During the 1960s, it was arguable that the greatest cultural export from Japan to the world at large was its kaiju output, obviously spearheaded by “Godzilla” but including numerous attempts to cash in on the series’ success. Whether it be “Gamera: The Super Monster,” the “Daimajin” series, or television shows like “Ultraman,” there was a multitude of giant monsters stomping through Japanese cities for the delight of millions worldwide. Overlooked but not forgotten among this output is the lone kaiju entry from Shochiku Company, Kazui Nihonmatsu‘s “The X from Outer Space.”
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After several space expeditions mysteriously fail, Japan launches AAB Gamma, an internationally manned mission to Mars. The crew includes Captain Sano (Toshiya Wazaki), Lisa (Peggy Neal), Dr. Shioda (Keisuke Sonoi), and Miyamoto (Shinichi Yanagisawa), tasked with investigating the disappearances. As they reach the same orbit where contact was lost with previous missions, they encounter a UFO that coats the ship in a mysterious substance. Upon returning to Earth, this material is revealed to contain an egg, which hatches into a giant monster named Guilala. The creature escapes from the laboratory, begins devouring energy sources, and rampages across Japan. A special investigation into its power reveals a way to stop it, and the team races to deploy it before Guilala lays waste to the country.
Generally, “The X from Outer Space” comes together as a fun, cheesy monster spectacle. The storyline by Eibi Motomochi, Moriyoshi Ishida, and director Kazui Nihonmatsu embraces the endearingly silly monster movie formula. The setup, involving the disappearance of spacecraft and the crew’s last-ditch mission to uncover the cause, establishes a classic kaiju framework. The team’s space journey leads to multiple encounters with the origins of the creature—first via the mysterious UFO and then through the hatching of Guilala on Earth. The escalating chaos and eventual race to create a countermeasure align with familiar genre beats, all wrapped in a tone that is both sincere and knowingly absurd.
While generally entertaining, the special effects in “The X from Outer Space” are a mixed bag. The monster costume is serviceable but far from convincing, with an awkwardly proportioned body that doesn’t hide the suit actor well. However, the head design stands out with its triangular crest, wiggling antennae, and distinctive beak, all contributing to a memorable, if odd, creature design. The scaly blue-green skin and ridged limbs add to the overall charm. Other effects are more successful, including the retro spaceship design of the AAB Gamma, especially during scenes involving aerial battles with the UFO. The miniature city sets and military counterattacks, while occasionally flimsy, still offer some effective destruction sequences.
Several aspects of “The X from Outer Space” stand out for less favorable reasons. As noted, some of the miniatures lack detail, with hollow buildings that reveal the film’s limited budget. An especially baffling creative decision is to shoot the monster scenes at eye level rather than from a low angle, which diminishes the creature’s scale and makes the destruction appear toy-like. The pacing also suffers in the first half, particularly during a detour to the Moon to pick up an additional crew member—an unnecessary subplot that delays Guilala’s introduction. A more streamlined narrative would have allowed the monster to appear earlier and maintain stronger momentum.
More on the wacky side of the kaiju spectrum but with plenty of charm, “The X from Outer Space” isn’t among the genre’s elite, but it stands as an endearingly goofy entry with much to enjoy. Viewers curious about the more eccentric side of giant monster cinema or who already appreciate its peculiarities will find it worth checking out.
