1957·Science Fiction·1h 29m
7.0
★
In Japan, scientifically advanced invaders from the war-destroyed planet Mysteroid cause an entire village to vanish, then send a giant robot out to storm the city by night, after which they request a small patch of land on Earth and the right to marry earthling women, claiming to be pacifists. Mankind must decide whether to capitulate or to resist.
Directed by Ishirō Honda
japan
flying saucer
spaceman
alien
space
giant robot
alien abduction
alien invasion
kaiju
human vs alien
ray gun
tokusatsu
Trailer
IMDB
N/A
Cast
Kenji Sahara
Joji Atsumi
Yumi Shirakawa
Etsuko Shiraishi
Akihiko Hirata
Ryoichi Shiraishi
Momoko Kôchi
Hiroko Iwamoto
Yoshio Tsuchiya
Leader of the Mysterians
Takashi Shimura
Dr. Tanjiro Adachi
Yoshio Kosugi
Cmdr. Sugimoto
Susumu Fujita
Gen. Morita
Fuyuki Murakami
Dr. Nobu Kawanami
Yutaka Sada
Police Capt. Miyamoto
Hisaya Ito
Army Capt. Seki
Tetsu Nakamura
Dr. Koda
Crew
Ishirō Honda
Director
Takeshi Kimura
Screenplay
Akira Ifukube
Original Music Composer
Hajime Koizumi
Director of Photography
Tomoyuki Tanaka
Producer
Eiji Tsuburaya
Special Effects
Kuichiro Kishida
Lighting Technician
Eiji Tsuburaya
Visual Effects
Shigeru Kayama
Adaptation
Hector Berlioz
Music
Edvard Grieg
Music
Koji Kajita
First Assistant Director
Popular Reviews
29 reviews
Ddsha
7.0★ · 04/19/26
**Honda movies are always absolute peak, istg.
**
Bru, I’m such a M.O.G.U.E.R.A. glazer(it’s in my top5 fav kaijus if someone cares🥹), and seeing its original design made me love it even more, especially knowing how hard they upgraded it later in Godzilla vs. SpaceGodzilla. Honestly, it’s a crime we didn't get more screen time for ma boii, but i still enjoyed his moments.
What sets this apart from other Toho joints is that it’s not just "big monsters punching each other" while humans watch from the sidelines. This film shows humanity actually standing its ground. They aren't waiting for a savior, they’re using their own tech and grit to protect their home.
There’s that one scene at the start where the forest is burning down, idk if I’m the only one who noticed this or if it was intended, but when Joji tries to stop them and they’re like -
it felt like such a deep message about land and identity. Like, maybe it’s not even about the trees. Or maybe I’m just overthinking it haha.
Anyway, we gotta talk about how Honda lowkey was a feminist icon for his time. He was so "pro-women" and you can really feel it here. In the 50s, women were often just background characters, but Honda uses the Mysterians to show how messed up it is to treat women as a "breeding resource." When the aliens demand "wives" to fix their genetics, the humans' refusal isn't just about territory, it's about human dignity. It’s about protecting women as people, not assets.
BRO I SWEAR Akira Ifukube is such a GOAT. Without him, Kaiju cinema wouldn't have that "heavy" and iconic feeling. His touch is unmistakable from the first second. I’m still yapping about the Monster Zero March because it’s literally his best work, but the theme here is also such a banger.
P.S. I’ll never stop loving early Toho for how they focus on the horrors of nuclear weapons. It was a terrifying moment for humanity, and the whole essence of Kaiju IS nuclear trauma.
FUCK YOU MONSTERVERSE, TAKE NOTES.
**
Bru, I’m such a M.O.G.U.E.R.A. glazer(it’s in my top5 fav kaijus if someone cares🥹), and seeing its original design made me love it even more, especially knowing how hard they upgraded it later in Godzilla vs. SpaceGodzilla. Honestly, it’s a crime we didn't get more screen time for ma boii, but i still enjoyed his moments.
What sets this apart from other Toho joints is that it’s not just "big monsters punching each other" while humans watch from the sidelines. This film shows humanity actually standing its ground. They aren't waiting for a savior, they’re using their own tech and grit to protect their home.
There’s that one scene at the start where the forest is burning down, idk if I’m the only one who noticed this or if it was intended, but when Joji tries to stop them and they’re like -
"it’s our forest, we can't just let it burn."
it felt like such a deep message about land and identity. Like, maybe it’s not even about the trees. Or maybe I’m just overthinking it haha.
Anyway, we gotta talk about how Honda lowkey was a feminist icon for his time. He was so "pro-women" and you can really feel it here. In the 50s, women were often just background characters, but Honda uses the Mysterians to show how messed up it is to treat women as a "breeding resource." When the aliens demand "wives" to fix their genetics, the humans' refusal isn't just about territory, it's about human dignity. It’s about protecting women as people, not assets.
BRO I SWEAR Akira Ifukube is such a GOAT. Without him, Kaiju cinema wouldn't have that "heavy" and iconic feeling. His touch is unmistakable from the first second. I’m still yapping about the Monster Zero March because it’s literally his best work, but the theme here is also such a banger.
