[ Directed by ]
[ Produced by ]
[ Cast ]
• AKIYAMA Rina Yuki
• MOMOSE Misaki Lady L
• TSUKUI Minami Sakie
[ Staff ]
• Screenplay: KUROKI Hisakatsu
• Original Story: OHARA Go
• Original Story: SHIRAYOSHI Tetsu
• Original Story: SASAKI Hiroyuki
• Cinematography: ITO Nobuhisa
• Production Design: YAMASHITA Shuji
• Editor: OHARA Go
[ Production Company ]
“Gothic & Lolita Psycho”Film Partners
[ Distributor (Japan) ]
[ Production Studio ]
Release Date: September 4, 2010
Running Time: 86 min
Genre: Drama, Horror, Feature
Screening Format: HD
[ Story ]
A violent action flick with a girl in black gothic lolita costume on a revenge rampage, after her mother is killed by an unknown assailant. Directed by
Geisha VS Ninjas
‘ Ohara Go. VFX by Kazuno Tsuyoshi, special make-up effects by Nishimura Yoshihiro. Both have previously worked together on
. Ohara collaborates with these raunchy cult filmmakers to create another edgy world. Set in the near-future in Tokyo, this is the story of a vengeful girl, Yuki (Akiyama Rina), who is out to kill the five black-hooded men who assaulted her father and murdered her mother. She takes them out, one after another.
[ Official Site ]
As the imaginary reference spaces by French Rococo Victorian England, that of the “Gothic & Lolita” is a purely Japanese origin niche phenomenon that, however bizarre, in the space of a decade has carved one considerable space within the popular culture of Japan. In the world of manga and anime , the introverted young girl who walks the streets of Harajuku dressed like a porcelain doll (or alternatively, as a housekeeper of times past) reworked according to an imaginary dark Tim Burton, coiffed with ringlet hairpieces and dressed in lace, hats, umbrellas and, by contrast, aggressive leather boots heavy armed wedges, has now reached the status of consolidated archetype that almost invariably makes its appearance in disparate works addressed to an audience not necessarily niche.
in the specific case of Gothic & Lolita Psycho , which from the title performs its ties with this particular subculture, our heroine laced carries around an “exotic” imagery of the Christian mold, with crucifixes, priests, chandeliers and related esoteric drifts ( and then pentagrams, horned demons, tarot cards, etc.). All this, however, inserted in a frame that recalls the classic Japanese revenge feminine film style Lady Snowblood , with concessions and cliches ranging from film yakuza to great, though passing through the shonen manga, the gore more heinous and self-satisfied, and , even, for the acrobatics of wuxiapian . With these premises, it is clear that this film should be seen leaving behind any pretense of verisimilitude, and therefore the latter can not be taken as a yardstick of the work.
That said, the film offers little in terms of entertainment that of originality. The plot is virtually non-existent and only serves as the glue between the various battles that follow one another at a distance too close. The rest is good, because inframezzi are boring, repetitive, television, clearly unnecessary. The acting is too mediocre, while the humor is of the lowest level (a few fart and the classic whistle as the flight narrative voice in a comic made by the severed heads, just to understand each other). The author seems only interested in exhibiting a bit ‘of gadgets, some blood fountain and a handful of special harmlessly gruesome. The rest is a succession of clichés (but because every single time you want to rejuvenate a female character is saddled the two tails, then?) And duels to the death between the heroine Yuki, from the look unalterably grim, and several cultural stereotypes Yuki vs professor maniac; Yuki vs gang of motorcyclists incapable; Yuki vs fat coward; Yuki vs evil and goose kogyaru; Yuki vs dandy megalomaniac. Are saved in part, in their stupidity, the ballet of motorcyclists and kogyaru fighting conversing on a cell phone.