Yoshihiro Nishimura’s over-the-top, body-horror, sci-fi/fantasy Kodoku Meatball Machine had its world premiere at SXSW this past week and it more than lived up to its hype for being a splatter epic. In a video introduction to the film, director Nishimura claimed he used over four tons of fake blood in the movie. That might be a bit of hyperbole but Kodoku Meatball Machine has more arterial spray than the Bellagio Hotel has dancing waters. It’s a hilarious gorefest that combines sublime silliness with some cutting social satire. Plot? We don’t need no stinking plot! This film is a frenetic mash-up (literally) of everything we love about Japanese science fiction and horror. Shit happens. And keeps happening. Things fall out of the sky, humans mutate, chicks blow people away with nipple guns and limbs are severed with the maniacal zeal of a meth-crazed chef at Benihana.
Nishimura, who directed the insane Tokyo Gore Police and the 2007 short film Meatball Machine: Reject of Death, is justly renown for his superb special effects creations and wild makeup. He’s worked on dozens of Japanese horror films, creating brilliantly inventive costumes, prosthetics, masks and jaw-dropping visual mayhem featuring heavy metal samurais, wildly choreographedswordplay, kung foolery and flesh-fused weaponry from the planet Id. The cartoonish excess of his creations keeps them from being truly horrifying. There’s too much wit and absurdity in what’s on the screen to be truly upsetting. Laughter displaces screams in Nishimura’s bloody phantasmagorias. His atom-age nightmares are surrealist twists on Shaw Brother Toho flicks of the 1960s and 70s…with loads of viscera and severed limbs. A chase scene involving a topless woman astride a mutant who is half-man and half-motorcycle is like something from a demented western. Yee haw!
Cinematographer Keizo Suzuki has given Kodoku Meatball Machine a neon sheen that recalls some of Nicolas Refn’s recent work and there’s an eerie nightclub scene that evokes the palette and vibe of David Lynch’s Blue Velvet. Some groovy stop-motion animation comes on like Ray Harryhausen on DMT and a load of intentionally cheesy special effects give the movie a deranged hallucinatory brilliance. The second half of the film is a relentless mindfuck.
Fans of Takashi Miike, Sion Sono, and Shin’ya Tsukamoto will find Kodoku Meatball Machine an irresistible hoot and folks who’ve never experienced extreme Japanese cinema will be introduced to a unique viewing experience that really has no western equivalent in the world of film.
Watch the trailer for ‘Kodoku Meatball Machine’ after the jump…