Tag Archives: Asami

EVIL Cabbie Takes Beautiful Women for the Ride of their Lives. “Maniac Driver” reviewed! (ReelGore Releasing / Blu-ray)

Posted by Steven Lewis on

Hail down the “Maniac Driver” on Blu-ray!

Taking a taxi should be a reliably safe to get from point A to point B and once you settle the serviceable transaction with payment, you can forget you ever saw that taxi driver again.  But what if that taxi driver follows you home, obsesses over you, and has psychotic plans to take your life as well as his own?  One Tokyo cabbie has those very inclinations toward the beautiful women.  These women intoxicate his severe guilt over a past personal tragedy involving the merciless murder of his wife.  He scours his passenger pool for the perfect beauty to be his closing opus, a gift to society that dealt him the same hand and will take her life as a maniacal masked killer with a blade before he turns the blade on his own neck. 

From the director of “Gun Woman” and “Karate Kill” comes the latest gore-soaked, nudity-laden, psychotronic grindhouse picture from Tokyo filmmaker Kurando Mitsutake.  Labeled as a Japanese giallo film, the writer-director Mitsutake pulls inspiration from one of most influential and prolific Italian giallo filmmakers ever, the late Lucio Fulci, and stylizes his idolizing film with his own proclivity for flair.  The 2020 released film is a thirst trap of the subgenre upon reading the heavily enticing description and its basic but effective cover art of a leather glove and jacket cladded masked maniac holding tightly onto a half-naked woman, almost in an embracing manner rather than a malice one.  Sex and blood sell and “Maniac Driver” doesn’t disappoint but what about the story?  What drives the killer from one woman to the next and does it all make sense?  “Maniac Driver’s” title suggests not, and I believe Kurando Mitsutake felt the same way when writing the script, produced by “After Life” and “Paster Shepherd” producer Mami Akari under the Akari Pictures banner.

Titling the story around the maniac driver binds the film solely to the cab driver, much in the same way William Lustig’s “Maniac” focuses on Joe Spinell’s spiraling madness and scalping mutilations, and we’re pretty much left with the driver’s innermost thoughts, about his process, about his reasons, and about his plans.  Essentially, the maniac driver drives the narrative with a contemplative fare.  Tomoki Kimura has surpassed the challenge with a pendulum crazed performance sought to not only express his derangement but can also infect the viewers with the character’s warped mind.  Kimura keeps his expression stoic and sour in a role that barely requires him to speak as we mostly hear prosy, abstract, and murderous inner thoughts.  In regard to the women the driver stalks and involves himself sleazily with, Kurando Mitsutake goes the JAV actress route and is familiar with as having the alluring Asami star pretty much naked through the entirety of “Gun Woman.”  With adult actresses, Mitsutake receives uninhibited support for the victimized characters the maniac driver fantasizes over and kills as well as Mitsutake’s satirical whims in exploiting the subgenre’s penchant for gratuitous flesh.  Adult starlets from softcore actress Saryû Usui (“Sex Detective Hatenashi”) to the hardcore Ai Sayama (“Date with a Busty Nymph”), Ayumi Kimito (“Love Kimomen”), and SOD (Soft on Demand) Create’s Iori Kogawa (“One Wife + 10 Husbands) add a little titillation with gratuitous exposure, bondage, and fornication to the max. 

