Bloody Muscle Body Builder in Hell (2012) by Shinichi Fukazawa

Bodybuilder Shinji (Shinichi Fukazawa), his ex-girlfriend (Asako Nosaka), and a psychic (Masaaki Kai) enter a haunted apartment in this low-budget splatter horror. 30 years after his father’s death, killed by an angry girlfriend, Shinji and the others head there, led by his ex-girlfriend who is investigating the paranormal. Not long after arriving they disturb the ghost of his father’s vengeful lover and are forced to do battle with the evil spirit. This film apparently had a long production period, with filming beginning in 1995 and editing in 2005.

Written and directed by star Shinichi Fukazawa, the film’s shoestring budget give it a homemade charm, with shaky physical effects, blood spatter, and dodgy CG, creating a wacky, over-the-top tone that is more comedic that terrifying. The film is firmly tongue-in-cheek, the bodybuilding protagonist reminiscent of typical action hero types, and the surreal slapstick of much of the story and the effects raises a few smiles. Moments such as the heroes being unable to burn a corpse because one recently quit smoking on the advice of the other; or severed limbs attacking independent of a body, all play into the blackly humour tone The film is shot on grainy film stock that also adds to the feel of a throwback horror. The apartment setting does lend a claustrophobic attitude and ensures things keep moving. A a little over an hour in length there is no time to rest as the trio attempt to fight their way to safety. There are rarely moments of respite given they are never more than a room away from a demonic spirit. If you are a fan of silly low-budget splatter films then this does the job, with an outrageous premise and some fun effects work.

Parallel (2021) by Daiki Tanaka

A gory, shocking, stylised crime drama with themes of revenge and abuse. The film begins with a young girl, Mai, being abused by her parents, putting out cigarrettes on her, locking her in a cupboard, and hints of sexual molestation. The girl is saved from this despicable situation by a cross-dressing murderer who breaks into their apartment and slays her parents. Years later Mai (Momona Naraha) is working as an escort with her friend Kana (Koyuki Sugasawa), when she meets Mikio (Sojiro Yoshimura), who unbeknownst to her is the notorious ‘cosplay killer’ responsible for several murders. Mikio is a reclusive figure, whose shy demeanour gives no indication of his criminal activities. He is also the anonymous author of a popular anime show, which is a colourful metaphor for his crimes and an attempt to reconcile the evil in the world and his own past traumas.

Written and directed by Daiki Tanaka, “Parallel” combines a superhero narrative of a young girl rescued from depraved parents and a man fighting to redress the balance of good and bad in society, with a gory exploitation flick, with lashings of blood and brutal slayings. The film’s stylish cinematography and use of colourful lighting creates an oddly joyous atmosphere, distancing the audience from the horror of many of the killings. Along with the techno soundtrack, an excellent score provided by Kenji Kato, they become more entertaining than disturbing. This strange contrast is also seen in Mikio’s wearing a cutesy character mask and wig during the crimes, offsetting the violence with an unsuitably cheery aesthetic. Momona Naraha and Sojiro Yoshimura do a great job with their characters, both struggling with bitter memories from their past, deeply broken individuals who nevertheless have hopes and dreams of a better tomorrow. The scenes between the two of them are a thrilling mix of danger, vulnerability, romance, and youthful uncertainty.

On the surface the film has an exploitation feel, with many of the killings being extremely gory and over the top. However, this contrasts with Mai’s story, which is deeply upsetting and the film does not hold back with its depictions of violence and the psychological distress that follows. The opening sequence is hard to watch as they feature a young girl being tormented, but it sets up perfectly Mai’s later difficulties in coming to terms with what happened and who she is. Her path, becoming an escort, turning inwards, is vastly different to Mikio, who sets about killing those he considers a negative influence in society. Both of these individuals see their suffering as external, something to be shied away from or attacked, rather than accepting their own vulnerabilities and attempting to change themselves from within. The film discusses transformation as an important part of the process of recovering, moving beyond defining yourself solely as a victim, and it is this capacity for change that both are attempting to discover. “Parallel” also discusses the role of media in constructing stereotypes or escapist fantasies to deal with difficult situations. Mikio’s anime is a thinly veiled allegory for real world events, even using the transvestite killer as one of the characters. In one scene we see Mikio dancing with the television, capturing his desire to escape into that world, and his crimes are also reflective of a revenge fantasy. In this regard the film has its cake and eats it, being both a contemplative discussion of victims recovering from abuse, and media as an unhelpful distraction, while also being a gory revenge thriller that sees bad people get their comeuppance. Highly entertaining, “Parallel” will appeal to those who enjoy gory crime films, but be warned that the subject matter can be distressing.

