Evil Gets a 4K Digital Transfer! “Ichi the Killer” review!


Three hundred million yen and Yakuza boss Anjo have disappeared without a trace. Anjo’s most deadly and most sadomasochistic enforcer, Kakihara, and the rest of the Yakuza gang embark on a torture-riddle search and rescue to find their missing boss. After unrightfully torturing and mutilating a rival Yakuza leader, Kakihara learns through a trail of mayhem of a fierce killer known as Ichi and after being exposed to Ichi’s grisly handiwork first hand, a usually stagnant and emotionally detached Kakihara becomes stimulated and eager to go one-on-one with a formidable foe like Ichi, who could possibly bestow upon him gratifying pain to feel something other than emptiness. Ichi’s eviscerating destruction isn’t totally in his control as the sexually-repressed and candidly disturbed overall nice guy is being coerce through psycho-manipulation by Jijii, an old man seeking retribution against the Anjo gang. With blades projecting from his shoes and his skill at martial arts, the timid Ichi becomes the ultimate killing machine when brainwashing takes him over the edge into a hysterical fit of rage that leaves guts and blood to paint the floor and walls.

Perhaps director Takashi Miike’s finest work, the 2001 Japanese blood bath “Ichi the Killer” is a must own for any film aficionado teetering on the razor wire between crime dramas and gory action flicks that might be on the viewing docket for then night, but certainly a must-see for all film lovers at some point in time. Miike’s stone cold, chaotic style of filmmaking embraces the story’s unwavering havoc that blisters with ruthless brutality between two very different, black and white characters with one thing in common – being good a killing. Based off the manga penned by Hideo Yamamoto and from the adapted screenplay by Sakichi Sato, Miike crafts the most disturbing elements of mankind and brings them to the forefront in a simple story of revenge. On one side, there’s Kakihara, a scarred-face Yakuza enforcer with a very rich violent history to the extent that he’s become numb to his own existence in the world and then there’s Ichi, a reclusive cry-baby stemmed from being mentally fed graphic bulling stories of battery and rape in a memory built upon languishing lies. Vastly different, well-written characters opposite the spectrum and both are good at dealing death, but one aims to dish it out and the other yearns to stop his carnage, and that compelling core element is immensely fluffed by extreme violence in a way that only Miike can deliver it.

But for a film like “Ichi the Killer,” Takashi Miike had a little (hint of sarcasm) help from his gifted cast in making this project a cult success. Before this actor was Hogun in the Marvel Universe’s “Thor” franchise, Tadanobu Asano shaped up the psychotic enforcer Kakihara and the usually dark featured Asano reconfigures his appearance to put life into the character who sports blonde, wavy hair, a frothy complexion, and small hoop piercings at the corners of his lips to keep the slits from opening to expose the entire gaping jaw which is used as a defensive weapon. Opposite Asano is the Tokyo born Nao Ohmori who perfectly subjects himself to being a wimpy human shell with an explosive inner anger. The two men have only a small amount of screen time together and that requires them to build their character’s standout personalities. Complimenting their performances is an amazing support cast, including Shin’ya Tsukamoto (“Marebito”), Miss Singapore 1994 Paulyn Sun, Hiroyuki Tanaka, and Suzuki Matsuo.

“Ichi the Killer” is simply magnificent where it vulgarly touches upon various themes, mostly human flawed that also destines opposing counterparts together. Aside from the graphically realistic violence, Miike’s film hits upon other attributable tangents, among them some are just being plain gross, but these aspects are undeniably important to the story. Themes ranging from sexual suppression and female inferiority to sadomasochism and severe obsession top the charts in a heap of motifs throughout. Accessorial blood and other bodily fluids are extravagantly portrayed, spraying across the room with jettison entrails or dripping from potted plants to a cloudy puddle below during in a voyeuristic rape scene, to get the clear sense of an adult manga inspired chockablock exploitation and crime drama.

