jiger, but damn if those little Japanese kids don’t go inside Gamera and kill that infant with static from their walkie-talkies. The scientists then use big speakers to keep Jiger busy while the kids go back inside the giant turtle and jump-start his heart.
In their final battle, Gamera uses telephone poles like earplugs — man, these movies are inventive — and he smashes Juger’s tail, finally making her weak enough to destroy.
Despite the increasingly low budgets and bad effects, Gamera movies remain willing to embrace pure insanity. Isn’t that what we’re all looking for anyway?
Gamera tai Daiakujū Giron was released in the U.S. — on TV only — as Attack of the Monsters. At this stage in the Gamera series, the special effects are starting to not feel so special and there’s even more padding than in past films. But you know, Guiron looks so awesome — he has a giant sword nose and throws shuriken from around his eyes — that I can’t help but love this movie.
Two boys find a flying saucer and are taken on an adventure into space, where Gamera magically appears and rescues them from an asteroid field. But then, they go into hyperspace and a new Gyaos appears to attack their ship. That’s when Guiron shows up and slices that beast — which just gave Gamera so much grief — into small little bits, even beheading it, which seems way too far for what is supposed to be a kiddie film.
It turns out that the Space Gyaos are all over this planet called Terra, which is on the other side of the sun. Somehow, those scientists — some of the dumbest smart people in the world are in the Gamera movies — have never found their planet.
There are also twin alien women named Barbella and Florbella who control Guiron, who eventually gets out of control and cuts their spaceship in half. Florbella then kills the injured Barbella, explaining that useless members of their society are euthanized. What is she, in charge of the stock market?
Finally, Gamera does what you’ve wanted him to do all along: he slices that monster in half. Yes, unlike Godzilla, Gamera straight up eviscerates and annihilates his foes. Gamera would just heat blast them. Nope. Gamera is like, “You’re not getting up from this one.”
This film was released in the U.S. as Destroy All Planets, which may have been a ploy to make people think it was Destroy All Monsters, perhaps the greatest of all Toho monster battles.
This time, Gamera is defending our planet from aliens. He starts off by destroying one of their ships, but not before an entire planet declares that he is their enemy.
The aliens come back to Earth and learn Gamera’s one weakness: he loves children. They kidnap some kids and force him to do their bidding, but before long, he’s broken loose and is battling all of the aliens at once, who have combined their form into the menace known as Viras.
Daiei was in financial trouble, so this movie suffers from a smaller budget than previous films. But this is where the idea of Gamera protecting kids from aliens and monsters began. Yet it’s also the first of the series to use flashbacks from past films to pad the running time. This will get much, much worse as Gamera would battle on.
There was also an agreement with AIP that an American kid had to be in the movie. They couldn’t find any kids that could speak Japanese, so the studio cast Carl Craig, whose father was an army soldier stationed in Japan, despite Carl having no acting experience.
This movie was released in the U.S. by American International Television, who renamed it Return of the Giant Monsters.
It all starts when a series of volcanos go off, attracting Gamera, who enters one of them. This reveals a new monster, Gyaos, named for the sounds he makes. It looks like a giant bat and has wind powers, which he uses to decimate the Japanese Self-Defense Force.
Gyaos is a formidable opponent, as he has beams that cancel out Gamera’s fire breath. He’s also willing to bite off his own toes to save himself from Gamera’s fierce fangs. It takes Gamera dragging Gyaos into one of those volcanos to kill him.
This film presents a world where money is more important than the lives and needs of the poor, even in the face of a monster ready to kill all of them with no prejudice. Yes, Gamera vs. Gyaos remains a lesson for our time, even as it features men in rubber suits beating each other up.
You can watch this for free on Tubi and Vudu, or on YouTube below:
Known as War of the Monsters in the U.S. thanks to its English-language dubbing by American International Television, the second Gamera film has twice the budget of the first and realizes what they should have known all along: Gamera isn’t the villain. He’s the good guy and ready to defend children against more dangerous kaiju.
Those dumb scientists and their Z Plan rocket didn’t count on a meteorite letting Gamera escape and come back to Earth. Meanwhile, three ex-soldiers invade a cave — a scorpion kills one and treachery another — before bringing an opal to the surface. And that jewel? It’s an egg. And it’s hatching.
