a review of 泥人哥连出世记

HOOPTOBER NINE! NIGHT THIRTY-TWO! Maybe the least horror-like movie on my list for this year; Although I suppose you could draw a lineage between the final act here, in which the Golem becomes momentarily enraged by occult magic and starts trashing the Prague ghetto before being tamed once again, and the standard template for the later Showa-era Godzilla, where Godzilla can be both a destroyer and protector while also being a strong and distinct symbol of cultural identity. I suppose also that we can also draw a comparison between the stylized and massive sets of German Expressionism and the equally detailed sets and miniatures created for the early kaiju films. It makes me wish that the other Golem films still existed so I could find other data points to support this crackpot theory, but alas they do not.