ISOLA: MULTIPLE PERSONALITY GIRL (2000)

Country: Japan

Genre: Horror

Running Time: 93'

Producer: Masato Hara

Director: Toshiyuki Mizutani

Cast: Yoshino Kimura, Yû Kurosawa, Ken Ishiguro

GHOUL RATING: ** (2)

Story: This film's background is a real event, the earthquake which devastated the city of Kobe in January of 1995. Yukari Kamo (Yoshino Kimura) finds herself in Kobe, and offers her help in a shelter for the recently homeless victims of the quake. Her ability to read other people's minds is anything but welcome but, as it turns out, might come handy when she comes across Chihiro Moritani (Yu Kurosawa), who has a multiple personality syndrome. Out of the 13 characters inhabiting her brain one seems to be a murderous entity which calls itself Isola, apparently after a vengeful character from the collection of classic ghost stories UGETSU MONOGATARI. Several deaths later it seems that people who cross Isola's past are bound to die in some very unusual ways. Further research into her past discovers a certain scientific experiment which may have started it all. It will also provide another possible explanation for the killing-personality's name, as it has to do with an ISOLAtion chamber in a nearby institute…

Review: ISOLA starts nicely enough. It opens with a real horror, the Kobe earthquake (several shots only: don't expect large-scale sensational set-pieces of destruction, as this is a rather low budgeted film, and it shows). Then it introduces its troubled outcast characters, and appears to be a character driven horror. Sadly, this impression does not last, and the film quickly progresses into a muddled, conventional and shallow exercise in déjà vu. In the context of ISOLA's rather pulpish denouement, the Kobe documentary-footage prologue seems a bit arbitrary, and questionable as well. Using a real-life tragedy, including actual shots of destruction and desperate people in the streets, for the sake of… what? Elevating a conventional and undercooked horror flick?

            A slow build-up at first seems OK, as the film appears to be about some people. However, their plights are soon forgotten and pushed aside while the storyline becomes more muddled, convoluted, uninteresting and… just plain boring. There are very few kills: one is a grotesque, (un)intentionally funny suicide of a girl who drowns herself by submerging her face in the toilet (!). The other is a somewhat more interesting ghost-induced suicide in which a professor who slapped Isola ends up jamming a bunch of chopsticks into his own neck, with a predictably strong (and so typically Japanese) geyser of blood spurting on unsuspecting customers of a diner (one of whom is Takashi Miike in a blink-and-miss cameo)! Other than those two scenes, the horror part is woefully underwhelming.

            For a film that boasts the subtitle of a "multiple personality girl", it does not use the tiniest shred of this rarely found concept. We barely see ONE of those personalities, far from all THIRTEEN! The trials and tribulations of having all those people in your head… that sounds like an interesting idea for a good movie, but this is not the one. Nothing is really made with that: all we see is a cute girl (Akira Kurosawa's grand-daughter, Yu Kurosawa) bullied by her schoolmates and teachers, and small glimpses of Isola behind that. Pity for the wasted potential of some intriguing drama.

            There's another fine concept wasted here: the sensory-deprivation chamber for inducing hallucinations in whoever is submerged in a solution which renders the body weightless and deprived of any sensations from the outside world, thus making space for those from inside. A great idea lifted from some actual scientific experiments, interestingly used in Ken Russell's extravagant ALTERED STATES. Sadly, it was not all that inspiring for Mr. Mizutani, the director of this flick. The isolation chamber's organic design is an improvement over the ugly, angular one from Russell's film, but that's as far as the inspiration has gone. The psychological and mystical trappings of this device are avoided altogether, while even the cinematic ones are barely touched upon.

            The plodding direction brings everything to a conventional, derivative conclusion which will only leave you shrugging your shoulders – provided you're still awake as the end credits roll. Therefore, ISOLA is recommended only for die-hard fans of J-horror: it does show some potential, and there are interesting ideas and bits to be found here, but very little is done with them.

