Review: Transmorphers: Fall of Man

Transmorphers: Fall of Man (US-2009; dir. Scott Wheeler)


Somewhere midway along the continuum between “Good” and “Bad” in the subgenre where giant robots are depicted as alien invaders lies the 2009 Asylum film Transmorphers: Fall of Man. Shadowing Bay’s Transformers and Transformers: Revenge of the Fallen in its title and the (limited) transformational qualities of the alien mechanoids, the film also manages to echo elements of the Terminator films, as an ex-soldier becomes, John Connor-like, the leader of an underground group of survivors.


Transmorphers: Fall of Man stars Bruce Boxleitner of Babylon 5 fame, here playing an ordinary cop who gets caught up in a fight against invading hunks of animated metal. Boxleitner brings a certain professionalism to the proceedings, though his performance is largely unexciting — which isn’t inappropriate as before too long his “lead” status is overtaken by Shane Van Dyke’s ex-soldier — an unlikely “world expert” in drones and robotic warfare, we’re told. Jennifer Rubin gives an eccentric performance as Dr Jo Summer, in a role that keeps drifting off into irrelevance. Other actors, especially Alana DiMaria as the cop’s noticably pink daughter Madison, do a serviceable job with limited potential. The actors aren’t really a problem.


Ostensibly, Transmorphers: Fall of Man paints a vast, apocalytptic panorama as the alien robots descend from space, cripple human communication networks, defeat the military, destroy cities and crush humanity, reducing it (in a largely undramatised fashion) to groups of ragtag resistance fighters hiding in the tunnels beneath an urban wasteland — this being the future depicted in the first Transmorphers film. I say, “ostensibly”, because the final result doesn’t feel apocalyptic.

For me the real problem is Shane Van Dyke’s script, which never properly adapts itself to deal with the discrepancies of scale left in the wake of the inevitable lack of funds that is the base line of most Asylum blockbuster-style films. Though some critics of The Asylum see the company’s films as cynical — exploitation of the worst kind — more often their chief problem is the inability to fully reconcile ambition with budget. Yet ambition in itself is a honourable thing, surely.

The film begins promisingly as a series of small-scale incidents with larger implications. There’s an effective sequence in which a character who persists in using her cellphone while driving is killed by the mysteriously morphing object itself — unexpectedly proving the maxim that using your phone while driving is a Bad Idea. Similar is the moment where an obnoxious driver is thrown from his car by the suddenly sentient vehicle. An effective car chase sequence between the cop and the self-motivated car leads to the first revelation of What Is Going On for many of the less perceptive characters. Thereafter alien robots begin plummeting to Earth, people die and those who realise what’s going on are considered crazy until it all comes into the open in a vaguely apocalyptic fashion.


After that, however, things get patchy. In the earlier scenes director Wheeler shows what can be done on a small budget, creating a sense of growing doom and offering a visual expansiveness that at times looks quite classy. There’s even some relatively telling CGI that is enhanced by the small-scale perspective of the storyline at this point. What is harder to do on a small budget is directly create a convincing sense of large-scale action. As our heroes are forced to fight back and the apocalypse spreads, credibility becomes strained beyond breaking point. We can’t help but notice that the military of the world’s mightiest nation seems to be represented by maybe a dozen soldiers with guns and that the destruction is rather minimal. Even the appearance of a very big robot is spoilt by lack of perspective given to it as we mostly see it outlined against a blank sky — not, during its much of its main rampage, in relation to the buildings or the humans. On top of that, the world is curiously devoid of the masses even before the robots get a chance to wipe them out. There’s no panic, no effective visualisation of the inevitable chaos and destruction. From this point on, the “apocalypse” becomes something we’re told happened and we don’t get to convincingly see.

