Meatball Machine Kodoku (2017) by Yoshihiro Nishimura

A sequel/remake to 1999’s “Meatball Machine”, for which Yoshihiro Nishimura provided the special effects, this film sees him take full creative control, both writing and directing. Nishimura is known for his outrageous splatter horror and black comedy with a filmography including “Tokyo Gore Police” and “Vampire Girl vs. Frankenstein Girl”. For those who have seen those other works, the first thirty minutes of “Meatball Machine Kodoku” might be something of a shock. It starts pretty simply and could almost be mistaken for a regular drama. Our protagonist, 50-year old Yuji Noda (Yoji Tanaka) works for a debt collection agency, spending his days attempting to extract money for late bill payments and getting nothing but disrespect and slammed doors for his troubles. His boss is less than sympathetic, shouting at the downtrodden Noda. His only respite is a visit to a second-hand bookstore and the lovely Kaoru who works there. Worse is to come for Noda as he discovers that he has cancer. After Kaoru takes him along to a meeting of a bizarre religion, Noda runs away and finds himself enticed into a burlesque club, where he is later ripped off by the staff and thrown out in the street. It may seem as though this is more than enough plot for any movie, but this turns out to be merely preamble. Throughout this a mysterious woman, with white hair and a PVC coat and top hat is wandering around the city. We discover she has in fact been drawing a giant circle that surrounds central Tokyo. A large glass descends on the city trapping a portion of the citizens inside. This is the first look we get at Nishimura’s trademark gore and black humour, as a man urinating in the street has his penis severed, and another couple engaging in a little al fresco sex are cut in half, their lower halves spurting blood while they continue to go at it. And… roll titles. Things are about to get messy.

From this point forward the central plot really kicks into gear. Noda is trapped inside the glass jar with a race of parasitic aliens who are able to take over people’s brains turning them into a conglomeration of machine and flesh and causing carnage wherever they go. Noda has to escape and find Kaoru. Along the way he is helped by a group of martial artists and we see people who he knew before the event transformed into horrifyingly deformed beings, with grotesque outgrowths of organs and mechanical appendages. The film features utterly horrific imagery, but throughout it all there is a twisted sense of fun as the violence is so extreme that it tips into comedy. It is certainly not a film for the squeamish as we see eyeballs drilled into, intestines ripped out and gallons of blood sloshing around. However, fans of Nishimura’s work will find a lot to enjoy in the inventive, over-the-top action sequences and no-holds-barred gruesomeness. It is a genre Nishimura has worked in for a long while and it shows. He has perfected many of the special effects techniques and this stands as perhaps the finest example of his work. There is a clear line from this to Shinya Tsukamoto’s “Tetsuo” in the transformed human-machine hybrids, and late in the film there seems to be a direct homage in a sequence in which we see a character running down the street.

The direction is good with lots of hand-held camera work giving a chaotic sense to the action. There are lots of subtle moments, call-backs and visual gags in the film too for those paying attention.

The central premise of the film comes at the end when we discover the reason for the alien invasion and all the mayhem that has ensued. Right before the film ends we also see some brief flashes of documentary footage, animals in slaughterhouses and battery-farmed eggs, alongside pictures of large congregations of people in city streets. It finishes with the single ironic word “humans”. However horrific things are in the film, it seems to say, humans are responsible for killing, slaughter and devastation on a far bigger scale. This is fiction, the fantastical nature of death and gore and violence here is as nothing to the true horror of humanities own destructive urges. Fans of Nishimura are sure to love this film as it is everything you could hope for from a splatter horror comedy.

Meatball Machine (2005) by Yudai Yamaguchi and Junichi Yamamoto

Yoji Muranishi (Issei Takahashi) works as a machinist in a factory. Cutting something of a lonely figure, he spends his lunchbreak looking over the fence from the factor at a woman, Sachiko (Aoba Kawai), who lives next to the factory, and spends time with his friend Doi. Something strange is going on in the city, with a mysterious creature appearing from the river and killing a young boy before transforming him into a grotesque conglomeration of metal, flesh and tentacles. A parasitical alien is taking over humans and turning them into necroborgs, forcing them to fight, with the victor devouring the weaker combatants. When Muranishi stumbles across Sachiko being sexually assaulted by his boss he steps in to help and the two head back to his house. Sachiko is taken over by one of the aliens and becomes a mass of metal. Muranishi is told by a man familiar with these beings that his best hope of saving her is to kill her. Muranishi heads out to attempt to rescue the woman he loves while escaping the same fate himself.

