On review aggregator Rotten Tomatoes, the film has an approval rating of 100% based on 18 reviews, with an average rating of 7.5/10. Jesse Schden of IGN movies said: \"This film takes full advantage of the fact that it's the final chapter in a 15-movie arc. Its narrative veers into some very surprising and compelling directions, and somehow it manages to pay off on loose ends from across the DCU\".
All of us gaze into that \"dark glass\" in which the dark myth takes shape, adumbrating the invisible truth. In this glass the eyes of the spirit glimpse an image which we call the self, fully conscious of the fact that it is an anthropomorphic image which we have merely named but not explained. By \"self\" we mean psychic wholeness, but what realities underlie this concept we do not know... in religious experience man comes face to face with a psychically overwhelming Other. - Carl Jung, Flying Saucers: A Modern Myth (104, 39)
The combination of terrestrial and extraterrestrial aliens perhaps takes on its most \"awesome\" form in Tom Graeff's 1959 \"thriller,\" \"Teenagers from Outer Space\", in which the \"generation gap\" heralding the 1960's was emblematized in low-budget terror. In this classic, a group of alien teenagers (who appear to be at least in their late 20's) land their saucer in California. \"Thrill-crazed space kids blasting the flesh off humans!\" reads the movie poster, referring to the ability of the aliens' death rays to turn our species instantly to skeletons. 1 There also seems to be Red Scare paranoia running through the film, as one of the spacemen, Derek (David Love) rebels against the collectivist onslaught of his pals and falls in love with the very terrestrial beauty of Betty Morgan (Dawn Anderson). Is this a rather tame prototype for the invasion of the Borg, and the expectable \"human\" revulsion for their hive mind, in \"Star Trek: The Next Generation\" If so, Middle America is here treated to yet another dimension to the aforementioned deconstruction of humanism: post individualism. The horror of this invasion is perhaps best represented by a scene when the invaders skeletonize a suburban housewife (Sonia Torgeson) as she swims in the sanctum of her private suburban pool. She is rather literally \"x-rayed\" so that perhaps her most private domain, her pearly bones, are exposed in an attack recalling the intrusive panopticon of medicine. As General Jack Ripper in Dr. Strangelove might say, this is worse than Flouridation! The evil Thor (Brian Grant) leads the inevitable counterattack on Derek's attempt to practice family values. The hominid invaders have brought along a crustacean food supply (offering only temporary relief to Californians who, if they are not immediately on the alien menu, are soon to be repast for their livestock): ominous crawfish called Gorgons who can grow to 1,000 times their current size - picture creatures filling a goldfish bowl who are to become hungry crawdaddys the size of houses. Luckily, Derek manages to blow up his comrades, their superlunerary lobster and, unfortunately for the young couple, himself before this gets out of hand. So, we only get to see the shadow of one full-grown monster before Derek electrocutes it, the budget being what it was, but the sentiment is clear: the upswing of techno-culture in the late 50's, including no doubt the rise of Sputnik, was enough to inspire the vision of American teens, \"the next generation,\" as alien invaders of the traditional culture. 1e1e36bf2d