It becomes a lizard called Barugon, who can breathe freezing gas and launch rainbow rays from the seven spines on its back. These are all weapons that can do great damage to our turtle protector.
How do you defeat an undefeatable monster who freezes our hero again? Mirrors and drowning. Yes, Gamera straight up holds Barugon’s head under the waters of Lake Biwa.
In Germany, they screwed up the translation and call Gamera Barugon and Barugon Godzilla. Those versions are titled Godzilla, der Drache aus dem Dschungel (Godzilla, the Dragon from the Jungle), Godzilla, Monster des Grauens (Godzilla, the Monster of Horror) and Gamera vs. Godzilla.
I’ll come clean. As a kid, I liked Gamera more than Godzilla. Sure, Daiei Film Studios was just following the success of Toho’s kaiju superstar, but I always felt a kinship to a monster who could just withdraw into his shell. Gamera was, after all, a friend to all children. And man, I wanted to be his best pal.
Originally released on November 27, 1965 in Japan, a re-edited version with new footage was released the following year in the U.S. as Gammera the Invincible. It was the only movie in the series to get a theatrical release in this country.
Over the Arctic, a nuke blows up and awakens a prehistoric giant turtle that just so happens to have big tusks. That’s Gamera, but he’s no friend to anyone at this point. He can also breathe fire, which he does to blow up an American jet real good.
These scientists that he battles are pretty much morons. They’re smart enough to come up with freeze bombs, but they think that if they get him on his back, he’ll die of starvation. So Gamera just pulls all his arms and legs inside his shell and starts spinning around like a UFO.
This movie will also teach you that turtles are not even. They’re just turtles.
Back to those scientists. A whole bunch of Russian, Japanese and American ones invent this thing called Z Plan. You know what it is? They put Gamera in the nose cone of a missile and send him to Mars, all excited about how their scientific ways have triumphed over idealogy.
It’s a crock of turtle shit.
You know what’s really awesome? This movie was originally going to be called Dai Gunju Nezura (The Great Rat Swarm), but all of the real rats that were going to run over the miniature city got fleas.
This is the only Gamera movie where he doesn’t fight another monster and also the singular black and white film in the series. He’s also a good guy in every movie after this.
You can watch this at the Internet Archive and imagine a young Sam losing his mind screaming, jumping all over the TV room, so happy to see a turtle fly.
No way are you going to click on this review. No way. So I’ll have to force your hand: this movie is connected to Rick Van Ryan, the acidic metalhead from the ’80s rock flick favorite Incident at Channel Q. Now if that doesn’t make you want to read this film review . . . well, I’ll just have to hang up my laptop, take an online preacher course and, with laser-printed certificate in hand, open a 501(c)(3) “church” and save the world: for I have failed as a writer. Hey, as Richard Pryor’s Daddy Rich says, “There’s a good place in this world for money: it’s right here in my pocket.”
Peter Rooker (Belgium actor Marcus Thomas of the John Travolta bomb The Forger; the better Kill the Irishman with Val Kilmer and Christopher Walken) is a man with zero confidence, stumbling through life in Portland, Oregon. He perpetually laments to his closest confidant, his sister, about his “boring personality, job, and life.” And he can’t understand why his girlfriend dumped him?
Pining for a “sense of belonging,” Peter spots a posting for open auditions at the Portland Community Theater for their production of Edmond Rostand’s neo-romantic play Cyrano de Bergerac: if he can only get a part, albeit a small one, it would fill the emptiness. So, with zero acting experience, not only does Peter land a part—he’s cast as Cyrano. Now, if you know your Cyrano, you know it’s a story of a life rife with myth and invention and, with the cast in dual roles, life begins to imitate art. Eventually, Peter learns not to believe in the green and materialism, but to believe in himself and accept the kindness of others, in this case, his theatre mates, who show him the art of living is in the giving, not the wanting.
To quote a line from Cyrano: “You’re a genuinely good man, Peter. There aren’t many of you left.”
If you’ve a person who loves the performing arts, worked in community theatre or donated your skills to a local film school (or a non-com radio station) this charming film—with its spot on characterization of actors who do it for the love of the craft and not for fame and fortune, will resonate. If you’re not familiar with that world and you’re anti rom-com, you’ll most likely slag all of the various film disciplines.
