Starring Don Scardino, Patricia Pearcy, R.A. Dow, Jean Sullivan and Peter MacLean. Written and directed by Jeff Lieberman. Produced by Samuel Z. Arkoff, Joseph Beruh, Edgar Lansbury and George Manasse.
Lobby card
Downed power lines in Georgia turn bloodworms into killer critters that begin to chow down on the local rednecks!
He’s full of worms!
US one sheet
Japanese VHS sleeve
SQUIRM is a cool example of the 70s trend for eco-horror/animal attack movies. The two young leads (Scardino & Pearcy) are likeable and, between the worm scenes, they try to figure out the identity of a missing skeleton in a SCOOBY-DOO-style mystery-solving fashion.
Worm-alanche!
There are lots of shots of real bloodworms, which look gross when filmed close-up: they really do resemble mini-monsters! In this movie these worms scream too! Yes! Screaming worms! And they like to dangle from the shower as well!
They’re in the shower!
There’s some fine early makeup work by Rick Baker to look out for (and Rob Bottin was an uncredited assistant makeup artist on this production too). The ‘worm-face’ scene is great, revelling in shots of a character who has bloodworms crawling beneath the skin of his face! He yanks at the worms, trying to pull them out! These are really neat-looking practical effects! Rick Baker really shows here that he was a makeup effects expert worth keeping an eye on.
Bloodworms beneath his skin!Wigglin’ worms!
The ending is a nice merging of creepy house thriller & critter attack genres. It’s during this finale that the film comes up with its most impactful image; a man becoming submerged in a sea of worms that fill the room! If you don’t like worms you will not like this scene (or the movie)!
Lobby card
This is an enjoyable, wriggly, writhing, creepy-crawly, low budget, well-handled creatures-run-amok B movie that keeps you entertained throughout: it’s squirm-tastic!
Here are some posters…
UK quad poster. Art by John Stockle
Australian daybill poster
US half sheet poster
Italian poster
German one sheet poster
A proposed design for a UK poster by artist Vic Fair
A second proposed design for a UK poster by artist Vic Fair. The actual UK SQUIRM poster was finally drawn by John Stockle
Japanese poster
French poster
Let’s finish with a close-up shot of one of the bloodworms…
Starring Vin Diesel, Jordi Mollà, Matt Nable, Katee Sackhoff, Dave Bautista, Bokeem Woodbine and Conrad Pla. Written and directed by David Twohy. One Race Productions/Riddick Canada Productions/Radar Pictures.
‘Survival is his revenge’
Hard-as-nails macho future warrior Riddick finds himself stranded on a wild, sun-scorched planet, so he is forced to trigger an emergency beacon that attracts two teams of mercenaries, who land on the planet and begin to hunt him. As if taking on these mercs isn’t enough, it starts to rain, and within the wet weather lurk monsters that would really love to eat Riddick!
Eye of the beast
Dave Bautista is one of the space mercs
PITCH BLACK (2000) was a very enjoyable, violent sc-fi-action-monster movie that introduced the world to badass antihero Riddick (a character created by Jim Wheat and Ken Wheat), played to perfection by Vin Diesel. The follow-up flick, THE CHRONICLES OF RIDDICK (2004), wasn’t to my taste. I found it too overblown and sprawling, desperate to be more of an ‘epic’ sci-fi blockbuster. This third film, RIDDICK, is much better, in my opinion, maybe because it tones down the pompous fantasy-science fiction elements of part 2 and concentrates on telling a survival-on-a-creature-filled-planet story, just like the first film. You could certainly argue that RIDDICK’s central concept is very similar to PITCH BLACK’s core plot: one has alien beasties that only come out in the dark, and the other has alien beasties that only come out when it rains. But, hey, I like this monsters-in-the-downpour concept, so let’s move on…
The monsters close-in…
RIDDICK really delivers lots of creature action! Perhaps this movie’s world is a little green screen-ish compared to the real locations used in PITCH BLACK, but this movie does boast a fun bunch of critters!
