Aundria talks about finding love in a hopeless place and Michael Matthews’ film rich with gnarly creatures and genuine heart.

Rafael Motamayor revisits 2008’s CLOVERFIELD and explains why a camera-shy Kaiju is so terrifying.

Larry Cohen’s extraordinary Q (1982) brought the winged serpent to New York City. Matt Wedge examines how the tale of the uptown Kaiju ties in with its Aztec roots and religion.

Two films sprung from the same idea, albeit in very different circumstances: GALGAMETH being a forgotten DTV monster flick, and PULGASARI a propaganda Kaiju film made under duress.

Gamera returns to more family friendly ways with GAMERA THE BRAVE. The latest reboot still packs a lot of fun, fights, and feelings—making it akin to an ‘80s Amblin Kaiju film.

Nacho Vigalondo’s under-appreciated 2016 film mirrors broken people awash in the chaotic wake of their own actions with the devastation caused by giant monsters.

Kiley Fox reveals how GAMERA VS. GYAOS’ giant flying space turtle of death that is a friend to children everywhere is closely linked to classic Asian folklore.

For his 50th anniversary, an over-the-top gauntlet was laid before Godzilla as the King of the Monsters went through greatest hits of fighting some of the best adversaries. Michael Scott revisits 2004’s GODZILLA: FINAL WARS.

Too strange to live, too rare to be destroyed…G.G. Graham writes about how bizarro cult film THE MIGHTY PEKING MAN is best when it forgets its supposed to be a KING KONG cash-in

Peter Melancon revisits Bong Joon-ho’s 2006 film THE HOST and he finds a lot of familial love amidst the slime.

Andy Vanderbilt looks at 1973’s divisive GODZILLA VS. MEGALON. Charming, goofy, and so much more—Andy writes about why he loves this Godzilla entry and its secret star, Jet Jaguar!

In which the 2017 cinematic POWER RANGERS forces the author to question his views on the world and whither lies his joy. Also there’s a large gold monster. So it counts.

Jeremy Lowe revisits 2007’s mockumentary BIG MAN JAPAN, from co-writer/director/star Hitoshi Matsumoto, and examines the confluence of celebrity, kaiju, and the personal toll that thankless jobs helping communities can have on individuals.

2018’s PACIFIC RIM: UPRISING is messy and unfulfilling, but has some genuinely good ideas and performances within it.