Wild Zero

As someone who's been listening to Guitar Wolf since the early 90s and seen them live a dozen times, I near about wet myself when I first saw this many years ago. Having seen them appear in Sore Losers was funny enough but a movie centered around zombies, killer GW tracks, and schlocky FX and acting...who could resist! Certainly it's got its B-movie charm and the US DVD has the drinking game, but on some level, garage rockers and rock and rollers get this movie and rightly so. It's so over the top and nuts, and the characters have such great idiosyncrasies you can't help but love 'em. The plot isn't so great but there are some absurdities here that you'd find in some of Miike's endings (a la the end scene in Dead or Alive. WTF!) and it's enough to hold your interest and give you a wild ride. But, it's Japanese cinema so who cares, it's not always supposed to make sense. I guess the GW guys are looking for Wild Zero 2 sponsors so I hope they make a funnier sequel. ACE!

Wild Zero is the kind of film that has received limited, but generally ecstatic, reviews from those obviously in sympathy with the makers: "The best film I have ever seen... I really can't say enough good things about Wild Zero. It's the most fun I've had at the movies in a long time." - Teleport City (sic). "It represents everything I love about film and about life. It is beyond perfection. It has transcended into a realm of unbelievable excellence." - IMDb. One suspects, however, that none of the admirers of Takeuchi's lunatic rock and roll zombie flick see it as more than a trash exercise *par excellence*, a raucous hybrid in which nothing is taken seriously and lapses of taste and judgement are understandingly forgiven. Like most junk products it is fun while around, quickly consumed, bad in excess and soon forgotten.

At the centre of the film is the iconic figure of Guitar Wolf (ably supported by his band members Drum Wolf and Bass Wolf). Guitar hails from the world of Japanese punk and rockabilly, and comes complete with sunglasses, sub-Elvis pompadour, black leather jacket, and unutterably cool attitude. This is his second big screen appearance since McCarthy's Sore Losers of a few years back which was, by all accounts, a similar sort of project (tag-line: "They wanted meat so they ate the flower children!"). How you enjoy the present film depends on appreciating Guitar's somewhat hand-me down camp persona, and your enjoyment of the cheap zombie genre. Romero's trilogy hangs heavily over things, and at one point the characters even discuss who has seen Night Of The Living Dead (1968) - ironically, few here have. There are other influences too: Burton's Mars Attacks! (1996) during the initial flying saucer scenes, or the John Woo-like stand off in the manager's office. The meteor-led incursion recalls such 1950s' invasion titles as Arnold's It Came From Outer Space (1953). That aliens would want to bring the dead back to life as part of their plans can be seen in Wood's legendary Plan 9 From Outer Space (1959), though the charm of that film is missing here.

The action takes place in the nowhere-place of Asahi-Cho, the scene of a meteor shower and shortly, we discover, to be the focus of an alien invasion. Ace is the desperate-to-be-cool character, also in black leather, glasses and rockabilly pompadour, who plans to see his hero Guitar Wolf at the local dive (where he duly performs using microphones which shoot fire). After the show there's a falling out between Guitar and the club owner who, despite having grown up with the singer, claims "Rock and Roll is dead!" Given the heavy investment in the style by all concerned it's clearly a mistaken announcement. It duly provokes a shoot out between Guitar and the owner, in which Ace plays a crucial part in helping his hero. The owner loses two fingers for his pains and vows revenge. Meanwhile Guitar makes Ace his "rock and roll blood brother" and gives him a whistle, to be blown when he is danger. Given that the town is due to be overrun by murderous zombies this is no small blessing, as one can imagine.

Meanwhile other strange characters are introduced: a female arms dealer, most comfortable in what looks like a plaid leotard; a bickering trio in a car, (one of which, Masao, goes odd and tries a blundering gas station robbery); the girl Tobio, dumped by the road after being called a 'pervert' by an unknown driver. She then strikes up a close friendship with Ace. All of these characters act strangely, and it is clear that the meteorite storm is affecting them, just as it unaccountably brings the dead back to life to roam the streets and eat people. Soon Ace discovers a grisly roadside dismemberment and has to prove his courage. Tobio (who has a remarkable secret of her own) is under threat from the zombies, and the plaid babe has to break into a stock of weapons to defend herself. All this while Guitar Wolf needs to first help Ace, fight off the angry club owner, then save the world...

