The deranged genius behind Tokyo Gore Polic
e is back with a chilling new flick that’s re-writing the hallowed history of the horror genre. Vampire Girl vs. Frankenstein Girl
is the terrifying story of two classic monsters re-imagined as super hot – and extremely lethal – Japanese school girls. Gore rules supreme in this blood-cake cavalcade of carnage chosen as the winner of the Audience Award at the 2009 NY Asian Film Festival. Fan boys and movie blogs are already buzzing over this bloodbath du jour, and aficionados of psychedelic blood-filled chocolates, mad scientist principals, sumo wrestlers from hell, and sex-crazed school nurses are guaranteed to lose their heads over this old school splatter-fest.
There are moments in Vampire Girl vs. Frankenstein Girl
when you might find yourself idly wondering what Bram Stoker and Mary Shelley would think of all this. There's not too much time to ponder such a head-spinning proposition, however, because of all the spraying blood, teen skin cutting, and steampunk artificial limbs on display. Director Yoshihiro Nishimura, of Tokyo Gore Police
notoriety, unleashes this little offering as a full-out, looney-tune romp through some of the goriest tropes of the circa-2010 Japanese horror flick. Insofar as there is a plot, it concerns a cluelessly glib vampire girl (Yukie Kawamura) who has the hots for her classmate (Takumi Saito), a boy she tries to "turn" by giving him a chocolate truffle filled with her own blood. (Why didn't anybody in the Twilight
series think of that?) But she'll have to get past a determined rival (Eri Otoguru), whose father just happens to be a mad-scientist type looking for a test subject for his theories of reanimation. Suggesting that this qualifies as plot is something of a stretch; this movie is so spasmodically bizarre, and so slavish in putting out its cartoon-violent set pieces, that it simply barrels along according to its own demented logic. In short, those who like this kind of thing will go for it--and anybody who feels that a movie might attempt to make some feeble kind of logic, whether emotional or tonal or spatial, will be bored pretty quickly by the relentless attempts at zaniness. Various Japanese teen fads are satirized, the most startling of which is a group of school girls who try to look black--a side plot that, even though it aims at poking fun at a teen craze, uses such outrageous racial imagery that it stands out for its offensiveness in a movie that hungrily seeks to offend. --Robert Horton