Sexual Asphyxiation is Just One of the Offered Services in EVIL’s Lavish S&M Prostitution Biz! “Tokyo Decadence” reviewed! (Unearthed Films / Blu-ray)



Own the new Unearthed Films Blu-ray of “Tokyo Decadeance” today!

Ai doesn’t believe she is not good at anything.  Her youth and beauty provide the early 20-year-old financial means of survival as a high class, Japanese prostitute with a fetish niche for clientele desiring sadism, masochism, or both.  Eccentrically demanding and various in age customers range their likes from total self-humiliation by pain and punishment to rape and necrophilia fantasies.  Unable to stop herself from accepting jobs because of her self-loathing cycle, Ai continues to endure most of the sexual whims no matter how outrageous or aggressive they may be during the sometimes hours long sessions.  What keeps her knocking on strangers’ doors is the pining for a former lover, a now famous celebrity she at one time dated pre-stardom, who has since married and left the memory of a fragile Ai in his life progressing wake.  After taking a gig alongside a fellow mistress in humiliating a real estate mogul like a dog, Ai’s invited back to the mistress’s elegant home where she’s exposed to a long night of unlabeled drugs that sends her into an uncontrollable high, looking for her former lover on the quiet streets of Japanese neighborhoods.

“Tokyo Decadence” makes “50 Shades of Gray” look like an inexperienced couple’s first time fumbling into cutesy foreplay.  Though both films are adapted literary works made into controversial features surrounding sultry nipple clips, whips, chains and other playthings, the 1992 Japanese psychosexual drama is the only one out of the two where the novel’s author, Ryu Murakami, has total creative control of his tale of one woman’s squirming through perversion land as the screenwriter and director.  Titled Topâzu in its originating country’s language, “Tokyo Decadence” opens up a carnalized world rarely seen amongst the daylighting fray and the price paying struggles of someone as meek as Ai in that position’s lustfully gripping vise that begs the question, is S&M obscurity an insatiable erotic hunger or is it a choking dangerous fantasy?  Shot mainly in the titular city of Tokyo, the film is a production of the JVD (Japan Video Distribution) with JVD’s Tadanobu Hirao (“High School Ghostbusters,” “Celluloid Nightmare”) as producer alongside Chosei Funahara, Yousuke Nagata, and Akiuh Suzuki.

“Tokyo Decadence” is a sure-fire way to start the beginnings of an actress’s career with a rousingly provocative and difficult role that garners attention.  For Miho Nikaido at the very start of her career, the lead role looked like a Tuesday.  The then 26-year-old Nikaido, playing a 22-year-old Ai, stuns as a sympathetically shy S&M prostitute with underlining conflicting issues surrounding her social position, personal interests, and mental status.  The opening scene with her legs lifted and spread strapped into stirrups and her bold colored red lipstick mouth buckled with a black open mouth gag complete with matching blindfold diverts eyes away from the usual nudity focal point.  Instead, we’re more attuned to the happenings of a mild manner, smiling man, who we assume bound her down under professional servicing, as he stands over her, gently stroking her, and telling her to trust him and that he won’t hurt her.  Then, out comes the drug pouch and needle.  The jab sends shock waves of pleasure down Ai’s submissively fastened naked body, ending with Ryu Murakami’s extreme close up on Nikaido’s face after being released from the facial constraints.  Her slightly crooked teeth shiver just past her stark red lips, agape by ecstasy, and the single tear drops from her soft eyes express the gargantuan amount of pleasure coursing through her helpless corporeal temple in a look that says, I am in pure, undiluted heaven.  The opening sets the tone.  Funny enough, Nikaido would go on to have a role in another underground S&M inspired drama “Going Under,” but instead of acting like the subservient dog or humiliating customers by having them suck on her stiletto heels, Nikaido steps aside as the girlfriend to Geno Lechner’s dominatrix role. Sayoko Amano, Tenmei Kano, and Masahiko Shimada co-star.

