In the year 2027, enhanced humanistic cyborgs virtually run the planet with the renowned L.A.P.D. being no exception. Alex Rain, one of L.A.’s finest brute cops, is partially cyborg himself, but the essence of his soul remains human intact while his synthetic flesh cloaks the icy machine beneath. After tracking down suspected cyborg terrorists and almost losing his life in the struggle to stop them, Alex questions his dwindling humanity, leading him down a path of unfulfilling revenge and botched smuggling before his former employer, the L.A.P.D. commissioner named Farnsworth, tracks him down and uses deadly coercion to force Alex as a pawn in dangerous covert mission. The burnt out cop is thrusted back into the fray of his former life when Farnsworth orders him to retrieve data from the treacherous female cyborg, Jared, who was once Alex’s partner and lover, before she hands over the sensitive information to a group of cyborg terrorists who call themselves The Red Army Hammerheads. With a micro bomb implanted near his heart as insurance, Alex has no choice but to accept the assignment before detonation in 3 days and with his time running out, finding Jared isn’t the problem as Alex comes to realize that deception has convoluted the stakes and nothing is who or what they seem.
Albert Pyun’s 1992 cyberpunk action-thriller “Nemesis” is an explosive-heavy, science fiction existentialism film never before seen, or even aware of, by this reviewer, but the ground-worked narrative has remained a constant piece of foundation in being the byproduct of inspiration extracted from other cyberpunk films of its kind, such as “Robocop,” “Blade Runner,” and “The Terminator.” “Nemesis” has a presence much to the tune of another film, “Cyborg,” starring John-Claude Van Damme and that inclination would inevitably make a world of sense when the awe-striking epiphany lands that Pyun also directed that film, also utilizing some of the same actors for his early 90’s cybernetic dystopian feature. In reviewing Pyun’s credits, the assumption can be made that the filmmaker has a sturdy hard-on for the intertwining of mankind and machine as not only did the director write and direct “Cyborg” and helmed “Nemesis,” but went on to be a part of, whether director, writer, or producer, of four more “Nemesis” sequels with a fifth being produced and shot, but scrapped in post-production due to Pyun’s flailing mental health. Rebecca Charles fed the scribal beast as “Nemesis’” screenwriter, along with penning “Nemesis 2: Nebula” and “Nemesis 3: Time Lapse.”
Alex Rain is a cold cut character, sliced thick like a cool cucumber on top of a hard to wedge salad. Rain’s iciness symbolizes his downtrodden humanity status and with each part of his body shattered from destruction, he becomes one step closer to being an automaton with eye brows. B-movie action star Olivier Guner essentially make a big career breakthrough with “Nemesis” as his sophomore feature. Guner’s military background suitably solidifies his physique as a workaholic cyborg cop while also presenting a rough cut speech impediment that’s very straight forward and without emotion. Some would say that Gruner’s approach fits his half-human, half-toaster oven character and I would say that would be correct. The 80’s and 90’s saw a crowded entry list of action stars, including Jean-Claude Van Damme, Chuck Norris, Steven Seagal, Sylvester Stallone, Arnold Schwarzenegger, and many others in various degrees of success – and Olivier Gruner became one of those faces that had since then been lost over the years; Gruner’s performance in “Nemesis” lacked pizazz which could have been the contributing factor to his success, but the monotonic, unflattering one-liners and blank face stare didn’t spark any fires on top of his average muscular frame. His performance, to keep with the fire motif, didn’t provide the oxygen, a combustible, or a flammable source to quickly set ablaze a trail for semi-popularity amongst his peers and that’s where “Nemesis” falters in entertainment value. Comparatively, “Trancers” franchise actor, Tim Thomerson, is full of range and vigor as an concealing Commissioner Farnsworth. Thomerson, in his early 40’s at the time of filming, displayed an impressive physicality to his role, keeping up nicely with his onscreen rival. Farnsworth, from the get-go, reeks of desperation when pressuring Alex to do his bidding and Thomerson really nails the part and can switch on the proverbial dime as an egocentric field operative when chasing Alex through the jungles on the Hawaii set. The night and day performance is a stark contrast between the two actors. What’s mostly disappointing about “Nemesis’” cast that favorable characters come and go; some the characters a pinned with terrific actors such as Shang Tsung himself, “Mortal Kombat’s” Cary-Hiroyuki Tagawa, as the leader of The Red Army Hammerheads and the late, great Brion James (“Red Heat”) chirping a lousy German accent of the Commissioner’s right hand man. The cast has many other recognizable names that, again, come and go, including a strung out looking Merle Kennedy (“Night of the Demons 2”) as Max Impact, Marjorie Monaghan as the algorithmic beauty Jared, Vincent Klyn (“Cyborg”) as a disposable bodyguard, an extremely fit and nude Deborah Shelton (“Body Double”), voice actor Nicholas Guest (“Dollman”), brief cameo by Jackie Earle Haley (“Watchmen”), a fresh faced version of “The Predator’s” Thomas Jane, and Thomas Jane’s bare ass.