“Maniac Driver” paves its own neo-giallo path that swerves away from the traditional calling cards. Instead of a typical Italian murder-mystery, Mitsutake intentionally divulges the killer cab driver with a delusional hunger and fate. All the other hallmarks of a giallo killer are there in a Fulci tribute form with leathery glove hands, a gleaming blade, a masked face, and a killer who makes a duck-like sound that’s far more menacing than comical. “Maniac Driver” also pulls from other inspirations, such as Lustig’s “Maniac” as well as Martin Scorcese’s “Taxi Driver” with Tomoki Kimura channel his best Robert De Niro impression with the iconic You Talkin’ To Me line. Behind the whole ghastly facade and polychromatic style, entrenched is a theme of survival’s guilt that leads the cab driver to the point of no return. Severely injured and helpless to save his wife from a crazed killer, he’s wrought with putting forth into the world exactly what was taken from him in the same fashion, but how the deeper we spiral with and into his derangement, piecing together his mental episodical puzzle might not be so easily pegged. Mitsutake’s seemingly straight forward narrative is a blindsiding blade to the throat when looking in the opposite direction, expecting a different outcome, and when the principal character is kept to his innermost thoughts, viewers are treated with only the maniac’s disenchantment of life. The curveball is more than welcome despite all evidence being in plain view, but with the bizarre fiendishness, schizo-universe, and the T&A, to see clear through it all is impossible, especially when Mitsutake really goes off the rails with the maniac driver’s fantasies that mesh seamlessly with reality. Scenes with Iora Kogawa and Tomoki Kimura are intolerably hazy as the actors engage coquettishly as an exquisite, kimono dressed female passenger and a public transportation service man peering his eyes through the review mirror and this leads to an explicit one-on-one encounter that includes some bondage as well as a Iaido showdown with swords drawn. Through Mitsutake’s various closeups and depth-shots, sprinkled with tight up shots to emphasize body parts and to create an oppressive world, “Maniac Driver” ebbs and flows that sort of satirical, aggrandized chaos to make light of the oversexualization, as skirts hike up while running and exposed chest flop out underneath tightly bound tops, and the sheer madness of a broken mortal man. “Maniac Driver” is an uber giallo of sleaze and psychosis, a steady ride of burning yearning, and is gory where it counts.

To be honest with you, I thought I’d never see a ReelGore Releasing again. When speaking with Cult Epics founder Nico B., who launched the label with producer Steve Aquilina (“Violent Shit: The Movie”) in 2016, I had asked the popular curator of cult cinema whether he would continue with banner that sought to specialize in the release of extreme, violent horror after the releases of the ItsBlogginEvil generally well received “The Orphan Killer” and “The Curse of Doctor Wolfenstein?” The answer I received was a flat out no from Nico B. because, simply, the label didn’t generate enough profit. Well, lo and behold, ReelGore Releasing has been resurrected and the blood is flowing once again with a pair of new titles with “Manic Driver” being one of them. Though Nico B. has confirmed no involvement with the releases, it’s still great to see the label back in action again. “Maniac Driver” is released on a ReelGore Releasing AVC encoded Blu-ray, a BD25, and presents the Mitsutake film in 1080p, high definition and a 2.35:1widescreen aspect ratio. Despite heavily saturating to a blur scenes with brilliant, primary coloring, familiar to the giallo subgenre, the overall details are quite pleasant and palpable. Mitsutake utilizes different lighting and shadowing techniques to create different atmospherics but never seems to inherently kill the textures as they maintain a sharp, tactile presence. The Japanese DTS-HD 5.1 audio track, with forced English subtitles, is vibrant with an 80’s inspired blend of synth and riff-rock. Japanese dialogue is strong, clear, and innately clean with the digital recording, balanced by an error free and aptly timed English subtitles. “Maniac Driver” has a robust, yet sometimes overelaborated, sound design that outputs nicely through the side channels. The killer’s leather glove sounds can be overkill with every scene being loused with the individual stretches of the fabric while the energy-thumping engine combined affixed shots around the tire and grill is a powerful effect of the cab driver’s routine hunting method. The release also comes with French and Spanish subtitles. Bonus features include a making of featurette with interviews with the cast and crew, an audio commentary with director Kurando Mitsutake, photo slideshow, and the trailer. There are no stinger scenes during or after the credits. The physical appearance sheaths the 25GB disc inside a sleek red Blu-ray snapper case with reversible cover art that has two alternate posters on the inside. The film is not rated, region free, and has a run time of just under 75 minutes. “Maniac Driver” is no passenger in the giallo subgenre; the Kurando Mitsutake might be a bundle of homages and inspirations but takes the wheel of the Japanese sexploitive-giallo gas guzzler with deranged brutality.