Bottom line: Al Corley shines as a director and works his way around a $750,000 budget with aplomb; it sadden me that this was Corley’s only fictional feature film. He did, however, make his directing debut with Last Dance (yes, after the Donna Summer smash disco song; aka “Letzter Tanz,” aka “Nackte Tanzlust” in its homeland), a 1994 feature-length, German-produced television docudrama combining interviews, actor re-creations and stock footage to examine the lives of the nighttime denizens who haunted Manhattan’s famed disco Studio 54. And Corley was the right man for the job: he worked as a doorman and concierge at the club.
Rounding out Corley’s affable and reliable cast are John Corbett (you know who he is: Aidan Shaw from Sex and the City; because your girlfriend made you watch) and the always likeable you-want-to-kiss her “love interest” Amy Smart (of the new cable TV recycling favorite Just Friends starring a fat n’ geeky Deadpool), along with Sean Astin (Lord of the Rings franchise), Claire Higgins (the Hellraiserfranchise), and the always divine Ms. Patty Duke (The Amityville Horror franchise; we explored it in full, here).
Screenwriter Rodney Patrick Vaccaro’s big screen debut was the romantic comedy Three to Tango (1999) starring then “hot” TV’s Friends Matthew Perry and the he-can-do-anything-and-is-great-in-everything-and-elevates-it-to-the-next-level Dylan McDermott (awesome in Hardware and awesomer in The Clovehitch Killer).
And did you know that Vincent Spano (another “Dylan McDermott”)—yes, Mark, the BB gun shootin’, dirt bikin’ badass from the 1979 juvenile deliquent classic Over the Edge—starred in a romantic comedy with Patricia Heaton of TV’s Everybody Loves Raymond? He did. And Vaccaro wrote it: The Engagement Ring (2005).
Vaccaro’s recently teamed with director Dustin Nguyen (Harry Truman Ioki from Johnny Depp’s 21 Jump Street, TV’s Seaquest DSV and the Pam Anderson syndicated series V.I.P; he’s since directed several Vietnamese-language films) and screenwriter Richard Wenk (Bruce Willis’s 16 Blocks, the Jason Statham remake of The Mechanic, Jack Reacher: Never Go Back, The Equalizer film franchise) on the now-in-production, English-language action flick, The Last Mission (as of November 2021, that project is still in its pre-production stages).
Bigger Than the Sky recently made its free 2020 streaming debut—with limited commercials—courtesy of Vudu. As of 2021, it’s now available as a free-with-ads stream on Tubi. However, if you prefer an ad-free experience, it is still available — and well-reviewed with four and a half user-stars — on Amazon.
About the Author: You can read the music and film reviews of R.D Francis on Medium and learn more about his work on Facebook. He also writes for B&S About Movies.
Based on the book by Doug Curran, this movie is all about people who have seen UFOs or been abducted, like Betty Hill. It also shows off the Unarius Church, which we’ve happily featured on this site thanks to Children of the Stars.
This is a really even-handed discussion of people that believe that they have a connection with aliens and other planets. None of it is played up as a joke or as too silly or even deadly serious for that matter. It’s just right and a great example of Curtis working as a documentary filmmaker. I would have liked to have seen him do more stuff like this.
Sadly, this is a really hard to find movie. I’ve done the research and found it on YouTube for you.
Written by Sam Hall and producer Dan Curtis, this made-for-TV Frankenstein adaption was directed by Glenn Jordan, who would also be in charge of Curtis’ The Picture of Dorian Gray.
Originally airing on January 16, 1973 on ABC, this show was forgotten due to another more expensive TV film, Frankenstein: The True Story.
Robert Foxworth, who was Questor in The Questor Tapes, stars here as Dr. Frankenstein, determined to give life to dead tissue. He’s also in the TV movie The Devil’s Daughter with Johnathan Frid and Shelley Winters.
Bo Svensen makes for a great monster that you both feel for and are afraid of at the appropriate times in the script. He’s joined by Susan Strasberg (Sweet Sixteen), Robert Gentry (Dear Dead Delilah) and Curtis favorite John Karlen (who is in just about every TV movie that Curtis woud produce).
You may or may not like the shot on video look of so many of Curtis’ productions. I personally love them and make me wistful for an era of TV that is long gone.
