|
Naoyuki Tomomatsu
Japanese fan of George Romero, Peter Jackson, gore and splatstick who makes low-budget splatter and campy exploitation movies, usually involving Japanese schoolgirls. Over time, he developed his own highly entertaining and engaging niche exploiting gender issues in campy exploitation horror-comedy movies involving literal gender wars, rape epidemics, relationships involving some kind of horror element or deteriorating to gory violence, etc. As a true fan of Romero, under all the silly exploitation, gore and campy humor actually lies a bit of social commentary, some movies less than others. In between these splatter stints, he also makes adult and many sexploitation movies, some of them silly, juvenile fanboy affairs with things like robot girls, or vampire slaves, or horny werewolves versus a warrior Red Riding Hood, etc. Very black and twisted comedy, but funny as hell. It reminded me in some ways of "Death Becomes Her". One of the questions you will ponder while watching this is, does loving a zombie count as necrophilia? But these types of questions don't bother our anti-heroine, air-headed, teenage girl who is obsessed with zombies and is very willing to sacrifice her panties to get one, getting excited over a bullied boy at school nicknamed Zombie, only to be terribly disappointed when he turns out to be alive. But love always finds solutions... Unfortunately, popularity and teenage crushes are fickle and she soon finds another horror-movie monster to love, with dire and gory consequences. It's enough to make your heart break for the poor sad zombie. This film features a happy ending, but you will have to redefine what happy means. Two movies covering the same events from two points of view. This is feminisploitation, taking the term 'feminazi' to its extreme logical conclusion in a post-apocalyptic exploitation movie of testicle-exploding proportions. It even has a feminist colony with a red & white Nazi-esque flag. Feminists and artificial insemination have destroyed the world, discarding men until they have become useless violent savages, and the world reduced to ruins. One feminazi pocket of civilization treats men as sub-human cattle, literally castrating them alive for sperm, eating their flesh, and converting their penises into dildos made from flesh. Another group of women fight for love, except they are all horny virgins and don't know how to treat men, killing indiscriminately. In the first film, a remnant man and wife couple are grabbed by the feminazis due to their scientific knowledge of artificial insemination. The wife tries to save her husband, but between the vicious groups of women, her options keep looking bleaker, leading to an extremely cynical and brutal twist ending that rivals 'Boy and his Dog'. In the second film, a feminazi scientist starts having second thoughts as she experiments with her pet man-prisoner and testosterone, leading to another cynical brutal ending from the other gender point of view. There's bad cheap CGI blood splatter, fleshy dildos, some of them live creatures, a hentai-esque penis-tentacle horror, and splattery disembowelments. But don't worry; This is all played for campy exploitation laughs with really fun, albeit very simplistic and juvenile gender-war humor. Also, sadistic castrating feminazis are perfectly acceptable if they are featured in lesbian sex scenes and dressed in revealing costumes. Now this is exploitation. An oddly charming counterpoint to the Rape Zombie series. This one somehow combines zombie satire, some gore, an innocent teenage love romance, exploitation erotica and sexual abuse, and a little meta-reality-bending twist. A sweet love develops between a popular girl and a virginal young man, except she isn't what she seems. His love for her is strong however, regardless of the many nasty surprises involving incest and a possible developing zombie disease. In parallel, this romance is written and filmed by a director with a troubled relationship with a woman, and themes are explored of innocence versus diseased behaviour, and a desire for sweetness versus destructive gory mayhem. And there you have it: Sex, a bit of gore, and lots of love. I suppose it was inevitable that this zombie variation will come out of Japan eventually, but somehow nobody thought about it until now. Yes, it's another zombie outbreak, except that, in this case, the infected men become sex-crazed rapists running around with their pants down, and ejaculation spreads the infection. To stop them you have to...well let's just say that the brain is not their weak point. Of course, a group of girls in mini-skirts with weapon-training gather together to fight the outbreak, and you can imagine the rest. Add to the mix a couple of self-hating female victims that cut themselves, a man on television that argues logically in support of rape as a better society, angry feminists, random light splatter, women in uniform