Directed by Yudai Yamaguchi and Junichi Yamamoto “Meatball Machine” is a splatter horror comedy that revels in disgusting and extreme imagery. The special effects work by Yoshihiro Nishimura is incredible and there are some truly stomach-churning creations. In particular the design of the creatures that infest the humans will thrill anyone who is into body-horror, somewhere between a tumour and hideous embryonic predator. Despite having no identifiable human features, these beings are completely understandable. One of the film’s strengths is that the explanations for what is happening are largely left unsaid until later in the movie, yet from the first instance of a human being taken over, and the sight of this small parasitical entity, it is entirely clear.

The plot is almost a twisted love story buried beneath a flood of science-fiction and horror elements. The central thread is Muranishi’s quest for Sachiko, but it proves to be a thin line on which to hang the talents and creativity of the special effects department. The directors show a firm knowledge of horror and do a great job at creating atmosphere, with off-kilter camera angles and strobe lighting effects. The majority of the film is shot in a muddy half-light, with the greys and browns of the industrial district emphasising a feel of decay, both economic and social. It doesn’t shy away from showing the uglier side of the city, with trash, weeds, iron railings and unappealing architecture.

It seems like the kind of film that the filmmakers had a lot of fun making and there are many moments that will raise a smile despite the horrific imagery. These include one of the necroborgs having a windscreen wiper to clear off blood after he has savagely dispatched a rival; and even the parasitical creatures in their fleshy command-stations have a definite comedic tone once the initial revulsion has passed. Worth a watch for fans of the bizarre and grotesque, “Meatball Machine” hangs by the slenderest of plot threads but fills its runtime with creative and excessive moments.

Mutant Girls Squad (2010)

A delightfully silly slice of gory action from three masters of the genre. When Rin (Yumi Sugimoto) reaches her sixteenth birthday she is told by her father that she is a mutant. This certainly explains her feelings of isolation at her highschool and alienation from classmates. Shortly after this revelation their home is invaded by the anti-mutant police who kill Rin’s parents. Rin meets Rei (Yuko Takayama) who is part of a team of mutants fighting against the human society who are oppressing them. They are led by Kisaragi (Tak Sakaguchi), a samurai transvestite. Rin also befriends another mutant Yoshie (Suzuka Morita) and the three of them are tasked with taking down a government official opposed to mutants.

The title should give away the fact that this film does not take itself too seriously. What little plot there is acts as a slender frame on which to hang outrageous comedy-horror action sequences. Everything from the police having guns on their noses, to one girl’s power being to have two tiny arms reaching out from her ears (this is far from the most ridiculous of their abilities), will certainly appeal to anyone with a childish sense of humour and love of obscene splatter comedy. The handmade quality of the film gives it a real charm and the amount of effort that has gone into costumes, special effects (including a lot of physical effects) and gore speaks to a highly motivated and talented crew. The film is helmed by three directors, Yoshihiro Nishimura (Tokyo Gore Police), Sakaguchi (Re:Born) and Noboru Iguchi, from a script by Iguchi and Jun Tsugita. The directors clearly share a love of schlocky horror and action and their enthusiasm is infectious. The film is hyperactive and insane, feeling like a student film given a budget that allows them to bring their madcap ideas to life. All of the main actresses go all-out in their performances, embracing the wacky premise and melodrama, and do well in both comedy and action roles.

The film is essentially a bully revenge story with a well-worn message of anti-discrimination and embracing difference. It revels in weirdness and eccentricity and is a film that wants to run as far from ‘mainstream’ as it is possible to get. Only recommended for those with a black sense of humour and a love of gory violence.

Vampire Girl vs. Frankenstein Girl (2009)

Monami (Yukie Kawamura) is a vampire recently transferred to a new high-school where she falls for Mizushima (Takumi Saito). This draws the ire of Keiko (Eri Otoguro) who also has eyes on him. Unbeknownst to all, Keiko’s father, the vice-principle, and the sexually voracious school nurse are conducting experiments to create a living being from a corpse. Monami turns Mizushima into a vampire, feeding him her blood in a Valentine’s Day chocolate. When Keiko falls to her death after finding out about their relationship, her father reanimates her body and the ultimate monster match is on.

Written by Yoshihiro Nishimura and directed by Nishimura and Naoyuki Tomomatsu, the film is ridiculous from start to finish. With a title like that you would not expect anything else. What is interesting is how many of the plot points actually do tie together and build toward the climactic showdown, rather than being unrelated set-pieces. It plays with a number of genres, high-school romance, vampire and monster movie tropes, subverting them at every turn. There is a dark sense of humour here, particularly in the “wrist-cutting” club and group that obsess over Black American culture. It offers a twisted look at high-school including the more unpalatable elements. The special effects work is first class, with a lot of emphasis on physical effects and models, as well as CG. Rather than frightening the audience its aim is to disgust and it achieves this time and time again. That being said this felt a little tamer than 2008’s Tokyo Gore Police, which depending on your tastes may be a good or a bad thing. There are sequences of gore, gallons of blood, severed limbs and suchlike but rarely anything as nightmare-inducing as that film contained. Here the comedy and horror are more finely balanced.

