Shin Ultraman (2022)

Gotta give it to the 40-meter silver-shiny superhero Ultraman: He sure as hell doesn’t look 55! It helps that Shin Ultraman is a spit-polished reboot, following the similar sober treatment director Shinji Higuchi gave another kaiju legend in 2016’s Shin Godzilla.

A government agency, the S-Class Species Suppression Protocol (SSSP) works to protect the country against giant monsters, which have a habit of popping up everywhere. Through the eyes of new transfer Hiroko (Masami Nagasawa, Godzilla: Final Wars), we witness how SSSP reacts to the sudden appearance of a mystery metallic man (“Ultraman” to you and me) who emerges from the sky to kick the asses of such destructive creatures as an invisible horned thing that feeds off electricity and a lizardy whatsit with a whirring drill bit for a head.

Under the sneaky pretense of an alliance, an evil electromagnetic extraterrestrial named Zarab (voiced by Kenjirô Tsuda) warns officials against our hero and drafts an Ultraman Elimination Plan. Take a look and let’s circle back to see if we’re aligned, okay?

As fun as Shin Ultraman’s battle sequences are, what sucked me in was the oil-and-vinegar working relationship of go-getter Hiroko and her solitary-minded, no-nonsense partner (Takumi Saitoh, Japan’s Cube remake). They’re essentially the Mulder and Scully of this world — accurate, given the original Ultraman spun off from the Ultra Q sci-fi mystery TV series, a single-season wonder. Their problem-solving and office politics make for the sort of things to which Hollywood would give short shrift.

Almost inconceivable in this Marvel age, Higuchi brings his baby in at under two hours — partly because it’s not awash in mythology requiring viewers to have seen some untold number of movies and series to follow. Whether you have fond memories of running across reruns on your local UHF station (as I do) or you struggle to ID your Ultraman from your Infra-Man (also me, once upon a time), Shin Ultraman is constructed as intelligent, often rousing entertainment for all. It goes without saying the effects are first-rate, as the Toho studio has this style of flick down to a science. —Rod Lott

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Tales from the Apocalypse (2023)

Although Tales from the Apocalypse is a collection of shorts versus a proper anthology, its five stories share a factor: indifference. At least all but one look fantastic, and that odd man out serves up rust-colored desolation on purpose.

In William Hellmuth’s Gravity-esque Alone, the bunch’s best, the sole survivor of an exploded ship is marooned in a lifepod, sucked close toward a black hole by the second. As she nears certain doom, she converses with a cartographer who picks up her mayday signal. Coming to grips with possible death post-devastation also carries Damon Duncan’s Cradle, so stacking it atop Alone was not the wisest choice, even if it does have a cool robot spider.

Sporting the aforementioned layer of grime is Gabriel Kalim Mucci’s Lunatique, free of dialogue as an armored woman hunts a creature on a windy planet the color of dirt. From Susie Jones, the YA-influenced New Mars posits a future of forced marriages upon teens. Finally, Lin Sun’s Earth 2035 considers the difference between AI and humans: “Humanity,” says a doctor in a moment intended as Deep and Important, but lands as a pretentious punchline with the impact of a greeting card.

Nothing wrong with sci-fi being serious, but the contents of Tales from the Apocalypse (aka Episodes from Apocalypse, despite “apocalypse” being debatable) hold little wonder or imagination. On a purely technical level, they succeed with effects often superb. However, I can’t shake the feeling I was watching calling cards and demo reels rather than shorts where scripting merited as much attention. —Rod Lott

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Terrified (1962)

Part of the Crown International Pictures library, Terrified is one of those movies where 30-something teenyboppers carry a flashlight and ask “What was that?” In other words, I dug it, even though there’s not much to it.

Rumors abound of a ski-masked maniac haunting a nearby ghost town and committing various felonies and misdemeanors. He’s also known to make people lose their minds, turning them “into a slobbering oyster.” And yet the script gives characters wonky reasons to go check the place out, especially at night. A college student (Rod Lauren, Black Zoo) is writing a midterm on fear .. and gets some firsthand learning! A hostess (Tracy Olsen, Journey to the Center of Time) just wants to talk to caretaker Crazy Bill … and finds him impaled to death on spikes!

In his final directorial gig, Lew Landers (1935’s The Raven) wrings all the mileage possible from the ghost town setting. With rotted floors and flooded rooms, its wooden buildings function as traps for our madman’s unlimited use. His all-black balaclava presages several slashers, from 1978’s The Toolbox Murders to 2009’s The Collector, but don’t go looking for gore.

Terrified’s lack of names in the cast (the biggest, Denver Pyle, comes fifth-billed as the sheriff) should work to its advantage, but the killer’s identity is simple to surmise. —Rod Lott

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The Dogman Triangle: Werewolves in the Lone Star State (2023)

File under “news to me”: Sightings of a cryptid called “the Dogman” triangulate among a 700-square-foot slice of Texas. Seth Breedlove’s Small Town Monsters shingle is on the case, offering yet another speculative documentary with high production values and no smoking gun.

For The Dogman Triangle: Werewolves in the Lone Star State, we follow Aaron Deese, who literally wrote the book on the subject, and Shannon LeGro (from Breedlove’s On the Trail of UFOs: Dark Sky), an investigator going in cold. Firsthand and secondhand witnesses describe an “instantly terrifying” creature standing upright with glowing eyes and bloody teeth. Expert Lyle Blackburn (Breedlove’s Skinwalker: The Howl of the Rougarou) opines the Dogman could be a hairless bear, thanks to mange.

Momo: The Missouri Monster, the first Small Town Monsters doc I saw, spoiled us with its Boggy Creek-style reenactments. Here, interviews are supplemented largely with drawings. Evidence consists of photos of footprints; an audio-only clip of howling; and a cataract-blurry, low-contrast video of Something Moving in the Distance. Again, nothing verifiable or scientifically sound — but that’s not the point of these projects.

The Dogman Triangle ends with an onscreen quote from H.P. Lovecraft, which is cool, set in the Papyrus font, which is not. —Rod Lott

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The Tank (2023)

Although made in New Zealand, The Tank is set on the coast of Oregon, U.S. of A. There stands a dilapidated house Ben has inherited from his late mother. Since he never knew it existed, Ben (Matt Whalen, Hugh Hefner in TV’s American Playboy) drives up with his wife (Luciane Buchanan, TV’s The Night Agent) and their daughter (Zara Nausbaum) to see the property.

Accessible by movable tile in the yard is a dark, spacious well with nipple-deep water. And, as they come to find, an oily, amphibious, turd-shaped creature with a vaginal mouth baring teeth like stubby needles. As played by circus performer Regina Hegemann in a suit, this thing keeps The Tank from sinking and viewers on their toes; CGI simply would immediately neuter the suspense that writer/director Scott Walker (The Frozen Ground) skillfully builds.

The monster’s attacks are forceful and furtive, sometimes stemming from a crouch like a spider, waiting to pounce. Scenes where characters slosh through the titular tank prove especially effective, as if Jaws were in an enclosed space. Er, let’s make that Jaws 2, lest you read that as a top-to-bottom endorsement. Walker hasn’t built The Tank to perform like a lightning-bolt blockbuster; it’s a slow burn that runs hot when it needs to. Remember, patience is a virtue. —Rod Lott

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