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"Atragon," the 1963 offering from the great film-making team of director Ishiro Honda, composer Akira Ifukube and special FX master Eiji Tsuburaya, is an excellent sci-fi movie depicting a Japanese supersub's battle with the undersea kingdom of Mu. The following year, this same team came out with "Dogora," a fun if decidedly lesser effort. In this one, a single-celled organism floating in space is affected by Japan's seemingly ubiquitous radiation and grows to become a humongous, jellyfishlike monster who lives to suck carbon off the surface of our world...along with any buildings, bridges or trucks that happen to be in the area! In a somewhat confusing plot, multiple story lines involving a group of diamond thieves, a mysterious insurance investigator, an aged expert on crystals, and a swarm of bees are conflated, with mixed results. The first time I watched "Dogora" (and no, we never learn the meaning or origin of this particular "kurage kaiju"'s moniker), I thought the film rather hard to follow, and in all somewhat diffused. On a second viewing, the plot seemed to make more sense, but its dependence on coincidence still rather marked. One of the picture's saving graces, for me, is the presence of Akiko Wakabayashi--who I first became enamored with in 1967, as a result of her appearance in the James Bond blowout "You Only Live Twice"--who here plays a moll and who looks more beautiful than I have ever seen her. Dogora itself is a pleasing creation, and the sight of it whirlpooling coal into its giant maw or pulling a Kyushu bridge to bits is actually fairly awesome. Its ultimate demise is brought about in a fairly unique manner, as well. In all, not a bad little picture, as long as you don't go in expecting anything on the order of Honda's "Gojira" or "The Mysterians"!

This Film Feels like two movies in one.One part focus on the monster Dogora, a jellyfish like space monster and the other on a bunch of criminals stealing diamonds that Dogora has an interest for.This film does has some lesser moments from dogora being a uninteresting monster but is saved by the cast of characters,solid acting and has humor to keep this film being good.

The film starts off with a gang of diamond thieves stealing diamonds but eventually they start noticing weird things from floating in the air and seeing a weird object at the diamond place.Meanwhile detective Komai is investigating on a suspicious character name Mark Jackson who has something to do with the diamond heist that went wrong and Mark Jackson has his own motives of his own when he visits the gang boss of diamond thieves.

Later, The Gang tries to come with another heist to steal the diamonds but are interrupted by Mark Jackson.But notice that one of the trucks starts floating in the air though the diamond gang got away with the diamonds but really it was candy as they were tricked.Komai Evenutally finds Mark Jackson and realize that he's a special agent looking for the diamonds and to make sure the gang doesn't get it.

Envenutally strange things start happening around the world from diamond shops to anywhere with diamond sunnedly disappear and Dr. Munakata a professor on carbon dioxide know that the space creature Dogora is taking the diamond soon enough Dogora is in Kyushu and is attacking can It be stop? Overall, Dogora is very uninteresting by the time he appears on screen which is the middle of the film.His appearance somewhat hurts the pacing of the film as you could care less about the monster and really focus and pay more attention to the cast of characters who really steals the show from the title monster.Plus the humor that is brought into the film.From Mark Jackson Shrugging his shoulders,to Komai's naive attitude that make him look dumb and Gangster Sabu who cowardly attitude that has at least you grinning.

as for the Acting, Everyone gives a solid job with their roles, despite what little there given.Robort Dunham gives the most memorable and enjoyable performance of the cast.It's his Fluent Japanese that has his performance praised and deserves Props for his performance.Yosuke Natsuki is another Detective-Deadpan lead for this film.since his character is so flat, he gives a flat performance as well.Nabuo Nakamura as Dr. Munakata is well done.He really fits into his role as the curious bland doctor as he he wants Dogora to be studied not killed.Yoko Fujiyama brings a charm, innocent look to her role as Masayo Kirino as she is the doctor's assistant and also it's funny and cute when she flirts with Komai a.And last there Akiko Wakabayshi as Hamako.Her seductive flare and sly energetic-ness make her role interesting and great.

Overall, Dogora is not bad It's worth watching one or twice when your not doing anything at all but it's not worth watching 60 times though.

This is one of my favorite kaiju films of all...if only because it's absolutely wild.

The plot centers around a group of diamond thieves who keep having their jobs stifled by an inexplicable force...even though they keep harboring blame for the crimes.

