Colibel Terrible acting, screenplay and direction.

Exoticalot People are voting emotionally.

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

Fairaher The film makes a home in your brain and the only cure is to see it again.

mark.waltz Pretty good science fiction film takes a trip to Venus where rubber dinosaur like creatures just a little taller than men roam free, and a blood sucking plant with strong stems that grab the astronauts and attempt to suck them in. A giant pre- historic like bird turns out to be the deity for pre-historic women who are unable to speak but can read each other's minds. When it is killed, the mute women (lead by Mamie Van Doren) bow revenge. Told in narration through flashback by one of the astronauts, it has a very eerie soundtrack and at times is extremely quiet. It is only moderately silly, most obvious when the women pick up the rubber head of the bird. The planet highly resembles the earth, with only a few signs that this is a different world. Scenes in outer space almost seem animated. This ranks as a cult film that manages not to be campy, and that makes it several notches above those films that seemed to go out of their way to appear unintentionally funny.

moonbus-982-519398 I will not further detract from the content of film, as other reviewers here have done so more than adequately. There is nothing in this film to indicate that Bogdoanovich would someday produce anything worth watching. A word about the story: we're supposed to believe that prehistoric women were telepathic; clever trick avoid the actresses having to memorize or recite any lines.I will devote my further remarks to the recording and the DVD medium.My DVD says it is the output of Estree Hill Entertainment, copyright 2010 Penwick Group Ltd., serial no. 763799. B&W, English only, no subtitles, no special features, no trailers.My first criticism is the sound track: very poor. One channel only; mono I don't mind, but through both speakers, please. Moreover, there is incessant noise in the background: rushing waves, crashing breakers on the shore, roaring rocket engines, beeping- whizzing-whirring machinery, howling wind--it is nervy and often obscures the dialog. Subtitles would have helped.Second criticism: the source film was badly scratched and blistered, none of which was 'digitally remastered' (not that I would have expected anyone to go to the trouble). I have seen better- preserved films from the 1930s.Third, many of the spliced-in shots of the Venusian mermaids were over- or under-exposed. Amateurish is the word.Don't pay more than a buck for this at a rummage sale. Maybe it looks better after three joints.

Glen McCulla Well... where to begin? Any remarks about the bulk of this film's content, i've already made in my review for "Voyage to the Prehistoric Planet", for in true no-budget tradition, Roger Corman and chums basically rereleased the same movie (which was in itself a redubbed cannibalisation of the Russian space opera "Storm Planet"), with some newly-shot additional footage.This new stuff entirely concerns the titular (in every sense!) women, the scrumptious Mamie Van Doren and assorted other leggy lovelies, lounging around the rocky shores of Venus in shell bikinis, eating raw fish, and emitting a curiously familiar siren song. If i were in a kinder - or drunker - mood, i might try to compare the way in which this film occurs 'in the wings' of the earlier movie to Stoppard's "Rosencrantz and Guildenstern are Dead". But i won't, for that way lies madness.This was all enjoyable enough, if very familiar apart from the half-baked clam-shelled clambake. However, i became unduly concerned towards the films conclusion when Ms. Van Doren psychically told her telepathic friends that their heretofore deity, the great dinosaur god Ptera, was no longer good enough, because "there is a greater god!". As they hurled stones and tore down their effigy of the late pteranodon lord, i got a sinking feeling. Surely brief exposure to human (Russian dubbed-as-American) spacemen hadn't suddenly converted the Venusians to the Judeo-Christian god? The idea of them "seeing the error of their ways" and becoming merely spaceborne Americans had me groaning internally. If they were to suddenly convert to an Earth religion, why not Buddhism, or Shintoism? Or, indeed, any at all?I need not have worried. As they pulled the magma-petrified remains of John the Robot from the mud and set him up as a shrine, i began to smile. One god's as good as another, after all. As another spaceborne robot, Marvin the Paranoid Android, said at the end of "So Long, and Thanks for All the Fish":'You know... i think i'm quite happy about that'.

Neil Welch Yes, it is interesting to read the story of how surplus footage of a Russian sci-fi movie got inter-cut with newly shot footage and capped with a voice-over from Peter Bogdanovich (also directing, and then starting to make his way in this world which we call the biz of show).Yes, it is enterprising, and shows the ingenuity with which someone can take some source material which is perhaps unusable on its own but which has some potential and, thereby, moves towards making a whole which is greater than the sum of the parts.Yes, it explains why what is obvious some fairly well financed production values sit in a movie which is equally obviously dead cheap. It explains why there are some well matched sound effects but no synchronised dialogue: the story is told in voice-over. It may even (though not necessarily explain why the print which appears on TV contains just enough colour value to leave you with the thought that perhaps this was once a colour original.But make no mistake: no matter how ingenious, how fascinating the story behind this film, the movie itself is perfectly, absolutely, irredeemably dreadful to the point of unwatchability (unless you like watching interminable hours of indentikit blonde women in slacks swanning about on rocks as waves break behind them. And believe me, the appeal palls quickly).