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Capsules, Free Online Weird Movies, Shorts

CAPSULE: THE TALE OF THE FLOATING WORLD (2001)

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DIRECTED BY: Alain Escalle

FEATURING: Yûko Nakamura, Ryôya Kobayashi, Kakuya Ohashi

PLOT: A surrealistic montage set in motion by a tidal wave and incorporating a samurai battle.

Still from The Tale of the Floating World (2001)

WHY IT WON’T MAKE THE LIST: Simply put, length. Floating World is a tidal wave of creativity, but at a little less 1/3 the running time it would need to be at least three times as notable or weird to take a slot on the List away from a full-fledged feature film.

COMMENTS: Although organized around the concept of a remembrances of Japan’s past as dreamed by a survivor of Hirsohima (we gathered this from the director’s notes, and presume it’s explained by the narrator’s brief untranslated comments that start the film), Floating World works on a vaguer level as a surreal tribute to European Japanophilia. Nipponese iconography—cranes, geishas, samurai—suffuses the film like sunlight through a rice paper print. A scene of a robed woman stumbling through a snowbound forest looks like a visual quotation from Kwaidan. Plenty of strangeness accompanies us in our journey though this dream of the Rising Sun: calligraphic characters turn into ants and crawls off the page during an eclipse, ashen nude zombies dance, and a samurai duel with flashing blades in a watercolor blur. The circa 2001 CGI is cheap and clunky looking: the aqua tsunami looks painted on the film, for example, and a sinking Buddha head is obviously superimposed on a separate shot of brackish water. Given the context you could hardly say the unreality of the imagery counts as a negative, however; the shots work exquisitely as a series of stills. Floating World works both as a demo reel for director Escalle’s visual effects skills and as an art installation of its own. Cécile Le Prado’s ornamental Oriental score contributes to the stony feeling of smoking opium while staring at a Japanese woodcutting hung on the wall.

The title refers to the Japanese concept of the “Floating World”—a hedonistic, secular world of fleeting pleasures and beauty for its own sake exemplified by geishas and kabuki theater—which flourished in the classical Edo period. “Ukiyo-e” or “pictures of the floating world” were a genre of woodcuttings depicting scenes of Edo-era Japan. The 18th century novelist Asai Ryō wrote a work entitled “Tales of the Floating World” about a Buddhist monk who finds enlightenment through debauchery. Dating back to Impressionism, French artists have had such a longstanding infatuation with Ukiyo-e that it’s given birth to a subgenre of painting known as “Japonisme.”

CONTENT WARNING: The Tale of the Floating World contains (tastefully presented) sex and nudity, and parts would not be considered “safe for work.”

WHAT THE CRITICS SAY:

No reviews located.

(This movie was nominated for review by Irene, who cited the film’s synopsis: “An evocative and surrealistic view of Japan and the atomic bomb. An imaginary story, both cruel and childlike.” Suggest a weird movie of your own here.)

List Candidates

RECOMMENDED AS WEIRD: RUBBER’S LOVER (1996)

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DIRECTED BY:

FEATURING: Norimizu Ameya, Yôta Kawase, Mika Kunihiro, Sosuke Saito

PLOT: In the midst of bizarre and intricate top secret drug research, four mad scientists run

low on test subjects and use one another as guinea pigs. Their equipment malfunctions as the team succumbs to the drug’s psychotic effects. The entire experiment spirals horribly out of control, turning the final test subject into a modern-day Frankenstein’s monster—with a unique twist.

WHY IT SHOULD MAKE THE LIST: The bizarre story, unconventional filming, and shocking imagery in Rubber’s Lover make it a weird viewing experience, even by the standards of the Japanese cyberpunk genre.

