Gun Woman vs. Evil! “Gun Woman” review!

Posted by Steven Lewis on July 27, 2015

A determined doctor pledges revenge after his wife fell victim to a crazy, sadistic, cannibalistic, sex-fiend killer. Known by only the Mastermind, his quest lures him to buy a junkie from an underground trafficking organization and trains her, without given her a choice, to be an lethal assassin. The Mastermind teaches her hand-to-hand combat, how to handle a handgun, and even how to survive surgical procedures in order to have the mechanical parts of a handgun implanted into various portions of her body and then abstract the bulky pieces when the time is right. The dastardly plan for assassination comes to fruition when the Mastermind’s target makes his rounds at a necrophilia and cannibalistic business called “The Room” where Gun Woman feigns her death to infiltrate and carry out the hit.

“Gun Woman” is an insane Japanese action-thriller concept from the mind of a relatively new director Kurando Mitsutake. From this reviewer’s point of view, Mitsutake’s film is much more tame compared to the other numerous Japanese’s extreme and unthinkable plot lines. Basically, the Japan film industry produces three solid genres that hover around outside the realm of their mega-popular Japanese Adult Video and Pinku markets: Dramatic noris involving a various range of characters from gangsters to samurais, the Americanized popular ghost films such as Ringu or Ju-on, and the outrageous, ultra-violent films, spreading amongst various sub-genres from action to horror. “Gun Woman” suits the latter category with it’s necrophilia, super-soaking blood, rape and torture, cannibalism, and the odd jobs of the reproductive body parts. Remember when I said that “Gun Woman” is the fairly tame?

The Maxam produced film stars the ever gorgeous actress Asami of “Machine Girl” fame. You may remember my last Asami film review for the Pink Eiga released “Prison Girls” starring the once former JAV actress turned phenomenal B-movie heroine. Asami’s uncanny ability to conform to any role heightens the film’s viewing and enjoyable factors and “Gun Woman” is the epitome of B-movie schlock, almost as if her role as Gun Woman was made just for Asami. Alongside Asami are Kairi Narita as the Mastermind and Noriaki Kamata as the heinous sex-fiend only known as Hamazaki’s son. Narita towers over Asami with a strong muscular face, proving to be a powerhouse character even though the Mastermind character is partially crippled. Kamata possesses such a freaky super thin, yet muscular build with defined facial features that his role as a necrophiliac, a cannibal, and a rapist-murderer wouldn’t be so far from the truth if bumping into Kamata randomly on the street.

While Asami’s character might be the heroine of the film, “Gun Woman” surely feels like an anti-woman film. Many of the female roles, no matter how minor, are subjected to some sort of abuse. Hamazaki’s son rapes and strangles various American women while also raping and killing the Mastermind’s wife. The Mastermind himself kidnaps an innocent woman and uses her as a tool to create a lethal weapon in Asami. Even Hamazaki’s female body guard doesn’t get a chance to have one line in the entire film, does really nothing at all, and ultimately meets her end and I can’t help but wonder why even have this character at all if the character serves so little a purpose? Like I aforementioned, Asami might be this kick-ass, gun-toting, deadly femme-fatal, but her mission for revenge isn’t even her mission for revenge; its the Mastermind’s and he’s using her, a junkie bought off a secret organization, with given a single choice: to either kill for him or die.

“Gun Woman” markets itself as a “no-holds-barred revenge flick” and has all the makings of a cult film. Blood gushes out of gaping wounds, intense fight and gun scenes, and naked women galore grace the film’s entire presence. However, “Gun Woman’s” enticing premise isn’t without major flaws including obvious plot holes, inaccurate medical procedures, and some unbalanced acting from not the Japanese, but from the English speaking Anglo-Saxons driving the car during the outer-story. Hey, this is the movie industry where anything can happen as long as someone can think of whatever it is up and as long as someone can construct it as well. The whole premise behind the film is bogus in reality and Asami’s character might as well be a part of the IMF because her mission is impossible. To provide an example, nobody could withstand having three parts of a firearm surgically implanted into their body and then live 22 minutes later after removing the said parts by reopening the wounds to assassinate everybody in “The Room.” Other factors are involved when contemplating blood loss and time such as what if Asami is additionally injured resulting in blood loss? What if her pulse rate increases during heart-pounding scenarios causing a faster blood flow?

