Review: Evil Dead Trap 2: Hideki

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

 

Evil Dead Trap 2: Hideki (aka Shiryô no wana 2: Hideki)
Directed by Izo Hashimoto
Japan Home Video (JHV); Unearthed Classics; MVD Visual
97 minutes, 1992 / 2022
www.unearthedfilms.com
www.MVDvisual.com/
Before I begin this review in earnest, let us do a bit of house cleaning. First of all, this film is not actually connected to Evil Dead Trap (1981), per se. They have different writers and the director for Hideki is actually better known for writing the screenplay for the classic Japanese anime film, Akira (1988). And rightfully so.

That being said, there are some slim thematic similarities between the two Trap films. Both involve a television reporter/personality, and the other is that of a mysterious child whose origin is unknown: is it real? Imaginary? An evil spirit as in Ju-On: The Grudge (2002)? Though it may seem like slim connections, I would bring up, for example, how many of the more that 100 Amityville-titled films actually have anything to do with The Amityville Horror (1979)? It should be said, though, that Hideki is the name of the furtive child in both Evil Dead Trap releases.

There are three main characters here. First up is Aki Ôtani (Shoko Nakajima), who works as a film projectionist in a theater. She is dumpy and plumpy, preferring to be by herself, though is incredibly lonely at the same time. Her friend is television reporter and ex-pop idol, Emi Kageyama (Rie Kondoh), an ambitious and outgoing personality, but is also lonely in her own way, finding meaningless sex momentarily fulfilling. She is also obsessed with watching herself on television, via tape. Then there is Kurahashi (Shirô Sano), who is married to Noda (Kazue Tsunogae). And floating somewhere in the fringes of reality or fantasy is the titular Hideki (Shôta Enomoto).

Aki has a split personality, we quickly learn. The frumpy loner, and the red dressed serial killer who murders young women and rips out their ovaries with shears. You heard me. Or is she? Though at first we do not see the actual killings in detail (but hidden in arty camerawork which I will discuss later), but the aftermath is shown in quite gory details. Hey, remember, this is an Unearthed Films rerelease.

Meanwhile, Aki keeps seeing a child in the audience of her theater, and Kurahashi and Noda are waiting for their real or imagined child (demon?), Hideki. Kurahashi is a lothario, screwing around with Emi and promising to bed Aki. Most likely there are others, but let’s focus on the events, now that we have the exposition.

According to a psychic, Kan-nadzuki Chiyo (Shino Ikenami), Aki’s psychic powers are stronger than hers, and warns her not to let it control her. But as we have already seen, the other side of Aki shows that it may be too late. But Hideki’s power and influence may go beyond Aki.

I have to, as always, be honest with you. I have watched this twice now, and I have no fucking idea what the hell was going on by the second half. Was there some really good gore? Yes. Was there some really interesting violence? Yes. Did the story make any sense after the halfway mark? Hell, no. I knew what was going on in the moment, visually, but as for the overall arch of the story, I was lost. Perhaps this would make more sense if I was raised in the Japanese culture in a way I am unfamiliar, sort of like all the subtle wolf imagery in The Howling (1981), e.g., a big bad wolf cartoon on the television, which may be lost on other cultures.

I do have to say, the cinematography by Osamu Fujiishi is nothing short of astounding. Overwhelming neon city lights (nearly a cliché in Asian cinema these days), silhouettes, and shadows, play into the characters’ emotions so well. There were a couple of times I played back a certain scene because it looked so good. The editing was a bit choppy (no pun intended) here and there, with a few rough jump cuts, but I am guessing that was meant to be unnerving, and was probably intentional.

Surprisingly for a Blu-ray, there are only two extras, a Stills Gallery, and a bunch of trailers, including the two Evil Dead Trap releases.

 One could consider this Asian Extreme, I guess, but it does not match up to some of the classics, by the likes of Takashi Miike’s Audition (1999). However, I have heard this film compared to the likes of those by David Lynch and Dario Argento. I can see that. There are lots of weird goings on, strange angles, artsy visuals, and a convoluted story.

 If you liked Evil Dead Trap, I would recommend piggy-backing and seeing this as well right after, and then, perhaps, explain it to me.

IMDB listing HERE