Gantz (2004)

Based on the hit Hiroya Oku manga, the “Gantz” anime follows the story of Kei Kurono (Daisuke Namikawa), Kato Masaharu (Masashi Osato) and Kei Kishimoto (Hitomi Nabatame) as they battle aliens and attempt to survive a deadly world. Kei and Kato are struck by a subway train and killed, after Kato jumped on the tracks to save a homeless man who had fallen. They are then transported to a mysterious apartment room where they find a large black sphere which hands them guns, high-powered suits and a mission to kill aliens that are living on earth. The missions see them again transported to the Tokyo city streets, where they are invisible to regular people, and they are thrust into do or die combat against vicious opponents.

For those familiar with the manga, the anime follows the plot closely early on, diverging from the source material later. The episodes vary between high-octane sci-fi action as the team fight against these weird monsters, that take various forms, and more reflective moments as we see them in their everyday lives (between missions the team is allowed to return to the world of the living). The show does a good job of balancing these two tones, with great characters that have just enough to their personalities to keep you invested in their survival. The animation uses a mix of CG and traditional hand drawn techniques to create an interesting look to the show, allowing for shots to zoom in or swoop around the digital environments. This also enables the animators to produce incredible action sequences. The anime, much like the manga, pushes the boundaries in terms of sexual and violent content, with many scenes cut in the original television broadcast. The extreme nature of the deaths along with a adolescent fascination with female anatomy is something that will appeal to certain viewers, but it is not without thematic importance. The show heightens awareness of the human condition by distancing itself from the sanitized version of reality often served to people. The gore and nudity are justified in what they are trying to say about the key drivers of human interaction.

At the heart of the “Gantz” story are several mysteries that are never fully resolved, but allow the writers to explore various facets of the human experience. Gantz offers the people who are drawn to the room a second chance at life, although the motivations of the sphere and the figure inside are never revealed. We see people put in a high-pressure environment where they are forced to reveal their true nature. Kato’s philosophy of non-violent altruism is put to the test by the violent struggles he is forced into. Kei’s petulance and lack of authority are also exposed as he takes on the missions. Kishimoto is almost a laughable airhead in the early episodes, but as the series progresses she is shown to have great depth. With all its ambiguity, political and social satire, and themes of suicide, societal violence, death, and religion, “Gantz” is amenable to any number of interpretations. In the end, questions of what Gantz is, what it wants, or why any of this is happening, are largely unimportant. What is more fascinating is the examination of society. “Gantz” poses difficult moral questions about violence and killing and the value of human life.

Suicide Club (2001) by Sion Sono

When a group of fifty-four high school girls unexpectedly throw themselves off a platform at Shinjuku station into the path of an oncoming train, detectives are called on to investigate. Kuroda (Ryo Ishibashi), the detective leading the operation is baffled by these apparently senseless deaths. The main theory appears to be the existence of a suicide cult that young people are mysteriously drawn to. The detectives are then contacted by a hacker calling herself The Bat (Yoko Kamon), who tells them there is a website where they can see red and white circles symbolising men and women who have died. Disturbingly, the dots appear before the suicides. The detectives also discover pieces of skin from the victims, sewn together and wrapped up in long roll. As the suicides show no sign of decreasing, the police face a race against time to uncover the cause. Characters soon uncover  more worrying connections: with a violent underground group led by a man calling himself Genesis (Rolly), and a quintuplet of pre-teen pop idols named Dessert.

