One of the most fascinating things about the success of Ishiro Honda’s Godzilla back in 1954 is that other countries decided to give the whole
Tag: 1967
Django Kill… If You Live, Shoot!
Anyone even remotely familiar with the knowledge that Italian exploitation producers treat copyright and trademark laws like something they’ve just scraped of the sole of
Frankenstein Created Woman
If there’s something the Hammer series of Frankenstein movies has over the Universal series, it’s that the British studio opted to keep the films focus
Quatermass And The Pit
Much like the disbelieving military types that constantly frustrate the volcanic titular scientist, I’ve kinda done the Quatermass movies ass-backwards. You see, Hammer Film’s third
The Dirty Dozen
You know what most of those war time movies featuring men on a desperate mission have in common – apart from usually having big Hollywood
Gappa: The Triphibian Monsters
When you get past the recognisable scaley visages of the Kaiju rogues gallery of Toho and Daiei and continue onwards into the realms of the
You Only Live Twice
It’s a true fact that nothing lasts forever and that sooner or later Sean Connery’s reign as cinema’s premiere super spy would have to come
Gamera Vs. Gyaos
Every long running hero absolutely needs a villain: Batman has the Joker, Godzilla has Ghidorah and even I have an annoying cat that lives on
King Kong Escapes
Despite their routinely “out there” plots, most of Toho’s monster output still manage to make a certain amount of sense when judged by their own
Son Of Godzilla
The year is 1967 and by this point in Godzilla’s career he’d pretty much done it all. He’d been cast as a villain, a hero,
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