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Ju-on: Beginning of the End (呪怨: 終わりの始まり Ju-on: Owari no Hajimari) is an upcoming 2014 Japanese horror film and the seventh installment of the Ju-on franchise. The film was written and directed by Masayuki Ochiai (Infection; Shutter; Haunted School: The Curse of the Word Spirit) and produced by Takashige Ichinose. It stars Nozomi Sasaki, Sho Aoyagi, Reina Trendl, Miho Kanazawa, Haori Takahashi, Yuina Kuroshima, Misaki Saish, Kai Kobayashi, Yasuhito Hida.

The sequel is set to premiere on June 28, 2014 in Japan.

[youtube=http://www.youtube.com/watch?v=M3mY9DF90wU]

Plot teaser: 

Unlike the previous two instalments, White Ghost and Black Ghost, this film focuses on the deceased Saeki family and its curse. An elementary school teacher named Yui (Sasaki) visits the home of a boy named Toshio Saeki (Kai Kobayashi) who’s been absent from school for a long period of time. When she arrives, she re-lives the horrifying events that occurred in the Saeki household 10 years earlier…

Wikipedia | IMDb | Official site

Dead Banging – original title Metaruka and also known as Metalca – is a 2013 Japanese comedy horror film written and directed by Eiji Uchida (Greatful Dead). It stars Ryusuke Komakine, Shôko Nakahara, Shûgo Oshinari, Kyoko Watanabe (real-life all-girl rock band, Gacharic Spin).

Plot teaser:

Nosebleed, a formerly unpopular rock band instantly gains a cult following after the lead vocalist, Kana, recruits a zombie, Tetsuo, as their death metal vocalist, even though he is the same undead monster that killed her former band members. Meanwhile, government agents frantically search for their runaway zombie experiment…

Reviews:

“There is some bloodshed here, but not too much. This is all about the comedy. And the music. Yes, I’ll admit it. One or two of the songs had me tapping my feet and smiling. The girls pretending to be rock stars may be a bit rubbish with the instruments (seriously, could they have not at least got someone who was ace at Guitar Hero?) but they make up for it with enthusiasm and energy.” Kevin Matthews, Flickfeast

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Plot keywords: all-girl rock band | bitten by a zombie | comedy | death metal | gig | head banging | heavy metal | living dead | Metallica | moshing | Nosebleed | rock music | stage diving | System of a Down | undead | zombie

Kappa (河童, “river-child”), alternatively called Kawatarō (川太郎, “river-boy”), Komahiki (“horse puller”), or Kawako (川子, “river-child”), are a yōkai (a class of supernatural monster) found in Japanese folklore, and also a cryptid.

Their name comes from a mixture of the word “kawa” (river) and “wappo”, an inflection of “waraba” (child).  A hair-covered variation of a kappa is called a Hyōsube (ひょうすべ). There are more than eighty other names associated with the kappa in different regions which include Kawappa, Gawappa, Kōgo, Mizushi, Mizuchi, Enkō, Kawaso, Suitengu, and Dangame. Along with the oni and the tengu, they are one of the most well-known yōkai in Japan.

Kappa are similar to Finnish Näkki, Scandinavian/Germanic Näck/Neck, Slavian Vodník and Scottish Kelpie in that all have been used to scare children of dangers lurking in waters.

It has been suggested that the kappa legends are based on the Japanese giant salamander or “hanzaki”, an aggressive salamander which grabs its prey with its powerful jaws.

Kappa are typically depicted as roughly humanoid in form, and about the size of a child. Their scaly, reptilian skin ranges in colour from green to yellow or blue. Kappa supposedly inhabit the ponds and rivers of Japan and have various features to aid them in this environment, such as webbed hands and feet. They are sometimes said to smell like fish and, as you might imagine, are accomplished swimmers.

The expression kappa-no-kawa-nagare (“a kappa drowning in a river”) conveys the idea that even experts make mistakes. Although their appearance varies from region to region, the most consistent features are a turtle-like shell, a face resembling a monkey, a beak for a mouth, and a plate (sara), which is a flat hairless region on top of their head that is always wet, and which is regarded as the source of their power. This cavity must be full whenever a kappa is away from the water; if it ever dries, the kappa will lose its power, and may even die, according to some legends.

Another notable feature in some stories, is that the kappa’s arms are said to be connected to each other through the torso and able to slide from one side to the other. While they are primarily water creatures, they do on occasion venture onto land. When they do, the plate can be covered with a metal cap for protection. In fact, in some incarnations, kappa will spend spring and summer in the water, and the rest of the year in the mountains as a Yama-no-Kami (山の神, “mountain deity”). Kappa are believed to speak the Japanese language and be curious about Mankind and their ways.

Kappa are usually seen as mischievous troublemakers or trickster figures. Their pranks range from the relatively innocent, such as loudly breaking wind or looking up women’s kimonos, to the malevolent, such as drowning people and animals, kidnapping children, and raping women. Victims of the latter crime who gave birth to offspring were said to have buried them alive due to their repulsive appearance.

As water monsters, kappa have been frequently blamed for drownings, and are often said to try to lure people to the water and pull them in with their great skill at wrestling.They are sometimes said to take their victims for the purpose of drinking their blood, eating their livers or gaining power by taking their shirikodama (尻子玉), a mythical ball said to contain their soul which is located inside the anus (don’t shoot the messenger!).

Even today, signs warning about kappa appear by bodies of water in some Japanese towns and villages where there have been historical reports of their sightings. Kappa are also said to victimise animals, especially horses and cows; the motif of the kappa trying to drown horses is found all over Japan. In these stories, if a kappa is caught in the act, it can be made to apologise, sometimes in writing. This usually takes place in the stable where the kappa attempted to attack the horse, which is considered the place where the kappa is most vulnerable.

It was believed that if confronted with a kappa there were a few means of escape: Kappa, for one reason or another, obsess over being polite, so if a person were to gesture a deep bow to a kappa it would more than likely return it. In doing so, the water kept in the lilypad-like bowl on their head would spill out and the kappa would be rendered unable to leave the bowed position until the bowl was refilled with water from the river in which it lived. If a human were to refill it, it was believed the kappa would serve them for all eternity.

A similar weakness of the kappa in some tales are their arms, which can be easily pulled from their body. If their arm is detached, they will perform favours or share knowledge in exchange for its return. Once the kappa is in possession of its arm it can then be reattached. Another method of defeat involves the kappa and their known love of shogi or sumo wrestling. They will sometimes challenge those they encounter to wrestle or other various tests of skill. This tendency is easily used against them just as with the bow, by encouraging them to spill the water from their sara.