using penises as target practice, Korea blaming Japan for the outbreak of filth, a surprise supernatural-mystical ending, and some lesbianism, and you have pure exploitation-satire gold. So what do you do with a moderately successful exploitation movie? Exploit it with many sequels, of course. Parts 2 and 3 are basically one movie and continue where the first left off. It's post-apocalyptic time. Almost all men have turned into zombie rapists and the surviving women have taken over the government and military. That is, except for some 'Otaku': Obsessive virgin geeks that have reached some kind of Zen enlightenment with their little perverse obsessions and are therefore immune. Except they have joined forces with the zombies to have their revenge on the '3D women' that scorned them. The women research into male behaviour, and their findings come straight from am obnoxious radical-feminist textbook about men being born rapists barely held back by society, which is somehow both amusing and insultingly misandrist. There's an American female cyborg on a secret mission, a nonsensical mythical baby plot, a couple of over-the-top splatter scenes, a zombie tries to explain male behaviour to the clueless women in charge, there are super-zombies with mutated huge phalluses, a decapitated zombie-head somehow finds a way to rape as well, and the climax is nihilistic rape-zombie chaos. Unfortunately the computer effects are painfully cheap, the movie looks and feels home-made, there is endless gratuitous lesbian exploitation scenes, and the extreme camera shaking makes it a pain to watch. Followed by two more sequels in 2014 that are kinda edited and revisited versions of the previous sequels, and which dropped almost all the gore and shifted to a silly sci-fi time-travel and cyborg plot with lots of sexploitation, gender-benders, dildo-time-machines and rape, where they try to find the origin of the virus, and the events in the previous movies get revisited 'Back to the Future' and meta-fiction style. After four sequels and a gentler side-story, comes this strange little spin-off, revisiting many of the elements from the previous movies but with increased pinku sex/rape scenes. It shows the original cause of the outbreak from a different point of view, as a more extreme attack of women on men, not only denying them sex but condemning all men just for desiring women or being horny, and taking steps to castrate them. During an extreme act of public humiliation, the rape-zombie outbreak breaks out nation-wide, either as an explosion of angry men driven to lose their minds and rape, or as viral protection by human genes to survive feminism (!). Once again, the virgin male nerds and incels are a the center of the story but react differently: Some embrace their virginity and worship idols but harness rape zombies to take revenge on the women that scorned them, some try to reach a zen state of virginity and avoid the outbreak, some try to protect their women from the zombies. One girl, who has the hots for her virgin half-brother, makes a wrong decision. And a rotten zombie with a hardon rants about male rights. Behind all this, we get nerd meta-creators of manga who may be behind this whole story in the first place, discussing the state of being otaku and the outbreak. There is one over-the-top geyser splatter scene with a beheading, otherwise this is mostly cheap CGI effects for the results of zombie sperm. A lesser, more sex-oriented entry, covering issues that feel like a warm-up to the harder 'Scissorpenis'. Tomomatsu goes where no director has dared before... or imagined before. It's a highly unusual entry even for him, combining serious social commentary and nasty extreme violence with ridiculous campy gore, horror and absurd ideas, resulting in a very jarring film. This one is guaranteed to offend or confuse almost everyone regarding the actual point of the movie, but what he is really doing is taking the current social issues from the ongoing gender war, giving voice to both sides and taking them to their absurd extreme, and he uses his usual campy gore and horror as a metaphor. On one side we have the social outcast nerd, the otaku, the incel, the horny frustrated virgin male, combined with an ideology that borrows elements from men's-rights activists, and various MGTOW (Men Going Their Own Way) groups including extremists. Various narrators rant about abuse and exploitation of men, statistics, gold-diggers, evil women, fake victims for money, etc etc, then argue about society wrongfully blaming the penis, to legalize various 'minor' sexual abuses by men arguing preposterously that they make society better, and at one point the frustrated angry virgin even argues that it's OK to kill her if she refuses to have sex with you! But, don't worry, this is just extreme satire and venting of incel emotions. On the other side, there are women that turn men into a wallet, behaving in completely