Hail down the “Maniac Driver” on Blu-ray!

EVIL is Undead…And Rides a Shark! “Sky Sharks” reviewed (Umbrella Entertainment / DVD)

Posted by Steven Lewis on

Former Nazi scientist Dr. Klaus Richter’s past has finally caught up with him after 70 years when a clandestine German laboratory, disguised as an aircraft-battleship hybrid, thaws from behind a globally warmed sheet of frozen ice and rock, releasing Dr. Richter’s regenerated legion of undead Nazi super-soldiers piloting genetically engineered flying battle sharks complete with guided missiles alongside their razor sharp jaws.  Loyal to the Third Reich, the sky sharks continue their master race patronage with a blitzkrieg in the skies, attacking commercial aircraft, boarding the cabins, and slaughtering every last person on board before crashing.   Now contractually working for the U.S. Government as the biggest name in technological advancement, Dr. Klaus, with the help of his two daughters, has a plan to nullify the sky sharks’ defenses to make them vulnerable to his latest newest experiment in warfare, Dead Flesh, under the guidance of his fellow covert government agency heads.

Apex predators of the waters are now apex predators of the skies in Marc Fehse’s ridiculous, frenzied, and utterly mad ultra-violent Nazi-exploitation, “Sky Sharks.” Soaring through the heavens soaking fluffy white clouds with blood, the Carsten Fehse and A.D. Morel co-written film took off virally in 2020 with the promise to the internet, especially horror fans, of zombified SS soldiers mounted standing on humungous Great White, Hammerhead, and Megalodon jet-propelled sharks. Fehse’s team delivered. “Sky Sharks” has not one single serious bone in all it’s cartilaginous gory-glory body in what’s Fehse’s second film behind the 1999, straight to video, “Mutation” involving the what-if factor of a surrealistically free reigning and sadistically unbridled Nazi force hellbent on winning World War II no matter how many lives needing to be sacrificed for the sake of the Führer’s dominion. The Germany-made production is a Fuse Box Films and Fantom Films.

“Sky Sharks” is studded with cult stars, but those studs pop out mostly after the carnage-laden opening scene of passengers on a commercial flight being ripped to shreds by undead super-soldiers hog-wild about killing. Robert LaSardo (“Strangeland”), Lynn Lowery (“Model Hunger”), Tony Todd (“Candyman”), Diana Prince (“The Last Drive-In with Joe Bob Briggs”), Mick Garris (director of “Critters 2”), Dave Sheridan (“Scary Movie”), Amanda Bearse (“Fright Night” ’85), Asami (“Gun Woman), Naomi Grossman (“American Horror Story” franchise), Lar Park-Lincoln (“Friday the 13th Part VII:  The New Blood”) and “Mortal Kombat’s Shang Tsung himself, Cary-Hiroyuki Tagawa, make an appearance in some minor way, shape, or form, but since “Sky Sharks” is a German production, much of the cast is geared toward German and Austrian actors with Thomas Morris spearheading the lead role of the inverted mad scientist, Dr. Klaus Richter, a centenarian mastermind behind the birth and, hopeful, destruction of his monstrous airborne jaws of death experiment.  The role itself isn’t very exciting that refrains Morris to be nothing more but a talking head who recounts his failed World War II and Vietnam resurrection serum to turn the tides of war.  While Dr. Richter has immense blood on his hands from a long and rich background, the present day Richter has lackluster appeal and Morris doesn’t provide much zest either.  More complexities reside in Richter’s two tech-savvy and kickass daughters, Diabla and Angelique.  Their signifying names alone provide some foreshadowing of events, but the close sisters are boots on the ground with their father being the eye in the sky; yet, Diabla and Angelique have been kept in the dark from their father’s horrid past that factors little into parting ways from being daughter’s little girls.  Blonde beauties Eva Haberman and Barbara Nedeljakova successful roles in Germany and the U.S. include “Hostel” and the sci-fi tele-series “Lexx,” but their blind obedience to the patriarch roles downscales any moments to shine individually as free thinking agents of good.  Any other character factored into “Sky Sharks’” whiplash narrative come and go without a single ounce meaningful impact becoming background noise for the fray. There’s not even a singular villain to speak of as a focal point to direct a challenger against forces of good.