The financial backing was obviously designated for a particular department in the “Nemesis” workshop and that department was special effects. Explosions, rotoscoping, stop-motion, sculpture, implosions, practical effects and makeup are just the tip of the iceberg. Frayed wires and eye ball cannons are the elegant touch that makes “Nemesis” a cult favorite and bring substance to a clunky storyline and divisively dynamic acting. However, not all the specials are pinpoint precision and grounded by reality. The one scene that stands above the rest when Farnsworth is hot in pursuit of Alex and Max and he’s shelling off rounds of a shotgun, standing relatively still, blasting away without moving the barrel around to compensate for his prey’s length of distance gained or even when they decided to make quick pivots in direction. Somehow, the rounds hit very close to Alex and Max and that’s not all, they even explode like a single stick of TNT. ACME must have had a hand in the special effects department because the scene sure was loony. Yet, the implosion of a monolithic silo was uber-impressive, well-executed, and really ritzy for the silver screen.
Imperial Entertainment’s “Nemesis” infiltrates onto another home video release, a region free, dual DVD and Hi-Def 1080p Blu-ray format release, from MVDVisual under their MVD Rewind Collection series. Sheathed by a slick, retro-grade slipcover with familiar art, reminiscent of the now decade old Sterling DVD release, the special collector’s edition provides two aspect ratios, an anamorphic widescreen 2.35:1 and a widescreen 1.78:1. This MVDVisual Release has stellar detail in the texture and in framing that are exhibited in various tint shades, such as yellow and blue, and eventually cough up toward a more natural look into the second act when Alex reaches the rough neighborhood of Shang Loo, Java. Even though the visual compositions and mold work doesn’t pop with color and are a bit fuzzy, “Nemesis” is a product of it’s time, the early 1990’s and you can’t fault Pyun’s film for that. The English 5.1 surround sound is beautiful. So beautiful and potent, in fact, that you can actually understand Olivier Gruner’s mumbling, putting dialogue for all characters right into the front row while offering a stimulating range and depth of ambience sound, an unlimited variety of explosions, and plenty of miscellany cyborg hubbub. Other language are available, including French, German, as well as English in 2.0 stereo and there are English and German SDH subtitles available The Blu-ray bonus features include new interviews with producer Eric Karson and director Albert Pyun, “Nemesis 2.0” the director’s cut with Albert Pyun audio commentary, and original theatrical trailer. The DVD is the director’s cut and also includes the Japanese cut with Japanese subtitles burnt-in. Bonus features for the DVD include introductions by the director Albert Pyun and star Olivier Gruner, an afterword by Albert Pyun, a behind-the-scenes featurette, an interview with star Olivier Gruner, the making of segment involving the hefty special effects, stunt work, and visual effects, a featurette entitled “Killcount,” a behind-the-scenes photo gallery, TV spots, Key Art Photo gallery, and, top it all off, a mini-poster inside the casing. Inside a killer definitive, two-format and disc set from MVDvisual, “Nemesis” hones in on the existentialism notion of what being human actually means to each and every one of us through the bombardment of gun fights and jumbo explosions on top of a conglomerate cyborg coup that peaks with hard bodies and even harder viewer contemplation.