Writer-director Sion Sono presents a pitch-black satire about the state of modern society, with elements of graphic horror, police mystery and social commentary. Viewers should be advised that the film is incredibly gory in parts, with liberal use of blood, a macabre plot-point involving a roll of strips of flesh cut from victims, suggestions of animal cruelty, and visceral, grotesque scenes that will stay with you for a long time. While this extreme approach undoubtedly contains an element of childish glee in seeing how many disgusting and bloody scenarios you can show on screen, they are rarely needless. The gut-churning horror is done with the intent to provoke not only a physical but an emotional response, to shock a jaded public into understanding the severity of suicide (something which is often in danger of being trivialised both in society and media). There is no quiet end for these characters, who explode in fountains of gore, while onlookers scream in impotent terror. The film really has one major goal, to satirise a culture that prides itself on collectivism, and following the crowd, that has become hypnotised by banal and childish entertainment to the neglect of thought and individuality. The film manages to step neatly from graphic violence to more emotionally charged scenes where characters are struck with the realisation that they may be partly or wholly to blame for the horror of their situation. In particular, Ryo Ishibashi does a fantastic job of a complex character. The film also has its surreal moments, such as the gang of sadists who perform an impromtu musical number in their underground bowling alley hideout, or the spine-chilling voice of the youngster who calls the detectives to berate them following another death. The film slides easily between its various tones and while it may seem at first to be an exploitative gore-fest, it is actually surprisingly compassionate in its portrayal of suicide. The black humour is largely reserved in the build-up to the deaths, and seems to be mocking not only the commercialised society that alienates people from themselves and others (the film’s main target); but also ridiculing the simplistic explanations put forward by the police. The score by Tomoki Hasegawa helps in establishing a tone that is able to keep up with the film’s shifting tones, and often keys the audience into when the film is being sincere or playful.

The film is intended as a message to the audience to wake up and live your life, rather than following the herd. The film is about discovering your individuality and bemoaning the collectivism that leads to depression and suicide. The film’s commentary on the problem of suicide is wide-ranging and there are many subtle moments that may be missed in a first viewing. This include notions of childhood and adolescence. The pop idol group “Dessert” who play a pivotal role have an average age of 12.5, putting them at the beginning of puberty. While the first group we see commit mass suicide are just slightly older females, suggesting that the film is also taking a swipe at the problems and pressures that can assail young people, especially girls at that age. When the character of Mitsuko arrives at the theatre at the end to be questioned by an audience of children, the film again seems to be hinting at some disconnect between the adult world, with its responsibilities and conditions, and the world the children inhabit, which is free of such things. “Suicide Club” is a film with a bold message, that revels in provoking and pricking the conscience of the audience.

Gothic and Lolita Psycho (2010) by Go Ohara

The subculture of ‘gothloli’ is one that is perfectly suited to this brand of anarchic comedy-horror-action, blending as it does the cutesy cartoonish nature of Lolita with the darker gothic style. Yuki (Rina Akiyama) is a caricature of at typical goth-loli, bedecked in coquettish black Victorian frills, on a mission to avenge the death of her mother for unspecified motives. The film begins in an underground nightspot which seems to be somewhere between a disco, S and M club, and torture dungeon for gangsters. We see people tormented with a blow torch, cage-fighting, or playing an ultra-high stakes game where the penalty is killing a poor victim. This is the kind of establishment where a severed head squashed with a mallet brings a cheer rather than a scream. In this kind of environment, Yuki is hardly out of place. Her target: Sakie, a woman who is controlling the gambling in this establishment. Yuki’s weapon of choice is a lethal umbrella, bullet-proof and with a  sharp blade in the end. We see through flashbacks an attack on Yuki’s family that left her mother dead and her father, a priest, in a wheelchair. Yuki sets out to kill the five people responsible and perhaps find some answers.

Directed by Go Ohara and written by Hisakatsu Kuroki “Goth Loli Psycho” is silly low-budget fun and doesn’t pretend to anything more. We find that each of the characters seems to have paranormal abilities, either telekinesis or psychic powers. There are a few nice touches, such as Yuki burning tarot-style cards each time she dispatches one of her targets. The humour is slapstick but works for the most part, with some laugh-out-loud moments if you have a black sense of humour. The villains are distinguished enough from each other to make their encounters entertaining. There is plenty of action and the direction of the fights is well done. Visual effects are largely practical, and mostly work well, though budget constraints mean there are recognizable rubber heads and limbs. The CG effects are understandably poor, and an example of where suspension of disbelief, or turning a blind eye is required. Likewise, the locations of early fight sequences, a school gym and rooftop, seem a little uninspired. However, the underground nightclub and the climactic setting of the film are fantastic stages for the carnage. All of the actors know exactly how ludicrous the premise is and ham it up at every opportunity. The music has some fantastic choral arrangements for when Yuki executes a rival, playing into the style of the character.

Nobody watching a film called “Goth Loli Psycho” will be expecting high art. It has enough charm to make it entertaining, leaning more to the tongue-in-cheek comedy side than the extreme gore (although there is no shortage of blood on display). From the opening moments we know exactly what film we are getting and it rarely strays from the well-worn revenge film path. Worth checking out if you are looking for something wacky to pass the time.