DEAD LEAVES (2004) Review

Directed by: Hiroyuki Imaishi

Starring (voices): Kappei Yamaguchi, Takako Honda, Yuko Mizutani

I really had no idea what to expect when I sat down to watch DEAD LEAVES and even after letting it all soak into my brain for a couple of days I still don't have a clear idea of what the hell just happened. I'm not the biggest anime fan in the world but I've seen my fair share and I can say without hesitation that I've never seen anything quite like DEAD LEAVES, both in terms of what goes down on screen and it's animation style.

Pandy (a young woman with a bad case of Heterochromia) and Retro (a dude with a television head) awaken completely naked with absolutely no idea of who the are, where they are or what they are doing there. So naturally they team up, go steal some clothes and a car and start shooting up the city before robbing a bank and then leading approximately a billion cops on a high speed chase, destroying as much as they can in the process. But their crime spree soon comes to an end and they find themselves on route to a prison on the Moon where they are suited up in straight-jackets and thrown in a cell. Pandy and Retro soon free themselves from their shackles by having sex (yes you read that right; sex!) and gather all of the prisoners in a frenetic, fast paced escape attempt. Along the way Pandy and Retro unlock the secret behind their mysterious past and the reason why the prison seems so familiar to them.

It's clear to see that the filmmakers didn't waste any time on a deep story or characterization, which is made most apparent when their mysterious past is explained in a ridiculous 15 second monologue. Normally this kind of seemingly lazy, throwaway explanation would get negative points from me but I was too busy trying not to have an epileptic seizure to really notice any of the weak plot points. Besides a strong story is definitely not the film's strong point, nor is it meant to be.

I always hear people talking about how good certain movies are to watch when you're high. Well DEAD LEAVES is the kind of film that will leave you feeling like you're on an acid trip no matter how sober you are. It's hard not to imagine the writers and animators producing this after a particularly strong batch of shrooms. It's pretty darn difficult to describe the animation style here but if I was pushed I guess I would say that it's like what I'd imagine if Spongebob and Patrick went on a crazy, violent, drug-fuelled crime spree. There are so many bright colors and the scenes chop and change so quickly it almost makes your head spin.

DEAD LEAVES is very entertaining with its unique animations style and its vast menagerie of weird and wonderful characters including a certain prisoner with a drill for a penis. A drill. For a penis. It does however venture into crude territory with the aforementioned drill penis guy and a scene in the prison involving poop extraction. but that's almost forgivable when a film is this fun. It's completely over the top and ridiculous but I couldn't help falling in love with it. it is however a little short at around 45 - 50 minutes and could have been longer, although I doubt my eyeballs and brain could have taken much more. Anime fans will want to see this if only for the animation and pure insanity on display. But DEAD LEAVES is also very violent with the screen sometimes being overwhelmed by explosions, blood and bullets. Not suitable for kids. Highly recommended for anime fans and people who love seeing something a little different.

FEMALE PRISONER SCORPION: BEAST STABLE (1973) Review

Directed by: Shunya Ito

Starring: Meiko Kaji, Mikio Narita, Yayoi Watanabe

The third (and last of the franchise to be directed by Ito) FEMALE PRISONER film feels a lot different to both of its predecessors. In fact apart from a single extended sequence at the film's end, the setting is taken outside of prison walls and into the wide world beyond. But in a way the outside world seems like its own penitentiary.

Matsu has escaped prison once again and is trying her best to settle into whatever kind of 'normal' life she can. The film opens with a brilliant sequence (probably the best opening for any of the films so far) in which Scorpion is seated in a subway car trying her best to blend in. Two police officers recognize her and try to detain her. One officer manages to get a handcuff around her wrist (the other cuff around his own) but she manages to slip out the door of the train just as it is closing. The only way to escape is for her to cut off the officer's arm which she does so swiftly just in time for the opening credits in a wonderful sequence showing her running through the busy streets with a disembodied arm swinging from her wrist.
A new character is also introduced in this third film, a distraught young woman named Yuki (who coincidentally is played by Yayoi Watanabe who played Yuki in the original film) who sells her body in order to provide for herself and her mentally retarded brother. She also gives up her body for her own brother to satisfy his sexual desires.

The two women meet in a cemetery and strike up a strange kind of mutual friendship most likely fuelled by their similar predicaments. Both women are trapped in their own prisons and have next to no opportunity at living a normal life. But while Matsu responds to scenarios with her patented violent vengeance Yuki is seemingly cursed with getting fucked over and over again. Her only real means of escape is the terrible thought of killing her very own brother.

