Mars Men kicks off with a little kid stumbling upon a hidden cave in which he finds a small statue of Yud Wud Jaeng. The kid insists on calling him “Hanamajin”, and the rest of the cast—following that kaiju movie rule that everybody has to follow the 10 year old’s lead—follows suit. Even Yuk Wud Jaeng, when he shows up, does this.
The failure of A Chinese Ghost Story: The Animation wasn’t solely in the American arena, either. If Tsui Hark had been hoping to kick off an era of new Chinese animation, he didn’t pull it off.
Kaiju films were old hat in Japan by the 1970s, but elsewhere in Asia the giant monster film industry was only just getting going. Inspired by Japanese movies like Godzilla and, even more so, television shows like Ultraman and Kamen Rider, aspiring (or canny) filmmakers (or hucksters) in Thailand, Hong Kong, and Korea decided they…
Sompote Sands is one of those figures in cult cinema who casts a long shadow. Granted it’s a shadow that twists around and warps into a demon like Calibos’ shadow in Clash of the Titans, but it’s a shadow never the less. Regarding the origin story of this supremely interesting and bizarre film maker, that…
Da Khwar Lasme Spogmay is one of those cult movies that’s much more fun to read about than actually watch. It’s also much more fun to write about than actually watch.
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.
What better place for poorly realized grandiosity wrapped in pompous claptrap and aspirations of greatness than a big, expensive sci-fi CGI film based on a supposedly important comic book by a French guy?