Show business is all smoke screens, lengthy mirrors, and customized misdirection and Mitsutake’s “Gun Woman” certainly provides just that while pushing the boundaries of taboo subjects and being, what I consider, a chauvinistic perspective against women. If a viewer wishes to suspend disbelief for 87 minutes, witness a bloody-stellar end game, and see their fair share of naked and abused women, then “Gun Woman” would be right up their mentally deranged alley. The Scream Factor (Shout Factory) Blu-ray release is presented with little digital noise interference in a 1080p High-Definition widescreen 1.78:1 aspect ration with DTS-HD Master Audio 5.1 mix with English subtitles available. I’m not sold on the Scream Factory Blu-ray cover of a closeup of Asami’s face and holding two smoking sidearms in a criss-cross way (think Kate Beckinsail on the “Underworld Evolution” DVD). This doesn’t actually represent the movie as she never really garnishes two handguns. Other releases are more accurate with a naked and bloodied Asami, aiming one handgun. Still, the release is solid and I wouldn’t discourage anybody, especially Asami fans, of a good time.

All Evil Plans End Tragically. “Reckless” review!

Posted by Steven Lewis on July 24, 2015

Ex-cons Victor (Tygo Gernandt) and Rico (Marwan Kenzari) kidnap a young woman named Laura (Sarah Chronis) in hopes to extort a four million dollar cash payout from her wealthy father. The two men are methodical, precise, and focused on their task, constructing a sound proof room, buying burner cell phones, and keeping one step ahead of their captive’s thoughts on escape. Keeping her tied to the bed in a vacant apartment, Victor and Rico don specific roles in their plan; Victor leaves the apartment to negotiate the ransom while Rico oversees their money making hostage. When Laura cleverly works on getting the upper hand on one of them, she discovers that there might be a secondary plan involving her willing participation and leaving the other ex-con high and dry without a payday. Victor and Rico hold a surprising secret amongst themselves as well, making this crime thriller a cat-and-mouse game between the three where tensions are high, trust is low, and the end game won’t be pretty.

The Netherlands thriller directed by Joram Lürsen seems to be the polar opposite from the director’s previous directorial work. The “Reckless” niche focuses on being tight and concise. The film only credits three actors: Tygo Gernandt, Marwan Kenzari, and Sarah Chronis. That’s it and there isn’t even a voice over from a phone call or anything else of the sort, forcing the actors to only work off each other instead of being able to pick and choose who to bank off their banters and abilities. Secondly, the majority of the setting is in this small apartment that has become Laura’s cell which becomes another tight spot, literally. Finally, the story focuses on minor details with strict guiding dialogue that pieces together the story’s outcome and doesn’t make the plot wander into oblivion.

The story, which is a remake of the 2009 British thriller “The Disappearance of Alice Creed,” strives off being simplistic; a kidnapping for ransom gone awry. However, there lies a mid act twist that keeps the situation fresh where constantly guessing to the real intentions of the characters is more fun than actually watching the ploy play out. Tygo Gernandt perfectly fits into the shoes of Victor by portraying the role extremely well of a hardened and a rule rigorous ex-con. Marwan Kenzari as Victor’s accomplice Rico relieves the other half of the tension Tygo’s aura emits with his soft eyes and gentle appeal toward Laura, but Rico scrambles to keep Tygo under control and that creates nail biting scenes between the three actors. Sarah Chronis as Laura offers so much to the table being the golden nugget for Victor and Rico, being their ticket for a new life in another part of the world. Chronis conveys being naive, conniving, and afraid well and acts upon her forced nudity with proper accordance to the situation and also uses her nudity, seductively and convincingly, to plan her intended escape.