COMMENTS: Kinetic editing and dark, shocking images define this unusual, experimental Japanese horror film. In a modern update to the Frankenstein plot, a team of rogue scientists conduct experimental drug, sensory, and mind control research on abducted human subjects in a secret government torture lab. The results are promising, but they can’t seem to get the dose right; the subjects keep dying. (Who might have predicted that?) Worse, they are running out of hard-to-obtain “patients” and time is running out to conclude experimentation. Their horrifying lab is full of eerie black iron devices and electronics, all maddeningly grotesque in appearance.

Threatened with impending shut-down and loss of grants if they don’t achieve viable results soon, the crazy quartet decides to give their last living human guinea pig a mega dose of their weird drug cocktail. His brain explodes, dosing an assistant by spraying blood on him. Now the assistant is instantly addicted, semi-psychotic, and useless for being anything but, you guessed it, the next test subject.

The researchers fight over which of their two drugs they should test on him, as both have developed competing formulas. One decides to test his drug on his partner, turning the hapless associate into a mad sex offender who then marathon-rapes a female executive sent to shut down their lab. To prevent her leaving and making a bad report (why would she want to do that?) Continue reading RECOMMENDED AS WEIRD: RUBBER’S LOVER (1996) →

List Candidates

LIST CANDIDATE: YAKUZA WEAPON (2011)

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DIRECTED BY: ,

FEATURING: Tak Sakaguchi, Shingo Tsurumi, Mei Kurokawa, Jun Murakami

PLOT: One-man army Shozo is called back from mercenary work in South America after the Still from Yazkua Weapon (2011)

death of his father, a powerful yakuza boss. He sets out to reclaim control of his gang, eventually joining an experimental government program that implants robotic weapons into his body.

WHY IT MIGHT MAKE THE LIST: Combining elements of splatterpunk, gangster intrigue, and science-fiction, Yakuza Weapon is too insane to not at least consider for the List. In some ways, it’s only weird in that peculiarly “Japanese” way of other action films of its ilk, but at times it moves into its own truly bizarre territory that seems without precedent.

COMMENTS: With the belief that if he’s not afraid of death nothing can kill him, Shozo is a seemingly immortal killer who gave up his yakuza family in favor of mercenary work in South America (or something). He returns after hearing of his father’s death and seeks to wrest control of his territory back from Kurawaki, a sleazy business executive planning to unite all the gangs under his control. After various crazy battles and the kidnapping of his fiancee Nayoko (a strong fighter herself), Shozo is finally bested by a rocket launcher and helicopter minigun. He is re-built as a weaponized cyborg by secret government agents, who use him to take down Kurawaki and his army of drugged-out henchmen. Eventually he has to fight his long-lost blood brother, Testu, who has some unique robotic firearms of his own.

Replete with gravity-defying fight scenes, intense bouts of yelling, a host of kooky characters, and plenty of unreal splatterpunk action, Yakuza Weapon is entertaining through and through, in large part because of its weirdness. Everyone is operating at high volume and high energy levels, especially co-director/co-writer/stuntperson/star Tak Sakaguchi, who literally broke his back for this movie during a particularly impressive one-take group fight scene. The low-budget and rushed shooting time are sometimes apparent (though the CGI for the yakuza weapon-bits looks pretty good), but the filmmakers’ stunt experience leads to an array of fantastic and often hilarious action scenes.

The story is stock stuff for this genre, with revenge and gang rivalries and robotic appendages and ridiculous drama not surprising anyone. But, the script is definitely strong, producing interesting characters and tight pacing that elevates Yakuza Weapon above many other competitively crazy splatterpunk-type films. There are some truly oddball characters—notably Kurawaki’s giggly brother and Shozo’s adorably clueless sidekicks—and a couple of completely unexpected moments. Nayoko throws a boat, Shozo collapses an entire building because he doesn’t want to walk up stairs, and Tetsu battles using the weaponized (and naked) corpse of his dead sister while he’s hyped up on some neon blue wonder-drug. That last part is definitely the weirdest thing in the entire movie.

