Do you like blood? Violence? Freaks of nature? Well, here at Arrow in the Head, we love all of those things – and that has inspired us to put together this list of some of The Goriest, Bloodiest Films Ever Made. Some of the movies are on here due to their historical significance, some are due to the amount of fake blood that was used during the production, and all of them are quite messy. Here we go:
Blood Feast (1963)
This is where it all began. In the late ‘50s and early ‘60s, independent filmmaker Herschell Gordon Lewis and his producing partner David F. Friedman were looking at the major movies of the day to find what they could offer the moviegoing public that the studios weren’t providing. They started out with “nudie cutie” sexploitation movies, meeting the demand for bare flesh. After taking note that violence in movies had...
Blood Feast (1963)
This is where it all began. In the late ‘50s and early ‘60s, independent filmmaker Herschell Gordon Lewis and his producing partner David F. Friedman were looking at the major movies of the day to find what they could offer the moviegoing public that the studios weren’t providing. They started out with “nudie cutie” sexploitation movies, meeting the demand for bare flesh. After taking note that violence in movies had...
- 5/4/2025
- by Emilie Black
- JoBlo.com
Yoshihiro Nishimura throws every ingredient into this overblown, overcooked and oddly endearing underworld romp
Cult Japanese filmmaker Yoshihiro Nishimura, who started off doing special effects before moving into the director’s chair, is best known for pulpy, action-horror fare with self-explanatory titles such as Mutant Girls Squad and Tokyo Gore Police, as well as the more enigmatically monikered Meatball Machine Kodoku.
Tokyo Dragon Chef, I’m assuming, lies tonally between the one about gore police and the one about meatball machines given it’s about a pair of ageing yakuza thugs, Ryu (Yasukaze Motomiya) and Tatsu (Yoshiyuki Yamaguchi), who decide to open a ramen restaurant. Their speciality, which does indeed look darn tasty, is a recipe Tatsu honed while doing time and working in the prison’s mess hall, a kind of ma po tofu with ramen.
Cult Japanese filmmaker Yoshihiro Nishimura, who started off doing special effects before moving into the director’s chair, is best known for pulpy, action-horror fare with self-explanatory titles such as Mutant Girls Squad and Tokyo Gore Police, as well as the more enigmatically monikered Meatball Machine Kodoku.
Tokyo Dragon Chef, I’m assuming, lies tonally between the one about gore police and the one about meatball machines given it’s about a pair of ageing yakuza thugs, Ryu (Yasukaze Motomiya) and Tatsu (Yoshiyuki Yamaguchi), who decide to open a ramen restaurant. Their speciality, which does indeed look darn tasty, is a recipe Tatsu honed while doing time and working in the prison’s mess hall, a kind of ma po tofu with ramen.
- 1/21/2021
- by Leslie Felperin
- The Guardian - Film News
By Omar Rasya Joenoes
“Are you married?”
“I hate men.”
“Then, you have no hope.”
“My hope is to die.”
The conversation in the search description takes place on a ride home, under the pouring rain. It is initiated by a man, who happens to be Japan’s no. 3 hitman, and answered by a woman, who is a suicidal femme fatale. Witnessing their first exchange is a dead bird, hung between them. And in this weirdest of all film-noir films, the scene belongs to a long line of surreal, mind-boggling, out-of-this-world scene after scene after scene after scene.
“Japanese films are weird” is surely a stereotype most of you, if not all of you, have heard at least once before. It is not entirely true and not entirely mistaken. With cult titles like Funky Forest (2005), Hausu (1977), Big Man Japan (2007), Versus (2000), Tokyo Gore Police (2008), RoboGeisha (2009), Tetsuo the Iron Man...
“Are you married?”
“I hate men.”
“Then, you have no hope.”
“My hope is to die.”
The conversation in the search description takes place on a ride home, under the pouring rain. It is initiated by a man, who happens to be Japan’s no. 3 hitman, and answered by a woman, who is a suicidal femme fatale. Witnessing their first exchange is a dead bird, hung between them. And in this weirdest of all film-noir films, the scene belongs to a long line of surreal, mind-boggling, out-of-this-world scene after scene after scene after scene.
“Japanese films are weird” is surely a stereotype most of you, if not all of you, have heard at least once before. It is not entirely true and not entirely mistaken. With cult titles like Funky Forest (2005), Hausu (1977), Big Man Japan (2007), Versus (2000), Tokyo Gore Police (2008), RoboGeisha (2009), Tetsuo the Iron Man...
- 3/23/2020
- by Guest Writer
- AsianMoviePulse
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