Kazuo Umezz's HORROR THEATER 3

Kazuo Umezz's HORROR THEATER 3

Suggesting why the Manga has proved so very popular an expression of fantasy and horror, revealing in haunted imagery and psychotic whirlwinds of suspense the unique combination of symbol and idea inherent in this comic book format, Media Blaster's Kazuo Umezz's Horror Theater series continues to shock and titillate. This third entry is the strongest yet in terms of theme and chilling detail. While the story logic for one half of the disc veers on the ridiculous, an overall feeling of dread saves the disc from failure. Yet another appreciative nod to Manga great Umezz, this double dip of dread and delirium manages to be both intelligent and pulpy, revealing the dramatic majesty of the short story format. Both The Present and Death Make celebrate the art of horror while retaining the surprisingly philosophically mature subtexts that enliven scares with cultural relevance. The stories that Umezz weaves are fables wrapped in enigmas, more often felt than discerned logically. Both The Present and Death Make suggest far more than what surface plot suggests. And while there is no lack of action or graphic violence, this additional seasoning of philosophy imbue generous frights with moral uncertainty. While several online 'reviewers' refuse -- or are unable -- to see beyond the simplistic pleasures of plot, fans in search of complexity and emotional depth will be pleased by subtexts of twisted love, loss of childhood innocence, and identity.

The first chapter, The Present, is a warped, creepy take on every child's belief in, and love of, Santa Claus. Joining that growing list of Holiday terrors that offend and disturb, writer Tamio Hayashi lends Umezz's twisted fairy tale for adults a moral center whose Old Testament mentality is as chilling (perhaps more so) than the vicious, darkly magical Santa Claus who punishes a girl's loss of seasonal spirit and innocence by hacking apart limbs and severing heads. A disquieting descent into Yule-Tide Hell, this episode, directed with stylistic verve by Yudai Yamaguchi, depicts a seasonal limbo of re-occurring torment. The ending, while not a surprise, is harshly effective, making its simplistic moral point -- a warning against selfishness and the deceit of adulthood -- with precision. In addition, the surprisingly graphic bloodshed clashes with the spirit of child-like excitement evoked throughout the story. Easily the best entry of the series, The Present isn't for children or the young at heart, and is sure to displease and offend in equal measure.

Death Make, written by Chiaki Konaka and directed less competently by Taichi, is much tamer. Not nearly as effective as either horror story or moralistic fable, neither is it as strong visually, lacking the thematic depth and quality of performances expected of this series. Whereas the former story established an unnerving sense of terror, this uneasy combination of the Asian ghost story tradition and alternative dimensions isn't capable of properly depicting its admirable (if overly obscure) philosophic goals. A group of young adults with varying degrees of psychic power assemble in a legend-haunted studio in hopes of documenting ghostly footage. The expected carnage and plot twists ensue. Death Make doesn't know exactly what kind of movie it wishes to be. Its convoluted plot elements mash together demonic masks, spirit possession, ghosts, ulterior pockets of space and time, and a giant insect -- trouble is, the story never ties these elements together. Surrealism is fine, yet even the most abstract fantasy requires enough grounding in perceived reality to give it any true meaning. Thankfully, what the story lacks in sense, crippled by a tied-on ending that belittles much of what went before, the images themselves season with palpable mood. Glimpses of shadows, nightmare moments of surreal attack, and a tightening sense of doom keeps recommends it for at least one viewing.

Umezu specializes in short stories, allowing for a greater sense of closure. True to Poe's theory that the brevity in short fiction allows for greater effect and unity, and that short works better capture the ecstasy and terror of the human condition, these manga, pack undeniable emotional wallops. Characters are well developed, their private stories usually suggesting more depth than is apparent in many current two-plus hour Hollywood epics. Both The Present and Death Make depend on psychological conflict to work their dark magic. While the supernatural often comes into play, it is people's reaction to this phenomenon, not simply the action itself, that evokes the greatest fear. Many current Asian horror films have forgotten Umezz's simple wisdom: namely, that, no matter how weird or horrific an action/character may be, there has to be some familiar ground by which to connect the surreal with the characters, and by extension, attract our interest and sympathy. The audience is expected to invest not only their time but their minds into these shorts.

The picture quality for Horror Theater (3) holds up to the general quality established by other discs in the series, presented in 1.78:1 aspect ration, and free from any significant blemishes or grain. Audio is offered in Dolby Digital which is clean and free from hisses or other distortions, with the pumping, rampaging music bleeding mood. Extras include trailers for both features and spots for various other Media Blasters/Tokyo Shock titles. "The Making of The Present and Death Make" both include footage and interviews, along with glimpses of the filmmaking process. Entertaining if not necessary, these standard time killers are followed by the more intriguing interviews with Kazuo Umezz, wherein he discusses his personal view of Santa and magic, what he was trying to achieve in each case, etc. As usual, his elfish nature adds a degree of humor to his usually astute observations concerning the nature of fear and awe, and is easily the best addition. Less informative are interviews with Mai Takashashi and the cast of Death Make. Too damn cute, these actors are clearly unschooled in the genre. Still, their chit-chat is humorous, and lends further insight into the characters.

Review by William P. Simmons


 
Released by Media Blasters
Region 1 - NTSC
Not Rated
Extras :
see main review
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