Whether or not it turns out to be Certifiably weird, this film is a helluva lot of fun, and definitely memorable. The filmmakers’ obvious enthusiasm for the project shines through, making the audience smile widely as grown men shout nonsense and digitally-added blood splatters against the walls. It’s a beautiful thing.

WHAT THE CRITICS SAY:

“…this is a film that constantly ignores Kurawaki’s injunction to ‘face reality’ (a principle that Kurawaki himself hardly upholds), instead preferring devil-may-care irrationality – and if its ambition far outpaces its budget, that only makes it resemble its hero, who is funny precisely for being dumb, hyperviolent, and far too big for his boots.”–Anton Bitel, Eye For Film (contemporaneous)

Capsules

CAPSULE: CATERPILLAR (2010)

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AKA Kyatapirâ

DIRECTED BY: Kôji Wakamatsu

FEATURING: Shinobu Terajima, Keigo Kasuya

PLOT: Lieutenant Kurokawa loses all four limbs and is rendered deaf, dumb and disfigured during the Japanese invasion of China on the eve of World War II; when the Emperor declares him a “Living War God,” his wife Shigeko is ordered to care for the living torso, including fulfilling all her usual wifely duties.

Still from Caterpillar (2010)

WHY IT WON’T MAKE THE LIST: Despite its perverse premise and its superficial similarities to the Certified Weird Johnny Got His Gun, Caterpillar isn’t that weird; instead, it’s an intense domestic drama about duty.

COMMENTS: Lieutenant Kurokawa is a monster. Scarred by the war, unable to hear or to speak (with great difficulty, he can sometimes painfully squeeze out a single syllable), he’s essentially a torso, an esophagus and a fully-functional phallus. Flashbacks reveal that the caterpillar, now revered as a god, was actually a moral monster long before his physique was carved up to match. The duty to care for the god-monster falls upon long-suffering partner Shigeko, who must feed him, wipe him, and cater to his suddenly insatiable sexual needs.  For the wife, the mangled Lieutenant combines the worst aspects of an infant and a spouse—completely dependent, demanding, and incoherent, but with no compensatory cuteness or tenderness. She lives alone with him in a one-room house of horrors. Yet, perversely, this disaster delivers an unexpected upside for the poor farm wife. She gains social standing in the village as the caretaker for a god. She is sure to wheel him out in his cart daily to shore up the morale of the rapidly depopulating village as all available able-bodied men are shipped to the front to help failing war effort (even as the daily radio broadcasts detail Japan’s magnificent martial victories). On the home front, Shigeko also eventually learns to enjoy the petty power she has to deny the god a little bit of rice or sex, becoming herself a mini-dictator of an empire consisting of one subject on a straw mat. Caterpillar starts slowly but draws you in to the compellingly claustrophobic dynamic between these two unlikely mates yoked together by fate and obligation. Shinobu Terajima’s performance as the wife is brave and sympathetic (she won many awards, including the Silver Bear at the Berlin International Film Festival), but Keigo Kasuya’s turn as the caterpillar is even more crucial to the film’s success. His ability to convey mute fury and desperation with just his eyes, stutters and howls humanizes his role as a symbol of national and domestic fascism. The film never becomes truly exploitative, but there is plenty of caterpillar/human sex, in multiple positions, to titillate the curious. The cinematography is mostly cast in a drab browns that are effective at evoking a backwater rural lifestyle but aren’t particularly pleasing to look at. The budget is obviously tiny: for events outside of the hut and the village, the movie mainly relies on archival footage, along with one war crime recreation with distracting CG flames superimposed over the scene. But the inherent horrific drama and Wakamatsu’s insistent indictment of unthinking duty overcome the cheapness, and Caterillar metamorphoses into an anti-authority parable worth paying attention to.