P.S. I’ll never stop loving early Toho for how they focus on the horrors of nuclear weapons. It was a terrifying moment for humanity, and the whole essence of Kaiju IS nuclear trauma.
FUCK YOU MONSTERVERSE, TAKE NOTES.
**Honda movies are always absolute peak, istg.
**
Bru, I’m such a M.O.G.U.E.R.A. glazer(it’s in my top5 fav kaijus if someone cares🥹), and seeing its original design made me love it even more, especially knowing how hard they upgraded it later in Godzilla vs. SpaceGodzilla. Honestly, it’s a crime we didn't get more screen time for ma boii, but i still enjoyed his moments.
What sets this apart from other Toho joints is that it’s not just "big monsters punching each other" while humans watch from the sidelines. This film shows humanity actually standing its ground. They aren't waiting for a savior, they’re using their own tech and grit to protect their home.
There’s that one scene at the start where the forest is burning down, idk if I’m the only one who noticed this or if it was intended, but when Joji tries to stop them and they’re like -
it felt like such a deep message about land and identity. Like, maybe it’s not even about the trees. Or maybe I’m just overthinking it haha.
Anyway, we gotta talk about how Honda lowkey was a feminist icon for his time. He was so "pro-women" and you can really feel it here. In the 50s, women were often just background characters, but Honda uses the Mysterians to show how messed up it is to treat women as a "breeding resource." When the aliens demand "wives" to fix their genetics, the humans' refusal isn't just about territory, it's about human dignity. It’s about protecting women as people, not assets.
BRO I SWEAR Akira Ifukube is such a GOAT. Without him, Kaiju cinema wouldn't have that "heavy" and iconic feeling. His touch is unmistakable from the first second. I’m still yapping about the Monster Zero March because it’s literally his best work, but the theme here is also such a banger.
P.S. I’ll never stop loving early Toho for how they focus on the horrors of nuclear weapons. It was a terrifying moment for humanity, and the whole essence of Kaiju IS nuclear trauma.
FUCK YOU MONSTERVERSE, TAKE NOTES.
**
Bru, I’m such a M.O.G.U.E.R.A. glazer(it’s in my top5 fav kaijus if someone cares🥹), and seeing its original design made me love it even more, especially knowing how hard they upgraded it later in Godzilla vs. SpaceGodzilla. Honestly, it’s a crime we didn't get more screen time for ma boii, but i still enjoyed his moments.
What sets this apart from other Toho joints is that it’s not just "big monsters punching each other" while humans watch from the sidelines. This film shows humanity actually standing its ground. They aren't waiting for a savior, they’re using their own tech and grit to protect their home.
There’s that one scene at the start where the forest is burning down, idk if I’m the only one who noticed this or if it was intended, but when Joji tries to stop them and they’re like -
"it’s our forest, we can't just let it burn."
it felt like such a deep message about land and identity. Like, maybe it’s not even about the trees. Or maybe I’m just overthinking it haha.
Anyway, we gotta talk about how Honda lowkey was a feminist icon for his time. He was so "pro-women" and you can really feel it here. In the 50s, women were often just background characters, but Honda uses the Mysterians to show how messed up it is to treat women as a "breeding resource." When the aliens demand "wives" to fix their genetics, the humans' refusal isn't just about territory, it's about human dignity. It’s about protecting women as people, not assets.
BRO I SWEAR Akira Ifukube is such a GOAT. Without him, Kaiju cinema wouldn't have that "heavy" and iconic feeling. His touch is unmistakable from the first second. I’m still yapping about the Monster Zero March because it’s literally his best work, but the theme here is also such a banger.
P.S. I’ll never stop loving early Toho for how they focus on the horrors of nuclear weapons. It was a terrifying moment for humanity, and the whole essence of Kaiju IS nuclear trauma.
FUCK YOU MONSTERVERSE, TAKE NOTES.
1
Maud Gone
6.0★ · 01/05/26
Can you believe I went a whole year without watching a new Honda movie?
Can you believe I went a whole year without watching a new Honda movie?
Baeaeggs
6.0★ · 09/03/25
Love how they made Mogera reappear only to drop a Markalite Cannon on him seconds later
Love how they made Mogera reappear only to drop a Markalite Cannon on him seconds later
Krookodilian
6.0★ · 01/09/24
MOGUERA still only the second best showa era toho kaiju that begins with mo and ends with ra
MOGUERA still only the second best showa era toho kaiju that begins with mo and ends with ra
Jocko
4.4★ · 11/01/23
“The misuse of developed science leads only to misery.”A new take on Honda’s anti-nuclear philosophy, this time more prophetic than allegorical. Basically name drops America and the USSR and says “if y’all nuke each other we’ll all be forced to fly around the galaxy looking for aliens to fuck.” Epic.
“The misuse of developed science leads only to misery.”A new take on Honda’s anti-nuclear philosophy, this time more prophetic than allegorical. Basically name drops America and the USSR and says “if y’all nuke each other we’ll all be forced to fly around the galaxy looking for aliens to fuck.” Epic.