Well Go USA presents “Ichi the Killer” on Blu-ray in a newly restored 4K digital transfer of the director’s cut; a task undertaken by Emperor Motion Pictures in 2017. Presented in a widescreen 16:9 (1.85:1) aspect ratio, the film starts off with a blurb about the history of this particular digital restoration and transfer that asserts director Takashi Miike’s approval for release. Well Go USA’s rendering resembles much of the previous Tokyo Shock Blu-ray with subtle differences such as a slightly more aqua tint to the picture coloring and also much like it’s other Region A Blu-ray counterpart, a bit of noise is present in the restoration, but still the better detail of the two. The Japanese stereo 5.1 DTE-HD Master Audio surround sound has an bombastic soundtrack, but dialogue remains on the softer side where relying on the English subtitles is crucial. No issues with timing or accuracy in the subtitles. Surprisingly, the only extras included on the Well Go USA release is an audio commentary with director Takashi Miike and manga artist Hideo Yamamoto, still gallery, and the trailer that undercuts this releases’ purchasing value and might as well hunt down for the out of print Media Blasters Blu-ray, if extras are a must. Even still, “Ichi the Killer” has been resurrected in North America again and the release technically sustains growth amongst the mass of releases around the world. The lack of special features is disconcerting, especially being a restored director’s cut, but “Ichi the Killer” can stand on it’s own as a gracefully sanguinary masterpiece. Look for the Blu-ray to hit retail and online shelves March 20th!

Get Ichi the Killer today on Blu-ray!

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Sion Sono’s Brings the Evil Back to the Japanese School Girls! “Tag” review!


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.

Get Jacked! Get Evil! “Bloody Muscle Body Builder In Hell” review!


Living free from job responsibilities and able to workout whenever he wants, body builder Naoto is living the high life. His daily workout is interrupted by his former photojournalist ex-girlfriend in search of the next haunted house for her latest article and she calls Naoto to inquire his father’s old, creepy home that’s now in Naoto’s possession. Accompanied by a professional psychic, the three conduct a house call to get a presence reading and take pictures of the rundown, abandoned home. They find themselves trapped inside with Naoto’s father’s darkest secret malevolently toying with them and holding them hostage with her cursed power bestowed upon her death, 30 years ago, forsaken to her by the hands of Naoto’s fahter.

In 2014, first time director Shinichi Fukazawa’s endearment for Sam Raimi’s “The Evil Dead” has encouraged the filmmaker to tribute a film that has dubbed “The Japanese Evil Dead.” With all the depictions of Raimi’s film, including from a shotgun, an axe, and even a severed sarcastic-spewing mangled demon head, “Bloody Muscle Body Builder in Hell” views just as good as the sounds. Taking his film to the next level by going back in a time warp, Fukazawa de-amplifies the image quality with a lo-fi flare that adds chaotic charm bathed in retro-VHS vision as every desaturated hue and blanket of coarse grain is a step back in time. Fukazawa implements his own sturdy brand of macabre to branch his version of “The Evil Dead.” For instance, Fukazawa removes the Necronomicon, the book of the dead, all together. Instead, the director doesn’t forth put an outright explanation behind the cause of the cursed’s murderous revenge other than holding a jealous grudge and the lack of motivation is okay because “Bloody Muscle Body Builder in Hell” is a modern day video nasty.

Shinichi Fukazawa, himself, stars as Naoto, suffering every ding, boink, and bop as our hapless hero that’s aims to strike similarities to Ashley “Ash” Williams and his gift of being the king of Three Stooges foolishness. Fukazawa plays a more conservative character in comparison, but does manage spit out memorable one-liners made genre famous by Bruce Campbell, like “groovy.” THe lead actress, Asako Nosaka, holds her own as a lovely damsel in distress who can double on a dime as a Mike Tyson speed bag puncher. The trapped pair make a convincingly distressed protagonists, especially in such a small Japanese home that’s the equivalent to a cabin in the woods. Last on the roster is Masaaki Kai filling in the psychic’s shoes and conjures an performance that’s could fit right in with the Kandarian Cheryl, Scott, Linda, and Shelley demons.