However, where “Reckless” strives on being a successful crime thriller, it’s also the film’s ultimate downfall and suffers sequentially from “Psycho” syndrome. Remember when Gus Van Sant remade Alfred Hitchcock’s “Psycho” nearly shot for shot and critics condemned Van Sant’s film? The same situation happens upon “Reckless” where nearly every character quality has become a carbon copy from “The Disappearance of Alice Creed.” Yes, “Reckless” is a true to form remake and a good reproduction as well, but for the Lürsen film to stand out, to be something more, “Reckless” doesn’t break the established mold. Instead, the film relies on it’s actors to accomplish a more riveting appeal and that’s hard to do when Eddie Marsan, Martin Compston, and Gemma Arterton already made a great first impression in the original.

The Artsploitation Films distributes “Reckless” in a widescreen 2.35:1 aspect ratio with super clear picture quality. The 5.1 Dolby Digital audio mix clearly appropriates the dialogue from the ambience form the soundtrack. The optional English subtitles sync well with the Dutch language track. I’m a little disappointed in the DVD cover as it resembles something that Dimension Films would have produced back in the early 2000s and doesn’t really speak to the film’s thrilling storyline. Overall, “Reckless” is a quality remake release for Artsploitation Films and for production company Topkapi Films that gave alternative, yet still quality, actors a chance to redo a role already grounded and established.

Horror comes home. Five Nights at Freddy’s 4 trailer released.

Posted by EvilGamer on July 13, 2015

Oh yes, Freddy is back and he’s coming home with us. Five Nights at Freddy’s developer has released the official trailer on his Youtube and it looks creepy.

Now I’m not big into the FNAF series, but I am interested in the lore behind it. This trailer however might get me into it as its now giving us the freedom to move around in different rooms, instead of sitting in one place.

Allison Road. A Silent Hills replacement?

Posted by EvilGamer on July 1, 2015

Many horror fans were heart broken after hearing the cancellation of Silent Hills. I know many people are still in mourning an are trying to pressure Konami into giving in. We shouldn’t feel all too bad though as there is another game that looks like it can fill in the empty void of our hearts.

Allison Road, is an upcoming first person, survival horror game being developed by a small UK studio called Lilith Ltd. The game has passed Steam’s Greenlight program and on its way. No released date has been confirmed but here is some in-game footage from their official Youtube channel.

From the video you can see how the game is very similar to the P.T. demo and I have high hopes for this. I was so excited about Silent Hills and since its cancellation, I hope this game helps us through the grieving process.

Allison Road will be coming to PC sometime in 2016. No news on a console version at this time.

Evil Dwells in Your Nightmares! “Horsehead” review!

Posted by Steven Lewis on June 26, 2015

Jessica is plagued by recurring horrific and lucid nightmares of a horse-headed figure that brings death to her dreams. When she has a nightmare about her grandmother being impaled to death by the horsehead monster, she’s immediately phoned by her mother Catelyn informing Jessica that her grandmother has passed away. Jessica travels to the family’s countryside estate for the funeral and is welcomed by her stern mother. Jessica’s nightmares worsen the first night and she becomes trapped in her own dreams as she can feel the haunt of the horse-head figure in the corner’s of her mind. When Jessica soon realizes that her’s grandmother’s death and her mother’s cruelty might be more involved and connected with the horse-head creature, she attempts to stay in a semi-conscious sleep state to puzzle together the mysterious pieces and to control her nightmares once and for all.