It seems to me that if you have a limited budget you must adjust the script to accommodate it. You don’t tell the story of those who are supposedly at the centre of the action. You tell the story of folk who are, say, on the edge of the conflict, so that you can suggest what you can’t afford to show. When your characters are supposed to be in the thick of things suggesting those things just doesn’t work. Instead conviction is destroyed and the audience’s critical faculties take over.

It’s also a good idea to have a tightly unified plot. The dramatic focus of Van Dyke’s narrative through-line for Transmorphers: Fall of Man is all over the place, changing direction three or four times before leaping from the climactic moment when the heroes save the day to an immediate “humanity is doomed” scenario that seems to come out of nowhere. The classical unities — of action, place and time — were espoused by Aristotle long ago as essential for creating effective drama. His tenets may not work in the context of blockbuster Hollywood films (not without severe modification anyway), but they are certainly worth remembering as limited budgets make restrictions inevitable.

So, no, Transmorphers: Fall of Man isn’t what I’d call a successful film. I wasn’t bored by it and it is pretty good by low-budget standard, but it could have been so much better if it had managed to contain its ambition within a carefully constructed storyline instead of trying to fudge its way past limitations hoping that no one would notice. Not a complete failure, though, it comes over as much glossier and more expansive than its predecessor, with good production high-points rising up from among the low ones. But those who found Transformers: Revenge of the Fallen overblown and indulgent are unlikely to see Transmorphers: Fall of Man‘s pared-back apocalypse as an effective alternative.


Addendum 1: The Origins of Giant Robot Cinema

Robots form a significant subset of the giant monster genre, from the first giant-rampaging-robot flick, The Mechanical Man [aka L’Uomo Meccanico] (Italy-1921; dir. André Deed), in which the mad-scientist’s robot wasn’t all that big — through to this year’s blockbuster Transformers 2: Revenge of the Fallen (US-2009; dir. Michael Bay), where the alien robotic lifeforms get more and more massive as the plot disappears. Leaving aside the primacy of Karel Čapek’s 1921 play  R.U.R. (Rossum’s Universal Robots), where the term “robot” was first coined, a major component of the giant robot subgenre is Japanese mecha, which in turn was influenced by the Martian machines of H.G. Wells’ War of the Worlds and (possibly) assorted science fiction stories from the heyday of the pulps, including Robert A. Heinlein’s classic Starship Troopers (with its descriptions of piloted battle armour). Most significantly, however, it can trace its direct origins to Mitsuteru Yokoyama’s 1956 manga Tetsujin 28-go [later incarnated as Gigantor] and to the work of Go Nagai.

In full-blown mecha, the huge machines are controlled by biological pilots. Animator Go Nagai, whose work helped define the genre, once commented:

I wanted to create something different, and I thought it would be interesting to have a robot that you could drive, like a car. (Wikipedia entry)

The result was the hugely influential Mazinger Z.

Later, of course, the alien robots of Transformers would abandon the idea of a pilot by becoming independent lifeforms but would retain the car part of the equation by spending a fair amount of time disguised as vehicles of various kinds.

Addendum 2: An Example of the Giant Robot as Daikaiju

Another significant early film in the giant-robot-as-giant-monster subgenre is Kronos: Destroyer of Planets (US-1957; dir. Kurt Neumann). In this scifi exploitation flick a huge, non-humanoid machine arrives from outer space and begins pounding its way across the cities of the world, consuming the world’s energy. Neumann didn’t have the budget for full-on daikaiju eiga [giant monster film], but he certainly had the vision. Kronos is like a skyscraper-sized animated box with pretensions to being Godzilla, trashing its way through city-scapes with considerable mechanical, and metaphorical, glee. Somehow the inadequacies of the city-smashing SFX of Kronos don’t undermine the sense of apocalyptic danger conveyed by the film as a whole. Odd that, and maybe worthy of study by contemporary low-budget filmmakers.

Posted in Apocalypse, Review, Robots | 1 Comment

Weekend Fright Flick: Skeleton Dance, La Bicha, Miracle Fish

Welcome, ladies and gentlemen, to Undead Backbrain’s Weekend Fright Flick.

