Matt Cooper Films

Tokyo Zombie (2005)

Mitsuo (Show Aikawa) and Fujio (Tadanobu Asano) are employed at a fire extinguisher factory nearby “Black Fuji”, a giant rubbish tip that has grown to gargantuan size. The two friends spend their breaks, and most of their work time, practising jujitsu together. When their boss dies the two travel to “Black Fuji” to dispose of the corpse. The mountain, full of everything people wish to dispose of, appears to be resurrecting the dead and soon there are zombies roaming the streets. After several narrow scrapes, during which Mitsuo is bitten, the story jumps forwards in time five years. Tokyo is now a post-apocalyptic society, with the rich living in palatial towers while those less fortunate are left with the zombies on the lower levels. In honour of his mentor, Fujio earns money as a fighter in an arena where the poor and zombies are forced to fight for the entertainment of wealthy Tokyoites.

Based on a manga by Yusaku Hankuma with a screenplay by director Sakichi Sato (who also produced the screenplays for Takashi Miike’s “Ichi the Killer” and “Gozu”), “Tokyo Zombie” is a black zombie comedy that is sadly lacking in enough humour or gore to make it truly exceptional. Tadanobu Asano and Show Aikawa give decent performances in the lead roles, but there is little for them to do except clowning around. They are cast as dim slackers that find themselves unexpectedly in the worst of all possible situations. There are a couple of character moments, but for the most part their interactions consist of low brow slapstick and crass humour. This would not be a problem if the material was stronger. The film has a couple of fun moments, both blackly comic (with gruesome deaths) and more farcical (when the pair realise they have been driving south instead of north away from the disaster), but many of the gags fall flat and there is a recurring joke that is overused (despite being unfunny the first time around). It is a film that comes up short in every department, neither wacky enough to satisfy comedy fans, or gory enough to satisfy horror fans. There are flashes of what could have been throughout, such as in the animated segment, but these are overwhelmed by the long stretches of drama that offer little in the way of entertainment.

“Tokyo Zombie” is a disappointing film for a number of reasons. Firstly, the two leads are both fine actors and they are not without talent in comedic roles, they are simply underused with cheap material and a lack of character. Secondly, the film feels almost restrained at times. For something with this premise, and no real requirement for realism or sincerity, it could have really pushed the boundaries in terms of surrealism or taste. It often seems like it is playing things safe, with fairly standard comedy fare, and needlessly so since the premise is so ridiculous it has nothing to lose from going for a more extreme tone. The film touches on several issues, that while not exactly unique in the genre, could have been utilised better to create a more satisfying experience. Unfortunately, ideas of societal inequality, environmental issues, and the central theme of loyalty and friendship, never really see their potential realised with any kind of payoff later in the film.

Matt Cooper Films

One Cut of the Dead (2017)

This review contains spoilers so if you have not seen the film already, I recommend you do before reading as there are some great twists to enjoy.

A film crew are gathered in a remote water treatment plant to film a low budget zombie film. During a break in filming the make-up lady (Harumi Shuhama) explains to the two leads (Yuzuki Akiyama and Kazuaki Nagaya) that there is an urban legend about the site that say when blood is spilt it will raise the spirits of the dead. Before they know it cast and crew are being attacked by zombies and must fight for their lives. The film’s opening half hour is a perfect B-movie horror flick, complete with dodgy acting, poor quality special effects and a story that makes little to no sense. After the credits roll (surprisingly early) “One Cut of the Dead” then turns into a film within a film within a film, when we discover that in fact everything we have just seen was all part of a special live television show as part of the recently launched zombie channel. We follow director (Takayuki Hamatsu), cast and crew as they rehearse for the film we have just watched and this is where the fun really starts. Once you realise that in fact the first part was not meant to be serious and in fact did not at all go according to the script, you are treated to the same events again, this time from behind the camera, with drunken extras, numerous mistakes, and a quick-thinking director trying to keep the live show going amidst the chaos.

