Shipwreck survivors are found on Beiru, an island previously used for atomic tests. Amazingly free of radiation effects, they believe they were protected by a special juice given to them by... See full summary »
A librarian is subject to a scientific experiment which goes wrong and transforms him into 'The Human Vapour'. He uses his new ability to rob banks to fund the career of his girlfriend, a ... See full summary »
In the Japanese mountains, a warlord enslaves the men of nearby villages. A group of young boys decide to rescue their fathers and awaken Daimajin, who brings his ancient power to bear against a new weapon, the rifle.
Several satellites have been destroyed without explanation. A few days later, a group of diamond thieves are thwarted when the gems they are after suddenly disappear. Strangely enough, the two incidents are connected when scientists discover that a giant jellyfish like creature, which was mutated due to a high amount of radiation hovering over Japan, is drawing up all carbon based matter, including coal and diamonds. Soon the creature is also attacking bridges and ships. Can anything be done to destroy the creature before he begins drawing up all mankind? Written by
Brian Washington <Sargebri@att.net>
Even though Robert Dunham spoke nearly perfect Japanese throughout most of the film, he did get away with one phrase of English. In the scene where the mob breaks into his hotel room and Hamako (Moll) snatches the key to the safe, he says in perfect English, "Hey, you can't take that!" See more »
In the scenes featuring the smaller Dogoras, the strings holding them up are clearly seen. See more »
The U.S. English dubbed version, released by American International under the title "Dagora, The Space Monster," has all of the cast and credits removed. The picture and sound contain an awkward jump from the main title to the first scene. It is believed that American International, for unknown reasons, physically cut the cast and credits from their initial release prints. See more »
After my positive reaction to GOJIRA (1954) and the promising fact that it was not going to be yet another kiddie Godzilla film, I was rather looking forward to this one. Unfortunately, I was still let down by it because, while not quite as inane as the 1960s Godzillas, it's nowhere near as good as the original film from that popular and long-running series. For starters, the jellyfish monster is silly and not at all scary and while the gangster subplot is a welcome distraction at first, it eventually unbalances the film and, in any case, the underworld antics depicted here are pretty dreary and indifferently staged. Like MONSTER ZERO (1965) from the same director which I also recently watched, what little the film has going for it is down to the colorful visuals on display.
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