As much as the concept excites me on an obscurely dysfunctional level, a real telling tale of who I am as a person, who also praises “Snakes on a Plane” as cult candy, “Sky Sharks” has atrocious issues with pacing and story quality.  The opening scene sets up what to expect of gore drenched Nazis yoking back on genetically mutated sharks, zipping through high altitude to acrobatically infiltrate commercial planes for complete and total annihilation of every passenger onboard.  Tickles me in all the right places.  Yet, the sky sharks’ unveiling background whizzes past right into death from above world apocalypse, skipping keynote details resolving the giant warship beached on the Antarctic ice.  Fehse decides to redirect our focus with a bunch of explicit violence and sex and while that’s all nice and good…really good…the misdirection can’t coverup the necessities needed for a good story even if the story is absolutely bonkers. The visual effects are not distinct from the ream of shark-sploitation films that have become popular over the last decade in a cheaper slaved effort to capitalize on the majestic beasts of the sea…who sometimes mistake a surfer for a sea lion. The flying sharks swim in a stiffly pattern and move inorganically through their uncharacteristic ecosystem as they rocket in a school of steampunk nightmares. Not all visuals fall short of satisfaction when they’re appropriately blended with practical effects. Under that hood of tangible horrors is “Iron Sky: The Coming Race’s” Martin Schäper and, the legendary, Tom Savini, who we haven’t seen special effects work from since 2012’s “Death from Above” (an also fitting title for killer sharks in the sky). Schäper and Savini bring it with blood. Each plane sequence, there’s two of them, exhibit different deaths with each one more outrageous than the next. My favorite is the inverted periscope through a guy’s cranium and having a looksie at the screaming, bloodied passengers. “Sky Sharks” is, literally, an over-the-top scream of slice’em and dice’em fun.

Cresting through the blue yonder and painting the sky blood red is the deadliest gang of shark riding Nazi’s to ever grace a cinema platform in “Sky Sharks,” coming to DVD in Australia, no stranger to large, deadly sharks, courtesy of Umbrella Entertainment in association with Raven Banner. The NTSC encoded, region 4, rated R release will present the film in a widescreen 2.35:1 aspect ratio. “Sky Sharks” is a turbulent wonderland of rustic computer generated visual effects with a Marco J. Riedl and Olaf Markmann cinematography, typifying a clashing style, of keeping actors tightly in focus to sell a futuristic fluorescent environment. A few scenes give a sense of layered paper mâché sitting in front a green screen as the forefront images seemingly pop out of their backdrops. The English and German Dolby Digital 5.1 surround mix falls victim to an overpowering score of a weak dialogue track that washes key pieces of exposition that might explain more as the scenes fleet away in the rushed paced 103 minute runtime. Aside from a brilliantly detailed DVD cover robust with a glowing eyed, half-decaying Nazi soldier as centerpiece amongst flying, weaponized sharks and Robert LaSardo and Lynn Lowry cameoing off to the left side with a half-naked female warrior on the right, the DVD has no bonus features included. After the credits, a fake commercial for “Sky Frogs,” starring that half-naked female warrior I just mentioned, is a satirical happy ending full of even worse, 80’s caliber, visual effects worlds and frogs. Though not at the top of the food chain being one of the grossly ostentatious and shoddily visual effects films ever, the mindless, search and destroy, crudeness of “Sky Sharks” chums our oceans of entertainment with some of the bloodiest fun we’ve seen in a long time from a Nazisploitation.

Own Umbrella Entertainment release of “Sky Sharks” on DVD! Click the poster!

Finding Love in the Most Evilest Ways! “Brutal” review!