“Bloody Muscle Body Builder in Hell” is a 2014 effects driven, blood hungry roller coaster of pure mayhem entertainment. The ingeniously creative special effects, on a shoe string budget, are made of eye-popping, skull-crushing, and limb-parting goodness that every horror fan can appreciate and love. The lo-fi cinema and melancholy horror fixes to not impress those who have a taste for the CGI eye candy and won’t knock your socks off with the latest and greatest technological, animated advances in effects that attempts to mock real life, but accomplishes the opposite in the fabricated grindhouse reel with overexposures and rough edges that are more fitting for the subject matter. Fukazawa does embody Raimi’s creative editing and angle vision that makes Fukazawa’s film feel very attached to “The Evil Dead” franchise.

The well-meshed video nasty mingles Japanese culture with a loving tribute to Raimi’s “The Evil Dead” franchise and kicks off Shinichi Fukazawa’s most interesting silver screen career. Terracotta Distribution’s “Bloody Muscle Body Builder in Hell” is a tightly packed 62-minute joyride with squirrelly, demented demons with heavy emphasis on the blood and the gore. Image quality is poor and that’s a good thing! The low-tech fullscreen and unrefined quality are a tall-tell sign of a SOV gruesomeness surrounded by a fuzzy Japanese dual channel stereo. Extras includes a Graham Humprey time lapsed video of him creating his DVD artwork, a behind-the-scenes gallery, a dismemberment of scene clips, and Japanese and Terracotta trailers bringing up the tail end. “Bloody Muscle Body Builder in Hell” packs a punch, delivers the death, and gorges itself in the gore in this UK DVD from Terracotta Distribution! and is a lovely blend of comedy, horror, and praise that’s powerfully short and sweet from a freshman director who aims to make a statement while giving appreciation in his own culturally established way.

Mysterious Evil Destroys Small Village Families. “The Wailing” review!