The creatures come in all sizes
There’s loads of fun stuff to see here, including pincer-tailed Mud Demon predators, hyena-like dog creatures, flying bird-reptiles and eels that live in tepid pools of water. I love the bit where Riddick disembowels a big Mud Demon… which proceeds to eat its own guts!
A winged critterRiddick slides beneath the big Mud Demon, ready to slit open its guts with his bone-mounted blade weapon!
It was a nice touch having Riddick befriend one of the alien dog creatures. Cool!
Riddick and an alien hyena-dogI liked the alien hound!
There’s a last stand-style battle between Riddick and the Mud Demons on a rock outcrop that is also pretty damn cool: it’s almost like a Conan the Barbarian moment! Niiiiiiiiiice.
The last stand moment atop a rocky outcrop
Finally, here are some creature concepts…
The original design for the Mud Demon was done by Patrick Tatopoulos, then Jerad S. Marantz took a pass at the creatures, modelling them in Z brush.
Full body view of the Mud Demon design, seen from different anglesMud Demon head designFront viewDesigns for the Mud Demon pincer-tipped tail!A colour rendering of a Mud Demon
Starring Ma Xinyu, Feng Qilong, Yang Qiyu, Shen Yunzhong and Qiao Yaona, written by Li Wei, directed by Zhao Cong and produced by Xu Yawei.
Okay, I know I often say this, but here I go again: If only the movie was as good as this promo artwork!
This begins in the 1980s, on a newly-discovered island (the ghost island), where we see a T-Rex attack the researchers and guards at an encampment. Loads of bullets are fired at this T-Rex, but it keeps on attacking, and even dynamite does little to slow it down. One particular scientist is shown running about, clutching a dinosaur egg, and then the story skips to the present day (as stories often do in these flicks), and we’re introduced to Zhao (Xinyu), the daughter of the guy-with-the-egg seen in the prologue. Zhao is asked by the despicable Mr Du (Qiyu) to accompany him and his team on a new mission to ghost island, the location of which he has rediscovered by comparing cloud formations on photographs taken at different times (a rip-off of an idea used in the 1976 version of KING KONG). Against her better judgement, Zhao goes with Mr Du and his armed goons to the island. Other team members include Laka, a dreadlocked demolition expert, Sangji, a survival expert, and Yuzi, an attractive, stony-faced, gun-toting she-merc who likes to wear snug-fitting shorts.
Yuzi doesn’t like to smile
Once on ghost island, a member of the group coughs-up blood and dies after a bug flies into his mouth (but these wasp-like bugs are never encountered again), and then a super-gigantic cobra goes on the offensive (of course there’s a huge snake in this movie: Chinese creature features just LOVE to include giant snakes if they get the chance!)
Giant cobra!
A close-up shot of the serpent!
The team are unable to kill this huge serpent with all their firepower, and are fortunately saved when a carnosaur rocks up and quickly bites the cobra in two! The team get away from the reddish-brown predatory dino, which will turn up again later.
The big cobra and the huge carnosaur roar at each other!
An encounter with Velociraptors in an area of long grass happens next, and it is handled pretty well. There’s even a decent-looking full scale raptor prop head used in this sequence, as well as a full-body raptor costume.
The practical effects raptor head looks pretty damn good
The characters eventually reach the island’s open plains, which is populated by Stegosaurs, Triceratops, sauropods, pterosaurs, and other dinos.
Dinos roam the open plainsAll dinosaur movies should include shots of a big skeleton at some point. This movie does just that, so I am pleased!
The quality of the special effects does vary throughout the film, with some of it looking particularly weak. One such example of low quality FX is the reddish-brown carnivore (which we saw kill the cobra earlier) that now reenters the story. This critter moves about with a clunky, awkward gait that is not of a very high standard, effects-wise. But a T-Rex that shows up at this point, with Zhao’s wild-haired father riding on its back, is a better example of the CGI, boasting a more impactful body design and good skin texture details. It turns out that Zhao’s dad has raised this T-Rex from the egg he was carrying about, and now the dino is his loyal pet! This is a fun, goofy idea, but the filmmakers waste the opportunity to show lots of dino-riding action, and simply have the dad tell the T-Rex to chill out while he joins the team, as Mr Du searches for a special meteorite.
