The Machine Girl

The near future. Tokyo’s police force has been privatized, the new private force authorized to execute justice on the spot. The officers are both hated and feared but are a necessity in a world plagued by ‘engineers’, mutant creatures that generate powerful weapons from any significant wound on their body meaning that they become more dangerous the more that you fight against them. The only way to stop an engineer is to cut out a strange key-shaped tumor that exists somewhere within each one of them, a task that falls to specialized sword wielding hunters within the police force. And the leading hunter on the force is Ruka - played by Audition‘s Eihi Shiina - a beautiful, self destructive woman plagued by memories of her suicidal mother and slain father who has brought down fifty engineers to date.

From the same team that created The Machine Girl, Tokyo Gore Police is quite likely the most aptly titled film ever made. The thing is positively saturated with blood, massive sprays of the stuff filling frame after frame of the film. With its over the top effects and massive levels of splatter this thing is destined to become a classic among fans of the genre. Like Machine Girl the effects are pleasingly squishy, based on real world latex prosthetics rather than CGI, and wildly inventive. Where the two films part ways, however, is in the basic approach to the material. While Machine Girl plays out largely tongue in cheek, Tokyo Gore Police takes its world very seriously. There is no nodding and winking here, instead director Yoshihiro Nishimura sets out to create a sort of alternate future where these events, bizarre as they may be, actually make some sort of sense. The end result is a sort of nightmare fugue, a swirling hallucination that just plunges farther and farther into depravity as it proceeds.

No doubt about it, Nishimura’s effects are what will draw most to the film but what holds it all together is Shiina’s performance. A strange, otherworldly sort of presence, Shiina is one of the more distinctive and compelling actors working in Japan today and doesn’t appear on screen nearly often enough. With a lesser performer at its heart Tokyo Gore Police would descend into camp but Shiina makes perfect sense here and gives the whole thing a strange sort of legitimacy. She works well as an action heroine - fight scenes are well choreographed by Versus‘ Tak Sakaguchi - but more important are the self destructive urges that run throughout her character, her own life mirroring the tone of the Japan of the film.

Laced with sly social commentary - the television ads selling ‘cute’ wrist slicing knives and anti-hari kiri PSA’s are brilliant - and a surprisingly good cast Tokyo Gore Police has goals far beyond being a simple splatter picture. Nishimura clearly has something to say and, low budget or no, his fusion of extreme violence of political satire can’t help but bring to mind Verhoeven’s Robocop and Starship Troopers. The extreme visuals alone make Tokyo Gore Police a must for splatter fans, the added depth makes it a classic of the type. Definitely recommended.

Tokyo Gore Police
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Source: Twitch

One-armed bandit: Machine Girl’s Asami lost an arm in her battle against a shady ninja family, but that doesn’t mean you should stand in the way of her quest for vengeance (witness the poor slob in the rear).

Ho boy, are you ready for the nightmares? That’s practically guaranteed this weekend as the Another Hole in the Head fest closes out with its final mow-down. Fans of arterial spray, extreme Japanese filmmaking, random acts of unkind dismemberment, and fatal flying guillotines will be able to get their geek on one last, but hella amazing time with this last-minute double feature of Japanese shock-and-argh at Brava, showcasing the late add Tokyo Gore Police and crowd fave Machine Girl.

MACHINE GIRL

Possibly the most exuberantly bloody and cartoonish offering in the fest, which bites off/pays homage to Grindhouse AND Kill Bill. This archetypal Japanese revenge story - passionate and cruel by turns - hinges on the trials and tribulations of Ami Hyuga (Asami), a high-school basketball nut, fresh-faced daughter of an accused killer, and loyal big sister. Her younger brother becomes snared by spiralling gambling (!?) debts and ends up in hock to the local budding young hoods, including the son of a yakuza/ninja kingpin (whose devil ‘do bears a remarkable resemblance to that of Prodigy’s lead vocalist) - it doesn’t end prettily. Something snaps in Ami, and she goes after the kids responsible for her bro’s death, only to come up against a formidable array of monstrous parents driven to protect their equally rotten offspring. Losing her arm - slowly - in a nasty torture scene just sends her over the edge. Don’t even ask yourself how she can possibly operate a attachable machine gun with a stump - Rose MacGowan figured out how in Planet Terror, so can she.