contradictory ways depending on whether they find the man attractive, etc, until we get to extreme misandrist feminists that want to medically castrate ugly incels before they commit crimes. As usual with these things, some core truths are combined with insane conclusions by insane people, making everything worse. In this movie, both of these sides are represented: One by the frustrated incel with a 'scissorpenis' made of swords, who metaphorically and literally slices up a girl every time he gets a hardon no matter his intentions (take that Tim Burton), and an angry girl with genital problems of her own who kills happy couples. There is both disturbing angry nasty murder, as well as campy dismemberment splatter and silly supernatural curses, and a constantly shifting reality as metaphor shifts to reality and back again through dreams and movies within movies. But the upbeat ending delivers the true intentions of the director. There is a lot to take in this dense movie that isn't as wacky as it looks. Somehow both scathing and silly at the same time. Here's something new: A sexploitation-film-cum-documentary (docusploitation?). Mixed together with a hentai sex-demon story we get a lot of information about the history of sex in Japan, some background on mystical Onmyoji (yin-yang) practitioners and clergy, Shintoism, openness to all kinds of perversions in the history of Japan versus the West, and views on various forms of sex as healthy, some history of red-light districts, etc. The plot itself involves a sex-demon possessing an office couple, and doing sex battles with the last of the Onmyoji clan, leading to sweet Seiko getting a crash course in sex, until she becomes the ultimate loved prostitute in Japan, literally healing and saving the world. But not before she has to deal with tentacles, avatars, five-element sex techniques, practicing on some fat dude, and a demon genital that can swallow you whole. So, basically, a standard Hentai story, except this one will leave feeling you educated. Assuming you trust this information of course. Entertaining Japanese zombie movie where a plague makes all girls between ages 15 to 17 break out with extreme happiness (Near Death Syndrome) then die and come back as zombies. Society tries to adjust by creating 'Romero Repeat Kill' squads that chop up the girls and send instruction booklets to families and boyfriends on how to chop up their loved ones. The gore is over-the-top and the comedy is at times very funny or silly (chainsaws sold as 'Bruce Campbell's second arm'). But mixed within this campy splatter movie are love stories and special scenes where girls happily ask people to kill them, and the movie seems to be saying something about Japanese society's fascination for giggling Japanese schoolgirls that lose their charm after they mature and become real people (zombies?).
Vampire Girl vs. Frankenstein Girl
See Yoshihiro Nishimura.
Genre-blender of gangster, splatter, zombie, and cyborg action. Some gangsters, soldiers, Japanese girls, a pop-star model and her slave crew all find themselves in zombie trouble when a UFO crashes in the forest and emits green rays. They soon find themselves trapped in a house where the spreading zombies cause more gory deaths while the pop-star whines and causes boy-trouble, and a deadly army chick starts remembering a mysterious surgery room. Features gory homages to Romero and Jackson, complete with a manic, bloodthirsty zombie fetus, and silly over-the-top action entertainment. Way before Stacy and gender-exploitation movies, evidently Tomomatsu made a handful of gay pinkus. This was also his earlier nasty and violent stage. This combination results here in a film of filth, harsh punk music, violence and violent gay sex. There's a criminal gang that make gay rape and snuff pornos, some young fellow who lost his gay crush in a motorcycle accident and who now works in a porno store. One day he explores the most expensive videos under the counter and discovers a Cronenbergian bizarre gay snuff video involving someone who looks like his lost crush, with a room made of moving flesh and body parts, and one surreal beheading. This makes him snap, going on a killing spree. Extreme Japanese soft-porn with surprisingly hardcore depravity and violence. Two youngsters work for the Yakuza, one is a sex-maniac, the other a psychotic killer who dresses up like a schoolgirl and slashes people while getting very sexually aroused. The killer has a traumatic past and a fantasy guardian angel in the form of a naked girl who gives herself to him promising him redemption. The movie is just one depraved sex scene after another however, featuring violence, rape, vomit, very bloody slashings, disemboweling, forced enemas, snuff and other niceties. A pointless trip into extreme perversion with a slight touch of the typical Japanese Pinku meditations. |
| © 1999- by The Worldwide Celluloid Massacre | Table of Contents |