            ISOLA is now available as a part of THE KADOKAWA HORROR COLLECTION, a four-disc set with variable contents. Other titles in it have already been reviewed separately at this blog: SHIKOKU is the best among them  since it is the creepiest and most intriguing (although my colleague's review will lead you to believe otherwise); INUGAMI is another example of a great concept wasted for an artsy, dull movie, partly saved by its eye-candy use of stunning Japanese woods and mountains; in this company ISOLA is slightly better only when compared to the surprisingly shallow SHADOW OF A WRAITH (surprising - because WRAITH was directed by Toshiharu Ikeda, the man behind EVIL DEAD TRAP).

STICENIK (The Protected One, 1973)

 

Directed by:

Djordje Kadijevic

Production:

Radio Television Belgrade, 1973

Running time:

46 min. (16 mm, b/w)

Screenplay:

Djordje Kadijevic,

based on a story by

Philip David

Director of photography:

Branko Ivatovic

Music and sound:

Milan Trickovic

Make up:

Lepa Prvanovic

Starring:

Milan Mihailovic

Dusan Janicijevic

Branko Plesa

Bogdan Jakus

Ljubomir Cipranic

Toma Kuruzovic

Svetlana Dragojevic

PLOT: A young man is running through the desolate area, surrounded by sand and an occasional blackened, barren tree, apparently fleeing from someone. He is followed by a man with a cold expression, wearing a black mantle. The young man reaches the large building of an asylum and requires the doctor to receive him and take care of him. He introduces himself as Michael, but refuses to say anything more about his persecutor. He denies hints that he may be sick, and believes that he does not need treatment, but only care and protection. The doctor is initially skeptical, but there is a shadow of a doubt because he himself saw, or thought he saw, someone who had followed Michael to the very asylum. 

The second time, the follower comes into the asylum's yard and heads towards the building. The doorman stops him, claiming that it is not time for visits, but the Man just grabs him by the neck and throws him down to the ground. He leaves only when the screams attract attention of the rest of the staff and patients.

One morning, a doctor walks through the foggy wasteland, when he encounters the pursuer, seeking his protege back. He claims to be Michael's guardian. Michael has escaped him but, allegedly, he needs the kind of care that the doctors are unable to provide. The nameless "guardian" threatens a gloomy outcome if his protege is not delivered back to him...

REVIEW: The Protected One is another example of Djordje Kadijevic's skills in mature adaptation of a literary work so that, in his interpretation, it becomes even more complex, with the potential developed to the utmost. The literary text becomes only a point of departure for an intelligent and inspired author's superstructure, fully colored with Kadijevic's trademark style, but basically true to the original. This personal touch can be seen, among other things, in the very title: none of Kadijevic's horror adaptations (The She-Butterfly, The Maidenly Music and A Holy Place) is called by the title of stories they were inspired by ("After 90 Years", "Alpurarian Music", "Viy"). This freedom is fully deserved, because of the originality and seriousness evident in the director's approach.

The story "Michael and His Cousin" by Philip David originates from a collection of short stories A Well in the Dark Woods (1964). The central theme, in all of them, concerns man's inability to transcend earthly limitations and penetrate into the beyond. This is perhaps most explicitly present in the story "A Blind Bird," about a man obsessed with becoming a bird and flying away from his empty life. At the same time, stories of this collection speak of fascination with "the dark side" and inability to resist the metaphysical darkness, especially apparent in the collection's titular short story, in which a father fails to rescue his son from the mysteriously magnetic attraction of a well in the dark forest which no one else can see. "Michael and His Cousin" also falls into this thematic circle since it deals with inability of escaping one's destiny. David's story is merely nine pages long in print, and hardly comparable to a sketch. Kadijevic is inspired by this sketch to apply his paintbrush and make a detailed artwork worthy of Francisco de Goya.  

