Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

BlazeLime Strong and Moving!

Claysaba Excellent, Without a doubt!!

Supelice Dreadfully Boring

Chung Mo Having seen this in Japanese on the big screen back in the early eighties and later on TV, I can say that it's pretty strange no matter what the US dub did to it. The best I can say however is the film is very entertaining in a bad movie way.The audience I saw it with at the Japan Society here in New York City laughed at a lot of the film and this included a number of Japanese. The strangeness of the film starts with the weird inclusion of Nostradamus as a way to explain the social commentary the film makers were clearly trying to get across. Why it didn't occur to them that Nostradamus would just turn the whole shebang into a big fantasy farce is only clear when you see the bizarreness that follows. Entire traffic jams blowing up from one car crash. New Guinea wildlife mutants. Motor cycle gangs gone suicidal and driving off cliffs. Japanese mobs rioting for rice. Scientific / paranormal explanations going hand in hand. A final apocalypse sequence that lasts for 15 minutes but is entirely made up as if the movie has become a documentary. The acting is very over the top sometimes and other times it's very, very restrained. There's a few "Speed Racer" type reaction shots that don't play well on live humans here in the US.There's a lot of SFX footage pulled from other Toho productions, The Submersion of Japan (Tidal Wave) and The Last War (1961!) being the obvious ones. However, the movie is so visually disjointed by the end that it doesn't really make a difference. It's interesting to compare this to other Japanese fantasy films of the same era that toss modern-day Japan into chaos. It seems that the consensus was the Japanese would loose their self-control and become a violent mob.The music is good in an unusual way and the pacing of the film is enough to keep you watching even though it's sheer idiocy (for a good cause, though).

Maciste_Brother People don't watch Last Days of Planet Earth (American title) with the right mindset. It's a surreal, absurdist experience. It's a movie that works in the subconscious. What you see is not what you're suppose to feel or get. In other words, it's not only about the end of the world but much more. On face value, the film doesn't seem to make any sense but in your subconscious, it makes sense. Only after watching the whole film and mulling over it a day or two, that the film's real intent will creep in your mind and hit you, whether you like it or not (and most people don't like what it says about them or society, and so they're very negative towards it).Nosutoradamusu no daiyogen is a masterpiece! A one of kind film experience. And the music score is one of the best I've ever heard.

emm We can expect more IMDb user coverage on LAST DAYS OF PLANET EARTH, and tons more that fall into the "schlock" category. And for a good reason! This one is about as bad as, say PLAN 9, and may just be the worst science fiction production imported from Japan. Why science fiction? Is it because Earth is under peril from natural and man-made disasters that is described in the prophecies of Nostradamus? This is a classic example of a plot used heavily in these movies, minus the seer's words. In fact, you can always expect ANYTHING to happen, making EVERYTHING go wrong in the plot without a trace. It all ends up as an in-depth documentary that focuses on the stages of mankind's existence in the final days, spoken by an overpaid voice actor who needs his lips glued with Mucilage. Read the Weekly World News and you'll soon find out that feeding on fear is such a silly idea after all. Anybody else want to comment?

Scott Andrew Hutchins This film is so powerful that it was successfully banned in its native country. Unfortunately, horrible dubbing and sound mix, commercial fade-outs and other tampering have cheapened the film into only a hint of its original brilliance. The film sports a unique score by Isao Tomita, which, for me, defines the essence of decline in the penultimate year of the 20th century we are now in. Unfortunately, bad choices in American narration cause erratic volume changes which decrease the effect. Critics attacked it for the distinctly seventies fashions which are, as predicted, back in vogue. The film was actually not written by Yasumi, but updated from his script for _Sekai Daisenso_ (_The Last War_) and credited to him out of respect. Perhaps if the film, which is minimal on narrative and seems a forerunner to the work of Godfrey Reggio, were given a widescreen and subtitled reissue (and what better time than this year), respect for the film would increase. It pulls out all the stops with disasters, including the pestilence of giant slugs (which are simply giant slugs, like though that plague India, not flesh-eating or blood-eating as detractors of the film would like you to believe) and plants that tear through subways (and no, they do not eat people as some reviews claim). Nature takes things back from the city, young people find solace in random sex, wanton drug use, and suicide. Traffic jams wreak havoc as people get out of control, food rations are torn away as people believe there are shortages, while luxury beef diets continue, and Nishiyama believes they are all related to the prophecies of Nostradamus. Bizarre effects ensue, like snow on the pyramids, and people's highest morals are challenged. What we have is a work of cinematic brilliance torn apart by an American distributor until what results becomes fodder for MST3K. Know what neurofibromatosis looks like?