Alkis Vidalis made friends while serving time in prison. Friends, in the very loose sense of the word, with a corrupt and wealthy businessman, Daniel Bezerianos. When Alkis’s freedom is granted, he’s quickly picked up by Bezerianos’ gangster enforcers to contrive a public viral video with Alkis delivering a verbal message that would exonerate the still imprisoned crime boss and put the blame solely on a rival kingpin, Joseph Forkou. Held in Bezerianos’ rural porn studio building, Alkis commits to the plan that will, for now, save his own skin and as he’s going through the numerous takes to get an absolute resounding performance that will surely free Bezerianos, in the back of his mind, he knows will be undoubtedly be disposed of once his use to Bezeriano has dried up. Alkis’s fight tooth and nail survival and plan-as-he-goes quick thinking must ensure his fate through a multi-level building and a slew of heavily armed henchmen from two criminal factions who all want him dead before the video is uploaded to the internet cloud.
Not many Greek films come across my desk as a reviewer, but when they do show up at the door or in the mailbox, extreme anticipation salivation to pop the disc in the player and hit play begins its rampant course through the core of my body and shoots straight up to my bloodshot eyeballs. Dimitris Tsilifonis’ “Do It Yourself” is no exception as the 2017 action-thriller challenges us to take matters, big or small, into our own hands when push comes to shove and backed into a corner. Written and directed by Tsilifonis, the filmmaker takes the point in his first feature opportunity, aiming high and executing a non-linear, non-formulaic storyline that will keep viewers guessing how, what, when, why and who. “Do It Yourself” seizes the system as a calculated thrill ride that’ll entertain, equaling the same amount of narrative hip-slinging causticity of the last Greek film ventured by Its Bloggin’ Evil, a zomedy known as “Evil: In the Time of Heros” starring Billy Zane and directed by Yorgos Noussias.
As a small time pawn, Alkis Vidalis has prowess in formulating plans quickly; they may not go accordingly and he may break a nose or a leg in the process, but Alkis, like a cat, always seems to land on his two feet when in a skirmish with hired henchmen, coming out bloody but on top. Alkis isn’t a killer but has to become one in order to survive and even though he’s the central character to the story, mystery shrouds around him in what drives the favorable anti-hero to not cower and stay alive other than pure, animal instinct. Konstadinos Aspiotis has the chops to bring Alkis to the screen and express that oxymoronic quality of unsure confidence in Alkis’s mob misadventure. Tsilifonis writes voice over monologue in Alkis’s voice, as if he’s telling a story to the audience, for exposition purposes that describe the setup and the characters which fundamentally weakens the film, but for this particular tale, the voice over monologue is warranted. Aspiotis has numerous interactions with various characters but more so with Makis Papadimitriou as Peter, a low-level enforcer trying to make a name for himself. More like a caretaker than an enforcer, Peter has one job: to make Alkis think they’re friends and then kill him. However, Peter, who isn’t necessarily a screw up, fudges his task and caught in one of Alkis’ fly by the seat of your pants plans. The character is etched with more a selfish attitude toward everything when the tables turn on him and Papadimitriou cultivates all of Peter’s self-regarding desires into the correct power and survival categories while his dynamic with Alkis is looking at himself in a mirror. They mirror so much so that both characters receive their own perspective of the same event. Other characters intertwine with the two leads and they’re played by Mirto Alikaki, Christos Loulis, Argyris Xafis, Panos Koronis, and Themis Panou.
