Takamaru Sasaki Movies

Toho's bid to merge the Godzilla series with their popular alien-invasion films resulted in this entertainingly goofy entry. The plot involves the discovery of the mysterious Planet X in our solar system, leading to a joint U.S./Japanese space exploratory mission. The explorers bump into some aliens with no fashion sense whatsoever (even for 1965), who claim their planet has been under constant attack from the powerful Monster Zero -- also known to Godzilla fans as Ghidrah, the three-headed monster from the previous year. The aliens suggest a deal with the Earthlings: if they can "borrow" Godzilla and Rodan to help rid their planet of Ghidrah, they will cure all of humankind's diseases in return. Of course, this is actually an elaborate ruse to rid the Earth of its monstrous defenders, leaving it vulnerable to invasion. As always, it's up to a handful of resourceful characters -- including token American Nick Adams and series regular Akira Takarada -- to save the day and return Earth's monsters for the requisite city-smashing finale. After a slow start, this movie serves up a good portion of flashy pyrotechnics and noisy monster-grappling but lapses into several moments of deliberate silliness (particularly Godzilla's goofy Irish jig) and rampant use of ill-fitting footage from previous monster installments. ~ Cavett Binion, Rovi

Macbeth is reimagined as a samurai in feudal Japan in director Akira Kurosawa's classic adaptation of the Shakespearean tragedy. Familiar with Orson Welles's more faithful adaptation, Kurosawa chose to place a more personal stamp on his version by translating the events and characters to historical Japan. The equivalent of the tragic Scottish lord is Taketoki Washizu (Toshiro Mifune), a valiant warrior whose life is transformed by an encounter with a ghostly female spirit. The spirit offers several predictions, finally stating that Washizu will rise to power over the current warlord. When these predictions begin coming true, he and his ambitious wife decide to ensure his ascendancy to power by murdering the current ruler. As with Macbeth, Washizu achieves his goal, but his guilt and the suspicions of others soon bring about his downfall. The shift to Japanese settings is seamless, creating a historically accurate and resonant work with a culturally distinct visual style. The supporting performances also recall Japanese tradition, particularly Isuzu Yamada's creepily unemotional take on Lady Macbeth, while Mifune proves consistently gripping in the sheer intensity of his performance. The intelligence of Kurosawa's alterations retains the drama's tragic impact, especially during the conclusion, in which Washizu makes a memorable final stand against an advancing army. Impressive in every regard, Throne of Blood seems secure in the pantheon of superior film adaptations of William Shakespeare. ~ Judd Blaise, Rovi