They will also accept challenges put to them, such as in the tale of the farmer’s daughter who was promised to a kappa in marriage by her father in return for the creature irrigating his land. She challenged it to submerge several gourds in water and when it failed in its task, it retreated and she was saved from the promised marriage.Kappa have also been driven away using their aversion to variously, iron, sesame, or ginger. It is possible to distract a kappa by offering it their favourite food (more-so even than child flesh) cucumbers – this has even led to  a kind of cucumber-filled sushi roll named for the kappa, the kappamaki. By carving your name and birthdate on a cucumber, they will steer well clear of you.

In May, 2014, the British ‘newspaper’, The Daily Mail, reported that the remains of a kappa, shot in 1818, were to be put on display in Japan.

Read the ludicrous story here

Daz Lawrence, Horrorpedia

Zombie TV is a 2013 Japanese action/horror/comedy film co-written and co-directed by Maelie Makuno, Yoshihiro Nishimura (Tokyo Gore Police; Vampire Girl vs. Frankenstein Girl; Helldriver) and Naoya Tashiro (splatter shorts: Naked Sister; Hell of the College Girls; Cannibal Maid and Killer Nurse).

It stars Maki Mizui, Takashi Nishina, Tomoya Maeno, Miyuki Torii, Jiji Bû, Hidetoshi Ezawa, Luchino Fujisaki, Yasu Genki.

Press release:

A Monty Python-esque collection of shorts, animation, sketch comedy, instructional videos and more, Zombie TV showcases the natural evolution of zombies in the 21st century, no longer a frightening menace, but rather an annoying neighbour you realise you simply have to put up with.

Zombie TV answers such natural questions as: in a world full of the undead, wouldn’t some of the surviving humans want to join the majority and become zombies themselves? Would becoming a zombie solve the emotional and relationship problems we all have as living, breathing human beings?

Do zombies have their own idols? Would zombies worship a zombie god? Who would win in a fight: a cannibal, or a zombie? How did zombies evolve from walkers into runners? And the most burning question of all: how do zombies have sex?

Buy Helldriver on Blu-ray from Amazon.co.uk | Amazon.com

IMDb | Facebook

Horny House of Horror (ファッション·ヘル（ス) Fasshon heru(su)) is a 2010 Japanese horror parody film directed and written by Jun Tsugita (Mutant Girls Squad). Director Yoshihiro Nishimura (Helldriver; Tokyo Gore Police; Zombie TV) assisted with the gory set pieces.

Tsugita created the film as a fan of western exploitation films and had a desire to make a parody of the film Motel Hell. In Japan, the film is called Fashion Hell with an extra letter S. By adding the extra H the title becomes “Fashion health” which is a Japanese term for a kind of brothel.

Plot teaser:

In Japan, Nakazu (Yuya Ishikawa) is about to get married to a woman who insists on keeping up with his daily events through a cellphone. His baseball fan friends Toshida (Wani Kansai) and Uno (Toushi Yanagi) feel that Nakazu needs one last thrill before tying the knot as they stumble upon the Shogun Massage Parlour after a night of playing baseball. Toshida and Uno insist on entering the brothel with Nakazu who has never paid for sex before.

The three are presented with the sight of three female buttocks that are displayed through holes in a wall to give them a tease of what is on offer. Each of the three men separate into rooms with their selected ladies of the night, Nagisa (Saori Hara), Nonoko (Asami) and Kaori (Mint Suzuki). The trio of men are unaware of the brothel’s mission to sexually torture customers…

Reviews:

“Featuring far more sexually graphic content than many of its predecessors, Horny House of Horrors is a surprisingly effective comedy. The characters are naturally two-dimensional but warm enough, while the violent set pieces are gross and funny, executed with panache by none other than Yoshihiro Nishimura himself.” Brutal as Hell

“Vagina dentata is the yarn’s main means of attack, but samurai swords and phallic food games provide plenty of ketchup. Male thesps chew the scenery with comic shamelessness, while wild-eyed Asami is sassy and ferocious; Saori Hara gives her thesping more effort than the pic deserves, emerging with dignity (if not nipples) intact. Script provides a loopy excuse to get to Nishimura’s setpieces, so Tsugita’s helming feels rushed.”

“The concept is stupid but, because it’s mostly limited to one set, controllable, meaning technical aspects such as cinematography and makeup are quite good (although action choreography is not) … If it had pushed the sex or the gore quotients a little more it might have worked better. For this sort of thing, the film should have had more “ewwww” moments to balance the silliness.” Digital Retribution

“The movie suffers from a cheap budget and lack of any real script. If a film is to sport the comedic moniker, it might as well be at least somewhat funny, right? It ended up more on the campy, lame end that without the dick cutting moments would be entirely pointless … Its pretty basic Asian horror with props that are too cheap to really feel like you’ve accomplished something by watching this.” HorrorNews.net

Wikipedia | IMDb

Ichi the Killer (殺し屋１ Koroshiya Ichi) is a 2001 Japanese film directed by Takashi Miike (Audition) , written by Sakichi Sato, and based on Hideo Yamamoto‘s manga series of the same name. It stars Nao Omori, Tadanobu Asano and Alien Sun.

Plot Teaser

When a Yakuza boss named Anjo disappears with 300 million yen, his chief henchman, a sadomasochistic man named Kakihara, and the rest of his mob goons go looking for him. After capturing and torturing a rival Yakuza member looking for answers, they soon realize they have the wrong man and begin looking for the man named Jijii who tipped them off in the first place. Soon enough Kakihara and his men encounter Ichi, a psychotic, sexually-repressed young man with amazing martial arts abilities and blades that come out of his shoes. One by one Ichi takes out members of the Yakuza and all the while Kakihara intensifies his pursuit of Ichi and Ichi’s controller Jijii. What will happen as the final showdown happens between the tortured and ultra-violent Ichi and the pain-craving Kakihara?

As a publicity gimmick, vomit bags were handed out at the Toronto International Film Festival (TIFF) to those attending the midnight screening of this film. Similar bags were handed out during the Stockholm International Film Festival. Reportedly, watching the movie caused one person to throw up and another to faint.

In January 2009, The Norwegian Media Authority learned of this incident. Based on the incident and on the assessment that itsi nfliction of violence “is potentially harmful to children and adults” the film was banned in Norway. Any person caught screening or selling the film in Norway can face arrest with possible fines or imprisonment. The film has been banned in Malaysia since the movie’s distribution date. It later caused controversy in Germany and the film was banned for distribution there too. Private possession of the film remains legal. The film remains banned in all three countries as of 2009.