You won’t soon forget the memorably ’60s-ish comicbook-like action sequence opener, evocative of both Seijun Suzuki and Sin City, or the finale, less a balletic bloodbath than a completely over-the-top showdown between the “Super Mourner Gang” of grieving parents (just because your son chose to become a ninja doesn’t mean you don’t hurt), giant holes blasted in bodies, a driller bra donned by the meanest mama ever, and a scalping scene that combines disco strobing and an almost Looney Tunes-esque dark comedy.

TOKYO GORE POLICE

Also produced by the venerable exploitation house Nikkatsu (well, they made all kinds of films, though their “roman porno” and “pink” softcore films brought them infamy) with a few of the same actors popping up, Tokyo Gore Police is the eagerly awaited, latest turn by the cruelly beauteous Audition S&M star Eihi Shiina. Here, she’s a girl cop - part of a sinister Philip K. Dick-ish privatized police squad commissioned with ridding the world of monstrous psychopaths who grow weapons out of whatever body part they lose. Sound familiar? Yes, these are the same good - or bad, depending on how you feel about this level of gore - people at Nikkatsu who gave you Machine Girl.

Directed by first-time auteur Yoshihiro Nishimura (who crafted special effects makeup for Machine GIrl, the also memorable Hole in the Head features Exte and Meatball Machine), Tokyo Gore Police is chock-full of disturbing scenes: point-blank exploding heads (recurring like a child’s bad dreams), exposed brains, intimations of limbless sexual servitude, and natch the Snail Girl, above. But the movie’s blend of Ultraman live-action monster brouhahas and a Burner-y, nouveau goth-steampunk aesthetic that, personally, pulls me out of the narrative. I felt a little less invested in Tokyo Gore Police than the more, ahem, classically B-minded Machine Girl. But, hey, this isn’t a competition - unless you want to see how far I can throw a severed hand - so stick around for both flicks. Shock fiends won’t be disappointed.

Yoshihiro Nishimura’s latest gore-fest looks set to raise the bar in the exploitation market, with swords, cops and mutants galore

have to admit, a lot of the big 90s Japanese horror movies left me cold. You know the ones. Most of them were remade for the US market, and they often involved a vengeful spirit stalking the living through some piece of seemingly innocuous modern technology. Even the Ringu movies - which won a loyal cult following at home and abroad - just seemed a little dull and convoluted to me.

Which brings me to the latest slice of Japanese horror to hit our screens - the fantastically titled Tokyo Gore Police. Trailers for Yoshihiro Nishimura’s latest began to leak onto the internet in early May, via the always informative Twitch.net, and each successive trailer is serving to make this insane-looking exploitation flick seem more and more like essential viewing.

Obviously influenced by such low budget auteurs as Herschell Gordon Lewis (Blood Feast, The Gore Gore Girls), and
Andreas Schnaas (Violent Shit 1-4) - as well as seemingly taking some homegrown inspiration from the Yokai Monsters series - Tokyo Gore Police mixes cheap-looking gore effects, improbable plotting, and some breathtakingly imaginative creature effects. The plot (as described on the official site) revolves around Ruka, a samurai sword wielding female cop (played by Audition’s Eihi Shiina) and her attempts to track down Key Man, a mad scientist who has flooded Tokyo with all kinds of bizarre mutants. Ruka and Key Man, however, share a vendetta against the Tokyo Police, who murdered their respective fathers in the past. So we’re talking sword wielding cops, mad scientists, mutants and revenge. Sounds like a perfect Saturday night to me.

