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Wrath of Daimajin

Wrath of Daimajin

Fantasy · Horror · Adventure · 1966

In a mountainous region of Japan, Lord Arakawa kidnaps the men of nearby villages to use as slave labor, producing gunpowder from his sulfur pits. A band of young boys decide to rescue their enslaved fathers on their own.

Movie details

Wrath of Daimajin

1966 Fantasy · Horror · Adventure 1h 27m

Critical arithmetic

The consensus, allegedly.

IMDb

6.2 / 10

867 votes

TMDB

6.3 / 10

Community rating

External scores via OMDb · CC BY-NC 4.0. Values normalized for display; availability varies by title.

In a mountainous region of Japan, Lord Arakawa kidnaps the men of nearby villages to use as slave labor, producing gunpowder from his sulfur pits. A band of young boys decide to rescue their enslaved fathers on their 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 Wrath of Daimajin?

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

Kazuo Mori

Written by

Tetsurō Yoshida

H

Hideki Ninomiya

Tsurukichi

C

Chikara Hashimoto

Majin

S

Shinji Hori

Daisaku

M

Masahide Iizuka

Kinta

M

Muneyuki Nagatomo

Sugitatsu

Junichiro Yamashita

Junichiro Yamashita

Syôhachi

Tōru Abe

Tōru Abe

Hidanokami Arakawa

Court is in session

Put Wrath of Daimajin 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.