Narrated from the perspective of an unnamed doctor, the story begins in a dark, stormy night when a mysterious fugitive enters the doors of asylum. In Kadijevic's film, it happens in broad daylight. True, this is a gray, overcast fall day filled with howling winds. In this author's films the day is as often the scene of horror as is the night, and he manages to create some of his most memorably spooky effects of his films in their daytime scenes. Even if these proceedings are, to some extent, due to the limitations of a cheap TV production and difficulties related to night shooting, the fact remains that Kadijevic has no problem circumventing this obstacle and finding terror in the cold daylight. This is actually closer to the point of David's prose, in which the light of day does not bring salvation.

Certainly the key moment in the story and the film version is the relationship between the young man and his pursuer. The true nature of the follower has intentionally been left foggy in both cases. In the story's title he is referred to as a "cousin", and later references describe ''a slender, elongated inhuman and swift figure'', ''unknown creature", ''a stranger'', ''persecutor'', "mysterious, tyrannical, parasitic creature'', ''unknown master", ''ghostly man'', ''phantom'' and so on.  

The origin of this creature remains unclear, but subtle allusions suggest that he is most likely the Devil, who came for his due, for the soul of the one who unwisely, and perhaps unknowingly, sold it into predition. In any case, it is clear that the relationship with the "relative" does not come from blood ties, but that their connection is of a more intangible, more sophisticated nature. It is a relationship of a master and a (runaway) slave, or guardian and ward, "the protected one".

In fact, the story seems to repeat the situation of the classical German horror film Der Student von Prag (1913), screenplay written by H. H. Evers, but in a way that elliptically obscures the first phases of the plot, representing only its culmination, with no introduction and development. In the film by Stellan Rye a young student sells his reflection in the mirror (his soul) to a refined man of aristocratic manners, dressed in black. The latter is presented as Dr. Scapinelli, but it is clear that this is a devil incarnate. (See: Dejan Ognjanovic, Faustian screen: The Devil in Cinema) In the end, realizing what he has done, the boy runs away, but in vain, and his own reflection kills him. "The Buyer" appears to rejoice over the dead body of the student, ripping the contract, and symbolically taking the soul to eternal damnation… The Protected One ends in a very similar manner…

(This is an excerpt from the book on Serbian horror cinema In the Hills, the Horrors by Dejan Ognjanovic)

A SERBIAN FILM and other Serbian horrors in RUE MORGUE!

 "Subversive Serbia" was the name of a program at this year's Fantasia festival in Montreal which showcased new and much talked-about titles like The Life and Death of a Porn Gang and the notorious A Serbian Film, together with somewhat older horrors, all coming from a country not known for its genre fare. It was a success, both in terms of audience response (and awards) and in terms of the recognition by the jury and the press. It took the audiences by surprise – and by the throat!

            A wave of shocking, transgressive and fascinatingly moving horrors, which some have hyperbolically compared to A Clockwork Orange, originated in what other reporters labeled "an undiscovered country." Well, the time is ripe to reveal new and old Serbian shockers to a larger audience.

            That's where the renowned Canadian horror magazine RUE MORGUE enters to fill the gap and provide the belated, yet timely (!) introduction to Serbian horror films. The latest issue #106, which hit the North American stands on November 1st, boasts a large section on Serbian horrors, namely:

           

1) THE ART OF ATROCITY

This is my brief introduction to the recent real-life horrors which fuelled the new wave of Serbian films, coupled with a very thorough interview with Srdjan Spasojevic, the director of A Serbian Film. This is probably the longest and most thorough interview he's given so far – so brace yourself to hear what he had to say in answer to all these questions:

- One American critic called A Serbian Film – "one of the angriest films I've ever seen". What is the root of that rage?

- How did you get funding for such an extreme film?

- How difficult was it to cast such a movie, particularly the underage actor who plays Milos’ son?

- What’s your attitude towards horror? Although A Serbian Film is not a “pure” example of that genre, that’s the label it gets most often because of its extreme imagery, gore and shocks.

- How did you meet your co-screenwriter, Alexandar Radivojevic, and how did the story develop?

- Why title it A Serbian Film?