Although BEAST STABLE is still firmly an exploitation flick it is quite a bit more tame than the previous two films although it does include incest, torture, forced abortion and some nudity. And as usual no woman can take more than 5 steps outside without being accosted and having her clothes ripped off. As for the story itself it is fairly well told but at times does feel a little disjointed especially when it comes to the ending which was awesome in itself but ultimately felt almost tacked on.

Shunya Ito is a masterful director and it's a shame that over a 40 year career he has only directed around 14 films, and more of a shame that BEAST STABLE marked the end of his involvement in this series. But to be honest he chose a good time to end it because the way this film ends there is no need for any more sequels even though Meiko Kaji would later return to her role in the fourth film GRUDGE SONG.
BEAST STABLE is easily Ito's bleakest film in his trilogy which I found almost ironic since it is set in the 'free' world outside of prison. In one scene Kaji's character is even reduced to tears which is something I never would have expected. And although the symbolism from the previous movies is not quite so prevalent here there are some wonderful scenes - my favorite showing the lit matches drifting down into the dark depths of the sewer, a few at a time first and then eventually a downpour of them.

BEAST STABLE is a lot different from Ito's other FEMALE PRISONER movies and if you're looking for another WIP film then you may be sorely disappointed. However it is a great film in its own right and showcases some nice storytelling, more of Ito's unusual artful style and some decent acting. And of course once again Meiko Kaji plays the role of Scorpion to perfection.

FEMALE PRISONER SCORPION: JAILHOUSE 41 (1972) Review

Directed by: Shunya Ito

Starring: Meiko Kaji, Fumio Watanabe, Kayoko Shiraishi

The second film in the FEMALE PRISONER series is an entirely different beast when compared to the original. In fact the vast majority of the film takes place outside the prison walls, and since the women it focuses on are no longer in prison JAILHOUSE 41 isn't technically a Women In Prison movie but it's sleazy exploitation just the same.

The film opens with Matsu (Reiko) back in prison, in solitary confinement. The warden Goda (Watanabe) has decided to let her out but only for one day because a high profile inspector is visiting the prison. During a ceremony Matsu attacks the warden and a short riot breaks out but is soon quelled. Later during a prison transfer Matsu manages to escape along with six other prisoners. They take refuge in an old abandoned village while the authorities try to track them down.

Much like the first movie JAILHOUSE 41 has some excellent cinematography and director Ito has cranked up the surreal artful style with plenty of odd sequences including an interesting scene where the prisoners meet an old woman and a monologue is given for each prisoner explaining how and why they ended up in prison. There is a lot more character development this time around although more so in regards to the other six women than for Matsu herself. Particular attention is paid to Oba (Shiraishi), a woman who drowned her two year old son and then stabbed her unborn child to death. Oba and Matsu don't exactly have the best relationship. Matsu manages to get under her skin while saying basically nothing (much like the first film) but she has that deadly stare perfected and it's all she needs to drive Oba nuts.

JAILHOUSE 41 also has a nice score much like its predecessor and it reuses the Kaji sung theme song from the original along with an additional song also performed by her. However while we're on the subject of the film's audio, there are some strange sound effects incorporated in as well. Humorous "boing" noises are used for some undisclosed reason and whether they are to try and ease the harshness of the rape scene or not is not clear. Personally I found them a little distracting and felt that they didn't really fit in with the rest of the soundtrack.

Meiko Kaji does a brilliant job as Scorpion again and although her character isn't really developed much here she definitely gets more screen time than in the first film. Fumio Watanabe plays the evil warden Goda brilliantly once again and Kayoko Shiraishi does a great job as the crazy bitch Oba.

FEMALE PRISONER SCORPION: JAILHOUSE 41 is an excellent sequel and in fact I'd say it is on par with the first film. In some ways it may even be better but overall I think the original is a cut above. If you enjoyed the surreal arthouse styling of the first film then you'll love this sequel, and it still has enough exploitation goodness (including a somewhat random lesbian scene) for fans to enjoy. A brilliant follow up to the original FEMALE PRISONER movie.

FEMALE PRISONER #701: SCORPION (1972) Review

Directed by: Shunya Ito

Starring: Meiko Kaji, Rie Yokoyama, Isao Natsuyagi

Women In Prison (WIP) films are usually pretty reliable for a few things, namely a lot of gratuitous nudity, lesbian scenes, catfights, abuse, cruelty, torture, rape and evil prison guards. They are rarely anything special when it comes to story or character development but FEMALE PRISONER #701: SCORPION goes above and beyond what you'd normally expect from a WIP film. While it does exhibit nudity, violence and sadistic guards, SCORPION also has a nice strong lead, a great director, some sweet action scenes and an unusual artful edge to it. It's no ordinary WIP film.