The wild-haired father’s pet T-Rex is hurt after a fight with the reddish-brown carnosaur……but it gets back up: the pet T-Rex is okay, folks! Yay!
The explorers reach a hot, volcanic landscape, dotted with jets of flame, which is the location of the meteorite. Mr Du wants to blow this hunk of rock up (presumably because it contains valuable minerals), but Zhao’s father says that the meteorite’s magnetic field is related to the life of the entire island, so if the rock gets destroyed every living thing on the isle will perish. So, after a raptor attack, the team members inevitably split into two factions, as some try to protect the meteorite, and others attempt to blow it up.
Raptors in the volcanic zone
The orange-hued, fiery zone, where this finale takes place, is quite stylised and theatrical-looking, exuding a more fantastical, cinematic vibe (compared to the naturalistic locations used elsewhere), and it definitely suits the pulpy requirements of this lost world film. So it’s a shame that it is used as the setting for a protracted hostage standoff situation, with Mr Du holding Zhao at knifepoint, which is all rather anticlimactic. We do get to see the pet T-Rex again, though, at the very end, as the survivors wait on the beach to be rescued.
Chillin’ on the beach with the pet T-Rex
As the film fades to black, some copy informs us that Laka, Zhao and Sangji were sentenced to six years in prison for breaking the local law. But could someone please answer this question for me: how the hell does a lost, prehistoric island happen to have its own local law?!
Chinese monster movies like to include Asian Lara Croft-types in their stories!
Starring Hermione Corfield, Dag Malmberg, Jack Hickey, Olwen Fouéré, Dougray Scott and Connie Nielsen. Written and directed by Neasa Hardiman. Bright Moving Pictures/Creativity Capital/Epic Pictures Group.
PosterHermione Corfield stands out as lead character Siobhan
Siobhan (Corfield), a science student, gets a place on a fishing trawler that is overseen by Freya (Nielsen) and her husband, Gerard (Scott). As the trawler sets off, the Irish Coast Guard alerts the crew, informing them that their planned fishing destination is in an exclusion zone. However, despite Freya’s orders not to go there, Gerard takes the trawler into the zone anyway, because he needs a big haul of fish to keep ownership of the ship. But there’s something lurking within the exclusion zone that ain’t no fish…
The trawler sets off on its fateful voyage
This seaborne sci-fi-horror movie features a vast, strange creature that infects the crew. This infection actually turns out to be part of the critter’s lifecycle… and it can cause the eyeballs of victims to explode!
Be careful, dudes, your eyes might burst!
This is a pretty decent production, but the movie gets bogged down with the main protagonist, who is played well by Hermione Corfield, trying to identify and isolate the infection. The plot should really have delved more into the beast’s whole lifecycle, showing us what the various stages of this glowing, jellyfish-like critter look like. But, that aside, SEA FEVER is definitely a solid, well-acted, well-made, modestly-sized dark sci-fi flick.
Glowing appendages!The bioluminescent tentacle-appendages attach themselves to the ship’s hull with suckers… …and the appendages exude a slimy substance that eats through the wooden hull, ready to begin a cycle of infection
Hey, SEA FEVER features parasites swimming in people’s eyes and includes shots of bioluminescent tentacles, so of course it’s worth a watch!
Just what is this thing?
Turkish posterSouth Korean posterRussian posterThis film ain’t bad
Kaira (Lana Clarkson) doesn’t wear an awful lot in this movie…
Starring Rick (WARRIOR QUEEN) Hill, Barbi (X-RAY) Benton, Richard (FRIDAY THE 13TH: PART III) Brooker, Lana (AMAZON WOMEN ON THE MOON) Clarkson, Bernard Erhard and Victor Bo. Written by Howard R. (SATURDAY THE 14TH) Cohen and directed by James Sbardellati.
The pig-faced fighter!