As with most films of this nature, the plot seems secondary to the visuals, and so far the trailers are promising us a slick, vile, silly and totally over the top feast for the eyes. Look out for the barmy crocodile woman in the second trailer. Tokyo Gore Police is the brainchild of the same team (director Nishimura and production company Fever Dreams) that gave the world the frankly astonishing Machine Girl. That one was the story of a schoolgirl who rebuilds herself as a cyborg assassin to take revenge on the yakuza who destroyed her life…

There is no official release date for Tokyo Gore Police, but already it is the talk of the horror movie fan sites. I’d say it’s about time to start drooling in anticipation now.

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The Machine Girl is one of those movies that is successful only because it tries to be bad. (Remember Snakes on a Plane?) Of course, that doesn’t make it good. Ninjas, flying guillotines, drill bras, a girl with a machine gun for an arm — how could you not want to watch this movie after viewing the trailer? Unfortunately, Girl i s also one of those movies with a trailer that shows all the best parts, rendering everything in between underwhelming by comparison.

Want to have a good time? Don’t watch the trailer, gather a bunch of friends, and sneak some forties into this movie. The trailer spoiled all the best parts for me, but I can certainly imagine how outrageous this movie would’ve been had I walked into it blindly. The conundrum here is that most people probably would have no interest in watching this movie without seeing the trailer. And if you have seen the trailer, well, I guess the movie is still worth watching, but I’d either try to sneak in through the fire exit or wait for it to come out on DVD.

Whew. With that said and done, Girl is a Japanese revenge fantasy that revolves around Ami Hyuga (Asami), whose brother is brutally murdered by bullies for lunch money. In a Kill Bill-like fashion, Hyuga starts hunting down his killers one by one. But when she confronts the ninja/Yakuza family responsible for her brother’s death, she’s outnumbered and captured. Rather than killing her, the family chooses to torture her, first slicing off her fingers and then her left arm. She manages to escape and seeks refuge with a friend who engineers a machine-gun arm for her to aid her in her revenge quest.

You’ll get everything you want out of a movie with this premise. It’s a 90-minute splatterfest with enough blood spraying to fill a swimming pool. The bad guys are so bad they’re not just senseless killers; they’re also necrophiliacs. It’s always fun to see how far the Japanese will go with the bizarre and the grotesque, and clearly in this movie there’s no limit line.

Director Noboru Iguchi made a wise decision by not taking the movie seriously. The over-the-top visuals and cheesy lines like “What would Mom and Dad say, before they killed themselves over murder allegations?” make it clear this movie is a big joke aimed to amuse in the cheapest ways possible. Takashi Miike made the mistake of trying to make a serious movie out of Ichi the Killer, which was about a sexually repressed man who fights with blades that come out of his shoes. That movie is as repugnant as Gi rl but is lacking the laughs, which makes it feel more like you’re watching a snuff film. Awkward.

Aka Kataude mashin gâru.

Reviewed at the 2008 Hole in the Head Film Festival.

Reviewer: Brian Chen

by Peter Martin

Forget about a blood bath, this movie features enough red syrup for a blood flood. Maybe you saw Rose McGowan in Grindhouse and thought, ‘Pretty good, but not enough severed limbs and geysers of blood. And wouldn’t it be cooler if she had a machine gun arm instead of a leg, and it had a chainsaw attachment?’ Well, have I got a movie for you!

Noburu Iguchi’s The Machine Girl, which was released on DVD last Tuesday, features copious spraying fountains of blood and dozens of detached body parts. Add ninjas, yakuza, a flying guillotine and a drill bra to your basic ‘revenge for the murder of an innocent loved one’ formula, and I think you already know if this movie is up your alley.

Scott W. pointed to the trailer over at Twitch last year and, truthfully, nearly all of the movie’s best bits are highlighted in that two-minute blast of gore. But, really, if you’re a fan of this kind of stuff, you’ll want to see all the action sequences in their complete, unrated, unadulterated, possibly nauseating glory. Watching the entire movie also makes it abundantly clear that the filmmakers did indeed have their tongues planted firmly in cheek. After all, you can’t slice up this much latex and spill this much blood without having a demented sense of humor, can you?

