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Rodan

Rodan

Horror · Science Fiction · 1956

Mining engineer Shigeru investigates the disappearance and death of his fellow coworkers when prehistoric nymphs are discovered emerging from the mines. After an attack on the local village, Shigeru heads deeper into the mines only to make a more horrifying discovery in the form a prehistoric flying creature. Soon a second monster appears as the two converge in Fukuoka.

Movie details

Rodan

“Born from a volcanic crater, the crimson monster bird Rodan tramples the Earth”

1956 Horror · Science Fiction 1h 12m

Critical arithmetic

One number, for now.

TMDB

6.5 / 10

Community rating

Mining engineer Shigeru investigates the disappearance and death of his fellow coworkers when prehistoric nymphs are discovered emerging from the mines. After an attack on the local village, Shigeru heads deeper into the mines only to make a more horrifying discovery in the form a prehistoric flying creature. Soon a second monster appears as the two converge in Fukuoka.

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 Rodan?

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

Ken Kuronuma · Takeo Murata · Takeshi Kimura

Kenji Sahara

Kenji Sahara

Shigeru Kawamura

Yumi Shirakawa

Yumi Shirakawa

Kiyo

Akihiko Hirata

Akihiko Hirata

Professor Kyuichiro Kashiwagi

Minosuke Yamada

Minosuke Yamada

Mining Chief Osaki

Yoshibumi Tajima

Yoshibumi Tajima

Izeki

A

Akio Kobori

Police Chief Nishimura

M

Mitsuo Tsuda

Staff Officer Takeuchi

Court is in session

Put Rodan 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.