- Was the movie inspired by any particular real-life incidents, or is it simply the fallout of growing up during wartime?

- In A Serbian Film there are obvious influences from American, European and perhaps Japanese films. It has been compared to works by filmmakers as different as, say, Pier Paolo Pasolini, Gaspar Noé, Pascal Laugier, Eli Roth, Tobe Hooper and Takashi Miike. What do you think about those, and who are your real influences?

- The movie is riddled with scenes of atrocity; what was the most difficult sequence to shoot?

- Why did you feel that the notorious “newborn porn” scene was necessary?

- Have audiences thus far understood your intentions with the scene?

- Tell us about some of the other problems you’ve run into. Is it true that you had to leave Germany because of the film?

- So, you’ll allow your film to be cut for some releases? What do you think about such demands?

- Do you consider the film dangerous?

- Are you working on another film now, and will it share a similar aesthetic to A Serbian Film? Take a similar approach?

The intro + the interview occupy stunning 4,5 blood-drenched pages of the mag!

2) PAIN AND PERVERSION IN THE BALKANS

 

            This is my review of The Life and Death of a Porn Gang laced with snippets of interview with its director, Mladen Djordjevic. It takes ½ page.

3)  TRADITION OF TERROR

            A brief overview of all horror films ever made in Serbia, from the local-cult SHE-BUTTERFLY to the most recent ZONE OF THE DEAD. This intro is graced by the exclusive photos of these films, largely unknown in the West.

            That's what occupies this unique 7-page Serbian horror special.  

As for other horror contents, take a look HERE.

MEMORABLE SERBS IN FOREIGN HORRORS

The new issue of the RUE MORGUE magazine, which hits the stands on November 1^st, has a spotlight on Serbian horror films, which includes: an introduction to the real-life horrors which gave birth to the cinematic ones, a very thorough interview with Srdjan Spasojevic (the director of A SERBIAN FILM), a brief presentation of another recent Serbian shocker (THE LIFE AND DEATH OF A PORNO GANG) laced with the talk with its director, Mladen Djordjevic, and an overview of all Serbian horror films made up to date (more than a dozen gems waiting to be discovered by the Western audiences).

            In order to announce this Serbian horror-special, I'll point out some of the more memorable and lasting impressions made by the Serbs upon the international horror scene.

- During the silent era, Iván Petrovich (real name: Svetislav) was a big star: he had major roles in such horror films as The Magician (1926) and Alraune (1928). 

Also, in the Austrian-Hungarian film The Death of Dracula (1921) female lead was played by a Serbian actress Lene Myl. Sadly, all prints of this first screen adaptation of Dracula (made before Murnau's Nosferatu!) seem to be lost.

- In the curious Incubus (1966), a horror film entirely in Esperanto, the titular character is played by Milos Milos (!), a Serbian actor who soon after that film shot and killed the estranged wife of Mickey Rooney, Barbara Ann Thompson Rooney, and then killed himself.

- Srdjan Zelenovic 

 

played Sacha (aka The Male Monster) in Paul Morrissey's Flesh for Frankenstein (1973), as a representative of the Serbian uber-male who was supposed to father the master-race. 

 

If only he weren't impotent...

- Olivera Katarina 

 

played Vanessa Benedict, a waitress with a stunning buxom in Michael Armstrong's Mark of the Devil (1970). Her other genre credits include Devicanska Svirka (A Maiden's Music, 1973) and Carlston za Ognjenku (aka Tears for Sale, 2008).

- Rade Serbedzija 

 

had a memorable role in Serbian disaster-horror film Variola Vera (1982). Later he had a successful international career, with roles in Eyes Wide Shut, Snatch, Harry Potter and the Deathly Hallows, etc. 

 

His genre credits include: Mighty Joe Young (1998), Stigmata (1999), The Fog (2005), The Eye (2008) and Quarantine (2008).

- Milla Jovovich, 

 

the star of the Resident Evil series, is born of a Serbian father and Ukrainian mother. Her other horror credits include A Perfect Getaway (2009) and The Fourth Kind (2009).