The Machine Girl starts by showing Japanese schoolgirl Ami (Minase Yashiro, making her acting debut) in spectacular action, annihilating a gang of schoolboy thugs, and then rewinds six months to tell her origin story. Ami and her brother Yu are teen orphans; their parents were accused of murder before killing themselves. Yu and his best friend Takashi are killed by arrogant teen gang leader Sho Kimura (Nobuhiro Nishihara); his parents (Kentaro Shimazu and Honoka) are maniacally protective yakuza. Ami swears revenge, loses her arm to the yakuza, and teams up with Takashi’s mom Miki (Asami), whose husband builds Ami a new machine gun arm.

The pace rarely flags, and if you get bored you can just fast forward to the gore, but the dramatic scenes are well-designed to establish the right tone and provide context for the explosions of viscera.

Tokyo Shock’s DVD looks good for a movie that was probably shot on video. If you have an irrational fear of subtitles, you could wuss out and listen to the English dub, but the Japanese-language version is much stronger. Both Japanese and English tracks are available in DD 5.1 and DD 2.0. The English subtitles are well-timed and easy to read.

“Behind the Scenes of Machine Girl” is a decent 10-minute promo piece with sound bite interviews and production footage, but no details on any of the gore effects. Neither do we get to hear anything extensive from writer/director Noburu Iguchi. The original trailer is included, as well as trailers for Heroes Two, Death Trance, Lone Wolf and Cub (TV series) and Zebraman.

The Machine Girl is one of those movies that is successful only because it tries to be bad. (Remember Snakes on a Plane?) Of course, that doesn’t make it good. Ninjas, flying guillotines, drill bras, a girl with a machine gun for an arm — how could you not want to watch this movie after viewing the trailer? Unfortunately, Girl i s also one of those movies with a trailer that shows all the best parts, rendering everything in between underwhelming by comparison.

Want to have a good time? Don’t watch the trailer, gather a bunch of friends, and sneak some forties into this movie. The trailer spoiled all the best parts for me, but I can certainly imagine how outrageous this movie would’ve been had I walked into it blindly. The conundrum here is that most people probably would have no interest in watching this movie without seeing the trailer. And if you have seen the trailer, well, I guess the movie is still worth watching, but I’d either try to sneak in through the fire exit or wait for it to come out on DVD.

Whew. With that said and done, Girl is a Japanese revenge fantasy that revolves around Ami Hyuga (Asami), whose brother is brutally murdered by bullies for lunch money. In a Kill Bill-like fashion, Hyuga starts hunting down his killers one by one. But when she confronts the ninja/Yakuza family responsible for her brother’s death, she’s outnumbered and captured. Rather than killing her, the family chooses to torture her, first slicing off her fingers and then her left arm. She manages to escape and seeks refuge with a friend who engineers a machine-gun arm for her to aid her in her revenge quest.

You’ll get everything you want out of a movie with this premise. It’s a 90-minute splatterfest with enough blood spraying to fill a swimming pool. The bad guys are so bad they’re not just senseless killers; they’re also necrophiliacs. It’s always fun to see how far the Japanese will go with the bizarre and the grotesque, and clearly in this movie there’s no limit line.

Director Noboru Iguchi made a wise decision by not taking the movie seriously. The over-the-top visuals and cheesy lines like “What would Mom and Dad say, before they killed themselves over murder allegations?” make it clear this movie is a big joke aimed to amuse in the cheapest ways possible. Takashi Miike made the mistake of trying to make a serious movie out of Ichi the Killer, which was about a sexually repressed man who fights with blades that come out of his shoes. That movie is as repugnant as Gi rl but is lacking the laughs, which makes it feel more like you’re watching a snuff film. Awkward.

Aka Kataude mashin gâru.

Reviewed at the 2008 Hole in the Head Film Festival.