In the UK, 3 minutes and 45 seconds have been removed, the BBFC explaining:

“The Board’s main concern is with content which is likely to promote harmful activity. The Board’s Guidelines constrain, in particular, depictions which eroticise or appear to endorse sexual violence. Of specific concern are sexual images in a violent context which are designed to titillate. The Guidelines take account of academic research which indicates that violence when mixed with explicit sexual images (women forcibly stripped, shots which linger on naked breasts or genitalia during rape or assault) may produce a harmful response in some viewers. The scenes cut from Ichi the Killer include naked women being sexually mutilated or beaten or killed. They contain images of erotically explicit violence which have never been passed by the BBFC at any classification level.”

Director Takashi Miike reveals on the US Tokyo Shock DVD release that the semen used in the close-up during the intro sequence, when the film’s title raises out of a puddle of semen, is real.

Buy Ichi the Killer uncut on Blu-ray from Amazon.com and Amazon.co.uk

Reviews

“I doubt Miike even intended for us to enjoy Ichi the Killer, only to react to it. Films exist to stimulate emotional responses from their viewers, be them happy or sad, and in the case of Ichi the Killer, some mild form of flu-like nausea and disorientation. The layer of complexity, depth and psychoanalysis in Ichi the Killer runs deep and dark, but only for those brave enough to subject themselves to it.” DVD Verdict

“Ichi The Killer is a sexually deviant, anarchic, psychotic, unsettling, politically incorrect, side-splitting and blood-drenched hammer to the head. Sure, it dragged at times and Ichi needed a good kick in the face, but if you dig your Asian cinema and have a set of balls the size of mammoth rocks (yes, this applies to the ladies too), try to nab this crazy bastard…he’ll take ya for one crazy ass joyride and you’ll thank him for it.” Arrow in the Head

“A lot of what makes Ichi the Killer so special is no its violent tone but the way that Takashi Miike deals with violence in general. If you go into the film with a sense of humor and looking for more than just sadism or gore then you are sure to enjoy this film. Ultimately Ichi the Killer is an orgy of carnage that hits all the right notes and makes all the right incisions.” 10K Bullets

IMDb | Wikipedia

WH

The entrance to Hell (or more accurately, entrances) has been designated at  various locations on the surface of the Earth from ancient times right up to the present day. They have acquired a legendary reputation for being entrances to the underworld due to their remote location, often in regions of unusual geological activity, particularly volcanic areas, or sometimes at lakes, caves or mountains.

Legends from both ancient Greece and Rome record stories of mortals who entered or were abducted into the netherworld through the gates of Hell. The god Hades kidnapped the Goddess Persephone from a field in Sicily and led her to the underworld through a cleft in the earth so he could marry her. Orpheus traveled to the Greek underworld in search of Eurydice by entering a cave at Taenarum or Cape Tenaron on the southern tip of the Peloponnese. Hercules entered the Underworld from this same spot. Both Aeneas andOdysseus also visited the underworld. The former entered the region through a cave at the edge of Lake Avernus on the Bay of Naples; the latter through Lake Acheron (with friendly local ferryman, Charon) in northwest Greece.

In Israel, The Twins Cave in the Judean hills outside Jerusalem have revealed evidence of pagan rituals linked to the underworld and may have been thought to be an access point for Persephone’s journey to the underworld.

In the medieval period, Mount Etna on Sicily was considered to be an entryway to Hell, understandably perhaps considering the regular eruptions and in a similar vein during this period, Icelanders believed their own Mount Hekla was also a gateway, beginning in the 12th century, after its 1104 eruption. Benedeit’s 1120 Anglo-Norman poem Voyage of St. Brendan mentions the volcano as the prison of Judas.That reputation continued with further eruptions; after the 1341 eruption, there was a report that people saw birds flying amidst the fire—birds, some thought, that must really be swarming souls. Even in more recent times, Hekla has maintained its diabolic status, as some superstitious folk have claimed that it’s a spot where witches meet with the devil.

The most famous of medieval gateways, however, was St Patrick’s Purgatory in Lough Derg, Co. Donegal, Ireland. Here, it is said, St. Patrick spent time contemplating his doubting flock when a vision of Christ appeared, pointing out the entrance to Hell (Purgatory) and the doom and anguish that awaited such folk. Over the coming decades, Catholic pilgrims sought out Purgatory on Station Island to such an extent that by the 17th Century, local officials sealed off the Satanic cave to prevent it from attracting the wrong sort of visitor. Such was the lure, this did little to dissuade pilgrims and even today, religious types will enter the cave for up to three days at a time, performing their vigil alongside a fast to atone for their sins as close to their potential agony as possible.

Away from Europe there are many examples of people pointing the accusatory finger at various local places of interest. In China, Fengdu has a long history in the Taoist tradition of being a portal to Hell. The 2,000-year-old City of Ghosts, located in Chongqing municipality, has a particularly charming route to everlasting misery; firstly, the soul of the recently departed must cross the Bridges of Helplessness to have their virtue judged, then face the Mirror of Retribution at the Ghost Torturing Pass and either become immediately reincarnated or face a series of torments before reaching the Wheel of Rebirth. Those who are undecided can take a moment to take in the vastness of the largest image carved into rock, the 138 metre-high and 217 metres across, Ghost King. In truth, much of the mythology surrounding this area is very much based in tourism (who’d have thought?)

Staying in Asia, Japan had its own volcano which ushered souls into the fire eternal, Mount Osore, a region filled with volcanic cauldrons located on the remote Shimokita Peninsula of Japan’s Honshu island, is literally named “Mount Fear”. With a small brook running to the neighbouring Lake Usori that is equated to the Sanzu River, a river that deceased souls needed to cross of their way to the afterlife. The Sanzu River, or “River of Three Crossings,” is believed to be the boundary between the realms of the living and the dead. Local fungi known as “skull mushrooms” add to the gloomy tone of the place. On the island of Kyushu, Japan, another area has a similar reputation, the blood-red sulphurous Pools of Beppu. Several of these pools have such hot water within them that they were used for torture purposes in past years.

The cave systems of Belize have been described in Popol Vuh, the Mayan text, as Xibalba, the entrance to Hell for newly lost souls. These texts described rivers of blood and scorpions, and a vast subterranean labyrinth ruled over by the Mayan death gods, the demonic “Lords of Xibalba.” Since their rediscovery in 1989, the caves of Actun Tunichil Muknal have become a popular destination for explorers. There are numerous landmarks that make this network particularly interesting, including a vast chamber of stalactites known as the “Cathedral.” Amongst scattered fragments of pottery and bone, one of the more notable discoveries is the skeleton of an 18-year-old girl. Believed to have been ritualistically murdered in the cave as a sacrifice to the Death Gods, she has been nicknamed the “Crystal Maiden”; over the 1,000 years since her death, her bones have calcified to create a shimmering, crystal effect. Although riverboats full of tourists now regularly explore these grottos, they are advised not to touch any of the relics for fear of reawakening the restless dead.