Posted by Steven Lewis on


One man kidnaps women, gags and bounds them inside his bleak apartment, and unleashes a fury of hate and disgust whilst searching for one woman who will understand him and his relentless, and vehement, scouring. One woman lures highly aroused men back to their apartment for what they believe will be a night of passionate embrace or of simplistic carnalities of inhibition. While the guys are thinking with the wrong head, the woman slices and dices them to a pulverized pulp of death meat and repetitively fillets their manhood postmortem without guilt. She, too, also searches for something, but is more reserved about it as she allows men to verbalize their needs and desires to her. As the two killers go through the melee day-by-day, they eventually find each other, but before realizing their compatibility, the killer inside themselves square off against each other in a one-on-one bout of maniacal mayhem that must unravel in blood before unsheathing true love.

Who knew that love could hurt so badly? Director Takashi Hirose exhibits a painful peak into two desperate swains callously searching for some understanding, some deep rooted mutual pain that plagues their own embodiment, in “Brutal,” Hirose’s 2016 feature that packs a bloody brawling wallop of the human will toward punitive punishment and desperate determination. The Japanese filmmaker also wrote and co-produced the three part chapters that segments Man, Woman, and Man and Woman into a commingled three act narrative of utter chaos that glorifies finding a soulmate in the most insane circumstances. E-Harmony. OKCupid. OnlyFarmers.com. None of these so-called matchmaker websites have the formidable fortitude to remove all the political niceties and to dig into the human psyche the way that only Takashi Hirose can to lure out and strip one person’s entire vulnerability and, essentially, the parts that makes us ultimately human into a raging, yet emotionally unstable, hapless lover.

Butch, the one and only moniker for the actor, portrays the Man who is a very strong and determined man that brings to his apartment many nice, and sometimes unsavory, attractive ladies; however, he doesn’t whip them up an aphrodisiac dinner or sweep them off their feet with a romantic Rom-Com. He likes to move the relationship along, at a hare’s pace, with getting down and dirty and in certainly not in a sexualized manner. Butch pinpoints the man’s ambitions, machine-like in his will with a hint of softness behind the eyes when plucking through the headcount of numerous women for his match. Ayano is equally compelling as Woman and though Ayano has brawnier range of comedies and dramas under her belt, she notches gore and shock as if it’s simple to get stabbed 50 times and be completely nude with unpleasant prosthetics garnishing the naughty bits of your body. Butch and Ayano are quintessential to “Brutal’s” languishing love story and present themselves with such confidence, which is made key from their previous work with Takashi Hirose – Ayano worked with Hirose in his dramatic horror short, “Bandaged” in 2011 and then Hirose worked with Butch in a 2012 zombie short entitled “Moratorium” that starred Japanese cult and former pinku actress, Asami. The film also stars Katrina Grey (“Vampire Reborn”), Takashi Nishina (“Ringu 2”), Naho Nakashima, and Nanako Ohata.

Hirose doesn’t hold back the punches. In fact, he’s added one or two more for good measures. Helmed by a three person crew and one visual effects artist, the special effects department ramps up the rampage and carnage, making poetry out of ruthless romanticism. The end result is absolutely killer with stab after stab, gore galore, and post-mutilation prosthetics of the naughty bits. Hirose steps aside for fight sequence director Satoshi Hakuzen to exalt his gift for action sequences. Having previously worked on “Resident Evil: Degeneration” and “Dead Sushi,” Hakuzen showcases his mixture of gore and shock horror and hand-to-hand combat in the smallest of quarters while still seamlessly continuing Hirose’s narrative. Yet, “Brutal” doesn’t follow much of the laws of basic human biology as when people are knifed multiple times, whether spreading punctures along the various parts of the body or more precise slices into one focused area like the crotch, they keep breathing breath and they keep moving like their Arnold Schwarzeneggers covered T-800 endoskeletons in “The Terminator” and that unfaithfulness to realism inches “Brutal” more toward a fantastical flavor.