Perhaps one of the most noticeable or mainstream pink films from Japan because of its titillating and iconic cover art of Miho Nikaido arched forward and hands pressed high on the glass above her head, leaning against a tall and large window pane in a skimpy black lace and leather getup and overlooking the city lights and bustling residents,  The very image epitomizes erotica and taboo acts and the narrative itself is nothing short of that slight zing of sordid pleasure we all experience in our minds, bodies, and especially in our more private areas. Pulled straight from Ai’s first job encounter, post-opening credits, with a wealthy business type Mr. Satoh’s and his perversion in dominating and humiliating without much physically contact in the first few couple hours of their session. The long-standing stint pushes Ai’s sexual limits without breaking her spirit that solidifies a baseline for what’s to come and what came crushes Ai’s sexual stimulation beyond the means of pleasure with a petri dish of distinctive peculiarities outside her already fringed tastes. Ai’s self-dismissiveness keeps her plugging away at a profession that’s eating away her, coming close to death in many various forms involving clients’ perversions. When she’s hired by another mistress in a co-op of dominance on a client, an unveiling of empowerment and a lavish lifestyle promises potential happiness away from her fairytale dream of reconnecting with her former lover, but that ultimately becomes a hard pill to swallow after swallowing an unidentifiable pill popper provided by her newfound friend in the trade, a pill that inebriates her into wandering the streets in search for her ex-lover. “Toyko Decadence” is as somber as it is sexy with a paralleling dark trip down delusional happiness and demented fantasy for a young woman clinging onto a past that has completely forgotten her.

Landing in at number seven on the spine is the Unearthed Films release of Ryu Murakami’s “Tokyo Decadence,” receiving a Blu-ray release on the label’s Unearthed Classics line in a widescreen 1.66.1 aspect ratio. The region A release has a runtime of 112 minutes and is plainly evident in exhibiting no rating listed on neither the back of the Blu-ray case nor the cardboard slipcover. After doing some light digging, there is a longer cut of the film with more explicit scenes, especially with Mr. Satoh, that would have adorned the U.S. release with a X-rating. The Unearthed Films release is not that cut; nonetheless, the film before us is still just as decadently beautiful in content and in quality. Stable image and color under the 35mm stock, Tadashi Aoki flipflops between mood lighting and natural light, contrasting the duality of Ai’s worlds with a lightly softness reflecting off the focal subjects. Details extend the same softness as skin textures appear overly smooth most of the time albeit the design of natural color tones. One instance of continuation concern is a prominent scene miscut left in during post at the editing room table. Though the miscut, of a closeup on Miho Nikaido, doesn’t cause a continuity error in the narrative, it does break the integrity of the scene. The Japanese LPCM 2.0 mono sound has a phenomenal, 1920kps bitrate, sound design created around a lite soundtrack that doesn’t leave room for ambient and dialogue tracks to hide behind, as if this release needed to hide behind its brawny audio output. “Tokyo Decadence” is all about the experience and every breath and movement is as felt as it is heard with a discernible dialogue well synched with the English subtitles. An optional English dub track is also available. The Blu’s special features include a release-party featurette/promo trailer that has snippet interviews from the Ryu Murakami during the event, gallery stills, and trailers. An absolute ideal upgrade for one of the best pinksploitation films to ever walk that thin line between sadism and masochism; however, I do believe Unearthed Films insisted upon the safe word by not, whether by choice or other circumstances, retrieving, updating, and releasing the fully uncut and unedited “Toyko Decadence.”

Own the new Unearthed Films Blu-ray of “Tokyo Decadeance” today!

Opening Your Eyes Takes a Necessary Evil! “Deadly Virtues: Love.Honour.Obey” review!