Turns out the real culprits are space jellyfish- who have an insatiable hunger for carbon...mainly coal; but preferably diamonds.

And they've come to suck the Earth dry.

That is, until bees and/or wasps start attacking them, at least.

Apparently the toxin they carry turns the space jellyfish into crystals, or something like that.

The science isn't clear.

But that doesn't stop the humans from mass producing this bio warfare toxin en mass...with plans to weaponize it against the alien invaders.

Now...all you gotta do is watch for falling rocks...

7 out of 10.

In the US, this is probably the least well known of the classic kaiju eiga. Sure, "Dogora" may not be a very good movie overall, but in my opinion it has one of the very best monsters in film history. Dogora is an enormous space jellyfish, vast, mindless, and cosmically terrifying. It floats through the atmosphere, draining the Earth of life-giving carbon. The full-grown Dogora is only on screen for five minutes (!!), but it's still an awe-inspiring sight as this huge, transparent creature, the size of a small town, sucks up buildings, vehicles, bridges and minerals.

The remainder of the movie is mostly an uninspired detective spoof, with two inept policemen and an enigmatic American agent hot on the trail of a gang of jewel thieves. It seems the monster has been getting to the diamonds first... With such an incredible monster, and such well-executed effects, it's a real shame the rest of the film is so mundane.

It's SUPPOSED to be a comedy. Unfortunately, the US television version dubbed the movie as a serious monster film, with disastrous results. Worse, though, is the Toho "international" version -- it may be more accurately translated, but it's performed by the most inept readers you'll hear outside of a Sandy Frank production. Anyway, even if you don't know Japanese, watching "Dogora" in the original language with no subtitles is still probably more enjoyable than suffering through the English versions.

Asides from the strange plot development which we don't know if this movie is a comedy or a kaijyu movie, I think this could be one of the best monster movie of all times. What's great and horrifying about this movie is the monster Dogora. It's kind of a space jellyfish that can defy gravity. The monster makes you think that perhaps somewhere in space there could be a life form like it, and when it arrives on earth, there's no telling how large it could be. None of the Toho monsters have real life creepiness like the Dogora. If the movie was made on a plot about this space monster arriving on earth and terrorizing the world while it multiplies would have made it a unique masterpiece. There's absolutely no movie like it. For its originality, and the special mood this monster brings to the story, this movie is a masterpiece.

In space, a big jellyfish destroys a satellite. The thing then comes to Earth and uses its twisting tentacles to get everything in its path. Buildings, trucks, and even a bridge get lifted up from the ground by the thing. The thing also has a craving for diamonds. Also involved in this mishmash are some diamond thieves who only want a truck of diamonds and a day to the beach without getting stung. Pretty interesting with imaginative special effects. The American print is terrible,dark, and scratched up. The dubbing is also bad.

So look at the cover, read the premise, this is another Toho monster movie right? Wrong.

Dogora tells the story of mysterious creatures that come from space and seem to have an desire for diamonds. Meanwhile the police are after a prominent gang of diamond thieves (What a coincidence).

The latter get's considerably more screen time, this is essentially a crime drama rather than a sci-fi. Sure we have our creature (Though it's nothing like the cover suggests) but it's more of a side character than the movies antagonist.

The usual brand of Toho miniatures being used for sfx are present and I personally like that, it's when they tried to do computer generated effects that it all falls apart. Man are they ugly, it's 1964 so it's to be expected but it doesn't take away from just how much their ugliness takes you out of the movie. On the flip side however their are several effects done which I've not seen before from this period, they look great and are well ahead of their time.

If you can get past that this isn't a creature feature it's passable enough stuff, but I went in with expectations and they weren't met.

The Good:

Some great visuals

The Bad:

Some awful visuals

Isn't what it's advertised as

Dogora (1964) is a movie I recently watched on a random streaming service. The storyline follows a being in space that initially destroys satellites and then starts stealing coal and diamonds to increase its powers. As it descends on Earth it starts increasing its powers from carbon monoxide and seems to be unstoppable. Can anyone on Earth figure out a way to stop it?