The warrior known as Deathstalker (Hill) goes on a quest to find three objects of power: a chalice, a sword, and an amulet. Deathstalker’s journey will lead him to the castle of a sorcerer, where there is a tournament with different fights to the death…
“I have the power!” Oops, wrong movie
Deathstalker is told of his quest by a witch
DEATHSTALKER was one of the many low budget sword and sorcery films that came out in the wake of John Milius’ CONAN THE BARBARIAN (1982). This was one of only two films that James Sbardellati directed, as he was usually a first assistant director on such productions as BATTLE BEYOND THE STARS (1980), HUMANOIDS FROM THE DEEP (1980) and THE BEASTMASTER (1982), which is one of my favourite sword and sorcery flicks.
Was that ‘tattoo’ drawn on with a felt tip pen?
DEATHSTALKER, which features a witch, an imp and a weird little finger-eating puppet creature (it also likes to eat eyes), was an Argentine-American co-production (and was the first of several films that Roger Corman produced in Argentina.) As these kinds of threadbare fantasy productions go, DEATHSTALKER is an okay yarn that’s full of oiled warriors, semi-orgies, lots of half-naked women, mud wrestling, a pig-headed, tusked dude and a fairly lighthearted vibe.
The slimy puppet critter has a severed hand for lunch!
The movie, though far, far from being a fantasy classic, is certainly more enjoyable than the likes of ATOR, THE FIGHTING EAGLE (1982) and THE WARRIOR AND THE SORCERESS (1984), though it couldn’t possibly live up to the expectations created by Boris Vallejo’s cool poster. The ogre-creature that Boris depicts in his artwork is huge and impactful, gripping a desperate maiden with one huge hand as the beast-man raises a mace against the lithe hero. In the movie itself, this monstrous character is far less imposing, that’s for sure, but he’s still a fun, human-sized, boar-faced brute that enlivens proceedings.
Awesome Boris poster!
Boar-brute versus the hero!
More DEATHSTALKER films were to follow, and they all boasted posters that were always far better than the movies they represented!
A shot of a boar-dude holding a severed arm. Well, this is the Monster Zone, so we need lots of pics of the monsters!
Sadly, Lana Clarkson, who played the blonde warrior woman Kaira, was later murdered by record producer Phil Spector in 2003.
RIP Lana Clarkson
Alright then, one final look at ol’ piggy-features…
Starring Sam Bottoms, Susanne Reed and Virgil (THE CAT CREATURE) Frye. Written by Alfred M. Sweeney and Anne (BATTLE BEYOND THE STARS) Dyer, directed by Charles B. (WIZARDS OF THE LOST KINGDOM II) Griffith and produced by Cirio H. (VAMPIRE HOOKERS) Santiago, Rolando S. Atienza, Roger (DAY THE WORLD ENDED) Corman, Jill (DR. HECKYL AND MR. HYPE) Griffith and Manny Norman. A New World Pictures production.
Say “Cheese!”
Cool poster, though the monster definitely doesn’t look like that in the movie! Art by the very talented William Stout.
An underwater earthquake releases a big prehistoric fish. Yay!
This fiendish fish flick stars Sam (THE LAST PICTURE SHOW) Bottoms, who also starred in APOCALYPSE NOW, another movie shot in the Philippines. But that’s where similarities end, as UP FROM THE DEPTHS will never be mistaken for a classic film, whereas Francis Ford Coppola’s awesome Vietnam War-set epic is a bonafide classic movie.
Sorry, Sam, you took the paycheck so you’ve got to make this movie!It’s got a big mouth!
Even though Chris (THE FLY) Walas helped make the monster, there’s nothing particularly special about this fish-critter’s design, other than it has a double dorsal fin and resembles a grouper fish. The poster, however, tries to make out the beast is a kind of blue, spiky-skinned, red-eyed shark-monster. I’ve seen behind the scenes shots of the full-size fish-head prop being propelled through the water by divers, but supposedly it proved too heavy to move around much. So, basically, the beast is only fleetingly shown during its assaults on swimmers.