First off, a cartoon. “The Skeleton Dance” (1929) was directed by Walt Disney but created by Ub Iwerks as chief animator. Iwerks was a frequent associate of Walt Disney who is also responsible for one of my favourite cartoons, “Balloon Land” (1935), featuring the very sinister Pincushion Man. “The Skeleton Dance” was the first of Disney’s “Silly Symphonies”.


The clock strikes midnight, the bats fly from the belfry, a dog howls at the full moon, and two black cats fight in the cemetery: a perfect time for four skeletons to come out and dance a bit.

bichaNext, a faux trailer for a film titled La Bicha (Spain-2006; short [1:47 min]; dir. Paco Rocha), which works as a short film in its own right.  It was nominated for Jury Award for Best Animation Short Film at ’06 Edition of “Notodofilmfest, Festival Jameson de Cine Destilado”. Script is by Juan Fernando García and Paco Rocha, based on and idea from J. F. García and Paco Villanueva, with sound, editing and post-production by Juanjo de Latorre.


The trailer for a 1968 Spanish movie based upon the dropped atom bomb incident two years before on the Palomares Coast. Born of the radiation, a giant reptile rises from the sea.

Our main feature this week is Miracle Fish (Australia-2009; short [17:42 min]; dir. Luke Doolan). It has won several awards, including the BAFTA/LA Award for Excellence.


Eight-year-old Joe has a birthday he will never forget. After friends tease him, he sneaks off to the sick bay, wishing everyone in the world would go away. He wakes up to find his dream may have become a reality.

Posted in Animation, Cartoon, Giant Monsters, Weekend Fright Flick | 2 Comments

Evangelion Re-Build

Like many, I became rather obsessed with the ultimate mecha-kaiju crossover series Neon Genesis Evangelion in its multiple incarnations and offshoots (including its still-running manga version by artist Yoshiyuki Sadamoto), as its creators (especially writer/director Hideaki Anno) fought with inadequate funding in a Quixotic desire to get the ambitious story to where they wanted it to be. Despite funding limitations and some corner-cutting, the metaphorically (and metaphysically) complex show worked, the limitations were arguably used as stylistic and thematic drivers, and offered a unique and profound experience that was like nothing else.

Luckily, whether viewers understood what was happening or not, the show was a great success, especially in retrospect, which allowed Anno and colleagues to progressively toy with it.

Now, of course, the story of  Shinji Ikari, Asuka Langley Soryu, Rei Ayanami and the other members of Nerv — as they struggle against an invasion of monstrous “Angels” using huge bio-mechanical “fighting machines” called EVAs — is being re-build. The story is being re-produced as a series of better-funded films, two of which have appeared so far: Evangelion: 1.0 You Are (Not) Alone [aka Evangerion shin gekijôban: Jo] (Japan-2007; dir. Masayuki, Kazuya Tsurumaki, Hideaki Anno) and Evangelion: 2.0 You Can (Not) Advance [aka Evangerion shin gekijôban: Ha] (Japan-2009; dir. Masayuki, Kazuya Tsurumaki). More are imminent.

Evangelion_Main Poster_n

I’ve been waiting for the first film to appear on DVD in the West, and though initially advertised as available quite some time ago, it never actually appeared then. I assume this delay was caused by a change of plans in the marketing department or some such thing, as it was subsequently given a cinema release (albeit limited) in the States. It opened on July 17. Anyway, here is the trailer for English language North American release version:

The DVD release is due on November 17, 2009. I think this will be one I want on Blu-Ray.

Meanwhile, for the record, here is the trailer for Evangelion 2.0: You Can (Not) Advance:

Posted in Animation, Apocalypse, Daikaiju, Giant Monsters, Mecha, Robots, Update | 2 Comments

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Recon 2023: The Gauda Prime Conspiracy

I haven’t heard of this one before, but it has a giant monster in it — a giant monster with large chicken feet. Could it be the Giant Space Chicken himself?

