Superman and the Mole-Men
For a low-budget effort thrown together as a way to recoup potential losses if the television series flopped, it turned out alright, and has aged about as you would expect.
For a low-budget effort thrown together as a way to recoup potential losses if the television series flopped, it turned out alright, and has aged about as you would expect.
It’s a competent, spicy, and occasionally surreal sci-fi film from the Atomic Age.
It observes humanity in the face of tragedy and grief and remains buoyant despite the weight of its subject matter.
The marketplace, the public cautiousness, the brothels—all feel legitimate, and give the ancient ghost story a solid platform upon which to unfold.
The film is wonderfully atmospheric, with a fog hanging over the city night and day.
Less ambitious than the likes of Rashomon or The Seven Samurai, Kurosawa’s small-scale samurai film nevertheless finds the director at the top of his game.
His limiting self-mythologizing has ended; he has accepted his past, and although his days are short, he can now live them in peace.
Once the letters started, everyone succumbed to the worst aspects of themselves, displaying latent capacities for evil.
It is an extended visual essay actually criticizing violence in film, pointing the finger at the audience who has collectively inched its way toward such a cinematic experience.