The Friday Night Horror Movie: One Cut of the Dead (2017)

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I don’t know how to talk about this movie without spoiling a major plot conceit. So, if you like to go into movies completely blank, I’d skip this review. I will say that I liked it, and if you do go into it without knowing anything, make it past the 30-minute mark before giving up.

And now, on to the review.

One Cut of the Dead is like a horror version of Noises Off! It begins like a micro-budget zombie movie. Or rather, it is a behind-the-scenes take on a group of people making a micro-budget zombie movie that is beset by actual zombies.

As the title of the film suggests, it is shot in a single take. They use a handheld camera with natural lighting. There are some clever moments and a few funny bits, but I spent the first half hour wondering why so many people rated this film so highly. I can enjoy a low-budget horror film, but this felt amateurish in parts.

The camera work was shaky, the acting not great, and numerous moments felt like the filmmakers didn’t know what they were doing. Like they hadn’t rehearsed well enough, or that something had gone wrong, but because they had this single-take conceit, they couldn’t do anything about it. I was mentally writing this review arguing why the single-take idea was a bad one.

But then, right around the half-hour mark, our hero defeats the zombies. There is a triumphant crane shot and actual credits roll. A title pops up telling us we are headed back in time a few months.

We meet the cast and crew of the film we just watched. The fearless director Takayuki Higurashi (Takayuki Hamatsu) is approached by some TV producers launching a new zombie channel to make a one-take zombie film. We get to know everybody a little bit and watch them in rehearsals, etc.

This section lasts about another thirty minutes. Then we watch them make the film we just saw. We get to see all the behind-the-scenes action on how they made this one-take horror film. But we also see why that film was not very good. All kinds of crazy stuff happens, causing everybody to rush around trying to fix it.

This stuff is excellent. It really ties that first act together and makes it worth watching. Those first thirty minutes are tough to get through. I expect more than a few people have bailed before that change is made. So, you do need to stick with it, but if you do you’ll be heavily rewarded.

Jinsei (2026)

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Jinsei was written, directed, scored, and animated by first-time filmmaker Ryuya Suzuki. That’s an impressive feat, and this is an impressive film. But also a very confusing one. I wasn’t quite sure what to make of it. I’m still not sure. I’ve sat here for quite a while trying to figure out what to say for this little blurb. It isn’t a bad film; in fact, it is quite interesting. I’m definitely glad I watched it, but I can’t say I have any interest in watching it again. So, yeah, anyway, come read my review.

The Boxer (1977)

The Boxer 1977 Blu

Radiance Films has become one of my favorite Boutique Blu-ray companies. They typically put out films that I’ve never heard of, but when I watch them, I discover that they are actually quite good.

Usually. Of late, I’ve found their movies to be a bit disappointing. The Boxer is a Japanese take on Rocky, but more dour and a whole lot less fun. It isn’t bad, and definitely not as bad as the reviews on Letterboxd would have you believe, but it isn’t good either. I don’t know if that makes you want to read my review of it, but if it does, you can find it over at Cinema Sentries.

The Friday Night Horror Movie: Exit 8 (2025)

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My daughter has become something of a gamer. She’s not hardcore about it, but she enjoys playing. She also enjoys watching others play games on YouTube and the like. There is one YouTuber that she likes who plays a lot of horror games. I figured she might have watched him play Exit 8 and thought she might like this movie. She had not watched him play the game, but thought she’d maybe seen someone else play similar games. But anyway, she said she’d watch the movie with me. A rare treat.

The film plays out very much like a game. In fact, it begins with a first-person point of view, something I hoped would not last. Thankfully, it didn’t. An unnamed man (known as Lost Man in the film and played by Kazunari Ninomiya) stands, listening to music on a crowded subway. He hears a baby crying and watches as another man berates the mother for not keeping the child quiet. Lost Man wants to say something to this man, but instead puts his earbuds back in and ignores the situation.

Later, his girlfriend will call him on the phone, announcing that she is pregnant and wondering what he wants to do about it. He doesn’t know. This situation on the subway makes him think that perhaps he should not try to care for another human being.

As he exits the subway, he finds he is lost inside the labyrinth of underground corridors. Soon he is alone, and the corridors have turned into a game. A sign tells him that he must look for anomalies. If he finds one, he must turn back, but if there are none, then he can keep moving forward. He must make it to Exit 8 to get out of this place. If he makes a mistake, he will start over at Exit 0.

There are basically two corridors that he passes through. The first has several posters, some doors, and vents to look over; the second has a series of lockers and a few other things. He carefully takes note of everything so that he can determine if there is an anomaly.

In the first corridor, a man walks past him. This man does not speak or look at him and is unresponsive to Lost Man’s attempts to talk to him. This man is called Walking Man (Yamato Kochi). Later, we will follow Walking Man as he tries to escape this subway labyrinth. There will also be a young boy (naturally called The Boy and played by Naru Asanuma).

I’ve not played the game, but my assumption is that the anomalies are difficult to spot. Otherwise, it seems like the game would be too easy. I can see players staring at every bit of the wall looking for some slight difference in something. I might be wrong in that assumption. Certainly it isn’t that way in the movie. Though Lost Man looks closely at the posters and doors, etc., almost every time the anomaly is something easy to spot.