The fish-beast has a double dorsal fin
Maybe I’m easily pleased, but I thought the full scale monster fish head at least looked like a decently-made model, even if it did remind me of a grouper fish. The director, Charles B. Griffith (writer of such films as ATTACK OF THE CRAB MONSTERS, BEAST FROM HAUNTED CAVE, A BUCKET OF BLOOD and THE LITTLE SHOP OF HORRORS), definitely wasn’t a fan of the monster model, however, and felt compelled to make the movie pretty much into a comedy. But when producer Roger Corman saw Griffith’s cut he wasn’t very happy, as he thought that audiences would feel cheated if they went to see a JAWS rip-off movie and discovered that it was a comedy instead, so Corman had it re-edited in post-production, turning it into a straight horror picture.
As it is, the silly dialogue merged with the more ‘serious’ story edit helps to sink this fishy tale, as does the murky underwater photography and the blurry, indistinct fish attacks (that use a smaller monster model). Oh well.
A typically murky shot
Honestly, there is a fish monster lurking within the murkiness!
Let’s at least end this post with a clearer shot of the fish…
Starring Brian Donlevy, John Longden, Sid James, Bryan Forbes, William Franklyn, Vera Day, Tom Chatto, Percy Herbert and Michael Ripper. Written by Nigel Kneale and Val Guest, directed by Val Guest for Hammer Films.
Beware of what lurks within the domes…
Sheila (Vera Day) becomes a victim of an alien projectile
Hammer Films regular Michael Ripper don’t need no gas mask!
Known as ENEMY FROM SPACE in the US, this film adaptation of the BBC sci-fi-horror television serial sees the brusque, no-nonsense Professor Bernard Quatermass (Donlevy) uncovering the fact that a UK industrial plant at Winnerden Flats, which claims it is manufacturing synthetic food, is actually an acclimatisation bridgehead for an alien invasion.
Marsh (Bryan Forbes, before he became a director) succumbs to a micro alien that enters his body via a V-shaped scar
Hammer’s second Quatermass film features humans being taken over by micro aliens that leave v-shaped entry scars on their victims, CARRY ON movies regular Sid James getting machine-gunned, and a finale where the mass of micro aliens become huge blob monsters! These practical effects gunge-things only appear during the finale and are really quite effective as they squirm and wobble in our atmosphere.
Shambling mounds of alien muck!
The scene that always sticks in my mind is the moment the protagonists realise the oxygen pipe feeding into the alien dome has been blocked by pulped human beings! This is not shown, but just the idea of the aliens doing this to the people shocked my young brain when I first watched the film as a kid. Another effective sequence involves a member of parliament, Vincent Broadhead (Chatto), sneaking a look at the ‘food’ in one of the domes, which results in him getting burned by the stuff and staggering down metal steps, covered in black, smoking, corrosive slime.
Broadhead dies unpleasantly
The industrial plant location is utilised well by director Val Guest. It was a real oil refinery at Shell Haven in Stanford-le-Hope, Essex, on the Thames Estuary (and it had been used previously as the location for the Winnerden Flats alien complex in the BBC serial too). The grim and overcast cinematography of director of photography Gerald Gibbs, and matte paintings courtesy of special effects designer Les Bowie (used to add the giant incubation domes to the complex), all combine to make the place a believable, forbidding central location, adding immeasurably to the enjoyment of the film.
The movie nicely creates a feeling of slow-building tension as Quatermass and others realise that the aliens have already started to take over various officials in positions of power, imbuing the film with INVASION OF THE BODYSNATCHERS vibes, though QUATERMASS 2 is definitely not a retread of that story, remaining a production that is most definitely full of the kind of intriguing plotting you expect from a Nigel Kneale script.
Thomas Hodge of The Dude Designs (which he established in 2009) is a leading figure in the welcome resurgence of the old-school film poster art style. Thomas’ work can be seen adorning posters for such films as HOBO WITH A SHOTGUN and WOULD YOU RATHER. The posters I have chosen to share with you are wonderfully in-your-face artworks that all feature monsters, cyborgs, tentacles, zombies and so on. Well, of course they do – this is the Monster Zone, after all!