Over in America, local legend tells of Hellam Township, Pennsylvania, sitting upon the Seven Gates of Hell. No fewer than two local legends attempt to explain the “Seven Gates” of Hellam Township. One of the better-known myths ties them to an insane asylum on the town’s outskirts, which supposedly burnt to the ground in the 19th century. According to this particular legend, the inmates – most of them criminally insane, of course – escaped, only to be recaptured using a series of tall fences and secure gates. Many were beaten to death by guards in the process. This story falls down somewhat at the stage where it is discovered there was never an asylum in this area. The other tale sees a local doctor who once lived in the town. This man (by some accounts a Satanist, by others merely eccentric) was said to have designed a series of strange gates on his land, which followed a winding path running deeper and deeper into the forest. Where stories agree, is that those who pass through the gates in order will find themselves transported straight to the underworld.

Even as recently as this year, in the ancient Phrygian city of Hierapolis, now Pamukkale in southwestern Turkey, an area has roused suspicion amongst locals (and the Daily Mail) that the Devil’s lounge is closer than you might think .The evidence for this points the finger at an archaeological dig which uncovered statues of Pluto and Kore, the diabolical Gods, as well as the carcasses of dead birds, allegedly killed instantly by noxious carbon dioxide fumes. This echoes ancient accounts from the Greek geographer Strabo (64/63 BC — about 24 A.D.), who said: ‘This space is full of a vapour so misty and dense that one can scarcely see the ground. ‘Any animal that passes inside meets instant death. I threw in sparrows and they immediately breathed their last and fell.’

Equally modern is the breathtaking fiery pit known as The Door to Hell at Derweze, Ahal Province, Turkmenistan.The Door to Hell is noted for its natural gas fire which has been burning continuously since it was lit by Soviet petrochemical engineers in 1971. The fire is fed by the rich natural gas deposits in the area. The pungent smell of burning sulphur pervades the area for some distance. The fire, boiling mud, and orange flames in Derweze’s large crater (with a diameter of 70 metres) attracts many onlookers, though the President of the country has demanded the hole be filled in, lest it drain any of his nation’s lucrative natural resource. Regardless, over 40 years on, the flames show no sign of receding.

There is one more place of interest which perhaps came closer than any to being proven to be the entrance to Hell. Around 1990, it was reported on various internet sites that whilst digging a  putative borehole in Russia which was purportedly drilled so deep that it broke through into Hell, or at least close to it. The legend holds that a team of Russian engineers purportedly led by an individual named “Mr. Azzacov” in an unnamed place in Siberia had drilled a hole that was 9 miles (14 km) deep before breaking through to a cavity. Intrigued by this unexpected discovery, they lowered an extremely heat tolerant microphone, along with other sensory equipment, into the well. The temperature deep within was 2,000 °F (1,090 °C) — heat from a chamber of fire from which (purportedly) the tormented screams of the damned could be heard. That recording, however, was later revealed to have been a cleverly remixed portion of the soundtrack of the 1972 Mario Bava movie, Baron Blood, with various effects added. Warning – the following Youtube clip contains some attempted Christian brainwashing towards the end.

Alas, the so-called “Well to Hell” has since been debunked but not before various spin-offs appeared – these included a 1992, US tabloid Weekly World News published article which was set in Alaska where 13 miners were killed after Satan came roaring out of Hell. Other alternative stories included an alleged story where Jacques Cousteau quit diving after hearing “screams of people in pain” underwater. Another story told of one of Cousteau’s men fainting in terror after hearing screaming voices in a trench in the Bermuda Triangle.

Daz Lawrence, Horrorpedia, round the corner from Hell.

http://www.entrances2hell.co.uk/

Sweet Home (スウィートホーム Suwīto hōmu) is a 1989 Japanese horror film directed by Kiyoshi Kurosawa and produced by Juzo Itami. It stars Nobuko Miyamoto, Shingo Yamashiro and Nokko. Dick Smith supplied the extensive special effects. Producer Itami took the film from Kurosawa to reshoot and replace scenes for the video release and TV screenings.

Plot Teaser

A small film crew visits the old, abandoned mansion of famous artist Ichirō Mamiya, who left several precious frescos inside his house. The team wants to restore and publish the paintings and film a documentary about Yamamura and his arts. The team includes Kazuo (Shingo Yamashiro), his daughter Emi (Nokko), producer Akiko (Nobuko Miyamoto), photographer Tagushi (Ichiro Furutachi) and art restorer Asuka (Fukumi Kuroda). After they enter the mansion, paranormal events betray the presence of a poltergeist. Soon, Asuka is possessed by the infuriated ghost of Fujin, Ichirō’s wife. The team discovers a makeshift grave where a toddler is buried. The boy is Ichirō and Fujin’s son, who fell into the house’s incinerator one day and burned alive. Since then, Fujin’s ghost haunts the mansion, killing any trespassers…

FX Prep

The game of the same name and the movie were simultaneously released so it’s not really clear if the movie is based on the video game or vice versa. Further complicating the debate about which came first: Sweet Home’s trailer is both an advertisement from the movie, and a sales pitch for the Famicom game. It includes scenes from both.

Sweet Home has never had an official DVD release anywhere.

Reviews

“Kurosawa shows himself fully capable of directing a fast-moving, sharply edited roller coaster of a film. It may not be terribly original, but the characters are engaging and the script is well written, providing an interesting variation on the traditional Japanese “vengeful female spirit” concept. The final third is fantastic, as Akiko takes on the role of surrogate mother, the only way she can hope to fight the grieving maternal demon that haunts the house.” Flipside Movie Emporium

Film/Game Trailer:

“Despite its unsurprising plotting, Sweet Home is action-packed, thrill-packed and effects-packed, resulting in a more than entertaining haunted house ride.” Tom Mes, Midnight Eye

“I love this film a great deal. Its everything you’d want in an old schoolhaunted house tale. Hidden rooms, scary ghosts, dark secrets and just a touch of humor. Its a creepy little film, that has a few scares and more than it’s fair share of tension. Its damn near perfect. Honestly the film haunts me at times with the any shadows I see coming from a dark room making me wonder if they are going to claim me.” Unseen Films

Wikipedia | IMDb

WH

Over Your Dead Body – in Japanese 喰女-クイメ- aka Kuime –  is an upcoming 2014 Japanese supernatural horror film directed by Takashi Miike (Audition, Ichi the Killer), and starring Ichikawa Ebizō XI and Kō Shibasaki. It is scheduled to be released on 23 August 2014.

