UFOctober: MEATBALL MACHINE: KODOKU (2017)
Is there a movie that you love that people who know you would be surprised by? For me, that movie is MEATBALL MACHINE: KODOKU, directed by Yoshihiro Nishimura. Nishimura was the special effects artist responsible for all the effects in the original MEATBALL MACHINE (2005). His sequel carries on the idea of the alien necrobugs from the first movie and deepens the lore in an explosive way.
MEATBALL MACHINE: KODOKU is about alien necrobugs that invade Tokyo’s Asakusa district. The necrobugs turn humans into cyborg mutants that live only to fight each other in death matches with the goal of consuming the most essence. Our protagonist Yuji, played by actor and director Yoji Tanaka, is a lonely, middle-aged man diagnosed with terminal cancer, and he is stuck in a soul sucking debt collecting job. When the necrobugs attack him, he is able to retain some of his humanity due to the cancer in his body being at odds with the alien DNA. He decides to use his newfound power to save his bookstore crush Kaoru, who is played by the actress Yurisa. The movie follows Yuji as he tries to save Kaoru, who happens to be fighting her own battle against the necrobugs. The sub plot running parallel to Yuji and Kaoru’s story is the why and how of the alien invasion itself.
That seems like a standard enough premise for a sci-fi movie, right? A pathetic guy becomes the hero in a world ending battle against aliens to save the girl. Boy howdy, if only it were that simple. So, here’s the thing: For all the ways I am about to describe this movie, I know that ultimately...it will not prepare you for everything that it is. This is truly a movie that you will either be absolutely floored by, or you will find it the most disgusting piece of trash. Even among my own friends, I am confident that there are only a few who are going to celebrate this movie alongside me. You know what, that’s fine. Not all art is for everyone, and MEATBALL MACHINE: KODOKU is certainly not trying to play it cool. This movie is extreme, offensive, raucous, funny, and one of the bloodiest films I have ever seen. Full disclosure, splatter film is not my genre. There are many concepts I struggle with in its specific type of exploitation. I very much disliked the first MEATBALL MACHINE (2005). But this sequel is an exception for me. It leaves out all the things I did not care for in the first movie and instead focuses on more absurdity and more blood. Nevertheless, the chaos feels warranted.
In some crazy way, this movie feels like a love letter to David Lynch films, EVIL DEAD 2 (1987), tokusatsu, and the Kurosawa film IKIRU (1952). And yes, all those things together do not make any sense, yet they are sewn together into this horror, sci-fi, action, exploitation film about cyborg alien bugs. Throw in some gross rubber suit death matches and machine gun boobs, and you have the movie that is MEATBALL MACHINE: KODOKU.
The practical effects are sublime and span from simple and cheesy to expert level horrifying. It really is tokusatsu for grown-ups in an unrated way. The creatures are inspired and deliciously fun in how absurd they are. The head alien is stylish, chic, and captivating. It is my dream aesthetic. The movie is a swift 90 minutes, and while writer and director Nishimura does leave room for us to connect with the characters, the action leads the last two thirds of the movie. This is not a movie for memorable one-liners, but I can promise you that you will see scenes that you will never be able to forget on account of how ridiculous it is.
Also—I know I said it before—but wow: So. Much. Blood. You will feel like you need a bath afterwards. So naturally, I bought a physical copy immediately after viewing it.
That said, because this is an exploitative movie on purpose, there are definitely content warnings to consider. It is not for the faint of heart and some may find it challenging on different levels. There are bugs, there is always blood, the body horror is extreme, it is misogynistic, tackles the issue of cancer, and sexual assault.
Yet as with any exploitative film, there is reason to the madness. The heavy-handed commentary on Japanese society which may have less impact on western audiences is complemented by the way-over-the-top style so that the film can be enjoyed on multiple levels.
For me, this film is mesmerizing, artistic, absurd, and maybe even a little bit genius. I love the trope of parasitic aliens. I find them much more frightening, realistic, and truer to the ugly side of human nature. This movie is never boring even on rewatch. In fact, it may be a little too much for most people on a first watch. But like the Arrested Development meme, “there are dozens of us,” who will defend the artistry of this extremely wacky, extremely bloody, extremely alien movie. Are you one of us?