Get ready to salivate over these beauties…
FILM POSTERS
A classic monster’s-hands-reaching-out-to-the-viewer horror poster design for a movie about a family that goes ice fishing and encounters a creature from the depths! Love the ‘bloody’ title lettering!
Wow! I really love this one! It’s stonkingly good!
Lots of stuff to look at in this poster. Niiiiiiiice!
I like the emphasis put on that drooling, featureless visage!
This poster’s retro typography is great!
Thomas gave Wolfcop a Dirty Harry pose with the biggest possible magnum thrusting out of the picture (because the original tagline was “Dirty Harry… But hairier”.)
The main poster art for the sequel, ANOTHER WOLFCOP, has Wolfcop thrusting a beer can at us this time! This poster’s so full of detail!
This version was produced super quick for the first screening of the movie at Fantasia. It’s really fun how it parodies Stallone’s COBRA poster design!
Fox commissioned Thomas to create a ‘just for fun’ mash-up piece to promote their new film VICTOR FRANKENSTEIN online, asking Thomas to basically redo Mel Brooks’ YOUNG FRANKENSTEIN poster.
I really like how this one is dripping in pulpy atmosphere
This is a wrestling-mutant-zombie film. Great!
Poster art for a short film based on the Stephen King story of the same name
Alien abductions and homicidal maniacs in a 80s horror homage!
This zombie horror-comedy provided Thomas with his first chance to illustrate a full on comedy visual
DVD/BLU-RAY COVERS
The cover art for the 4K Vinegar Syndrome release of FROM BEYOND. This illustration sums up the Lovecraftian fleshiness of the story very effectively!
Very cool artwork for the MVD release of SPLIT SECOND. Sweet!
This is a slight reworking of the artwork Thomas did for Scream Factory, to be used for Studio Canal’s Europe-wide Blu-ray release of THEY LIVE
Blu-ray art for Vinegar Syndrome’s release of the fun creature feature TICKS
The back of the TICKS box art features Clint Howard’s weed farmer character! Awesome!
Cover art for a Blu-ray release of an obscure 80s shot-on-video flick
The final of three designs Thomas did for Vinegar Syndrome’s HOME MADE HORRORS VOL. 1 box set. I love the fact that he decided to focus on one of the stop-motion monsters featured in WINTERBEAST… as it rips off a rock climber’s head!
Another one of the three designs Thomas did for Vinegar Syndrome’s HOME MADE HORRORS VOL. 1 Blu-ray box set
Cover art for Vinegar Syndrome’s Blu-ray re-release of this weird cult film. That’s a very cooooool retro title lock-up
This artwork was produced for the German Special Edition Blu-ray release
Artwork for the German Blu-ray release of this hyper-violent 1991 Hong Kong movie that’s loosely based on the Japanese manga ‘Riki-Oh’
The quite risqué artwork for the German special edition Blu-ray release of DELLAMORTE DELLAMORE
Blu-ray cover art for Kotch Media’s release of Richard Stanley’s very fine killer robot flick HARDWARE
Alternative artwork created by Thomas for the Vinegar Syndrome release of Hong Kong undead-in-a-shopping-mall horror-comedy BIO ZOMBIE. This was a limited edition slip for subscribers. It has a super-cool graphic design look!
DVD cover artwork for 88 Entertainment’s release of the Troma classic THE TOXIC AVENGER. It’s a green, slime-tastic cover that suits the subject matter very well
Here’s artwork that Thomas created for Arrow Video’s DVD box set FANTASTIC FACTORY, which comprised four films made by Brian Yuzna’s production company (the films are ARACHNID, FAUST, BEYOND RE-ANIMATOR and ROMASANTA: THE WEREWOLF HUNT). Thomas took a pulp pop art approach to the classic B movie poster look, and I think they turned out wonderfully…
ARACHNID is a well put together creature feature! The practical effects spider-monster in this flick is a great-lookin’ beast!