Plot Teaser

A star, Miyuki Goto (Ko Shibasaki) plays Oiwa, the protagonist in a new play based on the ghost story Yotsuya Kaidan. She pulls some strings to get her lover, Kosuke Hasegawa (Ebizo Ichikawa) cast in the play, even though he’s a relatively unknown actor. Other performers Rio Asahina (Miho Nakanishi) and Jun Suzuki (Hideaki Ito) lust after Miyuki. Off stage the cast’s possessive love and obsessions exist as reality. Trapped between the play and reality, the cast’s feelings for each other are amplified. When it becomes clear that love is not meant to be both on and off stage, love turns into a grudge and crosses the blurred line between reality and fantasy…

Reviews

“Like much of the director’s work, Over Your Dead Body is very much a slow burn. There are times when the movie feels like little more than a backstage melodrama and a particularly slow and dreary one. But that’s just Miike up to his old tricks, lulling his audience into a false sense of security so that when the blood starts to flow and body parts are lopped off, the shock value hits the much harder. The film might teeter on the line of tedious, but it’s worth it for the gooey mind-fuck end results.” Dork Shelf

“There’s a dull, diagrammed feeling to Over Your Dead Body, which seems to have originated from an idea that the helmer had already lost interest in by the time of filming. He seems juiced only by the impressive compositions those painterly stage designs allow. Adding to the stillborn feel is an ending in which one character turns out not to be dead after all — something that makes absolutely no sense, given what we’ve already been graphically shown, and here there’s no hint of supernatural doings.” Variety

“At times, Over Your Dead Body’s pacing can be punishing, yet the payoff is very much worth the wait. It’s something worth noting because this is not a film with the tones of Ichi: The Killer or the Dead or Alive series. It is however, still unfiltered Miike. It isn’t for everyone, but those who have missed that specifically disgusting/alienating cinematic pleasure, should feel free to get excited because he’s back in his horror hat at long last.” Fangoria

Wikipedia | IMDb

WH

Killers - in Japanese: キラーズ, “Kirazu” – is a 2014 Japanese-Indonesian psychological thriller film directed by Indonesian director duo The Mo Brothers (Macabre) and starring Kazuki Kitamura, Oka Antara, Rin Takanashi and Luna Maya. This film marks the first collaboration on a film in the thriller genre between Japan and Indonesia. The story was written by Takuji Ushiyama with Timo Tjahjanto of The Mo Brothers.

There are a few differences between the Indonesian theatrical version and the Japanese and International theatrical version. The Indonesian version has been edited, with scenes containing  violence and nudity being removed or softened.

Plot teaser:

In Tokyo, a serial killer is murdering women and posting his violent crimes on-line. In Jakarta, a rogue vigilante uploads his murdering spree for the world to see. A psychotic game of cat and mouse ensues as the two men battle for notoriety. Soon it becomes clear that it’s only a matter of time until the two killers square off face to face…

Buy Killers on Blu-ray from Amazon.co.uk

Reviews:

“Only the Mo Brother’s second feature film together, Killers is a riveting powerhouse of a film, exploring the darkest recesses of the human mind with two fantastic lead performances. This really is beautiful understated horror cinema at its most watchable.” Cinehouse

“One of the best movies that we’ve seen in 2014, Killers is a harsh, nasty little look at people, and what drives them to kill. If you’re a fan of violent thrillers like I Saw the Devil, then this movie should suit you perfectly.” The Horror Club

“Overall, though, something about Killers rings hollow. In its ambitious attempt to tell two parallel stories which ultimately converge, it feels a little long-winded and overblown for my liking, hinging on some plot contrivances and lapses into arch melodrama which I feel somewhat undermine earlier efforts to craft a sophisticated narrative.” Brutal as Hell 

Wikipedia | IMDb

Blind Woman’s Curse (aka The Tattooed Swordswoman, Japanese: 怪談昇り竜) is a 1970 Japanese supernatural action film directed by Teruo Ishii and starring Meiko Kaji (Lady Snowblood in her first major role), Hoki Tokuda and Makoto Satō.

Plot teaser

Akemi (Kaji) is a dragon tattooed leader of the Tachibana Yakuza clan. In a duel with a rival gang Akemi slashes the eyes of an opponent and a black cat appears, to lap the blood from the gushing wound. The cat along with the eye-victim go on to pursue Akemi s gang in revenge, leaving a trail of dead Yakuza girls, their dragon tattoos skinned from their bodies…

Buy Blind Woman’s Curse on Blu-ray from Amazon.com | Amazon.co.uk

Reviews

“If the film rambles on a bit, it is forgivable, since everything else it does is so enjoyable and original. Kinky, weird, scary and funny in equal measures, Blind Woman’s Curse is an excellent re-release of a true cult gem that many won’t even know existed in the first place.” Starburst

“The very least one can say is that there is no shortage of eye candy, with gaudily coloured set pieces like the circus tent filled with wax dummies, the Dobashi hide-out with its mirrors, trap doors and torture dungeons, and the final confrontation between Akemi and her blind nemesis, set against a phantasmagorical painted backdrop of spiralling clouds. It may not make a lot of sense, but there is plenty of fun to be had.” Midnight Eye 

“A genuinely weird mix of the Yakuza and horror genres with a dose of ‘pinky violence’ exploitation thrown in for good measure and elements from the popular Zatoichi series intertwined, Blind Woman’s Curse is a lot of fun even if it isn’t the pinnacle of Kaji’s output or likely to be the film that Ishii is best remembered for.” Rock! Shock! Pop!

Wikipedia | IMDb

WH

Toho’s Godzilla: Final Wars

The worldwide success of Gareth Edwards’ 2014 version of Godzilla (box office takings of $524,976,069) has led Toho to announce a new Japanese entry in their own franchise. At a press conference yesterday, Mr. Ueda [Taiji, Project Leader for Toho] said:

“With the success of the Hollywood version of Godzilla, we decided on a new [domestic] production. The screenplay is currently in development and we plan to start shooting next summer. We cannot announce cast or staff selections at this time. And we’re still deliberating whether to bring Godzilla to life via CGI or man-in-suit. This resurrection will be the centerpiece for ’16, and this is the force of our words.”

WH

Parasyte Part 2 – Kiseijû: Part 2 aka 寄生獣 完結編」特報 – is the second instalment of a two part live action Japanese Toho adaption of Iwaaki Hitoshi’s sci-fi horror manga. It is directed by Takashi Yamazaki from a screenplay he co-wrote with Ryota Kosawa. The film stars Shôta Sometani, Eri Fukatsu, Ai Hashimoto, Sadao Abe.

The first part was released in November 2014 and the second part is scheduled for release in April 2015.