This movie is directed by Ishirô Honda (Godzilla, 1954) and stars Yôsuke Natsuki (Yojimbo), Hiroshi Koizumi (Mothra), Nobuo Nakamura (Tokyo Story), Robert Dunham (Battle for the Japan Sea), Akiko Wakabayashi (Ultraman) and Jun Tazaki (Ran).

This is a unique monster in the Toho Universe and had a War of the Worlds feel to it. The models and toys used to create the sets, cities and military tanks and jeeps were awesome as always. The floating effects were more fun than good. The monster looks really good and the story unfolds well. The ending was a bit melodramatic and could have been better.

Overall this is a slightly above average edition to the science fiction genre that I would score a 6/10 and recommend watching for fans of the Godzilla movies from this era.

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.

Watching this film is an enjoyable event. With a cast of hilarious and respected actors and actresses, this movie is one of the funniest and greatest Toho sci-fi movies I've seen. It starts off with an intriguing intro of how a scientist discovers disappearing satellites in space.

Then, it kicks off to these band of outrageous gangsters who wants sparkling diamonds for their loot. The suspense builds when some of the gangsters get lifted up into the air by an unknown phenomenon, later known as Dagora (or Dogara) the Space Monster, who has a thing for diamonds. Instead of buildings, vehicles, bridges, and structures crushing to the floor, they actually rise to the air as Dagora lifts away everything in its path. Dagora is seen in many shapes and sizes, including a giant jellyfish (with "animated" tentacles), shining "stars," and a floating piece of genetic-like substance. Screenplay writer Shinichi Sekizawa did an excellent job on the script.

The scientists trying to figure out a weapon in order to use to defend Japan from Dagora while the detectives try to nab the diamond lovers couldn't be more inspiring and intriguing in this movie. Composer Akira Ifukube gave a haunting and terrific music score and director Ishiro Honda directed one of his best. Some hilarious parts in the movie includes the part where the character Inspector Kommei tries to shoot a gun, only with confetti coming out; the part where Eiji the Safecracker eats a sugar crystal (which he later found out is a fake diamond) and then laughs like a hyena; the scenes of karate fights and the part where the Gangster Moll asks the train conductor to show her where to make a call when the phone is actually a few inches away from her! The only jewelry oriented monster sci-fi flick I've seen, this film is to be watched by all sci-fi fans. There are some plot-holes here and there, like why did the gangsters have to wait so long to steal the diamonds from Jackson, and why did the Gangster Moll have to call her crew to come meet her, since she wants the diamonds all to herself anyways? Could have used more action and suspense from the gangsters, but overall, a fun film. You'll never wear a diamond necklace or diamond ring the same way again.

Grade A-

Dogora is a flying space squid/jelly fish that feeds by sucking up carbon. While coal and diamonds seem to be the creature's preferred foods, Dr. Munakata (Nobuo Nakamura), the film's resident scientist, is concerned that if the monster decides to ingest other sources of carbon, life on Earth could be destroyed. The rarely seen beast seems indestructible but a swarm of high-flying bees and rocks falling from the sky provide clues to what might be mankind's only hope. "Dogora the Space Monster" would have made an outstanding 30 min episode of "Ultra-Q" (1966) but as a full length movie it's stretched well beyond the breaking point. The tedious secondary plot follows diamond thieves and pursuing detectives. As Dogora eats diamonds, there is a tenuous connection between the two stories but the 'crime' story is neither interesting nor entertaining: it is simply filler to anchor the brief appearances of the titular monster, which are the highlights of the film. Unlike most Toho tokusatsu, there is no suit-mation: Dogora is a puppet manipulated in water. The effect is impressive, especially for a film with an obviously limited budget, as the surreal creature undulates in the sky, drawing up food from Japanese coal yards. The special effects team also made effective use of colour and animation, especially in the scene where Dogora destroys the Wakato Bridge. The movie is directed by "Godzilla" (1954) helmsman Ishiro Honda with special effects by Teruyoshi Nakano and music is by Akira Ifukube (both names closely associated with Godzilla and the Japanese daikaiju genre from the 1950s to the early 1980s). I was watching an indifferently English-dubbed version of the film (replete with goofy 'gangster' voices) so I can't comment on the acting or the actual script/story. A full viewing of "Dogora the Space Monster" would be a bit of a slog for anyone but a die-hard kaiju fan; however, fast forwarding to the monster scenes would be well worth it for anyone who likes to see imaginative cinematography and the unreal made real.