FAUST looks good in this illustration style
The way Jeffrey Combs is drawn here has something of a Richard Corben vibe to it
Thomas ensures that the artwork for ROMASANTA: THE WEREWOLF HUNT has the same pulpy pop art aesthetic as the other three covers in this set
You can check out Thomas Hodge’s Dude Designs Industries website here: https://thedudedesigns.com/?v=79cba1185463 There you will find that the website is separated into five sections; The Dude Designs (commercial design and illustration work), Dude Apparel (Thomas’ all new clothing label and store), Tom Hodge Art Prints (a store for all of his limited edition art prints), Filmography (which showcases Thomas’ work behind the camera) and Author (a section for his book releases that is coming soon).
Limited edition art print of Thomas’ FRANKENSTEIN CREATED BIKERS poster illustration
Finally, here are some private screen print commissions…
Very, very, very nice!THE MONSTER SQUAD – awesome!
Starring Eihi Shiina, Itsuji Itao, Yukihide Benny, Ikuko Sawada and Shun Sugata. Written by Yoshihiro Nishimura and Kengo Kaji. Directed by Yoshihiro Nishimura and produced by Yoko Hayama, Yoshinori Chiba and Satoshi Nakamura for Nikkatsu/Tokyo Shock.
A mutated ‘snail’ girl
In a dystopian future Tokyo, where the police department has become privatised and very fascistic, the city is threatened by criminals known as engineers, who are infected with DNA-altering key-shaped tumours, enabling the villains to mutate if their bodies are wounded. Ruka (Shiina), an ‘engineer hunter’ cop, attempts to deal with these mutant maniacs, but her problems multiply when she has to tackle the police department too, after the Police Commissioner General leads his men on a berserk rampage of wanton killing.
Eihi Shiina is Ruka
Director Yoshihiro Nishimura, who was also the Special Effects Director, Gore Effects & Creature Designer and Editor, ensures that TOKYO GORE POLICE is over the top throughout. Even the way Ruka gets herself to the highest floor of a building is preposterous: she uses a rocket launcher to fly up there! And then she immediately battles a maniacal engineer with a chainsaw embedded in his mutated arm!
Don’t mess with Ruka
The lead engineer, known as Keyman (Itao), operates sometimes like a black-gloved, giallo-style murderer, skewering a prostitute with hollow tubes, collecting her blood in bottles, then chopping her up and placing her parts neatly in a box, next to her clothing. Keyman later yanks off the top of his own head, revealing an exposed brain and two metal tubes where his eyes should be. From these twin barrels he starts shooting flesh projectiles at Ruka!
The Keyman rips the top of his own head off!
Keyman’s mutated new look
Cronenberg-style body horror ensues as Keyman inserts one of the key-tumours into Ruka’s arm, causing her forearm to split open lengthways. Ruka, though now an engineer, remains a focused policewoman and is unwavering as she decides to take on the out of control cops led by the Commissioner General, who she finds out was the man who arranged for her father to be assassinated years ago, because he opposed the privatisation of the cops.
Ruka’s left hand becomes a monstrous mouth
Spasms of blood and gore abound, as does extraordinary imagery, including: acid-spraying breasts, a living flesh chair that projectile-urinates over a fetish crowd, a shot-up engineer prostitute with a lower half transformed into an enormous pair of reptilian jaws, and an infected policeman’s gigantic, red, prehensile mutant phallus that can shoot people! And these aren’t the only outrageous elements that this Japanese movie possesses, there’s also a mutated girl dressed up to resemble a snail, an amputee gimp woman with katana blades extending from her stumps, a strange, multi-barrelled weapon that fires human hands, and the main cop bad guy who manages to fly through the air thanks to the power of the blood-jets gushing from his leg-stumps!
The living flesh-chair!
What the heck?!
The amputee gimp woman with samurai swords sticking from her stumps approaches Ruka
Fight!
One cop character develops a gigantic, mutated penis…
…yes, that is correct: a gigantic, mutated penis!
Eihi Shiina plays it straight as the utterly earnest cop, who continues doing her duty even when one of her hands transforms into a tooth-filled maw and her left eye turns into a multi-orbed fleshy-growth. She really fits the part and always looks great, whether posturing on top of her police cruiser with her gnarly mouth-hand, or when she hacks off the hands of a sexual predator with a sword and casually walks away with her parasol lifted, avoiding the rain of blood gushing from the groper’s severed wrists.
