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.
One of the most legendary of Taiwanese films, something glimpsed only in shoddy scans of old lobby cards and newspaper ads and long thought to be nothing more than a clever hoax with a dash of wishful thinking, was War God, a Taiwanese monster movie that pitted giant bug-eyed aliens against a gigantic general Guan Yu.
Somewhere amid Noble War’s colorful visual chaos is the story of the war between Hanuman and his army of monkeys versus the scoundrel demon Thosaganth, but Sompote Sands is way more interested in giant monsters kicking stuff over than he is in advancing the causes of religion.
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?