As the title of my review states, this was indeed one of the most unusual Kaiju films I've had the pleasure of watching, and I've watched a LOT of them. Some parts of this movie had me engaged in a very surreal experience. It almost seemed like a dream in some ways, and the design of the monster is so simple, which makes it all the more terrifying. I was surprised that the film makers chose such an unusual thing to be the monsters only weakness, and I truly enjoyed the "feeding" scenes of the creature itself. Many Kaiju movies have similar plots and settings, but "DOGORA" seems to almost have a genre of its own when it comes to Japanese monster movies, it's very different from any of the other ones I have seen.

Okay its suppose to be a comedy. And I understand its suppose to be a mix of heist films and monster movies, but lets be honest the various parts don't really work well together, mostly because they seem almost completely separate from each other.

The story begins as yet another satellite is destroyed in space by some unknown force. Meanwhile weird things are happening on earth as a rash of diamond robberies are causing headaches for the police. The police in Japan focus on a band of jewel robbers whoever while they are seen as a threat its soon discovered that the real problem is giant amoeba like monsters from space who are eating carbon based mineral-diamonds included.

The jewel robbery stuff is very good but doesn't belong in a monster movie and the monster stuff (some of the most beautiful in any Toho feature) doesn't belong in a heist movie. The two halves don't really fit together. I kept checking my watch waiting for the next shift in tone and style. I also didn't like that the clash of styles left some plot points being discovered as if they were suddenly remembered (How were we going to deal with the monsters anyway?)

And yet I like it. Certainly its a better film in the widescreen version thats recently been released on DVD and being able to see it sans commercials is a nice plus. Absolutely an odd duck of a movie thats neither fish nor fowl it does have much to recommend it (The monster visuals being the main ones), especially if you're understanding of the sudden shifts back and forth between genres.

If you're a giant monster fan its worth a look everyone else toss a coin.

Most of Ishiro Honda's science-fiction films have started out as another kind of film before moving into the genre promised on the posters. Dogora is the first that...never really leaves the genre it starts out in. I liked that. This film seems to be negatively viewed for a couple of reasons, the first being that it never really fully commits to being a monster movie, the other being that the English language version is apparently incomprehensible nonsense, but seen in the original Japanese version, I think it's a charming and different heist movie that just happens to take place during a monster invasion at the same time.

Inspector Komai (Yosuke Natsuki) is looking into a series of diamond robberies, and his attention is fixed upon an American, Mark Jackson (Robert Dunham), who is having interactions with a small cartel of diamond thieves led by Natsui (Akiko Wakabayashi). There's also a professor, Dr. Munakata (Nobuo Nakamura), who studies geological formations and has developed artificial diamonds, his assistant Professor Kirino (Hiroshi Koizumi), and Kirino's sister Masayo (Yoko Fujiyama). As the opening moments of the film play out, it's mostly a look at a heist of a bank, tense as the police patrol unknowingly outside, that gets fuddled a bit when a mysterious flying space jelly floats through, levitates everyone, and makes off with the diamonds while cutting through the vault with temperatures too hot for an oxygen-powered flamethrower.

I was really expecting this to follow the rather normal pattern so far of Honda's career where this heisting plot gets dropped steadily until about halfway through the film when it's dropped completely. And yet, it continues to be the main focus of the film. Dr. Munakata is there through it all to both talk to the properties of diamonds and the weird force wandering around the skies over the world, stealing into vaults to take diamonds while also hoovering up giant piles of coal, but mostly it's about Komai tracking down Jackson, figuring out his connection to Natsui, and a series of heists around diamonds that always get interfered with by the space jelly.

There's a moment in the latter half of the film where Komai's superior chastises him for caring about space monsters at all. They have crimes to solve. I mean, that's just uniquely framing the central plot. This is a heist movie with monster action influencing it.

And the heist stuff is pretty good on its own. It's not La Cercle Rouge or anything, but it's well-realized, clear, and moves nicely. There are little double-crosses and unknown loyalties, and it would stand decently well without the monster action. However, the monster action also adds. Firstly, it adds the contrast between the characters and their focus with the larger events unfolding around the plot. Secondly, the monster action itself. It's never the focus of the film, but it does a good bit on its own.

