Giant Monster Movies

So, think you know all there is to know about the Heisei and Millennium Godzilla and Gamera films? Think you couldn’t possibly learn anything new about them?

This work offers a critical, colorful and informative examination of different types of monster movies, spanning the silent period to today.

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A small Pacific fishing town will bear the consequences of a scientific experiment gone wrong when people start missing. It won't be long until an army of mutated creatures, half man -half fish, attack the small town hungry and horny(!!!), butchering the men and raping the women.

Eight years before the dinosaur mania created by Jurassic Park, Bill L. Norton released this more dinosaur-friendly story about a 10-foot baby dinosaur in dire straits in Africa because Dr. Eric Kiviat (Patrick McGoohan), an evil paleontologist, is after it with a vengeance. He is the nemesis of Dr. Susan Matthews-Loomis (Sean Young) – determined to save the baby from its hunters – and her husband George Loomis (William Katt), a sportswriter who shares her protective instincts. Kiviat has recruited a revolutionary army to help him capture the baby's mother – which they manage to do without killing her. The army has already shot down the father dinosaur, and so their own instincts are far from protective. As the husband and wife and baby dinosaur are united at last in their attempts to survive, the next step is to recapture Mom dinosaur and get away from the army and Kiviat, not an easy feat.

Following years of a certain radioactive beast’s domination at the box office, many Japanese studios tried to replicate the formula with their own brands of monster movies. One of the most fascinating, if short-lived, dives into that fiendish deep end was the one by Shochiku, a studio better known for elegant dramas by the likes of Kenji Mizoguchi and Yasujiro Ozu. In 1967 and 1968, the company created four certifiably batty, low-budget fantasies, tales haunted by watery ghosts, plagued by angry insects, and stalked by aliens - including one in the form of a giant chicken-lizard. Shochiku’s outrageous and oozy horror period shows a studio leaping into the unknown, even if only for one brief, bloody moment.