Yes, a film had to break one of metal’s most enduring bands because, as usual, U.S radio was—and always will be—a day late and dollar short, stumbling behind the times. Sure, there were a few of the still independent progressive FM rock stations—ones not yet gobbled up by corporate America and its damned marketing consultants with their cursed “focus groups” and computerized “McDonald’s of Radio” playlists—that gave a few spins to the pre-Highway to Hell tunes “High Voltage,” “T.N.T.,” and “Whole Lotta Rosie.”
U.S radio eventually caught up with its European counterpart, where AC/DC was already a well-known and respected band, by way of their sixth album, the pretty-hard-to-ignore powerhouse, 1979’s Highway to Hell, featuring the now classic rock radio staple title song. But when the band’s first concert film played as a midnight movie in U.S theatres in the winter months of 1980, their stardom as a premiere heavy metal band in American was sealed.
And we have Tracy Sebastian, aka Billy Eye Harper, the leader of the greatest faux rock band of all time, Head Mistress, to thank for bringing AC/DC to America.
The original theatrical one-sheet.
To hear Ferd Sebastian, the director of Rocktober Blood, tell it in the U.K pages of Hysteria Lives!, his son, Tracy, was on vacation in Paris and seen the French-shot and European-released film that chronicled a December 9, 1979, AC/DC performance during their “Highway to Hell Tour” at the Pavillon de Paris.
Tracy, being a rock ‘n’ roll fanatic, and with his dad in the film business, a light bulb went off: he was adamant Sebastian International Pictures bring the film to America. After taking care of some post-production sound issues with the film and finalizing a distribution deal, the film was released on the U.S midnight movie circuit and, according to Ferd, “we four-walled the theatres and brought the money home every night. Lots of it.” And Warner Bros. took notice and wanted a piece of the action. So the Sebastians cut a deal with Bugs and the gang and made even more money. And it was the funds from the film that broke AC/DC in American that financed the production of our beloved heavy metal horror film featuring the slashin’ n’ singin’ of Billy Eye Harper.
Sadly, AC/DC’s lead singer, Bon Scott, never had a chance to enjoy the film’s success: he died on February 19. 1980, just over two months after filming was completed. Though the film shares its title and artwork, along with a few songs, from AC/DC’s fourth studio album, Let There Be Rock, the movie also includes live versions of songs from their albums from T.N.T., Powerage, and Highway to Hell, their 2nd, 5th, and 6th albums, respectively.
The film spends its first ten minutes with the band backstage, and then the music starts. For those of you not familiar with the pre-Brian Johnson era of the band, this is a chronicle of AC/DC when they were still, essentially, a bar band, only carousing on a larger stage—and sans the stage effects and pyrotechnics they became noted for in their post-Black In Black years. As the music unfolds, interviews conducted with the band two days before the concert are intercut between the songs.
What sets Let There Be Rock apart from other midnight movie concert films of the era: instead of shooting upwards, from a fan’s pit vantage point in front of the stage, as is typical of most concert films, Let There Be Rock is shot from above or on the stage—and is noted as the first concert film that “put the fans on stage” with the band.
The U.K Platinum-selling (50,000 copies) VHS home video version of the film.
The subsequent Warner Bros. DVDs—that ditched the original 1980 artwork (totally bogus!)—are readily available on all of the usual seller sites—even Walmart. But how are there no PPV online streams? Luckily, you can watch a pretty clean rip of the film on Daily Motion.
There was individual track-by-track playlist of the soundtrack on You Tube, sans interviews and backstage scenes, featuring film’s songs in order of their film appearance, but that playlist has since been deleted (par for the You Tube course).
“Live Wire” (T.N.T., 1975) “Shot Down In Flames” (Highway to Hell, 1979) “Hell Ain’t a Bad Place to Be” (Let There Be Rock, 1977) “Sin City” (Powerage, 1978) “Walk All Over You” (Highway to Hell, 1979) “Bad Boy Boogie” (Let There Be Rock, 1977) “The Jack” (T.N.T., 1975) “Highway to Hell” (Highway to Hell, 1979) “Girls Got Rhythm” (Highway to Hell, 1979) “High Voltage” (T.N.T., 1975) “Whole Lotta Rosie” (Let There Be Rock, 1977) “Rocker” (T.N.T., 1975) “Let There Be Rock” (Let There Be Rock, 1977)
In lieu of that deleted playlist, you can watch this version of “Live Wire” from the the film.
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