Gappa The Triphibian Monsters (1967) [REVIEW] | ♫ It’s The True Mystery of The Universe ♫

Yes, with a “G”.

One of the minor, less known giant monster, and the only kaiju eiga ever made by Nikkatsu (which almost went bankrupt after releasing it), also known under the mystifing title “Monster From Another Planet” in the US, and directed by Hiroshi Noguchi, better known for the Cat Girls Gambler yakuza series and the Ginza Mighty Guy/Ginza Whirlwind series.

Oddly, the plot is virtually identical to the one seen in Gorgo (hi again), with a grouple of people (in this case a group of reporters and scientists instead of a salvage crew) capturing and bringing a monster from its island (here a place called Obelisk Island) to “civilization” in order to become a media attraction. But this also angers the natives of the island and – more importantly – the parents of the infant Gappa monster, who head to Japan and cause huge havoc in their wake.

If japanese monster movies taught me anything, it’s to never steal children, especially those of literal giant monsters. Just don’t. Or stop.

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Varan The Giant Monster/ Varan The Unbelievable (1958) [REVIEW] | Kaiju In The Middle

***Sorry, i wasn’t able to find a copy that didn’t have the hardsubbed american title.***

Godzilla is, has been and probably will be in secula secularum the greatest legacy of Toho and its empire of weird monsters. But of course, if the Big G sits at the top of “kaiju mountain”, and other monsters from their own movies have become inscindible part of the Godzilla series, some of them don’t dine at the court at all, and just get called back as jesters for the big monster mashes.

Varan is sadly one of them, and it’s a bit sad when they decide a frigging giant shrimph like Ebirah was worth doing new effects when Godzilla Final Wars came around, instead of just re-using old footage from Destroy All Monsters, like they did for Varan’s (among others) cameo, just happy to be there and cheer from the sidelines, even when Minilla is frigging more useful. Poor Varan.

But of course he did debut in its own movie, Varan The Giant Monster, and yes i’m talking about the original version, not the americanized one that does go under the title of Varan The Unbelievable, and alters the plot to include the american army… because America, that’s the reason. Sighs

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Frankenstein VS Baragon / Frankenstein Conquers The World (1965) [REVIEW] | Atom Heart Monster

Strange as it may sound, you really can’t talk about King Kong and Godzilla beating each other up without talking about the Frankenstein’s monster, but we already talked about the backstory of the original “Monkey VS Nuclear Dinosaur” kaiju flick in its review, so let’s just say that this movie is actually Toho bringing back the partially scrapped idea of having Kong fight a monster created by Frankenstein for King Kong VS Godzilla, which would itself spawn a follow up a year later, with War Of The Gargantuas. And of course, tasking yet again Ishiro Honda to direct it.

Also, this one introduces a monster that would eventually cross into the Godzilla franchise, Baragon, not be confused with another, completely different but – for pure coincidence – very similar looking (at a glance) monster from the Gamera franchise, Barugon, with a “u”. A minor monster, brought back just for the giant monster brawls installments of the Godzilla series (where pretty much every frigging Toho kaiju was invited for a quick cameo), but here the main antagonist to the “Frankenstein” monster, as the original japanese title makes it abudantly clear.

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APE (1976) [REVIEW] | Flipping Kongs

Sure, Konga wasn’t great, and earlier this year we also spotlighted another King Kong rip-off, the italo-canadian Yeti: The Giant Of The 20^th Centhury, which indeed is worthy of being called “craptacular”, as in it’s really bad but also frigging hilarious and with some odd innocence for italian exploitation cinema. Even if there’s a crime thriller subplot that almost kills off Lassie.

But we can go lower down the cinema alphabet, and for theatrically released feature lenght movies about giant apes, you can hardly go lower than the american-south korean A*P*E*, quickly put out to cash-in this wave of Kongsploitation, as it released the same year of the Dino DeLaurentis backed remake, with 3D effects because if we’re gonna do this, might as well make it gimmicky.

Yeah, i’m doing this one because i feel more people are at least aware of The Mighty Peaking Man, also made to cash-in the popularity of the 1976 DeLaurentis’ King Kong remake, but far better than most Kong rip-offs, definitely far better than A*P*E*.

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Notzilla (2020) [REVIEW] | The Cringe Is Approaching The Generators!

While parodies of giant monster movies aren’t that uncommon, rarely they are made as full lenght features, even more in the last decades, it’s easier to see movies about the making-of monster movies in the past, sometimes even going as far as narrating the circumstances (often a bit fictionalized) of movies that were never made, like Nezura from Daiei, which was canned and eventually led to the company creating Gamera, the fanged turtle friend of all children.