After Ruka’s right eye is injured it rapidly mutates
Ruka needs an umbrella to keep all the spurting blood off her!
The film is told in a more conventional way compared to the director’s later release HELLDRIVER, but this is still crammed with outrageous visuals, including numerous public advertisements for self-harm, and ultra-gore in abundance.
At the end of the movie we see that the amputee gimp woman has teamed-up with Rukka: and now her stumps are fitted with guns!
I said there was a lot of spraying blood in this flick, right?
TOKYO GORE POLICE is as mad as a box of frogs and glories in its bloody weirdness throughout.
Starring Akira Kubo, Jun Tazaki, Yukiko Kobayashi and Yoshio Tsuchiya. Written by Takeshi Kimura and Ishirō Honda, directed by Ishirō Honda, with music by Akira Ifukube. Special effects directed by Sadamasa Arikawa (aka Teisho Arikawa), with Eiji Tsuburaya in a supervisory role.
Don’t trust these ladies…
Ah, the wonderful world of Toho’s Shōwa-era Kaiju flicks… set in that stupendous universe where monsters are an everyday occurrence, the suits worn by astronauts are bright, primary colours (bright yellow in the case of this film), cities are regularly wiped-out (but always reconstitute themselves for the next movie) and the armed forces are always on standby with their numerous rocket launchers, jets and tanks (which pretty much never have the proper firepower to really hurt the monsters!)
Spiega (aka Kumonga)
Gorosaurus and Godzilla
Astronauts on a mission
In DESTROY ALL MONSTERS Godzilla, Rodan, Mothra (larval stage), Anguirus, Gorosaurus, Manda and other denizens of Monsterland (aka Monster Island) become the pawns of an alien race, called the Kilaaks, who use mind-control devices to turn the (now quite benign creatures) into aggressive, city-wrecking weapons of mass destruction.
Manda on the move
DESTROY ALL MONSTERS is a staggeringly fun production, with cell-animated laser effects, some sweet model work, a satisfyingly large quota of monsters, and a knockabout final fight near Mount Fuji, where the re-grouped Earth super-critters kick and bite Ghidorah the three-headed space dragon until he’s trashed!
Marching off to war
Gorosaurus knows kung fu!
The best two portions of the film are the opening scenes, where we get a tour of Monsterland that shows us all the great beasties chilling out on their island home, and, of course, the aforementioned no holds barred multi-monster battle sequence at the end.
Stonkingly amazing stuff!
Rodan chillin’ on Monsterland isle
Fight!!!
Ghidorah is a hard b*stard – but did he really think he could beat ALL those other monsters?!
Here are a whole bunch of posters and other artworks that help to glorify the awesomeness that is DESTROY ALL MONSTERS…
US poster – art by Reynold Brown
French poster
US poster
Turkish poster
Italian poster – making DESTROY ALL MONSTERS look like a King Kong movie!
Japanese poster
French poster
US poster
UK quad double bill poster
German poster. The Germans always title Godzilla films with the name ‘Frankenstein’!
Japanese poster
Finnish poster
Italian poster
Turkish poster – they’ve added lots of Gappas to this poster!
Spanish poster
Yes, this is another Italian DESTROY ALL MONSTERS poster that thinks it’s a King Kong poster!
Belgian poster
Italian poster
Mondo poster by Paul Mann
Mondo poster by Florian Bertmer
Art by Jerry Winnett
Art by Scott Jackson
Criterion Collection artwork
The Monster Times cover
Publicity mock-up
Art from book published by Asahi Sonorama
Here’s a behind the scenes shot of the filmmakers working on a scene with Manda…
Manda is a pretty big puppet
Let’s end this post with a chance to see Ghidorah getting stomped…
Don’t mess with Godzilla, buddy!
Devoted to every kind of movie and TV monster, from King Kong to Godzilla, from the Blob to Alien. Plus monsters from other media too, including books and comics.