Um, no …. probably not.

Recon 2023: The Gauda Prime Conspiracy (Canada-2009; dir. Christian Viel)



After 23 years of a grueling intergalactic war, humanity is about to launch the biggest coordinated attack of its history in order to take a final stand against the Ma’hars invaders. But in order for that mission to succeed, the Ma’hars main weapon must be destroyed. Dispatched to the treacherous deserts of Gauda Prime, forced to team up with a crack team of android commandos, Lieutenant Sharp and his team must seek and destroy the Ma’har weapon before the attack is launched or all is lost.

Political intrigues and manipulations will prove as challenging as the wild fauna populating Gauda Prime but Sharp and his team are determined to provide humanity a fighting chance against the deadly Ma’har armada.

It appears to be a sequel to Recon 2020: The Caprini Massacre [aka Power Corps] (2004) and Recon 2022: The Mezzo Incident (2007), both by the same director. The latter features a city of cyborgs.

Posted in Film, Giant Monsters, News, Science Fiction | 1 Comment

A New Wave of Korean Cinema

South Korea has definitely become a key player in certain film genres.

It has succeeded big-time in producing excellent, claustrophobic ghost films such as Sorum [aka Goosebumps] (South Korea-2001, dir. Jong-Chan Yun), Phone [aka Pon] (South Korea-2002; dir. Byeong-ki Ahn), The Uninvited [aka Sainnyong Siktak] (South Korea-2002, dir. Su-Yeon Lee), A Tale of Two Sisters [aka Janghwa, Hongryeon] (South Korea-2003; dir. Ji-woon Kim), Spider Forest [aka Geomi sup] (South Korea-2004, dir. Il-gon Song), The Red Shoes [aka Bunhongsin] (South Korea-2005; dir. Yong-gyun Kim) and many more. Though Korean giant monster films aren’t as common, it did give us The Host [aka Gwoemul] (South Korea-2006; dir. Joon-ho Bong) — and we might want to count the less-successful but undeniably spectacular D-War [aka Dragon Wars] (South Korea-2006; dir. Hyung-rae Shim) and the new giant pig horror Chaw (South Korea-2009; dir. Jeong-won Shin) as well.

But what about disaster films? With Emmerich’s über-apocalyptic epic 2012 on the horizon, what has Korea to offer in this regard?

The Korean film industry’s attack on Hollywood’s dominance in the field of SFX-heavy disaster films began in July with the release of Haeundae (South Korea-2009; dir. Je-gyun Yun) in its home country, where it became more than the most expensive Korean film ever made, breaking box-office records, out-performing Harry Potter and the Half Blood Prince and only being exceeded in tickets sold by Bay’s mega-robot trashfest Transformers 2.


Its success perhaps lies in scenes such as these (click on them for full effect):



From all reports, however, while the SFX are spectacular and seeing South Korea’s most famous holiday resort trashed by a giant wave is no doubt a big drawcard, it is the human drama (tinged with comedy) that has endeared the film to its key audience. As the poster above and the trailer below suggest, the approach taken is a very humanistic one and it is the audience’s ability to care about what’s going on that makes a film more than a passing visual confection — something that Hollywood blockbusters have too often forgotten of late.

Anyway, Haeundae has just opened in the US, riding the coat-tails of its hometown tsunami-ing of the box-office in South Korea. It will be interesting to see how it fares.

SciFi Japan has just posted a comprehensive and typically insightful examination of the film’s genesis, development and prospects, with lots of pictures.


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Collecting Psychos

A while back, I was asked by Benjamin Szumskyi — editor of books on horror writers as well as founding editor of the journals Studies in Fantasy Literature and Studies in Australian Weird Fiction — if I would contribute to his latest endeavour, a book of critical essays on Robert Bloch.