Unearthed Films and MVDVisual present Takashi Hirose’s “Brutal” onto Blu-ray for the first time and it’s brutally honest with a phenomenally fair picture engrained from a singer layer BD and presented in 1080p with a widescreen 1.85:1 aspect ratio. Colors really match the film’s coarse tone of a desaturated hue where the blood runs like caramel colored water. Textures look fine, especially around the natural looking skin toned bodies of each person, and the no noticeable issues with compression. The Japanese language Dolby Digital 2.0 audio track fairs equally well with a prominent dialogue track and a sickening range of lacerating thrust that make wet whiff sounds of cold steel that much painful. Tatsushiro Hirose’s rock score unfortunately wanes in soundtrack behind the intensity of Man and Woman’s blood thirst for love to the point of almost non-existent. Subtitles sync up nicely to the dialogue track. Bonus features a clipped production progression of behind-the-scenes, trailers, and music videos. “Brutal” and Unearthed Films found each other, just as Man and Woman in their twisted circumstances, and present an entertaining 67 minutes that solidifies Takashi Hirose one hell of a romanticist and absolutely, 100% bestow his film a true-to-form designation.

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

Posted by Steven Lewis on

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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.
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“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?
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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.
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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.
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“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?
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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.

My Wish is for Evil to Always be this Beautiful! “The Succulent Succubus” review!

Posted by Steven Lewis on

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Japanese iconic pornstar Sho Nishino stars as Momo, a very unlucky attractive young women whose luck consists of meeting all the wrong and greedy men. On top of that, Momo is told she only has 6 months left to live due to an incurable disease. When Momo is at her lowest, the VP of Hell gives her a visit. Ms. Devil Girl Succubus, played by the stunning Asami, and offers her a single wish in return for the possession of her soul for all eternity. Momo has to decide the outcome of her last six months of life to either keep wasting it on money-hungry men using her for a trip to heaven or give up her soul and spend the rest of her afterlife in the depravity of Hell for a little short tern of happiness.
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The two female leads Sho Nishino and Asami couldn’t get any more sexier. I though Asami in “Prison Girl” (review here) was the peak of her sexiness, but I was wrong as her role as Ms. Devil Girl Succubus in “The Succulent Succubus” has gone far and beyond “Prison Girl.” Hair teased and curled, dark lucious lipstick, striking doctored eye coloring, and a figure that kills, Asami couldn’t be any hotter unless she really was in the infernal Hell. This is my first viewing experience with Sho Nishino. The slender body and the tenderness look is a tall tell sign that Nishino is a mega force in the porn industry; probably one of the hottest JAV actresses out there. Nishino and Asami are petite women who don’t need curves to excite and “The Succulent Succubus” pairs sex and parody and weaves a glorious romp-filled tale aiming to delight all you sinners out there.
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Director Motosugu Watanabe’s simple editing and framing style works to accomplish creating Asami as the VP of Hell. Quick editing techniques and creative cost efficient special effects combined with quirky Japanese acting turns the what could have been another run of the mill, lackluster erotica film into a fun and entertaining hard-on producing gem. One particular scene stands out involving Nishino and Asami in a Hell setting lesbian scene. As the two grind their love boxes together in a scene of epic proportions, the obviously cheap Hell constructed scene only adds to the charm of the scene. I know what you’re thinking: Why are you looking at the setting instead of two naked and beautiful women doing the nasty? Answer: the setting creates a time warp and a sense of fantasy to where you yourself might think you’ve traveled back in time or to Hell to watch a lustful scene undertake.
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Pink Eiga has again successfully distributed a great film to the masses and has notched another great edition into their extensive catalogue. The DVD, available for purchase at www.pinkeiga.com, release isn’t skimpy on the features (unlike the skimpy clothing the actresses are wearing). The DVD contains an interview “Why The Hell?” with actress Asami and includes also the film’s original artwork, a still image slideshow, and the whole presentation is in outstanding widescreen format for your viewing pleasure. Remember, if you love Pink Eiga make sure you pick this little devilish film up and check out other titles on the 99CentNetwork to stream other titles of titillating films.