When the film’s focus works, it’s a wonderful piece of Japanese horror. A slow descent into insanity, the stealing of food, a surprisingly creepy act of sexual aggression, and final acts of desperation are effective. Unfortunately, some of these longer shots do drag the film considerably, opening Mantango to a number of pacing criticisms, especially after the mood has been established.
Despite some impressive (as always) miniature work under the direction of Eiji Tsubaraya, the final form of the mushroom people are less than terrifying as well. The darker, unclear lighting used earlier is actually better suited to the film. It’s painfully obvious in the frantic finale that the suits are bulky for the actors stuck inside, and their struggle to move is apparent on-screen.
Mantamgo ends where it began, back inside the holding cell with Akira Kubo questioning his decisions made on the island. How he made it back to the mainland, fighting the water current in a shoddily repaired boat isn’t important; his mental state is the focus.
Honda effectively delivers a final scare as Kubo turns around to face the camera, his cheek infected with whatever the island gave him. It’s incredibly downbeat, a small twist that almost seems as if the audience is going away happy before pulling them back in. It’s a masterful touch, even if the movie itself is incredibly uneven, but it’s an image that remains ingrained in your mind as the final shot of the city fades into the end card. 
Given the nature and tone of the film, this rather flat, muted transfer is probably appropriate. Black levels are non-existent, and the contrast is dull. Colors are muted, although flesh tones are accurate. The print is in remarkable condition, without any damage to speak of, even during special effect shots. The transfer is relatively soft, although acceptably so.
Article comments
1 - Luigi Bastardo
Ah, such a great movie! I need to re-watch it again one of these days.