Tsilifonis script has an affinity for pop culture, referencing various films and TV shows by name, such as Martin Scorsese’s “Goodfellas” or HBO’s “Game of Thrones” for example, to juxtapose events and/or characters on a mafia level. Films and television shows are not alone in this homage of iconography as social media websites and their viral and trendy sensations are integrated into the script as table talk conversations. 4chan, Youtube, and The Fappening are particularly referenced when the editor of Alkis’s testimony, also a porn editor with an inflatable sex doll, finds the conservatively torrent side of Google’s acquisition of Youtube distasteful for edgy content and the humor in the bare exposures of star-studded private lives and photos with 4chan and The Fappening while thumb jockeying a Playstation controller in midst of conversation with Peter who seems relatively neutral about these things. Even though suavely placed, “Do It Yourself” frequently uses the pop culture tag words in excess that render them redundant and tiresome that when in retrospect, Tsilifonis could have completely omitted them and “Do It Yourself” can, well, do it itself. The only other gripe with “Do It Yourself” is if the plot takes place entirely in a porn studio, then where was the nudity? Am I wrong?
Artsploitation Films delivers another knockout thriller title from their eclectic catalogue with Dimitris Tsilifonis’s “Do It Yourself” on DVD home video, presented in an anamorphic widescreen format, 2.39:1 aspect ratio. Between Aggelos Papadopoulous’ depth defying photography and the impressive visual effects that flawlessly moves and puts a building in the middle of nowhere, the transcendence image quality is one with this release as it’s practically impossible to conclude what’s real and what a visual effect. Other visual effects of displaying Ikea like instructions on the side of a building, showing the cell phone screen next to Alkis, or having subtitles embedded into portions of the wall are unique and clever, but too far and in between that ends up being an inconsistent inconvenience. The dim tint sets the tone while still mastering the color palate. The Greek language Dolby Digital 5.1 surround sound allows you to hear every glass break, every ping of a bullet ricochet, and every guttural and verbal echo in the reverberating car garage through the five channels. The prominently Greek with little English dialogue is in the forefront amongst a well-balanced range and depth of sounds like hearing the muffled voices behind glasses, the soft moans and groans of porn actors behind the fake walls, and, on the other side, the high squeal of a racing tire wheel. Bonus features include a three small featurettes that revels how the camera shot elevated up from ground level to the top, another was the visual effects breakdown in creating the building structure, and the last being two deleted scenes. Dimitris Tsilifonis’ has a commentary track and 14 minute short film “The Way of Styx” is also available. “Do It Yourself” is no Bob Vila special on how to repair the seeping drips from a leaky sink with your own two God-given hands, but the Dimitris Tsilifonis film bustles with fun in a deluge of crime and betrayal and that, my friends, is a priceless enlightened experience.
In the year 2022, Special Forces solider, Captain Robbins, is court martialed for putting a bullet in the head of his commanding officer. After escaping two maximum security prisons and a record of rebellious activity, a corrupt and power hungry warden of the Lactivus prison ships Robbins off to an off shore island called Absolom, where prisoners can roam free with no chance of escape due to 24/7 surveillance by Satellite and rocket launcher armed helicopter gunships surrounding the island perimeter. Island prisoners separate into two factions: the Outsiders and the Insiders. Each with the respective camps, the lawless Outsiders overwhelm the Insider’s numbers by 6 to 1, leaving the small manned community in constant fear of attack and pillage by the Outsider’s merciless leader, Walter Marek. When the insiders learn than Robbins has faced Marek and lived, they take the former solider into their community, but Robbins sole desire is to escape off the condemning rock and with the help of a few good men from the Insiders’ camp, the chances of escape and survival are greater together as long as Marek and his band of starving cutthroats don’t seize the endangered community first.
“Escape from Absolom,” also known as simply “No Escape” in the U.S., is a Martin Campbell directed action film from 1994 that’s futuristic and violent, fun and thrilling, and kitschy without being too cheesy. Campbell, who went on to direct not one, but two, James Bond films, begins a base of epic action that’s toweringly ambitious and pulled off nicely with the stunts and the editing. Based off the Richard Herley novel “The Penal Coloney,” the script is penned by Michael Gaylin who puts pen to paper to scribe a playful, passively aggressive dialogue, but fun and energetic on a the same coy lines of other high visibility action films. Gaylin was able to conform to a story that has no dynamic with the opposite sex in one of the few films that exhibits a rare all male cast.