Nami Matsushima (Kaji) is roped into helping the love of her life Sugimi (Natsuyagi) with a drug sting he is pulling at work. After being set up by Sugimi and being raped she has only one thing on her mind: revenge. An attempt to slice up Sugimi with a knife on the front steps of the Tokyo Metropolitan Police Headquarters (not a smart move) goes wrong and she is arrested and thrown in prison. Although strangely Nami refused to testify against Sugimi, he still sees her as a big problem and makes a deal with another prisoner Katagiri (Yokoyama) for Nami to fall victim to an 'accidental' death in prison. But Nami has her heart set on escaping and seeking revenge against her former lover, and nothing will stop her.

The film begins with a jailbreak. Nami and another prisoner have escaped and are on the run and the warden is understandably pissed. The dogs are released and eventually Nami is returned to the prison where all of the inmates are punished for her escape attempt. Soon she not only has the prisoners against her but also another inmate Katagiri who is out to kill her, and the sadistic guards who are set on breaking her. A riot breaks out giving Nami the perfect chance to escape and get her revenge.

Despite the rape and abuse Nami is less a victim than a kind of anti-hero. She stays determined and defiant at all times and no matter how hard the prisoners and guards try to break her she stands strong and perseveres. The most amazing thing however is that she utters barely a single word (in fact this is true for the entire series of films) and instead displays her thoughts and feelings via strong facial expressions. And Meiko Kaji does a great job playing the strong, silent lead. She is beautiful and cruel, fragile and strong all at the same time. She also happens to sing the film's theme song which was later used by Quentin Tarantino in his strong female / martial arts homage KILL BILL.

The most unusual angle (and one of the highlights) is the way that SCORPION manages to so brilliantly combine the elements of trashy exploitation with a surreal arthouse style. One of the best examples is when Nami is being chased through the showers by a demonic looking Katagiri wielding a shard of glass. The experimental camera angles and lighting used throughout the film are not what you'd expect from such a movie, but they are very welcome indeed. FEMALE PRISONER #701: SCORPION is arguably the best film in the series and is a fantastic example and introduction to the WIP subgenre. For exploitation fans this one is a must see.

CELL COUNT (2012) Review

Directed by: Todd E. Freeman

Starring: Robert McKeehen, Haley Talbot, Christopher Toyne

There were two reasons I decided to check out CELL COUNT. The first is that I thought the poster looked pretty badass and the second is that I heard it being compared to films like CUBE and Cronenberg's RABID. I still like the poster, but while I can see certain similarities between this and Cronenberg's work, this movie just doesn't come close. It has a very promising premise but before long it falls apart thanks to some lousy writing and incoherent plot.

Russell Carpenter (McKeehen) has to make an important decision. His wife Sadie (Talbot) is dying in a hospital bed from an undisclosed disease and her only chance of getting better is for her to be shipped off to an experimental facility where Doctor Victor Brandt (Toyne)  promises that she will be completely cured. However if Russell wants to be with his wife, he will also need to travel to the facility and partake in the experimental cure. When the couple awaken in the prison-like clinic and find themselves with a handful of strangers, bizarre things begin to happen. Could this cure be worse than the disease?

First I'll get to the good stuff. CELL COUNT was made on a relatively low budget, however great care has obviously been taken to make it look as good as possible. The lighting is good, the scenes are crisp and clear, the location is suitably cold and sterile, and the practical effects and make-up look great.

As I mentioned earlier, the premise for the film is an intriguing one. When Russell makes the decision for himself and his wife to take part in this experiment they are unaware of the risks and even seem to have no idea what the experiment will entail. Obviously the only thing Russell cares about is the fact that Dr. Brandt has promised she will be cured. But at what price? At no point does he say that she will be 'healthy' or 'back to normal', just that she will be completely free of the disease. What exactly is he hiding?

And what's up with this medical facility? It's vast, open and seemingly empty apart from the half dozen or so patients. The doctor communicates to them via a P.A system and rarely visits the patients personally.

Something is obviously not right here. This sense of mystery and foreboding has been handled really well and is enough to hold your attention - for a while at least.

CELL COUNT ambles along at a reasonably slow pace which at first is ok. But before too long I found myself hoping that it would pick up the pace or at least break it up with some action sequences. Unfortunately the slow pace continues throughout the film, peppered with little action, but on the plus side it does throw a few unexpected surprises at you.
The writing here isn't exactly what I would call great, and it has characters making stupid decisions and uttering unimportant and useless dialogue at times.
While the practical effects were done really well, there was is scene which incorporates some terrible looking CGI, and while it may have been the only way to achieve such a scene, it was still off-putting.

And finally we come to the end of the film which was a sudden and inconclusive stop. I can appreciate movies which leave you with unanswered questions while the credits roll, but I think CELL COUNT could have benefited from a more conclusive ending. I have heard possible talk of a sequel so maybe this is why the film ended as it did.

