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Son of Godzilla

Son of Godzilla

Adventure · Science Fiction · Fantasy · 1967

Reporter Goro Maki stumbles upon scientists conducting weather experiments on Sollgel Island in the South Seas. He discovers the island is inhabited by giant mantis and a woman named Saeko who's been cast away since the death of her father. The pair soon find a helpless infant monster that Godzilla must adopt and learn to raise as one of his own.

Movie details

Son of Godzilla

“A great duel against a new monster by a parent-child combination!”

1967 Adventure · Science Fiction · Fantasy 1h 26m

Critical arithmetic

One number, for now.

TMDB

6.4 / 10

Community rating

Reporter Goro Maki stumbles upon scientists conducting weather experiments on Sollgel Island in the South Seas. He discovers the island is inhabited by giant mantis and a woman named Saeko who's been cast away since the death of her father. The pair soon find a helpless infant monster that Godzilla must adopt and learn to raise as one of his own.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Son of Godzilla?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Jun Fukuda

Written by

Shinichi Sekizawa · Kazue Kiba

Tadao Takashima

Tadao Takashima

Dr. Tsunezo Kusumi

Bibari Maeda

Bibari Maeda

Saeko Matsumiya

Akira Kubo

Akira Kubo

Goro Maki

Akihiko Hirata

Akihiko Hirata

Fujisaki

Kenji Sahara

Kenji Sahara

Morio

Yoshio Tsuchiya

Yoshio Tsuchiya

Furukawa

Susumu Kurobe

Susumu Kurobe

Meteorological observation plane captain

Court is in session

Put Son of Godzilla on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Popcorn Loyalist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.