The Bloody Pit #227 - SPACE MONSTER WANGMAGWI (1967)

SPACE MONSTER WANGMAGWI (1967) has been hidden from view for decades. Locked away in a South Korean film vault since its original release and unseen by giant monster fans outside of rare Seoul screenings, it qualifies as a newly recovered cinematic experience. But is it a movie that stands honorably next to the other giant monster movies of the 1960’s? Does it even compare well with 1967’s other Korean rampaging monster film, YONGARY, MONSTER FROM THE DEEP? Mark Maddox and I have thoughts. Exasperated thoughts. 

We discuss the film is painful detail and spoil it from head to toenail. We both suspect that one of the many reasons the movie wasn’t distributed outside its home country is that, unlike YONGARY, it was shot in black & white. Of course, the fact that the film looks like it had a $50 budget would have also mitigated against anyone wanting to give it a chance. Or spend the money for an English dub! The tone of the film is a strange combination of pre-marital anxiety and childish comedy sequences that play like poor improv bits. I argue that one of the few positive elements is the usually irritating punk kid character simply because he actually factors into the fight against the mildly destructive giant monster. His climb inside the ear canal of the creature is a unique sequence in these kinds of movies and is the best reason to see this below average example of the genre. Our advice is to not expect a forgotten classic and go with the flow. Luckily (?) it is available on YouTube so you can witness the madness. 

If you have any comments about this movie or any other film we have covered on the show thebloodypit@gmail.com is the place to send them. Thank you for listening. 

Trailer - STRANGE BREW (1983)

 

Dinosaurs Attack! - Cards

I really want an 'R' rated Pixar animated film made using this mad card series as the storyboards. ASAP!

 

What I Watched in December 2025

I’ve enjoyed both SISU films but they both make the same mistake that keeps them from being elevated to the upper echelon of action cinema. At a certain point the ever-escalating kinetic madness asks us to believe something that I simply cannot accept as grounded enough to roll with. Until that moment I’m fully onboard with the insanity and rooting for the main character and the film itself to maintain its level of grittiness and over-the-top violence until the end credits. But both films reach a point where my willing suspension of disbelief is shattered and I become just an observer curious about how things will end instead of an invested fan. I’m not sure, but I think they break my involvement at nearly the same point in their respective running times as if the filmmakers reach the final stretch and go too far on purpose. It’s a shame because, overall, I really enjoy them. I just wish they sustained their admittedly heightened level of credibility for the whole tale.  

The List

THE VIOLENT BREED (1984) – 3 (damn, this sucks)

ALIEN: ROMULUS (2024) – 8 (rewatch on Blu)

SISU: ROAD TO REVENGE (2025) – 7

WHOEVER SLEW AUNTIE ROO? (1971) – 6 (rewatch)

ESCAPE FROM NEW YORK (1981) – 9 (rewatch on Blu)

THE TATTOOED STRANGER (1950) - 6 (solid noir with some shaky acting)

KILL BILL: THE WHOLE BLOODY AFFAIR (2025) – 9

GRUMPY CAT’S WORST CHRISTMAS EVER (2014) – 4 (self-aware but it helps very little)

NEMESIS (1992) – 6 (the usual slightly confused but energetic Pyun action film)

ALIEN 3 (2003) – 8 (rewatch of the assembly cut on Blu)

SILENT NIGHT, DEADLY NIGHT (2025) – 7 (wow! A solid reinvention of the idea)

THE STRANGE CASE OF DR. FAUST (1969) – 5 (avant-garde swirl of ideas)

SANTA CLAUS (1959) – 5 (rewatch – I can’t call it good but I am fascinated)

THE HOUSEMAID (2025) – 7 (solid twisty thriller)

YOUNG SHERLOCK HOLMES (1985) – 7 (rewatch)

WAKE UP DEAD MAN (2025) – 9 (the best of the three?)

DITIRAMBO (1969) – 6 (bizarre Spanish detective tale)

THE DETECTIVE AND DEATH (1994) – 6 (Spanish tale of deceit and death)

TWO O’CLOCK COURAGE (1945) – 7 (Anthony Mann noir with more humor than expected)

 

Video - Spy Shadow (1967) Cartoon!

How have I never heard of this 60's cartoon before? If this episode is a good example, the show seems like a blast. Are there more odd little Saturday morning gems hiding out there that are nearly forgotten? 

Poster Art for INVADERS FROM MARS (1953)

 

Classic Krimi Poster Art

 

Perry Rhodan Cover Gallery

I really need to get back to this series.

 

Poster Art for JOURNEY TO THE SEVENTH PLANET (1962)

"We've got a job to do!"

 

The Bloody Pit #226 - 2025 Look Back!

We start 2026 with a new kind of episode – a look back at our favorite first views of 2025. Several requests for an annual wrap-up of this type came in, so I recruited John Hudson and Troy Guinn to provide a personal top five list for last year. The idea was to speak a bit about movies that we caught for the first time in the year regardless of when they were released. This allows us to talk about a number of mostly newer movies but some unexpected classics also show up as part of the discussion.

 

For the most part Troy and John stuck to the assignment as stated with only a couple of honorable mentions added to their list of five. But I came with a list that stretched toward twenty and I feel no shame! I saw a lot of movies last year and, although there were a number of clunkers, I was pretty pleased with 2025. Let the debating begin!

 

If you want to add your two cents or top five thebloodypit@gmail.com is the place to send them. We have a number of interesting movies up for episodes this year and we hope you enjoy the cinema paths we plan to tread. Thanks for listening!

 

Wild, Wild Podcast - STAGE FRIGHT (1987)

In this final episode of our Women in Italian Cinema mini-season, we focus on the unsung hero of Filmirage, Donatella Donati. She worked for many years with Joe D'Amato as a producer, production manager, screenwriter, script girl, and even set design on occasion. The most high-profile film she produced was StageFright, which also served as Michele Soavi's directorial debut after he had worked for Filmirage for several years.

So join Adrian and I as we discuss vital issues like why doesn't Donati have her own Wikipedia page? Is that really George Eastman under the owl head? And why did Quest for the Mighty Sword (Joe D'Amato, 1990) almost kill Filmirage?

We would love to hear from you about your favorite Italian female filmmakers, or your favorite Filmirage films.

Check out all the show related info at our LINKTREE.