screen-shot-2017-02-04-at-8-16-32-pmIn a small South Korean village, tight-knit families practically know one another in the quaint middle-class community. When mysteriously deadly destructions from inside local families and strange stories of animal carcass devouring creatures in the woods surface, local police sergeant Jong-Goo begins an investigation to connect a pattern of violence and superstition and at the center of it all is a suspicious and reclusive Japanese traveller. Bound by the law and an overall lack of courage, Jong-Goo proceeds to investigate with extreme caution, but when his young daughter, Hyo-jin, becomes subjected to the same symptoms that overtook destroyed families from within, the desperate father sets aside rules and regulations and uses threats and force when visiting the Japanese Stranger, whose rumored to be an evil spirit that’s plaguing the small village with terror and death.
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By far, “The Wailing” sets the precedent on folklore horror. Acclaimed writer-director Hong-jin Na lands a harrowingly ambitious, well-constructed film right into the lap of horror fans with “The Wailing,” known also as “Goksung” in the film’s country of South Korea. South Korean filmmakers have once reestablished proof that foreign films can be as masterful, as bold, and as elegant when compared to any other film from major studio productions. Hollywood has started to come around by remaking one of South Korea’s most notorious films, the vengeful thriller “Oldboy,” and seeks to remake recent international hits in “Train to Buscan” and “I Saw the Devil.” Lets also touch upon that top Hollywood actors are beginning to branch out to South Korean films. “Captain America” star Chris Evans had obtained a starring role in Joon-ho Bong’s “Snowpiercer” alongside co-stars Ed Harris and the late British actor Sir John Hurt. “The Wailing” will reach similar popularity being one of 2016’s most original horror movies and one of the more unique visions of terror to clutch the heart of my all time favorite’s list.
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Do-won Kwak stars as Sergeant Jong-Goo, a officer who avoids trouble at all costs and has no motivation to be on time for anything. Kwak, basically, plays the fool character, comically going through the routine of investigating brutal murders complete with stabbings, burnings, and hangings despite his Captain’s constant chastising and seizes every opportunity to act dumb and look stupid, but once the story starts to focus “The Wailing” as nothing more than an offbeat black-comedy, Hong-ja Na devilishly about-faces with a severe turn of events that’s a mixed bag of genres. Kwak no longer plays the lead role of comic relief; instead, a more self-confident Sergeant Jong-Goo takes control of the investigation as the deeper he finds himself involved in the dark plague that’s ravaging his village. He hunts down the Japanese Stranger, the debut South Korean film for long time Japanese actor Jun Kunimura (“Kill Bill,” Takashi Miike’s “Audition”) with a zen like aurora that’s enormously haunting to behold and captivating when his presence is lurking amongst the scene. Though Kunimura’s demeanor contrasts with other actors, he’s very much in tune with the dynamic, but it’s the maniacally, foul-mouth ravings of Hyo-jin, played by Hwan-hee Kim, that stand out and are the most distraught during her possession state that could give “The Exorcist” a run for it’s money and is a visceral vice grip to the soul that has to be experienced. Woo-hee Chun and Jung-min Hwang round out the cast in their respective and memorable co-starring roles as a peculiar no named woman and a flashy shaman.
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“The Wailing” incorporates various folklore stemming from cultures all over the world including the Koreas, China, Japan, and even from China’s bordering neighbor Nepal and meshes them with religious practices of Buddhism to even the far corners that the Catholic faith possesses. The luxuriant green South Korean mountain backdrop sets an isolated, ominous cloud over a beautiful and serene archaic village, an awe-inspiring juxtaposition created by cinematographer Kyung-pyo Hong that coincides with the complete dread piercing through the heart of the story; a perspective vastly opposite to Hong’s works in the previously mentioned “Snowpiercer” that’s set in the tight confines of a class dividing bullet train. “The Wailing” bundles together mythos with visionary concepts and landscapes in an epic mystery-thriller that’s unforgettable; it will cling to you, like a evil-dwelling spirit, well after the film is over.
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20th Century Fox, in association with Ivanhoe Pictures and Side Mirror, produce Hong-jin Na’s top horror contender “The Wailing” with Well Go USA and Kaleidoscope Home Entertainment distributing on DVD and Blu-ray. Unfortunately, I was provided with a DVD-R screener and can’t specifically comment on specifications and image or audio quality. Accompanying the screener were two bonus features: a behind-the-scenes featurette and the beginning tale of “The Wailing” featurette. Both were fairly informative that gives insight on Hong-jin Na’s mindset and how the director’s ambitious story in a malignant tale of comedy, horror, and mysterious involving demons, shamans, and, quite possibly, the devil himself. “The Wailing” significantly captivates, sucking you into the darkness with an uncanny amount of pull with a story too terrifyingly original to avert and too thick with vigorous characters in a plot twist too harrowing to forget.

Want to be the Evil Doctor’s Guinea Pig? “American Guinea Pig: Bloodshock” review!

