Afouotos
Although it has its amusing moments, in eneral the plot does not convince.
Catangro
After playing with our expectations, this turns out to be a very different sort of film.
Deanna
There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.
azathothpwiggins
THE MANSTER opens w/ a brutal slaying via hairy beast. Enter Dr. Suzuki (Tetsu Nakamura), a mad science major, who keeps his failed experiments caged in his basement. Reporter, Larry Stanford (Peter Dyneley) arrives to get the scoop on Suzuki's work. Unfortunately, Suzuki has plans for Stanford. In a jiffy, Stanford is drugged and becomes Suzuki's latest guinea pig. Having been injected w/ a serum, Larry's personality begins to change, turning him into a surly playboy, much to his wife's chagrin. Of course, this is the least of his problems, and soon Stanford learns what Suzuki has really done to him. Let's just say that Larry's about to get a splitting headache! How could a murderous rampage not result? A solid block of cheddar, this movie boasts several classic scenes, including the "shoulder", "inflating head", and "separation" scenes. Monster-on-the-loose fanatics will love this! EXTRA POINTS FOR: Dr. Suzuki's beautiful assistant, Tara (Terri Zimmern)!...
danewarren2000
Its central plot revolves an obnoxious American journalist Larry Stanford played by Peter Dyneley who travels to Japan to interview scientist Dr. Robert Suzuki played by Tetsu Nakamura. Dr. Suzuki is on the cusp of a great scientific breakthrough and would like to share his discovery, oh so the reporter thinks. I can't help but think the writers for 1986 remake of The Fly must have borrowed generously from this movie's premise. The reporter does not know he will be the subject of Dr. Suzuki's next experiment. He is unwittingly drugged by Dr. Suzuki and injected with a drug that begins a slow and gradual transformation of the reporter's mind and ultimately - his body. Shortly thereafter, his behavior changes, and he gives in to base animal urges like that of a sexual nature as he cheats on his wife Linda played by Jane Hylton with geisha's, known in America as highly trained prostitutes. He gradually becomes violent, killing in the night as he roams the darken alleys and streets of Tokyo Japan, his victims typically are women, but it is not a theme, maybe women in 1959 Japan worked late at night are the opportune prey. The story gets creepier as the transformation turns him more into a horrific beast. The authorities begin to search for a killer they have no clue is a real monster lurking about. The movie succeeds in achieving its goal by being a really creepy Sci Fi horror flick with a gloomy tone and eerie soundtrack. Manster is a Good Friday night entertainment experience for the sci-fi horror crowd. Central Plot: After being secretly given an injection by Dr. Suzuki Larry returns to Tokyo and plans on going back to New York City in a few days to be reunited with his wife Linda. However, Dr. Suzuki knows he cannot let him leave Japan as he must observe the effects of the transformation drug so he meets up with Larry suggesting they explore some of Japan's hidden pleasures, Larry is excited and lets the Dr. take him out at night; Dr. Suzuki starts pampering his test subject. The Dr. shows him the seedy red-light side of Japan he's never seen before. He takes Larry to a whorehouse where he gets drunk on sake and messes around with some of the geisha. The pampering continues with a trip to a hot springs hotel. Dr. Suzuki's personal assistant the sensual and sexy Tara - Terri Zimmerman is brought along for the occasion, it seems Dr. Suzuki has used her in this capacity before, and soon Larry finds himself falling in love with her. She begins to feel sorry for what will become of Larry and complains to Dr. Suzuki though he reminds her that she knows all about his experiments and is the sole reason he rescued her from the poverty stricken life she once knew. Unfortunately, the romantics that develop between Tara and Larry are not developed further in this movie. In addition, Terri Zimmerman who plays Tara has special charisma with the camera and it is a wonder her career never excelled after this performance. As the drug begins to take hold of Larry he seeps into a drunken, sex addicted craze and when his boss notices and tries to get him help he rejects the notion of going back to New York. With the help of his Boss Ian Matthews his wife arrives in Tokyo only to discover her husband is now a mean drunken verbally abusive scum. He gets busted by his wife and boss bringing Tara into his hotel room and exclaims to his wife he wants to be with Tara. Linda doesn't give up on her marriage and sticks around. The story intensifies as Larry starts to exhibit strange physical changes more interesting in the same or similar fashion in The Fly 1986 transformation occurs. He starts to lose the feeling in his hand, begins having black outs, starts having unexplained pains in his right shoulder, which soon begins to grow into some sort of bulge, lump. At night he roams the streets and alleyways. During one late night excursion he goes to a Buddhist temple and murders a priest. The following night several women turn up dead. Larry doesn't remember anything later. He continues to roam the streets murdering others. One of the creepiest scenes is when an eyeball forms on his shoulder, and then an entire head pops out! Dr. Suzuki is hoping he'll eventually split into two different beings. After Larry murders a psychiatrist his boss tried to hook him with, the police superintendent Jerry Ito organizes his forces and a city-wide manhunt ensues. Larry ends up heading back to Dr. Suzuki's lab for the big finale. Noteworthy Mentions Title Manster the title is stupid and immediately lessens the quality. In conclusion For the true SciFi Horror buff, this is a must see, I recommend watching it at least 3X, yes! Each time you will see something different that you may have not paid closer attention too. Sexuality is often woven into scenes cleverly and the Scientist female assistant Tara exudes a sexual tension without over acting; the drama is not Oscar worthy, but it doesn't need to be. The physical transformation looks like it was made in 1959, oh yea! There are references to alcohol, drug and sex addiction as a result of the reporter's unfortunate circumstances which gives some depth to the light weight story line and plot. There are similarities to the transformation occurrences of another erstwhile anti-hero played by Jeff Goldblum in 1986's The Fly. The movie is light but entertaining and on a scale of 1 to 10, I give this a 6.75!
Rainey Dawn
This film surprised me - better than I ever expected it to be. Something about it reminds me a little bit of Jekyll & Hyde and to a lesser degree The Wolf Man... I can't place my finger on it but I think it was the chase scenes. The Manster may not be quite as good as the 2 films I mentioned but it's almost to the level of them - quite a good film.A mad scientist is interviewed about his amazing experiments. The scientist feels the reporter would make the perfect subject for his most diabolical of experiments which turns the reporter into a two-headed creature - a killer.This one is a little bit above average on the 1950's horror b-films - they really went all out for the film. As one reviewer said "This is a film waiting to be re-discovered".5/10
LeonLouisRicci
A lusciously lurid monster movie that takes the "split" personality genre to its logical conclusion. An American/Japanese ultra low budget production that delivers the goods with excessive amounts of sex, violence and atmospheric sets that betray its limits.Young movie goers today will probably find much to giggle about but undoubtedly some of the laughter will be of a defensive nature. Because there is truly some disturbing images and subversive things going on here.The mad lab scenes are impressively expressionistic and effective as are the monstrosities created by the nutty professor. There are many silly films of this nature in that era from quick buck makers. This is not one of them. A surreal treat, overlooked, and under-appreciated.
