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The War of the Gargantuas

The War of the Gargantuas

Action · Horror · Science Fiction · 1966

Gaira, a humanoid sea beast spawned from the discarded cells of Frankenstein's monster, attacks the shores of Tokyo. While the Japanese military prepares to take action, Gaira's Gargantua brother, Sanda, descends from the mountains to defend his kin. A battle between good and evil ensues, leaving brothers divided and a city in ruins.

Movie details

The War of the Gargantuas

“A crisis, striking from the mountains and the sea! Greater Tokyo is the battlefield of death!”

1966 Action · Horror · Science Fiction 1h 28m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

Gaira, a humanoid sea beast spawned from the discarded cells of Frankenstein's monster, attacks the shores of Tokyo. While the Japanese military prepares to take action, Gaira's Gargantua brother, Sanda, descends from the mountains to defend his kin. A battle between good and evil ensues, leaving brothers divided and a city in ruins.

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 The War of the Gargantuas?

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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Names above the title

The people responsible.

Directed by

Ishirō Honda

Written by

Reuben Bercovitch · Takeshi Kimura · Ishirō Honda

Kenji Sahara

Kenji Sahara

Dr. Yuzo Mamiya

Kumi Mizuno

Kumi Mizuno

Akemi Togawa

Russ Tamblyn

Russ Tamblyn

Dr. Paul Stewart

Jun Tazaki

Jun Tazaki

General Hashimoto

Kipp Hamilton

Kipp Hamilton

Singer

Yoshibumi Tajima

Yoshibumi Tajima

Officer Hirai

Nobuo Nakamura

Nobuo Nakamura

Professor Kita

Court is in session

Put The War of the Gargantuas 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 Prestige Tourist

“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.