The film is an exercise in pushing the boundaries of taste. It’s at its best when at its most outrageous and there are a few scenes where you may laugh in spite of yourself, if nothing else for the sheer effort the film is putting into some of the jokes. The actors do a great job and are clearly relishing the opportunity to act childishly with the off-colour material. The film has the feel of a child’s Halloween drawing brought to life, or a director who has been given the ultimate set of toys to play with and allowed to do whatever he wants. Schlocky horror comedy that isn’t afraid to make a fool of itself.

Tokyo Gore Police (2008)

Set a near future dystopia where the newly privatised Tokyo Police Force does battle against augmented humans known as “Engineers”, a highly skilled officer Ruka fights to uncover what is driving the spate of violence across the city. The film begins with a friendly announcement by a policeman explaining that they are there to help the citizens. This is rudely interrupted when his head explodes in a shower of blood that is unexpected and genuinely shocking. It should be said before we proceed much further that this film takes a strong stomach to get through as there are some genuinely disturbing images throughout. Following this we cut to one of these “Engineers”, a zombie-like being with a chainsaw replacing one arm. He has killed a lot of people and after dispatching an entire police troop in a brutal symphony of churned up viscera, severed body parts, and fountains of blood, our heroine Ruka, armed with a katana is sent in to clean up, expertly disarming the criminal (pun fully intended). This opening sequence serves as a sort of aperitif for what is to follow. If you can get through it without vomiting, then you are probably good to proceed (although they do continuously attempt to outdo this bold opening). The police manage to dig a key-shaped tumour out of the corpse’s head and it is this that is believed to make them into killers, somehow transforming ordinary citizens into bloodthirsty monsters who adapt their bodies to make them more efficient at bloody slaughter.

Although it is buried beneath all the insanity there is a fairly standard cop-drama plot driving Tokyo Gore Police from one outrageous set-piece to the next. It is admirable that they attempted to do something with Ruka’s character and there are even emotional scenes concerning her relationship with her father and issues with depression that help create a somewhat rounded character. Eihi Shiina (Audition) plays the heroine with style pulling off both drama and action. The film also includes a number of satirical commercials that play throughout. These largely poke fun at police violence and the suicide problem in Japanese society. Subtlety is not something this film frets over and it is fun to see the extreme way that topics are handled. The one issue I had with the story is that it is a little disjointed. Themes will be raised and then not mentioned for a long time and scenes are occasionally edited together in sequences that do not work to the best advantage of the story. But in a film such as this, the story is really the last thing people are probably concerned about. Its primary loyalty is to horror and gore aficionados. This schlock horror goes out of its way to disgust. There is a great deal of creativity and the special effects are praiseworthy. It is great to see practical effects being used for the arterial spray and prosthetics for creatures and it makes everything more shocking than CG could ever have been. Even though you know it is just rubber and make-up you can’t help but cringe when you see people being torn up by drills or chainsaws. It should be said that there is a huge amount of humour in the film and it is clear from the over-the-top nature of everything that is going on that it is not meant to be taken too seriously. Director Yoshihiro Nishimura clearly has a great creative flair. One of the more surprising things about the film is that there were some well-crafted scenes of horror. The sequence on the train was genuinely terrifying without resorting to the grotesque. On the flipside there were disappointments when scenes such as the impact of Ruka self-harming seemed undercut by the cartoonish way it was displayed. The film actually seems unhinged at times as it veers from satire to horror to outrageous comedy.

The main theme of the film is police privatisation. It satirises the commercialisation and corporatisation of the police force and public bodies. It is also critical of the sort of enjoyment ordinary people have in seeing criminals punished in violent and inhumane ways, perhaps suggesting there is little difference between the criminals and law-abiding citizens in their basic aggression. The main villain, it is revealed, injected himself with the essences gathered from various serial killers, thus becoming a violent killer himself. This is the point at which the film becomes a little confused and seems to have had a strong idea but not the conviction to follow it through or work out a sensible plot to develop it. Instead these ideas are cast to the wind for the audience to make of what they will. This is also true of the suicide sub-plot. We learn that Ruka self-harms and are then treated to a blackly-comic commercial of high-school girls encouraging their peers to buy a special knife and cut themselves. A couple more advertisements throughout cement this theme as a central pillar of the film. But once again it is left hanging as a sort of interesting aside and has no real bearing on the plot. If you can stomach extreme gore, indescribably outrageous set-pieces of sex, violence and brutality (all with a dark comic angle), then this could be the film for you. A movie that has to be seen to be believed.