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Beautifully grotesque insanity with a fleshed out narrative being the only thing that holds it back from its predecessor. That’s not necessarily a bad thing though... I don't think I could ever not like a homoerotic cyber insanity jam called BODY HAMMER, especially with…
More of a companion piece that a proper sequel, though it does have a guys arm turning into a gun and blowing up his child and getting so mad about it that he turns into a tank.
"Daddy had a Dream" You could argue it's more or less the first one, but with more money maybe/probably or then again just think of it as the Evil Dead 2 of the series which is pretty handy as they both have the No. 2 at the end (bows head in shame!) "Rust and…
The commentary on the absorption of the facets of human life into an industrial existence which technological influence deprives humanity from a personal identity is now transformed into a more action-oriented, darkly colored allegory of how our past determines our will to…
"Rust and die!" It has some interesting aspects, but it's far from the first Tetsuo. You can tell editors definitely had a good time editing this, and that some freak designed that body hammer. Everything having a blue hue and cyberpunk look makes for an…
Tsukamoto has an extreme talent for being incomprehensible and yet the story and ideas are still transmitted to the viewer somehow. You're left feeling baffled/accosted/visually overwhelmed but the synapsis connects anyway. At the end of a sequence that I've been assaulted…
Tsukamoto's follow-up to his own j-cyber manifesto isn't so much a sequel as a remix, enlarging the beats of maxed-out technology fetishism and pre-apocalyptic tension but pretty much abandoning the original narrative thread. The salaryman of the first film is again the…
Revenge at the speed of light. Replacing the B&W of the original with deep blues and searing oranges lends new visual possibilities to Tsukamoto's already unhinged style- the final 20 minutes are a scorcher for the history books. Unfortunately, the middle drags a bit, but…
film reaching as far into the disaster zone as possible, where everyone gets hurt. nobody is left unscathed, no more heroes (s/o to suda), a deliberate tone of madness streaked across celluloid in frantic, manic strokes. tsukamoto plays frames for laughs right before…