“Goodfella’s” star Ray Liotta finally got his time to shine as the butch and badass action hero that is Captain Robbins, a highly skilled special forces solider and killing machine whose pragmatic intentions, at first, are hard to read. The cockiness overtop a well-cloaked deadly skill set works to the advantage of the blue-eyed actor for New Jersey. Opposite Liotta is Stuart Wilson (“Hot Fuzz”) as Walter Marek, a 7-year island lifer with dreadlocks and nose bridge piercings to match his psychotic leadership. Wilson does psychotic just fine, but the look resembles John Travolta’s atrocious attire from Battlefield Earth. Lance Henriksen, One of the most recognizable legendary genre actors, has a more serene approach in being a mentor and the leadership figurehead of the Insiders camp when compared to conventionally eccentric, sometimes maniacal performances, but Henriksen has a mellow side to him that conveys are very affectionate kumbaya approach, but any personality compared to Stuart Wilson’s internal rampage would be a stark contrast. “Ghostbusters'” Ernie Hudson has his role as security office in the Insiders camp and the sole black man of the film, for obvious reasons, stands out, but Hudson just adapts to anything you put him in though the Michigan born tended to sway toward the thrilling fantasy/sci-fi genre in the height of his career. Rounding out the cast is Kevin Dillon (“The Blob” remake), Kevin J. O’Conner (“Lord of Illusions”), Don Henderson (“The Ghoul”), Ian McNeice (“Dune”), and Michael Lerner (“Maniac Cop 2”).
All things considered, “Escape from Absolom” is a torrent men-in-prison extravaganza that’s one part Sylvester Stallone “Judge Dredd,” one part Chuck Norris “Missing in Action,” and, as a whole, an endangered brand of droll entertainment. Speaking of Stallone, Ray Liotta did it first as a character who is an expert at escaping the inescapable maximum security penitentiaries and instead of Arnold Schwarzenegger and Dave Bautista as contentious, yet supportive allies, the friendly, yet solidly statured Ernie Hudson and Lance Henriksen share Liotta’s Captain Robbin’s unquenchable lust for freedom, even if it to provide unsheathe exposition of the unethical corporate penal system practices. Far from being a perfect film and extremely blantant on a no underlying message, Martin Campbell undoubtedly has a fine tuned niche of capturing the casual eye with large scale action sequences and an affable character allure.
Umbrella Entertainment releases “Escape from Absolom” on a region-all Blu-ray, presented in 1080p, widescreen 16:9 aspect ratio. The coloring is phenomenally remastered and stable compared to previous transfers. There are times when depth becomes two-dimensional or flat, skewing the picture noticeably, but the overall picture quality is spectacular in the vast amount of Australian landscapes and even in the night scenes that show hardly any enhancing, such as sharpening or contrast. The English DTS-HD Master Audio 2.0 track is laid out nicely with audible poise and precision balance. Dialogue is prominent while explosions have just the right amount of oomph under an exact LFE recipe. The release sports other language Dolby Digital audio tracks such as a German 2.0, Spanish 2.0, Italian 2.0, and a French 2.0. Optional English SDH subtitles are available. Bonus material includes a two part making of featurette from around the production of the film with interviews with cast and crew, four TV spots, trailer, and a reversible cover. Runtime is 118 minutes. Martin Campbell’s “Escape from Absolom” is dystopian dynamite, explosive and aggressive with a flare for enjoyable banter amongst defined and diversified characters inhabiting an utopian island of mostly societal scum.
Two young women, traveling toward a music festival near Lake Tahoe on a lonely stretch of isolated Californian road, hitch a ride with a pair of seemingly harmless guys with a fast, expensive car. Their elated joyride goes south when the car flips over during a torrential downpour and crashes near the edge of a lake adjacent cliff, but this isn’t just any car these kids have completely wrecked. The car is stolen and belongs to a powerful criminal kingpin hellbent on getting the car back in his malefactor grips. With being pinned under the upside down car, sustaining serious injuries, and being accomplices to grand theft auto of a wired traced car, the odds of survival are slim and time is running out as henchmen move into retrieval mode to track down the stolen car and kill anyone they come across involved.