This is one of the more recent attempts, in this case lampooning the Showa era Godzilla films, and i’m surprised i had to discover this while surfing certain catalogues, you’d think more people would be covering a Godzilla parody made in the year the King Of Monster was supposed to fight King Kong again, but apparently no. Sure, it was an indie project made on a low budget, but still…

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Konga (1961) [REVIEW] | British Jungle Beat

1961 was indeed the year of british giant monster rip-off movies, heck, this was released just 3 days in the UK before Gorgo debutted in US theathers, and both got a comic book tie-in (which eventually pitted them against each other), even if the production companies were different. But again, exploitation cinema is an universal language.

Where Gorgo obviously ripped off Godzilla, Konga went for the giant primate, even going so far as marketing it with this phrase written on the theathrical poster “Not since King Kong has the screen exploded with such mighty fury and spectacle”. But in this case there were no troublesome legal litigations on the name (the ownership to the name “King Kong” is an incredibly messy subject deserving its own detailed editorial or video), as producer Herman Cohen just paid RKO 25.000 $ for using the name “Kong” in the posters and marketing material.

Ironically, Gorgo’s plot was more akin to King Kong’s (or to be precise, Murders In The Rue Morge) than the one found in Konga, because there are no natives worshipping the giant ape, no company kidnapping him and all that jazz.

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The Screaming Skull (1958) [REVIEW] | Sans Sense

Another classic stinker remembered today thanks in no small part to MST3K, you hardly can go lower than this independent cheesefest, which was originally released in the way most of this crap was back then, the old double-feature for the drive-in market, alongside either Earth VS The Spider or Terror From The Year 5000, both fittingly riffed by the Satellite Of Love’s crew of bots and men.

It’s technically based on the eponymous tale written by Francis Marion Crawford – which it’s quite good and can be found in The Complete Wandering Ghosts collection – itself based on a folk tale of a skull said to be that of a black slave, whose request for burial in his native country was denied following his death, and how it was subsequently followed by strange occurrences and unexplainable shrieking noises that emanated from the wooden box in which the skull was kept.

“Technically” as the movie doesn’t credit Crawford’s novel, and the plot follows a couple, Eric and Jenni, that moves to the house belonging to the husband’s late wife, Marion, which has been curated and cared for by Mickey, an odd gardener loyal to the late wife’s memory. Jenni witnesses some eerie events involving a skull around the house, and begins to think that she’s going insane..

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This week, on Cells At Works: BLACK…

Yeah, the latter episode of Cells At Work darker, edgier spin-off series, Code BLACK, shows what happens when you have trombosis.

Which means big ass katamari of red blood cells cadavers, of course. Which almost kills the body of this poor unhealthy, overworked bastard. You know, the same that got gonorrhea from 10 seconds of coitus some episodes earlier.

So, this week’s lesson is don’t get trombosis, or the King Of The Cosmos will make huge rolling spheres with your literal “dead blood” and stuff your inner holes with it. I guess.

The Curse Of The Komodo (2004) [REVIEW] | Now Without Curses

Yeah, we’re reviewing the original after the…. follow-up (sequel isn’t really the right word by any stretch of the imagination) that was Komodo VS Cobra, where a mutated Chris Latta is pitted against a radioactive Komodo dragon for reptile supremacy.

Why? Because i was bored and fired that movie up on Amazon Prime Video without doing much research, i mean, it’s not like Piranhaconda (also by Jim Wynorski, incidentally) it’s a crossover between the Piranha series and the Anaconda franchise. And i like i explained in that review, it’s not like it really mattes, since that movie recycled pretty much everything from its *cough * “predecessor”, so inevitably describing the plot of this one also works for most of the sequel, that basically added another giant monster and changed some characters just because it kinda had to.

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Komodo VS Cobra (2005) [REVIEW] | Reptiliarium Rejects

**A nice, grating red for the retinas.**

I wasn’t really go do a review for this one so soon, i had saved in my Amazon Prime Video list for when i would have been bored enough, or needed to do it for a special, but i noticed the “this title won’t be available after the 5^th of December 2020”, so once again i felt coerced to watch and review before its gone or back as a paid rental or tied to another paid subscription within the subscription i’m already paying for.

Heck, i didn’t even knew it was a sequel to The Curse Of The Komodo (which i happen to own, having picked up an ultra cheap DVD copy for it in a flea market some time ago), released just one year prior by the same director… “Jay Andrews”, at least according to the credits.

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