Over the years I’ve read stories by Bloch and watched films that he scripted, but I can’t say I’m anything resembling an authority on the man’s work. Not having time to get up to speed, I declined. Undeterred, Ben asked if I’d consider writing a Foreword to the book instead. This seemed like a reasonable alternative, so I agreed and then began to think about it. I started out writing something fairly typical — a flat descriptive piece that ticked off the requirements: Bloch the crime/horror writer, Psycho, his work in cinema, Jack the Ripper, the Lovecraft legacy… To tell you the truth it felt pretty dull. So I tossed it and did something a bit more left-field.

Instead of a “real” Foreword, I ended up writing a piece of fiction in the form of a Foreword. It was inspired by a famous Bloch quote, one often falsely assigned to Stephen King:

I have the heart of a child. I keep it on a jar on my shelf.

It begins like this:

Let me tell you a story about Robert Bloch. It’s also about two people who were central to his development as a writer of the Weird. Only some of it is true.

It’s a little known fact that at one point the world was changed radically and all that we knew ceased to be, replaced by a reality that was stranger and more dangerous than anything that had preceded it.

This apocalypse happened because of H.P. Lovecraft — at least at first — though it began somewhere in a future time, a time when the bones of the dead sang and anyone with the ear to hear the music could seek out the dead and listen to their unliving ballads.

As a piece of fictional non-fiction, it ticks off all the afore-mentioned Bloch requirements and metaphorically seeks to encapsulate all that makes Bloch as significant and interesting as he is. It’s just that beyond those vagaries, it’s all lies. Like all fiction.

And history for that matter.

Oh, yes, I should add it ends on a pun.

The Book:


The Man Who Collected Psychos: Critical Essays on Robert Bloch, edited by Benjamin Szumskyj, with a Foreword by Robert Hood, is now available from McFarland.

ISBN 978-0-7864-4208-9
Notes, bibliography, index
262 pp. • softcover 2009
Price: US$35.00

Click here to buy a copy.


The author best known for his fictional cross-dressing serial killer Norman Bates in Psycho has seen little critical review of his work. These 12 essays examine Robert Bloch’s novels, short stories and life, as well as the themes and issues explored in his influential canon. Bloch’s fascination with killers, man’s inhumanity to man, the dichotomy of tragedy and comedy, and his contributions to screen adaptations of his work are here covered by leading scholars of fantastic literature. The volume charts the growth of Robert Bloch from a writer of amateur pastiches to an acclaimed author bridging the gap between H.P. Lovecraft and Stephen King.


  • Robert Bloch: The Psychology of Horror — Steve Vertlieb
  • A Literary Tutelage: Robert Bloch and H.P. Lovecraft — S.T. Joshi
  • Lessons from Providence: Bloch’s Mentors, Bloch as a Mentor and Bloch and Fandom — Phillip A. Ellis
  • The Lighter Side of Death: Robert Bloch as a Humorist — Darrell Schweitzer
  • The Twisted World Inside Our Skulls: The 1950s Crime and Suspense Novels of Robert Bloch — Leigh Blackmore
  • Yours Truly, Daniel Morley: An Examination of Robert Bloch’s novel The Scarf — John Howard
  • The Keys to the Bates Motel: Robert Bloch’s Psycho Trilogy — Scott D. Briggs
  • “Better the House Than an Asylum”: Gothic Strategies in Robert Bloch’s Psycho — Rebecca Janicker
  • Ripping Good Yarns: Robert Bloch’s Partnership with Jack the Ripper — Randall D. Larson
  • Robert Bloch and His Serial Killers — Philip L. Simpson
  • Hell Is Other People: Robert Bloch and the Pathologies of the Family — Joel Lane
  • Programming Bloch: The Small-Screen Career of Psycho’s Creator — Matthew R. Bradley

This is an excellent book on the topic and you all need a copy. The piece of oddball fiction from me is a fairly insignificant bonus.