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One man becomes the unfortunate subject of ghastly experimentations performed by a sadistic and blood thirsty doctor. Wheeled by abiding orderlies back and forth from his sterile white and padded cell to the mad doctor’s dark and dingy operating room office, the man’s will to live quickly begins to fade, yearning for death before suffering anymore in an alternative Hell. That is, until the handwritten notes start appearing on his padded room floor. The notes seep through between the pads from another tortured soul, a female, in the adjacent room. Withstanding new atrocities done to her before the man receives them, she pleads with the man to not leave her and to make a pact to outlive the inhumanities together.
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Welcome to the new American Guinea Pig series! “Bloodshock” is the 2015 follow up film, on the coattails of 2014’s “American Guinea Pig: Bouquet of Guts and Gore,” from writer-producer and Unearthed Films president Stephen Biro and directed by special effects guru Marcus Koch. Koch, whose effects credentials include the Barbara Crampton starring thriller “We Are Still Here” and Koch’s prior directorial work “Rot” and “100 Tears,” strays away from the straight forward concept with an ultra gore art house expressionistic horror film that aims to break your mind as well as your body. Open for interpretation, “Bloodshock” fits perfectly into the ever provocative Unearthed Films’ wide open cache of underground cinema and will alleviate Koch to the next level of filmmaking. My interpretation of what this poor man and woman are experiencing is simply a penancing purgatory that’s intended to cleanse their souls in the warmth of their own wretched blood; the two victims understand their pain, as if not feeling the invasive effects of being dissected while still yielding breath, and are willing to subdue themselves to a maniacal physician until they’re able to briefly thwart his tireless work to share pain and open wounds in blood-soaked passion of hopeless ecstasy.
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Dan Ellis puts in a powerful performance as the mistreated male patient with Lillian McKinnay, as the female patient, co-starring in an equally bold performance, especially being McKinnay’s first major role. Andy Winton’s diabolical medical maltreatment compares to the similar magnitude of “The Human Centipede’s” Dieter Laser by conducting exploratory, invasive, and unnecessary surgeries for sport while being candor about his blood lusting necessity. Amongst the three main actors, Biro’s script contains little dialogue, banking laboriously on physical renditions since both tortured patients’ tongues have been severed and jarred. Every movement is precisely executed and surged with attention, tuned to tell the story without much verbiage. Ultra gore isn’t everybody’s cup of cinematic tea and with an extremely thin film of dialogue as an outer coating, Ultra gore becomes that much difficult to be entertained by, but, recently, I’ve been lucky enough to come across another gore and shock film, coincidentally enough another Unearthed Films’ release entitled “Flowers” by director Phil Stevens, that had proved to me, as well as Koch has just done, that unspoken gore can be ingeniously crafted and thought provoking.
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“Bloodshock’s” gore holds nothing back and leaves nothing to the imagination. The meticulous bone-sawing, head-splitting effects from a talented special effects team, consisting of Marcus Koch’s Oddtopsy FX crew, paint a sordid picture with a blood brush. Koch’s decision to go with Donald Donnerson’s cinematography under the two-tone of black and white doesn’t stiffen the poignant sight of blood, inner layers of flesh, or the splintering bone fragments. The Japanese would be pleased with their American counterparts realistically depicting gore and death captured amongst an underlying meaning. Unearthed Films has already taken the steps to continue the series with their next installment, “American Guinea Pig: The Song of Solomon,” which will pertain to a graphic exorcism and, currently, there are preview images and video scenes available.
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The 3-Disc Collector’s Set from Unearthed Films and MVD Visual has priceless collector’s value. Not only does the set have a Blu-ray transfer of the 1.85:1 widescreen presentation, but also contains a DVD presentation and a third disc containing a CD of the Kristian Day industrial-jarring soundtrack. The black and white image quality is sharp and solid for a majority of 91 minute runtime. Some scenes go soft, losing shape to blotchy interference, but the qualities only supplement to “Bloodshock’s” charming grit. Only during the course of the patients unifying do colorful hues gradually seep in, almost unnoticeably, during an ostentatious sex scene involving blood and intestine that’s effectively edited to slowly build the passionate boiling point. Despite two of the main characters have their tongues removed, the Dolby Digital 2.0 audio has the dialogue so sorely crushed under the weight of the Kristian Day soundtrack that at some scenes I can’t even understand what the good mad doctor is saying. Also, on the DVD, I noticed that all audio tracks delay a second behind the action and dialogue. The bonus features are immense with interviews with director Marcus Koch, writer-producer, Stephen Biro, actor Dan Ellis, actress Lillian Mckinney, and two commentary tracks with Marucs Koch and Stephen Biro on one and actor Andy Winton, Gene Palubicki, and Alberto Giovannelli on the other. There’s also a behind the scenes featurette, production videos, and a booklet with a review from Ultra Violent Magazine! Unearthed Films certainly has a definitive release in their collection with “American Guinea Pig: Bloodshock” that’s packed with bonus material and full of venomous content abiding by the guidelines set forth by the Japanese. I don’t foresee the underground cinema juggernaut or the explicitly snuff-like Guinea Pig series ever slowing the flow of blood. “Bloodshock” fulfills the qualifications of the series by having the guts to show the guts and being just as demented and sick for fans who can stomach and endure grisly content.

Isn’t the cover just gore-geous. Get it at Amazon!