Plot teaser:

Izumi Shinichi (Shôta Sometani) is a young man whose hand is infected by an alien parasite. Which would be pretty horrible if not for the fact that quite a lot of the world have had their minds infected by the parasites and an unlikely alliance between Izumi and his new visitor is the only hope for humanity’s survival…

IMDb | Source: Twitch

Hell – original title: 地獄 Jigoku and also known as Japanese Hell – is a 1999 Japanese horror film written and directed by Teruo Ishii. It is a loose remake of the 1960 film of the same title. The film stars Mutsumi Fujita, Hisayoshi Hirayama, Michiko Maeda, Yôko Satomi, Kenpachirô Satsuma, Kinako Satô, Ryûji Takasaki, Tetsurô Tanba.

Plot teaser:

Sixteen year-old Rika wants to leave a murderous cult but she is sent to Hell where she meets demons and souls who have committed heinous and outrageous crimes…

Reviews:

‘Though indeed graphic in its depiction, there is very little either haunting or life-like. This includes the huge styrofoam mallets wielded by rubber-suited demons, the jello-mud bath apparently symbolizing molten lava, the nude interpretive dances by bare breasted girls intended to convey the convulsions of hell zombies (etc etc etc). Despite the many flaws, however, this film is indeed entertaining, if not solely for the effort it attempts in providing a moral message.’ Scott Futz, SaruDama

‘For fans of Ishii’s previous work Jigoku will be a real treat, albeit a very low rent version of his previous glories at Toei Studios. At this point in his career Ishii was working totally independently on absolute shoestring budgets, so the painfully bad special effects, set design, and acting provide a comic counterpoint to all of the severed limbs, rape, and implied child murder. There are many out there who’ll take Jigoku as an opportunity to spend a night laughing out loud at a bad B-movie…’ Chris Magee, J-Film Pow Wow

‘Unlike in 1960, we quickly move to Hell early in the film – but it’s a tiny set with painted walls, a handful of extras, and only a few demons with inexpressive masks on – the monsters look more like 1960’s Ultraman cast-offs. Also the gore looks unconvincing and home-made. The film seems more preoccupied in showing topless girls and unconvincing sex scenes. It also looks like a sly way of restaging and exploiting the sarin gas attack story without identifying the film as such.’ Mark Hodgson, Black Hole

IMDb | Thanks to Dave Jackson at Mondo Exploito for inspiring this post

Balzac (typeset as BALZAC) is a Japanese punk band formed in 1992 in Kyoto. The band was founded by singer and songwriter Hirosuke Nishiyama, who has remained the only constant member of the band since its creation. Balzac was highly influenced by the sound and image of the famous horror punk band the Misfits and, especially during the very early years, Glenn Danzig’s Samhain, adopting and combining the musical and visual style of both bands to create their own. Despite the horror themes and imagery, the band’s music tends to steer away from being the cartoony flotsam many newcomers to horror punk/horrorcore resort to, though they are happy to exploit their look visually through toys and merchandise.

The band has gained a certain amount of recognition and exposure outside of their native country, where they are very well known. Currently they have five official clothing brands (Shocker!!!, Dementia 13, Culture, XXXxxx and Balzac) with one store in Japan, plus three online stores (Shocker Webstore, Shocker World Wide and Shocker EU). They also have their own official record label called Evilegend 13 Records on which they have released EPs, singles and videos. Balzac is also well known for its toy releases, some created by the companies T.W.I.M. and Secret Base, and its extensive discography and side-projects.

The current line-up of the band consists of Hirosuke Nishiyama (vocals), Atsushi Nakagawa (guitar/chorus), Akio Imai (bass/chorus) and Takayuki Manabe (drums/digital effects/chorus). Musically the band has drawn from punk, pop, industrial and noise, across their various releases.

Singer Hirosuke Nishiyama was originally the lead singer for Astrozombies, a band heavily influenced by the legendary Japanese rock group Gastunk (themselves pitched somewhere midway between the Misfits and Iron Maiden). After releasing just one demo cassette, entitled The Texas Chainsaw Massacre, Hirosuke decided to disband and started his next project, Balzac, in 1992, named after the French novelist and playwright, Honoré de Balzac, more through the way the name sounded than any artistic inference. The band’s first line-up consisted of Hirosuke Nishiyama on vocals, Yoritsugu “Anti” Azuchi on bass, Tetsuya on guitar and Naoki on drums. During that time the band released their first demo cassette, which was limited to 13 copies only, entitled Scapegoat666.

In 1993, having undergone a slight line-up change (to become a regular occurence), they released their second demo cassette, Descent of the Diabolos, going on to release the band’s first single, “The Lord of the Light and of the Darkness”, on their own record label, Evilegend13 Records. Over the next few years the band released four more singles, “Atom Age Vampire in 308″ (on MCR), “Isolation From No. 13″ (on HG Fact), “When the Fiendish Ghouls Night” (on Evilegend13 Records), and were part of some various artists compilations. Having toured Japan extensively even before the release of their first single, they had developed a dedicated fanbase in their home country.

By 1995 the band managed to release their first full-length album, The Last Men on Earth, after being signed to Alchemy Records. Comparisons to the Misfits are inevitable and entirely justified but their speed and energy are evident throughout, as is their knowledge of horror films – the instrumental opener ‘Night of the Blood Beast’, ’13 Ghosts’ and ‘Day the Earth Caught Fire’ and intriguing and great fun, though the Misfits-alike choruses are a little too familiar and cause the listener to err on the side of caution.

1997 saw the release of Deep – Teenagers from Outer Space and saw them much improved in a studio setting, powerful production, even greater speed and ferocity and catchy songs which were more obviously drawing on their own talents, ironically just as a resurrected, Danzig-free Misfits appeared. Now being headed by original member and long-time bassist Jerry Only, Balzac was asked to open for the Misfits when they came for their first Japanese tour. This would mark a milestone in the band’s career, which would lead to much success for Balzac outside of Japan in the coming years. Their third album, 13 Stairway – The Children of the Night appeared just a year later, prolific releases being quite common for Japanese bands, especially rock and punk groups. They launched a full-scale all-Japan tour to promote their album and played to sold-out crowds.

In 1999, Balzac released a split single, “Oldevils Legend of Blood”, with friends and fellow Japanese rock band Sobut. They released a special 12-inch version of “Isolation From No. 13″, a remixed tape as a special box set with toy industry friends, T.W.I.M (The World Is Mine) whose headquarters are in Nagoya, as well as playing on a Gastunk tribute album. On Halloween they released one of their most popular singles, “Into the Light From the 13 Dark Night”, on vinyl, CD, and cassette. It would be re-recorded in many different versions over the next few years. They also released the flexi 7-inch including “Neat Neat Neat,” a Damned cover. This year also marked the beginning of the band’s own fan club, the Fiendish Club a somewhat outrageous steal from The Misfits’ Fiend Club; it offered fans a great way to stay in touch with the band and to receive some very rare items at the same time; Japanese and international wings of the club were eventually opened to satiate demand.

