The Stop Button Posted by Andrew Wickliffe on April 22, 2018

The only thing more tedious and lethargic than the first half of Varan is the second half of Varan. The first half has a motley crew of lepidopterologists awakening a giant monster. The second half has these lepidopterologists consulting with the military to destroy said monster. Not sure why the...   read more

The Stop Button Posted by Andrew Wickliffe on June 10, 2017

Despite lacking special effects and a phoned in score from Ifukube Akira (reusing his previous Godzilla themes to various effect), King Kong Escapes has quite a bit of charm to it. The film opens with Kong enthusiasts–really, they’re sitting around drawing pictures of him–Rhodes Reason and Takarada   read more

The Stop Button Posted by Andrew Wickliffe on April 11, 2016

Terror of Mechagodzilla is an uncomplimentary mix of a sixties Godzilla movie with the production values of a seventies Godzilla movie. It’s got a lame monster with cool powers and a cool monsters with lame powers. The Mechagodzilla fight scene is mind-numbing. He shoots rockets at Godzilla.   read more

The Stop Button Posted by Andrew Wickliffe on April 10, 2016

I don’t know if I wish Godzilla’s Revenge were better or if I just liked it more. Because I wanted to like it more–I wanted it to be as wacky as the concept would allow. The concept–a little boy (Yazaki Tomonori) gets valuable life lessons involving working parents, bank rob   read more

The Stop Button Posted by Andrew Wickliffe on November 2, 2015

I’m not sure if Mothra vs. Godzilla should be much better, but it certainly should be somewhat better. There are constant problems with the film; little things, big things, but clearly fixable things. Like the composite shots. They’re terrible. Director Honda, seemingly overwhelmed with   read more

The Stop Button Posted by Andrew Wickliffe on May 17, 2014

Godzilla is a peculiar picture. It's intensely serious, with director Honda never letting the viewer get a moment's relief. This approach is all throughout the film, which opens with a documentary feel. Honda and co-screenwriter Murata Takeo set up their main characters quickly and withou   read more