Like many Japanese directors, Kôji Wakamatsu began his career in the trenches making “pink” films before graduating to more serious features. His filmography contains some titles he’d probably prefer we forgot: movies with names like The Embryo Hunts in Secret, Diary Story of a Japanese Rapist, and Violated Angels. In the 1970s Wakamatsu began slipping more politics into his exploitation films, culminating in  United Red Army (2008), an entirely serious drama about the collapse of the Japanese radical movement in the 1970s, and in this film. Caterpillar was adapted from a 1929 short story by Edogawa Rampo that was originally banned as perverse and unpatriotic.

WHAT THE CRITICS SAY:

“…a sexually charged two-hander with blunt allegorical implications… Audience interest will be limited to Wakamatsu devotees and the kind of cult-oriented audiences who automatically perk up at the chance to see simulated amputee sex.”–Vadim Rizov, Boxoffice Magazine (contemporaneous)

Capsules

CAPSULE: REDLINE (2009)

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This review first appeared in a slightly different form at Film Forager.

DIRECTED BY: Takeshi Koike

FEATURING: Takuya Kamura, Yû Aoi,

PLOT: Set in a distant future and moving between multiple planets, this is a fairly simple tale of a major road race taking place on a militaristic planet that doesn’t want it there.  Racers “Sweet” JP, the big-haired underdog, and Sonoshee, a single-minded gearhead, are the main focus of the story.

WHY IT WON’T MAKE THE LIST: Armed with an eclectic cast of alien characters and a host of over-the-top shenanigans, Redline might come off as “weird” to someone unfamiliar with anime, but I’d say the stranger humor and visuals fit in pretty squarely with other properties of the genre.  It’s an imaginative and enormously entertaining film, just not especially Weird.

COMMENTS:  The future laid out in Redline is certainly an intriguing one, if completely ludicrous.  Hot shot reckless racer JP makes it to the titular big interstellar race, held on a militaristic planet that hasn’t consented to be the host.  He cozies up to Sonoshee, a cute green-haired lady who is one of the most serious and intimidating drivers there, and together the two attempt to navigate a strange obstacle course against alien competitors (some with inexplicable magic powers) and large-scale weaponry.  Squeezing in ESPN-like profiles of various racers—from an experienced cyborg who’s fused himself with his machine to a pair of scantily clad pop stars hailing from a magical princess planet—there’s some room for satire, too.

This movie is essentially all spectacle and adrenaline, with very little comprehensible or meaningful plot holding it together, but it’s not like the filmmakers are operating under any pretense of depth.  They’ve created a gorgeously animated, pumped-up sci-fi thriller, and that’s all that’s needed!  The characters are slick, and the vehicle designs slicker, with plenty of exaggerated personalities and colorful attachments for an engaging race line-up.  Sure, there’s a silly romantic/secret-past subplot thrown in there, but it’s never taken very seriously.  Various secondary stories are introduced, such as the military planet’s worker resistance and JP’s involvement in race-fixing, but the race itself remains the focus and it’s easy to forget that anything else is going on (the script certainly seems to by the end).  The set-up can be confusing at times due to an influx of minor characters and limited explanation of the obviously complex political and environmental structures.

The strengths of Redline lie almost completely in its visuals and fast pacing.  The dark shading and bright color schemes, the over-the-top hair styles and imaginative alien creatures, the quick-cut-editing and crazy landscapes: it’s all fantastically sweet eye-candy, set to an ecstatic musical score.  It’s violent but fun, and there’s probably political commentary thrown in there somewhere.  The script is cheesy at points, but vaguely self-aware.  It’s just a very cool movie all around, rarely letting up for a moment in its quest to assault the senses with psychedelic imagery and revving engines.

WHAT THE CRITICS SAY:

“One of the most visually spectacular toons in recent years, pic is a thumping ride for fanboys, but the script’s underdeveloped central romance and the fizzling out of intriguing plot threads will impede wider acceptance… [Plays] like a twisted combo of “Death Race 2000,” “Speed Racer” and a ’50s hot-rod movie on steroids…”–Variety (contemporaneous)