Review: Bloody Muscle Body Builder in Hell

 Text © Richard Gary / Indie Horror Films, 2022
Images from the Internet

Bloody Muscle Body Builder in Hell
Directed by Shinichi Fukazawa
Dragodon Pictures; Visual Vengeance; Wild Eye Releasing; MVD Entertainment
62 minutes, 1995 / 2012 / 2022
www.wildeyereleasing.com
www.MVDEntertainment.com/
Originally filmed in Japan (with English subtitles) in 1995, this was not released until 2012. Presently, it has finally been put out in a clearer print (from the master material) on Blu-ray. And it retains its original amazing name. The first time I heard it, I knew I had to see it from that alone. This is the director’s only film (other than one unconnected acting gig), including lead actor, writer, editor, etc. It smacks of a vanity project which means it can be cheesy fun or an ego trip. I am looking forward to finding out.

After a prologue that features a bloody murder regarding the protagonist’s father, who died young, we are introduced to Naoto (the director). He’s the titular bodybuilder. Meeting up with his ex-girl friend, Mika, they decide to check out his dad’s home, where there is a secret buried under the floor. Joining them is psychic Mizuguchi, as Mika is fascinated by ghosts and wants to photograph them. Naturally, Naoto does not believe in the ethereal entities.

Once the trio get into the house, all hell starts a poppin’ as they are locked in against an evil and vengeful ghost. I have seen this compared to The Evil Dead (1981), and I can kind of see why: they are isolated in a relatively small space of many rooms, but each at Manhattan single room apartment sizes. The malevolent spirit wants to inhabit fresh bodies, and even though there are only three of them, manages to do some damage. There is a great amount of gore and also a large amount of humor, whether that is intentional or not, I am not sure.

Is the body builder (the “Ash Williams” of the story) strong enough to endure the “wonton” onslaught? (Note: a year from now, that joke will probably be confusing.) He’s got the wise-cracks near the end, the scared look at the beginning (though not to Ash level…he’s a body builder), which builds some confidence in one’s own strength.

The film is just an hour long, but the last 40 minutes is pretty non-stop, filled with guts, gore, and some stop motion photography here and there. It is totally and beautifully gruesome. Sure, the visuals are grainy as hell, being shot on VHS and all.

One thing that confuses me, and this is true of many stuck-in-the-house films, if the windows are locked, why not throw a chair through it? And if the front door is locked, damn, they have both an ax and shotgun, so why not blast the lock? Nope, just grunge against the window frame and try to kick in (out?) the door. This is the equivalent nonsense of running upstairs rather than out the door that is quite prevalent, and is a pet peeve of many a horror fan.

There are lots of bonus material is included with the Blu-ray of course, being from Visual Vengeance, both digital and physical. For example, there are two commentary tracks, one being with directors and fans Adam Green (Hatchet, Frozen) and Joe Lynch (Shudder’s Creepshow), the other with Japanese film historian James Harper. There is also a new interview with the director, Fukazawa. Then there is a Special Effects featurette, Outtakes, Behind the Scenes and Archival image galleries, the original Japanese Archival Trailers, and some Visual Vengeance trailers, as well.

On the physical side, there is a first pressing limited edition slipcase, a folded poster, a four-page liner notes booklet by Matt Desiderio of the Internet’s “Horror Boobs,” a vintage-style laminated Video Store Rental Card, a reversible sleeve with the original Japanese home video art, and a sheet of stickers from olde tyme video stores. That’s a lot.

The SFX, all of which is practical, works really well, even when it looks ridiculous at times. It is quite lovingly over the top, such as a knife in the back of the head popping out an eye, and then pulled back in when the knife is pulled out. True there is a limited amount of cast of 5, but there manages to be nearly non-stop action once it truly begins. It does not rely on a whole bunch of exposition, like most films today, but you get to know the relationships – at least what the viewer needs to know in reference to this film – and how they interact and move the plot forward.

For an only-time director using earlier and less easily manageable technology, Fukazawa manages miracles here. With some exceptions, the film is shot well, especially considering the miniscule space in which they were filming, and the editing is incredibly effective.

Whether or not it is “The Japanese Evil Dead” or not, it is a whole lot of fun.

IMDB listing HERE