Matt Cooper Films

Tokyo Living Dead Idol (2018) by Yuki Kumagai

When the lead singer of a popular idol group, Tokyo 27-ku, is bitten by a zombie, she has 72 hours to find a cure before the virus transforms her. Miku (Nana Asakawa) comes off stage with her bandmates, Moe (Yumeri Abe) and Yuri (Runa Ozawa), arguing about their performance. After starting as underground idols the trio are beginning to gain popularity. However, this is put on hold when a zombie takes a bite out of Miku’s arm. Miku flees, with police sent out to search for her, and teams up with a small-time detective (Shogen). The two of them set out to find Dr. Kumozawa (Koichi Takamatsu) and Alicia (Chisato Koizumi), whose blood is rumoured to be a cure for the zombie virus. They must also evade the attentions of the Zombie Hunters, who roam the streets of Tokyo.

“Tokyo Living Dead Idol”, written and directed by Yuki Kumagai, brings a few new elements to the zombie mythology. In this tale the zombie infection takes three days before beginning to rot the brain core and turn people into the flesh-eating monsters we all know. This gives an impetus to the story as Miku races to find a solution to her problem before it is too late. For this low-budget film it also means they can largely avoid having to do large crowd shots of rampaging zombies, with the populace here appearing largely unphased by the occasional infection. The film does feature a few entertaining, anime-inspired, fight sequences, with katana-weilding zombie hunters; and the inclusion of parkour zombies is another fun addition. The plot is workmanlike, establishing several threads and tying them all together neatly, albeit sometimes without much fanfare (as in the case of Miku’s reunion wiht her bandmates at the end of the film). The comedy is largely in the dialogue and situations, with some of the best moments coming through off-hand remarks. Not all of the jokes land and the horror is sometimes undermined by overuse of CG blood rather than practical effects, but the final third provides an action-packed and emotionally fulfilling climax.

The blend of two popular subcultures, idols and zombies, is unique and entertaining. Miku is not a typical heroine, being portrayed as arrogant and disrespectful to her bandmates early on we are nevertheless sympathetic when she is bitten. Miku, Moe and Yuri are played by members of the Idol Group Super*Girls, which lends some believability to their performances. The film comments on government corruption, with the man developing the zombie viruses in kahoots with the department responsible for controlling them; the cure being withheld from the population until such time as it is financially beneficial for the government to release it. “Tokyo Living Dead Idol”, with its unique protagonist, also includes characters such as the two idol fans who want to protect Miku. These are contrasted later with a group of zombies who fetishise her, interested only in her sex appeal. It is an interesting concept, the positive and negative aspects of fan culture, also emphasised by one of the Zombie Hunters who turns out to be a huge fan of Tokyo 27-ku. This theme is never fully developed, but it provides an interesting angle to the traditional zombie story. The ‘mindless’ nature of much of the entertainment industry and fandom. “Tokyo Living Dead Idol” is a unique take on zombie lore, with the inclusion of idols and a countdown to becoming a zombie creating a fast-paced, horror-comedy for fans of B-movie action.

Matt Cooper Films

Battle Girl The Living Dead in Tokyo Bay (1991) by Kazuo Komizu

After a meteor lands in Tokyo Bay, the chemical reaction causes parts of the population to turn into zombies. A blockade is placed round the area and the ground defence force take control of the city. While they scramble to create an antidote, Keiko (Cutie Suzuki), the daughter of an army colonel, is brought in to help rescue any survivors. She later comes face to face with the Fujioka (Kenji Otsuki), the leader of the ground defence force, and his sinister plans.

Written by Hitoshi Matsuyama and directed by Kazuo Komizu, “Battle Girl” is classic B-movie fare, with an outlandish premise and predictable plot that serves only to move the characters from one action scene to another. The film is self-aware enough to realise its inherent silliness, often leaning into it, for example having Keiko lift a man by the neck upside down, or a zombie that is diced up into pieces. Cutie Suzuki, a pro-wrestler before starring in this film, has a great presence, clearly familiar with portraying a tough character. It is perhaps surprising that the use of her skills as a fighter is quite limited, with only a few moments showing off wrestling moves. For the most part she is a generic action heroine. Despite the predictable plot, the film throws in enough elements to keep things engaging, such as the ‘Battle Kids’, a group of young survivors who have teamed up to try and escape the city, and the ‘Monsters’, a group of thugs charged with preventing Keiko discovering Fujioka’s secrets. The action scenes are engaging, again benefitting from having a wrestler in the lead role, and the decapitations, explosions, and gun fights ensure there is rarely a dull moment. There are a few laughably poor special effects, understandable given the small budget, using obvious dummies; but for the most part the gore is good. Where the film does excel is in creating an eerie post-apocalyptic environment, with sparsely furnished industrial settings giving a sense of desolation and decay. The ambient score likewise emphasises this threat-laden atmosphere. There are a couple of strong visuals and scenes in the film too, particularly when Keiko confronts a group of zombies, and the plot builds to two fantastic large scale sequences of zombie assaults on the survivors.