Posted in Books, Horror, Non-fiction, Stories | 1 Comment

Giant Egg Attack!


Every country should have its own national cinematic giant monster, right?

Japan has… well, lots of them, but the High Monarch of the bunch is of course Gojira [aka Godzilla]. The US has also been regularly tormented by mega-fauna on film, but the King is still Kong, even if he’s given rise to considerably fewer films than Godzilla. The UK is a bit short on when it comes to giant beasties (hey, it’s a small place), but they do have Gorgo — a Godzilla-inspired critter, no doubt, but still undeniably British. India offers quite a few cinematic giants, often divinities (and demons) in human form, but I’ll plug for the multiheaded mega-cobra incarnation of the goddess Devi as nicely appropriate. Hong Kong? How about Hsing Hsing wang — the Mighty Peking Man.

Elsewhere it’s pretty patchy. Denmark has Reptilicus, even if they might prefer not to trumpet the fact. Italy has tried its hand at giant crocodiles, snakes, sharks, spiders, aliens from the deep, but none of them feel very iconic. But how about Caltiki, the Undying Monster? Not a city-stomper maybe, but a large blob of a beastie, in a film that is certainly Italianate in its aesthetics. North Korea’s national giant has to be Kim Jong-Il’s Pulgasari. South Korea has the little-seen Space Monster Wangmagwi, and good ol’ Yongarry — either of which could qualify, though the Host has rather eclipsed them both in recent times. Thailand’s giant monster probably should be a crocodile or a snake, given how often giants of these species turn up — but an iconic monster should have a name and some sort of nationalistic symbolic resonance and Garuda more than fills the bill there.

I can’t think of a cinematic giant monster icon for Australia, despite various giant croc films — and the brief cameo by a giant kangaroo in Welcome to Woop Woop doesn’t seem all that significant. If someone ever films Richard Ryan’s novel Funnelweb, that would be a big step in monsterfying our rather iconic arachnids. Until then maybe we should adopt Razorback — a really big boar.

Anyway, I digress. Until now it can’t be said that Norway has had a national giant monster [on film]. But that may be about to change. Two Norwegian musicians, Geir Are Mo and Jan R. Bakken, have taken a step toward institutionalising a national giant, by creating a trailer for “Norway’s first giant monster film”.

The film is called Giant Egg Attack!

Unfortunately, however, the film doesn’t actually exist at the moment. Says Geir Are Mo:

Yes, the trailer was just a faux. But I will make more videos of it [The Egg] in the future.

I’m actually a musician and me and a friend [Jan R. Bakken] have a band to make silly and weird music just for the fun of it. At one point it all evolved into a [pseudo] religion, made up out of dumb lyrics and themes, where we were supposed to pray to forks (yeah, the thing you eat with. In Norway, it’s called Gaffel). Later I recorded a song called “The Mortal Egg That Eats Me”. (If you’re interested, you can find almost all the songs here

Anyway, as a joke we decided to make the Eggs a mythical gigantic creature in the “gaffismic religion” we created — so that’s where it all started. We later thought about how cool it would’ve been if it was in a giant monster movie. So last summer [Jan] came over to my house. We filmed a few shots around the farm where I live and later that night I finished the trailer.

Listen to: The Mortal Egg That Eats Me

Creating the Egg:

The trailer gained such a positive response that Geir has started to think that he’d like to make more:

You see, I got so many nice comments back from that trailer that I decided to continue making short videos with the Egg. Actually I’m thinking of doing one after this weekend if I find a good location and other stuff. We’ll see.

So can we expect some actual Giant Egg shorts, perhaps even the Egg character in a feature-length film?

… Well yeah, I will make lots of shorts with help from [Jan]. If we ever make a movie I won’t use that many of the shorts though. I will most likely make lots of new ones. Of course it’s not 100% sure there ever will be a feature-length film but if people seem to like the shorts, I will definitely think about it more seriously!