The freshman feature film from Romain Basset contains such promise and maturity and Basset shows daring courage to create a horror-fantasy of this caliber thats very aesthetically symbolic and worthy of being awarded qualities of early Dario Argento’s films with intensive surreal and haunting facets. “Horsehead” embodies the character Jessica’s head in creating and blending an atmospheric jigsaw and visceral puzzle of a world while being a mirror in which you can glance back into time, far back beyond your own existence. “Horsehead’s” unique tribute blend contains the bizarre and frightening worlds of Tarsem Singh’s 2000 film “Cell” intertwined with one’s life story similar to the past and present tales of “A Christmas Carol” with Ebenezer Scrooge. However, Jessica’s past is much more dark and grim than Scrooge’s will ever be and her future won’t end in her being generous and kind to a crippled poor boy named Tiny Tim.

Certainly a visually stunning film, “Horsehead” tries turn the mind on it’s end, leaving the suspended muscle dangling near the edge of insanity. Jessica’s reality becomes no more real than her nightmares as the horse-headed monster is has comparable dream-bending qualities to the the same effect as Freddy Krueger of “A Nightmare on Elm Street” but “Horesehead” is a lot more gothic and whole lot less sarcastic than the fedora sporting child murderer. The creature has haunted Jessica’s lineage for at least three generations, presumably starting with her late grandmother and is a symbol of Jessica’s strict-bible-following grandfather who becomes the epicenter of all the family’s issues. Her dreams hold a dark mystery to her family’s continuous cycle of troubles and use horrific symbolism to express, in stages, the truth behind their ancestral secrets.

As much as I love the symbolism in this film, I’m worried about the psycho-sexual portion the film markets, splashed as a tagline right on the Blu-ray cover. Yes, the once little girl from Robert De Niro’s “Ronin” actress Lilly-Fleur Pointeaux does become involved briefly in highly sexual situations in her electric dance music soundtrack nightmares in a down the rabbit hole type of situation, but really serve no purpose to Pointeaux’s character in reality because no much is conveyed except for her profession as a dream psychologist and she has quarrels with her mother, especially on why her mother refuses to informer on the identity of her father. Gala Besson, who plays a younger version of Jessica’s grandmother, also briefly bares skin for a more gruesome and twisted scene that would make Pinhead smile with such pleasure. Perhaps the psycho-sexual scenes stem from the heavily implied incest relationships in the story between father and daughter, sister and sister, and mother and daughter. If incest is the answer to my question on why the film blatantly markets psycho-sexual, than the taboo subject matter makes “Horsehead” that much more risque and that more interestingly ambitious, creating a film that’s hard to swallow and shocking to behold when put into that perspective. Some dream interpreters believe that being chased by a white horse, in which case the horse-headed creature is of off-white color, may represent chaste or having issues with intimacy. This might explain some of Jessica’s unusual sexual scenes in her dream sequences involving relatives.

You might recognize a name from the past in the Italian horror genre: Catriona MacColl, an United Kingdom actress who portrays Jessica’s uptight mother Catelyn. MacColl is best known for her early 1980’s rolls in the Lucio Fulci films “The Beyond,” “City of the Living Dead,” and “House by the Cemetery.” With MacColl and Pointeaux’s as the overpowering female characters, “Horsehead” rounds out with weak male characters such as Jessica’s stepfather Jim, played by Murray Head, and an estate servant George, played by French acting vet Vernon Dobtcheff.

Overall, “Horsehead” delivers solid acting, dons great editing, and has better than average makeup and effects making “Horsehead” a winning release, yet again, for Artsploitation Films. The Blu-ray release is perfectly graced with a stunning 2.35:1 widescreen transfer with a 5.1 Dolby Digital mix, evenly balanced with appropriate LFE during the EDM nightmares. The picture is quite clear with some digital noise interference but only on some minor facial closeup scenes and no damage on the prints. Even though “Horsehead” is a French film and most of the cast is French, the movie is in English and it’s not dubbed English either. Bonus features also include “Inside Horsehead Making of” and four short films that have a total runtime of 81 minutes – a movie in itself.