Shiryô no wana

Although MERMAID LEGEND is my all-time favorite Ikeda film, EVIL DEAD TRAP, a derivative but fierce and violent shocker, is deserving of distinction.

It's a catalog of gory set pieces inspired by Dario Argento, Tobe Hooper, Sam Raimi (of course), John Carpenter and Jess Franco.

Long before THE RING kick-started the "haunted videotape" craze, there was EVIL DEAD TRAP.

What distinguishes a lot of Japanese horror from American horror is brutality and explicitness. It's not that American horror hasn't been brutal (Texas CHAINSAW, LAST HOUSE ON THE LEFT and FORCED ENTRY all tip the brutality scales), it's just that there's been a cultural shift against movies of this type (read: political correctness) in the West whereas the Japanese film industry hasn't caught that particular cancer.

EVIL DEAD TRAP is confused by itself at times and its ending is beyond silly, but you do get several gleefully gruesome deaths, a rape/strangulation highly deserving of an encore, several ingenious methods of murder and a cloying, brain sick atmosphere.

The electronic score serves the material nicely and the film's primary location, an abandoned government facility, has a great Texas CHAINSAW stink.

Nice, juicy effects, too.

Avoid the wretched EVIL DEAD TRAP 2.

This cult favorite B horror flick from Japan stars Miyuki Ono as Nami, the host of a late night TV program. One day, she receives in the mail a tape that contains footage of what appears to be an honest-to-God snuff film. Repulsed but fascinated, Nami assembles a camera crew (mostly female) and heads for the deserted factory where it is believed the footage was shot. Soon, Nami and company are subjected to repeated terrors, for there is indeed a killer on the premises.

At first, the set-up and the story (by Takashi Ishii) would seem to be on the routine side, but director Toshiharu Ikeda handles all of it in style, and delivers tons of potent doom-and-gloom atmosphere. The production design is truly first-rate, the gore by Shin'ichi Wakasa is first-rate ("Evil Dead Trap" can boast two great murder set pieces), the music (reminiscent of the Goblin score for "Suspiria", just one thing that "Evil Dead Trap" references) is good, and the performances (by a cast of Japanese porn stars) are capable. What elevates "Evil Dead Trap" is the big reveal at around the 82 minute mark, and the entire final act. It truly places poor Nami - who is put through the wringer over and over - into a vision of Hell. What's more, the disturbed antagonist is one that the audience can feel some pity for, as they just want their untenable situation to end.

Generally good fun, this does tend to be slowly paced, and a viewer could also see it as being repetitive, but it really does deliver a fair bit of genuine horror before those end credits start rolling. The splatter-riffic ending is truly one that is worth the wait.

Followed by two sequels.

Seven out of 10.

If Dario Argento, David Cronenberg, and Lucio Fulci had gotten together to create a horror movie then this is what the result might me. Shiryo no Wana/Evil Dead Trap(1988) would be responsible for ushering a new era in Japanese horror that would become big during the 1990's and early 21th Century. This is one of the films that help make Japan the top foreign market of horror features. Its about a reporter who goes to investigate an empty warehouse after receiving a snuff film. It has nothing to do the Evil Dead movies except for a few camera effects. The first half of the movie is in the tradition of Dario Argento and Lucio Fulci. The second half dives into Cronenberg territory.

Toshiharu Ikeda emerages from the feature film as one of the best directors of the Japanese gene film. Shiryo no wana(1988) is a mixture of European style and Japanese Philosophy. There are four scenes that stand out. First, the murder and torture scene at the beginning of the feature. Second, the murder of the young woman by impalement. Third, the revelation of the murderer and the secret that the person contains. Fourth, the shocking ending.

The death scenes have the elaboration of an Argento murder sequence with the gory and violent outcome from a Lucio Fulci movie. This is the best film that David Cronenberg never made. I wonder how long it will take before Hollywood will remake this into a waterdown American version. The film is a Japanese take on Argento's Profondo Rosso/Deep Red(1975) and Opera(1987). The eye violence seen at the beginning of the movie recalls the infamous eye penetration sequence of Lucio Fulci's Zombie(1979). Some parts of this motion picture echoes David Cronenberg's Shivers(1975), The Brood(1979), and Videodrome(1981). Shiryo no wana(1988) is an example of why horror films from aboard are superior to most horror films made in America.

What I enjoyed about Evil Dead Trap are the awesome camera movements, cool visuals, and heavy atmosphere. It was written by Takashi Ishii who would later direct the "Beat" Takeshi Yakuza vehical Gonin(1995). This is probably the film that opened the floodgates for such features as The Wizard of Darkness(1992), The Ring(1998), and The Ring 2(1999). I have a feeling that Kevin Williamson must have seen this movie when writing I Know What You Did Last Summer(1997). The outlook of the killer looks as if it would play a major influence on the appearence of the fisherman from IKWYDLS. Its a Japanese giallo with supernatural overtunes. The film also deals with the relationship between Parents and their children in Japanese culture.

Very very minor spoiler.

Plot summary: A TV crew get lured to a disused military installation and get stalked by….a killer.

After being introduced to Ikeda-san's work by his abysmal 2001 effort "Shadow of the Wraith" I had zero expectations for this, especially after I found out he also directed one of the later Meiko Kaji-less instalments of the "Female Prisoner Scorpion" series.

How surprised I was then, to see just what a solid film "Evil Dead Trap" is. The film certainly doesn't mess around; introducing the characters and setting up the plot in about fifteen minutes, all perfectly spliced around a videotaped Fulci-esquire eye slicing scene. The plot, initially owing much to Videodrome, takes a back seat as the TV crew get down to the business of walking backwards, running further into darkened warehouses when they should be going outside and having sex when they should be watching out for the psychopathic knife-wielder.

The ripped off plot and horror clichés aside, the film scores its points with an array of violent, gruesome and inventive deaths, with an abundance of blood, nudity and maggots. Whenever I thought the film was regressing into conventionality, it always surprised me by turning back on itself, usually with an aforementioned brutal killing. However the ending was what most shocked me; what seemed to be a conventional explanation for the "mystery" of the killer eventually culminated in a horrific gorefest that probably got David Cronenberg wondering if he'd misplaced a script.

This is mainstream 80s J-horror at its best, taking influence from the greats such as Cronenberg and Fulci. It makes up for its shortcomings with a shocking amount of violence and gore, the occasional graphic sex scene and a brilliant conclusion.

A must for all gorehounds and horror fanatics.

Take a dash of atmospheric horror, add a huge helping of giallo, an equal amount of slasher films and a sprinkle of sci-fi horror. Filter through Dario Argento's 'Suspiria'-like soundtrack and use of primary colors and Shi'nya Tsukamoto's 'Tetsuo: Iron Man's frenetic black and white images and industrial soundtrack and you've got Evil Dead Trap. Throw in a pinch of B-movie horror ala Frank Henenlotter and Alain Roback to spice things up further. The English translation is top-notch and over all the movie is easy to follow. The lead actress comes across well and the deaths are inventive for the most part. The gore is fairly graphic, with squirting blood foreshadowing the Tokyo Shock films to come almost two decades later. Sure, it's not Oscar material, but cinephiles will enjoy picking out the various influences and the average viewer will get an over-the-top cult film. My only bone with the film is that the director didn't have to use EVERY influence, perhaps picking one or two themes only, but I guess that's one of the things that makes it over-the-top.