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Kataude Mashin Gâru
FEATURING: Minase Yashiro, Kentaro Shimazu
PLOT: Yakuza kill a schoolgirl’s brother and lop off her arm, but a friendly mechanic affixes a Gatling gun to her stump and she goes on a bloodbath of revenge.
COMMENTS: The term “ ,” as used on this site, refers to a subgenre of Japanese horror movies, beginning with Meatball Machine in 2005, that were equally influenced by the mechanical body horror of Tetsuo: The Iron Man and the over-the-top comic violence of The Gore Gore Girls-era . Few movies could be more exemplary of this mix than ‘s junkyard bloodletter about a schoolgirl with a machine-gun arm hunting down the brutal ninja-yakuza gang that killed her brother.
The plot is vengeance-standard boilerplate; the movie really only cares about its gore set pieces (to an extent, it also cares about its action set pieces, but mainly because they set up big gory finishes). Iguchi is nothing if not creative in coming up with new ways to mutilate the human body: Machine Girl gives you finger sushi, a tempura arm, people halved from head to crotch, a pair of guys who swap half their faces, and for a finale, a sadistic yakuza matron who warns Machine Girl, “I’m wearing a special bra…”
Even in service of the absurd, the practical effects here are good to excellent; the blood spurts may be watery and improbably voluminous, but the prosthetic heads and other body parts can be surprisingly realistic. The computer aided effects, on the other hand, are deployed too casually: the use of green screen is sometimes obvious, some effects look pixelated, and the bullet flashes are overdone and silly-looking. There are also frequent blood spatters on the camera lens, which is a fourth-wall-breaking pet peeve of mine.
It’s noteworthy that most of the main characters—both heroes and the final boss—are females who drive the action and triumph over the males. (All those schoolgirl upskirt fetish shots take away from the feminist vibe a bit, though). The three main actresses all do well, considering the low bar. In her film debut, gravure idol Minase Yashiro shows decent athleticism that makes her a plausible action lead. Honoka, an actress with mostly adult credits, has wicked fun playing a bad girl who keeps her bra on for a change. Most impressive of all is Asami, previously known mostly for her pink films, who, when not kicking ninja ass, forgets that she’s in a trashy B-movie and gives her emotional all grieving for her slain son (who must be about eight years younger than her). The extra effort is appreciated. The one knock against the two heroines is that they enjoy torturing a captured thug way too much, surrendering their moral authority. (This may seem like a stupid complaint in a movie about a girl with a machine gun arm, but it’s still a narrative slip-up, since Machine Girl had previously been depicted as a righteous avenger).
The makeup and effects here were done by, who appears in the promotional material on almost equal billing with Iguchi. He would go on to surpass Iguchi as a director, and in fact has proven the most talented of all the directors associated with Japan’s splatterpunks.
This review is based on Tokyo Shock’s two-disc “The Machine Girl: Jacked! The Definitive Decade One Deluxe Edition.” The title makes it sound like an impressive release, until you realize it’s a DVD-on-demand[efn_note]A release of the same name comes on one Blu-ray, but the one available consumer review of that disc suggests that the Blu, while more expensive, does not include the special features found on disc 2 of the DVD set. The same reviewer claims that the visual quality of the Blu is noticeably better than previous Tokyo Shock releases, an improvement that does not come through on the DVD-R. Buyer beware.[/efn_note], and the sometimes fuzzy presentation is nothing like a remastered print. This edition also fails to include the spin-off short “Shyness Machine Girl,” which had been included in previous releases; its absence makes it hard to call this a truly “definitive” release. What the set does deliver are two behind-the-scenes featurettes, one running ten minutes and the other twenty (with some of the footage overlapping between the two); a twelve minute segment devoted to the effects; action scene rehearsals; an older group interview (in which Nishimura discusses his then yet-to-be-released Tokyo Gore Police); and several often amusing sets of footage from screenings and Q&As with cast and crew (including one where Iguchi and Nishimura introduce the film together wearing sumo loincloths). Altogether, the supplements run almost as long as the movie itself. The release also sports an English dubbed track. Altogether, it’s an heavily hyped package that promises more than it delivers—much like the movie itself.
WHAT THE CRITICS SAY: