Project Eden is meant to be nothing more than action-packed space adventure. It delivers in spades. The action is plentiful, the comedy mostly succeeds, and the characters are, while not exactly deep, certainly well thought out enough to make hanging around with them enjoyable.
Wouldn’t your space zombies movie be a lot cooler if it was set in one of those 60s style all-white, sleekly designed spaceships? Imagine all the surfaces onto which you could dramatically splash blood. There’s a reason John Woo set the finale of Hard Boiled in a hospital, you know.
They expect the planet to be frozen and full of good Uranus stuff like lightning and frozen hells and acid and such. They discover it’s actually a scene through which Father Christmas would come barreling on his sled, tossing gifts at our flustered adventurers as he zipped by.
For all its failings, Battle Beneath the Earth is a difficult movie to hate. In my case, this is partly due to it having the disarming quality of seeming like it was the result of someone watching me play army men on my bedroom floor when I was six and then making a movie out of it.
An expedition crew — comprised of four women and two men — heads out from the planet Cynro toward the unexplored planet Tem 4 in response to a mysterious distress call. Due to the length of the voyage, many months have passed by the time of their arrival, at which point the conveniently humanoid inhabitants of Tem 4 claim no knowledge of the signal.
Neon disco windchime nude dancing, and so many David Carradine buffalo shots per minute that to merely gaze upon them is enough to drive sane men mad.
It is simply a visual treat, and the amount of imagination apparent in every aspect of its design is a joy to behold, with a story that is solid and economical enough in its construction to easily survive instances of ideological lip service.
If the world was just and kind, then the sentence, ‘It’s a movie where Vincent Price stars as a madman who rules over an underwater society of fishmen prone to kidnapping scantily clad beautiful women,’ would indicate the existence of probably one of the greatest films ever made.
Merrick and Marina betray Hauer’s Wade and shoot him dead, presumably over the lack of judgment he demonstrates in choosing his outfit from the Glenn Fry ‘Smuggler’s Blues’ collection.
Ultraman was very popular in Thailand, and in 1973 Sompote Saengduenchai approached Tsubaraya Productions with the idea of co-producing a series of films that would team their heroes with figures from Thai folklore and mythology.