- Bojana Novakovic 

 

is another hot actress from Serbia whose horror outings so far include Drag Me to Hell (2009) and Devil (2010).

***

PS: - The French actress Simone Simon (pictured at the very top of this article) played a character named Irena Dubrovna, a Serbian cat woman in the original Cat People (1941). The legend of the cat people, as presented in the film, is a complete invention and has no correlation with Serbian folklore, just as her surname isn't even remotely Serbian.

T. T. Syndrome (2002)

(T. T. Sindrom)

Serbia

105 min

Director: Dejan Zecevic
Screenplay: Dejan Zecevic
Cast: Nebojsa Glogovac, Sonja Damjanović, Nikola Djuricko, Branko Vidakovic, Dusica Zegarac
Producers: Milan Peca Nikolic, Pedja Milojevic

A group of young people try to score some weed. They go to the Turkish baths within the ancient Belgrade fort to meet a pusher, but end up trapped there and mercilessly killed one by one by a mysterious slasher clad in black leather. It all seems to have some connection with a strange and very rare T. T. Syndrome, but will they solve the mystery before they're all gone down the drain?

Zecevic creates a rather effective collage of slasher stereotypes mixed with an Argento-like whodunit (close-up fetishism of gloves, door handles and various sharp weaponry, plus the typical giallo motifs of a strong mother figure, childhood trauma and a haunting nursery rhyme). Relentless claustrophobia and tension in an inspired setting at their most effective resemble the highlights of early John Carpenter's and Tobe Hooper's films, while the vivid flashes of gore invoke the spirit of vintage Lucio Fulci. 

T. T. Syndrome is the first Serbian horror film which does not feel obliged to justify itself with elements of more respectable genres or motifs. It does not imply a political allegory, although placing (and killing off) its youthful cast entirely in a public toilet might have been a statement about dashed hopes of post-Milosevic Serbia, after all! But above everything else, the movie uses motifs and style of slasher, plain and simple, to scare its audience. It is a horror fan's brainchild made first and foremost for other horror fans.

 

In spite of its shoestring budget, T. T. Syndrome can stand next to most American low-budget efforts without feeling inferior. Zecevic makes a most inventive use of his limited setting, the decrepit Turkish bath and public toilet. Through his directorial skill he creates a palpable menace within such a banal setting which, by the end which takes place in the fort's catacombs, attains almost mythical proportions. The film's technical side is quite competent, and the same can be said for the acting ensemble, including a few veterans from Variola Vera. T. T. Syndrome became a cult film in Serbia and even managed to get into several international genre festivals: Brussels, Sitges, Barcelona, Puchon, Luxembourg, Neuchatel, Ravenna, Trieste.

HELLEVATOR: THE BOTTLED FOOLS (2004)

Country: Japan

Genre: Sci-Fi / Horror

Running Time: 97 min.

Producer: Hideo Nishimura

Director: Hiroki Yamaguchi

Cast: Luchino Fujisaki, Yoshiichi Kawada, Ryôsuke Koshiba, Kae Minami…

GHOUL RATING:

**(*)

2+

Story: 17-year old schoolgirl Luchino has a smoking problem. In an oppressive, futuristic society where smoking is prohibited, her attempt to violate this rule accidentally sets off a fire and explosion in one of the corridors. Running away, she ends up in an elevator, which is the main means of transport within the crammed megalopolis (which we never see, but so we’re told). Pretty soon she gets trapped there with a group of unusual characters, including two convicted rapists being escorted to their execution. Of course, they are not in chains for long, and then… blood splatters the sickly-greenish walls and floor…

Review: The title HELLEVATOR makes this sound like a cheesy Charles Band production (say, about a killer elevator in a ‘modern’ high-rise; or, a gateway to hell posing as an elevator, or some such); however, the original title BOTTLED FOOLS doesn’t make it sound much better. Under any other name, this rose would still smell low-budget but, luckily, this is not the type of flick the title(s) would make you expect. HELLEVATOR belongs to a subgenre that fat encyclopedias usually define as ‘a bunch of unsympathetic caricatures (or was it ‘characters’?) confined to a single set, yelling at each other for at least 90 minutes’. Being trapped in an elevator is bad enough; but, to be trapped with a gang of hysterically screaming Japanese provides a totally new definition of Hell - so I guess the American title is accurate after all. Add a couple of rapists and a mad scientist to liven up the proceedings, and you get bottled fools too.

