The movie was written by Wyott Ordung, a sometimes actor and director as well as writer. His best known credit was for directing the first film produced by Roger Corman, Monster from the Ocean Floor. Like Ordung, director Phil Tucker has had a sporadic career with very low budget films that would usually appear on the bottom bill of a double feature. Tucker's other film of note, Dance Hall Racket, featured the young Lenny Bruce. While the most famous image of Robot Monster is of the creature, Ro-Man, carrying off starlet Claudia Barrett, a chord may have been struck with star George Nader. A minor beefcake star of the Fifties, Nader was also a closeted homosexual. After coming out in the mid-Eighties at the time of colleague Rock Hudson's death from A.I.D.S., Nader wrote a science fiction book titled Chrome. Nader's book is about homoerotic love between man and robot. Unlike Robot Monster, the reviews for Chrome have been generally positive. And yet I wonder it there was a mad moment when Nader had dreamt that it was he who was carried away to the cave instead of Claudia Barrett.

For me, Robot Monster is likeable enough for some its nuttier ideas of science fiction. Ro-Man's cave features a Salvation Army dresser that's suppose to be some kind of intergalactic television. There is also an old table with what looks like old audio equipment, a reel to reel tape deck, a television antenna, and a bubble machine. The scenes of revived dinosaurs include the creaky animation of special effects pioneer Willis O'Brien, as well as shots of two lizards playing Twister in extreme close up. Much of the lack of logic can be charitably explained by the twist ending.

Robot Monster ends with the image of Ro-Man walking towards the camera. The image is repeated three times. It is during these last few seconds that Robot Monster achieves its moment of goofball cinematic poetry.