2000 saw The Misfits back touring Japan, and Balzac was there opening for them once again. The band were now popular enough that, again, like The Misfits (and in fairness Kiss and many other bands), more unusual merchandise began to appear, notably, Medicom Toy Co. versions of band members. Soon after, they released another figure, this time a 12-inch RAH version of the band’s mascot, the Paperbag Man, luridly packed with various accessories. In December 2000 Balzac released their next full-length album, Zennou-Naru Musuu-No Me Ha Shi Wo Yubi Sasu, a concept album more industrial in style than previous releases, though it still sold extremely well. Balzac opened their first retail store in Osaka, Japan – “Shocker!!!”, enabling them to sell their own original Shocker!!!! brand merchandise, as well as musical releases. Hirosuke also has his own clothing brand called “Dementia Thirteen” which is also available through the store. More recently, they have also launched yet another clothing brand, “Culture”, and are in the process of fully releasing another one called “XXXxxx”.

In early 2001 the band released numerous singles, as well as a box set featuring the artwork of Japanese manga artist Suehiro Maruo, which had been used on the album Zennou-Naru Musuu no Me ha Shi wo Yubi Sasu. They also opened their second retail store, Coffin, in Kyoto. The following year, Balzac released a split single with The Misfits covering the songs “The Haunting” and “Don’t Open ‘Til Doomsday” as a medley, while The Misfits covered the Balzac’s “Day the Earth Caught Fire”. In April 2002 Balzac released their fifth full-length studio album a double disc set called Terrifying! Art of Dying – The Last Men On Earth II. The first disc was mostly new material while disc two was a complete re-recording of the band’s first full-length CD, The Last Man On Earth. On Halloween the band was invited to play in New York City, USA, with The Misfits, making this the first time the band played live outside of Japan. They were received very well and would be asked back to tour the following summer.

2003 would be another breakthrough year for the band, touring with The Misfits, The Damned, The Dickies, and Agnostic Front, as well as releasing a maxi-single entitled “Beware of Darkness as part of a special 4-figure toy set from Medicom Toys Co. The video for the song was recorded in the USA and was released in May 2003. There was a censored, as well as uncensored version, due to the graphic nature of the video. They also released their first USA CD, Beyond the Darkness, on the newly founded Misfits Records.

In 2004 they released their sixth full-length album, Came Out of the Grave, released in a special edition long-box with a Be@rbrick figure inside. During that summer they played a large festival with American punk rock band Rancid, and released a tour documentary about their first USA tour, The Fiend Fest, later playing their first tour in Europe.

By 2005 they had released the single “D.A.R.K”. Soon after they released a mini album entitled Dark-Ism. 2006-2008: Deep Blue & Hatred, following this only a year later with their seventh full-length album, Deep Blue: Chaos from Darkism II in March. It was coupled with a special Skull Bat figure, also in 2 limited colours. Not content with this rapid release rate, they also performed as Zodiac, releasing a full-length Zodiac album, Beware On Halloween.

In 2008, Balzac released their eighth full-length album entitled Hatred: Destruction = Construction. It marked a return to the heavier and darker side for the band, reminiscent of some of their earlier work. It was released in a regular edition, as well as a 666mm special edition featuring artwork by comic book artist Liam Sharp.

Around May 2009, the band gave the first hints on the process of making their next full-length album. They also released a couple of toys, shirts, pens, mugs and other items in collaboration with the Japanese company Sanrio, more specifically their character Hello Kitty, having the famous cat donning the characteristic skullsuit, another nod towards early Misfits. Further releases followed, their longevity and output allowing for multiple ‘best of’s’ and collections.

Discography:

1995: The Last Men on Earth
1997: Deep – Teenagers from Outer Space
1998: 13 Stairway – The Children of the Night
2000: Zennou-Naru Musuu-No Me Ha Shi Wo Yubi Sasu
2002: Terrifying! Art of Dying – The Last Men On Earth II
2004: Came Out of the Grave
2005: Dark-Ism
2006: Deep Blue: Chaos from Darkism II
2007: Paranoid Dream of the Zodiac
2008: Hatred: Destruction = Construction
2008: The Birth of Evil (Re-recordings of Demo material)
2009: Paradox (Mini album)
2010: Judgement Day
2012: Deranged

Daz Lawrence, Horrorpedia

Dracula: Sovereign of the Damned is a 1980 animated Japanese TV movie version of Marvel’s The Tomb of Dracula comic produced by Toei and directed by Minoru Okazaki. It was titled Yami no Teiō: Kyūketsuki Dorakyura (闇の帝王 吸血鬼ドラキュラ – translation: “Emperor of Darkness: Vampire Dracula”).

Much of the main plot was condensed and many characters and subplots were truncated or omitted. It was sparsely released on cable TV in North America in 1983 by Harmony Gold dubbed into English under the title Dracula: Sovereign of the Damned and then on VHS by Vestron.

Plot teaser:

Count Dracula, lord of vampires and the sovereign of the damned, steals away a bride intended for Lucifer. Not only does this anger his dark creator but also a satanic cult and his fellow vampires. He finds that the sins of his past will not allow him to live a normal, mortal life. Events become complicated when he comes under attack from all sides, including his vampire hunting great-grandson and the children of others he murdered long ago.

Reviews:

‘Watching Dracula: Sovereign of the Damned isn’t just like watching a car wreck, it’s like watching a slow motion oil-tanker-and-helicopter collision set to Rammstein music. It’s a lot of fun, simply because every time you think it can’t possibly get any dumber, it somehow manages to top itself. I can’t imagine what it must have been like to rent this tape as a kid, but I’m pretty sure at least one older brother must have used it to make a sibling cry.’ Justin Sevakis, Anime News Network

Comics Alliance summary

Choice dialogue:

Dracula: “Yeah, I had a run-in with Satan.”

Voice Cast:

Character	Original Japanese voices	English dub voices
Dracula	Kenji Utsumi	Tom Wyner
Domini	Hiroko Suzuki	Arlene Banas
Janus	Kazuyuki Sogabe
Quincy Harker	Yasuo Hisamatsu
Rachel van Helsing	Mami Koyama	Melanie MacQueen
Frank Drake	Keiichi Noda	Dan Woren
Satan	Hidekatsu Shibata	Richard Epcar
Lilith	Reiko Katsura	Edie Mirman
Anton Lupeski	Junpei Takiguchi
Torgo	Yasuo Tanaka[29]	Robert V. Barron
Saint	White God
Narrator	Ryō Ishihara	Robert V. Barron

IMDb

Cambiare is a bar situated in the Shinjuku area of Tokyo, Japan, the interior and sign-design of which is based on visuals from Dario Argento’s classic 1977 horror film, Suspiria.

