pikhal020

This briskly paced film features a misogynist racist black ventriloquist doll that f**ks, sucks and murders a series of big b(.)(.)bed California style p0rn0 sluts (there is even an end credit for a breast augmentation doctor!). And not necessarily in that order. To enjoy this movie, you must reach down deep to find and embrace your own inner misogynist racist black ventriloquist doll. If you don't think you have one, you are deluding yourself. Yes, you ladies have your own doll too, it's just a little deeper down in your subconscious. If you positively refuse to acknowledge your inner darkness, you can at least watch in awe at the depths that the modern male psyche can sink to. Nothing about this movie suggests that uptight moral and upstanding citizens should be renting it, but I have all the confidence in the world that your zest for self-righteous indignation will overcome the obviousness that this movie was not made for you. I look forward to reading your hilariously overwrought 1 star reviews. But for freaks like me, BLACK DEVIL DOLL could not have arrived too soon.

What a letdown. When I first heard about this film, the premise of a 'nightmare detective' battling a serial killer within the victims' dream state seemed immensely appealing. And it being directed by the man responsible for the brilliant Tetsuo sealed the deal!! How would he spin the concept differently than Wes Craven's Elm Street series? But then, the misgivings started to creep in. Its being released by Dimension EXTREME stateside. Ugh. Could a more trend pandering and generic name for a releasing company even be possible? And unfortunately, the film itself is just as trend pandering. Stylistically, Tsukamoto blends every flashy aesthetic technique that is currently trendy: desaturated colors mixed in with scenes filmed through saturated color filters that come and go at random, uninspired Paul Greengrass type shaky camera-work/zooming being just a few examples. Aesthetics aside, the narrative is depressingly conventional and straightforward for the likes of a Tsukamoto. An interesting connection between the state of dreaming and death arises but is treated superficially and seems thrown in just so the killer can make creepy and twisted little monologues. But the film's main weakness is in the casting. Matsuda's emo, brooding, hair in his face 'nightmare detective' aimlessly mopes around through the whole film in perpetual angst. Why so glum, chum? Angst does not equal profound. And newcomer hitomi, while very easy on the eyes, is just completely unconvincing as the star detective who elicits Matsuda's supernatural talents to track down the killer. I also tried to concoct some sort of profound metacommentary for Tsukamoto's self casting but failed. I give this 2 stars because, despite all I wrote above, there are a few genuinely startling and well shot moments that demonstrate Tsukamoto's reputation as one of the greats of J-horror. I hear that this was a "for hire" job for him and unfortunately, it shows.

An early lurid exploitation gem from the future director of Cannibal Holocaust. The parallel to Polanski's Knife in the Water is undeniable but Deodato (predictably) ups the sex quotient and also injects political tension via the interplay of Steiner's ruthless capitalist playboy persona and the socialist leanings of the mysterious beachcomber couple. In fact, the whole plot almost plays like a symbolic allegory of class struggle except for the recurrent need to inject nudity and sexual situations for ensuring box office. Out of the cast, Steiner really stands out and seems to revel in the out and out sleaziness of his character. His counterpart, Cliver, on the other hand seems mostly somnambulistic throughout. The female leads, Dionisio and Turner aren't shy and jump into their roles, including some lesbian scenes, with enthusiasm. The film's low budget and locations work together to create a unique charm. The soundtrack and wardrobes also contribute to the film's retro allure.