screen-shot-2017-02-10-at-9-50-02-am
Friday night, A stranger breaks into the home of Tom and Alison. After tying up and torturing Tom, leaving him in the bathtub, he reveals a weekend long scheme that involves convincing Alison to genuinely want him by Monday morning. The stranger’s psychological game slowly breaks down Alison’s perception of her relationship with her husband through consequential threats toward a battered Tom, survival obedience, relationship morals, and untapped desires while Alison desperately attempts to squeeze away her captor’s maniacal grasp any way possible. With Alison’s husband undergoing continuous abuse throughout the weekend, the stranger persistently exhibits various versions of being the perfect husband to appease Alison’s preference in a partner, a striking contrast that begins the spiraling doubts about Tom and the life to which she’s submitting to with him.
screen-shot-2017-02-10-at-9-57-59-am
The director who gave audiences a reason to believe in their zany childhood imaginary friend in “Drop Dead Fred” and who drove viewers through the depths of Satan’s domain on the epic retrieval of love journey that was “Highway to Hell” has resurfaced. Director Ate de Jong’s 2014 film has found a home for his British exploitation thriller eloquently entitled “Deadly Virtues: Love.Honour.Obey.” at the Philadelphian based home entertainment distributor Artsploitation Films. An intense eye-opening experience that makes couples’ therapy a cut rate rekindling process, the “Deadly Virtues” story comes from the talented, yet relatively unknown, drafter Mark Rogers whose characters contribute a fierce and engaging potency.
screen-shot-2017-02-10-at-9-55-29-am
Characters can be written from head to toe with gargantuan electricity, but it takes the actors and actress portraying the characters to actually flip their switches on, vividly toggling their characters to shine. Edward Akrout’s puts forth a dangerously sophisticated Stranger excellently defining the term acting. Every unique touch of the binding rope used on Tom and Alison, every calculated sinister action taken against Tom, and every apt expression emits just enough information to state the Stranger’s purpose without spoiling the character’s mysterious motivations. Akrout is joined by American actress Megan Maczko with a selfless performance that pits her character Alison in a cat-and-game mouse against the Akrout’s Stranger. There are bits of unwanted sexual activity and nudity and role playing BDSM that might mistakenly place Jong’s film in the incorrect genre; instead, Akrout, Maczko, and, even Matt Barber as Tom, acutely pivots the subject matter, even with the provocative nude and bound woman graced film poster.
screen-shot-2017-02-10-at-9-54-33-am
Not all is copacetic with “Deadly Virtues.” Some of the pacing slows down a bit where the motivation feels arguably aimless as Alison quickly becomes content and comfortable with a man who just softly raided their home and violently turned their lives upside down. Also, as a matter of character, Tom needed fine sprucing from being painfully forceful with how the character critically needed to know, to ultimately compute, trivial information at the most inappropriate moments. The story itself might have forced Tom’s inadequacies and insecurity issues to completely tell the story within the total 97 minute runtime, but in the end, the finale loses that little something something to put the final nail into an already furbished piece of work by director Ate de Jong.
screen-shot-2017-02-10-at-9-56-50-am
Artsploitation Films’ latest release, “Deadly Virtues: Love.Honour.Obey,” surfaces deep rooted marital issues in an extreme, hostile manner, bringing to the forefront the versus struggle of adapting or fighting back, and also touches upon the beauty of the overlooked. The film’s poster, which I already remarked upon having some minor nudity, accentuates a woman’s other pleasant bodily features including the small of her back, her long neck, and her protruding deltas which Akourt’s portrayal of the Stranger similarly remarks briefly upon when more pigheaded men not noticing, or appreciating, other, less obvious, parts of women. I’m sure for most viewers, gazing at Megan Maczko strung up and suspended in an inviting position can stimulate a lot of interest. “Deadly Virtues” is currently only exclusively available in United States via VOD formats, such as Amazon, Vimeo, and GooglePlay, courtesy of Artsploitation Films.
screen-shot-2017-02-10-at-9-51-13-am

Watch “Deadly Virtues” on Amazon Video! Click Here to view!

All Evil Plans End Tragically. “Reckless” review!

vlcsnap-2015-07-24-12h40m25s189
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.
vlcsnap-2015-07-24-12h41m02s44
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.
vlcsnap-2015-07-24-12h44m35s132
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.
vlcsnap-2015-07-24-12h45m45s59
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.
vlcsnap-2015-07-24-12h45m59s204
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.

Show Evil the Ropes! “Educating Yuna” review!

output_98fcHT

Innocent Yuna meets famous art critic and collector Professor Shibuya. Shibuya invites Yuna to his countryside home to organize his art collection, but Shibuya’s real intention is to reveal his true self to Yuna – a BDS&M practitioner. He introduces her to S&M queen Erika and her mistress Miho and before Yuna could blink she was thrusted into a world of bondage and pleasure. The experiences were new to shameful and innocent Yuna and though she enjoyed her stimulating new feats, she reluctantly did so and began to question her acceptance of such new enjoyments.
vlcsnap-2015-01-17-09h17m03s206
Forget “50 Shades of Grey.” Say hello to “Educating Yuna!” True S&M fans will love this film that tightens the ropes around the scared body, that cums without mercy, that brings masochistic pleasure to the forefront, and shows men and women alike can shed their shame and live an exotic lifestyle. A bondage professional was brought in as an advisor for the extremely intricate shibari rope bondage scenes which director Yutaka Ikemjima, aka Mr. Pink, well crafts into the film. Ikemjima turned innocence into perversion in a matter of a few frames.
vlcsnap-2015-01-17-09h17m39s53
Leading lady Mari Yamaguchi delicate body turns rapturous. Yamaguchi remarkably does well at portraying an young and naive college student standing on the brink of kinky sex and just needing that helpful push. Teamed up with actresses Japanese AV pornstar Ran Kurenai (Erika) and masochistic pornstar Satsuki Mochida (Miho) and the combination will get rock hard reactions around the globe. “Educating Yuna” intensity can not be so easily described as the scenes are too extreme for simple words; the extensive bondage scenes are cringe searing, but one can’t help to lust for more of Mari Yamaguchi in tight ropes suspended high in the air with her breasts exposed and her flesh swelling pink with desire. The film isn’t all about BDS&M as there is a serious message behind the film. The Shibuya character at one points collapses and the realization that his willingness to lay with anybody (or anything) puts the fear of Aids into her soul. The penance of careless sex.
vlcsnap-2015-01-17-09h19m08s176
“Educating Yuna,” in all its Japanese government mandated genitalia censorship glory, is a raw explosion of dark perversion brought to you by the likes of the wonderful pink film distributor Pink Eiga (www.pinkeiga.com)! Our of the four recently DVD releases from Pink Eiga, the Yamaguichi and Ikemjima film wins the award for making one feel dirty and guilty on the inside yet stimulating and wetting their private parts at the same time on the outside. Strongly recommended for those who love the BDS&M genre or those who want to know a little bit more in their sexual experimental quest.