The futuristic design and claustrophobic setting led some to compare this effort to a budgetary-challenged Canadian SF-horror CUBE (1998), and to be honest – some similarities are there: one main set, poor acting, lots of screaming, quite a lot achieved from the limited resources, etc. The main difference with CUBE and other members of the ‘confined claustrophobic quarrelling’ subgenre is that there is no immediate threat in the setting, or from outside. Horror comes mostly from inside the elevator. Freud said something like ‘A man is a wolf to another man’: or, to put it simply, it’s people giving hell to one another in this film. And not just the usual suspects (or convicts) either! Torment also comes from inside, since our main character, Luchino, is plagued by the memory of killing her abusive father (talk about Freud!), and – to add insult to injury – her telepathic abilities which enable her to peek into the unsavory minds of her fellow passengers. 

HELLEVATOR was directed by Hiroki Yamaguchi, revealed in the additional features on the disc as a likable young man in his mid-twenties. Orson Wells he ain’t, but let’s say he could become a solid Japanese Don Coscarelli. Shot on digital video, with a group of unknowns, using (literally) discarded waste material for the sets, HELLEVATOR does not (and cannot) hide its very low budget origins. Yamaguchi uses all kinds of editing tricks to overcome the limitations of his setting and make the rhythm faster. Decent lighting and framing make the grainy images palatable, although the pea-soup-vomit color of the inside of elevator may become too oppressive after a while. In spite of no budget, Yamaguchi even managed to squeeze in an amazingly accomplished bullet-time sequence, and the ‘Making of’ documentary reveals the unbelievably simple way it was done!

All this is very well, but how much fun is there to be had on this HELLEVATOR ride? Let’s see. Gore is flowing freely: no complex latex effects here, but red spells red. The obligatory rape scene is there, too. What, you thought the Japanese would make a SF-horror without one? Hey, that would be like a good old American slasher from the ’80-ies without a shower scene! Cool gadgets made of scrap? Check! Uber-cool characters? There’s this guy with dark shades and a walkman, sitting in a corner, unmoved through most of the carnage; how’s that for ‘cool’? Heroine, on the other hand, is pretty, but bland (let’s say: pretty bland). All the rest are the kind you cannot wait to see dispatched ASAP. Any subtext for your intellect to chew on? Well, you might read some into it, what with the oppressive society of the future as imagined by a teenage boy who hasn’t read much else than manga, but that’s as far as it gets. The ‘twist’ ending might give you some food for thoughts, provided you freeze-frame it to see what’s there for 15 frames (non-Japanese viewers are advised to watch the interviews on the disc for further explanation. Note: that blink-and-miss image was NOT the Eiffel tower!).

The end result is a watchable, occasionally entertaining, but mostly underdeveloped and uninvolving film. It is a great showcase for its director: we should pray that he gets more money, and more inspiration, for his further films, for he certainly showed a considerable technical talent here. In the future, let’s hope for more substance to his stories, and more budget and style to his direction. Till then, you may want to rent this, but I’m not sure how much it deserves to be owned and re-watched.