Reviewer: Brian Chen

So anybody viewing this product already knows what they should expect. I mean, look at the DVD art… you’re not going to get oscar-winning cinema here, but what you will get is some of the more violent, gory, gruesome and action-filled movies i have ever seen. We all know about Ichi the Killer (Unrated Edition) and Riki-Oh - The Story of Ricky and i think this could be lumped into the same category. Totally over the top action and violence to see how far the creators can go. So down to MACHINE GIRL specifically. Acting and overall plot were pretty god considering… A young girl’s brother and his friend are killed by a gang of high-school aged yakuza and she seeks revenge, only to get her arm chopped off in the process. She finds herself at the parent’s house of the other kid who was killed and they nurse her back to health. They also make her a gigantic machine gun arm just in time to have ninjas show up to make use of it. The father is killed and “Machine Girl” and the mother of the other dead boy basically go out to seek revenge on the rest of the family. EXTREME violence ensues throughout - holes blown in people’s head, chests; decapitations; drill-bras; limbs chopped off; bodies cut into pieces, Kill Bill, Volume 1 style blood-sprays - the works. I was surprised to see that the special effects were for the most part top notch in the old-school manner. Most were all practical effects and all worked - even if they were a lil cheesy, i think it worked for the movie considering it was all that way. This will be a great movie to add to a gore-hound’s collection, or those who are fond of grindhouse-revival cinema. I’m proud to add it to my collection (of over 850 titles) and can’t wait to show it off to my friends who could stomach it… lol

The Machine Girl is available right now on Amazon

Fight scenes featuring beautiful Asian women with machine guns are sexy, scary, and fetishistic. If you’re in San Francisco in June, you’re in luck—you can get a double dose of ass-busting Asian women at the Another Hole in the Head horror movie fest, where two crazy, ruthless Oriental beauties battle evil in a cumulative three hours of gory revenge and fantastical sci-fi crime-fighting. The Gene Generation and The Machine Girl are two completely different kinds of movies—one is American sci-fi, one is a low-budget Japanese gory B-movie. But when stripped of their decor, there are a lot of common themes and subtexts.

The Gene Generation is a cultish movie about a dark, crime-ridden future. Think Blade Runner meets Ghost in the Shell. Singaporean movie director Pearry Reginald Teo draws a scenic dystopia, and Bai Ling stars as Michelle, a hot, soulless assassin who just wants to get out of the creepy hell she and her brother live in. But her brother, Jackie, keeps gambling away her hard-earned cash. One day, Jackie buys a weird mutant glove with tentacles (”A Chinese finger trap!”) which turns out to be a unidirectional biological transcoder that reconfigures a person’s DNA and could potentially end disease—or wipe out mankind. As usual, Michelle has to slaughter many people to get her brother out of trouble. Her performance and hotness are mesmerizing, even if you’re just watching her walk around her blue-and-green-hued apartment in her black leather strappy shorts and holster. Michelle was probably born a badass; we don’t know anything about her past, and she lives in a totally fictional future world.

The director of The Machine Girl, Noboru Iguchi, is best known for making provocative porn featuring lesbians and skatology. Ami is played by Minase Yachiyo, a swim suit model, and her partner-in-crime, Asami, is played by a well-known porn star with dozens of titles. This movie was made only for a US Release; porn stars in violent B movies don’t always make it big back home, but busty Asian women fighting against ninjas and yakuza—well, there is apparently a good market for that kind of stuff here.

Ami, the teenager in The Machine Girl, starts off as an ordinary girl in present-day Japan. She plays basketball at school and, like Michelle, has dedicated her life to caring for her little brother. Even when the local yakuza boss’s son throws him off a balcony to his deathbed, she keeps her cool, and tries to solicit apologies from those responsible. But when a family she visits goes psycho on her and turns her left arm into tempura, Ami transforms into a blood-and-guts-loving, vengeance-seeking mean killing machine.

Here’s a quick point-to-point comparison of some of the similarities and contrasts between the two films.

Plot:
Gene: Badass older sister kills to pay the bills while her roguish little brother gambles it away and gets in trouble.
Machine: Badass older sister plots to kill everyone who was involved in the bullying death of her little brother.