And, of course, one must take the time to recognize and praise the work led by Eiji Tsuburaya, the man behind the special effects. The monster, eponymously called Dogora, is a floating jellyfish in space, and it looks really good. The film's opening moments are not actually the heist stuff but space footage that is shockingly well put together, even within Tsuburaya's own accomplished body of work. When Dogora floats down to suck up coal mountains, it has this marvelous floating structure to it captured by filming flexible vinyl underwater, a new practice they invented during production. It's colorful with a bright blue sheen, and it moves wonderfully on screen.

Really, this is a heist movie that has some monster action in it, and the monster action is both kind of great and really different. No more men in suits stomping on little Japanese villages, this is a successful effort to make something new, and Tsuburaya and Honda accomplished that well.

And, through the end of the third act, the heist plot never diminishes. Honda stuck to his guns on this one, and I think it works. The chase is about diamonds, but it's happening in the middle of sci-fi nonsense about wasp venom attacking Dogora and crystallizing it. That's delightful.

I think this is one of those Honda films that deserves something of a re-appraisal, but you apparently need to watch the Japanese version and also recognize that it's not really much of a monster movie. Oh, there's a monster in it, and it's great. It's just that the focus is elsewhere. I mean, I had no idea what I was walking into and had a good time, but that expectation game is apparently really important for a lot of people.

1964's "Dagora, the Space Monster" ("Uchu Daikaiju Dogora" or Giant Space Monster Dogora in Japan) was Toho's quasi-remake of "The H-Man" done with a lighter touch and very little monster action, effectively ringing down the curtain on hybrids of crime and horror. Television satellites above Japan are absorbed by a single celled amoeba that soon develops a hunger for diamonds, wreaking havoc with all too human diamond smugglers who find themselves on the hot seat for the disappearance of vast quantities of the hard stuff, even a safe door silently removed without any trace. When coal is also seen flying through the air, a scientist determines that a major component of both diamonds and coal is carbon, and will likely turn to devouring mankind eventually. The original story idea found a futuristic Earth facing an invisible alien invasion, duly changed to produce a genuine monster unlike even the blob-like H-MAN, the full sized puppet placed in a tub of water and manipulated with wires to replicate the actual movements of a jellyfish reaching down from the clouds. The rain of coal being sucked up into its gigantic maw is perhaps Eiji Tsuburaya's most impressive visual, people and vehicles floating at various times for a truly disorienting effect. Disappointing box office likely led to a decision to concentrate on tried and true monsters like Godzilla, nothing more experimental than "Frankenstein Conquers the World," "The Green Slime," "Latitude Zero," or "Yog - Monster from Space."

In the 1950s, 60s and 70s, Japanese film companies such as Toho made a bunch of Godzilla-type movies. You know, giant dinosaur-like monsters which often were just guys in big rubber suits stomping on plastic cities and military equipment. Some are entertaining (such as the first Godzilla film) and many were just ridiculous and dumb (such as seeing Gamera the giant killer turtle flying away by shooting flames out his butt). I didn't realize "Dogora" was in this same genre but once I saw it, I felt it was a bit better than these sorts of movies. Yes, there is a big silly monster but he was used sparingly (thank goodness) and the rest of the film was decent.

Strange things are happening on Earth--especially in Japan. Diamonds and coal are being stolen right and left--and soon it becomes obvious that the culprit is NOT of this planet, as you see piles of coal shooting up into the sky. Why? Because Dogora eats carbon and the big-shot scientist in this film is worried people might be next since we are a carbon-based life form. So they must find a way to kill or shoo the monster away. Their solution is odd- -and the team of Japanese are aided by an American mobster, Mark Jackson!

While I never really understood having Mark Jackson in the film, the movie was pretty well acted and interesting. This might be because I did NOT watch the English-dubbed film but the original Japanese one with subtitles. I read some horror stories about this English version so I deliberately chose the original. Not great but not bad either--even if Dogora turns out to look like a giant jellyfish!

