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Very very predictable, including the post credit scene !!!

Don't Believe the Hype

Am i the only one who thinks........Average?

The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

As dead bodies missing brains and spinal cords begin to mount, the staff at a nearby nuclear power plant try to prove that radiation poisoning is not to blame while a scientist questions if telekinesis is responsible in this low budget horror film. There are several eerie moments early on as the titular fiend remains invisible while choking its victims and the filmmakers make good use of the shadowy interiors of their indoor sets. The film is most famous though for its climax in which the monsters become visible, which ultimately proves a mixed blessing. The stop motion effects are very innovative and even quite creepy, however, the monsters also look incredibly plastic (rather than organic) in close-up and several of their attacks are inane. The best asset of the film is probably its telekinesis pseudoscience with a fascinating scene in which a scientist gradually manages to move a book page with his mind, however, this all gets a little lost amidst the film's 1950s Cold War paranoia slant with fear of thought control and the unknown possibilities of nuclear energy. There is also some terribly silly comic relief (walking in on a woman coming out of the shower) and all of the characters are barely fleshed out beyond stereotype, but as far as B-feature monster movies go, this is certainly one of the more imaginative and atmospheric entries out there.

Towns-people near a US airbase in Canada turn up dead under mysterious circumstances. Survivors blame an atomic power plant on the base for the deaths and other strange happenings. So what's going on. Will the Cold War airbase be forced to retreat by upset Canadians. Too bad the fiend turns out to be so hokey since the rest of the film is both competently made and involving. That's especially unusual for the time when drive-in hokum cared little for quality. Probably the fiend would have been best left invisible since the squishy brains are really more yucko than scary. Looking for a good place to drink beer at the time, I missed few of these epics. I remember our carload of guys laughing when the special effects crawled across the screen. To that point, we had all been unusually quiet while immersed in events. Anyway, production does a good job of creating a military atmosphere at the airbase, with effective use of stock shots of the air and ground. Then too, Marshall makes a persuasive airforce major, refusing to just walk through the part as was often the case with these low- budgeters. And what about Miss Kim Parker, a good little actress in addition to filling out a tight sweater. Too bad her career was a short one. But stealing the film is Reeves as the aristocratic looking professor. He doesn't get much screen time till the last, but then really comes through in dramatic fashion.Plot-wise, cynics might note the way the atomic power plant is treated. I'm really surprised that in the 1950's it's made as controversial as it is, particularly by its supposed effects on the environment. In that period nuclear energy was generally considered the wave of the future. In that respect, the movie seems more contemporary than dated, while the final frame appears especially daring.Had someone in production come up with a better fiend, this drive-in special might have achieved sleeper status. As things stand, it's still superior of its kind.

Invisible atomic monsters attack a U.S. Armed Forces base and the local residents.The screenplay by Herbert J. Leder was based upon Amelia Reynolds Long's 1930 short story "The Thought Monster", originally published in the March 1930 issue of Weird Tales magazine. Forrest J. Ackerman represented Long and brokered the sale of her story to the film's producers. Having not read the original story, I wonder what changes were made. Presumably a 1930 story would not have atomic power be such a central focus as its 1958 variation.The stop-motion, while somewhat cheesy, is quite effective at bringing the creature to life. It also happens to make the film quite memorable, because it is likely the only film of its kind using such effects. This creature is not one of Ray Harryhausen's lumbering beasts!

An okay-to-good '50s monster romp which suffers from a lack of action in the first hour - but more than makes up for it in a thrilling finale which involves a bunch of people being trapped in a farmhouse while the monsters mass and attack outside. Before this we have to put up with a bunch of unlikeable, clichéd characters shouting and fighting each other. Firstly there are the dumb, heavily-accented "country folk" who blame the murders on the new scientific research station in their midst; then the wooden, stern military officers who romance the ladies and save the day.Marshall Thompson stars in this film, and he puts in the same stoic, expressionless performance as he did in FIRST MAN INTO SPACE, playing exactly the same character too. Nobody else figures much in the story, which is populated with the kind of stock characters you always see in these '50s flicks - the female assistant with the tight sweater, the old fuddy duddy scientist, and the military chief who absolutely will not, no, cannot, listen to reason.Although supposedly set in America, this was filmed in England, and works wonders on a tight budget. To liven up the snail pace of the first hour we have a few creative death sequences which manage to be effective despite having no special effects at all. You see, these monsters are invisible, so the actors and actresses have to pretend to be attacked. What makes these potentially-laughable attacks work are the gloopy, gooey sound effects loudly imposed over the on screen action. Things move on to a shot of an invisible monster moving through bushes, a door and then a house, all achieved with some clever effects a la THE INVISIBLE MAN.Viewers need to take a break from reality while watching this, as the explanation for the creation of the monsters has to be one of the most unbelievable I've ever heard - I won't go into it here because it's too confusing. Thankfully, when the monsters do eventually become visible, they're nicely designed, all brains and tentacle and slithery tails (also doubling as spinal cords, as it happens). The superb ending sees a ton of these "fiends" shot at, and they bleed strawberry jam all over the place and rot away in some surprisingly graphic moments which foreshadow the disgusting disintegrations which marked the destruction of the disturbing demons in THE EVIL DEAD. The stop motion effects used to animate them are brilliant, and a must-see.This exciting finale has obviously been quite influential in the genre - check out the scene where the heroes barricade themselves in a room, hammering planks over the windows while the monsters mill around outside - recreated almost shot-by-shot in Romero's NIGHT OF THE LIVING DEAD. I've no doubt that the designers of the facehugger in ALIEN saw these monsters beforehand too. Check out the hilarious bit where the old fuddy duddy runs outside and is immediately devoured by three of the creatures. "He was a brave man" says one bystander - stupid, more like! Usually I would rate this film higher, but it's only average because the first hour (below average) outweighs the final twenty minutes (superb).