I watched Destroy all Monsters and I liked it. 3.5/5
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Released in 1968 and directed by Ishirō Honda, “Destroy All Monsters” is a quintessential entry in Toho Studios’ kaiju filmography. As the ninth installment in the Godzilla series, the film takes the concept of giant monster mayhem to an unprecedented level by featuring a multitude of iconic kaiju creatures.
The narrative is set in the future, envisioning a utopian Earth where all the Earth’s kaiju inhabitants are corralled and contained on Monsterland, a remote island in the Ogasawara archipelago. Under the watchful eye of the United Nations Science Committee (UNSC), the monsters coexist peacefully until a malevolent alien race, the Kilaaks, take control of the creatures and unleash them on major cities worldwide.
The strength of “Destroy All Monsters” lies in its spectacular showcase of kaiju battles on a global scale. With a roster that includes Godzilla, Mothra, Rodan, Anguirus, and many others, the film is a visual feast for kaiju enthusiasts. The destruction sequences, featuring the monsters wreaking havoc in cities like Tokyo, New York, and Moscow, are a testament to the creativity of the filmmakers and the advancements in special effects for the time.
While the film excels in delivering on its promise of monster mayhem, the human characters take a backseat. The human-centric narrative is serviceable at best, providing a framework to connect the various monster sequences but lacking the depth or engagement found in some of Toho’s other productions. The UNSC members, played by veterans like Akira Kubo and Jun Tazaki, are functional in their roles but don’t offer much in terms of character development.
One notable exception is the character of Kyoko Manabe, portrayed by the charming and talented actress Yukiko Kobayashi. Kyoko’s connection with the mysterious Kilaaks and her role in the unfolding events inject a personal element into the otherwise monster-centric plot. However, her character, like others, could have benefited from more extensive exploration.
The Kilaaks, as the film’s antagonists, are a departure from the usual earthly threats faced by the kaiju. Their mind-control abilities and advanced technology add a layer of intrigue, creating a different dynamic compared to the more familiar human-made monsters or alien invaders.
The film’s pacing is generally brisk, with director Honda maintaining a sense of urgency as the narrative unfolds. The soundtrack by Akira Ifukube, a stalwart composer in the kaiju genre, complements the on-screen chaos with its thunderous and iconic themes.
“Destroy All Monsters” occupies a unique place in kaiju cinema as a crossover event featuring a multitude of creatures from Toho’s extensive monster catalog. It is a celebration of the kaiju genre, leveraging the popularity of established characters to deliver a spectacle that resonated with audiences of its time.
In conclusion, “Destroy All Monsters” is a must-watch for kaiju enthusiasts and fans of the Godzilla franchise. Its significance lies not only in its monumental monster battles but also in its representation of the collaborative efforts of Toho’s iconic creatures. While the human elements may be secondary, the film succeeds in delivering a colossal and entertaining showcase of kaiju chaos. “Destroy All Monsters” remains a testament to the enduring appeal of giant monster cinema and the creative heights that the genre can reach.