On the whole, “Battle Girl” is a fun, fast-paced, action-horror, with an entertaining turn from star Cutie Suzuki. The themes of corrupt officials and military personnel, the dangers of radiation and scientific arrogance are familiar to the genre and the plot will not surprise fans of this type of story. However, there is some genuine artistry here in the stylish direction, soundscape and set design that make it worth a watch.

Matt Cooper Films

Beautiful, Goodbye (2019) by Eiichi Imamura

Daisuke (Yusuke Takebayashi) is on the run after attempting to murder a man who he believed to be beating his child. While driving away in a stolen car he hits a woman who is standing in the road in the middle of the night. This woman is Natsuko (Bi Yo), who is dealing with her own issues. Natsuko is undead, recently returned to life after suffering fatal head injury, and also on the run from an unpleasant and abusive boyfriend (Kosuke Haruki) who has performed a ritual to resurrect her. Daisuke and Natsuko set off together on a curious road trip attempting to outrun their fates.

Writer and director Eiichi Imamura delivers a unique take on the romantic road movie genre, and a reimagining of zombie movie tropes. The film keeps a close eye on the two protagonists. Yusuke Takebayashi’s portrayal of the nervous, stuttering Daisuke, immediately evokes sympathy for him. It is clear early on that he is not a hardened killer. As the film goes on he gains in confidence and we see him develop a better understanding of himself. Bi Yo’s Natsuko is the catalyst to his transformation, her easy-going attitude and humour helping him come out of his shell. She exudes charm and it is interesting to see the zombie here as a thinking, feeling being, which adds a layer of tragedy to the character. The two of them play well off one another and their relationship develops naturally without melodrama. The film has a gentle pace as the two travel together and gives the audience plenty of time to ruminate on the themes of fate, death and human relationships. Everything else seems to fade into insignificance as they drive along, with many scenes having only the two of them lost in their own conversations. The film will occasionally cut to Natsuko’s boyfriend (Koki Nakajima) as he attempts to find her, but for the most part it is Daisuke and Natsuko’s relationship that provides the impetus for the drama. The film ably manages to drift between blackly comic whimsy, in Natsuko’s reappearance as a zombie, and tragically doomed romance. The cinematography, by Kosuke Haruki, sets off this tone perfectly with golden sunsets and soft natural lighting that creates a relaxing vibe throughout. The smooth meditative score likewise heightens this sensation of a slow drift towards the inevitable as Daisuke and Natsuko continue their journey.

“Beautiful, Goodbye” is a film about the relationship between Daisuke and Natsuko and their reliance on one another. The metaphor of a lightbulb and a plug socket is used, fittingly unusual for the characters, to demonstrate their interdependence. The fact that Natsuko is a zombie from the moment they meet helps draw attention to the inevitable, that both of these characters are heading down a dead-end street. The only thing they don’t know is how long the road will be. As such both are forced into making the most of the time they do have. It is this also that adds the aforementioned element of doomed romance to their story. The audience realises that whatever happens, the relationship between a man on the run for attempted murder and a zombie, is unlikely to have a happy ending. Despite the darkness at its heart, it is a film that on final reflection comes with a great deal of hope. The chance meeting of these two characters proves to be a fortunate encounter with both coming to understand and reflect on who they are and what they have done. Though their time together may be short, it helps both to understand what it is they are living for. “Beautiful, Goodbye” gives us a fresh twist on the conventional road-trip romance, with captivating central performances and a transformative message about life and death.

Matt Cooper Anime

Highschool of the Dead (2010-11)

Following the outbreak of a zombie virus, high school student Takashi Komuro (Junichi Suwabe) is forced to fight against the hordes of the living dead. Joining him are fellow survivors including his former girlfriend Rei Miyamoto (Marina Inoue), an intelligent, rich-kid Saya Takagi (Eri Kitamura), martial arts expert Saeko Busujima (Miyuki Sawashiro), portly geek Kota Hirano (Nobuyuki Hiyama), and teacher Shizuka Marikawa (Yukari Fukui). The group must work together, putting aside any former differences to escape from the school and find their way in this post-zombie apocalypse.