Such trivial plotting and mediocre acting provide window dressing to the film's main elements: Guitar Wolf's rockabilly insouciance in the face of danger, and Ace's own rite of passage; the stumbling flesh-eaters appearing with predictable regularity, and the drug-crazed club owner, (now dressed in hot pants), hunting the singer. The result is, frankly, an entirely inconsequential mishmash, although such a criticism is irrelevant to those who would savour the throwaway lunacy of it all. Takeuchi's first time direction is mundane at best, exemplified in the couple of times he clumsily attempts cross cutting, such as between Ace battling the zombies and Tobio's calm walkabout in her trainers, which seem misplaced and unnecessary. Cross cutting to increase suspense, or to effectively showcase parallel action, is beyond a director whose visual reticence indeed often works against Guitar's screen impact. More unforgivably, while the bargain basement flying saucer effects and gory visuals of disembowelment are well done, there is no feeling of real horror in the picture, merely some vaguely tense scenes as Ace and others are surrounded. The gathering claustrophobia and social comment found in Romero's originals are entirely absent. The flourish and demonstration of a butterfly-knife at one point (a scene which would have undoubtedly been cut a few years back by the squeamish BBFC) promises some tough street fighting, which never materialises - a shame as it would have promised more immediacy and danger than we ever see here. One or two moments are effective: the sad zombie that Toschi becomes, for instance (played by a peculiarly Buscemi-like Japanese actor), wondering the streets before being reunited with his zombie girlfriend. Or Guitar's leap from an exploding room in a three-storey building, to land unscathed and then casually retune his instrument. Such wit is hard to find in a film playing like an off the wall drive-in movie and, for those not attuned, can drag terribly.

At the end of the film Guitar dispatches an alien mothership with his sword, drawn from his guitar - a striking action that, in a single move, encapsulates both the strengths and weakness of a crazy film. Standing on the roof, blade erect to slice open the metal belly, Guitar is cool without being quite convincing, the plot's climax barmy without being brilliant. If we can accept Guitar's keen edge hacking through a low flying spacecraft without laughing the wrong way, then no doubt we will accept and forgive much else seen too. Unfortunately this viewer had his doubts. In Ace's words "At the end of the road you've gotta be grateful" and I had reason to agree with him.

Wild Zero is not a perfect movie. It is beyond perfection. It has transcended into a realm of unbelievable excellence. If I rated things on a scale of stars, 1-10, it would receive a million billion.

Weak acting? Goofy special effects? These comments are probably from people who thought Braveheart and Gladiator were good movies. Wild Zero is the type of movie that is impossible to criticise. You watch Wild Zero and your blood will pump, your adrenaline will ransack your brain, your tender--I have said too much.

After all, this is rock 'n' roll jet movie. Guitar Wolf, the group, prove themselves to be inhuman in their sheer ability to be cool. With trash and chaosssssss!!!!, the last twenty minutes will blow your mind. This is the feel good movie of eternity. There is thrill, speed and stupid zombies. There are exploding heads, random alien encounters, and even more sudden and inexplicable gaining of superpowers.

There is no adrenaline rush that is more rush than this film once it kicks into motion. But don't think it is all brutality of screen, as the movie has poignant moments and an important message on love and growing up. Of course, you could also sit back and be terrified by the Captain's draw-string shorts (pejoratively nicknamed "the junk trunk" by my group of friends).

Watch this movie with friends or watch it alone. It's just more fun when you can see your friends' minds be blown. But if you see a Guitar Wolf movie this year--nay, if you see a movie in this lifetime, see Wild Zero! Rock 'n' roll!!

(Note: Some phrases in this review were lifted from the video box. See if you can go through and pick them out)

Wild Zero is not a movie. It is an experience, an in your face, melt your brain piece of pure crazy. The kind that makes my wife say, "Do we really own this?"

Yes. We do. I'm going to buy it again just to have it twice.

Ace is our hero, Guitar Wolf's biggest fan. After he saves the band from a tense standoff with The Captain, an evil music executive, he becomes blood brothers with Guitar Wolf himself (the other members are Bass Wolf and Drum Wolf) and receives a signal whistle for whenever he is in trouble.

Guitar Wolf is so great that flames come out of their mic stands and they blast the crowd with lightning when they play. They sound like fuzz and noise and menace. They are everything perfect about rock and roll.

On his journey to the next Guitar Wolf show, Ace meets Tobio, a Thai stranger on the run. He saves her from a robbery then leaves, but on the road he encounters zombies. Realizing that he's in love — and inspired by the spirit of Guitar Wolf — he goes back to save her.

The Captain comes back to fight Guitar Wolf with a grenade launcher (which Guitar Wolf shrugs off, only pausing to tune his guitar). There are zombie fights galore. Many, many heads explode. A naked military girl kills zombies from her shower. Oh yeah — and Ace finds out that Tobio is really a guy, a fact that this movie celebrates. Yes — instead of making jokes, the spirit of Guitar Wolf tells Ace that "Love has no borders, nationalities or genders! DO IT!" Keep in mind this movie was made nearly twenty years ago, so this is pretty amazing.

Read more at https://bandsaboutmovies.com/2017/10/13/wild-zero-1999/

I was told by some friends of mine, "You have to see this movie. It will rock your face off." They were right.

Wild Zero is without a doubt the most amazing Japanese Rock Zombie flick ever.

If you believe that rock and roll is here to stay, that greasers should roam the streets of Japan, and that extraneous characters should be disposed of as quickly as possible and turned into zombies, then this film is for you.

The exploding zombie head budget is high in this film, but the writing budget seems to have suffered as a result. With zombie flicks, though, you pay your money and you take your chances.