Cinema lost something critical when studios and filmmakers began shifting toward computer-generated imagery. That's not to say that there can't be truly great splendor achieved with digital rendering; for example, Toho's foremost kaiju has surely never looked better than in Yamazaki Takashi's 'Godzilla -1.0.' But far more than not it ages rapidly, and the more we rely upon it, the worse it looks. In stark contrast, when employed sparingly as embellishment or augmentation, the less seamless and even the most obvious post-production visuals of past decades hold up wonderfully as depictions of otherworldly happenings. Even more to the point, tangible creations - stunts, choreography, and practical effects from creatures, fire, and explosions to blood, models, miniatures, and more - are always, always preferable, even if they're imperfect; case in point, there will never be a 'King Kong' that surpasses the 1933 original. Effects maestro Tsuburaya Eiji knew all this very well, and the result is that wherever he is involved, the effects sequences are consistently outstanding. And so it is here: some instances are more clean than others as they blend into or with filmed footage, but the more modest contemporary special effects, and especially those real, concrete innovations that are directly captured on film, stun again and again in 'Dogora.' Few modern blockbusters can say the same with their CGI falsehoods.

We don't even see the titular entity except briefly - accordingly an unfortunate limitation of design and physics, showing us all too little of the mastermind's dazzling fabrication - and still one can't help but be impressed with everything we do see in these eighty-two minutes. There's a reason Tsuburaya's name remains so respected, just like those of Rick Baker, Stan Winston, and Tom Savini. Granted, the same can't uniformly be said of all others involved here. Experienced as scribe Sekizawa Shinichi may be, there are rough edges in the screenplay, specifically with regards to how the science fiction and supernatural begin to be woven more discretely into the saga. There's a distinct disconnect and leap of logic from "disappearances of diamonds and coal" to "monsters" and "scientific explanation," and the audience just has to rather take it in stride and accept the incidence. For that matter, some instances of dialogue or scene writing are less sure-footed than others, and for all else that is useless against the being, its vulnerability perhaps raises a skeptical eyebrow. Be that as it may, Okami Jojiro conjured interesting story ideas, and Sekizawa shaped them into something unique and compelling as a series of global "thefts" and subsequent investigation dovetails into the growing presence of something profound. I think the writing could have been notably tightened, as the secondary crime-thriller plot of jewel thieves becomes rather superfluous after a time, and could have been more smoothly mixed into the narrative in the first place. More broadly, one can easily imagine how the stakes could have been raised for the saga. Nevertheless, 'Dogora' is engaging and absorbing exactly as it is, faults and all, and counterbalancing the arguable weaknesses, some tidbits are gratifyingly shrewd.

Beyond the wonderful visuals and the overall excellent if imperfect writing, the picture is certainly well made in all other regards. The production design and art direction are superb, with fantastic detail going into all the sets; the filming locations are a sight for sore eyes. I have to say that the costume design, hair, and makeup are quite sharp, and even Koizumi Hajime's cinematography is eye-catching. Honda Ishiro's direction is pretty much as firm as it has ever been, recalling the focus and mindfulness illustrated in, for example, 'Rodan' in 1956. No one in the cast necessarily stands out per se, but everyone gives commendable performances to bring the tableau to life. And it would be a mistake not to not the fabulous score of composer extraordinaire Ifukube Akira; while his themes aren't so outwardly striking in this case as what he has contributed elsewhere, the dynamic, dramatic music is an essential part of what makes this feature so enjoyable and engrossing. Really, wherever Ifukube is involved, one can often rely on a solid viewing experience. All told there's not much going wrong with this 1964 release. We can debate the precise lasting value in terms of the strength of the writing, but there's no faulting Tsuburaya, Honda, or anyone else as far as I'm concerned, and at length any discussion is one of minutiae more than substance. Flawed though it may be, 'Dogora' is a good time and holds up well, and for anyone receptive to such tokusatsu fare, I'm pleased to give it my warm recommendation.

The low scores on this one are baffling, especially coming from reviewers who you would think have seen a lot of these movies. One of the very best Kaiju, Dogora has so much going for it: an exceptionally likable cast, equally likable protagonists all working together toward a common goal, a pseudo rivalry bromance which works very well because of the chemistry between the two actors, beautiful matte paintings, miniatures, and set decor. The pacing is a bit slow at various points in the first third but then picks up and maintains throughout the duration. Like many Japanese sci-fi horror films of the era, this one mashes up those generic elements with a crime plot, in this case a heist story. It all works very well. The lunacy of the plot is always part of the fun with these movies, and that aspect of this one too, is highly entertaining.