“Cheeseburgers and Ryan Gosling.” That direct quote fairly sums up the Dan Tondowski written and director action thriller titled unambiguously as “Accident.” The 2017 feature is Tondowski’s debut feature film; in fact, it’s his own credited feature film that embraces, or maybe just mirrors, the action sequenced camerawork of Russian filmmaker Timur Bekmambetov, director of “Wanted” and “Abraham Lincoln: Vampire Killer.” Tondowski begins his film impressively enough with a long take, nearly 7 minutes, of setting up the two women, Jess and Caroline, into their catalytic moment that forces into hitchhiking. After that, “Accident” becomes strictly popcorn cinema on a downward slop of insufferable filmmaking that maintains an afloat affliction with moderately entertaining special effects that include a slow motion car crash, an intense helicopter crash, and a 50 caliber machine gun.
Each and every single character in “Accident” was written without an ounce of redeeming value and Stephanie Schildknecht (“Death Race 2”) and Roxane Hayward (“Death Race: Inferno”), who were Jess and Caroline in the film, couldn’t rile up a brief moment why the plight bestowed upon them should have not have happened to them. The suspicion of how Schildknecht and Hayward received their roles might be due to the fact that they both look damn good in a bikini and black lingerie, featured when they strip to the said garments in a gas station bathroom during an back and forth dialogue. Don’t know why they removed their clothes, but that was certainly an aesthetic highlight. Tyrone Keogh (“Death Race 2” – if you haven’t noticed, three out of the four main stars have been in “Death Race” sequels) and Keenan Arrison portray the two car thieves, Fred and Thomas, who pick up Jess and Caroline to have everything they need, fast car and beautiful girls, so Fred states.
While the production value for “Accident” is top notch and ultra-glossy, that’s roughly the sole positive aspect of the film. The script by Dan Tondowski is a wild hose of loose-to-absent plots and subplots chased with misplaced dramatics and cringe worthy dialogue, the latter already stated earlier with the “cheeseburger and Ryan Gosling” line in the context of being the very one thing a person would want on the brink of death. The overall script as a whole is terribly superficial without much substance to care why these four joyriders should be saved from the pain that’s barreling their way and the answer to that is there is no recourse for any of the characters; no one single redeeming value is actioned or given in exposition to rejuvenate them to a higher standing. Jess is wish-washy with her life choices and a patsy to Caroline, Caroline deceives her mother and neglects her friendship with Jess, Fred wishes everyone dead to save his own butt, and Fred is a potential rapist with pivoting change of heart. Neither of them have self-respect and so when they’re thrown violently into a mix of blood and bullets, an agonizing amount of wait time goes by until their ultimate demise. The plot dissolves around the importance of the car and it’s connection to the great threat that descends upon the four naïve adolescents. At one point in post-crash, the carjackers find a suitcase thrown from the vehicle and they dig through it to only find clothing. The scene is awkwardly out of place and fizzled after the initial “AH-HA” interest that might have shed some light on what the hell was going on.
Exclusively on digital come April 3rd, Well Go USA is releasing Dan Tondowski’s action-thriller “Accident.” The feature-film will be not rated and have a runtime of 89 minutes. The image and audio quality will not be critique for this review due to the digital platform that varies in qualities and no bonus features were included with the digital screener. In closing, “Accident” crashed and burned after the nice 7-minute single take that dapples of nice imagery from then on out and figures to quickly run through the digital market, but with the Tondowski’s cinematography, I expect the filmmaker to only get better from here.
Life is seemingly pleasant and happy-go-lucky when two fully loaded coach buses of high school girls travel down a forestry passageway toward a lakeside hotel until sudden violence and gore turns Mitsuko’s classmates into minced meat. Overcome with shock and fear, Mitsuko escapes the terror only to find herself in another horrifying scenario. The vicious cycle continues as Mitsuko is thrusted into one chaotic, blood-splattering world after another, quickly losing her identity with each threshold crossing, and with no clue of what’s going on and how she got into this limbo of hell, Mitsuko must stay alive and unearth the truth behind the surreality of her being.
