Destroy All Monsters (1968) is a pinnacle of Toho’s daikaiju legacy, blending the studio’s best elements into an epic monster ensemble. While this review won’t spoil the ending, it does explore some key scenes and elements, so be aware there may be minor spoilers for parts of the film. Let’s journey through this nostalgic gem and uncover why it remains a beloved classic for fans of the genre.
The film’s opening scene, with its echoing countdown, immediately sets an eerie and suspenseful tone with its loudspeaker-style announcements, giving the scene an ominous and thrilling vibe. From the very start, Destroy All Monsters pulls you into its world of high stakes and sci-fi drama.
One of the standout aspects of this film is how futuristic and ambitious it feels. The rocket’s takeoff and landing sequences, for example, are strikingly similar to the operations of modern SpaceX rockets, showcasing the film’s visionary nature for its time.
The soundtrack is a powerhouse. Akira Ifukube’s compositions are energetic, urgent, and perfectly tailored to the film’s high-stakes narrative, as if the movie compiled all of Toho’s best musical moments into one epic score, elevating every scene to new heights.
The documentary-style introduction of Monster Island is captivating. As a child, the concept of a secluded island housing all the daikaiju was pure magic. Decades later, it’s hard not to draw comparisons to Jurassic Park, which tapped into a similar idea of a contained world of creatures.
The ways humans control the monsters on Monster Island—using clever infrastructure rather than modern tropes like force fields—are a nostalgic nod to the ingenuity of the era. As a kid, I was fascinated by the creativity and believability of these methods, and as an adult, they’re a delightful reminder of how inventive Toho’s team was.
Every time Anguirus shows up, I feel like he’s the most underused daikaiju in Toho’s arsenal. Yet, he’s appeared in numerous films and was Toho’s second monster creation, which gives him a special place in my heart. His scrappy, loyal personality shines even in a crowded ensemble like this.
The film wastes no time diving into the action. After the attack on Monster Island, the daikaiju suddenly appear all over the world, creating a thrilling sense of chaos and mystery. This rapid escalation hooks the audience and keeps the stakes high.
In a rare twist, Godzilla attacks New York. Few films in the franchise feature the King of the Monsters in this setting, with the most notable being the 1998 Hollywood adaptation. Seeing Godzilla in an iconic American city adds an epic, global feel to the narrative.
The bottle cap-shaped UFOs are both hilarious and charming, evoking nostalgic memories of candy from my childhood. And the miniature sets, from highways to trams, are so detailed that it’s heartbreaking to see them destroyed in the next scene. Toho’s effects team was unparalleled in their ability to make these worlds feel real.
The destruction of Tokyo, with its stunning miniature sets and painted backdrops, is breathtaking. The sunrise over the devastation adds a somber beauty to the scene and reminds us of the devastating attacks of WWII, blending tragedy with artistry in a way that only Toho could.
From today’s perspective, the portrayal of the female leads is a out of place. One is an evil alien, while the other spends most of the film under alien control, only to disappear once she’s freed. Meanwhile, the male heroes dominate the story. It’s a reflection of 1960s gender dynamics but worth noting as part of the film’s cultural context.
The top of the third act feels bright and pro-human, as the scientists regroup in their underground lair, dressed in clean yellow uniforms and making progress against the alien threat. This scene is a rallying moment, filled with optimism and momentum as humanity prepares for its final stand.
Destroy All Monsters is a masterpiece of the daikaiju genre. Its breathtaking miniatures, energetic music, and ambitious storytelling make it an unforgettable experience. Despite some quirks and dated elements, it’s a film that captures the imagination and stands as a testament to Toho’s creativity and legacy. Whether you’re a longtime fan or a newcomer, this is a must-watch for anyone who loves epic monster battles and classic sci-fi cinema.
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