Film Monthly Home
Archives
Wayne Case
Interviews
Steve Anderson
The Rant
Short Takes (Archived)
Small Screen Monthly
Behind the Scenes
New on DVD
The Indies
Horror
Film Noir
Coming Soon
Now Playing
Television
Books on Film
What's Hot at the Movies This Week
Interviews TV

Tokyo Zombie

Directed by Directed by Sakichi Sato

Written by Written by Sakichi Sato

Starring Starring Tadanobu Asano, Show Aikawa, Erika Okuda

Produced by Produced by Yusaku Toyoshima, Haruo Umekawa

Not Rated

104 mins

***

There’s one thing that you can say for Japanese horror movies. Actually, there are a LOT of things you can say, but one thing you can say with nigh-total certainty is that these guys KNOW their zombie movies. Plain and simple, every Japanese zombie movie I’ve come in contact with (admittedly, it’s maybe only half a dozen—I can’t find terribly many more) follows the principles of the Romero zombie movie SCRUPULOUSLY. Seriously, down to the last detail: zombies shamble, zombies don’t speak, zombies are easily distracted, zombies move in groups, zombies can only be killed by destroying the brain or removing the brain from the body.

And sometimes, as is the case with Tokyo Zombie, they’ll even add some stuff on. These additions are not necessarily bad, if a bit inauthentic.

Tokyo Zombie is about a couple of inept slackers who work at a fire extinguisher plant and spend most of their time practicing jiujitsu. When their boss comes out to berate them, he’s accidentally killed when one of them hits him over the head with a fire extinguisher. Unsure of their next move, the two slackers bury their boss in Black Fuji, an enormous mountain of garbage and industrial waste where, apparently, most Japanese people ALSO bury the various corpses of people who got in their way. There are a LOT of corpses buried in Black Fuji.

Thus, when some of that industrial waste gets a hold of the corpses, it’s Zombie Apocalypse time, kids.

The really unusual part about Tokyo Zombie is that it’s basically two movies in one. About halfway through, the focus will shift in a totally different direction that I won’t tell you about because it’s pretty interesting by itself. Picture Land of the Dead taken to its logical extreme and you’ll have an idea of what we’re working with here. I know, I’m freaked out too.

And it’s not just a zombie horror flick—Tokyo Zombie, in that inimitable Japanese style, has added a large dollop of humor to the proceedings that’s definitely out of place, but the strange contrast between zombie apocalypse and a rollicking slapstick comedy is compelling to say the least. This is peppermint wasabi, folks, and I’m glad for it.

On the one hand, I’m a bit disappointed. Normally, a Japanese zombie movie is like a George Romero, complete with postulation on how people live after the zombie apocalypse hits. Oh, this HAS that, sure, but it’s not very well explored. The second half of the movie will present a concept but this concept is almost so ludicrous as to be pointless. Either half of Tokyo Zombie would have made an excellent movie by itself, given full rein to be fully explored…but since the two are combined it limits what can be done in the same amount of time. Essentially, they tried to do too much, and in the process, wound up not doing ENOUGH.

But that’s not to say that Tokyo Zombie isn’t an authentic piece of Japanese zombie horror. It is. And it’s fairly well executed besides. But the problem is that it’s not all that it could have been, thus I’m left a bit disappointed.

The ending features several interesting twists and lots of background that I hadn’t even noticed. Or considered, actually…CAN zombies who wear false teeth spread the zombie virus? I’m not all that sure.

The special features include a making-of featurette, a cast and crew interview segment, footage from a store appearance, English subtitles, and a host of teasers and trailers, including some that are only accessible BEFORE you watch the movie, a perennial peeve of mine.

All in all, Tokyo Zombie is a solid and interesting experience, though it disappoints in the sense that it’s not all it might have been. Clearly, they tried, and I give them due credit—to borrow from the film, they’ve won the ninety point match…but they could have won the hundred.

Steve Anderson is a film critic who collects action figures so he can dress them up as his favorite horror villains. He lives somewhere in the United States.


Got a problem? E-mail us at filmmonthly@gmail.com