Parents:
Gene: Murdered after owing too much gambling debt.
Machine: Committed suicide after being falsely accused of murder.

Weapons:
Gene: Handguns and sex appeal.
Machine: Pure vengeance and a machine gun arm made by her auto mechanic friends.

Outfit:
Gene: Sexy black leather everything.
Machine: Like a good Japanese schoolgirl, Ami is always in her uniform.

Nudity:
Gene: Yes, you get to see Bai Ling naked. And having sex.
Machine: Ironically, the pornstar-filled movie has no nudity. Just lots of spilled guts.

Cast and Crew:
Gene: Fight choreographer Jeff Imada (Fight Club, The Crow), producer Kim Winther (Mr. and Mrs. Smith)
Machine: Porn director Noboru Iguchi (Hot Girl on Toilet, Underage Girl on Toilet), actress Asami (Wild Thing x Asami, Let’s Virtual Fuck With Asami)

I was fortunate enough to watch both these movies in the past week. What did I think? Honestly, Machine made me want to throw up in my mouth, but I enjoyed the humor and the sheer insaneness of the innocent-looking school girl. And as much as I am not ordinarily a sci-fi movie nut (remember, I’m the io9-er who has never seen Star Wars), I enjoyed Gene Generation. But probably less for the sci-fi and more for the hot Asian girl. What can I say? I prefer dating guys, but I think women are easier on the eyes.

The US premiere of is on June 5, followed by the West Coast premiere of The Machine Girl on June 6, both at the Another Hole in the Head film fest. Images by Another Hole in the Head

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By JEANNETTE CATSOULIS
Published: May 23, 2008

The Japanese obsession with cavorting ninjas, cunning hardware and comely young avengers in abbreviated plaid skirts reaches some kind of climax with “The Machine Girl,” a riotous blend of arterial spray and grindhouse glee.

Playing Ami, a basketball-loving high schooler whose beloved brother is killed by bullies, the soft-core starlet Minase Yashiro blazes through the movie like a vengeful hall monitor. Seeking justice, Ami confronts the parents of the lead bully, who respond by pan-frying her forearm — an extremity that will later be replaced by a machine-gun prosthesis. Like Rose McGowan’s character in “Planet Terror,” Ami is retrofitted for revenge.

Written and directed by Noboru Iguchi, “The Machine Girl” plays to the balcony with schlocky effects (the camera lens frequently suffers collateral splatter) and visible roots (a terrifically cheesy 1970s title sequence). As Ami tackles a bewildering array of adversaries — including a bunch of bereaved parents known as the Super Mourner Gang — faces are flayed and eyeballs impaled in an escalating rush of inventive mortifications.

Offering her fans only a teasing glimpse of pristine white panties, Ms. Yashiro remains aloof from the screenplay’s sleazier moments. Unfortunately the same cannot be said for the movie’s scariest villain, a yakuza mom only Tarantino could love. What she does with her bra is worth the price of admission alone.

THE MACHINE GIRL

Opens on Friday in Manhattan.

Written (in Japanese, with English subtitles) and directed by Noboru Iguchi; director of photography, Yasutaka Nagano; edited by Kenji Tanabe; music by Koh Nakagawa; production designer, Yasuo Kurosu; visual effects supervisor, Tsuyoshi Kazuno; produced by Yoko Hayama, Yoshinori Chiba and Satoshi Nakamura; released by Media Blasters Releasing, Fever Dreams and Tokyo Shock. At the Two Boots Pioneer Theater, 155 East Third Street, at Avenue A, East Village. Running time: 1 hour 36 minutes. This film is not rated.

WITH: Minase Yashiro (Ami Hyuga), Asami (Miki Sugihara), Ryosuke Kawamura (Yu Hyuga), Nobuhiro Nishihara (Sho Kimura), Kentaro Shimazu (Mr. Kimura) and Honoka (Mrs. Kimura).