Once Walking Man turns and follows him. Another time, one of the doors opens and reveals, well, I won’t reveal what it reveals, but it certainly isn’t a way out. On another occasion, the lights go out, and creepy things happen. These aren’t difficult things to spot, but the characters pretty regularly fail the test. I guess it wouldn’t be much of a movie if they got out in ten minutes. I will say the atmosphere the film projects is pretty thrilling. And sometimes it is effectively creepy. This is a film best seen in a theater, or at least at home at night with all the lights off.

Aesthetics of a Bullet (1973)

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I’ve talked about Radiance Films many times in these pages, mostly because I review a lot of their films. They put out international arthouse films that I’ve never heard of, but I always appreciate. Well, mostly. I had a hard time with this one. It is a punk rock film about a pretty horrible person. I appreciated some of the filmmaking but struggled to find anything else to enjoy about it. You can read my full review here.

Female Prisoner Scorpion: The Complete Collection

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I’ve always been a fan of exploitation films. As a young teen, I loved the babes, the sex, the violence, the gore, and the exploitativeness of it all. I still love that stuff now, I guess, but I really love the unabashedness of those films now. Exploitation films are exactly what they say they are going to be. They don’t try to wrap that stuff up in artistic pretensions like so many other films do. 

Sometimes they are actually good movies too, as is the case with at least two of the Female Prisoner Scorpion flicks.  I reviewed the Arrow Video box set of all four films back in 2016 and now you can read them.

The Story of the Last Chrysanthemum (1939)

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Once again we’ve run into a film that I had forgotten I watched. I pretty much request to review anything that is offered from the Criterion Collection because they are always good, or if not good, at least interesting. Seeing this title, I instantly remembered I had seen it, but I couldn’t tell you anything about it. Reading my review makes me want to watch it again.  

The story is about a Japanese kid who wants to be an actor but isn’t very good at it.  He has to make many a sacrifice to hone his craft, as does his lover. The film dives into what it takes to make great art and if the sacrifice is worth it. You can read all my thoughts here.

The Rapacious Jailbreaker (1974) Blu-ray Review

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This Japanese drama is loosely based on a real guy who kept breaking out of jail only to be sent back shortly after (then he’d break out again.) In the film this becomes his entire identity. He cannot live in the hell that is prison, yet when he escapes he doesn’t know what to do with himself so he always gets caught and finds himself back in prison.

It is more of a character study than any type of thriller, but it is a good one. You can read my full review here.

Sci-Fi In July: Evangelion: 1.0 You Are (Not) Alone (2009)

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My daughter has gotten into Manga and Anime in a big way, so I try to watch some of that with her. We’d both heard of the Evangelion series, but neither of us really knew anything about it. It is a confusing franchise as there are numerous series and movies, with reboots and rebuilds thrown into the mix.

We more or less randomly decided to start with this film, which is essentially a retelling of the original Neon Genesis Evangelion TV series. That series isn’t available on our streaming services, but this film is on Crunchyroll, and since it basically retells the original story, we figured it was as good a place as any to start with.

Having now seen the film, I’m not so sure that was true. I found much of the story quite confusing, and it very much feels like I’m missing a large part of the lore.

The film drops you right into the middle of it, without explanation. Best I can figure is that sometime in the past, these giant Kaiju creatures known as Angels came to Earth, nearly destroying it. Humans have now built Mech-Warrior-type robots, called Evangelions, to fight back.

For reasons that are never really explained, the head leader dude taps his estranged 14-year-old son to pilot one of the Evangelion robot thingies. Though he is very young and has had zero training, they pop him into it and ask him to fight an incoming Angel.

He fumbles at first, nearly destroying the machine and killing himself, but miraculously, he recovers and destroys the angel. After some unspecified amount of time, another Angel arrives, and basically the same thing happens. Shinji is placed back into the Evangelion; he has no idea what he’s doing, but after taking some losses, he somehow finds a way to destroy the angel. Rinse, repeat.

In between these battles, he talks with his guardian Misato and becomes friends with Rei, another Evangelion pilot who was previously injured. Shinji only pilots his machine reluctantly, being essentially forced to do it, but Rei willingly takes it on with a sense of duty and honor.

It ends with a cliffhanger and some weirdness.

I seriously don’t know what to make of this film. I understood the basic plotlines, but so much of it was left unexplained. It felt very much like I was supposed to have watched the original series, even though this seems like it was designed as a straight retelling of it with updated animation.

There is a lot of mythology built into it that I simply don’t understand. I kind of hated it, but I also want to watch more. There is something about it that is truly interesting and I’d like to dig into that, but I’m not sure whether to watch the next movie or go back to the original series.

V-Cinema Essentials: Bullets & Betrayals

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I grew up in the late 1980s/early 1990s and I have many, many fond memories of going to the video rental store looking for something interesting to watch. I went enough that I had generally seen all the big new releases so I often went digging through the old stuff. I loved finding weird, low-budget genre films full of sex, and violence, and goofy action.

In Japan these straight-to-video releases were called V-Cinema and Arrow Video has just put out a cool little boxed set full of them. You can read my full review at Cinema Sentries.