Nothing is more terrifying than being in a heart-pounding situation and not having one single clue why bodies are being sliced in half like corks popping violent out of champagne bottles, why childhood mentors break their professional oath and slaughter students with a ferocity of a mini-gun, or why being chased by a tuxedo-decked out groom with a gnarly pig head is in tow ready to drop kick anything, or anybody, standing in the way. Writer-director Sion Sono manifests that very chaos entrenched world in the 2015 action-horror “Tag” and, once again, the “Suicide Girls” director puts Japanese school girls back into the harrowed ways of gore and death over salted with an existential surrealism based off a novel by Yûsuke Yamada entitled Riaru Onigokko aka Real Game of Tag. Yamada’s story is followed more closely to that of Issei Shibata’s 2008 “The Chasing World” that involves a Government influence and parallel universes, “Tag” serves more as an abstract remake that Sono masters a soft touch of irrational poetry bathed in gore and strung with chaos rectified with a tremendously talented cast of young actresses.
Actresses such as the Vienna born Reina Triendl. Being Japanese doppelgänger to Mary Elizabeth Windstead with soft round eyes and the picturesque of youthfulness, Triendl transcends tranquility and innocence when portraying a content Mitsuko in the midst of many of her classmates boorishly bearing the typical, low-level adolescent anarchy. When Mitsuko’s thrusted into phantasmagorical mayhem, Triendl steps right there with her discombobulated character in an undried eye panicky frenzy whose character then spawns into two other fleshy vessels, a pair of recognizable names of J-Pop fandom in Mariko Shinoda and Erina Mano, when Mitsuko enters another zone in her fictional world. Though different in all aspects of their appearance and in name – Misuko, Kieko, and Izumi, the three women share the same existence and fathom a unbroken entity of character that hacks her way through the brutal truth. The remaining cast, Yuki Sakurai, Aki Hiraoka, and Ami Tomite, sport the high school miniskirt wardrobe and garnish a bubbly-violent J-horror persona very unique to the genre.
“Tag” is a plethora of metaphors and undertones likely to be over-the-head of most audiences, but if paying close enough attention and understanding the subtle rhythmic pattern of Sono’s direction, the gore and the fantastic venues are all part of an intrinsic, underlining message of feminism and sex inequality that’s built inside a “man”-made, video game structure thirty years into the future. Sono points out, in the most graphic and absurd method, how men treat women like objects or playthings. There’s also a message regarding predestination with white pillow feathers being the metaphor for fate and being spontaneous is the key to break that predestined logic and all of this corresponds to how Misuko, the main character, needs to break the mold, to choose her path, and to remember her past in order to free all the women trapped inside a male-driven purgatory of pain, punishment, and pleasure. Supporting Sono’s ability to disclose an epic survival-fantasy horror in such a way comes from multiple production companies, one of them being NBCUniversal Entertainment, providing the cash flow that allows Sono to flesh out the gore, to acquire massive amount of extras, and to scout out and obtain various locations.
Eureka Entertainment presents a dual format, Blu-ray-DVD combo, of “Tag” for the first time in the United Kingdom. However, the disc provided was a feature-only screener and a critique on the video, audio, and bonus material will not be conducted, but in itself, “Tag” is a full throttle encephalon teaser warranting a need for no supplementary content aside from conventional curiosity into what makes Sono’s “Tag” tick. When all pistons are firing, from the visual effects of Satoshi Akabane to “The Walking Dead” familiar score, “Tag” is no child’s game with a heavily symbolic, touch-and-go and bloodied pro-feministic essence that would serve as an abrupt and acute wakeup call to all the Harvey Weinsteins in the world that women are not to be simply playthings and that their gender destiny lies solely with them despite the misconstrued male manipulation.