ASYLUM BLACKOUT (2012) Review

Directed by: Alexandre Courtes

Starring: Rupert Evans, Dave Legeno, Richard Brake

George (Evans) and his friends are wannabe rockstars. They work in the kitchen of an asylum to scrape together enough money to buy themselves some studio time. Unfortunately while working at said asylum one night, a storm rolls in and knocks out the power. Along with a few orderlies they find themselves in the dark and surrounded by patients who need to be taken back to their rooms until the power is up and running. While escorting the patients to their rooms some major shit goes down and they soon find themselves trapped in an asylum with a horde of violent patients. Not good.

I've always found movies involving crazy people to be a bit lazy. Ridiculous plot points which seemingly happen for no reason can simply be explained by saying "well they're crazy, so anything can happen"

There are a few such moments in ASYLUM BLACKOUT but for the most part it is actually not too bad a film. The first half hour or so helps us to get to know George and his aspiring musician friends as they work their day jobs in the kitchen as well as spending time in the studio and playing gigs. Personally I really couldn't give a single fuck about George and his struggling musical career and I thought this half hour was too long and unnecessary. But when the lights go out and the crazies take over things get much more interesting indeed.
And unfortunately for our musician friends this movie is set in the 80s. No cell phones here.

With the asylum blackout underway and the patients running free, there is plenty of tension, claustrophobia and terror as George and friends try to keep themselves safe. Unfortunately all of this gathered tension is basically flushed right down the toilet once the movie degenerates into gore and torture. Don't get me wrong, I love me some gore but I just don't think this movie should have gone down that path. But even the gore and death scenes are pretty tame compared to a lot of other movies so even gorehounds will likely be disappointed here. Basically the film had two choices; either keep up with the tension or ramp up the gore, but it did neither.

The good news is that ASYLUM BLACKOUT looks great and creates a chilling atmosphere. The darkened corridors lined with half open cell doors are super creepy and the insane screaming and laughing from the patients is downright disturbing. The acting is also solid but the writing is unfortunately not so good.
There is no doubt that you can easily sit down and enjoy ASYLUM BLACKOUT, but it's just disappointing because it could have been so much more.

LOCKOUT (2012) Review

Directed by: James Mather, Stephen St. Leger

Starring: Guy Pearce, Maggie Grace, Joseph Gilgun

Apparently somewhere along the line, somebody decided it would be a great idea to take ESCAPE FROM NEW YORK, replace Kurt Russell with Guy Pearce and set it in space. And thus LOCKOUT was born.

In space there is a giant orbiting prison known as MS One, which houses around 500 or so prisoners. Luckily these prisoners are all frozen in stasis, so there is no possible way for them to escape. Right? Wrong. The US President's daughter Emilie (Grace) visits MS One to conduct an investigation into how the prisoners are being treated and whether the stasis has any adverse effects on them. During an interview with one inmate somebody makes the stupid decision to bring a gun along, things go bad and soon every prisoner on board is free. Enter Snow (Pearce), an ex-government agent who has been falsely convicted, and his only chance at freedom is to infiltrate the space prison and rescue Emilie. Simple. There is some subplot involving a briefcase but basically that's the story in a nutshell. The bulk of the film involves Snow and Emilie skillfully evading the prisoners, running through closing doors just in the nick of time and displaying every cliche of every sci-fi/action movie ever. 

You will learn a lot from LOCKOUT too, for example:

Did you know that's it actually pretty easy to convince the President of the US to send in a single man instead of an experienced team of soldiers to free his daughter from a maximum security space prison filled with 500 violent and murderous inmates?

Did you know that futuristic space prisons have a special, easy to use button which unlocks the cells of every single inmate, and said button doesn't even seem to have a password or anything?

Did you know that the phrase "No guns while interrogating the prisoner" roughly translates to "Please bring a gun while interrogating the prisoner"?

Did you know that instead of spending millions of dollars on heat shielding, all you need to enter the Earth's atmosphere is a yellow suit?
I think you get the picture now.

If you haven't already figured it out, LOCKOUT is the kind of brainless action film that might not be original and is far from a masterpiece, but it is at least entertaining. If you're content on not having to think too hard or try and figure out where the movie is going (it's pretty damn predictable) then you can easily sit down and watch this and not regret it too much afterwards. As you might expect there are a lot of explosions, gunfire, average acting, laughable dialogue and over the top action scenes. Just as a side note about the acting though, I actually thought that Joseph Gilgun did a great job as the insane prisoner Hydell and was probably the most impressive actor in the film. The effects for the most part are good, however there is one scene near the beginning which has some horrible looking CGI.