I’ve named the shorts that are coming soon “The GEA Series” (The Giant Egg Attack Series). If we ever make a feature-length film, The Giant Egg Attacks will most likely be the title.

So Geir suggests that everyone subscribe to the Gibbering Films YouTube site, where he will post whatever shorts he and Jan make. Subscribe, comment below or on his YouTube site and let him know if you’re keen to see more of his Giant Egg!


Meanwhile, we’ll let him explain in what way his Egg might be an icon of the Norwegian psyche.

  • Source: Geir Are Mo via Kaiju Search-Robot Avery
Posted in Film, Giant Monsters, It's True! Really!, Weird stuff | 6 Comments

World on Fire

The end of the world used as the basis of a pop song: nuclear disaster, flying saucer attacks, giant monsters … you name it.

Kaiju Search-Robot Avery sent me this video of “World on Fire” — a rockin’ piece of tuneful apocalypse by Luna Halo. Love the song! Great clip (made by Flying Dog Films)!

And while we at it, here’s a song dedicated to the ever-popular Japanese approach to fantasy films and why we love ’em. It’s “Nippon Ga Dai Suki” by The Orion Experience. Giant monster, superhero squad, weaponised musical instruments, gaudy colours!

Posted in Apocalypse, Giant Monsters, Humour, Japanese, Music | 1 Comment

First Ripple from the Depths of Sector 7

Back in July 2008 Undead Backbrain reported on the work being done by Polygon Entertainment (a film production company based in Marin County, California). Polygon was set up by founders Hans H. Uhlig and Doo Jin Kim specifically to work with South Korean film companies in producing feature films for an international market. At the time they announced three SFX-heavy films to be made in conjunction with Doosaboo Films: the first about a large rapacious boar, titled Chaw. The second was a disaster film about a monster tsunami, titled Haeundae. Both these have now been completed.

Chaw (South Korean-2009; dir. Jeong-won Shin) — see Backbrain article

Haeundae (South Korea-2009; dir. Je-gyun Yun) — see Backbrain article

The third of Polygon’s SFX films was to be an oceanic giant monster film, titled Sector 7. It was described as “a science fiction action/adventure blockbuster about the crew of an oil rig battling deep sea monsters.” Well, we’ve so far heard nothing of this one, but we’ve come across what appears to be a teaser poster for the film, which also includes a release date. Hard to say if it’s legit, but the style of the artwork is similar to that of the Haeundae poster — and the time is right — so all we can do is put it out there for discussion.


Back in 2008 all we knew of the film was that it would be shot in the United States with a Korean director and cast, and an American crew, though no names were provided. At one stage (May 2008), Doosaboo Films was seeking funding under a New Zealand Government incentive scheme — The Large Budget Screen Production Grant — and it was reported that:

The scheme also will see Korean film company DooSaBoo Film produce two films in 2008 — disaster movie Tsunami [aka Haeundae] with a budget of US$10 million and scifi horror film Sector 7 with a budget of US$8 million.

Representatives of the company [Doosaboo Films] visited New Zealand in mid-March, along with Kevin Chang, secretary general of Korea Film Producers Association, to meet potential partners for these projects.

The company will go to New Zealand for the second project to shoot the film and do post-production. They are also considering doing post-production work for the first project in New Zealand.

This funding may not have eventuated as in the end no part of the production of Haeundae took place in NZ — at least I can find no hint of it on the IMDb entry.

Meanwhile, real information on the current state of play with Sector 7 is still pretty much as it was (that is, lacking), but if the above poster is legit the film may very well have passed the pre-production stage and be headed our way for a July 2010 release.

Only time — and the ongoing investigations of Kaiju Search-Robot Avery — will tell.

Addendum: Keith Aiken of SciFi Japan says that the above artwork is a fan creation. He also reports that Doosaboo Films are now called J.K. Films.

Posted in Film, Giant Monsters, News, Posters, Update | 2 Comments