Hellen I like the storyline of this show,it attract me so much

Reptileenbu Did you people see the same film I saw?

SeeQuant Blending excellent reporting and strong storytelling, this is a disturbing film truly stranger than fiction

Kien Navarro Exactly the movie you think it is, but not the movie you want it to be.

MonsterVision99 It Came from Beneath The Sea its probably the first giant octopus film, later well get many other films involving these animals, films like Tentacles (1977) or Sharktopus (2010) and Monster Shark (1984) to an extent.The best part about the film are special effects created by the great Ray Harryhausen, the octopus looks really good, every effect by Ray Harryhausen looks fake, but like any other special effect it lives in its own world.I cant help but to think of a previous Ray Harryhausen film: The Beast From 20,000 Fathoms, they are both very similar, both monsters are awakened by nuclear explosions, both have basically the same plot, even the characters are similar, they even use some footage from The Beast Of 20,000 Fathoms.Overall, I think its decent enough, the best parts are the scenes with the monster, the rest its not that engaging, recommended for those who like Harryhausen works.

Leofwine_draca I do consider myself a fan of the '50s wave of atomic-spawned giant monster flicks but you do have to draw the line somewhere as regards to entertainment value, and unfortunately IT CAME FROM BENEATH THE SEA falls somewhere below that line. It's a film which has dated badly and despite an eighty-minute running time, feels like it goes on forever. The pacing is extraordinarily slow and let down even further by one of those infuriating romances that proved to be the bane of many a '50s monster flick. The film is not a total dud but it is slow-going and the exciting bits are few and far between. All of the scenes in which the creature is on screen are appealing but unfortunately due to a constrained budget, these appear only briefly throughout the rest of the story.The core of the film consists of a will-they won't-they romance between leading actors Kenneth Tobey and Faith Domergue, many conversations taking the form of dated sexism and 'new woman-ism' which are neither here nor there. The creature rampage is mainly saved for the finale in which the Golden Gate Bridge is destroyed by the giant octopus, and indeed this ending is the only bit that really recalls the rest of the giant monster age such as the GODZILLA films. The only decent bit halfway through the film is when the octopus attacks and sinks a huge ship. The back projection effects are very poor but saved by some splendid stop-motion work from the reliable Ray Harryhausen, here working on one of his earliest mainstream films. Although the octopus only has six tentacles due to budget constraints (!) scenes of it crushing people to death and menacing victims with huge animated tentacles are great fun. It's just a shame the surrounding story is such a crushing bore and never goes anywhere. Not the worst, but lacking in decent entertainment value and only for those die-hard fans out there.

utgard14 1950s sci-fi monster movie about a giant octopus attacking ships and submarines. The Navy doesn't like it one bit. Slow-going with the monster octopus not fully showing up until three-quarters into the picture. Far too much focus in the first half on the nauseating romantic drama involving Kenneth Tobey's sub commander and scientists Faith Domergue and Donald Curtis. There is some fun to be had with the clichéd characters and some of their corny lines ("When you're driving that atomic submarine of yours, do you have time for romance?"). All of the octopus scenes are fun and the last quarter of the movie is the most interesting, due to the stop-motion effects from the legendary Ray Harryhausen. I normally love movies like this and would rate it higher, but it's just so talky and the romance makes me want to puke.

TheUnknown837-1 A big budget is not one of the things required to produce a successful, entertaining monster picture. Of all the science-fiction spectacles to feature rampaging behemoths—and I've seen quite a few in my time—many of the best were the ones produced on limited budgets. The theories are many, but I personally believe it is because a lesser supply of funds forces the filmmakers to rely on their ingenuity and their art-driven passion. They make the movie they would want to see on the big screen. I have no doubt that Charles H. Schneer, the producer of It Came from Beneath the Sea, was very interested in seeing a movie where a giant octopus tore the Golden Gate Bridge to ribbons. However, his screenwriters and director seemed far less fascinated by the premise than he. As a result, the picture, despite some high moments, is nothing more than a passionless and unremarkable bore.One of the core problems with It Came from Beneath the Sea is a complete lack of dread. Even though the movie's plot revolves around a monstrous octopus using its tentacles to sink ships and tear apart harbors, the storytelling seems to regard this as a remarkably mundane event. The characters seem to have no real interest in contending with this monstrosity. This again returns to the faults of the screenplay: it also devotes much more time to the back-stories of the humans than necessary. How so? Because not one plot element—least of all the obligatory romance—has any spark of passion in it. The actors do what they can, but they never come across with enough energy to really serve a purpose for being on the screen for so long. And when it's all over—the climax, that is—there is no sense of a resolution. No reaction from the actors that would seem suitable considering their close encounter with a creature that had torn San Francisco's famous suspension bridge into pieces just earlier in the film. It's as if the events had faded from their memory.That's very much how It Came from Beneath the Sea fares as a monster picture. It drags, making its whole 79 minutes seem much longer than it is, and then evaporates in the mind just hours later. And the octopus, though well-animated by stop motion maestro Ray Harryhausen, is a rather uninteresting menace. We see very little of the creature and its sparse attacks on civilization are static. Even the film's most famous sequence, with the giant cephalopod wrapping its powerful arms around the Golden Gate Bridge, is inter-cut with too many "elsewhere-in the-city" moments, dragging out any sense of excitement from the sequence. And the big underwater payoff, which consists mostly of the beast just sitting on the ocean floor, is even more of a letdown. The most interesting moments consist of soldiers shooing the octopus's tentacles away with flame-throwers. There are plenty of really good vintage spectacles involving sea monsters; this is not one of them.