Writer and director Shinichiro Ueda has created something truly special in this film. While many may think the zombie movie has been wrung to its last drop, he manages to do something unique with the genre. For everyone who has ever made a low budget film with their friends this film will ring painfully true. Its genius is in the structure. Going in knowing nothing about the film you soon settle down into what appears to be another cheap zombie film. Disused buildings, shoddy special effects, and peculiar line reads. It is an impressive opening, shot in one take, and this section alone would be worthy of praise, despite various apparent flaws. However, when the film then takes you a further step back behind the scenes and you realise that what you watched was a construction of the characters who are acting in it, there is a unique style of humour that provides for some laugh out loud moments. Suddenly, you are forced to recontextualise everything you just saw. The film has essentially shown you the punchline, and is now giving you the joke, which creates a fun atmosphere of expectation as you want to see what you know is coming and are anticipating the pay off in advance. The cast of “One Cut of the Dead” comprises entirely of first-time and unknown actors. Takayuki Hamatsu is well cast as the director, Takayuki Higurashi, of the ill-fated film. His relationship with daughter (Mao) is one of the highlights of the movie. Yuzuki Akiyama gives a very enjoyable performance as the lead actress with Kazuaki Nagaya playing opposite her. Also, Harumi Shuhama is fantastic as Higurashi’s overly zealous actress wife. The cast were chosen by the director for their awkward qualities and workshopped the film together. This approach of casting relative newcomers works well as there is great chemistry between everyone involved and the apparent lack of artifice in their performances is perfect for the story.

As mentioned, the opening “film” is enjoyable in its own right as a schlocky zombie comedy film and credit to the film-makers for pulling off this “one-take” style. All of the actors deserve praise for their roles in the film as there is not a bad note from anyone and everyone has a least a couple of hilarious scenes that they own completely. At the end of the film you can feel the camaraderie of the cast of this project, so completely does the film draw you in to the making of it. The cast are mostly given almost stereotypical roles, but pull them off with aplomb, for example the “idol”, the actor who wants to be taken seriously, and the director who is just trying to avoid messing up completely.

“One Cut of the Dead” deserves to be seen by anyone who is a fan of low-budget film-making, zombie movies, or comedy. It excels of every level of film-making and acting with a script that is laugh-out-loud funny. For those into film-making it has a lot of in-jokes, such as characters using eye drops to fake tears, the way of getting fake blood spray or corpses into shot, special effects, and more. The ending is a heart-warming testament to the power of co-operation that is sure to leave you with a smile on your face. This film reaffirms the absolute joy that films and film-making can be.

Matt Cooper Films

Versus (2000)

Two recently escaped convicts meet up with a group of gangsters who are taking them to safety. After a disagreement regarding a female hostage of the group, one of the men decides to make a run for it, through the woods to freedom. However, these are no ordinary woods. The “Forest of Resurrection”  has the power to bring the dead back to life. What follows is a fight for survival between the convict and his female companion and the men chasing them. In a later twist the man realises that there is a reason why he has been brought back to this particular forest as an ancient adversary returns.

Written by Ryuhei Kitamura and Yudai Yamaguchi the script is a ridiculous blend of Yakuza and Zombie film tropes. The majority of the runtime is dedicated to the action sequences that are the film’s major strength. Essentially a series of fights that are loosely contrived through various characters happening upon one another, there is enough variety to keep them fresh, especially with the zombie element thrown in. The film doesn’t shy away from violence and fans of gore will not be disappointed with the bucket loads of blood, and practical effects for gunshots and other injuries. Decapitation, dismemberment, punching a hole straight through a zombie: all of these are commonplace in a film that doesn’t take itself too seriously. There are moments of intentional slapstick and black humour that lighten the tone. The main issue with the film is that it never quite manages to draw you in on an emotional level, for the most part being surface action and violence. Kitamura’s direction does keep things entertaining, with stylish 360-degree shots, lively editing and some fantastic framing that elevates the film above its basic story. The actors are all well cast and bring their eccentric characters to life, doing a great job with the fight choreography as well as the comedic beats.

“Versus” will appeal to fans of zombie films and the more bizarre yakuza movies, complete with jokes about missing hands, liberal use of violence, increasingly ridiculous guns employed to blast characters out of situations. The film’s own self-awareness of the silliness of its premise along with skilful and stylish direction make this worth a watch for fans of the genre. While there is very little to appeal on a dramatic or story level, the action scenes, with great choreography and practical effects, make for a fun distraction.