Meet the Evil Jade Executioner! “Red Nights” review!

RedNights_SS_Front

“Red Nights” is not exactly a new film. Being released in 2010, the erotic, giallo-inspired, thriller has only been available for DVD purchase in the Belgium market while Germany has the sole blu-ray edition. With much anticipation, Philadelphia based company Breaking Glass Pictures will be bringing “Red Nights” to DVD in the States in all it’s suspenseful and bloody glory.

The ancient box of the Jade Executioner has become the fascination of everyone’s desires. From crooked politicians, to thieves, to sadomasochistic murderers, the box contains a poison that will increase your pleasure by ten fold while leaving you completely paralyzed and increase your pain by the same amount. This twisted tale with a sexual aura constructs a cat-and-mouse game between two femme fatales, Catherine – who just wants a giant pay day for the box and Carrie Chan – who wishes to use the poison for the ultimate pleasure from pain, while a Manau crime lord embarks on a mission to retrieve back his stolen antique box.
vlcsnap-2014-10-14-22h02m59s65
This is the first feature length film from French directors Laurent Courtiaud and Julien Carbon and while “Red Nights” looks beautiful on screen – the shot scenes remind me the Wachowski brother’s Noir film “Bound” – the story can be a bit loose and slow at first. The By the end of act one, “Red Nights” really pick up the pieces and the story of how Frédérique Bel’s character Catherine, a personal assistant to the crooked politician Savini, becomes snared in a web of deadly game with Carrie Chan – played by Hong Kong actress Carrie Ng – and in this game, minor players get a slow and painful death which translates very well to screen and relates very precisely to the character’s personas. Carrie is a sadist who can whip a dry martini while skinning you alive. Catherine is a bit more hesitant but her greed can force her hand to kill.
vlcsnap-2014-10-14-22h00m54s98
The gory effects are surprisingly realistic for a pair of visual effects crew members – Jam Abelanet and Bertrand Levallois – who don’t have much horror and thriller film credits behind their names. This goes hand and hand with how I described the first time directors and how the crew of “Red Nights” got it right the first time. Where the film lost me a many of times was the back and forth dialect of French, Chinese, and a little bit of English thrown in there for good measure. As much as I like a foreign film to use their native tongue, it’s hard to follow when a conversation between a Chinese actress who speaks in full Chinese and then the French actress retorts in full French. “Red Nights” would not make a good Rosetta Stone substitute.
vlcsnap-2014-10-14-22h02m08s71
Carrie Ng creates a fascinating character in Carrie Chan, a respectable, world renowned perfume designer and model. Chan’s dark side involves tight leather, bondage ropes, and razor sharp metallic finger talons that shred skin like shredding a block of cheese. Carrie Ng is lustfully sleek and sexy with her bad girl image that suites her well. Frédérique Bel couldn’t compare to Ng’s prowlness nor clean good looks, but I have to give Bel credit for making her character Catherine a sneaky and aggressive go getter. Maybe the issue was in the script’s writing, but Catherine seemed to lack a lot of intelligence for being in a game that could cost her her life. Catherine trusted everyone too easily and let people go too quickly without any kind of punishment or pain.
vlcsnap-2014-10-14-22h00m22s28
While “Red Nights” won’t break the DVD retail shelf bank, I’m still glad Breaking Glass Pictures and Vicious Circle Films are releasing this foreign gem to the masses of ‘Merica. And while I appreciate every aspect of this film from the director’s inspiration of Giallo genre to the histories of Chinese folklore, I can’t see my country men going crazy over a Chinese girl with finger blades. However, the story for Carrie Chan might speak more to horror enthusiast in that the Jade Executioner’s poison is similar to the box in Hellraiser. The box is described to show you the pleasures of pain much like the poison in “Red Nights.” Lets also not forget that Japanese porn actress Kotone Amamlya and French actress Carole Brana do a bit of nudity as well – click to see my skin page here. Come Tuesday October 21st, DVD will be readily available for purchase, but why wait? Pre-order your copy of a unique thriller with hints of gruesome horror torture!