FEMALE PRISONER SCORPION: BEAST STABLE (1973)

Country: Japan

Genre: Crime

Format: DVD

Running Time: 88'

Distributor: Tokyo Shock/Media Blasters

Director: Shunya Ito

Cast:Meiko Kaji, Yayoi Watanabe, Takashi Fujiki, Koji Fujiyama

GHOUL RATING:

*** (3)

Story: Some 'prisoner'! Matsu the Scorpion (Meiko Kaji) spends most of her time running away from the cops and criminals (usually equally sleazy and interchangeable!), and pissing off the bossy prisoners if/when temporarily imprisoned. This time, in the third part of the series, she is offered a hiding place with a prostitute who's pregnant with her mentally challenged brother's child. Matsu is captured by the colorful criminals and put in a cage with ravens. As usual, it doesn't take long before she escapes, leaving blood-sprayed walls and white sheets behind. Forced to hide in the sewers, Matsu is helped by the prostitute who brings her food, but the police follow her trail and prepare one last trap, filling the sewers with gas and lighting a match…

Review: The film opens with one of the all time greatest credits scenes: caught and handcuffed by a cop in the subway, Matsu severs his arm with a knife and runs away with it still attached to her wrist. She's running through half of the city with a bloody arm dangling around her while the great "Urami Bushi" theme song is playing over the credits. Yeah, it doesn't make much sense (talk about drawing attention to yourself!), but the FEMALE PRISONER series is not about making sense, it's about looking beautiful and cool while being outrageous. The first three parts of the series, all directed by Shunya Ito, firmly reside on the border between fanciful exploitation and art cinema, providing a full spectrum of cinematic pleasure for the viewer inclined towards the weird, unusual, irrational.

BEAST STABLE is slightly more restrained in terms of excessively surreal imagery, but that's only in comparison to the previous part (FEMALE CONVICT SCORPION: JAILHOUSE 41), which is matchless and best in the series. On its own, it is a non-stop sequence of wonderful imagery with vivid colors, imaginative framing, quick editing, fine camping, and unpredictable bursts of ultra-violence. The characters, situations and actions are over the top, but that's exactly what makes this series a darling among the fans of real good exploitation (Tarantino included). Let's check some elements of this concoction. Severed arm. Prostitution. Tits. Retards. Rape. Boiling water in the face. Golf club genital torture. Ravens. Gynecological punishment. Scalpel revenge. Trial by fire. Psychological torture. Razor strangling. And much more. No one can call Shunya Ito an underachiever! He delivers!

And talking about delivery, Meiko Kaji delivers, too. She's at the top of her game, mostly silent, but with expressive features and developed body language which speak volumes. She's certainly one of the coolest characters of action-crime genre ever, anywhere, and is a joy to watch in every second she's onscreen. The violence and extreme content in the film are beautifully stylized so as to be enjoyed as fantasy (after all, this series is based on a manga): you won't feel dirty after watching the film, but will beg for more.

And more comes in the fourth part, FEMALE PRISONER SCORPION: GRUDGE SONG, but, unfortunately, it's not directed by Ito, and it shows. Meiko Kaji is still there, so it's certainly worth watching, but the direction is not so stylish (except for the ending, which is so overripe it's just ridiculous). The screenplay provides some really out-of-place moments, like the sub-plot about Matsu's love affair (!), and the flick is not even dynamic or eventful enough to fully satisfy those spoiled by the first three parts, although it's decent enough for fans of this kind of entertainment.

DVD [ NTSC, Region 1 ] : FEMALE PRISONER SCORPION: BEAST STABLE is presented in an anamorphic widescreen with the film's original 2.35:1 aspect ratio preserved. Made from a solid print, it shows off vivid colors and fine contrasts. The sound is only Japanese (who would want an English dub anyway?), in Dolby Digital mono. Translation and subtitles are excellent and make the enjoyment of the film a smooth ride. It could use some more extras (like, commentaries or interviews), since it that department all the disc offers are trailers, scene access and image gallery. The same kind of extras are there on the GRUDGE SONG disc, too, but it must be said that the image of that film is not presented so perfectly (dark scenes are too bright, with weak contrasts). If you had to choose only one of these two, there's absolutely no doubt which to take (Part three! Part three! BEAST STABLE!), but lovers of the series and completists will (understandably) want both of these, and won't regret the decision.

Reviewed by DEJAN OGNJANOVIĆ