Buried in the hustle and bustle of Tokyo’s already hectic Shinjuku region is an area known as Golden Gai – it is here at 1-1-7 2F Kabukicho you will find Cambiare, one of several themed bars and private clubs which operate in this district. Rather bigger than many in the locale, Cambiare takes its interior decor inspiration from the lurid and garish colour schemes of Dario Argento’s most famous film, Suspiria, the dazzling reds, yellows and blues almost requiring medical intervention to prevent burning.

The most striking aspects are the familiar stained-glass window, overbearing chandelier and deliciously psychedelic wallpaper, though more committed fans will also notice that the exterior’s sign utilises the same font as Argento’s film, whilst the liberal use of neon reflect the strangely illuminated doorways on screen. The menu offers a less inventive selection of pizza, lurid cocktails and Italian wines and spirits but, rest assured, the familiar strains of Goblin will feast your ears whilst you contemplate exactly what is creating those strange shadows…

Daz Lawrence

Blue Demon ver.2.0 - Ao Oni ver.2.0 or 青鬼 ver.2.0 - is a 2015 Japanese horror film directed by Maegawa Hideaki from a screenplay by Ami Inagawa. It is a cinematic adaptation of a survival horror computer game and stars Soran Tamoto, Taishi Nakagawa, Yuna Taira, Shota Matsushima, Ikumi Hisamatsu, Reo Kanshuji.

The film will be released on July 4, 2015.

Plot teaser:

On the way to visit Shun (Soran Tamoto), who didn’t attend class, Hiroshi (Taishi Nakagawa) and Anna (Yuna Taira) are drawn by a mysterious butterfly and enter the big house “Jail House”. They get lost and wander around the house.

Meanwhile, Takuro (Shota Matsushima), Mika (Ikumi Hisamatsu) and Takeshi (Reo Kanshuji), who bullies Shun, enter the “Jail House” to test their courage…

Lake of Dracula – aka Noroi no yakata: Chi o suu me (“Bloodthirsty Eyes”) is a 1971 Japanese film made by the Toho company but following in Hammer’s Gothic tradition. The film is considered the second in a trilogy of films referred to as “The Bloodthirsty Trilogy”, the other films being The Vampire Doll (Yûrei yashiki no kyôfu: Chi wo sû ningyô, 1970) and Evil of Dracula (Chi o suu bara, 1974). All three were directed by Michio Yamamoto.

In a remote coastal setting young Akiko (Midori Fujita) chases after her misbehaving hound, Leo, following him through a wooded area until they both arrive at a rather unlikely European-style mansion. Obliged to snoop around inside, they are faced with a figure appearing out of the gloom, fangs bared and none too welcoming. Skipping forward many years, Akiko is still with Leo and is venturing out to find a handyman, Kyûsaku, to fix her door. As she arrives, the handyman receives an unexpected delivery which he later discovers is a crate containing a white coffin.

Akiko’s simple life, living with her sister Natsuko (Sanae Emi) by Lake Fujimi, allows time for her pastime of painting, her latest work being a large yellow eye featured in a sunset, which she explains was inspired by nightmares she’s been having since a child. The pair, joined by her sister’s boyfriend, wait patiently for Kyûsaku, who never shows – little do they know that having opened the coffin, only to find it empty, the man has been attacked by an unknown person lurking in the shadows.

Events become ever more peculiar, with a dead body arriving at the hospital drained of blood but with two puncture holes in the neck, all of which the local doctor, Saeki (Chôei Takahashi) finds most perplexing. Meanwhile, Akiko has sadly found her beloved dog dead in the woods with the dinner-avoiding handyman close-by and acting oddly. Now referring to his ‘new master’, Kyûsaku’s return coincides with further abductions, all of which lead back to the mansion’s owner, a nameless vampire (Shin Kishida; the familiar star of the Lone Wolf and Cub films, Hanzo the Razor: The Snare and Godzilla vs. Mechagodzilla). Dr Saeki and Akiko are dragged into the vampire’s web of terror, not least when Natsuko begins to act strangely. Visions from Akiko’s childhood could be key to saving them from an eternity as the undead…

Largely unloved, both at the time and now, Lake of Dracula is an interesting attempt to combine the particularly Japanese style of slow-moving action and gently painted characters with the elements which had contributed to Hammer’s meteoric rise as the bastion of the horror film. Firstly, it’s best to leave your thoughts on Dracula at the door, there’s really no connection here, the reference apparently being a marketing ploy by American distributors (perhaps the same who thought a re-titling of ‘Japula’ might draw in the crowds – fortunately, even they abandoned this quite quickly); neither is it wise to compare this to the other films of the trilogy, there is no storyline to follow between them.

The main issue is an odd desire for the filmmakers to leave the vampire as such a minor character – apart from a pleasing finale and some hiding in corners, he is left with little to do, leaving, sadly, the less arresting actors to do the majority of the heavy-lifting. Fujita is a timid, shallow female lead, difficult to empathise with, even when her dog is killed – in fairness, she has proved herself to be all but useless in terms of preventing him from constantly running way. Likewise, the doctor, certainly no Van Helsing and barely as interesting as Van Morrison, we are presented with a scenario which blights many a horror film – heroes we’d much rather die than succeed.

Fortunately, the cinematography is excellent, the mansion situated in such an unlikely place being that it’s oddly fascinating to see Japanese actors placed within it. Less well exploited is the titular lake, an opportunity for invention well and truly missed. The problem, aside from the issues already mentioned, is largely that Japan has little in the way of vampiric folklore to draw upon, unusual for a nation so large. As such, the sexual element is missing and the vampire’s motive is somewhat muddled – the film’s conclusion supposes the audience has come straight from a Hammer film, otherwise it could only appear as distinctly odd.

Riichirô Manabe’s score is superb, a real shame it is coupled with such a lacklustre film; Western flourishes and Eastern exoticism, fruity glissandi doing their best to convince the audience something exciting is going to happen. He would later score the likes of Godzilla vs. the Smog Monster and Godzilla vs. Megalon. Colourful and often dreamy, it’s a waste of a good setting and an appealing monster, though as a curiosity it’s worth a watch. If nothing else, the film did have some influence – the impressive No Wave band, Lake of Dracula, taking their name from the movie.

Daz Lawrence, Horrorpedia

Buy Lake of Dracula on DVD from Amazon.co.uk