If more Godzilla fans could get the broom out of their ass and actually enjoy the films rather than nitpick and dissect them under an electron microscope, they’d see that in its own way, for its own audience, Minya and Godzilla’s Revenge are as effective and important to the series as the original.
There was a period, brief but never the less real, when we paid to see television shows in the theater instead of watching them for free on, you know, television. This started back when some crafty producer would take a couple episodes of a TV show and splice them into a single movie — even…
Anyway, this leads to a lot of scenes of people walking down hallways and through vaguely futurist architecture, all while women in skimpy black uniforms of leather and… umm… is that cardboard?… stand at attention.
Pretty much the only reason this movie went into production was that someone noticed that had a lot of stuff laying around that was used on Brescia’s previous movies and figured they might as well squeeze another movie or two out of it.
That Ikarie was a high profile undertaking for the studio is clearly evidenced by the obvious expense that went into the film’s large cast, it’s for-the-time above average special effects and, above all, Jan Zazvorka’s production design.
Two-fisted astronauts, a swankadelic soundtrack, good looking women, pop art design, and a climactic sequence involving sexy nurses with machine guns fighting robots who shoot lasers out of their eyes.
Margheriti has to be credited for creating that rarest of rarities: a piece of pulp entertainment that delivers exactly what its title advertises.