Not only does ‘Hard Revenge Milly: Bloody Battle’ have one of the most brilliant titles ever, it’s also a stupidly good fun film as well. It comes out of the awesome woman revenge school that seems to be going great guns (pun intended) in Japan at the moment. It’s not the most original story, dystopic future, family killed by some bad guys (which may have happened in the first film, I have not seen) time to (unwillingly) get bits of your body replaced with weapons by a mad scientist and get some (bloody) revenge. Unsurprisingly, given that plot, the film clocks in at only just over an hour, more than enough time for all the fight scenes you need though. The film looks pretty good, given that it probably wasn’t funded through the roof with that title, there are some scenes outside which could easily have been from a movie with triple the CGI budget. The gore is classically executed, excessive artery squirting mayhem. All good fun. The bad guy spends a lot of time expounding the joys of being gay, which seems like a concerted effort to remind viewers that bad guys with awesome mechanical hands can be gay too, but really serves no plot purpose beyond that. The end sets up a third film as well, probably titled ‘Hard Revenge Milly : Artery squirters”.
Tokyo Gore Police is absolutely as ludicrous as its name suggests. I have previously criticised films for taking themselves too seriously when they are in fact rather silly. Tokyo Gore Police works for precisely this reason though. The violence is absolutely brilliant, there are more limbs removed in this movie than characters with lines, and it’s all done with such a straight face that it simply becomes sublime. We follow Ruka, a member of Tokyo’s now privatised police force fighting against a new threat, the engineers, criminals who have modified themselves so that when they are injured their wounds re-grow as weapons. It’s just that ridiculous. All the action is intercut with little vignettes and adverts which are overtly satirical, but exceptionally well done, I just can’t commend them enough. As the weapons the engineers grow become more insane Ruka becomes more morose, her dedication to the police becomes something more akin to a personal vendetta and the film begins to stray into slightly more sexualised shocks. It’s like Brookers black mirror, exploring ultimate outcomes of current cultural trends, and I am afraid this means we’re all going to have our hands cut off. Its hyper violent body shock schlock, but as far as I am concerned it is essential family viewing.