“Highschool of the Dead” is based on the manga by Daisuke Sato with illustration by Shoji Sato. Sato’s previous work was mainly self-published and this was his first non-“adult” project. The show borrows heavily from the exploitation genre, with graphic violence, blood splattering everywhere as they take out zombies in often darkly-humorous ways. The female protagonists are all endowed with improbably large bosoms and the camera rarely misses an opportunity for a shot of jiggling breasts or exposed panties. The male characters, Takashi and Kota, who presumably act as the surrogates for the intended audience, find themselves in the unusual position of being at once surrounded by beautiful young women, and simultaneously threatened with a gory death at the hands of rampaging zombies. There are serious tonal shifts throughout from horror to comedy, and it often has the feel of a show entirely put together by people who had no higher objective than to bring to the screen exactly what their audience would want to see. Although there are any number of zombie shows, this one does keep things fresh and fast-paced, with constant changes of environment and new challenges for the group. The introduction half-way through the series of a young girl and a dog to the group further alters the dynamic. The animation utilises several techniques, with comic inserts, frenetic CG enhanced action sequences, and the art-work on the zombies is especially good. The rock soundtrack keeps up the energy, and I enjoyed that the credits for each episode are accompanied by a different track.

A simple zombie survival tale that will appeal to anyone who is a fan of sexploitation cinema and gory horror. At times the show rises above the ridiculous and there are some moving sequences when it seems that the enormity of their situation finally catches up with the characters, but these are usually followed by more outrageous action or sex-jokes to lighten the mood. I would highly recommend it as one of the standout examples of the genre, with excellent animation work and character design and a story that keep throwing up unique and exciting scenarios.

Matt Cooper Films

Big Tits Zombie (2010) by Takao Nakano

When a film has a title like that you are really only watching it for two reasons. Written and directed by Takao Nakano, “Big Tits Zombie” is based on the manga by Rei Mikamoto and stars several adult film stars in what is a low-budget comedy horror romp. Beginning in media res we see two of our heroines (Sora Aoi and Yumi Yoshiyuki) surrounded by zombies, hacking their way through with a katana and a chainsaw. Lena (Aoi) then kindly offers in voiceover to take us back to where this all began. Having just returned from Mexico, Lena is looking for work and finds it in the “Paradise Theatre” stripclub. Working alongside her are Ginko (Yoshiyuki), Maria (Mari Sakurai) who has a goth-loli style and love of Shakespeare, Nene (Tamayo) who is into reading tarot, and Darna (Io Aikawa) from south Asia who is raising money for her family back home. With few customers the women are bored. They are then farmed out to the local onsen spot to entertain the patrons there with female wrestling and other games. Following a fight in their dressing room, they discover a hidden passage behind a wall that leads down to an underground chamber. The chamber contains many occult books and a portal to hell. Because why not? When Maria begins reading an incantation from one book she unwittingly summons the dead back to life.

The film is as ridiculous as the title suggests and doubtless nobody involved was expecting a masterpiece. The manga “Big Tits Dragon” by Rei Mikamoto on which the film is based no doubt gave more weight to the film through giving each character some sense of personality. There is an attempt to give Lena some backstory and character development, even if it largely involves her getting drunk and having regrettable sexual encounters. The others are likewise all given a peculiar character quirk. Darna’s love of money and Maria’s gothic obsession are traits that do tie into the story in interesting ways, and it is more than you might have expected for anything to make sense in this film. One of the oddest moments of the film is a flashback involving Ginko, where she explains how she previously killed one of the zombies after he broke into her home and killed her younger sister. This subplot doesn’t really come back in any major way, which is a missed opportunity.

Speaking of missed opportunities, while there are plenty of zombies in the film the titular breasts make relatively few appearances. The sequence near the end where they have breasts sprayed with arterial spurt from slain zombies one would imagine would be a common occurrence in the film, but it plays as though it is intended as a scene inserted simply to justify the title. This wouldn’t be an issue were it not for the fact that the filmmakers rarely seem to make use of their biggest assets, that being the great cast of actresses he has. The script has several decent jokes, but too few to really class this as an out and out comedy. When they meet a blue ogre from hell who is in middle-management and complaining about the number of souls he is having to contend with, a little like an overpopulated prison as he remarks, the scene feels underplayed. Likewise, there are many creative moments, such as a woman having her organs eaten in the style of ‘body sushi’, playing ping pong with an eyeball, and a woman whose organs flail around like tentacles, that suffer through poor effects work. The last of these is severely damaged as you can see the strings holding up the puppetry. The flame-throwing vagina was one moment that absolutely caught the tone of the film, somewhere between horror and comedy, but it needed to push the envelope in this vein more often.

Sadly, the film falls between two stools. Neither raunchy or terrifying enough to be a standout of the ‘ero-guro’ genre, nor funny enough to be a great comedy. It’s short runtime means it is sure to find an audience looking for some B-movie goodness, but again the filmmakers really missed a trick in not going all out either in terms of the sexploitation or horror to make this truly memorable. It is to their credit that they attempt a modicum of plot and character and there is enough to keep you entertained, but it could have been so much more.