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Mothra

Mothra

Adventure · Science Fiction · Fantasy · 1961

Shipwreck survivors found on the presumably uninhabited Infant Island leads to a scientific expedition that discovers a surviving native population along with the Shobijin, tiny twin fairy priestesses of the island's mythical deity called Mothra. After the fairies are kidnapped by an exploitative businessman named Clark Nelson, Mothra sets out to rescue them.

Movie details

Mothra

“Mightiest monster in all creation! Ravaging a universe for love!”

1961 Adventure · Science Fiction · Fantasy 1h 41m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

Shipwreck survivors found on the presumably uninhabited Infant Island leads to a scientific expedition that discovers a surviving native population along with the Shobijin, tiny twin fairy priestesses of the island's mythical deity called Mothra. After the fairies are kidnapped by an exploitative businessman named Clark Nelson, Mothra sets out to rescue them.

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 Mothra?

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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Godzilla: Tokyo S.O.S.

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Names above the title

The people responsible.

Directed by

Ishirō Honda

Written by

Shinichi Sekizawa

Frankie Sakai

Frankie Sakai

Senichiro 'Sen-chan' Fukuda

Hiroshi Koizumi

Hiroshi Koizumi

Dr. Shin'ichi Chûjô

Kyōko Kagawa

Kyōko Kagawa

Michi Hanamura

Jerry Itō

Jerry Itō

Clark Nelson

Ken Uehara

Ken Uehara

Dr. Harada

Emi Ito

Emi Ito

Shobijin (Twin Fairy)

Yumi Ito

Yumi Ito

Shobijin (Twin Fairy)

Court is in session

Put Mothra 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.